HHSO Program Book 2024-2025

At the Hilton Beachfront Resort and Spa Hilton Head Island , a dreamy location is just the start. The luxury beachfront resort offers airy accommodations with private balconies and amazing ocean views. When you’re not relaxing on the beach, take advantage of three golf courses, a meandering lagoon system, indoor and outdoor pools and spa services for a sweet shoreside retreat.

Get the lowest price when you book direct at www.hilton.com/en/hotels/hhhrshh 843-686-8400

WELCOME TO OUR 43RD SEASON CONCERTS

INTERESTED IN UPDATES?

The Symphony periodically emails its concertgoers with updates and reminders of upcoming events. If you are not on our email list, and wish to receive updates, please call the office at (843) 842-2055, or go online to www.hhso.org and send us a message with your email address. All email addresses are for the sole use of the orchestra and will not be shared.

Head Symphony Orchestra 7 Lagoon Road / Hilton Head Island, SC 29928 (843) 842-2055 / www.hhso.org

2024 – 2025 Board of Directors and Staff

BOARD OF DIRECTORS

Mary Princing

Chair

Bob Cherichella

Vice-Chair, Resource Development

Terry Orr

Vice-Chair, Strategic Planning

Arthur Handman

Treasurer

Carolyn Hack

Secretary

Alan Jordan

President and CEO

Rabbi Brad Bloom

Ingrid Boatright

Joan Dattelbaum

Wayne Effron

Jay Elliot

Gloria Holmes

Bret Jacobowitz

Blaine Lotz

Connie Rathman

Charles Sampson

Edward Simmons

Barbara Harris Sorkin

Blake White

Ex Officio

Terry Hicks

Mario Incorvaia

Steven Shaiman

PROGRAM DESIGN

Nadia McDannels

www.letnadiadesignit.com

WHO WE ARE OUR VISION

To inspire, enrich, and unite the Lowcountry through music

OUR MISSION INSPIRE

…audiences through outstanding orchestral music

…young musicians through opportunities to perform and be recognized

ENRICH THE COMMUNITY THROUGH

…youth programs

…community performances UNITE THE LOWCOUNTRY THROUGH

…collaborating with other cultural organizations

…celebrating our unique cultural heritage

…promoting the Lowcountry as an arts and cultural destination

STRENGTHEN OUR RESOURCES TO SUPPORT FINANCIAL SUSTAINABILITY AND GROWTH

HHSO ADVISORY BOARD

Michael Harter, Chair

Darle Booher

Mary Noonan

Leslie Richardson

Lorene Thornbury

James T. Willard

Ex Officio

Alan Jordan

Mary Princing

HHSO ADMINISTRATIVE STAFF

Alan Jordan

President and CEO

Kelley Finley Marketing Consultant

Judy Gimbel Director, Hilton Head Chamber Music Institute

Susan Hartmann

Patron Relations Manager

Mario Incorvaia Chief Operating Officer

Gayle Lang

HHSO Chorus Manager Project Editor

Steven Shaiman

Director, International Piano Competition, and Education and Community Development (EdCE)

Susan Strange Finance Manager

Jim Way

Administrative Manager

Julie Williams

Special Projects Manager

PAST

CHAIRS

Welcome

TO OUR SEASON OF MUSIC FOR EVERYONE!

We would like to open our new season by publicly thanking our immediate Past Chair of the HHSO Board of Directors. Mike Harter served as board member, treasurer and chair. He was our leader as we emerged from the dark days of Covid -19 and into the challenging, tumultuous and ever-changing post-Covid era.

With a clear head and a firm hand, Mike kept us laser focused on measures to keep our organization fiscally sound. He insisted that both board and staff find creative ways to cut expenses and increase revenues. To this end, he was firm and resolute. When he finished his term of office, he left the board with a balanced budget, a positive financial position, and a clear path forward. We sincerely thank him for his outstanding leadership and unquestioned dedication to the HHSO.

As we look forward to the future, we also want to thank our grantors, corporate sponsors, major donors, individual contributors, season subscribers, event goers, and audience members. Many of you are longtime friends who have stuck with us through thick and thin. Others are new friends and welcome partners. Please know, we value and appreciate each and every one of you. It is you who make it possible for us to fulfill our promise to provide MUSIC FOR EVERYONE!

To our audience, our many volunteers, our esteemed Maestro, and all of our talented musicians, we thank you for being part of this amazing organization. Now it is time to enjoy the many and varied musical offerings of your Hilton Head Symphony Orchestra’s 43rd season.

Let our season of MUSIC FOR EVERYONE begin!

Mary Princing Chair, Board of Directors

Alan Jordan President and CEO

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

The Symphony wishes to thank the South Carolina Arts Commission for their continued financial aid. The Symphony supports the mission of the Arts Commission in their effort “to build a thriving arts environment for the benefit of all South Carolinians”. For over 40 years the agency has worked to make it possible for every citizen in the state to enjoy and benefit from the arts.

Photo:

CHAIR, BOARD OF DIRECTORS

Welcome from the Maestro

Welcome ALL to the Hilton Head Symphony Orchestra. If you are a long-time fan, you know how exciting this season will be, and if you are new to us, you are about to discover the extraordinarily special ensemble and musical community we possess here in the Lowcountry.

We like to maintain a less formal environment than our big-city counterparts. Our musicians often mingle with audience members before and after concerts. I enjoy chatting informally with folks from the stage as well as during our pre-concert activities, and, as you can see in the architecture of our concert home—First Presbyterian Church—audience members literally surround the stage. The intimacy of our venue gives our listeners a new perspective on the inner workings of the orchestra and a deep connection with the music-making on stage. Most importantly, with every concert we seek to express some of the most profound human feelings and emotions to open our hearts to the beauty around us.

This season has favorite orchestral masterworks: Debussy’s La Mer, Dvořák’s “New World,” Mendelssohn’s “Italian,” and Tchaikovsky’s Fourth Symphony, as well as beloved concerti by Bruch, Bach, Beethoven, Vivaldi, and Mozart. Highlights include a fully staged performance of Kurt Weill’s The Seven Deadly Sins with the famed Wolf Trap Opera Company, a spectacular celebration of Judy Garland, and Edward “Duke” Ellington’s symphonic masterpiece The River. The Claflin University Concert Choir once again combines forces with the Hilton Head Symphony Orchestra Chorus for a long-awaited performance of Orff’s Carmina Burana in March. We also present selections from Act 2 of Tchaikovsky’s Nutcracker with the Hilton Head Dance Theatre in December, and violin legend Jaime Laredo joins us as soloist and conductor in January. Look ahead in the program to see what other pleasures await. As we say here in the Lowcountry: “If it sounds good, it is good.” We are thrilled that you have joined us.

Happy Listening.

John Morris Russell, Music Director Hilton Head Symphony Orchestra

JOHN MORRIS RUSSELL

Please join us!

Pre-concert talks with the conductor and special guests are presented at 3:00 for Sunday concerts and 6:30 for Monday concerts. There are no talks for the Holiday Pops or Get Happy! concerts.

MUSIC DIRECTOR

Photo: John Mastroianni

Welcome from the COO

Our theme this year, Music for Everyone, dovetails elegantly with the initial conceptual journey that has become SoundWaves. This musical journey began eight years ago when HHSO sought to expand its musical offerings to attract new audiences. Through the charge of a board committee, followed by genre-bending crossover house concerts titled SoundBites, and eventually the upfitting of the first floor of 7 Lagoon Road, HHSO ultimately developed an intimate concert venue, rehearsal space, and a community meeting place destined for great live events… for Everyone.

In 2018 SoundWaves launched into a variety of chamber-scale concert productions including solo piano recitals, traditional chamber music, local singer/songwriter events, and cabaret-themed shows. New audiences begat new music; new music begat new donors; and the cycle continues. As fellow non-profit organizations began utilizing the new facility, the idea of Everyone. visiting SoundWaves became trendy. In 2020 when we could not gather in person, a free-of-charge, year-long weekly streaming project emanated from the SoundWaves control room, maintaining public awareness and relevance for Everyone. 2021 introduced our Coastal Home Supper Club cabaret series which was an immediate success. Within two years Supper Club spawned other powerful community collaborations resulting in two additional programs on our dynamic concert event calendar: the Gullah Geechee Cultural Series and Broadway Icons.

MARIO INCORVAIA CHIEF OPERATING OFFICER

Throughout this evolution, it has been my tremendous personal pleasure to be at the center of the SoundWaves universe, advancing the shape and scope of HHSO’s offerings, fully in conjunction with Maestro John Morris Russell: identifying new musicians, developing SoundWaves programming concepts, and complementing his overall artistic vision—one that for more than a decade has brought us world-class artists and music elicited from the top of the classical symphonic and contemporary pops fields…for Everyone.

Now, as we enter our 2024-2025 season, riding the momentum of 34 consecutively sold-out Coastal Home Supper Club performances and the increasingly popular Gullah Geechee Cultural Series presentations, SoundWaves proudly adds the distinctive recognition of a GOLD-level award in the Live Music Venue category. This regional popular vote award, Lowcountry’s Best sponsored by the Island Packet, underscores the dramatic expansion of HHSO’s representation within the community and its reflection of the tastes of those comprising this special Island.

So, this season as the HHSO welcomes new orchestra and chorus members in the spirit of our theme, join us again at SoundWaves as we embrace Music for Everyone. Through the continued presentation of excellent musical programs comes the joy of new friendships, the fellowship of shared musical experiences, and the inclusive opportunity for you to invite others to enjoy the glorious sounds that truly embody Music for Everyone

As I am fond of saying, “I’ll see you at SoundWaves.”

Mario Incorvaia Chief Operating Officer

Hilton Head Symphony Orchestra

STEVEN SHAIMAN

DIRECTOR INTERNATIONAL PIANO COMPETITION AND DIRECTOR EDUCATION AND COMMUNITY DEVELOPMENT

Greetings and welcome to our 2024-2025 season! As I begin my third year as Director of the HHIPC, I look forward to my biggest challenge yet—producing our adult competition in March 2025! I am extremely proud that we have maintained our high standard of excellence in my first two seasons here, starting with the successful March 2023 Young Artists competition and continuing with our exciting March 2024 BravoPiano! Festival. Next in our three-year cycle comes “the main event” with adult pianists (ages 18-30) around which our organization was founded, so I am particularly excited about our activities now through next spring.

Before we enjoy the performances of the twenty international competitors playing for us from March 10-17, 2025, our Committee and I will be hard at work preparing for their arrival (along with ten world-renowned piano professionals who travel to Hilton Head to serve on our jury). In November, three of these jurors spend a weekend reviewing hundreds of video auditions, with the monumental task of selecting the most talented pianists to be invited to compete. Then in March, the other seven jurors spend over a week with us listening to all the live performances, and ultimately selecting the prize winners. The culmination of this exhilarating week is the Competition Finals, featuring our own HHSO with Maestro JMR conducting the three finalists in full length piano concerti! I hope you will attend as many performances as your schedule allows.

In addition, I am delighted to announce the re-branding our recital series at SoundWaves, which is now called the HHIPC BravoPiano! Recital Series, in order to perpetuate the positive buzz from our recent festival. Our season series is bookended by two recent HHIPC alums, both of whom were awarded our Gorodnitzki Memorial Prize as competitors, and who have won numerous prizes at subsequent competitions. We open in late October with Anthony Ratinov (third prize—2024 Montreal International Piano Competition), and we close in early April 2025, with Anna Han (second prize—2023 Naumburg International Piano Competition, NYC). In between, we continue our recent tradition of a December Holiday Jazz program, and I am thrilled that the young pianist, Isaiah J. Thompson, (winner of the 2023 American Pianists Association’s Cole Porter Prize for Jazz) will come to HHI with his Quartet to perform music from their critically acclaimed 2023 CD, A Guaraldi Holiday. Please see the opposite page for more details, and I hope you will take the opportunity to experience world class artistry in this intimate setting at SoundWaves!

Another important event is our annual Musical Feast benefit, set for November 7 at the Hilton Beachfront Resort & Spa (formerly the Marriott). Our special guest pianist will be George Li, whose 2010 recital here at age 14 was the inspiration for our Young Artists competition launched in 2011, plus he also played the Grieg Concerto with the HHSO and Maestro JMR in 2014! George’s international career is now thriving, including a recording contract with Warner Classics, and we can’t wait to welcome him back for our gala evening!

The details of our 2024-2025 season are outlined on the opposite page, so if you love the piano, there are numerous events that will appeal to you. Please join us to experience live music-making at the highest level, and I look forward to welcoming you as we share these unforgettable experiences together!

Steve Shaiman

Director, Hilton Head International Piano Competition

Photo:

THE ROAD TO CARNEGIE HALL BEGINS ON HILTON HEAD

HHIPC 2024-25 EVENTS

FRIDAY, OCT. 25, 2023 – 7:30 PM

BravoPiano! Recital Series at SoundWaves: ANTHONY RATINOV

Winner of the 2022 HHIPC Gorodnitzki Prize and recent third prize winner at the Montreal International Piano Competition, Anthony presents a program of masterworks by Schumann, Chopin, and Schubert. Soundwaves at Coligny, 7 Lagoon Road

THURSDAY, NOVEMBER 7, 2024 – 6:00-9:00 PM

MUSICAL FEAST Gala Benefit for the HHIPC

Special program featuring a solo recital by acclaimed pianist George Li (Silver Medalist at 2015 International Tchaikovsky Competition and recipient of a 2016 Avery Fisher Career Grant).

Hilton Beachfront Resort & Spa (formerly the Marriott)

THURSDAY, DECEMBER 12, 2024 – 7:30 PM

BravoPiano! Recital Series at SoundWaves:

HOLIDAY JAZZ— ISAIAH J. THOMPSON QUARTET

Winner of the 2023 American Pianists Association’s Cole Porter Prize, this dynamic young jazz pianist and his band will celebrate the Holidays in the Peanuts tradition, as heard on their recent album, A Guaraldi Holiday!

Soundwaves at Coligny, 7 Lagoon Road

MARCH 10-17, 2025

Hilton Head International Piano Competition

March 10-13

Rounds I and II

St. Luke’s Anglican Church, 50 Pope Avenue

March 14

Master Classes and Lecture/Recital

St. Luke’s Anglican Church, 50 Pope Avenue

March 15

Round III: Semifinals

First Presbyterian Church, 540 William Hilton Pkway.

March 17

Round IV: Finals with the HHSO

First Presbyterian Church, 540 William Hilton Pkway.

FRIDAY, APRIL 11, 2025 – 7:30 PM

BravoPiano! Recital Series at SoundWaves: ANNA HAN

2019 HHIPC winner (third prize) and winner (second prize) at the 2023 Naumburg International Competition, Anna will showcase her keyboard virtuosity with the music of Bach, Schumann, Shostakovich, Prokofiev, and Brahms.

Soundwaves at Coligny, 7 Lagoon Road

FOR FURTHER INFORMATION, CALL THE HHIPC OFFICE AT (843-842-5880), AND CHECK HHHPC.ORG FOR FUTURE EVENTS

The League of The Hilton Head Symphony Orchestra

2024-2025 BOARD OF DIRECTORS

EXECUTIVE COMMITTEE

Terry Hicks President

Nancy Millette

Administrative Vice President

Joyce Prange

Fundraising Vice President

Jane Waltz

Membership/ Volunteers Vice President

Pam Schofield Secretary

Bill Millhaem Treasurer

COMMITTEE CHAIRS

Member Brunch

Jeffrie Natale

Swing Fore the Symphony Golf Tournament

Bret Jacobowitz, Mike Kling Musicales

Eileen Durkin, Carol McCarthy

Kitchens of Note Tour

Anne Millhaem, Linda Moloney

Past President and Nominating Chair

Carol Gyllenhoff

Newsletter/Community Outreach

Dahlia Handman

Post-Concert Receptions

Carol Gyllenhoff, Sarah Meyer, Joann McElravy

Spring Fling

Marty Neumeister

Symphony Under the Stars

Mike Caporal

Youth Liaison

Laura Kling

HHIPC Liaison

Peggi Moon

Concours Liaison

Stan Cooke

SOVA Liaison

Joyce Prange

Volunteer Coordinator/Record Keeping

Becky Haulk

EX-OFFICIO

John Morris Russell

Music Director

Mary Princing

HHSO Board Chair

Alan Jordan

HHSO President and CEO

Mario Incorvaia

HHSO Chief Operating Officer

The League is grateful for support from the HHSO Administrative Staff

OF NOTE

A BENEFIT FOR THE HILTON HEAD SYMPHONY ORCHESTRA AND ITS MANY COMMUNITY OUTREACH PROGRAMS

SUNDAY, MARCH 30, 2025 NOON TO 4 PM

A SELF-DRIVING TOUR IN THE BEAUTIFUL PORT ROYAL COMMUNITY ON HILTON HEAD ISLAND

Enjoy delectable bites and small plates prepared by your favorite Lowcountry chefs as you tour 6 fabulous kitchens.

Mark your calendar now and tell your friends. It will be a wonderful afternoon!

More details in the coming weeks, including where to purchase tickets.

Welcome

Because Music Feeds the Soul!

Congratulations to all members of The League on a fun-filled and very productive 2023-2024! Continue reading to learn about the wonderful things we have planned this season.

The League is a friendly, open community with a modest membership fee. For over 25 years, we have supported the orchestra through fundraising, community outreach, and volunteerism. As a new season begins, I am honored to continue as President.

Over the summer, we set goals for 2024-2025. In addition to matching our fundraising accomplishment of $90,000 last season and continuing our indispensable volunteerism (over 3,000 hours!), we are undertaking an “Each One Reach One” initiative. We will strive to revitalize all our supportive efforts: League membership, community understanding and recognition, volunteerism, and concert/event attendance. The best way to spark participation is through word-of-mouth and enthusiastic endorsement. I am asking each of you personally to reach out to someone you know, introduce them to The League and invite them to a concert! It doesn’t take much effort— just the everyday hospitality we are known for in our community.

The League will meet its goals this season through three unique fundraising events and a variety of non-fundraising activities throughout the year.

Fundraisers:

Swing Fore the Symphony Golf Tournament: Will be held on Tuesday, November 12, 2024, at the venerable and simply gorgeous Moss Creek Golf Club, celebrating its 50th anniversary. The event will feature numerous prizes, a delicious on-the-course lunch, a post-tournament reception with an open bar, and a silent auction featuring, among other things, tee times from most of the prestigious courses in the area.

Musicales: Performances by HHSO musicians and guest artists ranging from chamber music to jazz/pop held in beautiful Lowcountry homes and other venues. These intimate late-afternoon musical offerings include hors d’oeuvres/wine and are open exclusively to League members.

Kitchens of Note Tour: This hugely popular event is returning on Sunday, March 30, 2025. Beautiful Port Royal Plantation is the host community. Attendees will have the opportunity to see six gorgeous kitchens with tastings provided by local chefs in each one! A separate preview party will take place in one home on Saturday, March 29.

Other League Opportunities Include:

Our first ever Members Brunch, a non-fundraising, community-building event providing the opportunity meet and greet others who share a love of music.

Monday Night Post-Concert Receptions: Hosted on Monday nights after five Orchestra Series concerts and the Finals of the Hilton Head International Piano Competition at First Presbyterian Church.

Volunteer Opportunities: Are available for events including Symphony Under the Stars, the Concours D’Elegance, Coastal Home Supper Club at Soundwaves, the Youth Concerto Competition, the International Piano Competition, and the marvelous Young Persons Concerts in April.

The Spring Fling: A celebration to recognize and thank League volunteers at the end of the season.

Please join us! Go to hhso.org and follow the path to “League/Membership,” or email me at TerryHicks22@gmail.com. The HHSO is depending on you!

Terry Hicks

President

League of the Hilton Head Symphony Orchestra

TERRY HICKS

PRESIDENT THE LEAGUE OF THE HHSO

POST-CONCERT RECEPTIONS

JOIN US IN THE GATHERING SPACE TO MEET THE GUEST ARTISTS AND CHAT WITH THE MAESTRO

Opening Night Monday, October 21, 2024

Holiday Pops Monday, December 2, 2024

Get Happy!

Monday, February 17, 2025

Carmina Burana

Monday, March 3, 2025

HHIPC Finals

Monday March 17, 2025

Season Finale Monday, April 28, 2025

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BEACH HOUSE RESORT, HILTON HEAD SUPPORTING the Arts

As a proud member of Hilton Head’s local community, we value the impact the Hilton Head Symphony Orchestra provides to our residents and out of town guests.

We welcome you to enjoy your stay at our oceanfront boutique hotel when friends or family are in town or immerse yourself with the live music scene we offer at the iconic Tiki Hut – celebrating all genres of music. Enjoy onsite dining at The Porch, lounge by the oceanfront resort pool, enjoy our nightly “dive in movies” and dance to live music year-round at the Tiki Hut. Coligny Beach in Hilton Head Island’s downtown is just steps away, with more than 60 shops and restaurants and easy walking distance to the resort.

BEACH HOUSE RESORT, HILTON HEAD

1 South Forest Beach Drive

Hilton Head Island, SC 29928

beachhousehhi.com • 843.785.5126

SUPPORTING THE MUSIC

Thank you to the following Individual donors who have made commitments to our Annual Fund in the past year.

DIAMOND BATON CIRCLE

$25,000+

Darle Booher

Michael and Mary Briggs

Bob and Heather Cherichella

Kevin and Vicki Halloran

Bret and Laura Jacobowitz

PLATINUM BATON CIRCLE

$20,000+

Frederick and Carol Hack

Michael and Susan Harter

Connie Rathman

GOLD BATON CIRCLE

$15,000+

Sharon Miller

Mary Princing and Bill Clark

John and Pat Swaim

Carol Tucker

James and Florence Willard

SILVER BATON CIRCLE

$10,000+

Ed and Aletta Bond

Todd and Liz Clist

Charles and Joan Dattelbaum

Ralph and Sandy Drayer

Dr. Dahlia D. and Arthur L. Handman

Ray and Linda Moloney

Diane and John Myers

Barbara Harris Sorkin

Ray and Doris Stickel

Paul Stillman

William and Judy Thorpe

CHAIRMAN’S CIRCLE

$7,500+

Nancy Diamond

Helen Heberton

Sarah Meyer

CONDUCTOR’S CIRCLE

$5,000+

Don and Cynthia Ashworth, in memory of Peggy Ashworth

William and Linda DeArment

Dave and Patty Ekedahl

Jay and Patricia Elliot

Pete and Cary Fleming

Peggi Moon and Bill Hutchinson

Terry and Kathy Orr

Susan Parrish

Tarrant and Mary Ann Putnam

Edward and Elizabeth Simmons

Spence and Barbie Stouffer

Lorene Thornbury

Luis and Karin Tosado

Jerry and Connie Voight

Judy Walker

Jim Way

CONCERTMASTER’S CIRCLE

$2,500+

Chris and Mary Catherine Albright

Harvey Beeferman and Eileen

McHenry

Ingrid and Craig Boatright

Nancy and David Borghesi

Fred and Vivian Burt

John and Patricia Canzano

Theodore and Clair Craver

Dennis and Carol Draeger

Eileen and Jerry Durkin

Wayne Effron and Gail Kaess

Marilyn and Stephen Gammarino

Kathy Grote

Charles and Ann Harrison

Ted Haslam

Terry Hicks

Dorothy Holmes, PhD

Mona Huff

Alvin and Joanne Hutzler

Marie and John James

Tom and Carol Jones

Blaine and Lynne Lotz

Jim and Dot Loughlin

Eric and Janice Magnin

Brian and Darlene Marlowe

Robert and Eloise Mason

Nancy Mead

Gordon Miller

Janine Nelson, in memory of David Nelson

Marty Neumeister, in memory of Jim Neumeister

Roy Plekenpol

Robert and Karen Plunkett

Janet Rivers

Pamela Savage

Constance Silvester

Marilyn Torrens

Susan Suhr

Alice Walton

Julie Williams

Lois Wilson

ARTIST’S CIRCLE $1,000+

Neal and Barbara Aaron

Anne Acker

James Edward Alexander

Sally Ayotte

Terry and Christine Baehr

Stephen and Karen Ball

Wendy Baker and Constance Curnow

George and Beverly Banino

Barbara and Ralph Bean

Karl and Barbara Becker

Rabbi Brad and Linda Bloom

Joseph and Suzanne Boelter

Sally Brown

Lynda Castle

Roger Coe

John and Barbara Collins

Nancy Contel

Patrick and Alison Deem

Fay Dixon

Betsy Doughtie

Karen and Buck Edwards

Sally Evans

Kathleen Fitzpatrick

Don Flora and Janet Stallmeyer

Joseph and Pauline Gareau

Michael and Leslie Gilroy

Mary Ann and John Goodrich

Ann and Kurt Grindstaff

Larry and Ann Gunn

Dale and Susan Hamilton

Stephen Hasley and Sandy West

Karin and George Haupstein

Andy and Meg Heller

Barbara Holmes

Mario and Jennifer Incorvaia

Joan Israel

Robert and Sheryl Jacobs

Thomas and Sandra Jernigan

Alan and Karen Jordan

Jane and Hart Joseph

H Ezzat and Shadia Khalifa

Laura and Michael Kling

Robert and Joan Koenig

Kathleen and Don Krahnke

Jake and Margie Kriney

Rosalyn Lester

Barbara Lippard

Stephen Lyman

Margaret Marcotte

Carolyn and Lloyd Martin

Henry Martin

Judy Matchett

Judy McCracken and John McLaughlin

Joann McElravy and Fred Wolf

Mary and Thomas McKane

John and Eleanor McLauchlin

Charles and Andrea McMakin

Irving Meeker

William and Anne Millhaem

Elizabeth N. Muench

Barbara and Harwood Nichols

Lesley and Corydon Nicholson

Mary Noonan

Helene Norbut

Linda Palmiero

Shirley Pearse

Dale and Judy Peters

David and Gladys Prol

Gleaves Rhodes

Timothy and Mona Ridge

Michael and Karen Rudy

Charles and Frances Sampson

Carole Schoening

David and Pamela Schofield

Van and Lauren Schwiebert

Beverly Shipka

Craig and Sue Sigler

Pat and Charlie Sinatra

Hendrik and Mieke Smit

Russell and Lois Southwick

Sheila Standen

Judy Tauscher

Bill and Jolynn Wayne

Hans and Festi Weitekamper

Georgia and Henry West

Richard and Barbara Wiles

Lee and Ruth Wilwerding

Barbara Wolf

Randie Wolfe

Paul and Phyllis Zaffaroni

William and Kathleen Zurilla

PRINCIPAL $500+

James Abruzzo

David and Nancy Ames

Peggy Ashworth

Susan Hartmann Austin and John Austin

Frank Babel

Dorothy Bethke

Malcolm and Jillian Binks

Donald Bogard

Dom and Estie Bonanno

John and Elizabeth Brink

Ginger and Mike Caporal

Wade Close

Howard Coonley and Carol Clapp

David and Romy Coquillette, in honor of Lorene Thornbury

George and Carol Couch

Alexander and Dedria Cruden

Joan Deery

Barbara and Steven Doehrman

David and Linda Dreisbach

Pamela Dyer

Charles and Linda Eberly

Linda Ellis

Marc and Paula Feinberg

Barbara Fleisher

Barbara and Joe Fudjack

Susan Giattino

John and Lesley Gilbert

Carole Gilboy

George and Cynthia Gorski-Popiel

Lynn Gustafson

Kenneth and Louise Hagstrom

James Hales and Sally Tarley

Cynthia Heil

Judith Hillis

Dr. Gloria Holmes

Tom and Cindy Huber

David and Peggy Huberfield

Nancy Hudak

Ford and Patricia Hutchinson

Sam and Juliana Kim

Myla Lerner and Larry Kramer

Laurie Laykish

James and Clare Mackie

Bruce Maguire

Laura Marks

Craig Martin

Joan McHenry

Robert and Marcia Metzger

John Miller

Ed and Nancy Millette

Richard and Susan Mitchell

Barry and Carole Moore

Deborah and Douglas Murphy

Mary Murray

William and Jane Murray

HHSO Orchestra Musicians

Doug Nabholz and Marti Willits

Jeffrie and Louis Natale

Glenn and Linda Neff

Walt Nelson

Lois Nora

Laura Nuce

Alan and Hannah Obstler

Emily and Wilson Oelkers

John and Kathryn Patterson

Ken Perkowski

Jeffrey and Lisa Plott

Willis and Suzanne Post

John Priester

Andrea Purple

Edith Gray Randall

Blake and Marjorie Robinson

Stewart and Nina Rodman

Susan Ross

Richard and Kathleen Sonberg

Glenn Sutherland and Cynthia Lowe

Candace Tiley

James Titus

John Tolford

Donna Varner

Paul Winum

SUPPORTER $250+

Marcia and Steve Adair

Barbara and Ken Adams

Arthur and Debby Andersen

Richard and Audrey Anderson

William and Jill Bender

Janet England-Bender

Richard and Marianne Blaine

Judy Bluestone

Barbara Borg

James and Dukene Brady

Chris and Dede Brandt

Stewart and Judy Brown

Mark Brown

John Burling

Colette Burrus

Andrew Buzzelli

Susanne Clark and Robert Diday

Barry and Naomi Cohen

Lee Crooks

Joan and Peter Dallos

Bill and Nancy Dix

Caroline and James Dolbey

Francis and Margaret Dunne

Jay and Bonnie Finch

George Flathmann

Laurie and Donald Gazzale

John and Joan Geisler

Rick Gilmer

Ronald and Lena Goldberg

Carol Gyllenhoff

Terry and Pam Hannock

Mary and David Harder

Peter and Anne Holmi

Deborah Incandela

Kareen Jacobs

Meredith and Jacquelyn James

Rick and Laurel Johnson

Dawn Jordan

Paul and Kathy Kaleta

Fran Kemp

Kenneth and Kryl Kerr

Joanne and Charles Knauss

Joseph and Beverly Kyle

Donna and Phillip Larsen

Joan Apple Lemoine

Gilles and Louise Lessard

Joe and Nancy LoPresti

Ingrid Low

Carol McCarthy and Armond Sieper

James Montague and Linda Stedman

Charlie and Carol Moore

Tom and Candyce Nail

James and Kathleen Panepinto

John and Sue Parsons

Andie Pool

Florence Portoghese

Neal and Shirlene Post

Phillip Py

Holly Rein

Betsy Roll

Davanna and Peter Saari

Ann Sidford

Polly and John Sten

Dennis and Lauren Stuligross

William and Kathryn Taylor

Felicia and Peter Vairo

Doug and Ann West

Robert and Helene White

Jon and Sally Ann Wormley

FRIEND UP TO $249

Robert Ambrose

Lisa Anderson

Kenneth Augustine

Trudy Backus

James and Sheila Baden

Lynn Baglyos

Sherman and Carol Barker

Thomas Barreca

Maryanne Bastek

Kathryn Bayless

James and Nancy Bell

Mary Ellen Bertrand

Lisa Bisgard

Bryan Blade

Henry and Nancy Brown

Gilbert Campbell

Scott and Erin Carol

Margaret Conn

Pam and Peter Cooper

Mary and Jeffrey Corry

Patrick and Suzanne Crippen

Rosalie Crispin

Judy and David Devore

J. Edward Diamond

Donna DiMauro

Laurette Doscher

Michel and Stephanie Ducamp

Wendie Elovich

Janet Elshazzy

James and Patricia Evans

Michael Farnham

Linda Fischer

Steven Fishman

Charles and Sheila Forbes

Beverly and Gerry Gaddy

Eliott and Toni Good

Tena Graber

Carole Griffith

Marc and Debbie Halbritter

David and Susan Hardesty

Claudia and James Hawn

David Hay

George and Susan Heberton

Rolfe Hillman

Jack and Lidian Hittle

Ann and Denny Hoag

Dwight and Emeline Hunting

Renea Hushour

Lynne and Roger Irvine

Tom Isabella

Mary Ella Jones

Patricia Kenworthy

Mary Klein

Rosemary Kratz

John and Carol Lang

Beth Leaman

Mary Lisi

John and Elizabeth Loda

Klaus and Elizabeth Loehr

Ed Logue

Jerry and Judy Long

Lee Lopez

Venessa Lott

Belle McCartan

Mary Ellen McConnell

Gail McGavack

Mary Martha McNamara

Andy Meers

Allyne Mitchell

IN MEMORIAM DONATIONS

Paul Moore and Paula Boyer-Moore

Susan Murphy

Donald and Joyce Nagel

Nancy and Jim Nissley

Barbara Nowell

Kevin O’Grady

Kimberly Olsen

Walter Pfaeffle

Christina and John Phelps

Tim and Brenda Pollard

Joyce and John Prange

Rebecca Preslar

Prudence and Burton Preston

Douglas Reid

Deborah Remke

Nancy Ressler

Jean Rice

Frank and Sally Roach

Louise Rose

Andria Satero

Robert and Teresa Scafati

Ellen and David Schlichting

Joachim Schmidt

Richard and Nancy Schulman

Frank and Karal Seibel

Sharon Sheehan

Richard and Cyral Sheldon HeeJune Shin

Harry and Regina Silletti

Marie Sirio

Kathy and Jim Smith

Neil and Barbara Snow

Richard and Marcy Spencer

Barbara Swift

Carol Thorne

Thomas VanLandingham

Sandra Wardell

Janet Weingarten

Nancy Williams

Pamela Zeck

Jo and Rick Zurbrugg

Thank you to donors who made contributions in memory of the following HHSO friends:

In Memory of Willis (Bud) Shay benefitting the HHIPC

Sherman and Carol Barker

Barbara Bean

Patrick and Alison Deem

Dave and Patty Ekedahl

Marc and Debbie Halbritter

David and Susan Hardesty

Robert and Joan Koenig

Mona Huff

Donald and Joyce Nagel

Terry and Mary Ann Putnam

Steptoe & Johnson, PLLC

In Memory of Peggy Ashworth

Don and Cynthia Ashworth

Michel and Stephanie Ducamp

Calista Hillman

Rolfe Hillman, III

Mona Huff

Mary-Ella Jones

Tom and Candyce Nail

Jeffrey and Lisa Plott

These lists contain donors whose contributions were received between August 1, 2023 and September 10, 2024. Please contact Patron Relations Manager Susan Hartmann at (843) 842-2055 if there is an error in your listing.

JOIN THE LEGACY SOCIETY OF THE HILTON HEAD SYMPHONY ORCHESTRA

“We feel so blessed to have such an outstanding symphony orchestra right here in Hilton Head. It is much more than our beloved Orchestra Series. We also enjoy a wide range of musical offerings and community engagement including the world renowned International Piano Competition, the wide range of musical offerings at Soundwaves including dinner shows, Pops Concerts in the Park, and a growing number of Youth Programs. This is why Sandy and I decided years ago to be part of the Legacy Society to ensure that HHSO continues to be an important part of why we call Hilton Head our Home.”

— Ralph Drayer

Imagine transforming your lifelong love of music into an enduring legacy that will help ensure your love for the HHSO passes on to future generations! Including the HHSO in your estate or as part of a charitable giving plan is a demonstration of your interest in and commitment to the future strength of HHSO programs and their expansion over time.

In recent years, the HHSO has been the beneficiary of three estate gifts totaling almost $437,000. These gifts have been treated as endowments and are designated as restricted funds. Under the stewardship of the Board of Directors, they are safely invested to maximize return and will provide nearly $22,000 of annual support in perpetuity. An earlier gift from a patron’s estate was utilized to create SoundWaves, the HHSO’s office and performance space. SoundWaves connects us to new audiences, provides additional income streams, and allows us to collaborate and partner with many other Lowcountry arts and cultural organizations.

SUCH IS THE POWER OF LEGACY GIVING.

Will you consider including the HHSO in your planned giving? We recognize that one size may not always fit all. There are multiple options available including gifts you can make today and gifts that you can make after your lifetime. Some options can be structured to pay you income. Others may reduce taxable income or minimize estate taxes.

If you are interested in making a commitment or have already established the HHSO as part of your estate plan, please let us know by reaching out to Susan Hartmann, Patron Relations Manager, at shartmann@hhso.org, or by calling (843) 842-2055.

The Hilton Head Symphony Orchestra celebrates Legacy Society members:

Darle and Robert Booher

Mary and Michael Briggs

Bob and Heather Cherichella

Sandy and Ralph Drayer

Cary and Peter Fleming

Robert and Margaret Gallagher

Bradley Jacobs

Beverly J. Lasher

Mary Princing

Mary Ann and Tarrant Putnam

Ellen Taylor

Judy and Bill Thorpe

Julie H. Williams

Your generosity will “KEEP THE MUSIC PLAYING” for generations to come!

BUSINESSES, FOUNDATIONS, AND PUBLIC ORGANIZATIONS

SUPPORTING THE MUSIC

OFFICIAL HOTEL

Hilton Beachfront Resort & Spa

SERIES SPONSOR

Coastal Home Furnishings

SERIES CO-SPONSORS

Beach House Resort, Hilton Head

CharterOne Realty

Coligny

The Jazz Corner

The Junior Jazz Foundation

PERFORMANCE WEEKEND SPONSORS

Boys Arnold Wealth Management

CharterOne Realty

Forsythe Jewelers

Group3/Pyramids

Hilton Head BMW

The Cypress of Hilton Head

PERFORMANCE SPONSORS

SERVPRO Team Shaw

The Great Frame Up

The Seabrook of Hilton Head

TidePointe, a Vi Community

SPECIAL EVENTS SPONSORS

Art Cafe

Charles Sampson Real Estate Group of CharterOne Realty

Coastal States Bank

Coastal States Wealth Management of Raymond James

Dive Bar & Grille

Dividend Assets Capital, LLC

Hilton Head Dental Team

LOCALLife

Royal Restrooms

PARTICIPATING LEADER

SERG Restaurant Group

PARTICIPATING SUPPORTERS

Carey & Company, P. A.

Curry Printing

South State Bank

The Greenery, Inc.

Windermere Insurance Group

HILTON HEAD INTERNATIONAL

PIANO COMPETITION

Correll Insurance Group

Gulfstream

Hargray Communications

Herrin Piano

Hilton Head Island-Bluffton Chamber of Commerce

Rice Music House

Savannah Hilton Head International Airport

Steinway & Sons

The Great Frame Up

OTHER BUSINESS SUPPORT

Collins Group Realty

Gordon’s Hop Stop

Hilton Head Island Motoring Festival and Concours d’Elegance

Indigo Run Community Owners Association

Savannah VOICE Festival

The Bargain Box

The French Guy Studio FOUNDATIONS

Breedlove Foundation

Community Foundation of the Lowcountry

Gaylord and Dorothy Donnelly Foundation

Heritage Classic Foundation

Howard Gilman Foundation

Palmetto Dunes Cares

R.J. Samulski Innovation Foundation

The Beaufort Fund

PUBLIC SUPPORT

Beaufort County

Town of Bluffton

Town of Hilton Head Island

Hilton Head Island Office of Cultural Affairs

South Carolina Arts Commission

The HHSO is also funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

This list is compiled as of September 10, 2024. Additional support committed after the printing of this book will be recognized elsewhere. Occasionally, omissions and mistakes occur. Please let us know if there is an error in your listing.

Young Persons Concerts— The HHSO Moves

Link Up Program from Carnegie Hall

April 2024

John Morris Russell, Conductor Hilton Head Symphony Orchestra

Trevor Latez Hayes, Narrator

Vocals: Michelle Meece, Matthew Meece, Sheila Berg

How many times have you had a conversation with a fellow patron about how important it is for young people to attend HHSO concerts? On a beautiful spring day in late April, more than 1,600 3rd, 4th, and 5th graders from seven Beaufort County elementary schools—both north and south of the Broad—filled the seats in First Presbyterian Church for the HHSO’s annual Young Persons Concerts. Preschoolers from First Presbyterian Day School rounded out the audience.

Built around Carnegie Hall’s celebrated Link Up program, beginning in September students are introduced to orchestral music via an interactive curriculum. Carnegie Hall provides study materials at no cost to participating schools. Guided by their teachers over eight months in their own classrooms, students learn about the music and the composers, how to sing selected pieces, and to play the recorder before coming to the concert to perform with a professional orchestra. Accompanying the HHSO on several selections were a dozen violin students from Red Cedar Elementary in Bluffton, where

All photos by Mike Ritterbeck

we have been providing instruments and instruction for several years. Can you imagine the excitement of these pre-teens in being seated on stage with the orchestra?

Maestro Russell is in his element with children. His passion and enthusiasm set the tone. The energy in the room was absolutely electric! Notably, JMR had a hand in the development of Link Up when he was with the Education Department at Carnegie Hall in New York City in the 2000’s. YPC is a labor of love for the HHSO, involving more than 60 musicians, lots of planning and organizing beforehand, and 20+ volunteers the day of the concerts. HHSO staff and Board members, members of the League, and volunteers from the Bargain Box lend their time. Even Dr. Frank Rodriguez, Superintendent of the Beaufort County School District, made an appearance. It was great to see him huddling with President and CEO, Alan Jordan, discussing how the program could be expanded to reach even more students in the future.

This year’s program, The Orchestra Moves, was all about the many ways music affects us physically and

I loved the orchestra especially because we sang and played together. [Maxwell]

The songs really told a story in my head. I love music and now I love it even more. [Sophia]

emotionally—ably demonstrated by JMR who at one point left the podium to dance! This and more were embodied by the eclectic repertoire which ranged from Strauss’ Blue Danube to Bizet’s Carmen to Beethoven’s iconic 5th Symphony. The songs were in different languages—English, Hebrew, and Spanish. The “Toreador Song” from Carmen was a special hit with a red-caped Matthew Meece fighting an imaginary bull in the aisles. There is no doubt that the music was the star of these shows. The music and being able to go home that day and say, “I played with an orchestra!”

The HHSO is extremely grateful to the dedicated music teachers from Beaufort Elementary, Hilton Head International Baccalaureate, Hilton Head Preparatory, Hilton Head School for the Creative Arts, Red Cedar Elementary, Michael C. Riley and River Ridge Academy who participated in the program. It was a year-long endeavor for them. Thanks also to our sponsors and the public support which make these concerts possible.

We’ll let the kids have the last word.

I had a favorite song. It was Blue Danube. I mean come on, it’s a good song. [Grayson]

I loved the Toreador because the rhythm was awesome and it made me want to dance so much. [Natalia]

I was starstruck when I heard we were going to an orchestra. Thank you for giving me the experience. [Ella]

This was one of my favorite field trips ever!!! [Bennett]

Supported by:

Mary Briggs Youth Foundation Eleanor and Bernard Breedlove Foundation

HHSO Youth Concerto Competition

Date: January 25, 2025, St. Luke’s Anglican Church

The Hilton Head Symphony Orchestra’s Youth Concerto Competition was conceived 16 years ago with the goal of inspiring a younger generation to pursue their goals in the world of classical music. Since its inception, the event has expanded to one of the largest regional competitions of its kind in the Southeastern United States. Last season’s nine competitors, ages 11-18, who auditioned by video and were selected by a panel

of professional musicians, took place in late January 2024 at SoundWaves. The audience was treated to solo performances of violin, cello, and double bass. Seventeen-year-old cellist, Jaia Alli, was named the First Prize winner. She will return to play with the HHSO on December 1-2, 2024. To learn more about Jaia, please see her biography with the Holiday Pops Concert. In addition to cash prizes, all finalists receive a $100 scholarship to the Hilton Head Island Chamber Music Institute.

Says Steve Shaiman, HHSO’s Director of Education and Community Development (EdCE): “The YCC has made a significant impact in the lives of young musicians. Past finalists have gone on to win prizes at other important national competitions and to study performance at major conservatories including Curtis, Juilliard, Colburn, Oberlin, NEC, Peabody, Eastman, and others. Several have embarked on significant professional careers. This is my personal invitation to join us on Saturday, January 25, 2025, to show your support for this year’s group. You will be amazed at their talent.”

Hilton Head Chamber Music Institute

Founded and led by Judy Gimbel, the sixth annual Hilton Head Chamber Music Institute was held June 12-22, 2024, at SoundWaves. HHCMI is an intensive 10-day training program focused on the art of small ensemble playing, designed specifically for outstanding young musicians who possess a strong focus on chamber music performance. This year’s sixteen high school age musicians, selected via an audition process, came from nine states: Alabama, Arizona, California, Florida, Michigan, Missouri, North Carolina, South Carolina, and Tennessee.

HHCMI is staffed by an outstanding faculty. Co-Artistic Directors Felix Wang, cello, and Carolyn Huebl, violin, are from Vanderbilt University’s Blair School of Music. Shannon Thomas, violin, Florida State University, and Caroline Coade, viola, Detroit Symphony Orchestra and the University of Michigan, round out the faculty. Keru Zhang, piano, from the Charleston Music Academy, joined the faculty for a quintet performance.

Students are hosted in private homes. Their needs are met at SoundWaves by dedicated volunteers. Judy’s committee members this year included Judy Bluestone, Beth Corry, Tena Graber,

Barbara Wolf, aided by HHSO staff Alan Jordan and Steve Shaiman. Family hosts were Ingrid and Craig Boatright, Barbara Holmes, Laura and Bret Jacobowitz, Peggi Moon and Bill Hutchinson, Mary Noonan, Phil Py, Pat and John Swaim, and Barbara Wolf. The program includes lots of practice time, private lessons, daily quartet rehearsals, and master classes. Students also had ample opportunity to perform via several outreach concerts on the Island and in Bluffton. HHCMI concluded with two concerts featuring four student quartets, capped by a performance by The Chamber Music Institute Orchestra composed of all 16 students and the faculty.

HHCMI has a special focus on preparing students to be lifelong musicians who learn to balance the highest level of performance with enjoyment of life. We hope to see you in the audience June 11 through 21, 2025!

Top row (left to right): Adam Kremer, Eugenie Lim, Jaia Alli, Devin O’Brien, Lauren Juntunen | Bottom row: B. Andrew Lee, Yuna Ella Chae, Yining Zhang, Ellie Dixon

In a few short years, SoundWaves has become Hilton Head Island’s premiere cabaret performance venue. And now, for the first time, we received a Gold-level rating for Live Music Venue (Island Packet’s Best Awards).

We are in the fourth season of our deliciously popular Coastal Home Supper Club, monthly live events featuring dinner from a variety of local eateries coupled with unique and wide-ranging intimate musical performances. Supper Club favorite, Gretchen Kristine Stelzer, masterminds and performs at many of these popular programs. Scheduled this season are a trivia night evening of one-hit wonders, an homage to Dame Olivia Newton John, “Vocally Moderated Dueling Pianos,” and “Music from Kander & Ebb,” a highly successful American songwriting team who wrote both Cabaret and Chicago.” We also bring back 2022’s Orchestra Series Holiday Pops guest vocalist, Jennifer Cherest, for a reverent holiday treat. With three-plus seasons of consecutive sellouts, check your email and the HHSO website regularly for updated information throughout the season. You can buy tickets and select your meals online at hhso.org—it could not be more convenient.

On the classical side and sure to be another sellout, legendary American violinist Jaime Laredo, his wife, cellist Sharon Robinson, and pianist Anna Polonsky visit SoundWaves for a charming piano trio concert in conjunction with their January Orchestra Series engagement. Our International Piano Competition’s BravoPiano! Recital Series will be in full view with solo engagements by Anthony Ratinov (October), Anna Han (April), and a jazzy holiday piano trio show headlined by 2023 APA winner Isaiah J. Thompson.

Going into its third season, our re-branded Gullah Geechee Cultural Series celebrating all things Gullah Geechee is a collaboration with The Gullah Museum of Hilton Head Island, Historic Mitchelville Freedom Park, and the Native Island Business and Community Affairs Association. More than three years in development, the series launched in 2022. Over two seasons and ten performances, it has played to nearly 700 people. Mario Incorvaia teamed with three pillars of the Gullah community (Lavon Stevens, performing artist and Artistic Advisor to the series, Dr. Louise Miller Cohen, Gullah historian and founder of the Gullah Museum of Hilton Head, and Ahmad Ward, Executive Director, Historic Mitchelville Freedom Park), to build out a series of entertaining and informative programs which bring together the diverse people of Hilton Head Island to gain awareness and share in appreciation of our area’s rich heritage.

Mostly music, but also incorporating storytelling, history, food, and culture, the shows herald eminent native Islanders for their contributions to our community. Performances are modeled in the spirit of a television talk-show setting but reversed as a musical “show-talk” event.

Folderol, Holiday Program

Mario Incorvaia, Heidi Schultz and Steve Steele, owners of Coastal Home Furnishings

Each GCCS show is centered around a theme. There is nothing cookie-cutter about these evenings, the two constants being music and authentic cuisine prepared by local Gullah culinary artists.

Here is a sampling of some of the talented individuals who have engaged audiences over the past two years:

• Lavon Stevens and his band

• Eric Crawford, Associate Professor of Ethnomusicology at Claflin University

• The Voices of Gullah, gospel singers from St. Helena’s Island who have recorded, toured internationally, and appeared in movies

• Louise M. Cohen, Gullah historian and noted storyteller

• The incomparable Marlena Smalls, musician and educator, founder of the lauded Hallelujah Singers and Bubba’s mother in Forrest Gump

• Alvin Glen, widely exhibited South Carolina visual artist, a focus of whose work is Lowcountry Gullah life

• Jamal Edwards, choreographer and educator at the Hilton Head Dance Theatre, whom HHSO audiences have literally watched grow up on stage at our Holiday concerts.

If you are having difficulty imagining these uniquely entertaining evenings with titles like “Gullah 101,” ” Times Before the Bridge,” “Spirituals and Celebrations,” and “Why Juneteenth?” then please join us this season with remaining performances scheduled in January, March and May, 2025.

Many thanks to the countless behind-the-scenes individuals who have helped make the Gullah Geechee Cultural Series a success. Special thanks go to The Community Foundation of the Lowcountry, the Beaufort Fund and the South Carolina Arts Commission, which receives support from the National Endowment for the Arts. Thanks also for the ongoing support of the Hilton Head Island Office of Cultural Affairs.

The Gullah Geechee Cultural series has become a cherished offering that the HHSO and its partners are proud to present. Join the many people who have come to SoundWaves and experience for yourself its special niche in the fabric of evening entertainment options on Hilton Head. Your table is waiting!

“My wife and I have enjoyed the “Gullah Me, Gullah You” programs at Soundwaves. Living on the Island for 14 years and being a “history guy,” I felt I was reasonably knowledgeable of the culture, but after every concert we departed having learned something new. Particularly poignant was the concert presentation on the “Watchman”.

Lee and Ruth Wilwerding | HHSO Patrons

“I wanted you to know how much Emma and I have enjoyed the fantastic “Gullah Me, Gullah You” series. I hope the HHSO continues as we believe the programs greatly promote cultural diversity in our island community and the visiting public.

Emory S. Campbell | Noted author, business owner, and former Director of the Penn Center

“The HHSO has proven to be a leader in the Arts and Culture of the community and region. The Gullah Geechee Cultural Series at Soundwaves has created a thirst and hunger for history and culture for natives, residents, and visitors alike. The series has been well received by all who attended. I am grateful to work with the staff and volunteers to promote culture through the performing arts.”

Lavon Stevens | Gullah Geechee Cultural Series Artistic Advisor Jazz, Blues, & Gospel Artist and Community Cultural Activist

“Many thanks to the HHSO for hosting and promoting the authentic Gullah Geechee Cultural Series. I really enjoyed being a presenter and sharing my culture with our guests. I also like the idea of serving dinner which provides an opportunity to experience our delicious Gullah Geechee Cuisine.”

Louise M. Cohen | Authentic Gullah Geechee Storyteller, historian, and founder of the Gullah Museum of Hilton Head

African Drummers Abu Majed and Yusef Major

Every detail matters.

INTERIOR DESIGN / ARCHITECTURE/ RENOVATIONS

Meet Your HHSO Musicians

Micah Gangwer Barbara Borg Ann Cafferty

Jason Economides Rafe Goldman

VIOLA

CELLO

Catherine Hardy

Mario Incorvaia David Katz

Angela Loizides Gerome Stewart Marina Volynets Lizhou Liu

Scott Garrett Vasily Gorkovoy

Lee Richey

Matthew Peebles

Jeffrey Watson

Daniel Mumm

Barbara Altman

Mary Ann Watson

Thomas Bresnick

Joseph Farley Vadim Volynets

Lorraine Jones

Tacy Edwards Reid Messich

Kelly Odell

Charles Messersmith

Russell Floyd

Katherine St. John Sandra Nikolajevs

Stephanie Mason

Anne Holmi

Brandon Nichols Debra Sherrill-Ward

Paul Lott

Todd Jenkins Carl K. Polk Mark Spradley

Chris Bluemel Stephen Primatic

Mathew Fallin

Ryan Leveille

Charles Ancheta

Antonio Marti

Kelly Moziek

Hollie Pritchard

Mary Duplantier

HARP

2024-2025 HHSO Orchestra Personnel

MUSIC DIRECTOR

John Morris Russell

The Estate of Robert and Margaret Gallagher

VIOLIN I

Micah Gangwer, Concertmaster Charleston, SC

Aldine W. Schroeder Memorial Chair

VIOLIN II

Brian Allen, Principal Charleston, SC

SECTION VIOLIN

Jean S. Wolff Chair in memory of Alfred W. Wolff

Karel Abo Savannah, GA

Jonathan Aceto * ^ Statesboro, GA

Barbara Borg Charleston, SC

Ann Cafferty Savannah, GA

Jason Economides ** Macon, GA

Martha Gardner Savannah, GA

Rafe Goldman Charleston, SC

Catherine Klimoff Hardy Hilton Head Island, SC

Mario Incorvaia Savannah, GA

Tomas Jakubek Charleston, SC

David Katz

Crossville, TN

Angela Loizides Charleston, SC

Corey Mike Charleston, SC

C. Gerome Stewart Charleston, SC

Marina Volynets Savannah, GA

VIOLA

Lizhou Liu, Principal Savannah, GA

Mary and Mike Briggs Chair

Scott Garrett

Fort Mill, SC

Vasily Gorkovoy

Charlotte, NC

Matthew Peebles

Charleston, SC

Jeffrey Watson

Columbia, SC

CELLO

Daniel Mumm, Principal Charleston, SC

Ellen and Charles Taylor Chair

Barbara Altman Macon, GA

Hyeok Kwon

Savannah, GA

Lee Richey Greensboro, NC

Cynthia Sulko Atlanta, GA

Mary Ann Watson Columbia, SC

BASS

Maurice Belle, Principal Atlanta, GA

Ann and Michael Waters Chair in memory of Ruth A. and Robert C. Waters

Thomas Bresnick

Charleston, SC

Joseph Farley

Winston-Salem, NC

Vadim Volynets

Savannah, GA

FLUTE

Lorraine Jones, Principal Savannah, GA

Erna B. Graver Memorial Chair

Tacy Edwards Charleston, SC

*Author for Program Notes “About the Music”

**HHSO Librarian

^ Leave of absence 2024-2025 season

OBOE

Reid Messich, Principal Athens, GA

Patty and Dave Ekedahl Chair

Kelly Moziek

Charleston, SC

Kelly Odell Augusta, GA

CLARINET

Charles Messersmith, Principal Charleston, SC

Marge and Paul Coble Chair in memory of Don E. Coble

Russell Floyd, Co-Principal Hilton Head Island, SC

Gretchen Roper

Charleston, SC

BASSOON

Katherine St. John, Principal

Charleston, SC

Doris and Willis Shay Chair

Sandra Nikolajevs Charleston, SC

HORN

Stephanie Mason, Principal

Statesboro, GA

Liz and Walt Schymik Chair in memory of Catherine B. Kaufmann

Brandon Nichols Charleston, SC

Debra Sherill-Ward Charleston, SC

Ann Holmi Charleston, SC

TRUMPET

Paul Wesley Lott, Principal Savannah, GA

Nancy and John Diamond Chair

Antonio Marti Charleston, SC

Todd Jenkins North Augusta, GA

TROMBONE

Carl K. Polk, Principal Savannah, GA

Lin and Robert Rada Chair

Mark Spradley Savannah, GA

Hollie Pritchard Marietta, GA

TUBA

Christopher Bluemel, Principal Charleston, SC

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

TIMPANI

Denis Petrunin, Principal Augusta, GA

Marianne and George Krall Chair

PERCUSSION

Stephen Primatic, Principal Savannah, GA

Sandy and Fred Caswell Chair

Mathew Fallin Statesboro, GA

Ryan Leveille Charleston, SC

KEYBOARD

Charles Ancheta, Principal Savannah, GA

Mary Ellen and Jack McConnell Chair

HARP

Mary Duplantier Cincinnati, OH

League of the Hilton Head Symphony Orchestra Chair

Enhance Your Orchestra Experience

By Hosting A Musician

The Hilton Head Symphony Orchestra has the advantage of drawing excellent musicians from geographic areas well beyond Hilton Head including Savannah, Charleston, Greenville, Macon, Augusta, Statesboro, Columbia, and from as far away as Atlanta, Georgia; Jacksonville, Florida; Greensboro, North Carolina and Cincinnati, Ohio. With Sunday and Monday concerts plus preceding rehearsals, musicians are in Hilton Head from Thursday or Friday to Tuesday. For several years we have offered them the choice of staying in hotels or in private homes. Increasingly, musicians are choosing the private home experience.

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

The benefits of hosting far outweigh the responsibilities:

• Those who regularly host a musician find that friendships result; they become like family.

• Getting to know a musician personally provides sincere appreciation for their talent and how hard they work to provide the professional performances we all enjoy.

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

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

• Hosting a musician provides an additional way, beyond direct financial support, of helping the HHSO.

• Musicians report that they give priority to the HHSO when building their schedules because of the hospitality they receive here. This helps keep the most talented musicians available to us.

If you are interested in hosting a musician during the 2024-2025 season, please call the HHSO office (843) 842-2055. You can choose to host for specific concerts which suit your schedule. It is not necessary to commit to the entire season. Thank you!

Bravo to our HHSO 2023-2024 host families - your gift is priceless!

HHSO Musician Hosts 2023-2024

Carolyn Burton

Joe and Kathy Chappell

Carolyn Christy

Stan Cooke

Alexander and Dedria Cruden

Charlie and Joan Dattelbaum

Jerry and Caroline Dolbey

Pat Dowey

Linda Ellis

Jacqueline Fesq

Linda Fiore

Rusty and Laura Floyd

Ann and Charlie Harrison

Michael and Susan Harter

Mona Huff

Mike and Laura Kling

Glenn and Linda Neff

Lesley and Cory Nicholson

Mary Noonan

Marty Neumeister

Emily and Wil Oelkers

Jane Phillips

Joyce and John Prange

Mary Princing and Bill Clark

Pam Schofield

Van and Lauren Schwiebert

Barbara Harris Sorkin

Spence and Barbie Stouffer

Judy and Bill Thorpe

Marilyn Torrens

Karin and Lou Tosado

John and Jennifer Tupper

David and Lori Wellinghoff

Julie Williams

Whenever you fly...

WHEN IT COMES TO

Arts & culture

HEAD ISLAND GETS A STANDING OVATION

For a 12-mile-long by five-mile-wide barrier island, Hilton Head Island offers numerous arts and cultural experiences. With some of the finest art galleries, live music venues, and dance and theater productions happening year-round, Hilton Head Island’s arts and culture scene is second to none. Bravo!

HILTON

CLARITY. SIMPLICITY. DEVOTION.

In light of the recent market decline, we believe more than 25% of companies in the S&P 500 will not pay a dividend. At DAC, we also believe owning companies that provide reliable, growing dividends is critical to building an investment portfolio that will meet your retirement growth and income needs today and tomorrow. At DAC, we only invest in companies that maintain a year over year consistent track record of paying and growing their dividends to shareholders. Please contact us to learn more about our investment philosophy.

HHSO Usher Corps

A multitude of thanks to our faithful ushers who serve patrons at Orchestra Series concerts (First Presbyterian Church), outdoor concerts on Hilton Head and in Bluffton, and at SoundWaves. We couldn’t do it without you!

We are always looking for new volunteers. If you would like to join us, please call the HHSO office at (843) 842-2055 for details.

Diane Anderson

Ruth Barningham

Paul Basquin

Janet England-Bender

MJ Bercaw

Amelia Black

Marianne Blaine

Rhoda Bullock

Iris Chester

Celeste Crago

Karen Curry

Laurette Doscher

Karen Edwards

Amy Facey

Dale Facey

Sally Farrar

Kim Ferreiro

Jacqueline Fulton

Gloria Gadson

Lynn Gustafson

Carol Gyllenhoff

Bobbie Hall

Mark Hall

Susan Hartmann

Sally Henderson

Monica Henkel

MaryJo Herron

Terry Herron

Sandy Hillis

Barbara Holmes

Gloria Holmes

Jan Hunter

Bill Hutchinson

Ann Marie Jetter

Susan Johnson

Rita Jones

Pat Killeen

Mike Kling

Cindy Kois

Ken Kolbe

Gayle Lang

Irene LaVigne

Pauline Leland

Blaine Lotz

Lynne Lotz

Toney Mathews

Carol McCarthy

Laurel McMahon

Joy McNeil

Bill Millhaem

Carolyn Mitchell

Mark Mitchell

Peggi Moon

Ellen Newfield

Geri Ruka

Catherine Sartorius

Linda Schneider

Pam Schofield

Steve Shaiman

Alison Shenkus

Rob Shenkus

Joel Spiegel

Nancy Calhoun-Sullivan

Lynne Tanis

Kay Tippett

Judith Vrooman

Stacy Waller

Brian Waterfield

Lynn Waterfield

Jane Warren

Downing Whitesell

Helena Williams

Heather Witherspoon

John Witherspoon

Meg Zalewski

John Morris Russell’s embrace of America’s unique voice and musical stories has transformed how orchestral performances connect and engage with audiences. In his twelfth season as Music Director of the Hilton Head Symphony Orchestra, he continues to invigorate the musical life of the Lowcountry as conductor, collaborator, and educator, and leads the orchestra’s classical subscription series as well as the prestigious Hilton Head International Piano Competition. Mr. Russell concurrently serves as Conductor of the world-renowned Cincinnati Pops Orchestra.

The Hilton Head Symphony Orchestra has enjoyed unprecedented artistic growth under Maestro Russell’s leadership, and performs regularly throughout the region. Under his guidance the HHSO has sparked collaborations with regional ensembles and performers that continue to widen its reach, including Georgia Southern University, Claflin University, Charleston Southern University, Hilton Head Dance Theatre, The Sherrill Milnes VOICExperience, Hilton Head Ballroom Dance Studio, Legacy Irish Dance Academy, Abeni Cultural Arts Performing Dance Studio, Savannah Children’s Choir, Historic Savannah Theater, American Traditions Competition, I Cantori, May River High School Schola Cantorum, Effingham County High School Chorus, and members of the Parris Island Marine Band.

A popular guest conductor, Maestro Russell has worked with the Chicago Symphony Orchestra, Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, and the National Symphony of Washington, D.C. He frequently conducts Canadian orchestras including Toronto, Calgary, and Vancouver, and has led the orchestras of Pittsburgh, Detroit, Houston, Indianapolis, Dallas, and Minnesota, as well as the Utah Symphony, Oregon Symphony, Colorado Symphony, New Jersey Symphony, and New York City Ballet. This season Mr. Russell makes his debut with the St. Louis Symphony Orchestra. He has also conducted new works with Cincinnati Opera, including its first production of Hans Krása’s Brundebar, and the world premiere of Blind Injustice, which was released on CD in 2021. His work with the Cincinnati Pops has included concert productions of The Music Man and Ragtime as well as numerous live/film presentations.

For over a decade, Mr. Russell has regularly led the National Orchestral Institute and Festival in College Park, Maryland, one of the nation’s premiere training orchestras. In 2024 JMR and the NOI collaborated with Wolf Trap Opera on a production of Kurt Weill’s The Seven Deadly Sins in a program to be performed with the Hilton Head Symphony later this season. Dedicated to sharing the American musical experience with the newest generation, he helped develop and conducted the Link Up educational concert series at Carnegie Hall, a continuation of the program launched by Walter Damrosch in 1891 and continued under Leonard Bernstein. Mr. Russell will lead the fourth year of Link Up programs in the Lowcountry with the HHSO this spring.

Mr. Russell’s collaborations around the world have included Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Cynthia Erivo, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Steve Martin, Edie Brickell, Katherine McPhee, Brian Wilson, Leslie Odom, Jr., and Paul Shaffer. This season, Maestro Russell will work with Rick Steves on a PBS Special, “Symphonic Journey”, as well as performances with Broadway superstars Norm Lewis and Mandy Gonzales.

John Morris Russell earned degrees from the University of Southern California, Los Angeles, and Williams College in Massachusetts, and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

BRUCH AND TCHAIKOVSKY

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, October 20, 2024 • 4:00 pm

Monday, October 21, 2024 • 7:30 pm

John Morris Russell, Conductor

Melissa White, Violin

PROGRAM

MIKHAIL GLINKA Overture to Ruslan and Lyudmila

MAX BRUCH

Violin Concerto No. 1 in G minor, Op. 26

Prelude: Allegro moderato

Adagio

Finale: Allegro energico

Melissa White, Violin

INTERMISSION

PIOTR ILYCH TCHAIKOVSKY

Symphony No. 4 in F minor, Op. 36, TH 27

Andante sostenuto

Andantino in modo di canzona

Scherzo: Pizzicato ostinato

Finale: Allegro con fuoco

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

The Seabrook of Hilton Head

MELISSA WHITE, VIOLIN

American violinist Melissa White has enchanted audiences and critics around the world for her “warmly expressive and lyrical…glittering” playing (Chicago Classical Review) and for “making her violin sing elegantly” (Aspen Times). Ms. White’s rapid rise as a soloist has captured the attention of audiences worldwide, many of whom already know her for her successes as a founding member of the GRAMMY®-winning Harlem Quartet.

Ms. White’s orchestral highlights of the 2024-25 season include performances with the Baton Rouge, Delaware, Hilton Head, Jackson, Rogue Valley, and Springfield Symphony Orchestras, Orchestra Iowa, and the Cape Town Philharmonic. In addition to her active role as the Joyce C. Willis Artist in Residence at the Hartford Symphony last season, other recent orchestral engagements for Ms. White include features with the Philadelphia Orchestra (with Yannick Nézet-Séguin conducting), the Buffalo Philharmonic, the Chicago and Northwest Sinfoniettas, and the Charlotte, Cincinnati, Indianapolis, and Richmond Symphony Orchestras, as well as the Aspen, Brevard, and Heartland Festival Orchestras.

Solo recital debuts for Ms. White in the current season include Boston Conservatory, Philadelphia Chamber Music Society, Chamber Music Detroit, and The Isabel Bader Centre for the Performing Arts in Ontario. This follows her recent solo recital engagements over the last two seasons at Carnegie Hall, Corpus Christi Chamber Music Society, the Phillips Collection, and Purdue Convocations, among others. She has had many other collaborative engagements over the past two seasons including the Sarasota Music Festival, tours with the Kaleidoscope Chamber Collective including major series along the East Coast and in Germany as well as at London’s Wigmore Hall alongside Hilary Hahn, and performances with the DUBHE Ensemble at the National Orchestra Institute + Festival and at Chicago’s Harris Theater.

A First-Prize laureate in the Sphinx Competition, Ms. White has appeared as soloist with such leading ensembles as the Cleveland, Louisville, and Philadelphia Orchestras, Boston Pops, Aspen and Brevard Festival Orchestras, and the Atlanta, Baltimore, Cincinnati, Colorado, Detroit, and Pittsburgh Symphony Orchestras. Internationally, she has appeared as soloist with Poland’s Filharmonia Dolnoslaska, the Czech National Philharmonic, the Colombian Youth Orchestra on tour, and in recital in Azerbaijian and Poland.

Her film credits include a violin solo in the soundtrack to Jordan Peele’s 2019 psychological thriller Us, and she has also performed alongside several pop artists including Pharrell, Bruno Mars, Alicia Keys, and Lauryn Hill.

A passionate educator, Ms. White serves as Professor of Music at the University at Buffalo and Music Artist Faculty at New York University. She performs on a c. 1780 Ferdinando Gagliano violin on loan from Strumenti.

About the Music

by Jonathan Aceto

Overture to Ruslan and Lyudmila

Mikhail Glinka (1804-1857)

Mikhail Glinka is considered the first composer to create uniquely Russian music that is, although firmly in the European art music tradition, quite Slavic in sound and character. Most subsequent composers, from Tchaikovsky to Shostakovitch, have been inspired by his nationalistic style. Glinka was born into a wealthy family and thus had the means to study music in Italy and Germany. When he returned to Russia in 1834, he began to delve deeply into his Russian heritage by reading Alexander Pushkin and Nickolai Gogol. Glinka’s first opera, A Life for the Tsar, follows the true story of a peasant hero in the early 1600s who sacrifices his life to save the Tsar. Using folksongs of Russia and Poland, it was a huge hit for Glinka.

Right after that success, the director of the Imperial Theater suggested to Glinka that he adapt Pushkin’s poem Ruslan and Lyudmila, and he began composing an opera in 1837. Again, Glinka drew on folk music from Russia, Finland, and the Tartars. Other influences came from childhood, specifically the rather dissonant bells of the local church and traveling peasant choirs who sang in atypical harmony. The result was an opera containing much chromaticism and dissonance. For example, the villain of the story, the sorcerer Chernomor, is identified with a whole-tone scale, a strange sounding scale that would not be used in Western Europe until the early 1900s.

The overture is great fun and has an interesting background. Glinka was attending a wedding dinner at the Russian court and, from the perspective in the balcony, the guests clattering away with their silverware made such an impression that he resolved to imitate the sound in the overture. Thus, the opening features the strings frantically scurrying up and down in 16th notes. Later, the cellos present a contrasting lyrical melody that provides warmth and charm.

Violin Concerto No. 1 in G minor, Op. 26

Max Bruch (1838-1920)

Max Bruch was a composer, conductor, and teacher in Germany and his compositional style followed firmly in the footsteps of Brahms. He had musical posts throughout Germany and was also the Music Director of the Liverpool Philharmonic Society for three years. Although during his lifetime he was mostly known for choral works, Bruch is best known today for the Scottish Fantasy and this violin concerto.

Bruch completed the concerto in 1866 and it was premiered by Otto von Königslow. Bruch then made several revisions with the help of violinist Joseph Joachim, who performed the revised concerto in 1868. This concerto is unique for the period because the soloist begins playing after the first five measures (rather than the orchestra playing a full exposition) and the first

movement is continuous with the second. That entrance of the soloist is also remarkable for the raw, open G string which slowly works into an improvisatory passage.

The Adagio features two glorious melodies, one tender and reserved, the other, heralded by a murmuring orchestra, a much more outgoing expression of longing. The third movement begins with pianissimo triplets in the violas as other instruments enter in one at a time until the whole orchestra sweeps up into the rollicking entrance of the solo violin. As the movement bubbles along, there are great moments when the orchestra comes crashing in and changes the key, only to be pulled back into G Major by the soloist.

Symphony No. 4 in F minor, Op. 36, TH 27

Pyotr Ilyich Tchaikovsky (1840-1893)

One of Tchaikovsky’s biggest patrons was Nadezhda von Meck, a lady who was a champion of several musicians from the late 1800s including Claude Debussy. For Tchaikovsky, she was as much a source of inspiration as a source of financial security. He began composing the 4th symphony in 1877 while struggling through an awkward marriage. It was largely from von Meck’s encouragement that he finished the work. Tchaikovsky wrote about “our symphony” in letters to her and dedicated the work to his “Best Friend.” The work was premiered in 1878 in Moscow with Nikolai Rubinstein conducting.

Von Meck also encouraged Tchaikovsky to write a program explaining the symphony. Thus, Tchaikovsky firmly states in a letter to von Meck that the central focus of the symphony, especially the opening fanfare, is Fate. In the words of the composer, “this is that fateful force which prevents the impulse to happiness from attaining its goal. It is an invincible force that can never be overcome–merely endured, hopelessly.”

After the waltz-like first melody, Tchaikovsky introduces an almost jaunty second theme in dotted rhythms, asking “is it not better to escape from reality and immerse oneself in dreams?” That melody transforms into a blissful, gently rocking melody in major. Alas, the happiness is brief as harsh reality, the Fate motive, pulls the listener back into the depths.

Tchaikovsky shows us another form of sadness in the Andantino, when “there comes a whole host of memories…happy moments when life was satisfying [and] also painful memories, irreconcilable losses. It is both sad, yet somehow sweet to be immersed in the past.” The third movement, featuring a scherzo with pizzicato strings and a bucolic trio with woodwinds, expresses “no specific feeling–this is whimsical arabesques [and] vague images … they are strange, wild, and incoherent.”

In the Finale, Tchaikovsky finally shakes off the gloom of Fate and instead bursts forth with joy. “Picture the festive merriment of ordinary people. See how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings.” The Fate fanfare does appear, but it is soon laughed away. This movement also features, as the main theme, a transcription of the Russian folk song “In the Field a Birch-tree Stood.”

Fiddle of Fate | Shanon Thomas-Jordan

THE AMERICAN EXPERIENCE

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, November 10, 2024 • 4:00 pm

Monday, November 11, 2024 • 7:30 pm

John Morris Russell, Conductor

PROGRAM

DUKE ELLINGTON The River

The Spring Meander

The Giggling Rapids

The Lake

The Vortex

The Falls

The Twin Cities

Riba

INTERMISSION

ANTONÍN DVOŘÁK

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

Symphony No. 9 in E minor, Op. 95, B. 178, “From the New World”

Adagio – Allegro molto

Largo

Molto vivace

Allegro con fuoco

PERFORMANCE SPONSOR

SERVPRO Team Shaw

About the Music

by Jonathan Aceto

This concert celebrates the “American Century” of music with works by Antonín Dvořák and Edward “Duke” Ellington whose lives, though separated by a generation, are inextricably linked.

Symphony No. 9 in E minor, Op. 95, B.178, “From the New World”

Antonín

Dvořák (1841-1904)

When Dvořák first came to America in 1892, immigrants had just begun going through Ellis Island, the first basketball game occurred, and schoolchildren began reciting the Pledge of Allegiance. Dvořák had been invited by the philanthropist Jeanette Thurber to be Artistic Director of the National Conservatory of Music of America in New York, a post he held for three years. Mrs. Thurber envisioned a music school that all Americans could attend for free, regardless of gender, race, religion, or the ability to pay. Dvořák embraced that mission with fervor.

Dvořák was also charged to develop young American composers to do for America what countless composers were doing for their newly formed countries in Europe–creating uniquely nationalistic music based on their ethnic music. While here, Dvořák experienced as much uniquely American music as he could, including Stephen Foster, John Philip Sousa, and, though spurious, the Native American music he heard at Buffalo Bill’s Wild West Show in Madison Square Garden. Most importantly, he embraced the music of Black America. Harry Burleigh, a student and assistant at the Conservatory, famously introduced spirituals and other African American songs to Dvořák who declared, “I am convinced that the future music of this country must be founded on what are called Negro melodies. These beautiful and varied themes…can be the foundation of a serious school of composition.” He then showed the world the veracity of his beliefs in the remarkable works composed in the US, most notably his symphony in E minor.

It is important to understand, however, that every theme and melody in this symphony is pure Dvořák, who simply channeled the aesthetic of those traditions into his original work. Indeed, the added title “From the New World” simply meant that this piece was composed here rather than in Bohemia. It is true that Mrs. Thurber had suggested that Dvořák write an opera based on the Song of Hiawatha, but he decided to use the poem as an inspiration for the middle movements of this new symphony. The slow Largo recalls the funeral of Minnehaha, and the Scherzo the wedding dance. The beloved melody in the Largo was later given lyrics by one of Dvořák’s conservatory students, William Fisher, “Goin’ Home.” Dvořák finished the symphony in May of 1893, with Anton Seidl and the New York Philharmonic premiering it in December to great accolades.

The River

Edward “Duke” Ellington (1899-1974)

Another Dvořák protégé from the National Conservatory of Music was Will Marion Cook–the brilliant, black violin virtuoso and composer who created the first all-black Broadway musical “In Dahomey” in 1903. Later in his life, he gave composition lessons to Edward “Duke” Ellington and served as an inspirational mentor to the young pianist.

Although Ellington may be best known for the numerous jazz standards he nurtured, his orchestral oeuvre is just as impressive. Ellington’s first foray into symphonic music was Black, Brown and Beige, a work about the history and experiences of African Americans; it was performed on Ellington’s first Carnegie Hall concert in 1943. Emboldened by the expressive possibilities of orchestral jazz, Ellington and colleague Billy Strayhorn, went on to create numerous similar works, including The Far-East Suite, The Deep South Suite, Suite Thursday, and works based on Tchaikovsky’s Nutcracker and Grieg’s Peer Gynt.

In the late 1960’s, friend and jazz historian Stanley Dance first suggested that Ellington compose a major piece depicting the Mississippi River from source to sea. This was at a time when Ellington was often thinking in spiritual terms, and thus he added an allegorical element dealing with death and rebirth. Around the same time, Lucia Chase, the director of the American Ballet Theater, had wanted Alvin Ailey to choreograph a ballet with Ellington for the company’s 30th anniversary. Ailey often used Ellington’s music for his dances, so a collaboration seemed ideal.

In composing The River, Ellington researched all the scores and recordings of “water” music he could find: Debussy’s La Mer, Smetana’s Moldau, Handel’s Water Music, even Britten’s opera Peter Grimes. As he composed, Ellington would write out parts for his band and record each section so Ailey

could choreograph to something concrete. Those band arrangements were given to Ron Collier to orchestrate for a ballet pit orchestra. There were a few tense moments between composer, arranger, and choreographer, but they managed to get 7 dances completed for the premiere in 1970 at Lincoln Center.

In his 1973 memoir, Ellington wrote out his thoughts, imagery, and symbolism for each section. The Spring is like a newborn baby, “wiggling, squealing, making faces, and tinkling all over the place.” The baby is out of the cradle in Meander, “rolling around from one side to the other on the floor, until he sees the kitchen door, and looks out into that big backyard. He dashes out the door into The Giggling Rapids, and he runs and dances and skips all over the backyard until, exhausted, he rolls down to The Lake.” The serene Lake, in all its beauty, inspires people “to discover new facets of compatibility in each other. The whole situation compounds itself into an emotional violence that is even greater than that of the violence of the vortex that is to come. Suddenly, they are over the top and down The Vortex itself, an experience in which, of course, you must really immerse yourself to appreciate the hazards.”

The Twin Cities refers to the Village of the Virgins and the Neo-Hip-Hot Cool-Kiddies Community. This music is a slow blues, very stately and spiritual, where “the river is no longer a river. Here we realize the validity of the foundation of religion which is the heavenly anticipation of rebirth.” The final Riba, or River, is a straight-ahead jazz band, complete with raunchy, swooping notes, and wailing strings.

HOLIDAY POPS

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, December 1, 2024 • 4:00 pm

Monday, December 2, 2024 • 7:30 pm

John Morris Russell, Conductor

Meredith Inglesby, Vocalist Jaia Alli, Cello, 2024 HHSO Youth Concerto Competition Winner Hilton Head Dance Theatre, Karena Brock-Carlyle and John Carlyle, Artistic Directors Hilton Head Symphony Orchestra Chorus, Dr. Dustin Ousley, Director

PROGRAM

STEVEN AMUNDSON On Christmas Day

TRADITIONAL/arr. BARLOW BRADFORD

Angels We Have Heard on High Hilton Head Symphony Orchestra Chorus

MEREDITH WILLSON/ It’s Beginning to Look a Lot Like Christmas arr. DARYL MCKENZIE

Meredith Inglesby

ÉDOUARD LALO Violoncello Concerto in D minor

Introduction: Andante – Allegro vivace Jaia Alli, Cello

LEROY ANDERSON Sleigh Ride

TRADITIONAL/arr. JEFF TYZIK Mis zeh Hedlik

EDWARD POLA, GEORGE WYLE/ It’s the Most Wonderful Time of the Year arr. DARYL MCKENZIE

Meredith Inglesby

EDWARD ELGAR/FRANCIS CHURCH Nimrod/Yes Virginia, There is a Santa Claus

J. FRED COOTS, HAVEN GILLESPIE

Santa Claus is Comin’ to Town

Meredith Inglesby

INTERMISSION

PYOTR ILYICH TCHAIKOVSKY Nutcracker, Op. 71, TH 14

Scene Tea Pas de deux

Sugar Plum Fairy Trepak Final Waltz/Apotheosis

Chocolate Mirlitons

Coffee Waltz of the Flowers

Hilton Head Dance Theatre

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

The Cypress of Hilton Head Forsythe Jewelers

Hilton Head BMW

MEREDITH INGLESBY, VOCALIST

Meredith Inglesby is a Hilton Head Island native and distinguished Broadway actress known for her captivating performances and versatile talent. Inglesby’s work is characterized by her dedication to her craft and her ability to connect with audiences. Whether on stage or screen, she brings a depth and authenticity to her roles that have made her a respected figure in the entertainment industry.

She made her Broadway debut as the French Maid/Feather Duster, Babette, in Disney’s Beauty and the Beast, followed by a member of the original Broadway cast of Disney’s The Little Mermaid. Prior to Broadway, she toured with Disney’s On the Record, which was a rousing revue of some of Disney’s greatest songs ever written, and can be heard on the original soundtrack. With her husband, Steve Blanchard, Meredith has performed on National Tours of Newsies, The Little Mermaid (Ursula) and Little House on the Prairie the Musical, starring Melissa Gilbert.

In addition to her stage work, Meredith has made significant contributions to television and film. Her on-screen performances have demonstrated her ability to transition seamlessly between the two. She has appeared in Newsies: The Broadway Musical, The Final Run, Law and Order, and Red Dead Redemption. Regionally, Meredith has portrayed The Lady of the Lake in Spamalot and Donna in Mamma Mia (Lyric of OK, Coastal Arts Center), Reno Who in The Grinch Who Stole Christmas (The Old Globe), and Off-Broadway as Reno Sweeney in Anything Goes. @MeredithInglesby

JAIA ALLI, CELLO

Jaia Alli, from Atlanta, Georgia, started her musical training on the piano at age five and added the cello ten years ago. Under the esteemed tutelage of Shirley Irek on piano, she attained a Superior Rating for nine consecutive years in the Concerto category and eleven consecutive years in the Solo category in the National Federation of Music Clubs Festival. Beginning in the 5th grade and continuing through 2021, Jaia won prizes at numerous piano competitions.

On cello, Jaia studies with Daniel Laufer, Associate Principal Cello of the Atlanta Symphony Orchestra. She has participated in the Tanglewood Institute summer camp, the Atlanta Festival Academy Orchestral Camp, virtual Sphinx Performance Academy, and the Philadelphia International Music Festival. She attended the Bowdoin International Music Festival, where she studied under Paul Katz, Professor of Cello at the New England Conservatory and founder of the Cleveland Quartet. She has participated in the GMEA All-State Orchestra since 6th grade. Last summer, Jaia went on tour in South America following a concert at Carnegie Hall as a member of the National Youth Orchestra of the United States of America. In April of 2023, she gave her debut solo recital on cello, piano, and organ. In January, she won 1st prize in the 2024 Hilton Head Youth Concerto Competition. In the fall, she began attending Emory University.

Jaia participated for eight years in the Atlanta Symphony Orchestra’s Talent Development Program and played for four years in the Atlanta Symphony Youth Orchestra, where she served as principal cellist.

HILTON HEAD DANCE THEATRE

Hilton Head Dance School, the official school of the non-profit Hilton Head Dance Theatre, opened its doors in 1985. At the helm of both the school and the theatre are Karena Brock-Carlyle, a former Principal Dancer with the American Ballet Theatre, and her husband John Carlyle. The theatre’s annual production of the Nutcracker is a much-loved event that has delighted tens of thousands of residents and visitors alike, as it is the official kick-off to the holiday season. In addition, Hilton Head Dance Theatre’s repertoire has grown to include all of the great full-length ballets such as Swan Lake, Sleeping Beauty, Giselle, Coppélia and Don Quixote. And every year, the youngest students are featured in productions of their own such as Peter Rabbit, Eloise, The Magic Toy Shoppe, and Ella Bella Ballerina. Students in the middle grades perform annually in a production called Terpsichore, Too dancing excerpts from Swan Lake or Sleeping Beauty as well as contemporary and jazz pieces.

KARENA BROCK-CARLYLE, ARTISTIC DIRECTOR

Karena Brock-Carlyle was named principal dancer of the American Ballet Theatre in 1973, sharing roles with such stars as Natalia Makarova, Cynthia Gregory, and Carla Fracci, while being partnered with male stars such as Rudolph Nureyev, Ivan Nagy, Fernando Bujones, Ted Kivitt, and Mikhail Baryshnikov. She has danced throughout Europe, Asia, Latin America, the United States, and Canada and has performed at the White House for two presidents. She has taught Master Classes from coast to coast. Born in California, Karena, at age 14, joined San Francisco’s Ballet Celeste and immediately after high school she became a soloist with the National Ballet of the Netherlands. She then returned to the United States to join the American Ballet Theatre in New York. Karena is an ABT® Certified Teacher and has successfully completed the ABT® Teacher Training Intensive in Primary through Level 7 of the ABT® National Training Curriculum.

JOHN CARLYLE, ARTISTIC DIRECTOR

John Carlyle was born in Swindon, England, but began his training in Atlanta at City Center Dance Theatre under the direction of Robert Archard. In New York City, he studied with Robert Scevers on full scholarship at the Harkness School of Ballet. While in New York, John studied with some of the finest ballet instructors in the world, including Melissa Hayden, Robert Denvers, David Howard, Edward Villella, and Bill Carter at The School of the American Ballet Theatre. He has danced professionally with the City Center Dance Theatre, The Tampa Ballet, and The Savannah Ballet. Roles include Prince Siegfried in Swan Lake, the Cavalier in the Nutcracker, Oberon in A Midsummer Night’s Dream, and Rudy in Le Baiser de la Fée. John has been a guest artist with Columbia City Ballet and the Lexington Ballet.

DR. DUSTIN OUSLEY, DIRECTOR

Dustin brings with him years of experience studying, teaching, participating in, and directing musical performances in a variety of settings. He holds a Bachelor of Arts in Music from Furman University, a Master of Music in Choral Conducting from UNC-Greensboro and a Doctor of Musical Arts from the University of South Carolina. He has been a professional music educator for the better part of twenty years, having taught high school choral music in western North Carolina and at the college level as Director of Choral Activities at Coker University (formerly College) and Charleston Southern University, teaching courses in music methods, conducting, applied voice, music appreciation, aural skills, and theory.

Throughout his career, Dustin has served as music/choir director for various churches, community choral groups, and schools, while also finding time to work as a choral clinician throughout the Carolinas at the middle and high school levels. As a performer, Dustin has performed in over 50 productions with the University of South Carolina, South Carolina Children’s Theatre, Greenville Little Theatre, Creative Arts Shoestring Theatre, Hickory Community Theatre, Green Room Community Theatre, Hudson Dinner Theatre, Coker College Theatre, and Charleston Southern University Lyric Theatre.

Dustin has prepared choirs at the University of South Carolina, Coker University, Charleston Southern University, Charleston Symphony Orchestra, and the Hilton Head Choral Society for performances of Beethoven’s Symphony No. 9, Mozart’s Coronation Mass/Requiem, Brahms’ Ein Deutsches Requiem, Rutter’s Mass of the Children/Requiem/Magnificat, Handel’s Messiah, Berlioz’ Requiem, Howells’ Sir Patrick Spens, Fauré’s Requiem, Vivaldi’s Gloria, Mendelssohn’s Die Erste Walpurgisnacht, Britten’s St. Nicolas, Dubois’ Seven Last Words of Christ, and Forrest’s Requiem for the Living.

Dustin is currently the chorus teacher at Colleton County High School and coaches JV volleyball.

HILTON HEAD SYMPHONY ORCHESTRA CHORUS

The HHSOC always enjoys performing Holiday favorites with the Maestro, the HHSO, and guest artists. For the full chorus biography, please see page 78.

JOHANN SEBASTIAN BACH

JAIME AND FRIENDS

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, January 19, 2025 • 4:00 pm

Monday, January 20, 2025 • 7:30 pm

Jaime Laredo, Conductor and Violin

Sharon Robinson, Cello

Anna Polonsky, Piano

PROGRAM

Violin Concerto No. 1 in A minor, BWV 1041

Allegro moderato

Andante

Allegro assai

Jaime Laredo, Violin

GABRIEL FAURÉ

Elegy, Op. 24

Sharon Robinson, Cello

FELIX MENDELSSOHN Piano Concerto No. 1 in G minor, Op. 25

Molto allegro con fuogo

Andante

Presto – Molto allegro e vivace

Anna Polonsky, Piano

INTERMISSION

LUDWIG VAN BEETHOVEN Concerto in C Major for Violin, Violoncello, and Piano, Op. 56, ‘Triple”

Allegro

Largo

Rondo alla polacca

Jaime Laredo, Violin

Sharon Robinson, Cello

Anna Polonsky, Piano

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

JAMIE LAREDO, CONDUCTOR AND VIOLIN

For over six decades, Jaime Laredo has excelled in the roles of soloist, conductor, recitalist, pedagogue, and chamber musician. Since his orchestral debut at the age of eleven with the San Francisco Symphony, he has won the admiration and respect of audiences, critics and fellow musicians with passionate and polished performances. At seventeen, Laredo won the prestigious Queen Elisabeth of Belgium Competition, launching his rise to international prominence. For 45 years, Laredo toured as a member of the beloved Kalichstein-Laredo-Robinson Trio and in 2022, launched the new piano quartet, Espressivo! with Anna Polonsky, Milena Pajaro-van de Stadt, and Sharon Robinson.

In the 2024-2025 season, Laredo returns to the lead orchestras in New York’s Carnegie Hall and Hilton Head, South Carolina, and embarks on a three-year project to premiere and tour the new piano quartet, JOY STEPPIN’, written for the Espressivo! ensemble by Nokuthula Ngwenyama. In addition to solo and chamber performances, the 2023-2024 season included appearances as conductor/soloist at venues including the Kennedy Center and the Juilliard School, reprising some of the works included in the ‘2x4’ project with violinist and one-time student Jennifer Koh.

Conducting and performing highlights include the Chicago, Boston, Pittsburgh, and San Francisco Symphonies, Los Angeles and New York Philharmonics, Cleveland and Philadelphia Orchestras, among many others. Acclaimed premieres of Double Concertos written specifically for Laredo and his wife, cellist Sharon Robinson, are particularly memorable. He has appeared with the London and BBC Symphonies, and Scottish Chamber Orchestra, with which he made numerous best-selling recordings, as well as other orchestras around the globe.

Laredo has recorded nearly one hundred discs, including a GRAMMY® Award-winning disc of Brahms Piano Quartets with Emanuel Ax, Isaac Stern, and Yo-Yo Ma. His recordings range from collaborations with Glenn Gould, to double concertos with violinist Jennifer Koh and cellist Sharon Robinson, plus awardwinning recordings with The Kalichstein-Laredo-Robinson Trio. A 2023 CD Box Set on Sony, and five episodes of Exploring Music on WFMT celebrate Laredo’s extraordinary legacy.

Laredo’s stewardships of the New York String Orchestra Seminar at Carnegie Hall, which he has conducted since 1993, and the International Violin Competition of Indianapolis have become beloved educational pillars of the musical community. A revered pedagogue, he has held long-time teaching posts on the faculty of the Cleveland Institute of Music, Indiana University, and Curtis Institute.

He is also Co-Artistic Director of Cincinnati’s Linton Chamber Music. He recently completed 20 years as Music Director of the Vermont Symphony and held the post of Artistic Director of the Chamber Music at the Y series in New York for 40 years. Born in Bolivia, Jaime Laredo resides in Guilford, VT.

Jaime Laredo’s recordings can be found on the CBS, RCA, KOCH International, Dorian, SONY, Azica, and Bridge labels. Please visit his Facebook page @jaimelaredoofficial for additional information about touring, recordings, and special projects.

Photo: Christian Steiner

SHARON ROBINSON, CELLO

Winner of the Avery Fisher Recital Award, Piatigorsky Memorial Award, Pro Musicis Award and a GRAMMY® nominee, cellist Sharon Robinson is recognized worldwide as a consummate artist and one of the most outstanding musicians of our time.

Whether Ms. Robinson appears as a recitalist, soloist with orchestra, or member of the exciting new Espressivo! piano quartet, critics, audiences, and fellow musicians respond to what the Indianapolis Star has called “a cellist who has simply been given the soul of Caruso.” Her guest appearances with orchestras include the Philadelphia and Minnesota orchestras; Los Angeles Philharmonic; Boston, Baltimore, Cincinnati, Dallas, Houston, National, Pittsburgh, St. Louis, and San Francisco symphonies; and in Europe, the London Symphony, Helsinki Philharmonic, Zürich’s Tonhalle Orchestra, and the English, Scottish, and Franz Lizst chamber orchestras.

Recipient of the 2012 Governor’s Award for Excellence in the Arts from the state of Vermont, Robinson divides her time between teaching, solo engagements, performing with her husband, violinist and conductor Jaime Laredo, and is much in demand as a chamber player. She is co-artistic director of the Linton Chamber Music Series in Cincinnati and of the Hudson Valley Chamber Music Circle at Bard College. From 2012 till 2024 she served on the renowned instrumental and chamber music faculty of the Cleveland Institute of Music. She previously was a full professor at the Indiana University Jacobs School of Music and has an Honorary Doctorate from Marlboro College.

In 2015, Robinson established the Cleveland Chapter of Music for Food, which raises funds for food assistance for hungry families in NE Ohio. Highly sought after for her dynamic master classes, she brings insight to her teaching from the rare combination of her lifetime experiences as member of the Houston Symphony Orchestra, the Ciompi String Quartet of Duke University, 45 years with the Kalichstein‐Laredo‐Robinson Trio, plus countless solo recitals and concerto performances.

Committed to the music of our time, Robinson has worked closely with many of today’s leading composers, including Ned Rorem, Leon Kirchner, Arvo Pärt, Stanley Silverman, Ellen Taaffe Zwilich, Joan Tower, David Ludwig, Katherine Hoover, Richard Danielpour, and André Previn.

She is admired for consortium building, putting together multiple presenters as co‐commissioners of both chamber music works and concertos with orchestra. She gathered ten presenters to co-commission Nokuthula Ngwenyama’s “Elegy for Piano Quartet” which was written as a response to the tragic events and social reckoning of 2020. Robinson also put together a consortium to commission Shawn Okpebholo’s Wind Quintet, which mourns racial inequity. Espressivo! will premiere JOY STEPPIN’ by Nokuthula Ngwenyama in 20 concerts coast to coast.

Photo: Christian Steiner

ANNA POLONSKY, PIANO

Anna Polonsky is widely in demand as a soloist and chamber musician. She has appeared with the Moscow Virtuosi, the Buffalo Philharmonic, the Saint Paul Chamber Orchestra, the Columbus Symphony Orchestra, the Memphis Symphony, the Chamber Orchestra of Philadelphia, the St. Luke’s Chamber Ensemble, and many others.

Ms. Polonsky has collaborated with the Guarneri, Shanghai, and Juilliard Quartets, and with such musicians as Mitsuko Uchida, Yo-Yo Ma, Richard Goode, Emanuel Ax, Arnold Steinhardt, Michael Tree, and Jaime Laredo. She has performed chamber music at festivals such as Marlboro, Chamber Music Northwest, Seattle, Music@Menlo, Cartagena, Bard, and Caramoor.

Ms. Polonsky has given concerts in the Amsterdam Concertgebouw, the Vienna Konzerthaus, the Alice Tully Hall, and Carnegie Hall’s Stern, Weill, and Zankel Halls, and has toured extensively throughout the United States, Europe, and Asia.

A frequent guest at the Chamber Music Society of Lincoln Center, she was a member of the Chamber Music Society Two during 2002-2004. She is a recipient of a Borletti-Buitoni Trust Fellowship and the Andrew Wolf Chamber Music Award.

Anna Polonsky made her solo piano debut at the age of seven at the Special Central Music School in Moscow, Russia. She emigrated to the United States in 1990, and attended high school at the Interlochen Arts Academy in Michigan. She received her Bachelor of Music diploma from The Curtis Institute of Music under the tutelage of the renowned pianist Peter Serkin, and continued her studies with Jerome Lowenthal, earning her Master’s Degree from the Juilliard School. In addition to performing, she serves on the piano faculty of Vassar College, and in the summer at the Marlboro and Kneisel Hall chamber music festivals.

Together with violinist Jaime Laredo, violist Milena Pájaro-van de Stadt, and cellist Sharon Robinson, Polonsky is a member of the Espressivo! Piano Quartet. With the clarinetist David Shifrin and cellist Peter Wiley, she performs with the Polonsky-Shifrin-Wiley Trio.

Ms. Polonsky is a Steinway Artist.

Photo: Steve Riskind

About the Music

by Jonathan Aceto

Violin Concerto No. 1 in A minor, BWV 1041

Johann Sebastian Bach (1685-1750)

Bach admired the great Italian violinist and composer Antonio Vivaldi and studied much of his music in 1714. Thus, many of Bach’s pieces composed shortly after that time have an Italian flair about them, including his violin concerto in A minor. Although the original manuscript no longer exists, scholars have found in Leipzig a set of parts clearly written in Bach’s hand. In the 1730s, when he was director of the Collegium Musicum in Leipzig, Bach transcribed the concerto for harpsichord, likely performing the solo part on one of their concerts given in local coffee houses.

The first movement follows a standard ritornello form in which the opening theme is brought back at various times, often as just a short phrase. Curiously, Bach did not give the first movement a tempo marking. The Andante features an ostinato bass line, providing a powerful heartbeat to the movement. The soloist often holds long notes, which create an incredible harmonic tension over the changing bass, only to break forth into a swirl of triplets which finally cadence into the relief of the home chord. For the last movement, Bach imitates a gigue, both in meter and in rhythm, and the result gives a feeling of joy to the minor key. Listen for a fantastic bariolage passage where the violinist cleverly plays notes that alternate in pitch, but uses three strings to make it much easier to play.

Elegy, Op. 24

Gabriel Fauré (1845-1924)

Gabriel Fauré was a prominent French composer and organist who was influential in transitioning from traditional tonal Romanticism into the harmonic freedom of Impressionism and Jazz. He studied with Saint-Saëns, worked at some of the most important churches in Paris, and taught several composers including Ravel and Nadia Boulanger. Fauré is well-known for his art songs and the Requiem, but there are also orchestral pieces that have become standard repertoire like Pavane and Pelléas et Mélisande.

In 1880, Fauré began working on a cello sonata and, as he often did, composed the slow movement first. By 1883, he had abandoned the idea of a full sonata, labeling the single movement Élégie. Fauré dedicated the piece to cellist Jules Loeb, who premiered it with Fauré in 1883. Later, he created a version with orchestra which was premiered by Pablo Casals in 1901. The piece opens with a somber melody slowly working its way down a C minor scale. After that melody repeats, the mood turns hopeful as the key goes into major and a clarinet introduces a tentative love-theme. Alas, that bit of joy does not last long, and the orchestra and cello dramatically spar with each other, ending with the soloist passionately ascending a scale up into an intense statement of the first melody.

Dusk | Rachael Newman

Piano Concerto No. 1 in G minor, Op. 25

Felix Mendelsohn (1809-1847)

Mendelssohn had much going through his mind during the years around 1830. He conducted a performance of Bach’s St. Matthew Passion, which began the significant revival of Bach’s music in Europe. He made extensive trips to Great Britain and Italy, which inspired the Hebrides Overture and the “Scottish” and “Italian” Symphonies. He was eagerly capitalizing on the new developments with the piano, using the added resonance and power of the improved instrument in his first proper piano concerto. Finally, Mendelssohn met the young pianist Delphine von Schauroth while staying in Munich and, during their brief romance, dedicated this concerto to her. He premiered the concerto in Munich in 1831 and it was instantly a hit.

Mendelssohn, forgoing the usual lengthy orchestra exposition, opens the concerto with tremolo strings that dramatically crescendo into the piano entrance. After some florid passages, the piano launches into the main theme, a commanding melody in G minor, which soon transitions into the simple, yet lyrical, second theme. The movement wraps up with a trumpet fanfare over pizzicato strings, which seamlessly leads into the Andante. Violas and cellos introduce the stately melody which is soon taken up by the piano and transformed into remarkable tenderness. The same trumpet fanfare heralds the transition into the last movement and the mood seems dark and stormy. Suddenly, the piano dives in with mischievous sparkle as the Molto Allegro swings into a lighthearted major key, the soloist practically galloping to the finish.

Concerto in C Major for Piano, Violin, and Violoncello, Op. 56 Ludwig van Beethoven (1770-1827)

One of the most important and often written forms of chamber music in the 18th Century was the piano trio. Indeed, in addition to numerous examples by Haydn and Mozart, Beethoven’s first three published compositions were piano trios. Thus, it is no surprise that Beethoven would conceive of taking that combination and placing it into a concerto setting. He composed the work in 1803 at the same time he was working on the “Eroica” symphony and premiered it in 1807 in Vienna. Some scholars have suggested that an additional reason to create a “triple” concerto may have come from his pupil, the 16-year-old Archduke Rudolf. What better opportunity for the Archduke than to have a flashy, yet technically modest, solo part supported by two other more experienced soloists. Unfortunately, there is no evidence that he ever performed it.

The work opens very softly with the low strings presenting the first theme, elegant but with a snappy dotted rhythm at the end. As the piece proceeds, we hear the second theme, similar in rhythm but with a brisk triplet accompanying pattern. When the soloists enter, Beethoven has the cellist play first and in a high register, perhaps sensing the cellist could be swamped by the thick texture. Beethoven also often pits the two string players against the piano as they pass material back and forth. The Largo is simply a pensive bridge into the last movement with the solo strings having the melody as the piano accompanies. The cellist leads the group into the Rondo alla polacca, a fun, boisterous polonaise complete with virtuosic, gypsy-like contrasting sections.

THE SEVEN DEADLY SINS

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, February 2, 2025 • 4:00 pm

Monday, February 3, 2025 • 7:30 pm

John Morris Russell, Conductor

Elio Buckley, Director

Anna I: Gabrielle Beteag, Mezzo Soprano

Anna II: Anna Lopez, Performer

Brother: Logan Wagner, Tenor

Mother: Blake Denson, Baritone

Brother: Charles H. Eaton, Baritone

PROGRAM

HANS KRÁSA Overture for small orchestra

DARIUS MILHAUD La création du monde, Op. 81

The Creation of the World

Overture

The Chaos Before Creation

The Birth of Plants and Animals

The Birth of Man and Woman

The Desire [of Man and Woman]

Spring or Healing

INTERMISSION

KURT WEILL The Seven Deadly Sins Prologue

Sloth

Pride

Wrath Gluttony

Lust

Covetousness

Envy Epilogue

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

TidePointe, a Vi Community

GABRIELLE BETEAG, MEZZO SOPRANO

American mezzo-soprano Gabrielle Beteag brings a fresh joy and commanding warmth to repertoire spanning Baroque to contemporary works. Praised as a “showstopper” by the San Francisco Chronicle, Beteag’s recent performance in the Merola Grand Finale concert was “a virtuoso display of rhythmic precision and vocal exuberance.”

A recent graduate of the Adler Fellowship at San Francisco Opera, Gabrielle returns to the company this season to sing Offred’s Mother in The Handmaid’s Tale, and to cover Ulrica in Un ballo in maschera. On the concert stage, she joins the Santa Rosa Symphony for her first Mahler Symphony No. 2, “Resurrection.”

Last season Beteag appeared with the San Francisco Opera as Stimme von Oben in Die Frau ohne Schatten, an Image of Frida Kahlo in El último sueño de Frida y Diego, and the Teacher in The (R)evolution of Steve Jobs She then traveled to Cape Town, South Africa, where she placed as a semifinalist in the 2023 Operalia World Opera Competition. She also sang Mahler’s Das Lied von der Erde with the San Francisco Ballet and, during the summer, she joined Wolf Trap Opera as a Filene Artist, appearing as the mezzo-soprano soloist in Beethoven’s 9th Symphony (National Symphony Orchestra), as well as Anna I in Kurt Weill’s The Seven Deadly Sins.

ANNA LOPEZ, PERFORMER

Anna Lopez is a dancer and choreographer from New York City. She attended Fiorello H. LaGuardia High School for the Performing Arts, and is a recent graduate of the School of Dance at George Mason University under direction of Karen Reedy. Anna is also an alumnus of the MOVE |NYC| Young Professionals Program. She is currently an apprentice with RUBBERBAND Dance in Montreal, Quebec. She has been given the opportunity to perform the works of Kyle Abraham, Rena Butler, and Susan Shields, as well as performing Martha Graham’s Steps in the Street alongside the Graham Company. In June of 2024, Anna played the role of “Anna II” in Wold Trap Opera’s production of Kurt Weill’s The Seven Deadly Sins, as well as choreographed for the opera. Choreographically, Anna has presented works at Dumbo Dance Festival, Battery Dance Festival, and Aurora Dance Festival this past summer.

LOGAN WAGNER, TENOR

Logan Wagner has been hailed for his versatility in both musical theater and opera on stages across the U.S. An advocate for contemporary opera, Logan has originated multiple roles with Cincinnati Opera’s Opera Fusion: New Works. Recent career highlights include Clarence Elkins (Blind Injustice–PEAK Performances), Beadle Bamford (Sweeney Todd–Dayton Opera), Marcellus/Second Gravedigger (Hamlet–CSO/Opéra Comique), Timothy Laughlin (Fellow Travelers–CCM), Monostatos (The Magic Flute–Utah Festival Opera), and Padre (Man of La Mancha–Utah Festival Opera).

Logan is an alum of the Des Moines Metro Opera Apprentice Program and the Wolf Trap Opera Studio. Recently, he was named the Grand Prize winner at the Corbett Competition, finalist in the Lotte Lenya Competition, 2nd place in the Rochester Oratorio Vocal Competition, and 3rd place in the Orpheus Competition. He holds a Master’s degree from CCM and is currently in the prestigious Artist Diploma program there.

BLAKE DENSON, BARITONE

Blake Denson, a “roaring baritone” (Klassik begeistert), has quickly established himself as one of the most exciting vocal talents in recent seasons. Known for his “captivating dramatic interpretations” and “striking upper register” (Opera Wire), Denson’s 2024-2025 season includes debuts at Paris Opera and Los Angeles Opera as Monterone in Rigoletto, along with a return to the Metropolitan Opera in the same role and title. A recent recipient of prestigious awards like The Richard Tucker-Sarah Tucker Grant, Denson has also won accolades from The George London Foundation and The Dallas Opera National Vocal Competition.

In the 2023-2024 season, he debuted as Ford in Falstaff with Houston Grand Opera and joined the Metropolitan Opera roster for Madama Butterfly and Fire Shut Up in My Bones. A graduate of the Houston Grand Opera Studio, and with degrees from Rice University and University of Kentucky, Denson continues to impress on both national and international stages, solidifying his place among the top baritones of his generation.

CHARLES H. EATON, BARITONE

American baritone Charles H. Eaton begins his 2024/2025 season with a return to Minnesota Opera for his role debut as Mercutio in Roméo et Juliette. He then makes his role and company debut as Silvio in Pagliacci with Pensacola Opera, and returns to Madison Opera for his debut in the title role of Don Giovanni. In the summer of 2024, Mr. Eaton made company and role debuts as Ponchel in Silent Night and Brother in The Seven Deadly Sins at Wolf Trap Opera, and returned to the prestigious Isaac Stern Auditorium at Carnegie Hall as the baritone soloist in the Duruflé Requiem. Previously, Mr. Eaton was a resident artist at Minnesota Opera, where he was featured in Trouble in Tahiti, La bohème, Rinaldo, and Don Giovanni.

Mr. Eaton is a graduate of young artist programs at The Glimmerglass Festival, Des Moines Metro Opera, and Opera Colorado, and holds a Bachelor’s and Master’s degree in vocal performance from the University of Connecticut and the University of Minnesota, respectively.

ELIO BUCKY, DIRECTOR

Elio Bucky (they/he) is an opera stage director and projection designer. Their work celebrates plurality, truth, and innovation in the creative process.

In the 2023-2024 season, Elio directed new productions of Kurt Weill & Bertolt Brecht’s The Seven Deadly Sins (Wolf Trap Opera), Puccini’s La bohème (Butler Opera Center), and Song Re-Imagined, a staged multimedia recital in collaboration with pianist Tamar Sanikidze that remixed song cycles by De Falla, Rachmaninoff, and Ibert. Additionally, they were the projection designer for Puccini’s Suor Angelica and Gianni Schicchi at Binghamton University. An enthusiastic collaborator, Elio assisted directors James Darrah, Mo Zhou, and Katherine M. Carter.

Elio studied voice & opera performance at Northwestern University and opera directing at the Butler Opera Center. They have held prestigious directing fellowships at Wolf Trap Opera and the Music Academy of the West, and trained as a singer at the Chautauqua Institution.

About the Music

by Jonathan Aceto

This concert offers a kaleidoscopic look at music in the early 20th Century, from Expressionism to cabaret songs and American jazz, through the eyes of three Jewish composers.

Overture for small orchestra

Hans Krása (1899-1944)

Hans Krása was born in Prague and, after learning the violin and piano, studied composition at the German Music Academy. In 1927, he moved to Berlin and met composer Alexander Zemlinsky, who became a significant influence on Krása along with Schoenberg and the French Impressionists. His early works include art songs, a string quartet, and a symphony which was performed in Zurich, Paris, and Boston. His first big success was the opera Betrothal in a Dream, based on a novel by Dostoyevsky. He wrote a children’s opera, Brundibár, just before being arrested by the Nazis and sent to the Terezín concentration camp in 1942.

La création du monde, Op. 81

Darius Milhaud (1892-1974)

While in Terezín, Krása continued to compose and further contributed to the musical culture through accompanying and conducting. He directed 55 performances of Brundibár, some of which were filmed for Nazi propaganda about conditions at Terezín. His Overture for small orchestra was one of his last compositions, although it never was performed at the camp. It features driving rhythms and colorful orchestration, like a pointillistic painting, that belie the horrible circumstances in which he was living. Krása was sent to Auschwitz in 1944 and was murdered by the Nazis in October of that year.

Darius Milhaud was one of Les Six, the group of young French composers assembled by Jean Cocteau in the 1920s to reinvent French music. In 1916, Milhaud traveled to Brazil and reveled in all the popular music he heard, from sambas to tangos. He got his first taste of American jazz in London with Billy Arnold’s Novelty Jazz Band. Captivated, Milhaud visited Harlem in 1922 to experience the real thing. Back in Paris, Milhaud became caught up in the African exoticism sweeping the art world and frequented the Gaya Bar, a popular hangout for Les Six, to hear Jean Wiener’s band. By the time Milhaud started work on La création du monde, jazz (known in Paris as “le tumult noir,” the Black Noise) had become the hot music in Paris. Milhaud especially loved syncopation and the way it was both seemingly chaotic and remarkably precise.

This work was commissioned by Ballets Suédois, which gave the premiere in Paris in October 1923. The unique instrumentation is the same as one of the bands Milhaud heard in Harlem. The ballet has an overture plus five parts

and is based on an African creation story. It opens with a beautiful, yet haunting saxophone melody with syncopated interjections from the brass. The curtain rises on three African gods creating life with chants and rituals to a fugue theme using the blues scale. The theme becomes more expressive as flute, oboe, and horn each get a chance to solo. The tempo picks up to dancing strings as man and woman are created, then everyone joins in. Clarinet emerges with a seductive melody, gently encouraged by the percussion. The seduction becomes pretty wild, but eventually the oboe quiets everyone down as we finish with fluttering flutes and a farewell kiss by the saxophone.

The Seven Deadly Sins Kurt Weill (1900-1950)

Kurt Weill was a German composer of eclectic style, specializing in theater songs but also writing sophisticated string quartets, cantatas, and even a violin concerto. In 1921, he began studying composition with Ferruccio Busoni, who influenced him to turn away from Wagnerian Romanticism and embrace Neoclassicism. This coincided with Weill’s belief that music should have a social purpose and thus many of his theater works feature songs which provide commentary rather than deal with a character’s emotions. Up until 1933, Weill worked in Germany, often with playwright Bertolt Brecht. Their most famous works are The Threepenny Opera and The Rise and Fall of the City of Mahogany.

When the Nazis seized power at the end of 1932, both realized they could not continue to work safely in Berlin: Weill because he was Jewish, and Brecht because of his leftist writings (Weill once commented sarcastically that he was “unable to set the Communist Manifesto to music”). Brecht escaped by moving to several European cities, but Weill chose Paris. It was there he was commissioned by Edward James, a wealthy Englishman, to compose The Seven Deadly Sins. James’ wife, Tilly Losch, was a ballerina who bore a surprising likeness to Lotte Lenya, a prominent theater singer and Weill’s wife. Knowing Lenya would be playing a lead role, James wrote into the contract that his wife be hired to play a doppelgänger dancer to Lenya. Thus, we have a singer and a dancer playing different sides of the same character. Weill contacted Brecht in Switzerland, and he came to Paris to write the libretto. It would be the last time they would work together.

This “sung ballet” tells the story of Anna, who is coerced by her family into raising money so they can build a house in Louisiana. Anna 1, the singer, is very practical, while Anna 2, the dancer, has her head in the clouds. As Anna travels to seven American cities (inspired by Brecht’s own journey through Europe), Weill works several popular styles into the score, using musical parody alongside the satire. For example, the family sings a religious motet for “Sloth” as they pray for Anna to work hard enough, and “Pride” features a Viennese waltz as Anna sings about being an exotic dancer. George Balanchine directed and choreographed the premier on June 7, 1933.

JOAN ELLISON, SONGSTRESS

Joan Ellison has been described by Michael Feinstein as a “rare combination of artist, archivist, and arranger.” As the restorer of Garland’s original orchestral arrangements for the Judy Garland Heirs Trust, she brings musical authenticity and a life-long love for Judy to the stage.

Recent concert highlights include Get Happy! A Judy Garland Celebration, with the Toledo, Jacksonville, Portland, New Haven, Springfield, Punta Gorda, Bartlesville, Southwest, New Albany, and Paducah Symphonies, the Pops Orchestra of Bradenton and Sarasota, and the Cleveland Pops; Judy and Liza at the Palladium with the Santa Rosa Pops; and a song-forsong recreation of Garland’s 1961 Carnegie Hall concert hosted by Judy’s daughter, Lorna Luft, and conducted by Michael Berkowitz (Liza Minnelli’s conductor/drummer), with Joan and Broadway divas Debbie Gravitte and Karen Mason. Her new symphony concert, It’s Magic! Joan Ellison Swings in High Fidelity, premiered in 2023 and celebrates the most dazzling singers, songwriters, and arrangers of the mid-twentieth century. Her cabaret show celebrating the Garland Centennial, Love Finds Judy Garland, played theaters in Illinois, Pennsylvania, Ohio, and Maine.

Joan’s work as a singer and arrangement restorer was recently featured as part of #PBSForTheArts and on Detroit Public Television. 2024-25 tour highlights include Love Finds Judy Garland at Florida’s Maltz Jupiter Theatre, It’s Magic! with the symphonies of New Haven, Evansville, and Waterloo Cedar Falls, Get Happy! with the symphonies of Hilton Head, Holland (MI), and Tuscaloosa, and Holiday Pops with the symphonies of New Albany and Enid (OK).

In 2016, Joan embarked on a mission to restore Judy Garland’s original orchestrations. At Michael Feinstein’s invitation she serves as Editor of the Judy Garland Carnegie Hall Concert Restoration Project for the Judy Garland Heirs Trust. Recently, Joan was given the privilege of restoring the newly-rediscovered MGM film arrangement of “Over the Rainbow.”

Stage roles include Ms. Garland in the first U.S. professional regional production of The Boy From Oz, Julie in Carousel, Nellie in South Pacific, Lizzie in 110 in the Shade, and Eliza in My Fair Lady (in concert). Her critically-acclaimed second album, “Retrophonic Gershwin,” was recorded at Oberlin’s Clonick Hall.

Joan earned an M.M.T. and a Bachelor of Music degree in Voice from Oberlin Conservatory of Music. Early musical highlights while growing up in Iowa included playing Flora in The Turn of the Screw with the Des Moines Metro Opera, opposite Lauren Flanigan, and singing for Liza Minnelli when she came to town.

She serves as Teacher of Popular Voice at The Cleveland Institute of Music and for the M.F.A. Acting Program at the Cleveland Play House/Case Western Reserve University. www.joanellison.com

Photo: Beth Segal

GET HAPPY! A JUDY GARLAND CELEBRATION

John Morris Russell, Music Director Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, February 16, 2025 • 4:00 pm Monday, February 17, 2025 • 7:30 pm

John Morris Russell, Conductor Joan Ellison, Songstress PROGRAM

HUGH MARTIN & RALPH BLANE/arr. C. SALINGER* The Trolley Song

JAMES HANLEY/arr. N. RIDDLE* Zing! Went the Strings of My Heart

HUGH MARTIN & RALPH BLANE/arr. Unknown* The Boy Next Door

LARRY SHAY, MARK FISHER, & JOE GOODWIN/ When You’re Smiling arr. N. RIDDLE*

GEORGE & IRA GERSHWIN/arr. J. GREEN But Not For Me

GEORGE & IRA GERSHWIN/arr. J. GREEN I Got Rhythm

ALAN JAY LERNER & FREDERICK LOEWE, Almost Like Being in Love/ RICHARD RODGERS & LORENZ HART/arr. H. BEAU* This Can’t Be Love

HAROLD ARLEN & IRA GERSHWIN/arr. S. MARTIN* The Man That Got Away

HAROLD ARLEN & TED KOEHLER/arr. S. MARTIN* Get Happy INTERMISSION

ARTHUR SCHWARTZ & HOWARD DIETZ/arr. C. SALINGER* That’s Entertainment!

HAVEN GILLESPIE & J. FRED COOTS/arr. N. PARAMOR* You Go to My Head

ROGER EDENS/ NORA BAYES & JACK NORWORTH/ Palace Medley: Shine On Harvest SHELDON BROOKS/JACQUES-CHARLES, Moon/Some of These Days/ CHANNING POLLOCK, ALBERT WILLEMETZ & My Man/I Don’t Care MAURICE YVAIN/HARRY O. SUTTON & JEAN LENOX*

HAROLD ARLEN & TED KOEHLER/arr. N. PARAMOUR* Stormy Weather

HAROLD ARLEN & JOHNNY MERCER/arr. N. RIDDLE* Come Rain or Come Shine

HAROLD ARLEN & YIP HARBURG/arr. M. CUTTER* Over the Rainbow

HAROLD ARLEN & YIP HARBURG, I Could Go On Singing adapted for symphony orchestra by DARYL MCKENZIE from the original arr. by MORT LINDSEY*

*These arrangements used with the kind permission of the Judy Garland Heirs Trust.

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

Group 3/Pyramids

HILTON HEAD SYMPHONY ORCHESTRA CHORUS

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

The chorus is skilled in a diverse range of repertoire from the opera and Broadway stages to classical works of the great masters and are highly praised for their rich and expressive sound. Several years ago, the chorus also displayed their lighter side and flair for fun with a Flash Mob performance at Shelter Cove!

Formed in 2006 by the HHSO, under the direction of Maestra Mary Woodmansee Green, the HHSOC debuted with Mahler’s Second Symphony with performances in Hilton Head and at the Lucas Theatre in Savannah. Since then, the HHSOC has performed a wide variety of works including Orff’s Carmina Burana; Brahms’ A German Requiem; Tchaikovsky’s 1812 Overture; Mozart’s Grand Mass in G minor; Holst’s The Planets; opera selections from Aida, Die Fledermaus, A Midsummer Night’s Dream; Falstaff, and Macbeth; as well other works by Bach, Berlioz, Verdi, Copland, Handel and Mendelssohn.

Under the baton of Maestro John Morris Russell since 2012, the HHSOC is featured in both the HHSO holiday and spring concerts, having performed Mendelssohn’s Elijah, Poulenc’s Gloria, Brahms’s A German Requiem, Silvestri’s The Polar Express, selections from Handel’s Messiah, and an all-Gilbert and Sullivan evening featuring selections from The Mikado, Pirates of Penzance, H.M.S. Pinafore, and a semistaged version of Trial by Jury- all to rave reviews. As a grand finale to the 2023-2024 season, the HHSOC performed Beethoven’s Symphony No. 9. The HHSOC is thrilled to again be joining forces with Claflin University’s Concert Choir for Carl Orff’s Carmina Burana.

Dr. Dustin Ousley serves as the Director, accompanied by Lauren Stuligross. The HHSOC is managed by Gayle Lang. Now entering their 18th season, this highly acclaimed ensemble continues to expand their repertoire and their love of music, while striving to set the highest standard for performance and professionalism.

The HHSOC is open to all experienced singers who wish to perform with the Hilton Head Symphony Orchestra. Auditions are held throughout the year, and may be scheduled by contacting Gayle Lang, Manager, at glang@hhso.org.

CARL ORFF: CARMINA BURANA

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, March 2, 2025 • 4:00 pm

Monday, March 3, 2025 • 7:30 pm

John Morris Russell, Conductor

Hilton Head Symphony Orchestra Chorus, Dr. Dustin Ousley, Director

Claflin University Concert Choir, Dr. Charlie J. Toomer, Jr., Director Statesboro Youth Chorale, Michael Roemer, Director

PROGRAM

CARL ORFF Carmina Burana

Fortuna Imperatrix Mundi

1. O Fortuna

2. Fortuna plango vulnera

I. Primo vere

3. Veris leta facies

4. Omnia sol temperat

5. Ecce gratum

Uf dem anger

6. Tanz

7. Floret silva nobilis

8. Chramer, gip die varwe mir

9. Reie

Swaz hie gat umbe

Chume, chum geselle min

Swaz hie gat umbe

10. Were diu werlt alle min

SEASON SPONSOR

II. In taberna

11. Estuans interius

12. Olim lacus colueram

13. Ego sum abbas

14. In taberna quando sumus

III. Cour d’amours

15. Amor volat undique

16. Dies, nox et omnia

17. Stetit puella

18. Circa mea pectora

19. Si puer cum puellula

20. Veni, veni, venias

21. In trutina

22. Tempus est locundum

23. Dulcissime

Blanziflor et Helena

24. Ave formosissima

Fortuna Imperatrix Mundi

25. O Fortuna

With classical voices presented by the Savannah VOICE Festival

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

Boys Arnold Wealth Management

CLAFLIN UNIVERSITY CONCERT CHOIR

Nestled in the sand hills of Central South Carolina, Claflin University continues its musical tradition of excellence through music of the Claflin University Concert Choir. The Concert Choir has traveled abroad to perform in Italy, Germany, Switzerland, France, and Australia. They performed during both inaugurations of former Governor

Nikki Haley and in 2008, the choir traveled to Beijing, China, to join a Choral Tribute for the prelude of the Olympic Games. They have also performed with greats such as Stephanie Mills and Denyce Graves and have released a CD recording entitled “Hehlehlooyuh”. It was at a concert given by the choir in Lake City, South Carolina, that philanthropist Darla Moore heard the choir and was so moved that she gifted one million dollars to the music department for scholarships.

Today, the Claflin University Concert Choir is composed of 28 members under the direction of Dr. Charlie Toomer, Jr., Assistant Professor of Music and Director of Choral Studies. The Concert Choir is open to all students with a variety of majors, and they all serve as official ambassadors for the University.

As ambassadors, the Concert Choir’s service to Claflin is unique. Choir members interact with prospective students, alumni, and friends as they represent the excellence of Claflin University through their musical gifts. They also assist the University in recruiting, public relations, and development. As viable and visible alumni, they will personify the best of Claflin University.

DR. CHARLIE J. TOOMER JR., DIRECTOR

Dr. Toomer’s experience as a choral director spans over twenty years. He has worked in both the public and private sectors of schools, with most of his experience in the collegiate realm. He is currently the Director of Choral Studies at Claflin University in Orangeburg, SC. Dr. Toomer advocates for growth and exposure for the Claflin University Choir. Their most recent travels and achievements include performing for U.S. Congressman James E. Clyburn in Washington, D.C., the honorable Phylicia Rashad in Chester, S.C., Moving Star Hall Praise House on Johns Island, the grand opening of the African-American History and Culture Museum in Charleston and Porgy and Bess with the Charleston Symphyony Orchestra.

Among his accomplishments, Dr. Toomer is proud to have served as the 2007 All-State Director for High School Men’s Chorus in Florida. While at FAMU, his Concert Choir performed at the Florida Music Educators National Conference, now the National Association for Music Education in Tampa, FL. His students were also invited to perform in Anchorage, Alaska for BP and Exxon Mobile, and in Addis Ababa, Ethiopia for the 65th Birthday Celebration of Bob Marley.

Dr. Toomer holds a Ph.D. in Choral Conducting/Music Education and a Master of Music in Choral Conducting performance, both from Florida State University. His Bachelor of Science degree is in Music Education from Florida A&M University. Dr. Toomer is a member of the American Choral Director’s Association (ACDA), National Association for Music Education (NAfME), Phi Mu Alpha Sinfonia Fraternity of America, and Kappa, Kappa Psi, National Honorary Band Fraternity.

STATESBORO YOUTH CHORALE

Started over 30 years ago, Statesboro Youth Chorale continues to provide a space for young choristers to grow and spread the joy of music to the surrounding community. Statesboro Youth Chorale’s mission is to foster a love for music and provide a solid foundation in understanding the building blocks of music while exploring different musical styles from various cultures around the world. Along with their own concerts, Statesboro Youth Chorale has made performance appearances with Georgia Southern University Choirs, regional festivals, and most recently, a children’s rendition of Mozart’s The Magic Flute with Georgia Southern University Opera.

MICHAEL ROEMER, DIRECTOR

Michael Roemer is a versatile musician with an extensive background in both vocal and instrumental performance. As a singer, pianist, organist, and choral director, he has showcased his talents across a variety of musical genres and settings.

Michael has performed with Chicago a cappella, Lyric Opera of Chicago Chorus, Canton Symphony Orchestra, South Shore Chorale/Fond du Lac Orchestra, Knoxville Symphony Orchestra, Knoxville Opera, Springfield Symphony Orchestra, and Hilton Head Symphony Orchestra. He has also participated in the Oxford Lieder Festival in London and the Art Song Festival in Berea, Ohio.

In addition to his career as a soloist, Michael has also served as a music director and vocal coach for several organizations. He was the music director of St. Paul’s Catholic Church of North Canton, Ohio, for five years. As a vocal coach, Michael has worked with students of all levels in opera, music theater, choral, and art song for the University of Tennessee-Knoxville, Walsh University, Deerfield High School, North Park University, and Georgia Southern University, as well as the Cleveland Chamber Choir. Michael is currently the director of Statesboro Youth Chorale and is the organist/ choirmaster at Trinity Episcopal Church in Statesboro.

Michael is originally from Wisconsin, where he received his Bachelor of Music degree from the University of Wisconsin-Whitewater and his Master of Music Degree from the University of Wisconsin-Madison. He currently resides in Statesboro, GA with his wife, Dr. Jennifer D’Agostino, who is a lecturer in voice at Georgia Southern University, and his two sons, Henry and Charlie.

Photo:

Carmina Burana

Carl Orff (1895-1982)

About the Music

by Jonathan Aceto

The Codex Buranus is a fascinating collection of 11th and 12th century poems written by Goliards, those itinerant poets and clerics who worked outside the church clergy. Very often, the second or third born sons of the aristocracy were practically forced into this scholarly work because they had to earn a living–the firstborn inheriting his father’s land and title. Goliard poetry, usually in vernacular Latin, was irreverent and satirical, dealing with lust, drinking, gambling, and even criticism of the church. These manuscripts were forgotten until they were discovered in 1803, in the Beuern Benedictine monastery near Munich, and collected into the “Songs of Beuern.”

In 1934, Carl Orff found an edition of the poems in a used bookstore and was fascinated by their decadence and eroticism. With the help of Latin specialist Michel Hofmann, Orff chose 24 poems and grouped them into three big scenes: budding springtime romance (“Spring” and “On the Green”); rowdy drunkenness, ending with a list of everybody who has joined in on the immoral acts (“In the Tavern”); and sexual passion with an invocation to Cupid and Venus (“The Court of Love”). To round it off, there is a striking prologue and epilogue in fearful awe of Fortuna, the Goddess of Fate, as she relentlessly turns the Wheel of Fate.

Orff’s musical approach to the score is primal and raw, with harmony that is based on modes rather than the typical Western tonality, repetitive rhythmic figures, and dynamics that suddenly change. Orff had an affinity toward music from the 15th and 16th centuries and one suspects that much of this piece would be familiar-sounding to medieval peasants. Rhythms are used as a driving force, imparting great vitality to both singers and instruments, words and music. There are passages that sound like Stravinsky, especially in the dryness of chords and in the violent outbursts from the percussion. Considering music and physical movement inseparable, Orff called this piece a “scenic cantata” and expected there to be dance, scenery, and various action on the stage. People have created choreography for the work over the years and Orff himself was part of a complete production for German television on his 80th birthday. Carmina Burana was finished in 1936 and was premiered in June 1937, by the Frankfurt Opera to great success. Indeed, Orff viewed this work almost as a rebirth of his abilities, writing to his publisher, “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.”

Vibrant Ruin | Nancy Walsh

MENDELSSOHN AND VIVALDI

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, April 6, 2025 • 4:00 pm

Monday, April 7, 2025 • 7:30 pm

Jeri Lynne Johnson, Conductor

Adé Williams, Violin

PROGRAM

MICHAEL ABELS More Seasons

FELIX MENDELSSOHN

Symphony No. 4 in A Major, Op. 90, “Italian”

Allegro vivace

Andante con moto

Con moto moderato

Saltarello: Presto

INTERMISSION

ANTONIO VIVALDI

The Four Seasons, Op. 8

La primavera, RV 269 (Spring)

Allegro

Largo

Danze pastorale

L’estate, RV 315 (Summer)

Allegro non molto

Adagio e piano – Presto e forte

Presto

L’autunno, RV 293 (Autumn)

Allegro

Adagio molto

Allegro

L’inverno, RV 297 (Winter)

Allegro non molto

Largo

Allegro

Adé Williams, Violin

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

JERI LYNNE JOHNSON, CONDUCTOR

In 2005, Jeri made history as the first Black woman to win an international conducting prize when she was awarded the Taki Alsop Conducting Fellowship. Since then, she has continued to break barriers in Europe and the United States as the first woman or first African-American woman on the podium for many orchestras and opera companies, including the Bournemouth Symphony (UK) and the Weimar Staatskapelle. Recent conducting engagements include performances with the Los Angeles Philharmonic, Chicago Symphony Orchestra, National Symphony Orchestra, Sao Paulo Municipal Symphony Orchestra, and Santa Fe Opera. Jeri was also selected to conduct the Pulitzer Prize-winning composition “Stride” by Tania Leon as part of the composer’s tribute for the 2022 Kennedy Center Honors performance.

Lauded by the Los Angeles Times as “a stunning, rhythmically vital conductor,” Jeri is a versatile artist who is comfortable with a variety of genres and styles. Jeri has developed a reputation for offering masterful and compelling performances of contemporary repertoire and has led numerous world premieres. In the 2022-2023 season, Jeri performed with the Indianapolis Symphony Orchestra, Omaha Symphony, Symphony Nova Scotia, Opera Theater of Saint Louis, Santa Fe Opera, and Cincinnati Symphony. Jeri made appearances in the 2023-2024 season with Oakland Symphony, Baltimore Symphony, the Norwegian Radio Orchestra, the National Philharmonic, Louisiana Philharmonic, Tulsa Symphony, and Manitoba Chamber Orchestra.

Jeri is the Founder and Artistic Director of the Black Pearl Chamber Orchestra—a model for the 21stcentury American orchestra. Established in 2008, Black Pearl combines artistic excellence and cultural diversity and has been recognized nationally and internationally as a leading innovator in meaningful community engagement. Jeri’s innovative performance projects have won multiple awards, and in January 2021, she and Black Pearl had the honor of being the only orchestra in North America invited to participate in a virtual collaborative concert as part of the World Economic Forum at Davos. This inspiring event, called “See Me! A Global Concert,” involved filmmakers, visual artists, choirs, orchestras, and musicians from around the world.

Based upon her work with Black Pearl, Jeri established DEI Arts Consulting in 2015 as a vehicle to share the insights and results of Black Pearl’s programs through data-driven strategic and creative solutions for cultural institutions seeking to create a culture of belonging.

ADÉ WILLIAMS, VIOLIN

Praised by the New York Times as “stunning,” Adé is a renowned, awardwinning concert violinist, known for her vibrance and special connection to audiences. A 2023 Stradivari Society recipient, she is a highly sought-after soloist and collaborator in the US and abroad.

At age six, Adé made her solo debut with the Chicago Sinfonietta, which launched a thrilling career of performances with the world’s finest orchestras, including the Philadelphia and Cleveland Orchestras; the Detroit, Pittsburgh, New World, Indianapolis, Hartford, and Nashville Symphonies; and the Buffalo and KwaZulu-Natal (South Africa) Philharmonics. By age 17 she had won 17 competitions, and by 18 she had made her White House and Kennedy Center debuts as well as her Carnegie Hall debut where she has since returned five times.

Adé continues to frequent the world’s best concert halls, including Symphony Center in Chicago, Severance Hall in Cleveland, Merkin Hall in New York, and Southbank Centre’s Queen Elizabeth Hall in London. In the 2024-25 season, she makes solo recital debuts on The Phillips Collection and Capital Classical Records series. She also makes her first appearances with the Richmond, Charlotte, and Tuscaloosa Symphonies, and returns to the Hilton Head Symphony Orchestra.

While concerto performances are at the heart of her career, Adé is also a passionate chamber musician who performs with ensembles of all forms. Most recently, she has collaborated with the St. Paul Chamber Orchestra, Orpheus Chamber Orchestra, Parlando Chamber Orchestra, and Sphinx Virtuosi. This season, she joins the Nexus Chamber Group, presenting music by Shostakovich, Tchaikovsky, Mozart, Kurtag, and Ran. Adé enjoys working with living composers and presenting new works. In 2017, she premiered Guardian of the Horizon: Concerto Grosso for Violin, Cello, and Strings by Jimmy Lopez, a work commissioned by Carnegie Hall and New World Symphony. The New York Concert Review praised her as “an absolute winning champion of the work.”

Adé participates in a wide range of special projects like Rachel Barton Pine’s Music by Black Composers project as a recording artist; the Milken Institute’s “Why Wait? Young People Blazing Trails” program as a panelist; and the University of Michigan as a guest lecturer. In 2012, she produced her first Adé & Friends benefit concert in support of a new school on Chicago’s south side where she was born and raised.

Adé began playing violin at age three. She has studied with Rachel Barton Pine, Marko Dreher, and Almita and Roland Vamos at the Music Institute of Chicago. She graduated with honors from the Curtis Institute of Music where she studied with Ida Kavafian and served as concertmaster of the Curtis Symphony Orchestra in the 2018-2019 season.

Adé is grateful to be performing on the outstanding “Dancla” G.B. Rogeri violin, from Brescia, circa 1700, on extended loan through the generosity and efforts of the Stradivari Society.

Photo: Emma Wernig

About the Music

by Jonathan Aceto

More Seasons

Michael Abels (b. 1962)

Michael Abels, an engaging African American composer, is especially adept at all things orchestral and often fuses classical traditions with contemporary idioms like hip-hop. For many people, his greatest success has come with film music, composing the soundtracks to Get Out and Us, which won him the Jerry Goldsmith Award. Abels has received grants from the National Endowment for the Arts and the prestigious Sphinx Organization and his traditional concert pieces have been performed by major orchestras such as the Chicago and Atlanta Symphonies. Shortly after September 11, 2001, Abels, who had already been commissioned by the National Symphony to write a piece, was deeply inspired by the heroic efforts of first responders and their unified spirit. That new work, Tribute, was the first piece the National Symphony performed in public after 9/11.

In this 1999 work, Abels uses motifs and figures from “Spring” and “Summer” like blobs of primary colors as he creates a Baroque painting, complete with a picture frame glass. As one looks at the painting, the thickness and shape of the glass changes, creating an odd distortion one moment, an out-of-focus blur the next. Abels chose The Four Seasons for his source because of its familiarity, being possibly the most recognizable piece from the Baroque Era. One might even rename the piece “Vivaldi the Mixmaster.”

Symphony No. 4 in A Major, Op. 90, “Italian”

Felix Mendelssohn (1805-1847)

Mendelssohn visited Italy in 1830, stopping in all the popular cities, including Venice, Rome, Florence, and Milan. The glorious Mediterranean sun, architecture, and landscape inspired him to create this symphony in addition to some beautiful paintings. Of course, Mendelssohn was still a German composer brought up on Bach, Handel, and Mozart, so you will hear proper motivic counterpoint along with effervescent Italian triplets. He was commissioned to produce a symphony by the London Philharmonic Society and so he presented them with this one, finishing it in March 1833. The premiere occurred two months later in London with Mendelssohn conducting.

Mendelssohn had second thoughts after that performance, however, and made a few changes in 1834. He never got around to publishing it, which is why it is numbered after the “Scottish” Symphony even though he wrote it earlier. The original 1833 version was used for the first publication in 1851 and is the one typically performed by orchestras everywhere.

The first movement bursts forth with staccato triplets from the woodwinds as the violins supply the joyous melody. It is as if the sunny sky itself were music, and indeed Mendelssohn called this movement “Blue Sky in A Major.” The Andante is reminiscent of solemn religious processions that Mendelssohn witnessed in Rome and showcases

Concerto Italiano | Denise Liotta DeMarzo

the colorful woodwinds. The third movement is an elegant and legato minuet, but the trio contrasts with a fanfare from the brass. Mendelssohn lets loose in the finale with a wild Neapolitan saltarello in a minor key, unique for a symphony that begins with such sunny joy.

The Four Seasons, Op. 8

Antonio Vivaldi (1678-1741)

In the 1740 issue of the journal Der Critische Musikus, a writer asks, “Who does not know The Four Seasons of Vivaldi?”, and one might well ask that today. Since 1942, there have been at least 1000 various recordings made of these extraordinary concertos. They come from a set of 12 concertos called “The Contest of Harmony and Invention” published in 1725, although these four specific concertos were written earlier. In his dedication to Count Morzin of Bohemia, Vivaldi begs forgiveness for including these older works with the other eight, saying the Count did approve of them long ago. Certainly, Le Quattro Stagioni deserve approval as they were indispensable in developing the concerto genre from the chamber music style of the older concerto grosso into the virtuosic solo work it later became.

The Four Seasons was also one of the first examples of “program” music, that genre of instrumental music where the listener should be thinking about something else beyond beautiful music. In this case, Vivaldi consciously depicted the sounds that one hears in nature over the course of the year. There are sonnets for each movement, most likely written by Vivaldi, that describe the scene being depicted, sometimes in great detail. For example, the slow movement of “Winter” has raindrops from pizzicato violins, a crackling fire from the cellos, and the solo melody provides warm contentment. Vivaldi even goes so far as to write specific directions into individual parts–the violas play “dog barks” in the slow movement of ”Spring”, even though the sonnet doesn’t mention anything about barking. Also look for unique playing techniques, like the ponticello (bowing near the bridge) at the opening of “Winter.”

Yet another fascinating aspect of these concertos is the group of people for which they were written, the female students of the Pio Ospedale della Pietà, the school where Vivaldi taught. There were four Ospedali, or Hospices, in Venice, each dedicated to helping a needy segment of society and providing excellent musical training. The girls performed for church services and gave concerts, becoming a major tourist attraction for Venice. By having such a large group of talented musicians at his command, Vivaldi was able to experiment with and stretch the technical possibilities of the violin.

ENRIQUE GRAF, PIANO

Enrique Graf was born in Montevideo, Uruguay, to a family in which music was very important, his mother being his first teacher. After winning all the national competitions there, he was awarded a full scholarship by the Organization of American States and Baltimore’s Peabody Conservatory to study with the great Leon Fleisher.

During his 40-year career, Graf has performed in recitals, chamber music, and with orchestras in the most important venues in the United States including Lincoln Center, Kennedy Center, South Bay Center for the Arts in Los Angeles, Broward Center for the Arts in Florida, and Carnegie Hall. He has participated in the festivals of San Miguel de Allende in Mexico, Chautauqua in New York, Music Fest Perugia and Spoleto International Piano Festival in Italy, Festivals of Santa Maria and Natal in Brazil, and the Kiev Music Festival among others. He has performed at the Argentinian Mozarteum, the Cultural Centers of São Paulo and Manila, the Beethoven Society of Europe at St. Martin in the Fields, and St. James Piccadilly in London.

Graf has been a soloist with orchestras in New York, Pittsburgh, Baltimore, Nashville, Indianapolis, Richmond, Washington, Miami, Orlando, New Jersey, West Virginia, Charleston, Flagstaff, Greenville, Raleigh/Durham, Hudson Valley, Springfield, Texas, Moscow, Prague, Kiev, Lviv, Puerto Rico, Bogotá, Santiago, Concepción, Rosario, Tucumán, Caracas, Lima, Montevideo, Belo Horizonte, the Florida Virtuosi, Janáček Philharmonic, American Chamber Orchestra, Sinfonia da Camera in Illinois, and the Symphony of the Americas. He has toured with distinguished chamber groups such as Cuarteto Latinoamericano, the Ives Quartet, the Baltimore Wind Ensemble, the American Chamber Players, the Apollo String Quartet, and the Prague Wind Quintet.

His CD of works by Poulenc with the Charleston Symphony was chosen “Best of the Month” by the London Sunday Times and received 5 stars in Classic CD. Numerous other recordings have received high praise in the specialized press.

His Beethoven Sonata Op. 2, No. 3 from a New York recital was selected by National Public Radio for the complete cycle of Beethoven Sonatas “live” together with other great pianists such as Murray Perahia and Andre Watts. The Beethoven Piano Society of Europe invited him to play in London on the 250th anniversary of his birth.

Graf is one of the world’s most renowned piano teachers and has given master classes at distinguished universities in the United States, China, Hong Kong, Korea, and Brazil. He has been a member of many juries and his students have been winners in numerous national and international competitions.

Founder and Artistic Director of the International Festival of Colonia, Uruguay, the Charleston International Piano Series, and the Piccolo Spoleto Festival Young Artists Series, Graf was also one of the founders of the Perugia Music Festival in Italy.

Graf received the Immigrant Award from the American Immigration Lawyers Foundation, one of only three musicians to date, the others being Midori and Plácido Domingo.

LA MER AND ENRIQUE GRAF

John Morris Russell, Music Director

Robert and Margaret Gallagher Memorial Chair

2024-2025 43rd Season

Sunday, April 27, 2025 • 4:00 pm

Monday, April 28, 2025 • 7:30 pm

John Morris Russell, Conductor

Enrique Graf, Piano PROGRAM

CLAUDE DEBUSSY

Prélude à “L’après-midi d’un faune

Prelude to the Afternoon of a Faun

WOLFGANG AMADEUS MOZART

Piano Concerto No. 17 in G Major, K. 453

Allegro

Andante

Allegretto

Enrique Graf, Piano

INTERMISSION

CLAUDE DEBUSSY La Mer

The Sea

De l’aube à midi sur la mer

From Dawn to Noon on the Sea

Jeux de vagues

Play of the Waves

Dialogue du vent et de la mer

Dialogue of Wind and Sea

SEASON SPONSOR

The League of the Hilton Head Symphony Orchestra

PERFORMANCE SPONSOR

CharterOne Realty

About the Music

by Jonathan Aceto

Prélude à l’après-midi d’un faune

Claude Debussy (1862-1918)

Debussy is a remarkable figure in Western music. His approach to composition was truly revolutionary and avant-garde, yet his music is also extraordinarily beautiful and accessible. He was one of the first composers to abandon Western tonality, that concept of an unstable dominant 7th chord resolving into a harmonious tonic chord a fifth below. In other words, Debussy viewed harmony as a color rather than a function, which was a ground-breaking concept in the 1890s. Even his approach to meter and rhythm was novel, going out of his way to blur the sense of a clearly defined metric pattern or rhythm by having melodic notes fall in between beats or having the strings play tremolo.

The title Afternoon of a Faun comes from an 1876 poem by Stéphane Mallarmé, a friend who introduced Debussy to other artistic innovators like Claude Monet and Paul Verlaine. Debussy described the poem as “a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature.” Thus, even the subject matter of this piece is not based in firm reality, with a half-man/ half-goat chasing mythological creatures. Although Mallarmé strongly felt poetry has enough “music” on its own, he was very impressed with how well Debussy’s sensuous music complemented his poem at the premiere in December of 1894.

Piano Concerto No. 17 in G Major, K. 453

Wolfgang Amadeus

Mozart (1756-1791)

Mozart had piano concertos on his mind in early 1784, composing six of them before the end of the year. He was also enjoying the stronger wind players in Vienna and thus could write more opulent orchestrations then he had with his earlier concertos from Salzburg. The solo parts of these concertos were also distinctly more difficult, and Mozart wrote to his father that they were “bound to make the performer sweat.” This concerto in G Major was the fourth one of 1784, Mozart notating on the manuscript that it was finished on April 12 and dedicated to Barbara Ployer, his student.

The first movement begins with a military-sounding motive in the first violins with the inner strings trotting along, each new motive and gesture proceeding with remarkable ease and charm. Soon, the music goes through some daring harmonic changes, almost resembling Beethoven, before coming back to the original material. The Andante features the woodwinds in a trio akin to any vocal ensemble found in Mozart’s operas. The melody is also quite unique: each time it is played, the fifth measure has an unexpected pause. The last movement is a set of variations based on a tune rather reminiscent of the future music for Papageno in The Magic Flute. In fact, Mozart owned a starling that sang a tune almost identical to this movement, but it is not known whether he taught the bird the melody or the bird inspired the melody.

La Mer

Claude Debussy (1862-1918)

Although Debussy had fond childhood memories of the sea, he never spent any time at the ocean when he was composing this piece. He preferred drawing on his memory, along with art and literature, rather than reality, which “weighs down one’s thoughts too heavily.” Debussy admired the sea paintings of Joseph Turner, and he used the Japanese print “The Great Wave Off Kanagawa” by Katsushika Hokusai for the cover of the score. The first movement was originally inspired by a short story by Camille Mauclair, “Calm Sea Around the Sanguinary Islands.”

Debussy had written a large symphonic work in three parts once before, Nocturnes, from 1899, and he would do so a third time with Images in 1912. La Mer, his second three-part work composed between 1903 and 1905, was from the beginning thought of as three symphonic sketches, a label which he felt side-stepped both a traditional symphony and a tone poem. Debussy abandoned the conventional sonata form (a complete melody that transitions into a distinctly different melody in a new key) which had always been used for orchestral works. Instead, he came up with motives and phrases that weave in and out, with the expansive tonal colors of an extended orchestra which includes two harps, English horn, cornets, glockenspiel, and tam-tam. The typical arpeggios that many composers, like Wagner, used to denote the sea are eschewed in favor of constantly evolving onomatopoetic figures, evoking the swaying of waves and the splatter of the surf. Even light is wonderfully depicted in the music and one can hear the sparkling dance of reflections on the water.

The premiere occurred in Paris in October 1905, under the baton of Camille Chevillard, but unfortunately to poor reviews. One critic wrote: “The audience expected the ocean, something big, something colossal, but they were served instead with some agitated water in a saucer.” Some scholars speculate, however, that the performance may have been lackluster because Chevillard was not comfortable with newer music. Indeed, when Debussy himself conducted performances in London and Paris in 1908, the work was far more successful.

Art League Of Hilton Head

Art League of Hilton Head’s exhibiting artists have created the works of art featured in this 2024-25 Program. This is their fourteenth year of collaboration with the Hilton Head Symphony Orchestra. Art League of Hilton Head, a 501(c)(3) nonprofit organization, offers year-round visual arts programming from two island locations with a mission of inspiring visual arts for our community and its visitors through exhibitions, education, and partnerships.

Art League Academy welcomes artists and students in all media, at all skill levels, including true beginners. Taught by professional art educators, students can choose from many art classes and workshops that change monthly.

Art League Gallery features local artwork, in all media, created by more than 250 member artists. All artwork on display is for sale, and exhibits change every month. It is located mid-island inside the Arts Center of Coastal Carolina, next to the box office, Art League Gallery is open every day, Monday–Saturday, 10am–4pm & Sunday 12–4pm, plus 90 minutes prior to all Arts Center performances.

PARTICIPATING ARTISTS

Joan Ackerman

Judy Blahut

Denise Liotta DeMarzo

Mary Ann Browning Ford

Frank Gorman

Sheila Grabarsky

Carol Iglesias

Shanon Thomas-Jordan

Juliana Kim

Karen McCarthy

Pepi McNair

Margery Mitchell

Rachael Newman

Peggy Orders

Lynn Schramm

Pete Schramm

HeeJune Shin

Margi Smith

Jana Stiles

Marianne Stillwagon

Barbara Storer

Nancy Walsh

Heather Wanamaker

If I Were Water | Judy Blahut

Songs About Rainbows | Shanon Thomas-Jordan

ART LEAGUE EXHIBITION SCHEDULE

Monthly Featured Shows are listed below. Receptions are open and free to the public from 5-7 pm 2024

OCT 22-NOV 22

CAROL IGLESIAS Reception 10/23

NOV 26-JAN 3, 2025

GALLERY OF GIFTS Reception 12/4 2025

JAN 7-31

MEMBER SHOW Reception 1/15

FEB 4-28

GULLAH CELEBRATION EXHIBIT Reception 2/5

MAR 4-APRIL 4

NANCY MITCHELL & SUSIE PARKER Reception 3/5

APRIL 8-MAY 9

FRANK GORMAN Reception 4/9

MAY 13-JUNE 13

2025 BIENNALE: NATIONAL JURIED EXHIBITION Awards Reception 5/16

JUNE 17-JULY 18

JOAN MOREAU MCKEEVER Reception 6/18

JULY 22-AUG 22

BILL BOSLEY & MURRAY SEASE Reception 7/23

AUG 26-SEPT 26

VALERIE KRAMER Reception 8/27

SEPT 30-OCT 2: Preview dates

OCT 2: 5:30-7:30 PM: Event date GOT ART? EVENT

OCT 7-NOV 7

TERRY BELOTTE & KEN NICHOLS Reception 10/8

NOV 11-15

ARTISTS OF FULL SPECTRUM STUDIO Reception 11/12

NOV 18-JAN 3, 2026

GALLERY OF GIFTS Reception 11/19

Joyful Harmony | Lynn Schramm

Deck the Halls | Heather Wanamaker

Music Basket | Karen McCarthy

Rising Tide | Rachael Newman

Lily Magnolia | HeeJune Shin

Dancing | Frank Gorman

Tranquility | Carol Iglesias

Dockside Sunset | Jana Stiles

Sunset | Joan Ackerman

CHEFS & CLEFS

HILTON HEAD SYMPHONY ORCHESTRA

JAZZ FREE

OUTDOOR CONCERT SERIES

In ThE PARk

SUMMER 2025

CALLING ALL JAZZ LOVERS!

The HHSO’s 4th season of Jazz in the Park was a roaring success.

Sponsored by Coligny and Beach House Resort, thousands of people enjoyed six FREE concerts under the stars in Lowcountry Celebration Park.

We invite you to join us next summer—no reservations needed!

Details on Jazz in the Park 2025 will be available in the spring. Check hhso.org for dates and performers.

Hilton Head Symphony Orchestra Presents SYMPHONY UNDER THE STARS

An Evening Of Elegance With Jay Dref

Tuesday, April 1, 2025, 7:30 pm

Lowcountry Celebration Park at Coligny

Featuring

The Hilton Head Symphony Orchestra

John Morris Russell, Conductor Classical Crossover Sensa�on Jay Dref

Jay Dref joins JMR and the HHSO for a thrilling evening of “POPera,” beloved American Songbook tunes and Broadway hits. Steeped in the suave styles of Josh Groban, Frank Sinatra and Andrea Bocelli, Jay has been touring with legendary diva, Sarah Brightman. The program includes favorites by Andrew Lloyd Webber, themes from Cinema Paradiso and The Godfather, songs from Les Miz, Chess and Camelot, plus classic swing tunes by Gershwin.

Don’t miss this elegant evening under the stars!

Free lawn sea�ng—bring a blanket or chair, a picnic, and enjoy the HHSO and JMR al fresco. The park opens at 6:00 PM.

Limited reserved table sea�ng at $75/person (tables of 10). Call (843) 842-2055 for table reserva�ons.

Lowcountry Style FRENCH FLAIR

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Hilton Head, SC

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100 Exchange Street, Suite 100 2 Palmetto Bay Road

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LIST OF ADVERTISERS

BUSINESSES AND PUBLIC ORGANIZATIONS SUPPORTING THE MUSIC

We appreciate your commitment and generosity.

HILTON HEAD SYMPHONY ORCHESTRA

43RD SEASON

2024-2025