Tuesday Musical Prelude! Oct. 19, Nov. 29 Concerts

Celebrate our 130th Anniversary 2017-18 Season

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Academy of St Martin in the Fields Chamber Ensemble Thursday, October 19, 2017

Vienna Boys Choir Wednesday, November 29, 2017

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MAINSTAGE Thursday, Oct. 19 Academy of St Martin in the Fields Chamber Ensemble

Wednesday, March 28 Orpheus Chamber Orchestra with violinist Augustin Hadelich

Tuesday, Jan. 23, 2018 Chamber Music Society of Lincoln Center

Wednesday, April 18 Brentano String Quartet with flutist Marina Piccinini

FUZE Wednesday, Nov. 29 Vienna Boys Choir — Christmas in Vienna Thursday, March 8 Pianist Andreas Haefliger Saturday, March 17 Chicago Jazz Orchestra — A Tribute to Sarah Vaughan conductor Jeff Lindberg & vocalists René Marie, Dee Alexander, Ann Hampton Callaway

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EJ Thomas Performing Arts Hall—The University of Akron Thursday, October 19, 2017 7:30 p.m.

The Academy of St Martin in the Fields Chamber Ensemble Tomo Keller, violin; Harvey de Souza, violin; Jennifer Godson, violin; Martin Burgess, violin; Robert Smissen, viola; Fiona Bonds, viola; Stephen Orton, cello; Will Schofield, cello Antonín Dvorˇák Sextet in A, for two violins, two violas and two cellos, Op. 48, B. 80 1841-1904 Allegro moderato

Dumka (Elegie): Poco allegretto

Furiant: Presto

Finale (Tema con variazioni): Allegretto grazioso, quasi andantino INTERMISSION George Enescu Octet in C, Op. 7 1881-1955 Très modéré—

Très fougueux— Lentement—

Moins vite, animé, movement de valse bien rythmée

The Academy’s work in the United States is supported by Maria Cardamone and Paul Matthews, together with the American Friends of the Academy of St Martin in the Fields.

The Academy of St Martin in the Fields Chamber Ensemble appears by arrangement with David Rowe Artists, www.davidroweartists.com Chandos, Philips, Hyperion recordings

Generous support for this performance comes from the Lloyd L. and Louise K. Smith Memorial Foundation.

Among Tuesday Musical’s season supporters: Lisle M. Buckingham Endowment Fund of Akron Community Foundation Lehner Family Foundation Laura R. and Lucian Q. Moffit Foundation

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The Artists

Academy of St Martin in the Fields Chamber Ensemble

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he Academy Chamber Ensemble was formed in 1967, drawing its membership from the world-renowned chamber orchestra the Academy of St Martin in the Fields, which was founded by Sir Neville Marriner in 1958 and is currently led by Music Director Joshua Bell.

The purpose behind the formation of the Chamber Ensemble was to perform the larger scale chamber music repertoire with players who customarily worked together, instead of the usual string quartet with additional guests.

Drawn from the principal players of the orchestra and play-directed by Academy Director/ Leader Tomo Keller, the Chamber Ensemble now performs in multiple configurations from wind trios to string octets. Its touring commitments are extensive and include regular tours of Europe and North America. Recording contracts with Philips Classics, Hyperion, and Chandos have led to the release of over thirty CDs. The Academy Chamber Ensemble’s October 2017 tour of the United States is supported by Maria Cardamone and Paul Matthews, together with the American Friends of the Academy of St Martin in the Fields. The American Friends was founded in 1998 to support the work of the Academy around the world, particularly in the United States. Find out more at www.asmf.org.

You can also find the Academy on: Facebook: /asmforchestra Twitter: @asmforchestra 6

YouTube: /TheASMF SoundCloud: /asmf Instagram: @asmf_orchestra “an ensemble of first-rate musicians, technically superb, generously expressive, and obviously enjoying themselves.”

—Dallas Morning News “impressively seamless ensemble” —Chicago Classical Review “impressive sophistication and complexity of phrasing, elegant articulation and an impeccable sense of balance . . . What sets the Academy apart from other ensembles is its exceptional musical intelligence.”

—Seen and Heard International Tomo Keller, violin, was born in Stuttgart in 1974 to German-Japanese parents, both of whom were professional pianists. He started playing the violin at age 6 and at age 10 he gave his first performances as a soloist with an orchestra.

He was appointed Leader of the Academy of St Martin in the Fields in December 2015.

He studied at Vienna’s University for Music and Performing Arts and New York’s Juilliard School. Numerous prizes and awards followed, including 1st prize at the Austrian National Music Competition, 3rd prize at the Fritz Kreisler Competition, 1st prize at the Johannes Brahms Competition, and the Grand Prize at the German Music Competition Berlin. He was also the first instrumentalist to receive the Aalto Stage Prize for young musicians. tuesdaymusical.org n 330.761.3460

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The Artists He has since performed at major concert halls all around the world, including the Musikverein and Konzerthaus Vienna, Gewandhaus Leipzig, Konzerthaus Berlin, Beethovenhalle Bonn, Kirov Theatre St Petersburg, Salle Pleyel Paris and the Barbican in London. He has been invited to music festivals such as the Schleswig-Holstein Musik Festival, Mecklenburg-Vorpommern Festspiele, Ludwigsburger Schlossfestspiele, Festival de Musica Manuel de Falla and Oberösterreichische Stiftskonzerte. He has also been a frequent guest on radio and television broadcasts (ARD, BBC, NHK, ORF).

As a soloist, Tomo Keller has performed with the Beethovenhalle Orchestra Bonn, St Petersburg Camerata, London Symphony Orchestra, Radio Symphony Orchestra Berlin and the Vienna Symphony Orchestra. Concert tours have led him all across Europe, as well as Russia, Asia, the United States and the Middle East.

He is a much sought-after orchestral leader, having led the Essen Philharmonic Orchestra (1999–2007), the London Symphony Orchestra (Assistant Leader 2009-2015) and the Swedish Radio Symphony Orchestra (2014-present). He has appeared with more than 20 orchestras

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as guest leader including the BBC Symphony Orchestra, Chamber Orchestra of Europe, DSO Berlin, SWR Stuttgart, WDR Cologne, London Philharmonic Orchestra, Philharmonia Orchestra and Pittsburgh Symphony Orchestra.

His recordings include solo works by Bach, Bartók and Ysaÿe, orchestral recordings including Stravinsky’s Apollon musagète with Sir John Eliot Gardiner/LSO, and Avant Gershwin with Patti Austin and the WDR Big Band, which was awarded a Grammy in 2008. He has given masterclasses and orchestral classes at the Guildhall School and the Royal Academy of Music London as well as in South Korea and the United States. Tomo Keller plays a violin by Andrea Guarneri, Cremona 1667, made available to him by the Swedish Järnåker Foundation.

Harvey de Souza, violin, has been a member of the Academy since 1993 and has led the orchestra on tours with Sir Neville Marriner and soloists including Joshua Bell and Julia Fischer.

As a member of the Chamber Ensemble he has performed extensively throughout South America, Europe and the United States.

He has been a member of the Chamber Orchestra of Philadelphia, and a member of the

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Vellinger String Quartet, who were winners of the 1994 London International String Quartet Competition. He has been principal guest director of the Lancashire Sinfonietta, and is co-artistic director of the Sangat Chamber Music Festival, now in its seventeenth year in Mumbai. Harvey de Souza plays on a Carlo Bergonzi, kindly lent to him by the Beare’s International Violin Society.

Jennifer Godson, violin, has been a member of the Academy since 1985. She was for many years a member of the Fairfield String Quartet with whom she toured extensively in Britain and abroad. She now leads a busy chamber and orchestral career and has a special interest in period performance. She is sub-leader of John Eliot Gardiner’s Orchestre Revolutionnaire et Romantique and a member of the Orchestra of the Age of Enlightenment, with whom she has appeared as guest leader.

Martin Burgess, violin, began playing with the Academy in 1992, taking up the position of Principal Second Violin in 1998. Having studied with Emanuel Hurwitz and the Amadeus Quartet he brought with him the love of chamber music. He leads the Grammy nominated

Emperor Quartet (winners of the prestigious Evian International String Quartet Competition).

The Quartet has released critically acclaimed CDs of music by Britten, Walton, Martinů and James MacMillan. They have also performed on several film soundtracks, notably There Will Be Blood and Norwegian Wood, both written by Jonny Greenwood from Radiohead. He enjoys a wide variety of playing away from both these ensembles, most recently recording and then touring the world with Peter Gabriel.

Robert Smissen, viola, won a scholarship to Chethams School of Music at age 14 and went on to study at the Guildhall School of Music and Drama with David Takeno. While there he won prizes for chamber music and solo playing.

After college he was appointed principal viola with the Northern Sinfonia, a post he held until 1986. He also plays with other London chamber orchestras.

Fiona Bonds, viola, is Associate-Principal Viola of the Academy of St Martin in the Fields, and enjoys a busy and diverse career outside of the orchestra. She has recently been appointed Principal Viola of the City of London Sinfonia and

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The Artists is a founder member of the Grammy-nominated Emperor String Quartet, which recently released a critically acclaimed disc of Benjamin Britten’s quartets.

Stephen Orton, cello, was born in Ripon, Yorkshire, and studied with William Pleeth at the Guildhall School of Music and Drama. He has been principal cello with the Bournemouth Sinfonietta and the City of London Sinfonia and was also a member of the Delmé Quartet for 10 years. He has acted as guest principal cello with the London Symphony Orchestra and Philharmonia. He has often played the Schubert Quintet with the Chilingirian Quartet. In 1985 he became principal cello with the Academy of St Martin in the Fields and has played concertos with the orchestra. He is also a member of the Academy Chamber Ensemble, touring internationally and making numerous recordings.

He joined the Chilingirian Quartet in 2013.

Will Schofield, cello, was born in London to Australian and Italian parents. He read music at Edinburgh University and went on to study with Radu Aldulescu in Rome and at the Menuhin Academy in Gstaad, Switzerland.

He has been cellist with the Grammy-nominated Emperor String Quartet since the group was formed in 1992. He started playing with the Academy of St Martin in the Fields the following year, and membership of these two groups has been the primary focus of his playing career. With the quartet he has played throughout Europe, North and South America and in Africa, appearing at all of the major festivals in the United Kingdom and at numerous festivals abroad including Prague Spring Festival, Mostly Mozart New York, Flanders, Monte Carlo, Montpelier/Radio France and Kuhmo in Finland. The Quartet records for BIS, the latest project being a complete cycle of Britten.

He has also played as a guest with the Allegri and Maggini Quartets and with the Schubert Ensemble of London. As a freelance cellist, he has played as guest principal cello with many of the country’s top orchestras, such as the Royal Philharmonic and the English Chamber Orchestra, and with orchestras in Ireland and Spain. He has played on numerous film soundtracks, and with the Emperor Quartet has collaborated with Radiohead’s Jonny Greenwood on several projects, most notably the soundtrack to the 2007 movie There Will Be Blood.

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Program Notes Antonín Dvořák (1841-1904) Sextet in A, for two violins, two violas and two cellos, Op. 48, B. 80

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hen Antonín Dvořák composed this Sextet in the spring of 1878, he was on the brink of international success. Well into his 30s, three stipends from the Austrian government for talented, impoverished artists had allowed the struggling viola player and organist the breathing room to focus entirely on composition.

With the news of his third allowance in December 1877, the Bohemian composer also received encouraging words from the influential Viennese critic Eduard Hanslick and Brahms. Both had been on the jury that awarded the stipend and both sensed that Dvořák’s music had legs, with the potential to cross national borders.

“Dvořák has written every possible thing— operas (Bohemian), symphonies, quartets and pianoforte pieces,” Brahms wrote to his own publisher, Simrock. “He is a very talented man.”

Soon, Simrock was pleased with sales of

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Dvořák’s vocal Moravian Duets. When the first volume of Slavonic Dances promised to make its way around the world, Simrock immediately snapped up other music by Dvořák, including a new String Sextet he had written in just two weeks in May 1878.

The Sextet uses the combination of instruments that Brahms had championed in his two sextets more than a decade earlier. In it, Dvořák marries the traditions of classical chamber music with his own love of Bohemian folk music, most notably in the middle two movements.

Above all, there’s a great clarity of form and fluency to the writing.

The opening movement is clearly laid out, generally restrained in mood and, with its warmth and spaciousness, a clear homage to Brahms. For the slow movement, Dvořák introduces the idea of a dumka in chamber music for the first time.

Related to the Czech word dumat (to reflect or contemplate) and to a Slavonic poetic form combining the lyrical and the epic, Dvořák

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was to make the dumka, with its contrasting mood swings, a distinctive part of his musical language. As in the Slavonic Dances, he pairs the movement with a furiant, a folk dance with sharp, off-the-beat rhythms. Five variations on a simple folk-like theme follow, concluding with an extended sixth variation which builds and builds to near-symphonic grandeur.

Brahms enjoyed his protégé’s new Sextet. “It is infinitely beautiful . . . with a glorious ingenuity, freshness and beauty of sound,” he wrote.

George Enescu (1881-1955) Octet in C, Op. 7

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omposer, conductor, skilled pianist, brilliant violinist and teacher, George Enescu traveled the world as a celebrated musician.

Casals, his musical partner, called him “the greatest musical phenomenon since Mozart.”

Menuhin, his student, referred to him as “the greatest musician I have ever known.”

His ubiquitous Romanian Rhapsodies, written when he was

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just 20, dogged his international career. Enescu, a highly cultured man who could fluently speak five languages, soon declared himself “fed up” with them. They contributed to him being pigeonholed as (in the words of his English biographer Noel Malcolm) “a sort of Balkan country bumpkin among composers, a provincial fellow with a small but charming talent for doing cimbalom imitations.”

Dismissed as a folklorist composer by some, Enescu confused others unable to comprehend his cultural and aesthetic mix of East and West, romanticism, impressionism and modernism— characteristics that, these days, would be viewed as an asset to a composer. To add to the confusion, Enescu divided his time between his adopted city of Paris (where he also adapted the spelling of his name to Georges Enesco) and his native Romania (Bessarabia), where he founded many important institutions and enjoyed royal patronage.

“Polyphony”—many layers in music as opposed to just one— Enescu declared late in life, “is the

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essential principle of my musical language. I’m not a person for pretty successions of chords . . . A piece deserve to be called a musical composition only if it has a line, a melody or, even better, several melodies superimposed on top of one another.”

Nowhere is this truer than in the Octet that Enescu wrote in 1900 at age 19. Rich in sonorous chords, multi-layered textures and sufficient transparency to give it momentum, the work declares a grand scale from the outset. (It lasts just under 40 minutes.) The opening themes are dark and brooding; they have a Brahms-like feeling.

“My early works were written in an almost slavish imitation of the immortal Johannes,” Enescu admitted. The themes are also closely related: the tenderly melancholy second theme, first heard on viola, grows out of the opening melody. This carefully crafted opening movement dissolves into peace and tranquility in its closing pages.

The resonant, impassioned second movement (Très fougueux—very fiery and ardent) further develops the chromatic first theme of the previous movement. In fact, Enescu’s plan for the overall structure of his youthful Octet is extraordinarily ambitious. He designs all four movements as a single sonata form structure, with the second movement functioning as both the development of the opening movement and as an independent scherzo. Similarly, the third movement, a poetic nocturne, provides further development of the opening movement’s melancholy second (viola) theme. It evolves, without break, into the finale. This is a free revisiting of the various inter-related themes we have heard before, all fused into a kind of exuberant and purposeful waltz, massively sonorous at its conclusion.

“No engineer putting his first suspension bridge across a river can have agonized more than I did, as I gradually filled my manuscript paper with notes,” Enescu reflected.

—Program notes © 2017 Keith Horner.

Comments welcome: khnotes@sympatico.ca

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Our restaurants serve as the perfect prelude…

2017-18 Concert Season Samuel Gordon, Artistic Director

Hear the chamber choir everyone raves about!

Echoes of Ireland October 14, 7:30 PM, Hudson Shout the Glad Tidings! Christmas with Singers Companye December 10, 4pm, Fairlawn • December 13, 7:30 PM, St. Sebastian Church, Akron • December 16, 7:30 PM, Hudson Broadway Cabaret December 30, 8pm, BLU Jazz+ Ohio premiere of Samuel Gordon’s Voice of My Song March 18, 4 PM, St. Sebastian Church, Akron Unclouded Day! World and American premieres!

April 20, 7:30 PM, Canton • April 21, 7:30 PM, Hudson April 22, 4 PM, Faith Lutheran Church, Akron

or encore.

MONTROSE: 3885 West Market St. Akron OH 44333

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Venues: AKRON: Faith Lutheran Church / 2726 W Market St AKRON: St. Sebastian Church / 475 Mull Ave AKRON: BLU Jazz+ / 47 E Market St CANTON: St. Stephen Martyr Lutheran Church / 4600 Fulton Drive NW FAIRLAWN: Fairlawn Lutheran Church / 3415 W Market St HUDSON: First Congregational Church / 47 Aurora St

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EJ Thomas Performing Arts Hall—The University of Akron Wednesday, November 29, 2017 7:30 p.m.

Vienna Boys Choir Wiener Sängerknaben

Manolo Cagnin, choirmaster Gregorian Chant Veni creator spiritus (Come, creator spirit)

Text ascribed to Hrabanus Maurus (780-856) Carl Orff O Fortuna (Fortune, Empress of the World) (1895-1982) from: Carmina burana (1936) Lodovico Grossi da Viadana Exultate iusti (Shout for joy, you upright) (c.1560-1627) Four-part motet Antonio Vivaldi Gloria (1678-1741) from: Gloria in D, RV 589 Adriano Banchieri Capricciata à tre voci (Short fancy for three voices) (c.1568-1634) Contrappunto bestiale alle mente (The animals improvise

counterpoint) from: Festino nella sera del Giovedi grasso

avanti cena (1608) Arr. Gerald Wirth Gioachino Rossini Duetto buffo per due gatti (Duet in the buffo style for two cats) (1792-1868) Arr. Robert Lucas de Pearsall (1795-1856) Heinz Kratochwil Jubilate Deo (Rejoice in God) (1933-1995) Motet, opus 157a (1976) Ástor Piazzolla Libertango (1974) (1921-1992) Arr. Oscar Escalada Bob Merrill Mambo Italiano (1954) (1921-1998) Arr. Alan Billingsley Eduardo Di Capua (1865-1917), O sole mio (My sun, 1898) Emanuele Alfredo Mazzucchi Text: Giovanni Capurro (1859-1920) (1878-1972) Johann Strauss II Kaiserwalzer (Emperor Waltz) opus 437 (1889) (1825-1899) Arr. Gerald Wirth Johann Strauss II Unter Donner und Blitz (Thunder and Lightning) Fast polka,

opus 324 (1867-1868) Text and Arr. Anton Fergusson INTERMISSION Traditional Gaudete! (Rejoice!) from the Piae cantiones (Pious songs, Finland

1582) Arr. Gerald Wirth Karl Neuner Fröhliche Weihnacht überall (Merry Christmas All Around) (1778-1830) Text: Christian Friedrich Daniel Schubart (1739-1791);

Arr. Gerald Wirth Lowell Mason (1792-1872), Joy to the World George Frederick Handel Text: Isaac Watts (1674-1748) Arr. Gerald Wirth (1685-1756) Traditional Maria durch ein’ Dornwald ging (Mary walked through a thorn

brush) Sacred carol from Thuringia; Arr. Uwe Theimer

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Traditional Am Weihnachtsbaum die Lichter brennen (The candles are lit)

Text: Gustav Hermann Kletke (1813-1886) 1841 Folk song from

Thuringia and Saxony Arr. Gerald Wirth Traditional Engel auf den Feldern singen (Angels from the Realms of Glory)

French carol Arr. Gerald Wirth Eduard Ebel Leise rieselt der Schnee (Softly falls the snow) (1839-1905) Arr. Gerald Wirth Johann Ritter von Herbeck Pueri concinite (Boys, begin to sing) (1831-1877) Cantus pastoralis for soprano solo and choir Howard Blake Walking in the Air from the animated film The Snowman (1982) (b.1938) Arr. Gwyn Arch Mykola Leontovich Shchedryk (1916) (1877-1921) Shchedrivka – Ukrainian New Year’s carol Gustaf Nordqvist Jul, jul, strålande jul (1886-1949) Text: Edvard Evers (1853-1919) Arr. Manolo Cagnin Traditional Il est né, le divin enfant (The divine child is born)

Christmas carol from Lorraine, Arr. Gerald Wirth Adolphe Adam O Holy Night (Cantique de Noël), 1847 (1803-1856) English Text: John Sullivan Dwight (1812-1893) Arr. Gerald Wirth Holiday Medley: Melchior Frank (1580-1639) O Tannenbaum (Oh Christmas tree)

Tune: Text: Joachim August Zarnack (1777-1827),

Ernst Anschütz (1780-1861) Hugh Martin (1914-2011), Ralph Blane (1914-1995)

Have Yourself a Merry Little Christmas (1944)

James Lord Pierpont (1822-1893)

Jingle Bells (1857)

José Feliciano Feliz navidad (Merry Christmas, 1970) (b.1945) Arr. Audrey Snyder PROGRAM IS SUBJECT TO CHANGE Hotel Residenz Palais Coburg is the Vienna Boys Choir general sponsor. www.wsk.at | www.viennaboyschoir.net Exclusive Tour Management: Opus 3 Artists North American Press Representation: Kathryn King Media Tuesday Musical’s Three Graces Steinway D Piano is on stage this evening.

Among Tuesday Musical’s season supporters: Lisle M. Buckingham Endowment Fund of Akron Community Foundation Lehner Family Foundation Laura R. and Lucian Q. Moffit Foundation

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Program Notes

PHOTOS BY LUKAS BECK

Vienna Boys Choir

T

he Vienna Boys Choir, renowned as one of the finest vocal ensembles in the world for over five centuries, is a frequent visitor to North America, performing throughout the country in everything from houses of worship to great concert venues like New York’s Carnegie Hall and Chicago’s Symphony Hall.

Today, the Vienna Boys Choir consists of 100 boys between the ages of 10 and 14, from dozens of nations, divided into four touring groups. Between them, the four choirs give 300 concerts and performances each year before almost half a million people. They visit virtually all European countries, and are frequent guests in Asia, Australia, and the Americas.

Each choir has a choirmaster and two tutors who travel with the boys. Approximately 11 weeks of the school year are devoted to touring, and each choir member sings about 80 concerts a year. Many of the boys have siblings, fathers, uncles and even grandfathers who have also been members of the choir.

The Vienna Boys Choir can trace its history as far back as the 13th century, but it was formally established at Vienna’s Imperial Chapel in 1498

by Holy Roman Emperor Maximilian I. 20

The many incarnations of the group have been performing continuously ever since.

The modern Vienna Boys Choir represents quite a departure from the composition of the original medieval choir of six boys. Today’s Vienna Boys Choir is comprised of talented young singers from all over the world who are admitted by audition. The repertoire is chosen to match the boys’ voices and personalities.

The choir performing this evening, led by its conductor Manolo Cagnin, includes boys hailing from Austria, Cambodia, China, France, Germany, Iceland, Italy, Japan, Korea, New Zealand and the Philippines. The group will be featured in a new film, Curt Faudon’s Good Shepherds, to receive its North American premiere in the fall.

Manolo Cagnin, conductor

B

orn in Treviso, Italy, Manolo Cagnin embraced music early in life, studying violin as a child.

In later work at the Conservatory of Venice and in Milan, he pursued choral conducting and composition, completing his studies under Kurt Masur and Fabio Luisi in Leipzig.

In 2008, Mr. Cagnin was named conductor of one of the four touring choirs of the Vienna Boys Choir. He prepares the boys for masses with the tuesdaymusical.org n 330.761.3460

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Vienna Hofmusikkapelle, for appearances with the Vienna State Opera, for sound and video recordings, and for concerts both in Vienna and abroad.

Mr. Cagnin enjoys working with the boys. “They possess character and spirit. This is reflected in the way they make music,” he observes. “The children learn from me, and I learn from them.”

The spirited choirmaster enjoys touring, and has traveled with the choir to Vietnam, China, Singapore, Ireland, Italy, Spain, Germany, Australia, New Zealand, North and South America.

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tm ENGAGING our community

Our programs create music lovers – in their immediate and relevant environments.

Annual Scholarship Competition Hailed as the best of its kind in Ohio, the competition awards $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 new Decompression Chamber brings free concerts to hospitals, factories, government offices, social service agencies, and other high-pressure sites throughout Akron.

We appreciate support from the John S. and James L. Knight Foundation through its Knight Arts Challenge.

“We experience excellent live music within the concert hall, and now we are sharing it throughout our community.”

- Jarrod Hartzler Tuesday Musical Executive and Artistic Director

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ENGAGING our community

Tuesday Musical expands access to world-class musicians throughout Northeast Ohio

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Innovative partnerships bring great music into our daily lives.

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.

Free Student Tickets and Transportation Thousands of students attend TM concerts every year for free. Plus, schools and organizations receive bus stipends for student groups.

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

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Support: Individuals

T

uesday Musical gratefully acknowledges all donors this season. Because ticket sales cover only a small portion of what is needed to sustain the excellence of Tuesday Musical, every gift plays a significant role in the ongoing success of our Mainstage and Fuze concert series and Education and Community Engagement Programs.

130th Anniversay Donors Acme Fresh Market Akron Community Foundation Lisle M. Buckingham Endowment Fund Rebecca D. and William H. Considine Family Fund Jarrod Hartzler John and Suzanne Hetrick Chad Immel Cynthia Knight Mobility Works—Making the World Accessible Charlie and Elizabeth Nelson Paula Rabinowitz and Greer Kabb-Langkamp John Schambach Astri Seidenfeld Richard Shirey Richey and Sandra Smith Reid and Susan Smucker Wagstaff Director $5,000+ Anne Alexander Stephen T. and Mary Ann Griebling Cynthia Knight Dr. Kenneth E. Shafer Tim and Jenny Smucker “Three Graces Piano”— Anonymous Linda and Jim Venner Benefactor $1,500 to $4,999 Family of Jeanette Bertsch Diana and John Gayer Dr. DuWayne and Dorothy Hansen David and Margaret Hunter Peter and Dorothy Lepp Natalie, Paul and Stephen Miahky George Pope Patrick Reilly

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Donald and Corrinne Rohrbacher Dr. Pamela Rupert Tom and Meg Stanton Sustainer $700 to $1,499 Ron and Ann Allan Eleanor and Richard Aron Ann and David Brennan Denis and Barbara Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Howard Greene Jarrod Hartzler Bruce and Joy Hagelin Dr. Tom and Mary Ann Jackson James and Maureen Kovach Paul and Linda Liesem Charles and Elizabeth Nelson Dianne and Herb Newman Lola Rothmann Dr. Pat Sargent Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright Patron $400 to $699 Drs. Mark and Sandra Auburn Lee and Floy Barthel Rebecca D. and William H. Considine John and Betty Dalton Jane Davenport Mary Davenport Nichole Depew Paul Filon Lois and Harvey Flanders Patricia Hartzler Lawrence B. Levey Mary Jo Lockshin Thomas and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Natalie Miahky

Russ and Marianne Miller Earla Patterson Ed and Maureen Russell Peter and Nan Ryerson Rachel R. Schneider Jean Schooley Sandra and Richey Smith Annaliese Soros Drs. Frederick and Elizabeth Specht Jennifer Stenroos Elizabeth and Michael Taipale Donor $200 to $399 Anonymous Jack and Bonnie Barber Anna Maria Barnum Cheryl Boigegrain Dr. Guy and Debra Bordo Frances Buchholzer Alan and Sara Burky Dr. Herb and Jill Croft Jane Delcamp William and Barbara Eaton Jon A. Fiume Eleanor Freeman Paul and Michele Friday Deanna Friedman Jean F. Gadd Sharon Gandee Ted and Teresa Good Louise and James Harvey Michael T. Hayes John and Suzanne Hetrick Loren Hoch John and Sheila Hutzler Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure John and Kristine Mogen Nathan J. and Karen L. Mortimer Bob Neidert Al and Judy Nicely Paula Rabinowitz and Greer Kabb-Langkamp

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tuesday musical 2017 | 2018 E. G. Sue Reitz Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Gloria J. Rodgers Donald E. Schmid and Rosemary Reymann Betty and Joel Siegfried Margo Snider Mike and Sandy Soful Nathan and Cecilia Speelman Charlotte Staiger Ann Tainer Bob and Colleen Tigelman Dina and Brooks Toliver Susan D. Van Vorst Reid and Susan Smucker Wagstaff Jorene F. Whitney Christopher Wilkins

A Holiday Tradition

Dec. 15, 16, & 17, 2017

7:30 pm

St. Bernard Church Downtown Akron

Featuring Summit Choral Society’s Masterworks Chorale and Children’s Choirs Together with Akron Symphony Chorus

Tickets: $28/$33 (includes service fee)

summitchoralsociety.org

330.434.SING [7464]

Baroque orchestra jeannette sorrell

50 ways to leave your lover THURSDAY, NOVEMBER 9, 7:30PM FIRST UNITED METHODIST CHURCH, AKRON

Other performances around Northeast Ohio November 10-12

“Never again even think that ‘classical music’ is boring. Never if it’s done as well as Apollo’s Fire does it.”

Christmas on Sugarloaf Mountain

–COOLCLEVELAND.COM

apollosfire.org 800.314.2535

SATURDAY, DECEMBER 2, 7:30PM ST. PAUL’S EPISCOPAL CHURCH, AKRON

Other performances around Northeast Ohio December 3, 8-10

expect great music af1718_tma_september.indd

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

In Memory of Jeanette Bertsch Brian and Judith Allen Judith Bertsch and Family Linda Carr Denis and Barbara Feld Robert and Beverley Fischer Eleanor Freeman Tom and Mikki Green Bruce and Joy Hagelin Jarrod Hartzler DuWayne and Dorothy Hansen Marcianne Herr Jon and Martha Kelly Dorothy and Peter Lepp Anita Meeker In Memory of Wanda Brechbuhler Kittie Clarke In Memory of William Eaton JoAnn & Barry Collier Elizabeth Dalton Margaret Dietz William and Catherine Evans

Robert and Beverley Fischer Bruce and Joy Hagelin DuWayne and Dorothy Hansen Jarrod Hartzler Sharon Hershey William and Ruth Hunt Barry and Mary Jones Nicholas and Maureen Katanic Peter and Dorothy Lepp Barbara MacGregor Anita Meeker Natalie Miahky Nancy Smyrski Cyndee and Larry Snider Doris St. Clair James St. Clair Carol Vandenberg Jim and Carolyn Van Dyke In Memory of Craig Hagelin Denis and Barbara Feld William and Barbara Eaton

Great Music in a Great Space Christ Church in Downtown Canton 530 West Tuscarawas St., Canton 44702

In Memory of Elizabeth Hagelin William and Barbara Eaton In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker Barbara Feld In Memory of Eileen “Tootie” Hawk Barbara Feld In Memory of Eugene Mancini Toshie Haga In Memory of Zenon Miahky Betty Dalton Denis and Barbara Feld Robert and Beverley Fischer Laura Lee Garfinkel Bruce and Joy Hagelin DuWayne and Dottie Hansen Jarrod Hartzler Dorothy and Peter Lepp Anita Meeker Natalie, Paul and Stephen Miahky Walter Pechenuk In Memory of Callie Ann Reid William and Barbara Eaton In Memory of Frank Reid William and Barbara Eaton In Memory of Cynthia J. Stefanik

Chanticleer An Orchestra of Voices

Heart of a Soldier

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Wednesday, October 25 @ 7 pm Tickets: $35 • $25 • $15

Beyond Boundaries Sunday, November 19 @ 5 pm

Amanda Powell, singer with jazz combo

Robert and Cynthia Donel Robert and Beverley Fischer Bruce and Joy Hagelin Phyllis Hall Jarrod Hartzler Peter and Dorothy Lepp Anita Meeker Natalie Miahky In Memory of Jean Swinehart Joan Beach In Memory of Gerry Vieten Joy and Bruce Hagelin

www.cantoncpc.org or 330.456.5113 26

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Be outstanding.

School of Music

www.uakron.edu/music 330-972-7590 music@uakron.edu

SATURDAY, NOVEMBER 18 8 P.M.

Pictures at an Exhibition FRIDAY, DECEMBER 8 7:30 P.M.

Home for the Holidays with Helen Welch SATURDAY, JANUARY 20 8 P.M.

Brahms Second Symphony EJ THOMAS HALL THE UNIVERSITY OF AKRON TICKETS START AT $25

330.535.8131 or akronsymphony.org Download our Free App

ASO_TuesMusical-September-Ad.indd expect great music

Music Director Christopher Wilkins

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Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+

$1,000 to $4,999

In-kind Services

GAR Foundation

Akron/Summit Convention & Visitors Bureau

Acme Fresh Market

Arts Midwest Touring Fund

Cally Graphics

John S. and James L. Knight Foundation Margaret Clark Morgan Foundation Louis S. & Mary Myers Foundation Ohio Arts Council $10,000 to $24,999 Community Fund—Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation

The Lisle M. Buckingham Endowment Fund of Akron Community Foundation

Lehner Family Foundation

Mustard Seed Market & Café

Beatrice K. McDowell Family Fund

Sheraton Suites Akron/ Cuyahoga Falls

R. C. Musson and Katharine M. Musson Charitable Foundation

Steinway Piano Gallery— Cleveland

OMNOVA Solutions Foundation Sisler McFawn Foundation

Gertrude F. Orr Trust Advised F und of Akron Community Foundation

KeyBank Foundation Community Leadership Fund

Mary and Dr. George L. Demetros Charitable Trust Charles E. & Mabel M. Ritchie Memorial Foundation Lloyd L. & Louise K. Smith Foundation

Cogneato ideastream®

$200 to $999

Mary S. and David C. Corbin Foundation

ClevelandClassical.com

Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee

John A. McAlonan Fund of Akron Community Foundation

$5,000 to $9,999

Akron Beacon Journal

Labels and Letters

The University of Akron School of Music WKSU FM Wooster Color Point WYSU-FM

W. Paul Mills and Thora J. Mills Memorial Foundation Laura R. and Lucian Q. Moffitt Foundation Richard and Alita Rogers Family Foundation Corporate Partners Akron Tool & Die Co. Nelson Development

Welty Family Foundation

w w w. e a t d r i n k c r a v e . c o m 57 E Market Street, Akron OH 44308 | 330.253.1234 | Monday-Thursday 11-10 | Friday 11-11 | Saturday 5-11 28

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2017-2018 Board of Directors

Executive Committee President Laurie Gilles

Vice President/President Elect Paul Filon

Treasurer Cheryl Lyon

Secretary Marianne Miller Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson

Education/Student Voucher Chair Natalie Miahky Finance Chair Cheryl Lyon

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair JoAnn Marcinkoski

Member Program Chair Daniel Velasco

Scholarship Chair George Pope

At-large Members Linda Liesem, Teresa Good, & Mary Jo Lockshin Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider Artistic Administrator Karla Jenkins

Finance Administrator Gail Wild

Intern Patrick Fields

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 upmost 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 2017/2018 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.

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