NBSO 2023-2024 Season Part 1 Concert Program

NBSymphony_2020_February.qxp_Layout

MORE NEW MUSIC on WHALING CITY SOUND

It’s a delight to hear three supremely talented musicians find common ground, especially considering it s their first recording together As many know, Tim Ray (piano), John Patitucci (bass), and Terri Lyne Carringtonn (drums) have d verse backgrounds styles and experience, but share a common connection to Berklee College Ray, currently Tony Bennett’s musical director, is a longtime road companion to Lyle Lovett and Jane Siberry Patitucci initially made a name for himself with the great Chick Corea and has spent the better part of the last two decades with Wayne Shorter Carrington, also with Shorter and a myriad of other great jazz artists, is at the vanguard of today’s drum corps, with power, finesse, and a vision for the instrument that few can match

Th ’ ll thing to the idea that e things more clearly Watershed,” guitarist tico band realize this h remarkable clarity able talents of Frank Zé Eduardo Nazario (drums), Daniel Grajew (keyboards) and Teco Cardoso (flute and saxes), Ste n manages to revea the magic h iding in these grooves and Each of Stein’s accompanists to that discovery, especially on he warm “Rio Escuro ” the quiet f Pat Martino s Cisco, and the ic “Wally ” Stein about to retire from his decades-long teaching career at Berklee (also his alma t ) i d t l music full time, demon to lay bare the sou songs as well as th band s performance Watershed is suffused with lyricism and artistic clarity as he raises the bar for his own future visions

John A. Logan

Welcome to the New Bedford Symphony Orchestra’s 2023-2024 Season! We have named this season Passage for several reasons. First, all music is a passage. A song begins, it moves forward, it might move backwards or off into other directions, and then it comes to an end. We experience music like any other passage: we wonder what it will be like, how it will affect us, and where or who will we be at the end of it. The season Yaniv has created for us is filled with concert programs that will move us and take us many places.

Another reason to call this season Passage is because the NBSO is on the move, from the Zeiterion Theatre to New Bedford High School’s Bronspiegel Auditorium, and then (next season) back to The Z. The $32 million renovation of The Z will be transformative for the NBSO and our community. This passage is exciting and important, both for the stronger relationships it allows us to build with the students and teachers of the New Bedford High School music program, and for its final destination of a dazzling, world-class performing arts center that we call home.

Finally, this year will be a passage for the NBSO because we are undertaking a new strategic planning process that will determine our course in the community for years to come. We have so many performance, educational, and community partnership opportunities before us that this process promises to be both incredibly inspiring and a bit daunting. We are committed to building on past accomplishments and embracing the strength of our community through collaboration. Our vision, as always, is to see just how important a symphony orchestra can be to its community. Thank you for being a part of it, and for helping us move ever forward.

David M. Prentiss NBSO President and CEO

YANIV DINUR MUSIC

DIRECTOR

Yaniv Dinur is the winner of the 2019 Sir Georg Solti Conducting Fellow Award and Music Director of the New Bedford Symphony Orchestra. He is lauded for his insightful interpretations and unique ability to connect with concertgoers of all ages and backgrounds, from season subscribers to symphony newcomers.

In New Bedford, he has brought star soloists such as Yefim Bronfman, Pinchas Zukerman, Karen Gomyo, and Vadim Gluzman to play with the orchestra. Under his leadership, the New Bedford Symphony has been nationally recognized for its bold, engaging programming and artistic quality, leading to the League of American Orchestras selecting the orchestra to perform at the 2021 League Conference.

Dinur served as Resident Conductor of the Milwaukee Symphony from 2015-2023. During this period, he conducted 372 concerts, including 144 performances for youth and children. Recognizing his leadership and impact, the Milwaukee Business Journal selected him as a 40 Under 40 honoree, an award for young professionals making a difference in the community.

Dinur’s recent and upcoming guest conducting highlights include subscription debuts with the symphonies of San Diego, Edmonton, Tulsa, Sarasota, Fort Worth, Illinois, Present Music in Milwaukee, Orchestra Haydn in Italy, and Filarmonica de Madrid. He made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Jerusalem Symphony, Houston Symphony, Louisiana Philharmonic, Detroit Symphony, New World Symphony,

San Antonio Symphony, Portugal Symphony Orchestra, Sofia Festival Orchestra/Bulgaria, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa.

An accomplished pianist, Dinur established a chamber music series at the Villa Terrace Museum in Milwaukee, where he performed with musicians from the Milwaukee Symphony. Recent concerto performances include Brahms’ First Piano Concerto with the New Bedford Symphony and Mozart’s D Minor Concerto with the Milwaukee Symphony, for which he received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel).

Dinur is the winner of numerous awards, among them the 2017 and 2016 Solti Foundation U.S. Career Assistance Awards, 2nd Prize at the 2009 Mata International Conducting Competition in Mexico, and the Yuri Ahronovitch 1st Prize in the 2005 Aviv Conducting Competition in Israel. He is also a recipient of the America-Israel Cultural Foundation and the Zubin Mehta Scholarship Endowment.

Born in Jerusalem, Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. He studied conducting in Israel with Dr. Evgeny Zirlin and Prof. Mendi Rodan, and holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre & Dance, where he was a student of Prof. Kenneth Kiesler.

Violin I

Jesse Holstein, Concertmaster

Ethan Wood, Assistant Concertmaster Dr. Clinton Levin Memorial Chair

Ealain McMullin

Jennifer Memoli

Kyra Davies

Travis Rapoza*

Melody Albanese Kelly

Linda Scenna

Theo Ramsey

Emma K. Powell

Violin II

EmmaLee Holmes-Hicks, Principal Geoff and Judy Swett Chair

David Rubin

Fariba Hunold

Raluca Dumitrache

Ryan Shannon*

Sophia Bernitz

Adam Jeffreys

Jiuri Yu

Yeonji Shim

Viola

Anna Griffis, Principal George Grimshaw Memorial Chair

Chris Nunn

Elisa Birdseye

Rebecca Hallowell

Maureen Heflinger

Sofia Nikas

Sachin Shukla

Open

NBSO ROSTER

Yaniv Dinur, Music Director

Music Director Sponsors: Susan and Dexter Mead

Cello

Leo Eguchi, Principal Patricia Plum Wylde Chair

Shay Rudolph

Pamela M. Hoffer Memorial Chair, endowed in perpetuity

Peter Zay

Bonnie Harlow

Stefan Gabriel

Fabrizio Mazzetta

Jacob MacKay Open

Bass

Pete Walsh, Principal Irene Gudewicz Memorial Chair

Bebo Shiu

Nate Varga Open Open

Flute

Timothy Macri, Principal Josef N. Cobert Memorial Chair, endowed in perpetuity

Vanessa Holroyd

Heather Parsons and Andrew Kotsatos Chair, endowed in perpetuity

Oboe

Laura Shamu, Principal Nancy and Jack Braitmayer Chair, endowed in perpetuity

Laura Pardee Schaefer

Clarinet

Nicholas Brown, Principal

Charles Parsons Memorial Chair

Margo McGowan

Bassoon

Michael Mechanic, Principal

Rachel Juszczak

Horn

Michael Bellofatto, Principal

Dorothy Malone and Rhoda Gayle Memorial Chair

Paulina Aguirre

Cile and Bill Hicks Chair, endowed in perpetuity

Nick Auer Open

Trumpet

Andrew Sorg, Principal

Andrew Moreschi*

Geoff Shamu

Trombone

Seth Budahl, Principal

Albert J. Lamoureux Memorial Chair

Robert Hoveland

James Monaghan

Tuba

Jobey Wilson, Principal*

Timpani

Eric Huber, Principal Ann and Hans Ziegler Chair, endowed in perpetuity

Percussion

Evan Glickman†, Principal

Dylan Barber

Harp Open Keyboard

Pei-yeh Tsai, Principal * On leave

The orchestra roster is subject to change. Individual concert rosters will be posted on the concert pages prior to each concert.

Learning in Concert 2023–2024

Adaptations in Motion: Animal and Musical

“Life is neither static nor unchanging.” —J. Auel

Adaptation in the field of biology is described as a change in the structure of an organism where it becomes better suited for survival in its environment. As environments change, so do organisms. This gradual, dynamic process can be traced back through time, as the 2023-2024 Learning in Concert program follows the transformation from ancient fish to modern-day tetrapod (four-limbed vertebrates), from life in the sea to life on land.

Over the course of this three-phase program, we will investigate the specific adaptation of locomotion by investigating the anatomy of various organisms to uncover the ways in which they moved, swam, crawled, jumped, and walked. We will begin with early aquatic creatures and move to transitional species like Tiktaalik, the revolutionary new scientific discovery marking the fish that first emerged from water to begin life on land.

Adaptation in music, often referred to as thematic development or transformation, is described as a gradual, structural change of a musical idea throughout a piece of music. Using vivid examples of classical music performed live by NBSO musicians, the Learning in Concert program will trace the evolution of a musical idea as it is transformed and adapted throughout a piece of music. By changing the motion of a melody from steps to skips to leaps, from low to high, or gradually accelerating or slowing the rhythmic motion, composers can gradually transform the form, structure, and motion of a musical idea as it unfolds throughout a piece of music.

In this year’s program, students will become composers as they take a musical idea that moves like an ancient fish swimming through water, and then adapt the melody to crawl, tree climb, jump, run, and fly. All classroom motion melodies will be collected and combined to create a new piece for orchestra to be performed at the Young People’s Concerts in March.

Tiktaalik, illustration by Kalliopi Monoyios

EDUCATIONAL PROGRAMS

Learning in Concert is an in-school partnership program with the NBSO and over forty local elementary schools. It uses a concept-based arts integration model where a musical concept is explored alongside other art and academic areas that authentically share the same concept. The Learning in Concert program is designed as a unified, comprehensive, three-phase curriculum project spanning an entire school year. The curriculum for the 2023-24 school year explores the concept of motion in music and tetrapod locomotion.

The Pre-K Music and Literacy program is a new program based on the NBSO’s children’s book entitled, “A Concert at the Zoo” written by David MacKenzie, Dave Prentiss, and Terry Wolkowicz and illustrated by Olivia Coucci. Throughout the story, an animal name is linked to an instrument name that shares the same number of syllables and the same syllable stress patterns. Dr. MacKenzie composed a piece for Cello and Narrator that incorporates elements of word stress and intonation into the musical structure allowing the musical instrument to “speak” the text. During the classroom visits, the students practiced speaking and drumming the animal/instrument rhythmic word patterns.

The NBSO also launched a new music program with the New Bedford High School Parenting Teens program where students met each week with Education Director Terry Wolkowicz to learn how to play the piano.

The Southeastern Massachusetts Youth Orchestras (SEMAYO) provide orchestral training and performance opportunities for young musicians up to age 21 in an educational environment in which they learn from professional musicians and one another. Finally, the NBSO is continuing with its Pathway to Performance program where New Bedford Public School students receive scholarships to fund weekly, free, private music lessons.

Terry Wolkowicz, Education Director

APPLAUSE!

The NBSO expresses its deep appreciation to all who support our concerts and educational programs. Donations of $100 or more received between September 1, 2022 and August 31, 2023 are listed below.

$100,000+

Anonymous

$10,000+

Baldwin Brothers

Jack and Nancy Braitmayer

Bristol County Savings Bank

Charitable Foundation

Bequest from Christina G. and Peter T. Gargas

Wendy and Ken Joblon

Sally Johnston

Andy Kotsatos and Heather Parsons

Dexter and Susan Mead

Sandria Parsons

Tom Barry and Nancy Shanik

Fredericka and Howard Stevenson

Geoff and Judy Swett

Ann and Hans Ziegler

A Friend of NBSO

$5,000+

Christina Bascom

Janet and Bill Coquillette

Allan and Priscilla Ditchfield

Ralph Eustis

Bill and Cile Hicks

Lilian Kemp and David Marks

Paul and Denise Lamoureux

Michael Malone and Debra Gayle

Wayne Matelski

John Newton and Janice Weber

Diana Nichols

Harry and Pam Norweb

Jane and Neil Pappalardo

Clifton and Margaret-Ann Rice

Barry and Meg Steinberg

Margot Stone

Richard and Patricia Wecker

A Friend of NBSO

$2,500+

Albert Fox Facial Plastic Surgery Center

Pat and John Baillieul

Jan and Chuck Bichsel

Sandra Bilodeau

Mary Jean and Bill Blasdale

Lizanne and Malcolm Campbell, in honor of Yaniv Dinur and all the musicians of the NBSO

Dr. Gail Davidson

Helen DeGroot

Jim and Carol Dildine

Feingold Bonnet-Hebert, P.C.

Fiber Optic Center, Inc.

Sharon and Richard Grahn

Profs. James T. Griffith and Susan J. Leclair

Hawthorn Medical Associates

Dorothy A. Hebden-Heath

Dr. Edward Hoffer and Madeleine Deschamps

Dr. Raina and Stephen Lamade

LandVest

Frances Levin

Karen and Jim Prieur

Don and Genie Rice

Shepard Turf Management, Inc.

Southcoast Health

Antra and Elliott Thrasher

Whaling City Sound

Laima and Bert Zarins

$1,000+

Milton and Marilyn Adams

Joel and Lisa Alvord

Hope Lincoln Baker

Toby Baker, in memory of Robert Freeman

Douglas Balder and Joan DeCollibus

Michael and Margie Baldwin

Bianca and Michael Bator

Ellen and Tom Bowler

Edward C. and Elizabeth H. Brainard

Irene and Norman Buck

Betty Ann and Jack Cannell

Kathleen and Gregory Clear

David Cole and Betty Slade

Sheila Powers Converse

Douglas and Cindy Crocker

Andrea and Emmanuel Daskalakis

Michael K. Davis

Patricia and Peter Dean

Diane Henry Realty

John and Zelinda Douhan

Breck and Jeanne Eagle

Michael Esposito and Cynthia Redel

Janet and Bob Feingold

Drs. Albert and Cynthia Fox

Elsie R. Fraga

John Paul Garber and Katri

Hyyppä-Garber

The Gladstone Family Fund

Gotta Have It!, Inc.

Marjorie and Nick Greville

Elissa and William Holmes

Dr. Jack and Leslie Howard

Howe Allen Realty

James S. and Maryellen Sullivan

Hughes

Nan Johnson and Alan Minard

Gary P. Johnson and Luana Josvold

David and Jen Kaiser

Mr. and Mrs. John Kendall

Trudy Kingery

Stephen and Suzanne Kokkins

Tali and Mark Kwatcher

Diane and Peter Lafond

Scott and Monica Laurans

Ken Lipman

John and Doris Ludes

John and Katie Mannix

Drs. Alvin and Andrea Marcovici

Holly and Joe McDonough

Philip Guymont and Susan McLaren

Susan Eldredge Mead

Dorian Mintzer and David Feingold

Faith and Dick Morningstar

Joe Nauman

Robert and Carolyn Osteen

Ed Ottensmeyer and Anne Donnellon

Mr. and Mrs. Terry Reideler

Judy and Bob Rosbe

Kitt and Heather Sawitsky

Margot and Mark Schmid

Robert B. Smith

Southcoast Almanac

Alan Steinert, Jr.

In honor of Howard and Fredericka Stevenson

Thomas Stritter and Rachael Kolb

Sylvia Group of Insurance Agencies

Richard Tabors and Mary Ellen Lees

Joan Underwood and Geoffrey Taylor

Joan Underwood and Geoffrey Taylor, in memory of Doris Ann Whitehill

Henry and Marion Wainer, in honor of Terry Wolkowicz

Marge Waite and Neal Weiss

Walrus and Captain Bistro & Bar

John and Mallory Waterman

Kathy Wattles

Janet Whitla

Michael Tushman and Marjorie Williams, in honor of Bruce Hughes

Vincent Mor and Margaret S. Wool

$500+

Holly and Dana Barrows

Caroline Blais

Linda and John Bodenmann

Janne Hellgren and Jack Boesen

Heather and Garrett Bradley

Joel Brenner and Victoria Pope

Mimi and Earl Briggs

Rid Bullerjahn

Dr. Peter Campisano and Joyce Tower

Joyce and Joseph Ciffolillo

Ms. Janice Z. Clark

Anne T Converse

James and Edwina Cronin

Kathy Dinneen

Erica Driver

David and Kate Fentress

Clare Healy Foley and Paul Foley

Barbara and Brad Fouss, in honor of Ann and Hans Ziegler

Anne and John Gorczyca

Robert and Cynthia Hamburger

James von Arx Harrison

Elizabeth Isherwood-Moore

Nicholas and Susan Iwanisziw

Betsy and Rusty Kellogg

Edward and Nancy Kurtz

Sasha Lauterbach and Peter Sturges, in honor of Sally Johnston

Luzo Auto Center - J.C. Pinheiro

James Maffei and Trina Wanaga

Nancy McFadden

John Menzel

Colonel Joseph Napoli, USA, Ret.

Linda Orr

Anne Patterson and Christopher Finn

Geraldine Perry-Lopes

Mr. and Mrs. Jonathan L. Rounds

Elizabeth and Jeff Roy

Jane Ross Stankiewicz and Mark Southworth

Robert and Judith Sterns

Judith and Kristian Stoltenberg

David and Patricia Straus

Elaine and Geoff Swaebe

Robert Trahan and Denyse Conrad

Rhonda and Roy Veugen

Greg Wallace, in honor of Janet and Vern Wallace

Rillis Watkins

Anna Whitcomb and Samuel Knight

Dr. Natalia Whitley and Raymond Whitley

Anne Whitney

Laura and Wistar Wood

Ali Woodruff and Barrett Levenson

Robin Worcester

Grace and David Wyss

Anonymous

$250+

Chris and Trish Arnold

Laurie and David Barrett

Alan Bates and Michele Mandrioli

Jack and Tessa Belkin

Virginia and Myles Boone

Keith Cabral and Luis Duffy

Evelyn T. Crocker

Mary Ann Hayes

Polly and Prentiss Higgins

Ellen Hocker

Luther Damon Howard III, in honor of Chuck and Jan Bichsel

Elizabeth Huidekoper

Frank Keefe and Jennifer Radden

Mark and Nancy Keighley

Mary Ellen Kennedy

Kilburn Mill

Audrey G. Knapp

Mr. and Mrs. Scott Lang

Joyce LeBlanc

Robert and Carolyn Lytle

Jean MacCormack

Demarest Macdonald

Robert and Magdalin MacGregor

Mary Mandeville

Marilyn and Raymond Melanson

William and Beth Miller

Ed and Anne Motley

Robert L. Murphy

Norma Olivier Warburton

Margaret Palmer

Larry and Jackie Philla

Ruth Prentiss

David Prentiss and Lucy Iannotti

Mr. and Mrs. William C. Prescott, Jr.

Celeste and Cy Prothro, in honor of Mark and Margot Schmid’s 50th wedding anniversary

Kathy Reed

Michael Rocha, MD

Chris and Cecilia Ross

Tom and Kate Schmitt

Dr. Gilbert Shapiro

Bonnie and Louis Silverstein

Charlotte D. Smith

St. Anne’s Credit Union

Peter and Julie Veale

Alfred Walker

Diana M. Worley

$100+

Meg and Bob Ackerman

Levi and Jeanne Adams

Dana Anderson

Christopher and Veronique Bale

Ana and Dudley Bauerlein

Charlotte Berman

Donna M. Berry

Bobseine Family

John and Jennifer Brindisi

Monique Britto

Deborah Persons Brooke

Nancy F. Brown

Michael Budreski

Dan and Jennifer Bungert

APPLAUSE!

Patricia and Richard Burke

James and Shauna Chen, in memory of Pearl Ming-Chu Chen

Bob Clancy and Kathi Rogers

Gloria Clark

Richard and Dianne Clark

Bill Clements, in memory of Sandy Jones

Michael Couture and Diane Brown-Couture

Michael and Jennifer Coye

Teresa V. Cryan

Walter J. Czerny, Jr.

Judith Davis

Bob and Sue Daylor

Priscilla and Jennifer Demers

Carolyn DeMoranville

Mary Dermody and Lawrence Kupferschmidt

Tommie and Jack Desmond

Mary Ann Dillon

Judith Downey

Jeannette Doyle

Kenneth and Lisa Paquin Dunaway, in memory of Pierre A. Paquin

Ben Dunham and Wendy Rolfe-Dunham

Margaret Egan and Camilla Brooks

Barbara and Thomas H. Farquhar

Mary E. Farry

Jim and Mary Faughnan

Barbara and Robert L. Feinberg

Sharon Feingold and Skip Mueller, in honor of Robert Feingold

Marie L. Fontaine, in memory of Doris and Fred Basel

Angela and Dennis Fusco

Susan Gabert

David Gilbertson and Carolee

Matsumoto

Robert and Molly Giordano

Cathleen and Gordon Goodfellow

Charles and Cheryl Gorfinkle

Marjorie and Andy Greene, in memory of Jan Catron

Cecilia Halter and Michael Halter

Ann M. Harris

Helena and Ken Hartnett

Bill and Sandra Hewitt

Jongping and Bonnue Hsu

Eric Huber

Information Research Foundation

John D. Kelleher and Viki A. Fowler

The Kelly Family

Claire and Edward Kelly

Carol and Paul Kerrissey

Michael and Susan Kramer

Elizabeth and Robert Ladd

Arthur Lawton

Elizabeth and Douglas Leatham

Martin Lipman and Barbara Pearl

M. David Longval, in memory of Mark Simcock

Anne and Richard Lucas

Michael and Beth Luey

Mike Mahoney

Chris Makepeace

James Martin, in honor of Edith L. Martin

Hank Mastey

Damon F. May

Peggy McDonough

John and Nancy Mills

Anne Mozzone

In memory of Peter J. Muise

Regina M. Mullen

Betts and Wisner Murray

Liz Cole and Peter Newman, on behalf of David Cole

Theresa Nowell and Muriel R. Foster

Thomas and Alice Openshaw

Teresa Ouellette

Phil and Celeste Paleologos

Jay Pasco-Anderson

Mr. and Mrs. Paul A. Pasquariello

Alice Rice Perkins and Mark Perkins

Susan and Daniel Perry

James Perry

Gilbert Perry and Donna Sachs

Linda and David Pierre

John and Emily Pinheiro

Susan Portnoy

Vinay Prabhakar

Jean Purrier

Karen Quigley and Russell Hensel

Ken and Jaqueline Rapoza-Cruz

Bill Reed

Paula Rego

Dr. and Mrs. Edward Rizy

Marion Salm

David Saluto

Joanne Seymour and Brian Ruh

Robin and Timothy Shields

Mr. and Mrs. Steven Shuster

Ann Silva

Michael and Paula Sitarz

Marlene and Chris Smith

Conee Sousa

Sally Spooner

Wendy and Jeremy Stern

Sylvia and Eiv Strand

June Strunk

June and William Swanson

David C. Thoen

R. James Tobin

Mary L. Tomlinson

Shahara and Will Tracy

Bob Unger and Barbara LeBlanc

Janet and LaVerne Wallace

Liam T.M. Walsh

Special Support

Louise Waugh, in memory of Mr. and Mrs. Rodney L. Mcaulley, Sr.

Ken Weber

Philip and Bailey Whitbeck

Ronald and Sylvia White

John and Virginia Wilkens

Vanessa Williams

Corinne and Steve Woodworth

Anonymous

Business Partnerships

Albert Fox Facial Plastic Surgery Center

Baldwin Brothers

Bristol County Savings Bank

Diana Henry Realty

Foundations

Association for the Relief of Aged Women

Fiber Optic Center, Inc.

Feingold Bonnet-Hebert, P.C.

Gotta Have it!, Inc.

Hawthorn Medical Associates

Howe Allen Realty

LandVest

Shepard Turf Management, Inc.

Southcoast Almanac

Spherion Staffing Services

Sylvia Group of Insurance

Agencies

Tonix Pharmaceuticals

Walrus and Captain Bistro & Bar

Whaling City Sound

Barr Foundation and The Klarman Family Foundation through the Barr-Klarman Massachusetts Arts Initiative

BayCoast Bank

The Howard Bayne Fund

The Carney Family Charitable Foundation

Enable Hope Foundation

First Citizens’ Federal Credit Union

Grimshaw-Gudewicz Charitable Foundation

Island Foundation, Inc.

The Markel Family Philanthropic Fund of the Jewish Community Foundation of Greater Pittsburgh

Massachusetts Cultural Council

The Nelson Mead Foundation

New Bedford Arts Cultural and Tourism Fund (New Bedford Economic Development Council)

New Bedford Day Nursery Fund

SouthCoast Community Foundation - Acushnet Foundation Fund, The Allan and Priscilla Ditchfield Fund, Stasia Gorczyca Endowment Fund for the New Bedford Symphony, Jacobs Family Donor Advised Fund

The Wintrub and Barton Family Fund

Learning in Concert program support provided by Concerts at the Point for Fall River, Westport, and Tiverton elementary schools and by Up with School Arts for Little Compton and New Bedford elementary schools. Educational program support is provided in part by a grant from the Massachusetts Cultural Council as well as grants from the following Local Cultural Councils, which are local agencies supported by the MCC, a state agency: New Bedford and Mattapoisett.

NBSO ORGANIZATION

Board of Trustees

Sandria R. Parsons, Chair

Geoff Swett, Treasurer

Prof. Susan J. Leclair, Clerk

Jan Bichsel

Janet Coquillette

Michael A. Esposito

Robert B. Feingold, Esq.

Albert J. Fox, MD

Dorothy A. Hebden-Heath

Raina V. Lamade

Paul A. Lamoureux

Frances Levin

Symphony Volunteers

Barbara Bell

Meg Brown

Maria Dickinson

Karen Gardner

Jeannie Gulbranson

Margaret Jones

Barbara Mitchell

Pal Moniz

Anne Mozzone

Susana Pacheco

Madeline Reid

Judy Robinson

Pat Stringer

Louise Travers

Barbara Van Inwegen

Marge Waite

Joanna McQuillan Weeks

Anne Whitney

Alvin Marcovici, MD

Susan Mead

Jennifer Memoli

Christopher Nunn

Edward Ottensmeyer

Barry Steinberg

Margot Stone

Michael Sudofsky

Alexandra Woodruff

Advisory Council

Talbot Baker Jr.

Andrea Daskalakis

Priscilla Ditchfield

Richard & Sharon Grahn

Thomas W.Hallam II

Sally Johnston

Andy Kotsatos

Michael P. Malone

John Mannix

Pamela Norweb

Margot Schmid

Joan Underwood

Marjorie Waite

Janet Whitla

Ann Ziegler

Gala Committee

Marlissa Briggett

Clare Healy Foley

Nan Johnson

Sally Johnston

Susan Mead

Pam Norweb

Sandria Parsons

Jane Stankiewicz

Margot Stone

Joan Underwood

Ali Woodruff

Ann Ziegler

Symphony Staff

Elisa Birdseye, Librarian

Mike Daniels, Youth Orchestra Coordinator

Matthew Gomes, Finance Director

Wesley Hopper, Personnel Manager

Roberta Kennedy, Production Coordinator

Tobias Monte, Youth Orchestra Senior Conductor

David M. Prentiss, President and CEO

Abigail Smith, Operations and Program Coordinator

Conee Sousa, Director of Marketing and Public Relations

Rhonda Veugen, Development Lead

Janice Weber, SCCMS Artistic Director

Terry Wolkowicz, Education Director

Production Services

Amanda Quintin Design, Print Design

Minuteman Press of New Bedford, Printing Services

Richard Van Inwegen, Photography

Sound Dynamics Associates, Audio Recording

Spectrum Marketing Group, Website Design

THANK YOU FOR SUSTAINING OUR FUTURE

The Endowment Funds of the New Bedford Symphony Orchestra, which include the Symphony 100 Fund and the David MacKenzie Fund for Music, provide the critical support we need today and in the years ahead to sustain the high quality of our concerts and educational programs. Thank you to the following individuals for their generous support.

$1,000,000

Gidwitz Endowment Fund for the Future

$500,000

Anonymous

$250,000

Patricia Plum Wylde

$100,000 – $249,999

Anonymous

John and Nancy Braitmayer

Milan Heath Memorial Fund

Ann and Hans Ziegler

$50,000 – $99,999

Lucile and William Hicks

Pamela M Hoffer Memorial Chair

Heather Parsons and Andrew Kotsatos

$50,000 – $99,999

The Parsons Family Education Fund

$25,000 – $49,999

Anonymous

Michael and Margherita Baldwin

The Shulamith Friedland Memorial Fund

Paul and Denise Lamoureux

To make an endowment gift or for information about endowment naming opportunities and giving options, including leaving a bequest to the NBSO in your will, please contact us at 508-999-6276 or development@nbsymphony.org.

$10,000 – $24,999

Anonymous

The Barbara and Hershel Alpert Fund for Music Education

Jim and Carol Dildine

The Frauwirth Music for Youth Fund

Prof. James T. Griffith and Prof. Susan J. Leclair

Ellen Hocker

Nan Johnson and Alan Minard

The Lillian Lamoureux Music Scholarship Fund

Susan and Dexter Mead

Barry and Meg Steinberg

Geoff and Judy Swett

$5,000 – $9,999

Robert Booth

Gertrude Trumbull Burr

Allan and Priscilla Ditchfield

Michael Esposito and Cynthia Redel

Drs. Cynthia and Albert Fox

Norman J. and Maryellen Shachoy

Dean and Janet Whitla

Terry and Chris Wolkowicz

Chamber Music Fund

The Gladstone Family Fund

John Newton and Janice Weber

Ed Ottensmeyer and Anne Donnellon

Sandria Parsons

Patty Wylde

Ann and Hans Ziegler

Furtado Family Scholarship Fund

Raymond and Marilyn Melanson

Kristian and Judith Stoltenberg

THE FURTADO FAMILY SCHOLARSHIP

For nearly sixty years, members of the Furtado family have made music with the New Bedford Symphony Orchestra. During that time, their talent and passion for music have made a major contribution to the growth and impact of the NBSO in the community. Moreover, as teachers they have shared that talent and passion with countless students throughout the South Coast, enriching the lives of those students and our community as a whole.

In recent years, four members of the family—Judith Stoltenberg, Teresa Ouellette, Susan Bouley, and Marilyn Melanson—played in the orchestra. Upon the completion of the 2017-18 season, they informed the NBSO that it was time to bring this amazing musical run to a close and retire from the orchestra.

But a musical legacy like that of the Furtado family can never really “retire.” To recognize this and to thank the Furtado family for all it has done for the NBSO and the music community of the South Coast, the New Bedford Symphony Orchestra is very pleased to announce that it has established the Furtado Family Scholarship. This scholarship, which will provide financial aid to students in the NBSO’s youth orchestra programs, will be just one of the many ways that the Furtado family’s legacy of making music and bringing the joy of music to others will always be a part of the New Bedford Symphony Orchestra and the South Coast community.

To donate to the Furtado Family Scholarship Fund, contact the NBSO at 508-999-6276.

23 24

SOUTH COAST CHAMBER MUSIC SERIES

Welcome to another season of spectacular chamber music performed by artists of the NBSO. This year The Brass join us for a brilliant blowout and throughout the season, masterworks traversing three centuries are leavened with a selection of delectable duos. Our precious heritage of American chamber music – startling, majestic, and unique - features on each program. With special gratitude to Patty Plum Wylde for her sponsorship of our February concert, we look forward to seeing all of our steadfast supporters for another exciting journey together.

CORNUCOPIA

OCTOBER 28 & 29, 2023

A feast of virtuoso duos, a brave classic, and spectral Beethoven

TOP BRASS

DECEMBER 2 & 3, 2023

NBSO brass raises the roof!

VIVA VIOLA

FEBRUARY 3 & 4, 2024

Ravishing viola quintets and a magical piano

TRIFECTA

MARCH 9 & 10, 2024

Three perfect winners

BANQUET

APRIL 27 & 28, 2024

Finn, Film, Fiery, Fabulous

Tickets: $25 in advance only at www.nbsymphony.org

Saturday Concerts: 4:00 PM

St. Gabriel’s Episcopal Church, 124 Front Street, Marion

Sunday Concerts: 4:00 PM

St. Peter’s Episcopal Church, 351 Elm Street, South Dartmouth

2023–2024 Concert Schedule:

Sunday, November 19, 2023 | 3:00 PM

Sunday, December 10, 2023 | with NBSO, 3:30 & 7:00 PM

Sunday, March 3, 2024 | 3:00 PM

Sunday, May 19, 2024 | 3:00 PM

The Southeastern Massachusetts Youth Orchestras bring together talented young musicians from across the Southeastern Massachusetts region to participate in an educational and artistic experience in a full orchestra setting. Membership in the Southeastern Massachusetts Youth Orchestras is open to students of grade school age through age 21.

Rehearsals take place at the College of Visual and Performing Arts, UMass Dartmouth.

Consider attending our third annual SEMAYO Summer Camp, July 2024! New members are always welcome and all students are accepted after a placement audition.

For information on scheduling your placement audition, rehearsal schedule, summer programs, and upcoming concerts please visit www.semayo.org or email youth@nbsymphony.org

SEMAYO is a program of the New Bedford Symphony Orchestra

Tobias Monte, Senior Conductor

WE’RE NOT YOUR TYPICAL ORCHESTRA!

Community Partnerships

The NBSO partners with local organizations, agencies, and regional music organizations to create experiences that connect people of all ages and cultures. Examples include:

AHA! New Bedford

Alma del Mar Charter School

Association for the Relief of Aged Women

Buttonwood Park Zoo

Buy Black NB

Buzzards Bay Brewing

Cape Verdean Association in New Bedford

Co-Creative Center

Dartmouth Natural Resources Trust

DATMA

Discovery Language Academy

Gomes Elementary School English Language

Learners Parents Council

Greater New Bedford Youth Alliance

Groundwork

Haskell Gardens

Lloyd Center for the Environment

Love The Ave

New Bedford Art Museum/ArtWorks!

New Bedford Historical Society

New Bedford Parks and Recreation

New Bedford Public Schools

New Bedford Whaling Museum

Our Sister Schoool

Rotch-Jones-Duff House & Gardens Museum

Taunton River Watershed Alliance

The Drawing Room

Third EyE Youth Empowerment

United Way Foster Parents Council

Youth Opportunities Unlimited

Community of Music

The NBSO is also committed to sharing information about upcoming concerts by our Musical South Coast colleagues. (All local music organizations are welcome to contact us to be included!)

Arts in the Village

Buzzards Bay Musicfest

Concerts at the Point

Delight Consort

Fall River Symphony

Greater New Bedford Choral Society

Music at St. Anthony’s

Music from Land’s End Wareham

New Bedford Festival Theatre

Seaglass Theater Company

Showstoppers

Sippican Choral Society

South Coast Children’s Chorus

Southeastern Massachusetts Festival Chorus

Tri-County Symphonic Band

Zeiterion Performing Arts Center

Don’t miss a beat! Visit nbsymphony.org to join the NBSO mailing list and receive our monthly e-newsletter with information on a variety of musical events in your community.

3 Reasons to Support the New Bedford Symphony Orchestra

Since 1915, the New Beford Symphony Orchestra has been making powerful connections in our community. In addition to the magic we bring to the stage, the NBSO provides nationally recognized educational programs to thousands of children throughout the South Coast. Your support has a powerful impact in the concert hall and in the community.

1 Commitment to Community Part of the mission of NBSO is to share the experience of listening to orchestra musicians in various locations across Southeastern Massachusetts. These free concerts like, “Music in the Parks”, give individuals and families the chance to enjoy symphonic music of the highest caliber. It also helps to contribute to the artistic vibrancy of our communities, making the South Coast an inspiring place to live and visit.

2 3

Educational Programs We all know the benefits of children learning music, and through innovative and exciting musical programs like Learning in Concert, Pre-K Music and Literacy, and the Southeastern Massachusetts Youth Orchestras, the New Bedford Symphony Orchestra continues to provide authentic and engaging musical experiences annually to over 8,000 students in the South Coast region. We believe educating young people is a central part of our mission.

Live Music Experience Live music is emotionally inspiring, and concertgoers of all ages benefit greatly when they experience a concert in person. From the quietest stroke of a triangle to the massive sound of the brass section, the symphony orchestra is one of the most varied and thrilling musical experiences you can imagine.

“ Music provides us with excitement and joy, especially when attending a live performance of 75 musicians playing as one. In a concert hall, classroom, or bonding with family and friends at an outdoor event, we believe in the power of music to enrich and transform lives, deepening the bonds that unite us. Your support matters!”

— Yaniv Dinur

using enclosed envelope

Thank you for your support!

For more information on ways to give through corporate sponsorship or making a legacy or endowment gift, email development@nbsymphony.org or call 508-999-6276 x225.

SATURDAY, OCTOBER 14, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor | Sydney Lee, cello

Dedicated to the memory of Shulamith Friedland

James Lee III: Sukkot Through Orion’s Nebula

Jean Sibelius: Symphony No. 7

INTERMISSION

Edward Elgar: Cello Concerto

I. Adagio - Moderato

II. Lento - Allegro molto III. Adagio

IV. Allegro - Moderato - Allegro, ma non troppo - Poco più lento – Adagio

Please remember to turn off anything that beeps or glows. As a courtesy to the performers and your fellow concertgoers, no flash photography.

Concert Sponsor

SYDNEY LEE CELLO

Korean-American cellist Sydney Lee has established herself as an artist of refined elegance and profound sincerity. She garnered recognition when she claimed both 1st prize at the 2022 Washington International Competition and 2nd prize at the 2022 Classic Strings International Competition. Most recently, she was awarded the inaugural $50,000 Gurrena Fellowship from Meadowmount School of Music. Additional accolades include 1st prize at the International Antonio Janigro Cello Competition in Croatia, where she subsequently debuted with the Zagreb Soloists.

Since her solo debut with the Pittsburgh Symphony Orchestra at age 13, Sydney has continued to perform extensively throughout the United States, Europe, and Asia in many of the world’s leading venues, including the Kennedy Center, Philadelphia’s Kimmel Center, Carnegie Hall’s Stern Auditorium, and Konzerthaus Berlin.

Renowned cellist Julian Lloyd Webber praised her performance with the Armenian Symphony State Orchestra, “Sydney Lee’s playing of Prokofiev’s Sinfonia Concertante was mesmerizing. She surmounted all of its technical challenges with ease and gave us a joyous musical experience. It was a performance to treasure.”

An ardent devotee of chamber music, Sydney is the founder of the Galvin Cello Quartet, which has rapidly been building an international profile following their silver medal win at the 2021 Fischoff National Chamber Music Competition. Furthermore, they have earned the distinction of joining the Concert Artists Guild roster as winners of the esteemed 2022 Victor Elmaleh Competition. The quartet’s upcoming 2023-24 season includes performances at New York City’s Merkin Hall, Newport Classical, and Ravinia Music Festival.

Sydney’s dedication to fostering arts education is evident through her active role as a Board of Director, Social Media Manager and Back to Bach Soloist at The Back to Bach Project Charitable Foundation. This global initiative, with over 70 regions and 800 members, seeks to inspire young children through arts education and community

SYDNEY LEE CELLO (CONT)

engagement, imparting the values of commitment, dedication, and passion. She spearheaded the establishment of the Calgary, Canada, and Delaware County, PA regional chapters. Additionally, one of her notable collaborative achievements at Back to Bach involved a three-way collaboration between Play on Philly, The Curtis Institute of Music, and The Back to Bach Project under the guidance of violinist Midori. Furthermore, as a Back to Bach Soloist, she has led numerous virtual music education seminars for young audiences all across the United States. Sydney’s unwavering commitment to her philanthropic endeavors led to Back to Bach’s receipt of funding in 2020 from the esteemed U.S. Presidential Scholars Foundation and Alumni Association Seed Grant Program.

Born and raised in New York City, Sydney is an alumna of both The Curtis Institute of Music and Northwestern University, where she studied with Carter Brey, Peter Wiley, and Hans Jorgen Jensen. She is currently pursuing her Doctor of Musical Arts degree at Northwestern, continuing her studies under the tutelage of Hans Jorgen Jensen. Throughout her artistic journey, other past influential teachers include Richard Aaron, Jens Peter Maintz, Sophie Shao, Julie Albers, Minhye Clara Kim, and mentorship by acclaimed cellist Lynn Harrell.

In her spare time, Sydney served as a Content Assistant for The Violin Channel. Sydney finds joy in the art of crafting captivating lifestyle content through her vlogs, where she unveils the tapestry of her journeys, offering glimpses into her life as a musician, surviving the Chicago winters, and even her exhilarating escapade of maneuvering a dune buggy through the vast expanse of the Dubai desert.

PROGRAM NOTES

Sukkot Through Orion’s Nebula

James Lee III: American composer (b. 1975, St. Joseph, MI)

Estimated length: 10 minutes

Hailed as a “gifted young composer” (Cincinnati Enquirer) whose “bright, pure music” (Washington Post) is “tonal but highly complex” (South Florida Classical Review) and “vibrant [and] richly layered” (Baltimore Sun), James Lee III writes in virtually every medium. Today his music is much in demand, and has been performed by many ensembles, including the National Symphony Orchestra, Detroit Symphony Orchestra, Baltimore Symphony Orchestra, and the New World Symphony Orchestra.

Lee was raised in the Seventh-day Adventist Church, whose co-founder, Ellen G. White, wrote “Rightly employed … [music] is a precious gift of God, designed to uplift the thoughts to high and noble themes, to inspire and elevate the souls.” Lee’s faith continues to inform his music today; biblical teachings – especially from the books of Daniel and Revelation – feature prominently in his work.

Sukkot Through Orion’s Nebula was commissioned by the Sphinx Commissioning Consortium in 2011. Since its premiere by the New World Symphony and Michael Tilson Thomas, it has become Lee’s most performed work.

Lee writes, “ … Sukkot is a Hebrew word for the ‘Feast of Tabernacles.’ In biblical days, this holiday was celebrated on the 15th day of the month of Tishrei (late September to late October). It was the most joyous of the fall festivals that God mandated the Hebrews to observe. It was also a thanksgiving celebration for the blessings of the fall harvest. Orion’s Nebula refers to the Orion constellation in space. The structure of this nebula forms a roughly spherical cloud that peaks in density near the core. The cloud displays a range of velocities and turbulence, particularly around the core region.

“This work is constructed in seven sections:

1. Reminiscences of the Feast of Trumpets (Rosh Hashanah) and the Day of Atonement (Yom Kippur) open the work with percussive, forceful sounds of the snare and bass drums. This is further enhanced by the horns, which imitate the calls of the shofar (a ram’s horn sounded on those holy days).

2. The full orchestra continues to a cadence foreshadowing the grand advent of God.

3. The woodwinds follow with joyful flourishes and dancelike celebrations, which imitate the people’s reception of the Messiah. As this music continues, the motives pass on to the percussion section, piano, harp, and eventually the strings.

4. Previous melodies and motives are developed and transformed among the orchestra. This section celebrates the Second Coming of God.

5. Orion is the one constellation mentioned specifically in the Old Testament. The muted brass, singing violins, percussion instruments and woodwinds are intended to evoke celestial images of the Messiah coming down out of heaven through the Orion constellation, then the redeemed saints traveling through the constellation, and finally the New Jerusalem coming down out of heaven …

6. The bass and snare drums reprise the “shofar theme, “ which continues with orchestral exclamations of joy.

7. Passages of call and response ripple within the ensemble in the final celebration, which continues until the work ends with an explosion of sound.”

Symphony No. 7 in C major, Op. 105

Jean Sibelius: Finnish composer (1895–1957)

Estimated length: 22 minutes

“The VIIth symphony. Joy of life and vitality, with appassionato passages. In 3 movements – the last a ‘Hellenic rondo’,” wrote Jean Sibelius in 1918, referring to his Symphony No. 7. It is telling that Sibelius thought of this symphony as epitomizing joy, since by 1924 Sibelius could barely function without a bottle of liquor at his side, and his alcoholism exacerbated his tendency to depression. As the composer himself noted, in the winter of 1924, “Alcohol to calm my nerves and state of mind. How eternally tragic is the lot of an aging composer! It [work] doesn’t proceed with the same pace as it used to, and one’s self-criticism grows to impossible levels.” Sibelius also described alcohol as “my most faithful companion,” in his diary, adding, “Everything and everyone else has largely failed me.”

While the idea of a one-movement symphony is not unusual today, it was a pioneering innovation in 1924. In his earlier symphonies, Sibelius explored the consolidation of movements (the last two movements of the Second Symphony are linked with the tempo marking attacca, and all the movements of the Fourth Symphony are seamlessly joined by a unison note ending one movement and beginning the next). Sibelius also likened symphonies to rivers: “The movement of the river water is the flow of the musical ideas and the river-bed that they form is the symphonic structure.” There are a number of tempo changes throughout the single movement, as well as long gradual accelerandos, some of which serve as structural signposts.

The Seventh Symphony encapsulates Sibelius’ style of composition, in which all themes evolve out of one musical kernel, in this case a triumphal C major theme for trombone which opens and closes the work. Sibelius’ final symphony also established the concept of a one-movement symphony, which many 20th-century composers later adopted. It is both elegiac and heroic, and the trombone theme nods at the music of Richard Wagner in the opening and the finale.

PROGRAM NOTES

Concerto for Cello and Orchestra in E minor, Op. 85

Edward Elgar: English composer (1857–1934)

Estimated length: 30 minutes

The Cello Concerto in E minor is the last original work Edward Elgar completed before the death of his wife, Lady Alice Elgar. Hailed by critics and audiences as Elgar’s “final masterpiece,” this haunting work, so different in mood and style from Elgar’s previous music, was written as a response to the devastation and loss caused by World War I.

Aside from Dvořák’s Cello Concerto, Elgar’s is the best-known and one of the most popular orchestral concertos in the repertoire. It has been featured in several films, most recently in the Academy Award-nominated 2022 movie Tár, starring Cate Blanchett as a world-renowned orchestra conductor. The concerto becomes a plot point when Lydia Tár decides to program it alongside Mahler’s Fifth Symphony, to showcase a young cellist who has caught her eye. The solo cello’s first four chords, which open the concerto and reappear periodically throughout, precede the memorable opening theme, which had its genesis in pain (Elgar wrote it on March 23, 1919, while recovering from a tonsillectomy at home). He continued working on the rest of the concerto in July and finished it in August 1919. The concerto fared poorly at its premiere two months later, due to lack of adequate rehearsal time. Critics lost no opportunity to point out this fact: “… an important new work by our foremost living composer … was obviously underrehearsed.” “The orchestra made a lamentable public exhibition of itself.” Through subsequent better-prepared performances, the Cello Concerto soon became one of that instrument’s signature works, and critics likened it to Dvořák’s Cello Concerto in B minor. The comparison pleased Elgar, who had played in orchestras Dvořák conducted when the Czech composer visited Worcester and Birmingham in the late 1880s.

The soloist opens the Adagio – moderato alone, sounding four dark chords establishing the key of E minor. The violas enter with the lilting, poignant main theme, followed by the cellos. This first theme is joined by a second, introduced by the woodwinds, which continues the graceful melancholy of the first. The cellist’s opening four chords are played pizzicato (plucked) at the beginning of the Scherzo, which takes off into the relative major key of G. This lighter companion to the first movement spotlights the cello’s technical capabilities, with runs of repeated sixteenth notes contrast with strong legato phrases. The orchestral accompaniment in this movement is almost sparse in places, unlike Elgar’s usual grand sweeping style; the restrained orchestration keeps the solo part from being lost in the full orchestral texture. In the Adagio, Elgar continues the quasi-chamber orchestration by eliminating the brasses. The solo cello weaves yet another expressive, reflective melody over supporting strings and a few woodwinds throughout this slow and relatively short (60 measures) movement. The final Allegro alternates solo cello passages with orchestral replies, and the concerto ends as it began, with the opening four chords from the first movement.

© Elizabeth Schwartz

A law firm deeply-rooted in th e SouthCoast community offering our clients personalized, eff ective, and efficient representation in matters inv olving real estate development, transactions & disputes, estate planning, civil lit igation, serious personal injuries, medical negligen ce, settlemen t trusts, individual and business transactions, and strategic business guidance.

SATURDAY, NOVEMBER 18, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor | Janice Weber, piano

Clarice Assad: Nhanderú

Dmitri Shostakovich: Piano Concerto No. 2

I. Allegro II. Andante III. Allegro

INTERMISSION

Antonín Dvořák: Symphony No. 6 in D major, Op. 60

I. Allegro non tanto II. Adagio

III. Scherzo (Furiant), Presto IV. Finale, Allegro con spirito

Please remember to turn off anything that beeps or glows. As a courtesy to the performers and your fellow concertgoers, no flash photography.

Concert Sponsor

JANICE WEBER PIANO

Janice Weber’s New York recital debut, performed under the pseudonym Lily von Ballmoos, was an early indication of the eclecticism and fluency for which she has become known.

A summa cum laude graduate of the Eastman School of Music, Miss Weber has performed at the White House, Carnegie Hall, Wigmore Hall, National Gallery of Art, and Boston’s Symphony Hall. She has appeared with the Boston Pops, Chautauqua Symphony, New Jersey Symphony, Hilton Head Orchestra, Sarajevo Philharmonic, and Syracuse Symphony in concertos of Hanson, Sowerby, Stenhammar, Bernstein, and Leroy Anderson as well as the standard repertoire. She has performed at the Bard, Newport, La Gesse, Husum, and Monadnock summer festivals and has returned frequently to China for concerts and master classes under the auspices of the American Liszt Society.

Her interest in the uncommon avenues of the piano literature led to a world premiere recording of Liszt’s 1838 Transcendental Etudes. Time Magazine noted, “Liszt later simplified these pieces into the still ferociously difficult Transcendental Etudes (1852 version) for fear that no one else could play them. There may now be several fire-eating piano virtuosos who can execute the original notes, but few can liberate the prophetic music they contain as masterfully as Janice Weber does here.”

Her recordings include Rachmaninoff’s complete transcriptions; with the Lydian Quartet, Leo Ornstein’s vast Piano Quintet; flute and piano works of Sigfrid Karg-Elert; and waltz transcriptions of Godowsky, Rosenthal, and Friedman. Miss Weber recorded Liszt’s last Hungarian Rhapsody, one of only two living pianists to be included in a compendium of historic performances by nineteen legendary artists. This disc subsequently won the International Liszt Prize. Her Naxos recording of Leo Ornstein’s radical works introduced the charismatic composer to a worldwide audience. She is heard in Messiaen’s Quartet

for the End of Time on Ongaku Records. Her Cascade of Roses recording for Sono Luminus, featuring works of twenty-one composers from Adolf Jensen to Billy Mayerl, was followed by Seascapes, a compendium of fourteen diverse works on sea themes. She was a member of the piano faculty at Boston Conservatory for twenty-seven years and has taught at MIT and New England Conservatory. Miss Weber produced three sets of tones for Ivory, the worldwide bestselling virtual piano software. A Steinway artist, she is Artistic Director of South Coast Chamber Music, an integral part of the New Bedford Symphony Orchestra. Double Digits, her duo-piano collaboration with Alex Poliykov, is a staple of the Boston keyboard scene.

LEAVING A LEGACY

Strengthening your Orchestra’s Future

A Gift That Keeps the Music Going

We invite you to play your part to ensure our future by including the NBSO in your long-term gift plans. Leaving a planned gift is a meaningful way to both show your support for musical inspiration on the South Coast while realizing significant financial, tax and estate planning benefits.

Name NBSO as a

• beneficiary in your Will or Trust

• beneficiary of a retirement plan

• beneficiary of an existing or new life insurance policy

Other Qualifying Gifts

• Charitable Gift Annuities

• Charitable Remainder Trusts

• Charitable Lead Trusts

• Cash, Stock, Real Estate or Employer Matching Funds

The process is simple, but the impact will be felt for generations to come. Individuals or families who have named the NBSO as beneficiary in their wills or other planned gifts become members of the prestigious Legacy Society.

To discuss options or for more information, contact development@nbsymphony.org 508.999.6276 x225.

PROGRAM NOTES

Nhanderú

Clarice Assad: Brazilian composer (b.1978, Campo Grande, Brazil)

Estimated length: 8 minutes

Brazilian-American composer, pianist, arranger, and singer Clarice Assad hails from an illustrious musical family. Daughter of guitarist Sergio Assad and niece of guitarist Odair Assad and singersongwriter Badi Assad, Clarice’s music infuses popular Brazilian culture, Romanticism, world music, and jazz into her unique sound palette.

“NHANDERÚ – pronounced (/nyuh.dey.roo/) – means ‘God’ in Tupi-Guarani, which is a subfamily of the Tupian languages spoken by a group of indigenous peoples living in areas of the Amazon basin,” Assad writes. “Natives from Tupi-Guarani tribes, like many other societies, often practiced a ritual called rainmaking, (or rain dance) which is intended to invoke rain through prayer.”

“During the ceremony, they summoned spirits of the land as well as their ancestors to bring in the rain so as to ensure soil fertility, abundant harvest, and to frighten away the spirits of the lost world. In most rituals, the ‘dancers’ embody one or more spirits (a higher power) that is expressed through rhythmic gestures and movements. In addition to chanting, some instruments – such as rattles of various sizes and types, flutes, and drums – are used. Legend has it that the rain provoked by the ritual holds the spirits of ancient chiefs. When the water droplets begin to fall, it sets off a great battle between our reality and the spirit world.”

“The composition NHANDERÚ bases itself on the connection between the material and the unseen worlds, with a focus on ritualistic practices of faith, prayer and gratitude. As with any musical work, it can be interpreted in many different ways. However, my work tends to be quite visual and I usually like to imagine vivid scenarios, which inspire me create a stronger sense of timing. Programmatic in nature, the piece develops narratively, and is a musical portrait of a rain dance ritual from beginning to end. It is divided in four main parts. The beginning, (awakening), the development section (summoning/rainfall/gratitude) and the coda, a return to the beginning in a cyclical form, creates a parody between the water cycle and the cycle of life. To create a vivid listening experience, the score calls for vocalizing, finger snapping, clapping, body tapping, and percussion instruments which imitate sounds of nature.”

PROGRAM NOTES

Piano Concerto No. 2 in F major, Op. 102

Dmitri Shostakovich: Russian composer (1906–1975)

Estimated length: 17 minutes

If you heard this concerto without knowing its composer, you would easily be excused for thinking it the work of anyone but Dmitri Shostakovich. In this work, a stark contrast to much of his other music, Shostakovich gives free rein to aspects of his personality he seldom expressed musically: merriment, a straightforward, pleasant melodic arc, and a notable lack of irony.

The light, playful aspects of this concerto are likely a reflection of Shostakovich’s feelings for his son Maxim, for whom it was written. Shostakovich had also written piano music for his daughter Galina when she was a girl, and had earlier gifted Maxim with a “concertino” for two pianos. As he approached his 19th birthday, Maxim was preparing for his entrance to the Moscow Conservatory; his performance of his father’s concerto earned him a place in the prestigious music school. Maxim was thrilled with the work. “My dream,” he remembered, “was for a big, serious piano concerto … I was especially proud of the fact that my father dedicated it to me. Learning the score when it was still fresh, I often rehearsed it on two pianos with him. We argued, and I defended heatedly my youthful ideas. I recall that in musical circles, when it became known that father had written this concerto especially for me, it was jokingly noted, ‘Have you heard that Shostakovich has composed a new concerto for Maxim and orchestra?’”

The style and structure of the concerto follow the outlines of a standard piano concerto: three movements featuring two lively outer sections bracketing a slower central movement. The first and third movements exude a twinkling-eyed mischievous humor; we can almost see Shostakovich playing with his children, or engaging in good-natured debate with Maxim over a particular section. The solo part features a number of phrases in octaves, which add to the concerto’s brilliance, intensity, and technical difficulty. In the contrasting Andante, Shostakovich gives voice to a lyrical, affecting melody of surprising intimacy and tenderness.

PROGRAM NOTES

Symphony No. 6 in D major, Op. 60

Antonín Dvořák: Czech composer (1841–1904)

Estimated length: 41 minutes

Antonín Dvořák was almost 40 when he composed the Symphony No. 6. Although Dvořák had completed five previous symphonies, people outside his Czech homeland knew him only as the creator of the wildly successful Slavonic Dances and Slavonic Rhapsodies, works that functioned as musical calling cards, but did not establish Dvořák as a “serious” composer in the eyes of most musical cognoscenti, particularly in Vienna. Dvořák wanted to change that perception. In 1879, after hearing Hans Richter lead the Vienna Philharmonic in the third Slavonic Rhapsody, Dvořák promised Richter and the Philharmonic a symphony for the following season.

Dvořák did not begin composing Richter’s symphony until the summer of 1880, completing all four movements and the scoring in just six weeks. In November, Dvořák played the score in Vienna for Richter in a piano reduction. Dvořák reported to a friend that Richter kissed him after he finished playing each movement, so great was Richter’s enthusiasm for the new work. Richter told Dvořák he would program the symphony for the orchestra’s December 26 concert but later had to postpone, saying the orchestra could not learn a new symphony in so little time. The premiere was rescheduled for March 1881, but as the date drew closer, Richter wrote to Dvořák, asking for a further postponement, this time for personal reasons (Richter’s children were recovering from diphtheria, his wife was about to give birth, and his mother had just died). Dvořák was not unsympathetic, and he believed Richter was sincere in his desire to premiere the symphony, but he also suspected there was more to these delays than he was being told. Dvořák’s suspicions proved correct; several orchestra players, whose opinions carried great influence, were openly disdainful and felt that the orchestra was programming too much of Dvořák’s unimportant (in their opinion) music. Although Dvořák retained the dedication to Richter in the score, by this time he was anxious to hear his symphony played, so he asked his old friend and fellow violist Adolph Čech to lead the premiere with the Prague Philharmonic. (Richter did eventually conduct the Symphony No. 6 two years later in London).

This symphony blends the bold muscularity of Ludwig van Beethoven’s phrases with the lyrical melodies of Czech folk songs. The resemblance to Beethoven was intentional; even 50 years after Beethoven’s death his music was revered by the Viennese, and Dvořák, familiar with the audience’s love of the great composer, knew any musical nod to Beethoven would be well received. The Beethovenian references are particularly notable in the fiery scherzo, which features the furiant, an energetic Czech dance. The Allegro non tanto alternates strong, forceful themes with gentler passages and harmonies that suggest Brahms, while the Adagio is a long, graceful interlude featuring a tender violin melody accompanied by oboe. Dvořák opens the Finale with a nod to Johannes Brahms’ Symphony No. 2; Dvořák’s biographer Hans-Hubert Schönzeler called this movement “the most convincing finale Dvořák ever wrote.”

© Elizabeth Schwartz

Largest display of Composite

Furniture in ALL of New England

Holiday Pops

SUNDAY, DECEMBER 10, 3:30 & 7 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor

Appearances by members of the Southeastern Massachusetts Youth Orchestras and the Showstoppers

Holiday Overture | James M. Stephenson

Christmas Song | Mel Tormé (arr. Lowden)

Swingin’ with Santa Claus (arr. Mac Huff) | Showstoppers

White Christmas | Irving Berlin (arr. Russel Bennett)

Merry Carol of the Bells (arr. Camp Kirkland and Jay Rouse) | Showstoppers

Neue Pizzicato Polka, Op. 449 | Johann Strauss II

On the Beautiful Blue Danube | Johann Strauss II*

Do You Hear What I Hear (arr. Camp Kirkland and Jay Rouse) | Showstoppers

Charleston Christmas | James M. Stephenson*

Fantasia on “Greensleeves” | Vaughan Williams

Excerpts from Nutcracker: Terpak, March, Waltz of the Flowers

Pyotr Ilyich Tchaikovsky

O Holy Night (arr. Custer)

The Bells of Christmas (arr. Bob Krogstad) members of SEMAYO, Tobias Monte, conductor

Christmas Sing-A-Long: Jingle All the Way Medley (arr. David T. Clydesdale)

Showstoppers, SEMAYO, and you!

*7:00 PM Concert Only

Please remember to turn off anything that beeps or glows. As a courtesy to the performers and your fellow concertgoers, no flash photography.

2023-24 SEASON

While the Zeiterion undergoes renovation and restoration, we’re taking our shows on the road!

Come along for the ride!

Sept 8, 2023 GET THE LED OUT

Sept 21, 2023 Stage Door Live!

NEW B LEGENDS fea. KG Express, Chops Turner & Pat Loomis

Sept 30, 2023 LEGALLY BLYNDFREE SEASON KICK-OFF!

Oct 5, 2023 JAKE SHIMABUKURO

Oct 14, 2023 GISELA JOÃO

Oct 19, 2023 Stage Door Live!

LADIES NIGHT feat. Lori Gomes, Ashley Victoria, and Jacquelyn Legendre

Nov 30, 2023 Stage Door Live!

DAVE ALVES

Dec 2, 2023 PAULA POUNDSTONE

Dec 14, 2023 Stage Door Live! AMILTON TAVARES

Jan 14, 2024 DRUMLINE LIVE!

Mar 17, 2024 360 ALL STARS

Apr 25, 2024 THE GREAT GATSBY

Madeira Field

Kilburn Mill

Madeira Field

UMass Dartmouth

Bristol Community College

Kilburn Mill

Kilburn Mill

UMass Dartmouth

Kilburn Mill

NB High School

NB High School

UMass Dartmouth

Southeastern Massachusetts Youth Orchestras

Tobias Monte, Artistic Director and Senior Conductor

The Southeastern Massachusetts Youth Orchestras (SEMAYO), a program of the New Bedford Symphony Orchestra, was established in 2008 under the auspices of the NBSO. Today, there are more than 70 students in four ensembles under the SEMAYO umbrella— Symphony Orchestra, Repertory Orchestra, Debut Orchestra, and Preparatory String Ensemble.

In addition to conducting the SEMAYO Symphony Orchestra, a full orchestra made up of advanced middle school, high school, and college players, Tobias Monte maintains an active career as a performer, conductor, and educator. He holds positions in the trumpet sections of the Cape Symphony Orchestra and the Plymouth Philharmonic Orchestra. He was the musical director for New Bedford Festival Theatre from 1996 to 2003, overseeing the music for fifteen productions. Mr. Monte is a member of the music department faculty at the University of Massachusetts Dartmouth where he directs the Wind Ensemble and Jazz Orchestra, and runs the performance workshop class.

Showstoppers Performing Arts, Inc.

The Showstoppers is an inspiring group of local youth who make an impact on the community by providing quality musical entertainment to the elderly at nursing homes, assisted living programs, and senior centers throughout Southeastern Massachusetts. Under the direction of Kelly and Jillian Zucco, the troupe also performs for the community-at-large through a variety of public and private venues including fairs and festivals, charitable fundraisers, and other civic events. The troupe averages 40-50 shows per year, has won numerous talent and service awards, and has performed in Walt Disney World twice. We are ever so grateful to be performing with the esteemed NBSO once again this year!! For more information about the troupe, email showstoppersme@gmail.com or follow them on Facebook/ showstopppers.us.

MORE NEW MUSIC on WHALING CITY SOUND

this h remarkable clarity able talents of Frank Zé Eduardo Nazario ( ), j (keyboards) and Teco Cardoso (flute and saxes), Ste n manages to revea the magic h iding in these grooves and Each of Stein’s accompanists to that discovery especially on he warm “Rio Escuro,” the quiet f Pat Martino’s “Cisco ” and the ic Wally Stein, about to retire from his decades-long teaching career at Berklee (also his alma t ) i d t l music full time, demon to lay bare the sou songs, as well as th band’s performance Watershed is suffused with lyricism and artistic clarity as he raises the bar for his own future visions

Music’s

NEW on WHALING CITY SOUND

JohnStein No Goodbyes

Experience illuminates the path to clarity, and nowhere is this more evident than in No Goodbyes by guitarist John Stein. On his 18th recording and 13th for the Whaling City Sound label, Stein, with Ed Lucie (bass) and Mike Connors (drums) deliver a truly transcendent musical experience Building upon their previous collaboration on 2021s Serendipity, the trio forges an enchanting collection of interactive, conversational and expressive melodies

Adding a new dimension to this captivating journey, guest vocalist Cindy Scott joins them on five tracks With her insightful and sophisticated lyrics, Scott breathes life into Stein’s jazz compositions, transforming them into magnificent songs

No Goodbyes is a testament to the enduring power of musical collaboration, leaving listeners profoundly moved and yearning for more

Thank you to our Symphony Seaside Swing

2023 Supporters!

Proceeds raised at Symphony Seaside Swing 2023 support symphony music of the highest caliber and ensure our educational outreach impacts generations to come. Your giving contributes to the artistic vibrancy of our communities, making the South Coast an inspiring place to live and visit. We truly appreciate all who contributed to this very successful event!

Corporate Sponsor

Baldwin Brothers

Bristol County Savings Bank

Sponsor

Kenneth and Wendy Joblon

Andy Kotsatos and Heather Parsons

Ann and Hans Ziegler

Patron

Tom Barry and Nancy Shanik

Jack and Nancy Braitmayer

Lucile P. Hicks

Geoff and Judy Swett

A Friend of the NBSO

Joan Underwood and Geoffrey Taylor

Host

Helen DeGroot

In memory of Merry Eustis

Edward Hoffer MD and Madeleine Deschamps

Sally Johnston

Drs. Susan J. Leclair and James T. Griffith

Michael Malone & Debra Gayle

Susan and Dexter Mead

John Newton and Janice Weber

Sandria Parsons

Howard and Fredericka Stevenson

Laima and Bert Zarins

Co-Host

Pat and John Baillieul

Hope Lincoln Baker

BayCoast Bank

Jan and Chuck Bichsel

Ellen and Tom Bowler

Betty Ann and Jack Cannell

Janet and Bill Coquillette

Allan and Priscilla Ditchfield

Drs. Albert and Cynthia Fox

James S. and Maryellen Sullivan Hughes

Tali and Mark Kwatcher

Harry and Pam Norweb

Don and Genie Rice

Southcoast Health

Barry and Meg Steinberg

Margot Stone

Benefactor

Sharon and Richard Grahn

Elissa and William Holmes

Nan Johnson and Alan Menard

Diane and Peter Lafond

Dr. Raina V. Lamade

Scott and Monica Laurans

Frances Levin

John and Doris Ludes

Karen and Jim Prieur

Judy and Bob Rosbe

Kitt and Heather Sawitsky

Richard Tabors and Mary Ellen Lees

Marge Waite and Neal Weiss

John and Mallory Waterman

Kathy Wattles

Margaret Wool and Vincent Mor

Underwriters

Kilburn Mill Event Center

Minuteman Press New Bedford

Photography by Richard Van Inwege