NBSO 2023-2024 Season Part 2

Relax. Recharge. Restore.

Without craftsmanship, inspiration is a mere reed shaken in the wind.”

-Johannes Brahms

WEALTH MANAGEMENT

At Baldwin, we offer a one-of-a-kind experience that involves far more than your money. It involves YOU.

(508) 748-0800

Baldwin-LLC.com

Marion, MA

COLLABORATIVE. ENGAGING. AND DECIDEDLY POSITIVE.

NBSymphony_2020_February.qxp_Layout 1 2/25/20 12:12 PM Page 1

MORE NEW MUSIC on WHALING CITY SOUND tim RAY

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

john STEIN

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

Music’s the medicine of the mind.

508-996-3991 | hawthornmed com

Dartmouth | New Bedford | Wareham | Fall River

Available on: Amazon com, iTunes and online from whalingcitysound com

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Music’s the medicine of the mind.

Music’s the medicine of the mind.

– John A. Logan

508-996-3991 | hawthornmed.com

Dartmouth | New Bedford | Wareham | Fall River

508-996-3991 | hawthornmed.com

Dartmouth | New Bedford | Wareham | Fall River

ADULT MEDICINE ALLERGY/IMMUNOLOGY

BEHAVIORAL HEALTH

ADULT MEDICINE ALLERGY/IMMUNOLOGY

CARDIOLOGY

BEHAVIORAL HEALTH

DERMATOLOGY

CARDIOLOGY

ENDOCRINOLOGY

DERMATOLOGY

FAMILY MEDICINE

ENDOCRINOLOGY

GASTROENTEROLOGY

FAMILY MEDICINE

GENERAL SURGERY

GASTROENTEROLOGY

GENERAL SURGERY

INFECTIOUS DISEASE NEPHROLOGY

PAIN MANAGEMENT

INFECTIOUS DISEASE

NEUROLOGY

NEPHROLOGY

NEUROSURGERY

NEUROLOGY

OBSTETRICS/GYNECOLOGY

NEUROSURGERY

ONCOLOGY/HEMATOLOGY

OBSTETRICS/GYNECOLOGY

ONCOLOGY/HEMATOLOGY

ORTHOPEDICS

ORTHOPEDICS

OTOLARYNGOLOGY

OTOLARYNGOLOGY

PAIN MANAGEMENT

PEDIATRICS

PULMONOLOGY

PEDIATRICS

RHEUMATOLOGY

PULMONOLOGY

URGENT CARE

RHEUMATOLOGY

UROLOGY

URGENT CARE

UROLOGY

VASCULAR SURGERY

VASCULAR SURGERY

WEIGHT MANAGEMENT

WEIGHT MANAGEMENT

– 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.

NBSO ROSTER

Yaniv Dinur, Music Director

Music Director Sponsors: Allan and Priscilla Ditchfield, Susan and Dexter Mead

Violin I

Jesse Holstein, Concertmaster

Milan A. Heath Jr. Memorial Chair

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

Cello

Leo Eguchi, Principal

Patricia Plum Wylde Chair

* On leave

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

Kathy Wattles Chair

Clarinet

Nicholas Brown, Principal

Charles Parsons Memorial Chair

Margo McGowan

Bassoon

Michael Mechanic, Principal

Janet and Bill Coquillette Chair

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

Sandra Bilodeau Chair

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 January 1, 2023, and December 31, 2023 are listed below.

$100,000+

Anonymous

$10,000+

Baldwin Brothers

Nancy Braitmayer

Wendy and Ken Joblon

Sally Johnston

Andy Kotsatos and Heather Parsons

Dexter and Susan Mead

John Newton and Janice Weber

Sandria Parsons

Margaret-Ann Rice

Tom Barry and Nancy Shanik

Fredericka and Howard Stevenson

Geoff and Judy Swett

Ann and Hans Ziegler

A Friend of NBSO

$5,000+

Bristol County Savings Bank

Janet and Bill Coquillette

Ralph Eustis, in memory of Merry Eustis

Bill and Cile Hicks

Paul and Denise Lamoureux

Michael Malone and Debra Gayle

Wayne Matelski

Diana Nichols

Harry and Pam Norweb

Jane and Neil Pappalardo

Barry and Meg Steinberg

Margot Stone

Richard and Patricia Wecker

$2,500+

Albert Fox Facial Plastic Surgery Center

Christina Bascom

Jan and Chuck Bichsel

Sandra Bilodeau

Mary Jean and Bill Blasdale

Douglas and Cindy Crocker

Helen DeGroot

Jim and Carol Dildine

Feingold Bonnet-Hebert, P.C.

Fiber Optic Center, Inc.

Dr. Albert and Cynthia Fox

Sharon and Richard Grahn

Hawthorn Medical Associates

Dorothy A. Hebden-Heath

Dr. Edward Hoffer and Madeleine Dechamps

Lilian Kemp and David Marks

LandVest

Profs. Susan J. Leclair and James T. Griffith

John and Doris Ludes

Karen and Jim Prieur

Joop and Ria Nagtegaal

Don and Genie Rice

Shepard Turf Management, Inc.

Kathy Wattles

Whaling City Sound

Laima and Bert Zarins

$1,000+

Milton and Marilyn Adams

Joel and Lisa Alvord

Pat and John Baillieul

Hope Lincoln Baker

Douglas Balder and Joan DeCollibus

Michael and Margie Baldwin

Bianca and Michael Bator

BayCoast Bank

Ellen and Tom Bowler

Edward C. and Elizabeth H. Brainard

Joel Brenner and Victoria Pope

Irene and Norman Buck

Rid Bullerjahn

Lizanne and Malcolm Campbell

Betty Ann and Jack Cannell

David Cole and Betty Slade

Sheila Powers Converse

James and Edwina Cronin

Michael K. Davis

Allan and Priscilla Ditchfield

John and Zelinda Douhan

Breck and Jeanne Eagle

Michael Esposito and Cynthia Redel

Janet and Bob Feingold

James Conlin and Carole Ferguson

Suzanne and George Gebelein

The Gladstone Family Fund

Marjorie and Nick Greville

Elissa and William Holmes

Jack and Leslie Howard

Nan Johnson and Alan Minard

Gary P. Johnson and Luana Josvold

David and Jen Kaiser

Trudy Kingery

Tali and Mark Kwatcher

Diane and Peter Lafond

Dr. Raina V. Lamade

Scott and Monica Laurans

Frances Levin

Ken Lipman

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

Joe Nauman

Carolyn Osteen

Ed Ottensmeyer and Anne Donnellon

Richard Pline and Roseann Radosevich

Mr. and Mrs. Terry Reideler

Judy and Bob Rosbe

Kitt and Heather Sawitsky

Robert B. Smith

Southcoast Health

Alan Steinert, Jr.

Anonymous, in honor of Howard and Fredericka Stevenson

Rachael Kolb and Thomas Stritter

James S. and Maryellen Sullivan Hughes

Win Swarr

Richard Tabors and Mary Ellen Lees

Joan Underwood and Geoffrey Taylor

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

Up With School Arts

Marge Waite and Neal Weiss

John and Mallory Waterman

Janet Whitla

Vincent Mor and Margaret S. Wool

Robin Worcester

Dr. and Mrs. Edward A. Zane

Anonymous

$500+

Holly and Dana Barrows

Linda and John Bodenmann

Jack Boesen and Janne Hellgren, in memory of Thelma Kramer Ostenfeld

Heather and Garrett Bradley

Mimi and Earl Briggs

Dr. Peter Campisano and Joyce Tower

Dwight and Loretto Crane

Bob and Sue Daylor

Tommie and Jack Desmond

Kathy Dinneen

Erica Driver

Clare Healy Foley and Paul Foley

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

Barbara and Brad Fouss

Elsie R. Fraga

Karen M. and George Gardner

Robert and Cynthia Hamburger, in honor of Bob Booth and the good work the NBSYO does!

Jim Harrison

Elizabeth Huidekoper

Nicholas and Susan Iwanisziw

Betsy and Rusty Kellogg

Helen and Ray Killian

Edward and Nancy Kurtz

Sasha Lauterbach and Peter Sturges

Jane Loos

Luzo Auto Center - J.C. Pinheiro

James Maffei and Trina Wanaga

Patricia Marshall

John Menzel

Colonel Joseph Napoli, USA, Ret.

Peter Necheles and Marlissa Briggett

Anne Patterson and Christopher Finn

Mr. and Mrs. Jonathan L. Rounds

Elizabeth and Jeff Roy

Margot and Mark Schmid

Jane Ross Stankiewicz and Mark

Southworth

Robert and Judith Sterns

David and Patricia Straus

Robert Trahan and Denyse Conrad

Richard and Barbara Van Inwegen

Henry and Marion Wainer

Greg Wallace, in honor of Janet and Vern Wallace

Rillis Watkins

David and Betty Watson, in memory of Mrs. Helen T. Mills

Anna Whitcomb and Samuel Knight

Dr. Natalia Whitley and Raymond Whitley

Anne Whitney

Ali Woodruff and Barrett Levenson

Ali Woodruff and Barrett Levenson, Red Oak Sourcing Company Match

Grace and David Wyss

Anonymous

$250+

Anonymous, in memory of Mary and David

Dana Anderson

Chris and Trish Arnold

Laurie and David Barrett

Ana and Dudley Bauerlein

Virginia and Myles Boone

Lorraine and Russ Carey

Prof. and Mrs. Chi-Hau Chen

Ms. Janice Z. Clark

Bill Clements

Anne T Converse

Evelyn Crocker

Dr. Gail Davidson

Jeffrey Dover and Tania Phillips

David and Kate Fentress

Anne and John Gorczyca

Jane Goulet

Mary Ann Hayes

Polly and Prentiss Higgins

Ellen Hocker

Elizabeth Isherwood-Moore

Mark and Nancy Keighley

Mary Ellen Kennedy

Audrey G. Knapp

Mr. and Mrs. Scott Lang

APPLAUSE!

Joyce LeBlanc

Robert and Carolyn Lytle

Jean MacCormack

Mary Mandeville

James and Corinne Marlow

Nancy McFadden

William and Beth Miller

Ed and Anne Motley

Charlie and Louise Nadler

Norma M. Olivier, in memory of

Richard H. Warburton, MD

Larry and Jackie Philla

Ruth Prentiss

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

Bonnie and Louis Silverstein

Charlotte D. Smith

St. Anne’s Credit Union

Judith and Kristian Stoltenberg

Elaine and Geoff Swaebe

Alfred Walker

Marjorie Williams and Michael Tushman, in honor of Sandra Hebert

Diana M. Worley

$100+

Meg and Bob Ackerman

Peg Bacon

Jack and Tessa Belkin

Molly Bernard

Diane Altman Berube, in memory of David J. Langevin

Bobseine Family

Bettina Borders and Victor Mailey

Bonnie L. Bower, in memory of Mark Hosley, MD, PhD

John and Jennifer Brindisi

Deborah Persons Brooke

Dan and Jennifer Bungert

Patricia and Richard Burke

Virginia Callas

James and Shauna Chen

Bob Clancy and Kathi Rogers

Gloria Clark

Bill Clements, in memory of Sandy Jones

Liz Cole and Peter Newman on behalf of David Cole

Natalie Costa-Marron

Michael Couture and Diane Brown-Couture

Michael and Jennifer Coye

Walter J. Czerny, Jr.

Andrea and Emmanuel Daskalakis

Judith R. Davis

Mary Dermody and Lawrence Kupferschmidt

Sheila-Rae and Karl Dlugosinski

Mary Beth and John Dowd

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

Ben Dunham and Wendy Rolfe-Dunham

Margaret Egan and Camilla Brooks

Deborah and David Ehrens, in memory of Myra Besen

Helga Faulenbach

Barbara and Robert L. Feinberg

Sharon Feingold and Skip Mueller, in honor of Robert Feingold

J. Walter Freiberg

Susan Gabert

John and Tally Garfield

Jody and David Gastfriend

Robert and Molly Giordano

Gretchen and John Graef

Margaret and Sam Gray

Cecilia Halter and Michael Halter

Ann M. Harris

Helena and Ken Hartnett

Peter Hawes

Maryann Hayes

Sandra Hewitt

Eric Huber and Jaime Phillipo

Ilene and Richard Jacobs

Margaret and Derrick Jones

Barbara and Ron Kaplan

John D. Kelleher and Viki A. Fowler

The Kelly Family

Claire and Edward Kelly

Roberta and Kevin Kennedy

Nancy Knutsen

Michael and Susan Kramer

Elizabeth and Robert Ladd

Raymond Lantz

Martin Lipman and Barbara Pearl

Anne Lucas

Michael and Beth Luey

Judith N. Lund

Hank Mastey

Peggy McDonough

Bryan J. McSweeny

Marlene R. Meyer

Anne Mozzone

Regina M. Mullen

Richard P. Murdock

Betts and Wisner Murray

Theresa Nowell and Muriel R. Foster

Thomas and Alice Openshaw

Teresa Ouellette

Peg Palmer

Paul and Simone Pasquariello

Alice Rice Perkins and Mark Perkins

Susan and Daniel Perry

Gilbert Perry and Donna Sachs

Geraldine Perry-Lopes

Linda and David Pierre

John and Emily Pinheiro

Susan Portnoy and Family, in memory of Dr. Bernard Portnoy

Vinay Prabhakar

David G. Prentiss

Shahara Proulx-Tracy and Will Tracy

Dr. and Mrs. Edward Rizy

Marion Salm

Laura Schaefer

Joanne Seymour and Brian Ruh

Mr. and Mrs. Steven Shuster

Ann Silva

Marlene and Chris Smith

Joseph and Maryanne Sousa

Sally Spooner

Wendy and Jeremy Stern

Anonymous, in honor of Howard and Fredericka Stevenson

Sylvia and Eiv Strand

June Strunk

William and June Swanson

John Temple and Ann Miller

R. James Tobin

Mary L. Tomlinson

Bob Unger and Barbara LeBlanc

Stephanie and Bryan Vadeboncoeur

Ken Weber

Ronald and Sylvia White

John and Virginia Wilkens

Special Support

Nina and Kent Willever

Vanessa Williams

Elwin and Lindy Williamson

Corinne and Steve Woodworth

Business Partnerships

Albert Fox Facial Plastic Surgery Center

Baldwin Brothers

Beauregard, Burke & Franco

Bristol County Savings Bank

Diana Henry Realty

Fiber Optic Center, Inc.

Foundations

Feingold Bonnet-Hebert, P.C.

Hawthorn Medical Associates

Howe Allen Realty

LandVest

Shepard Turf Management, Inc.

South Coast Almanac

Sylvia Group of Insurance Agencies

The Symphony Music Shop

Tri-county Music Association

Whaling City Sound

Your Theatre, Inc.

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.

Leonard and Hilda Kaplan Charitable Foundation

Massachusetts Cultural Council

The Nelson Mead Foundation

New Bedford Cultural Council

New Bedford Day Nursery Fund

SouthCoast Community Foundation - Acushnet Foundation Fund, Creative Commonwealth Initiative, 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

Eric Huber

Raina V. Lamade

Symphony Volunteers

Barbara Bell

Maria Dickinson

Karen Gardner

Jane Goulet

Jeannie Gulbranson

Pam Hagberg

Kathy Johnson

Margaret Jones

Andrea Marcovici

Barbara Mitchell

Pal Moniz

Anne Mozzone

Symphony Soirée Committee

Marlissa Briggett

Nan Johnson

Sally Johnston

Susan Mead

Pam Norweb

Sandria Parsons

Jane Stankiewicz

Margot Stone

Ann Ziegler

Paul A. Lamoureux

Frances Levin

Alvin Marcovici, MD

Susan Mead

Jennifer Memoli

Edward Ottensmeyer

Barry Steinberg

Margot Stone

Michael Sudofsky

Alexandra Woodruff

Marianne Mueller

Susana Pacheco

Madeline Reid

Judy Robinson

Marion Salm

Pat Stringer

Louise Travers

Barbara Van Inwegen

Marge Waite

Joanna McQuillan Weeks

Ray Whitley

Anne Whitney

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

Symphony Staff

Elisa Birdseye, Librarian

Mike Daniels, Youth Orchestra Coordinator

Matthew Gomes, Finance Director

Wesley Hopper, Personnel Manager

Adam Jeffreys, Education Specialists

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

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

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.

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

Tobias Monte, Senior Conductor

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

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

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.

Let’s Get Animated! Movie Pops

SATURDAY, JANUARY 20, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor and emcee

Cartoon Medley (arr. John Glenesk Mortimer)

Tom and Jerry (Blue Cat Blues) | Scott Bradley (arr. John Glenesk Mortimer)

The Simpsons | Danny Elfman (arr. Alf Clausen)

Pink Panther | Henry Mancini (arr. Calvin Custer)

Toy Story 2 - When She Loved Me | Randy Newman (arr. John Moss)

Hercules | Alan Menken (arr. Ted Parson)

Ice Age: The Meltdown Suite | John Powell

Beauty and the Beast | Alan Menken

INTERMISSION

Suite from Mulan | Jerry Goldsmith (arr. Alexander Courage)

Coco - Remember Me | Kirstin Anderson-Lopez, Robert Lopez (arr. James Kazik)

Cinderella | Al Hoffman (arr. John Glenesk Mortimer)

How to Train Your Dragon Suite | John Powell

Pokemon - The Power of One | Shinj Miyazaki

Moana - How Far I’ll Go | Lin Manuel Miranda (arr. Paul Campbell)

Aladdin Suite | Alan Menken

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

Growth

SATURDAY, MARCH 16, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor

Jesse Holstein, violin

Anna Griffis, viola

Andreia Pinto Correia: Acanto

Wolfgang Amadeus Mozart: Sinfonia Concertante

I. Allegro maestoso II. Andante III. Presto

The performances by Jesse Holstein and Anna Griffis are supported by a generous gift from Barry and Meg Steinberg.

INTERMISSION

Ludwig van Beethoven: Symphony No. 3 “Eroica”

I. Allegro con brio

II. Marcia funebre: Adagio assai

III. Scherzo: Allegro vivace

IV. Finale: Allegro molto

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

JESSE HOLSTEIN VIOLIN

Jesse Holstein graduated from Oberlin College and Conservatory, where he studied with Marilyn McDonald, and then received his master’s degree with James Buswell at the New England Conservatory. Prior to attending Oberlin, he studied violin with Philipp Naegele in Northampton, Massachusetts. Jesse would be remiss if he did not send a huge thank you to his wonderful Suzuki teacher, Diana Peelle, who started him at age 5 and was extremely patient with his slouching posture for years.

An active recitalist, orchestral, and chamber musician, Jesse is concertmaster of the New Bedford Symphony Orchestra. He has performed at the Bravo! Festival in Vail, Colorado, the Montana Chamber Music Festival in Bozeman, the Bay Chamber Concerts in Rockport, Maine, and the Apple Hill Festival in Sullivan, New Hampshire, in recent summers, and of course, in the NBSO’s own South Coast Chamber Music Series. Jesse also has attended the Violin Craftsmanship Institute in Durham, New Hampshire, where he learned about instrument repair.

While an undergraduate, Jesse taught for the Oberlin Preparatory Program in the Lorain, Ohio, public schools. Also at Oberlin, he served as assistant concertmaster, and later as music director of the Royal Farfissa Disco Juggernaut, the premier disco orchestra in Greater Cleveland in the mid-1990s.

Currently, Jesse is a teacher and resident musician for Community MusicWorks and was a founding member of the Providence String Quartet. Jesse performed with the Muir, Borromeo, Miro, Apple Hill, Orion, Turtle Island, and St. Lawrence Quartets, as well as with pianists Jonathan Biss and Emanuel Ax, cellist Matt Haimovitz, Cleveland Orchestra

Principal Oboe Frank Rosenwein, and violist Kim Kashkashian, among others. Locally, Jesse has had the opportunity to play concertos by Tchaikovsky and Bruch with the Tri-County Symphonic Band at Tabor Academy.

Jesse has been a violin professeur at L’Ecole de Musique, Dessaix Baptiste, in Jacmel, Haiti, and is currently on the faculty at Brown University. Some of his life forces are mindfulness, running, animals, and visiting Donegal, Ireland, with his amazing wife, NBSO violinist Ealaín McMullin.

He has a cat, Lord Nelson, who is an ordained on-line minister (this is true) and is available for weddings and services (this is probably not true).

Attorney Bob Feingold & Attorney Heather Bonnet-Hébert

Proudly Support the New Bedford Symphony Orchestra

Best Wishes for a Spectacular 2023-2024 Season!

508-999-1119

https://www.fbhlegal.com

@Feingold Bonnet-Hebert, P.C.

700 Pleasant St., Ste. 520, New Bedford, MA 02740

We're Moving! 12/1/23: 25 Elm St., Ste. 201, New Bedford, MA 02740

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.

ANNE GRIFFIS VIOLA

Equally at home on steel and gut strings and with new and old music, Boston-based violist/violinist Anna Griffis is a sought-after collaborator across a variety of styles and settings. She made her concerto debut with the Baltimore Symphony at 16 and has gone on to perform in Mexico, Turkey, Austria, Slovenia, Czechia, Taiwan, and across North America. She is principal viola with the New Bedford Symphony Orchestra and the Boston Festival Orchestra, a member of the Albany Symphony, and performs with the Portland Symphony, Boston Baroque, Emmanuel Music, the Boston Early Music Festival Orchestra, and Boston Lyric Opera.

An enthusiastic chamber musician, Anna frequently collaborates with Blue Heron and A Far Cry, and has been a guest artist with the Arneis and Cassatt Quartets, Sheffield Chamber Players, and the North Country Chamber Players. She co-founded Chicagobased Trio Speranza, prize winners at the Early Music American Baroque Competition, and is executive director and violist with the new music group Ludovico Ensemble. Anna’s playing has been featured on PBS’ “American Masters” and in releases by the Boston Modern Orchestra Project, Albany Symphony (for which the orchestra won a GRAMMY), and Les Bostonades. Keen on alternative settings and partnerships, Anna has shared the stage with Aimee Mann, DJ Premiere, Weird Al, Hugh Jackman, and Audra McDonald, and was a featured soloist for a “Moth Mainstage” taping.

Anna teaches and coaches chamber music at the New School of Music (Cambridge) and Tufts University, and is an affiliate artist in the Emerson/Harris program at MIT. In addition to her playing and teaching, she oversees communications for the Tufts Music Department and is a freelance graphic designer specializing in concert programs and arts marketing. Originally from Annapolis, MD, Anna is the proud product of her public school music program and the Peabody Institute’s Preparatory program. She now lives in the great neighborhood of Lower Allston with her bassoonist husband and their cat, Pig, and gets excited about fonts, road trips, and diners. Anna studied at Lawrence University, The Hartt School of Music, Tanglewood Music Center, and Boston University.

PROGRAM NOTES

Acanto

Andreia Pinto Correia: Portuguese composer (b. 1971, Lisbon, Portugal)

Estimated length: 12 minutes

The music of award-winning composer Andreia Pinto Correia has been hailed by the Boston Globe as “compellingly meditative,” and the Jornal de Letras describes her compositions as “a major contribution to the dissemination of Portugal’s culture and language, perhaps a contribution larger than could ever be imagined.” Equally at home in the sound worlds of classical music and jazz – Correia fell in love with the music of John Coltrane when she was a child – she earned her Master and Doctor of Music degrees from the New England Conservatory of Music.

“I have a somewhat atypical background,” Correia remarked in a 2016 interview. “I started studying music as a performer simultaneously in two different institutions with two different approaches: classical and jazz. When I arrived in the United States I was enrolled in a performance degree. During my first semester, I suffered an accident that left me paralyzed in my right arm … I curtailed my studies for six years while I underwent several surgeries. Eventually, I returned to the United States … knowing that I could not be a performer any longer, I decided to make the most of my education. I studied theory, orchestration, conducting, and film scoring. Eventually, I wrote my first work, Aljezur, for jazz orchestra, during the last semester of my undergraduate studies. After that, I never stopped writing music.”

In 2008, Correia became the inaugural winner of the Ear Shot/American League of Symphony Orchestras Fellowship, which resulted in Acanto, an orchestral work for the Memphis Symphony Orchestra. In her own program notes, Correia writes, “Acanto is an architectonic ornamentation inspired by the leaves of a plant native to Mediterranean humid climates (acanthus mollis). In Portuguese or Spanish it may also be written as a canto, meaning as in ‘to sing.’ The idea for this work derives from the manipulation of a simple melodic cell, an ornament that travels through the work appearing in different instruments or combination of instruments, registers, and pitch/ rhythmic mutations. Thus, the three movements represent varied textural realizations of the same ornament. Sometimes I use particular features of a movement across movement boundaries, resulting in an organic use of the concept of memory and anticipation. The third and last movement, Adagio molto, is modeled after the third movement of Three Places in New England by Charles Ives. Here, the use of ornamentation is expanded to form a simple lullaby played by the vibraphone while the rest of the orchestra plays transformations, mainly textural, of the original cell.”

Sinfonia concertante for Violin and Viola, K. 364

Wolfgang Amadeus Mozart: Austrian composer (1756-1791)

Estimated length: 30 minutes

In August 1777, Wolfgang Amadeus Mozart resigned his position as concertmaster in the court of the musically conservative Archbishop of Salzburg. The following month, Mozart and his mother left Salzburg and traveled to several cities, including Mannheim, on their way to Paris in search of employment for the 21-year-old composer. Both mother and son had high hopes for a position at the court of Mannheim, which at the time boasted one of the finest orchestras in Europe. In addition to (and no doubt inspired by) the orchestra’s high level of musicianship, composers who wrote for the Mannheim orchestra introduced several musical innovations that quickly spread to cities as distant as Paris and London. Unfortunately for Mozart, no appointment was forthcoming in Mannheim or elsewhere, but the journey yielded other benefits. Mozart was duly impressed by the forward-sounding music he heard in Mannheim, and lost no time incorporating these new ideas into his own music.

In both Mannheim and Paris, Mozart also heard several examples of a newly popular concerto format featuring multiple instruments, known as a sinfonia concertante. These works combined elements of both symphonies and concerti, and could feature duos, trios, or even quartets of soloists, in the manner of a Baroque concerto grosso. Although discouraged about his inability to find work outside Salzburg, Mozart was eager to write a sinfonia concertante of his own.

Of all the sinfonia concertantes written in the latter decades of the 18th century, Mozart’s Sinfonia concertante for Violin and Viola is perhaps the only one still regularly performed and recorded today. The soloists’ dialogue is an animated conversation that ranges through a series of topics and moods, each soloist contributing equally to the musical ebb and flow. The soloists enter together, playing the same phrase in octaves in the Allegro maestoso, before they begin to trade phrases back and forth. In this movement Mozart presents their parts as two halves of a larger, unified whole.

Mozart was himself a skilled violinist, but he preferred to play viola parts, particularly in chamber works. His love of the viola’s resonant tone is evident in the melancholic beauty of the central Andante. The vivacious Presto unleashes a playful competition between the two soloists, and between the soloists together against the full orchestra. The feather-light rapidity of the main theme evokes an irrepressible joy, and simultaneously demands the utmost in both technique and musicianship.

PROGRAM NOTES

Symphony No. 3 in E-flat major, Op. 55, “Eroica”

Ludwig van Beethoven: German composer (1770-1827)

Estimated length: 47 minutes

Ludwig van Beethoven was an admirer of Napoleon Bonaparte, whose early exploits as First Consul of France reaffirmed the motto of the French Revolution, “Liberty, Equality, Fraternity.” It had been Beethoven’s intention to dedicate his third symphony to Napoleon, but when the composer heard that Napoleon had declared himself Emperor in May 1804, he was outraged. So vehement was Beethoven’s desire to rid his third symphony of any association with the French general that he excised the words “intitulata Bonaparte” from the title page with a knife, leaving a hole in the paper. When the score was first printed in 1806, the title page read only, “A heroic symphony … composed to celebrate the memory of a great man.”

Today, the Eroica is considered one of the groundbreaking musical events of the 19th century, but in Beethoven’s time it received a great deal of criticism. Its length alone challenged the audience (depending on the conductor’s tempos and observations of marked repetitions in the score, the Eroica runs 45 – 60 minutes). Beethoven acknowledged this, noting in the 1806 edition of the score, “This symphony being purposely written much longer than is usual, should be performed nearer the beginning rather than at the end of a concert … if it is heard too late it will lose for the listener, already tired by previous performances, its own proposed effect …”

One reviewer, using words that today we would consider praiseworthy, criticized Beethoven’s “undesirable originality.” The critic went on to say, “Genius proclaims itself not in the unusual and fantastic but in the beautiful and sublime” and further, that the symphony as a whole was “unendurable to the mere music-lover.” From our vantage point in the 21st century, we recognize Eroica’s importance. Like Stravinsky’s Rite of Spring, the influence of Eroica reverberated through all the symphonic music of the century that followed it.

Beginning with the one-two punch of Eroica’s opening chords, Beethoven obliterated the concept of the Classical-style symphony and earned for himself the adjective “revolutionary.” Everything about this lengthy first movement confounds expectations: its unexpected and

continuous development of melodic fragments, its “wrong key” tonalities, and Beethoven’s idiosyncratic use of rhythm, which at times verges on the eccentric. Certainly, this was shocking to audiences accustomed to the more predictable pace of Mozart and Haydn. Of particular note is the notoriously “early” entrance of the horn towards the end of the first movement. Beethoven’s student and biographer Ferdinand Ries recalled, “At the first rehearsal of the Symphony, which was terrible – but at which the horn player made his entry correctly – I stood beside Beethoven and, thinking that a blunder had been made I said: ‘Can’t the damned hornist count? – it sounds horribly false!’ I think I came pretty close to getting a box on the ear. Beethoven did not forgive that little slip for a long time.”

The solemn, majestic Marcia funebre (funeral march) can be heard as Beethoven mourning his disappointment in Napoleon, and his vanished dreams of heroism.

The buoyant Scherzo departs from the intensity of the previous two movements. Here is Beethoven’s mocking sense of humor at play, as when the strings return with their signature theme and stomp all over their previously playful rhythm. The insistent pulse of the strings and the incessant bounce of this movement suggest a puppy chasing its own tail.

The final movement, a set of themes and variations, uses music from Beethoven’s own Overture to The Creatures of Prometheus from 1801 and an 1802 solo piano work, known today as the Eroica Variations. A virtuoso blast from the horn section signals the symphony’s conclusion, a glorious reaffirmation of Beethoven’s heroic ideals.

© Elizabeth Schwartz

LEAVING A LEGACY

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.

Many Contrasts

SATURDAY, APRIL 13, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor | Katherine Chi, piano

Brian Raphael Nabors: Pulse for Orchestra

Sergei Prokofiev: The Love for Three Oranges, Op.33

1. The Ridiculous People

2. Scene from Hades (Fata Morgana Playing Cards)

3. March

4. Scherzo

5. The Prince and the Princess

6. Flight

INTERMISSION

Johannes Brahms: Piano Concerto No. 2 in B-flat major, Op. 83

I. Allegro non troppo II. Allegro appassionato

III. Andante IV. Allegretto grazioso

The performance by Katherine Chi is supported by a generous gift from Fredericka and Howard Stevenson.

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

An evening with JESSE LUTTRELL presents

Saturday, March 23, 2024

New Bedford Whaling Museum 7 PM

www.nbfestivaltheatre.com

KATHERINE CHI PIANO

Firmly established as one of Canada’s fastest-rising stars, Katherine Chi has performed throughout Europe and North America to great acclaim. “Ms. Chi displayed a keen musical intelligence and a powerful arsenal of technique,” notes The New York Times.

Sought after as a concerto soloist of musical and technical distinction, Ms. Chi is known for the breadth of her repertoire. While hailed for her interpretations of Mozart, she is also acclaimed for performances of major Romantic and 20th century concertos. “…the most sensational but, better, the most unfailingly cogent and compelling Prokofiev’s Third I have heard in years,” writes The Globe and Mail. And when Katherine Chi recreated Stockhausen’s landmark work, Mantra, for two pianos and electronics, the Boston Globe wrote that “when the superb pianists Katherine Chi and Aleksandar Madžar took on the challenge at the Isabella Stewart Gardner Museum on Sunday, it was a welcome opportunity: courtside seats at the creation.” “Chi and Madzar were ensconced among percussion, microphones, and MIDI controllers…, the form unfolding like a venerable suite even as it pushes the modernist envelope.”

She has appeared with the Alabama, Calgary, Colorado, Columbus, Edmonton, Grand Rapids, Huntsville, Kitchener-Waterloo, Modesto, Nova-Scotia, Philadelphia, Quebec, Richmond, San Antonio, Saskatoon, Symphoria, Tallahassee, Thunder Bay, Toronto, Vancouver, and Victoria Symphony Orchestras, CBC Radio Orchestra, Canada’s National Arts Centre Orchestra, I Musici de Montreal, Manitoba Chamber Orchestra, Mexico City Philharmonic, Neue Philharmonie Westfalen, and Toronto Sinfonia. Festival appearances include Aldeburgh, Banff, Canada’s Festival of the Sound, Launadière, Domaine Forget, Marlboro, Osnabrück Kammermusik, Germany’s Ruhr, Santander Summer Music, and Festival Vancouver.

Just a year after her debut recital at age nine, Ms. Chi was accepted to the prestigious Curtis Institute of Music. She continued her studies at the New England Conservatory in Boston, where she earned her master’s degree, graduate, artist diploma, and doctorate. She later studied for two years at the International Piano Foundation in Como, Italy, and at the Hochschule für Musik in Cologne. In 2000, Ms. Chi won first prize in the Honens International Piano Competition, the first Canadian to win this award. She was also a prizewinner at the 1998 Busoni International Piano Competition. Her debut recording, on the Arktos label, features works of Beethoven and Rachmaninoff.

PROGRAM NOTES

Orchestral Suite from The Love for Three Oranges, Op. 33a

Sergei Prokofiev: Ukrainian composer (1891-1953)

Estimated length: 15 minutes

“The music, I fear, is too much for this generation.” — Edward Moore, critic for the Chicago Tribune, on the premiere of The Love for Three Oranges in 1921.

Any opera with a plot as bizarre as The Love for Three Oranges is bound to ruffle a few feathers. Critic Edward Moore’s reaction was typical; after the opera’s 1921 premiere, it was not performed again for more than 25 years.

Sergei Prokofiev first encountered this surreal fantasy in a Russian adaptation of an Italian comedic parody by the 18th-century playwright Carlo Gozzi. Prokofiev immediately saw its theatrical possibilities and set about writing a libretto; he completed the music in just nine months. “The play, with its mixture of fairy tale, humor, and satire, had a strong appeal for me,” he later recalled. “The novelty resided in the three different planes on which the action unfolded: the first, that of the characters in the story (the Prince, Truffaldino and the others); the second, that of the forces of the underworld (the Fairy Morgana and the Magician Celio); the third, that of the Comics, who are in a way emissaries, commenting on the action.”

Even by the standards of most opera librettos, in which realism and logic are often absent, the story of The Love for Three Oranges strains credulity. Morgana curses The Prince, causing him to fall in love with three giant oranges, each housing a princess. In addition, as Steven Ledbetter notes, “fairy-tale incidents are interrupted (and the course of the plot changed), by a chorus of audience members who are divided into factions favoring comedy, tragedy, romance, or simply empty-headed entertainment.” Confused yet?

The six movements Prokofiev chose for the suite capture the zany quality of the story. The brash, in-your-face music features Prokofiev’s masterful orchestrations, which showcase brasses, percussion, and winds. The brief scenes explode with cartoon-like color and energy, particularly Les Ridicules, the Marche, and the Scherzo.

PROGRAM NOTES

Pulse for Orchestra

Brian Raphael Nabors: American composer (b. 1991, Birmingham, Alabama)

Estimated length: 12 minutes

“My compositional voice is rooted in humanity and exploring different stories and facets behind humanity, and how life changes every day, and how we perceive those changes,” Brian Nabors declared in a recent interview. Nabors draws on an eclectic blend of genres, including jazz, funk, R&B, Gospel, and fuses them with the freshness of contemporary classical sounds.

Nabors’ music is being performed by a growing number of ensembles nationwide, and he is also making a name for himself internationally with performances at the Lucerne Festival (Switzerland), Helsinki Festival (Finland), and the Elbphilharmonie Hamburg (Germany). This season, Nabors’ music will be performed by the Minnesota Orchestra, Atlanta Symphony Orchestra, Carnegie Hall, and The Black Iris Project, among others.

In addition to his expanding portfolio of compositions and commissions, Nabors is an assistant professor of composition at Louisiana State University School of Music in Baton Rouge.

“My conception of Pulse began as a long contemplation of daily life as we know it, combined with thoughts of life in nature,” Nabors writes. “The universe seems to have this natural rhythm to it. It is as if every living and moving thing we are aware and unaware of is being held together by a mysterious, resolute force. Pulse is an episodic rhapsody that explores several phases and colorful variants of rhythm all held together by an unwavering pulse. Each episode is meant to symbolize a different scenario of life for the listener, be it a buzzing modern metropolis, a deep wilderness abundant with animalia, or the scenic endless abyss of the ocean. All of these worlds and their philosophical meanings are then brought together in a contemplative theme of ‘unification’ in the strings that symbolizes our deep connection as living beings to everything within, over, under, and around us.”

Piano Concerto No. 2 in B-flat major, Op. 83

Johannes Brahms: German composer (1883-1897)

Estimated length: 50 minutes

Johannes Brahms completed his second piano concerto 20 years after his first. The long pause in between can be attributed in part to the public’s overwhelmingly negative reaction to Brahms’ first piano concerto, which was a spectacular failure at its premiere. One critic called it “this product of truly desperate tedium.” Another explanation for this 20-year gap lies in Brahms’ progression from a youthful composer still finding his orchestral voice to a critically acclaimed master of orchestral forms and styles. Brahms’ piano concertos reflect these changes; the uneven and somewhat tentative symphonic writing of the first concerto is transformed, in the second, into a brilliant treatment of the orchestra, and a reinvention of the relationship between soloist and ensemble.

During those 20 years, Brahms gained the confidence to innovate. A traditional piano concerto has three movements. Brahms added a fourth to his B-flat concerto, blurring the lines between concerto and symphony. Most 19th-century piano concertos were mere vehicles to display the soloist’s virtuosity, but Brahms redefined the soloist’s role as a full collaborator with the ensemble. Instead of focusing primarily on the piano, the soloist and orchestra share the spotlight equally. Both piano and ensemble present and develop musical themes, and the separation between the role of soloist and that of the orchestra is removed. Together they create what could be called the first “piano symphony.”

Unlike the premiere of the first piano concerto, both Brahms and his Piano Concerto No. 2 were greeted with popular and critical approval. Franz Liszt’s review congratulated Brahms for a “distinguished work of art, in which thought and feeling move in noble harmony.” The Duke of Meiningen awarded Brahms the Commander’s Cross of the Order of the House of Meiningen, an impressive honor for Brahms, who came from a modest, working-class family.

This concerto has the breadth and scope of a symphony combined with the masterful technical demands of a piano concerto. Many pianists consider it one of the most difficult concertos in the repertoire (no doubt many would also agree with Alfred Brendel’s description of its “unsurpassable pianistic perversions.”) The solo part is dense, orchestral and athletic, featuring large chords and many octave passages. One of the greatest technical challenges comes in the fourth movement, when the soloist executes right-hand scales in thirds up and down the keyboard.

One example of Brahms’ elevation of the orchestra as an equal partner in the development of musical themes happens at the very beginning of the Allegro non troppo, which begins with a two-measure horn solo. Brahms uses this brief melody as the thematic basis for the entire first movement. Another aspect of Brahms’ hybrid piano-symphony is heard in the stormy passion of the second movement scherzo. Scherzos, standard in 19th-century symphonies, were rare in concertos. When Brahms’ friend and fellow musician Theodor Billroth asked Brahms why he had included a scherzo, Brahms replied that the first movement was “zu simpel,” (literally, “too simple,” although Brahms may have meant “too unsophisticated” or “too plain”). Brahms added, “[I] needed something strong and passionate before the equally simple Andante.”

© Elizabeth Schwartz

The Way of Passion

SATURDAY, MAY 18, 7:30 PM

Bronspiegel Auditorium, New Bedford High School

Yaniv Dinur, conductor

Sergei Babayan, piano

Sergei Prokofiev: Piano Concerto No. 2 in G minor, Op. 16

I. Andantino II. Scherzo: Vivace

III. Moderato IV. Finale: Allegro tempestoso

The performance by Sergei Babayan is supported by a generous gift from Tom Barry and Nancy Shanik.

INTERMISSION

Pyotr Ilyich Tchaikovsky: Symphony No. 6 in B minor, Op. 74, TH.30, “Pathétique”

I. Allegro non troppo II. Allegro appassionato

III. Andante IV. Allegretto grazioso

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

Tri-County Symphonic Band

Philip Sanborn, Music Director

Join us as we celebrate 62 years of providing the community with excellence in symphonic band repertoire, while supporting the John R. Pandolfi Scholarships and Summer Grants. Check our website for concert locations.

2023-2024 Concert Schedule

Blue October

October 22, 2023 ~ 3PM

Percy Aldridge Grainger

March 17, 2024 ~ 3PM

Broadway Showstoppers

June 9, 2024 ~ 2PM

Follow us on Facebook, or visit our website for tickets and concert information.

www.tricountysymphonicband.org

SERGEI BABAYAN PIANO

The meditative focus and rare stillness of ArmenianAmerican pianist Sergei Babayan’s keyboard artistry prompted the Hamburger Abendblatt to liken him to “one of those Japanese calligraphers who contemplate the white page before them in silence until, at the exact right moment, their brush makes its instinctive, perfect sweep across the paper.”Babayan himself has observed that making music should be open to surprises and spontaneous insights, allowing unexpected emotions to emerge and subtle shadings to evolve naturally.

Mr. Babayan has collaborated with such conductors as Sir Antonio Pappano, David Robertson, Neeme Järvi, Rafael Payare, Thomas Dausgaard, Tugan Sokhiev, and Dima Slobodeniouk. Through the years, he has performed with Valery Gergiev numerous times to great critical acclaim, including appearances at the Barbican Centre with the London Symphony Orchestra, at the Théâtre des Champs-Elyseés in Paris, the Salzburg Festival, and at the Rotterdam Philharmonic-Gergiev Festival, where he was artist-in-residence.

In recent seasons, Mr. Babayan’s schedule included concert performances with the Leipzig Gewandhaus Orchestra, Bamberg Symphony Orchestra, Royal Liverpool Philharmonic, Orchestre Philharmonique de Radio France, Mahler Chamber Orchestra, Toronto Symphony, Vancouver Symphony, and the Verbier Festival Orchestra, among others. Sergei Babayan regularly performs at many of the world’s most prestigious venues, including the Amsterdam Concertgebouw, Carnegie Hall, London’s Wigmore Hall, the Vienna Konzerthaus, and Munich’s Prinzregententheater, Teatro Colón in Buenos Aires, the Maison de la Radio in Paris, Hamburg’s Elbphilharmonie, Alte Oper Frankfurt, and the Zurich Tonhalle.

He has appeared at major festivals including La Roque d’Anthéron, Piano aux Jacobins in Toulouse, Gstaad Menuhin Festival, and Verbier Festival. At Konzerthaus Dortmund, hewas a curating artist. Mr. Babayan performs with the world’s foremost orchestras, including the London Symphony Orchestra, Cleveland Orchestra, Warsaw Philharmonic, BBC Scottish Symphony Orchestra, Orchestre National de Lille, Detroit Symphony Orchestra, and Baltimore Symphony Orchestra.

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SERGEI BABAYAN PIANO

Sergei Babayan is a Deutsche Grammophon exclusive artist; his latest release, “Rachmaninoff,” (DG 2020) was hailed by the international press as a groundbreaking recording and received numerous awards, including BBC Recording of the Month and CHOC Classica (“This musical journey, born out of a limitless imagination and thought in minute detail, is one big masterpiece.”) His previous DG release of his own transcriptions for two pianos of works by Sergei Prokofiev, with Martha Argerich as his partner (“Prokofiev for Two,” DG 2018), was praised by reviewers as “the CD one has waited for” (Le Devoir), an “electrifying duo that leaves the listener in consternation” (Pianiste). Mr. Babayan’s performances have been broadcast by Radio France, BBC-TV and BBC Radio 3, NHK Satellite Television, and Medici TV.

Born in Armenia into a musical family, Mr. Babayan began his studies there with Georgy Saradjev and continued at the Moscow Conservatory with Mikhail Pletnev, Vera Gornostayeva, and Lev Naumov. Following his first trip outside of the USSR in 1989, he won consecutive first prizes in several major international competitions, including the Cleveland International Piano Competition, the Hamamatsu Piano Competition, and the Scottish International Piano Competition. An American citizen, he lives in New York City.

PROGRAM NOTES

Piano Concerto No. 2 in G Minor, Op. 16

Sergei Prokofiev: Ukrainian composer (1891-1953)

Estimated length: 31 minutes

In December 1912, a group of Russian Futurist poets, led by 19-year-old Vladimir Mayakovsky, issued a manifesto titled “Slap to the Public’s Taste.” This pamphlet repudiated all traditional forms of art and artists, and expressed an “invincible hate for the language that existed before.” Mayakovsky and his associates advocated radical change in all forms of art and literature while encouraging individualism and nonconformity.

Sergei Prokofiev admired Mayakovsky’s poetry and respected his provocative artistic aesthetic. The two met at the Poets’ Café in Moscow, and Mayakovsky inscribed a copy of his poem, “War and the World” for Prokofiev: “To the World President of Music from the World President of Poetry.” Like Mayakovsky’s poetry, young Prokofiev’s music was intended to shock, and his Op. 16 does not disappoint.

Prokofiev was a 23-year-old student when he wrote his second piano concerto. In 1917, when Prokofiev fled Russia during the Bolshevik Revolution, he left the original score behind; it was subsequently destroyed in a fire. Ten years later, Prokofiev, using his original sketches for Op. 16, reconstructed – and by his own account, significantly rewrote – his Piano Concerto No. 2 in G minor. This concerto is one of the most daunting in the repertoire, challenging the technique and artistry of even the most accomplished pianists.

The 1913 premiere of the original version generated intensely negative audience reaction, of which the following account is typical: “Seats emptied one by one. At last the Concerto came to an end … most of the audience were hissing and shouting angrily. ‘To hell with this futurist music!’ people were heard to exclaim. ‘The cats on the roof make better music!’

Most Russian critics savaged the young composer, but the more open-minded Vyacheslav Karatygin presciently remarked that the audience’s hisses were of no consequence. “Ten years from now it [the public] will atone for last night’s jeering by unanimously applauding a new composer with a European reputation.”

In his diary, Prokofiev described the audience’s reaction: “I came out twice to acknowledge the reception, hearing cries of approval and boos coming from the hall. I was pleased that the concerto provoked such strong feelings in the audience.”

The piano opens the Andantino with a romantic, mysterious melody and the winds dialogue with the piano as the theme repeats. A bouncier, agitated counter-melody is unveiled by piano; however, it is the primary theme that dominates the majority of the first movement, which is developed and rearticulated in an extended piano solo section. The Scherzo’s 2.5 minutes of dazzling scale passages and eye- and ear-popping virtuosic tricks for the soloist are juxtaposed with the Intermezzo’s elephantine ostinato in the low strings, punctuated by dissonant blats from the brasses. The piano music’s weight and power has a raw, primitive edge; this section may have sparked the 1913 audience’s reaction. In the closing Allegro tempestoso, Prokofiev unleashes fire and energy, and gives the pianist an extended solo. The concerto ends with a return to the fourth movement’s opening brilliance and irrepressible energy.

Symphony No. 6 in B minor, Op. 74, “Pathétique”

Pyotr Ilyich Tchaikovsky: Russian composer (1840-1893)

Estimated length: 44 minutes

“I love it as I have never loved any one of my musical offspring before.” — Tchaikovsky on his Sixth Symphony

Pyotr Ilyich Tchaikovsky’s Sixth Symphony, his most controversial work, continues to spark debate more than 120 years after its composition. Although Tchaikovsky declined to articulate the specifics of the program he attached to this symphony – “Let them guess at it!” he wrote to his nephew Vladimir Davidov – many scholars and critics agree that this passionate, highly emotional music is a declaration of forbidden love; specifically, that of Tchaikovsky for Davidov.

Tchaikovsky’s title for the symphony supports this idea. According to scholar Alexander Poznansky, Tchaikovsky’s title, ‘Pateticheskaya simfoniya’ (Патетическая симфония), is “roughly equivalent to the title that Beethoven gave to his Sonata in F minor, Op. 57 – ‘Apassionata.’ The passionate overtones of the Russian title are not adequately conveyed in its better-known French equivalent – ‘Symphonie pathétique’ – with its connotations of suffering and sorrow.” Biographer John Warrack agrees: “The Russian word … carries more feeling of ‘passionate’ or ‘emotional’ in it than the English ‘pathetic,’ and perhaps an overtone, which has largely vanished from our world … of ‘suffering.’”

The Adagio-Allegro ma non troppo begins with a forbidding bassoon solo sounding the primary theme. After the slow Adagio, the strings burst in with an agitated restatement of the bassoon solo, followed by a contrasting theme of melancholy nostalgia. The movement descends into chaos as the themes are developed, ripped apart, and jumbled in a tempest of sound. A solemn brass chorale with pizzicato string accompaniment draws the movement to a close. In the Allegro con grazia, the strings present a graceful waltz in the unusual meter 5/4. Although the overall mood of this movement is lighter than that of the first, Tchaikovsky infuses the music with a strong sense of sadness and hints of romantic despair. The vigorous march of the Allegro molto vivace offsets the melancholy of the first two movements. This powerful, vigorous music boldly proclaims itself with insouciant swagger. Anguished cries from the strings begin the Adagio lamentoso-Andante. This music succumbs to its own beautifully crafted fatalism, laden with pain and lamentation. The strings are interrupted by a blast from the brasses, after which the strings continue on their mournful way to a subdued conclusion, in which there is no hint of a happy ending.

Despite Tchaikovsky’s status as the preeminent Russian composer of his time, the premiere of the Sixth Symphony, which he conducted, was not an instant success. In a letter to his publisher, Tchaikovsky wrote, “It is very strange about this symphony. It was not exactly a failure, but it was received with some hesitation.” Symphonies that end quietly often leave audiences puzzled or unsettled (Brahms’ Third has the same problem). After the second performance, which took place just days after Tchaikovsky’s death, the Sixth received an overwhelmingly positive ovation. The unconventional ending became indelibly associated with the composer’s death – as if Tchaikovsky had written his own demise. The Sixth soon came to be regarded as a symphonic masterpiece, and remains Tchaikovsky’s most popular symphony.

© Elizabeth Schwartz

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

the NBSO Business Partnership

Let us help you entertain clients and reward your employees

NBSO’s diverse performances are creative and unique experiences where you can entertain clients, associates and their families. They are also a way to acknowledge and reward employees with special VIP treatment.

We are ready to customize a partnership level that best aligns with your company’s goals and interests.

For more information, please contact development@nbsymphony.org or 508.999.6276 x 225. Thank

this h remarkable clarity able talents of Frank Zé Eduardo Nazario ( ), j (keyboards) and Teco Cardoso (flute and

SAVE THE DATE FOR THE

NEW BEDFORD SYMPHONY

JUNE 1, 2024

Cotali Mar Restaurante, New Bedford

Join us for an exciting new version of our annual fundraising event, formerly referred to as Symphony Seaside Swing.

This elegant affair will feature live music by NBSO musicians during the cocktail hour, special performances paired with each dinner course, and even musicians serenading you through dessert and nightcaps!

Details will be announced soon at nbsymphony.org.