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TABLE OF CONTENTS SEVEN WONDERS.......................................................................31 WEDNESDAY, DECEMBER 6 THE SOCIETY OF THE FOUR ARTS Albert-George Schram, conductor Rossini | Martin | Haydn

ELECTRIFYING DISCOVERIES.........................................41 WEDNESDAY, JANUARY 17 BENJAMIN HALL Robert Moody, conductor Maxim Lando, piano Theofanidis | Saint-Saëns |Beethoven


THE GLORY OF BAROQUE..................................................55 MONDAY, MARCH 12 CHURCH OF BETHESDA-BY-THE-SEA Ramón Tebar, conductor Delray Beach Chorale with Florida Atlantic University Handel | Vivaldi

ROMANTIC REFLECTIONS.................................................61 TUESDAY, APRIL 17 THE KRAVIS CENTER Ramón Tebar, conductor Răzvan Suma, cello Elgar | Rachmaninov

PRESIDENT’S WELCOME........................................................................................................5 MESSAGE FROM RAMÓN TEBAR.......................................................................................7 HISTORY AND MISSION........................................................................................................10 EXECUTIVE DIRECTOR’S LETTER...................................................................................11 ACKNOWLEDGEMENTS......................................................................................................68 Palm Beach Symphony 44 Cocoanut Row, M-207B, Palm Beach, FL 33480 Phone: 561.655.2657 Box Office: 561.281.0145


CALENDAR OF EVENTS Wednesday, November 8 PETER AND THE WOLF Children’s Concert: Prokofiev Ballet East, guest dancers Dolly Hand Cultural Arts Center, Belle Glade 6:00 P.M.

Wednesday, November 15 Young Friends of Palm Beach Symphony SEASON KICK-OFF COCKTAIL PARTY Sant Ambroeus, Palm Beach 6:00 P.M.

Thursday, November 16 PBS Season Preview Concert: Piano Quartet Art After Dark Norton Museum of Art, West Palm Beach 7:00 P.M.

Thursday, December 14 Young Friends of Palm Beach Symphony HOLIDAY SIP & SHOP Vineyard Vines, Palm Beach 6:00 P.M.

Wednesday, January 10 PLAYING STILL: THE DEAN OF AFRO-AMERICAN COMPOSERS Chamber: The Music of William Grant Still, string quartet Narrated by Dr. Rufus Jones, Jr. Palm Beach Day Academy, Palm Beach 7:00 P.M.

Admiral’s Cove, Jupiter 5:30 P.M.

Club Colette, Palm Beach 6:00 P.M.

Wednesday, December 6 SEVEN WONDERS Masterworks: Rossini | Martin | Haydn The Society of the Four Arts, Palm Beach 7:30 P.M.

Wednesday, December 6 Après Dinner (PBS members only) Café Boulud, Palm Beach post-performance


The Beach Club, Palm Beach 11:00 A.M.

Wednesday, January 17 Pre-Concert Dinner (PBS members only)

Monday, November 27 SEASON OPENING COCKTAIL PARTY (PBS members only)


Tuesday, December 12 HOLLY JOLLY SYMPHONY FÊTE PBS 2nd Annual Ladies Guild Luncheon

Wednesday, January 17 ELECTRIFYING DISCOVERIES Masterworks: Theofanidis | Saint-Saëns | Beethoven Benjamin Hall, Palm Beach Gardens 8:00 P.M.

Sunday, January 28 Young Friends of Palm Beach Symphony A POLO AFTERNOON (YFPBS members only) International Polo Club, Wellington 2:00 P.M.



Wednesday, February 7 TREASURES FROM THE SPANISH PROVIDENCIA Chamber: guitar quintet Narrated by Harvey E. Oyer, III Historical Society of Palm Beach County, West Palm Beach 7:00 P.M.

Monday, February 19 JOURNEY FROM GERMANY TO SCOTLAND Masterworks: Mendelssohn | Schumann The Breakers, Palm Beach 6:30 P.M.

Monday, February 19 Palm Beach Symphony 16th Annual Gala (black tie) SYMPHONY OF TREASURES: AN EVENING OF DISCOVERY & WONDER The Breakers, Palm Beach 8:00 P.M.

Monday, February 19 Young Friends of Palm Beach Symphony Annual Gala Party (creative black tie) ALL THAT GLITTERS The Breakers, Palm Beach 8:00 P.M.

Sunday, February 25 HARMONY: AN EXHIBITION OF THE ARTS Free Community Concert Meyer Amphitheatre, West Palm Beach 4:00 P.M.

Thursday, March 8 ANNUAL SUNSET DINNER CRUISE (PBS members only) Catalina, North Palm Beach Marina, North Palm Beach 6:45 P.M.

Monday, March 12 THE GLORY OF BAROQUE Masterworks: Handel | Vivaldi Bethesda-by-the-Sea, Palm Beach 7:30 P.M.

Monday, March 12 Après Dinner (PBS members only) The Colony, Palm Beach Post-performance

Wednesday, March 21 BERNSTEIN & CO.: COMPOSED IN AMERICA Chamber: brass quintet Narrated by Albert-George Schram The Harriet Himmel Theater, West Palm Beach 7:00 P.M.

Wednesday, March 21 Young Friends of Palm Beach Symphony Host Bernstein & Co. Chamber Concert and Post-Performance Reception The Harriet Himmel Theater, West Palm Beach 7:00 P.M.

Tuesday, April 17 Pre-Concert Dinner (PBS members only) The Kravis Center, West Palm Beach 5:30 P.M.

Tuesday, April 17 ROMANTIC REFLECTIONS Masterworks: Elgar | Rachmaninov The Kravis Center, West Palm Beach 8:00 P.M.



Leslie Rose Chairman


Dale McNulty President

James Borynack Vice President

John D. Herrick Treasurer

Phil Reagan Secretary

Harry Bissell Director

Leslie Blum Director

Paul Goldner Director

Gary Lachman Director

Stephen LaForte Director

Amy McGowan Director

Manley Thaler Director

Don Thompson Director




PRESIDENT’S WELCOME At the start of a new season there are many memories and expectations. Time was when the Palm Beach Symphony was really a chamber orchestra. We have progressed to become a full-fledged philharmonic orchestra, and not just because the size of our orchestra has more than doubled. Performing under the direction of our accomplished music director and conductor, Ramón Tebar, and guided by the steady hand of our executive director, David McClymont, we have transformed every aspect of our organization. Thanks to our expanding orchestra size and increasing audience demand, we are outgrowing some of our most prized venues. This rapid growth presents challenges every orchestra would love to have, and we are addressing them in new and different ways. The inclusion of more guest artists as well as the introduction of a new chamber series are some of the ways we’re expanding our offerings for our growing audience. We also have been talking seriously about undertaking the search, planning, financing and building of a new performance space that would serve our needs and help us give even more back to the communities in which we perform. There are ideas galore, and it is a very exciting time to explore ways we can collectively bring the right combination of ideas to fruition. We ask for your suggestions and your support with the realization that there is considerable lead time before plans turn to concrete realities. As always, our music will remain our primary focus and direct all other aspects of the Symphony.

Dale McNulty President






MESSAGE FROM RAMÓN TEBAR Dear friends and music lovers, It is a great pleasure to welcome you to Season 2017/18. ​I am excited to present what will be one of our most impressive seasons to date as we bring you international artists, exciting concerts, and a variety of new musical offerings. We open our season in December at Society of the Four Arts ​​with an ambitious program of Haydn, Rossini, and Martin led by our first guest conductor, Maestro Albert-George Schram. In January, we perform at Benjamin Hall where Maestro Robert Moody will present an electrifying program of Beethoven and Theofanidis, with a Saint- Saëns concerto that will showcase the extraordinary talents of young pianist, Maxim Lando. It will be my honor to lead our world-class musicians in an inspiring program of Mendelssohn and Schumann at the Symphony’s gala-evening performance at The Breakers in February, followed by a glorious program of Handel and Vivaldi in March at Bethesda-by-the-Sea, and a captivating season finale in April at The Kravis Center, which will feature the music of Elgar and Rachmaninov with a solo performance by acclaimed Romanian cellist Răzvan Suma. One of the offerings we are most proud to debut this season is the new chamber music series, which combines adventurous music programs with new technologies and enlightening narration. And again, I will be delighted to conduct the Waterfront concert in February, a free concert for all our community. We are committed to bringing classical music into the community and presenting concerts and programs in many varied and beautiful forms. Looking forward to making music for all of you,

Ramón Tebar ​




Ramón Tebar is widely praised as one of the rising stars of the conducting world. Known for his musical versatility, compelling interpretations, and diverse experience in both symphonic and operatic repertoire, this 38-yearold maestro is receiving growing global acclaim in both the opera and orchestral arenas. Now in his seventh season as Palm Beach Symphony’s artistic and music director, Maestro Tebar also serves as artistic director of Florida’s Opera Naples (since 2014), and he holds the distinction of being the first Spanish conductor to be appointed music director of an American opera company, the Florida Grand Opera (in 2011). This summer, Tebar was named chief conductor of Orquesta de Valencia, the symphony orchestra of his hometown of Valencia, Spain. He takes the place of Israeli Yaron Traub, who held the position for 12 years. While in Valencia, Maestro Tebar also serves as music director at the Festival de Santo Domingo and principal guest conductor of the Palau de Les Arts Reina Sofía. His current 2017-18 season schedule will have him leading a production of Un Ballo in Maschera at the Festival Opera Coruña, Il Trovatore in Oviedo, L’Elisir d’Amore at the Gran Teatre del Liceu in Barcelona, Madama Butterfly in Vienna and Naples, and Don Carlo in Valencia, featuring Plácido Domingo as Rodrigo. National & International Conducting Credits: Philharmonia Orchestra, Cincinnati Symphony, St. Petersburg Symphony, Moscow State Symphony, Malasyian Philharmonic, Orchestre de Rouen, Het Gelders Orkest, Bulgarian National Radio Symphony, Munich Radio Symphony, Prague Philharmonia, Spanish National Orchestra, Spanish Radio Television Orchestra, Barcelona Symphony Orchestra, Galicia Symphony Orchestra, Teatro Regio di Torino, Teatro Regio di Parma, Cincinnati Opera, Teatro Colón, Gran Teatre del Liceu, Kremlin Palace, Royal Festival Hall, Kölner Philharmonie, Concertgebouw Amsterdam, and Wiener Staatsoper. 8







Johann-Sebastian Guzman is very excited and grateful to be serving as Palm Beach Symphony’s assistant conductor for the second consecutive season. He has had the great privilege and honor of working with renowned conductors, including Maestro Ramón Tebar, Maestro Andrés Orozco-Estrada, Maestro Daniel Harding, and Maestro Franz Welser-Möst.His passion and talents have taken him to encounter and shadow these great maestros with some of the world’s greatest orchestras, such as the Vienna Philharmonic, Frankfurt Radio Symphony, Berlin Philharmonic, Cincinnati Symphony, Orchestre de Paris, Sinfónica de Galicia, Palm Beach Symphony, The Cleveland Orchestra, Naples Philharmonic, Houston Symphony, Orquestra de la Comunitat Valenciana and with artists such as Hilary Hahn, Javier Perianes, Plácido Domingo, and Leo Nucci. Guzman recently had his own European debut with the Camerata Belliniana in Sicily, Italy at the grand Teatro Massimo Bellini and has recently been invited to record and participate in a chamber music festival series in summer 2018. Guzman looks forward to a wonderful season with the Palm Beach Symphony and thanks everyone who has made his musical journey a reality.


The mission of the Palm Beach Symphony is to engage, educate, and entertain the greater community of the Palm Beaches through live performances of inspiring orchestral music.



Palm Beach Symphony was founded in 1974 to address the need for a professional orchestra in Palm Beach County. In its earliest years, the orchestra performed only a few concerts a year with a part-time conductor and a volunteer staff. It was not until Mrs. Ethel S. Stone became the Symphony’s board chair, a position she held for 23 years, that the orchestra began establishing itself as a cultural force in the community. A visionary leader, Mrs. Stone inherited her love of music from her family and generously shared it with the community she loved. During her tenure, a number of well-known musical figures served in leadership roles, including Karl Karapetian, John Iuele, Kenneth Schermerhorn, Stewart Kershaw, David Gray, Ulf Bjorlin, and John Covelli. When Mrs. Stone died on August 6, 1996, John and Joan Tighe stepped in to continue her legacy. They established a stable board of directors, a dedicated administrative staff, and a small endowment fund to ensure the Symphony’s continued growth. Musicians who led the orchestra during the Tighes’ tenure were Alan Kogosowski, Vladimir Ponkin, Sergiu Schwartz, Ray Robinson and Donald Oglesby. Today, under the leadership of Dale McNulty and David McClymont, Palm Beach Symphony has grown into a world-class orchestra with an expanded mission that includes vital education and community outreach programs that bring live classical music programs and concerts into schools, community centers, and public venues in and around the Palm Beaches. McClymont oversees a robust season of masterworks and chamber music concerts, produced under the artistic and music direction of internationally renowned conductor, Maestro Ramón Tebar. 10




EXECUTIVE DIRECTOR'S LETTER Welcome to Season 44! We’re excited to have you aboard this unforgettable musical journey through new experiences and classical favorites. Building on the success of last season, we’re cruising ahead through some uncharted waters—by introducing a new chamber music series and, for the first time ever, a spectacular concert-gala evening – to add a dash of adventure to our treasured masterworks concerts, which remain the heart and soul of what we do. As I embark on my fifth year as executive director, I recall my earliest days at PBS and all the wonderful blue-sky ideas this organization inspired. Grounded by the support of a strong board, and fueled by a multi-talented staff, a brilliant maestro, a phenomenal group of musicians, and a family of loyal donors (you truly are family), here we are five years later, the proud stewards of a top-notch Symphony that’s reaching once-unimaginable heights. We are a world-class orchestra. And I could not be prouder of each of you who’ve played a role in our success. But we cannot rest on our laurels. We must keep raising the bar. The music world is continually being tested. Cuts to arts funding, shorter attention spans in this Information Age, and daily distractions all hinder our efforts to reach new audiences with live classical music. But we are rising to the challenge by diversifying our programming to expand our reach, even as we remain committed to preserving the traditional offerings our long-time patrons have come to expect from their hometown orchestra. We are deeply grateful to our members, donors, corporate sponsors, and community partners for traveling along with us through 44 seasons. Here’s to many more musical journeys to come!

David McClymont Executive Director


PLANNED GIVING Palm Beach Symphony is deeply grateful to those who remember us through bequests or planned gifts. There are many ways to make a planned gift to the Symphony. Depending on your age, your income and assets, and your vision of giving, you may wish to consider: • Beneficiary Designations under Retirement Plan Assets [401(k), 403(b), IRA] • Bequests via Will or Living Trust • Cash • Charitable Lead Trusts

• Charitable Remainder Trusts • Gift Annuities • Life Insurance • Pledges

Your planned gift will help ensure the Symphony’s bright future: • Keep classical music thriving by supporting our world-class musicians and critically acclaimed conductor. • Allow thousands of local students to be instructed and inspired by our concerts and education programs. • Build a cultural community by helping us make classical music accessible to all through free outreach events.

THE DORA BAK SOCIETY The Dora Bak Society recognizes our loyal and generous music patrons who have chosen to include Palm Beach Symphony in their bequests or other long-range charitable giving plans. We show them our appreciation in many ways, including acknowledgement in all donor listings, including the Symphony’s Annual Report and concert program books



When you’re ready to learn more about bequest opportunities that benefit the Palm Beach Symphony, please contact David McClymont at 561-655-2657. Or Join us on March 14 for a Planned Giving Lunch-and-Learn.





PLANNED GIVING LUNCH-AND-LEARN SAVE THE DATE WEDNESDAY, MARCH 14, 2018 12:00 P.M. THE BEACH CLUB PALM BEACH Guest Speaker: Joan Crain and Manley Thaler Joan Crain is a senior director for BNY Mellon Wealth Management. As a global family wealth strategist, Joan works closely with wealthy families and their advisors to provide comprehensive wealth planning. Manley Thaler is a founding partner of the firm of Thaler & Thaler, P.A. and concentrates in the area of Estate and Financial Planning for wealthy individuals including planning for business enterprises which they control.

For event information, contact David McClymont at 561.655.2657 or


PALM BEACH SYMPHONY ORCHESTRA & STAFF VIOLINS Evija Ozolins*  Monica Cheveresan **  Svetlana Kosakovskaya   Alfredo Oliva   Mari Pakk  Huifang Chen   Charles Hardt  Anne Chicheportiche  Miclen Laipang  Valentin Mansurov*  Jaime Mansilla  Marina Lenau  Orlando Forte   Evgeniya Antonyan   Morena Kalziqi  Nora Lastre  Sania Whitaker VIOLA Chauncey Patterson* Scott O’Donnell   Felicia Besan  Roberto Henriques  Carloline Buse CELLO Claudio Jaffé* Ross Harbaugh  Aziz Sapaev    Brent Charran BASS Juan Carlos Peña* Brian Myhr  Jeff Adkins  Billy Bryant FLUTE Nadine Asin* Joseph Monticello 14


OBOE Robert Weiner* Carly Gordon CLARINET Anna Brumbaugh* Julian Santacoma BASSOON Luciano Magnanini* Jorge Morera

David McClymont Executive Director    Olga M. Vazquez  Operations Manager    Jacqueline Bosch  Education & Community Outreach Coordinator 

FRENCH HORN Madison Allen* Rhonda Kremer Szilard Molnar  Dani Leon

Lisa Bruna Marketing & Communications Coordinator    May Bell Lin  Membership Director 

TRUMPET Marc Reese*   Brian Garcia  Mark Poljak

Alfredo Oliva Orchestra Contractor Miami Symphonic Entertainment, Inc. 

TROMBONE Domingo Pagliuca* Salvador Saenz 

Felix Rivera Patron Advancement Coordinator 

BASS TROMBONE Michael Nunez 

Hulya Selcuk Development Coordinator 

TUBA Kevin Idelfonso TIMPANI Mark Schubert* PERCUSSION Gary Mayone* Karlyn Vina * principal ** assistant principal pbsymphony


Britni Serrano Stage Manager

The Palm Beach Symphony is a proud member of the League of American Orchestras, which advances the experience of orchestral music, supports the people and organizations that create it, and champions the contributions they make to the health and vibrancy of communities.

Congratulations to the League on its 75th anniversary! Visit for more information.




PRINCIPAL MUSICIANS Alfredo Oliva is Palm Beach Symphony’s orchestra contractor. He was born in New York City and grew up in Hialeah, Florida. Some of his first performances at age 17 included working with Frank Sinatra, Sammy Davis Jr., Bing Crosby, Ray Charles, Barry White, Smoky Robinson, Burt Bacharach, and many more. Oliva has been the Concertmaster of many Broadway shows and has played in nearly every major classical ensemble in South Florida. Oliva has collaborated with hundreds of award-winning recording artists. Recent credits include Gloria Estefan (Grammy® nominated album, The Standards), Natalie Cole (Grammy® nominated album, Natalie Cole En Español), Barry Gibb (In the Now), Michael Jackson (Heaven Can Wait and Whatever Happens from Invincible), Placido Domingo, Barbra Streisand, The Bee Gees, Julio Iglesias, Celia Cruz (Yo Viviré from Siempre Viviré), Alejandro Sanz (El Alma Al Aire, MTV America Latina), José Feliciano (Señor Bolero), Vic Damone, Jennifer Lopez, Shakira, Jon Secada, Enrique Iglesias, Busta Rhymes with Stevie Wonder (Been Through the Storm from The Big Bang), Marc Anthony, Ricky Martin MTV unplugged and others. Since 2007, Oliva’s orchestras have been performing live at the Adrienne Arsht Center and other South Florida concert venues as members of the Florida Grand Opera Orchestra as well as the Palm Beach Symphony. Under the direction of Alfredo Oliva, producers have come from all over the globe to record with these fantastic musicians. He is thrilled they will perform for the first time, the incredible movie experience of Harry Potter and the Chamber of Secrets™ in Concert! Evija Ozolins is concertmaster for Palm Beach Symphony, assistant concertmaster for Florida Grand Opera, and a member of Bergonzi String Quartet. Born in Riga, Latvia, Ozolins is a third-generation musician in a family of professional musicians. She began playing piano at age four and violin at age five. She was educated in Riga at the Emils Darzins Academy of Music and, in 1991, was accepted as a scholarship student at the Mannes College of Music in New York City where she studied with renowned violinists Aaron Rosand and David Nadien. She has given solo recitals in many U.S. cities, including Carnegie’s Weill Recital Hall, as well as in Canada, the Caribbean, and Europe. She has recorded as a soloist with Maureen McGovern, Brian Lane Green, and others. Her name appears on many commercial recordings and movie soundtracks. She also performs in numerous Broadway shows, most recently Motown, Little Mermaid and Phantom of the Opera in New York City. Ozolins currently plays on a 1782 Antonio Gragnani violin.





Valentin Mansurov is Palm Beach Symphony’s principal second violin. An award-winning musician who has won multiple competitions in the former U.S.S.R, Canada, and the United States, Mansurov has performed in solo recitals and chamber music concerts throughout Europe, North America, and South America. Locally, he performs as a member of Florida Grand Opera Orchestra and Atlantic Classical Orchestra in addition to his performances, both orchestral and chamber, with Palm Beach Symphony. In 2015, Mansurov became a member of the critically acclaimed Delray String Quartet, performing in concerts nationwide. He began studying violin at the age of seven at Uspenskiy’s School for Musically Gifted Children in Uzbekistan and has pursued further college degrees in Turkey, France, Canada, and the United States. Chauncey Patterson is principal viola for both Palm Beach Symphony and Florida Grand Opera, and viola for the Bergonzi String Quartet at University of Miami. He has been principal viola of the Denver and Buffalo Symphonies and, for 15 years, was viola with the Miami String Quartet, an internationally renowned and extensively recorded ensemble. He was also interim viola of the Fine Arts Quartet. Patterson’s faculty affiliations include: The Cleveland Institute of Music, Blossom School of Music, Kent State University, Hartt School of Music, Encore School for Strings, Eastern Music Festival, University of Charleston (WV), University of Denver, New World School of the Arts, Florida International University, and The University of Wisconsin at Milwaukee. He attended The University of North Carolina at Chapel Hill, the Cleveland Institute of Music and The Curtis Institute. Claudio Jaffé is principal cello for both Palm Beach Symphony and Florida Grand Opera Orchestra as well as cellist for the Delray String Quartet. He made his orchestral debut at the age of 11, performing a concerto written specifically for him. Trained as a solo cellist, Jaffé received four degrees from Yale University including Doctor of Musical Arts. He is a prizewinner in numerous national and international competitions and has performed in some of the most prestigious concert halls around the world, from New York City to Brazil to Tokyo. As an educator, he served as Dean of the Lynn University Conservatory of Music and created their Preparatory Division. He began the Strings Program at Saint Andrew’s School in Boca Raton and was resident conductor of the Florida Youth Orchestra for 18 years. Jaffé performs regularly at the Sunflower and Buzzards Bay Music Festivals and is currently teaching at Palm Beach Atlantic University.


PRINCIPAL MUSICIANS Juan Carlos Peña is principal double bass for both Palm Beach Symphony and the Florida Grand Opera orchestra and performs regularly with the Naples Philharmonic Orchestra. Born in Honduras, studied at the Victoriano Lopez School of Music. He holds BM and MM degrees in double bass performance from the Curtis Institute of Music, and Rice University respectively, and an MM in orchestral conducting from University of Maryland. In Honduras, he was artistic/technical director for the Victoriano López School of Music and music director of the San Pedro Sula. In Colombia, he was director of the Chamber Orchestra of the Antonio Valencia Conservatory, and in Spain, he was music director of the Madrigalia Chamber Choir. Other credits include: principal double bass and soloist with the Orquesta Sinfónica Nacional (Honduras) and Orquesta Sinfónica del Valle (Colombia), co-principal double bass with Orquesta Sinfónica de Galicia (Spain), conductor of the Symphony Orchestra of the Escuela Nacional de Música (Honduras), and bass instructor and soloist at Soli Deo Gloria Music Camp (Dominican Republic). Nadine Asin is Palm Beach Symphony’s principal flute. She appears with some of the world’s finest ensembles including the New York Philharmonic, the Metropolitan Opera Orchestra, the Great Performers Series of Lincoln Center, the Chamber Music Society of Lincoln Center, and the Da Camera Society of Houston. An active commercial recording artist, she can be heard on the soundtracks of Julie and Julia, True Grit, Tower Heist, Tintin, and Extremely Loud and Incredibly Close; on the world premiere of Enchanted Orbits, a concerto for flute and chamber orchestra written for her by Augusta Read Thomas; and on Pleasure is the Law’s debut album released through Boston Records. Asin debuted as a soloist with the Baltimore Symphony at age 16. She studied with Julius Baker at the Juilliard School, where she received bachelor and master of music degrees. She is a faculty member of the Bard College Conservatory of Music, an adjunct faculty member at the Juilliard School, and she teaches masterclasses at the Peabody Institute, Rice University, and New World Symphony. Robert Weiner is principal oboe for both Palm Beach Symphony and Florida Grand Opera and has in the past been principal oboe with the Miami Symphony Orchestra, Mexico City Philharmonic, Miami City Ballet Orchestra, Oklahoma Symphony Orchestra, and others. Weiner is currently professor of oboe at University of Miami’s Frost School of Music and previously taught oboe at Conjunto Cultural Ollin Yoliztli in Mexico, Oklahoma 18




City University, University of Oklahoma, and Cornell University. Known for his work on gouging machines and reed-making, he advises professionals who work in these areas. He holds a degree from the Eastman School of Music, and has studied oboe with Harold Gomberg and Joseph Robinson, former principal oboes with the New York Philharmonic, and John Mack, former principal oboe of the Cleveland Orchestra. Weiner has performed with American Symphony Orchestra, New York City Ballet, and Long Island Philharmonic. He’s recorded on major labels and is active in Miami recording studios. Anna Brumbaugh is principal clarinet of Palm Beach Symphony and Florida Grand Opera. She has performed professionally with American Ballet Theatre Orchestra, The Orchestra of St. Luke’s, The Colorado Music Festival Orchestra, The New York Concerti Sinfonietta, and the Boca Symphonia, and she’s collaborated with the Eastman Wind Ensemble to record the Stravinsky Octet for their latest CD. Brumbaugh mentored students at Juilliard’s pre-college division and taught at two of their educational outreach programs. She is a music mentor at Plumosa School of the Arts in Delray Beach. She earned a master of music degree in clarinet performance from the Juilliard School, a bachelor of music with high distinction and the coveted Performer’s Certificate from the Eastman School of Music and she is currently pursuing her Professional Performance Certificate at Lynn University. Brumbaugh’s teachers have included Jon Manasse, internationally acclaimed soloist, and Bil Jackson, former principal clarinet of the Colorado Symphony. Luciano Magnanini is Palm Beach Symphony’s principal bassoon and has also been principal bassoon with the Florida Philharmonic Orchestra and Miami Chamber Symphony. He began his music studies in Italy at the Conservatory Nicolo Paganini in Genoa and continued his music training in the city of Milan. Internationally, he has been principal bassoon with the Orchestra Comunale della Opera in Genoa, The Mexico City Philharmonic, the Miami Philharmonic, the World Symphony Orchestra, the Festival Casals Orchestra, and the Eastern Music Festival Orchestra in North Carolina. He’s played under the baton of renowned conductors, such as Leonard Bernstein, Zubin Meta, Carlo Maria Giuliani, Alain Lombard, Eduardo Mata, James Conlon, and James Judd. Magnanini has an active concertist career playing solo concerts in the United States, South America, and Europe. He is professor of bassoon and director of woodwinds at the University of Miami School of Music. He has recorded for RCA and CBS, Altarus, and Harmonia Mundi.


PRINCIPAL MUSICIANS Madison Allen is Palm Beach Symphony’s principal French horn and one of the most in- demand French Horn players in South Florida. She enjoys a full and robust season as principal horn for Palm Beach Symphony, Florida Grand Opera, and Nu Deco Ensemble, as well as assistant principal horn of the Naples Philharmonic. She also performs frequently with the Sarasota Orchestra and Atlantic Classical Orchestra. She spent many years teaching for the Miami Music Project, an afterschool program for underserved youth, and Wynwood’s prestigious Miami Arts Charter School. Allen received her Bachelor of Music and Performer’s Diploma from Indiana University under the tutelage of Myron Bloom before continuing to hone her craft at the Manhattan School of Music in the studio of Michelle Baker. She completed her schooling by obtaining her master of music degree at the University of Miami while studying with Richard Todd. Originally from Houston, Texas, Allen currently resides in Miami Beach, Florida where she enjoys spending time with her husband, T.J., raising her newborn daughter, Austen, baking goodies in the kitchen, and watching soccer games. Marc Reese is Palm Beach Symphony’s principal trumpet. An internationally acclaimed trumpeter, he is best known for his nearly two-decade tenure in the Empire Brass Quintet. As a member of the quintet, he toured the globe entertaining audiences and inspiring brass players with the quintet’s signature sound and virtuosity. Reese is highly regarded as an orchestral musician, having performed on multiple occasions with the New York Philharmonic, Cleveland Orchestra, and Boston Symphony. He has performed at many of the world’s prestigious summer festivals, including Tanglewood, Ravinia, Blossom, Marlboro, and the Pacific Music Festival, where he also served on the faculty. He appears on numerous recordings with the Empire Brass and has recorded with the Boston Pops. Reese focuses much of his time on education, serving as assistant dean and brass department head for Lynn University’s Conservatory of Music. Visit Domingo Pagliuca is Palm Beach Symphony’s principal trombone. A native of Venezuela, he received both bachelor of music and master of music degrees from the University of Miami before returning to Venezuela, where he performed as co-principal trombone for the Venezuela Symphony Orchestra for 13 years. In 2013, he moved back to the United States and began working for the Boston Brass, performing with them on tour and 20




giving master classes throughout the United States, Canada, Central and South America, Europe, and Asia. Pagliuca is a performing artist and clinician for Yamaha, USA. In addition to performing as principal trombone with Palm Beach Symphony, he is also principal trombone for the Florida Grand Opera Orchestra. His versatility as a recording artist and live music performer has made him one of the most in-demand trombonists in Latin America. He received four Latin Grammys in 2011, as trombonist, arranger, and brass post-producer. He has performed with Luciano Pavarotti, Plácido Domingo, Andrea Bocelli, and Quincy Jones, and also appears in more than 100 Albums. Currently, he is working on his solo CD. Visit Mark Schubert is principal timpanist for the Palm Beach Symphony and Florida Grand Opera orchestras. He holds a bachelors in composition from the University of Iowa. His principal teacher, with whom he studied privately in Palm Beach and New York, was Saul Goodman (New York Philharmonic and Juilliard). In South Florida since 1982, Schubert has performed with every major group as timpanist or as percussionist. Skilled in every style of music – rock, jazz, Broadway, classical, contemporary – his musical activities also include recording, composing, and arranging. He has performed as soloist with the American Composers Orchestra and the Lake Placid (NY) Sinfonietta. Gary Mayone is Palm Beach Symphony’s principal percussion and one of the most versatile and highly respected musicians in the business today. He is a multiinstrumentalist who performs all styles of music and has traveled the world playing in 27 countries to date. He is featured on more than 100 recordings and has released his own solo CD project. He’s received multiple accolades from local media outlets, including The Miami Herald (“the xylophonist was succulent”), The Palm Beach Post (“Mayone demonstrated prodigious technique”), and the Key Largo Reporter (“a high energy performer”). Born in Hartford, Connecticut, Mayone began studying drums at age seven and later moved to Florida where he earned an AA degree in music education and a BFA in music composition. He also studied at Hartt College of music and at University of West Virginia and has taught at Miami-Dade College and Broward College in Fort Lauderdale. He is the founder of a percussion group that plays educational concerts to thousands of elementary school students each year.




Palm Beach Symphony introduces a new Chamber Concert Series that both entertains and educates through lively music and engaging narration by esteemed musicians and historians. JANUARY 10 | 7:00PM | PALM BEACH DAY ACADEMY Playing Still: The Dean of Afro-American Composers String Quartet Featuring the music of William Grant Still

Narrated by Dr. Rufus Jones, Jr. Dr. Jones is an accomplished conductor, scholar and published author. His research has focused on African American classical musicians. He has written extensively on the music of William Grant Still. In 2009, his three -volume edition, The Collected Folk Suites of William Grant Still was published and featured at the Inaugural William Grant Still Tribute Conference in Natchez, Mississippi. Dr. Jones has received outstanding reviews on his book from some of the leading African American classical musicians in the world and has been featured on local and national radio and TV shows, such as The Tavis Smiley on PBS show. 22




FEBRUARY 7 | 7:00PM | HISTORICAL SOCIETY OF PALM BEACH COUNTY Treasures from the Spanish Providencia Guitar Quintet Featuring the music of Luigi Boccherini, Juan Crisóstomo de Arriaga, and Joaquin Turina

Narrated by Harvey E. Oyer, III Mr. Oyer is a fifth- generation native Floridian who has served as Chairman of the Historical Society of Palm Beach County and of the Chamber of Commerce of the Palm Beaches. He is a partner in the law firm of Shutts & Bowen LLP and a Trustee of the Florida Supreme Court Historical Society. He has received numerous awards, including the Judge James R. Knott Historical Contribution Award by the Historical Society of Palm Beach County (2010), the Florida Trust for Historic Preservation’s Individual Distinguished Service Award (2009), and the Florida Association of Museums’ Trustee of the Year Award (2008). In 2006, he was named one of the 100 Most Influential Floridians by Florida International magazine.

MARCH 21 | 7:00PM | THE HARRIETT HIMMEL THEATRE Bernstein & Co.: Composed in America A chamber concert hosted by the Young Friends of the Palm Beach Symphony Brass Quintet Featuring the music of Leonard Bernstein and the composers of The Great American Songbook

Narrated by Albert-George Schram Mr. Schram is equally adept at conducting classical and pops programs. He has led a variety of repertoire for many orchestras in the U.S. and abroad and is currently Resident Staff Conductor of the Columbus (Ohio) Symphony and Charlotte Symphony orchestras. He has also served as Music Director of the Lubbock (Texas) Symphony and the Lynn Philharmonia (Florida). As a pops conductor, Schram has worked with James Taylor, Art Garfunkel, Chris Botti, Boyz II Men, LeAnn Rimes, Kenny G, Olivia NewtonJohn, Smokey Robinson, Chicago, Aretha Franklin, and numerous others. He has created a large variety of themed programs, celebrating everything from Home for the Holidays (Christmas), and That’s Amore (Valentine’s), to swinging jazz big band, country and soul music. 23



6:00 – 8:00 P.M. Season Kick-Off Sant Ambroeus, Royal Poinciana Plaza

THURSDAY, DECEMBER 14 6:00 – 8:00 P.M. Sip & Shop Vineyard Vines, Worth Avenue


2:00 – 5:00 P.M. A Polo Afternoon International Polo Club, Wellington


7:00 – 9:00 P.M. Bernstein & Co.: Composed in America A chamber concert hosted by Young Friends of Palm Beach Symphony The Harriet Himmel Theater




YOUNG FRIENDS EXECUTIVE COMMITTEE Krystian von Speidel YFPBS committee chair Randee Bank Todd Barron Lizzi Bickford Nannette Cassidy Alexandra Cook Angela Cortesio Todd Dahlstrom Scott Diament Laura Mari J.R. Penn IV Philip Reagan Burton Rocks Michele Schimmel Katherine Waldman pbsymphony

NOW - APRIL 2018





Palm Beach Symphony has collaborated with Ballet East to present a spectacular live performance of one of the most internationally recognized pieces of music, Sergei Prokofiev’s Peter and the Wolf. This classic tale was brought to life through vibrant dance and music, with different instruments used to “voice” each character – a boy named Peter (violin), a lovable duck (oboe), an impatient bird (flute), an adventurous cat (clarinet), a grumpy grandfather, and a scary wolf (French horn). The Children’s Concert Series is made possible thanks to the generous contributions of: The Paul and Sandra Goldner Conservatory of Music Mrs. Lois Pope sponsor for Children’s Concert Series performances at the Society of the Four Arts Mr. James R. Borynack & Mr. Adolfo Zaralegui at the Findlay Galleries sponsors of the concert at Dolly Hand Cultural Arts Center, for the students and families at New Hope Charities. Additional support provided by:






This season, more than 4,000 Palm Beach County students were treated to seven one-hour FREE performances of this unique symphony-ballet production of Prokofiev’s Peter and the Wolf through Palm Beach Symphony’s Children’s Concert Series. For the first time this year, we included a seventh performance that brought us to Belle Glade where we opened the show for public attendance at the Dolly Hand Cultural Arts Center (co-sponsor) where children could share the experience with their families. Sold Out School Performance! NOVEMBER 1 | THE SOCIETY OF THE FOUR ARTS (2 performances) Sold Out School Performance! NOVEMBER 2 | THE SOCIETY OF THE FOUR ARTS (2 performances) Sold Out School Performance! NOVEMBER 8 | EISSEY CAMPUS THEATRE Open to Public! / Free for kids! NOVEMBER 8 | DOLLY HAND CULTURAL ARTS CENTER Sold Out School Performance! NOVEMBER 9 | PALM BEACH DAY ACADEMY




Palm Beach Symphony’s education and outreach programs bring classical music appreciation and education into the classroom and into the community. We believe in the transformative power of music to help promote learning and growth. LECTURE DEMONSTRATIONS PBS musicians present lecture demonstrations by performing select pieces and speaking about the music, the instrument, the composer, and their own life as a musician. These unique opportunities help familiarize students with the instruments of the orchestra, the musicians, and the music they perform.

MASTERCLASSES These individual coaching sessions led by master musicians in front of an audience or class allow student musicians to perform a prepared piece and receive expert feedback. Masterclass students benefit from master musician critiques on areas for improvement, including musical technique, style, interpretative qualities, presentation, and overall musicality.

COACHING SESSIONS Student musicians learn technique, tone, posture, and proper instrument position in small group settings with professional PBS instrument instructors. During the last portion of the session, the students come together in a large group to work on ensemble balance rehearsing alongside our PBS musicians. 28





INSTRUMENT DONATION The Symphony accepts donations of professional or amateur quality orchestral instruments, such as violins, violas, cellos, double basses, clarinets, oboes, bassoons, flutes, French horns, trumpets, trombones, tubas, or pianos. We ensure the instruments meet performance standards, then donate them to underserved children or school music programs in Palm Beach County.

SIDE-BY-SIDE PERFORMANCES Advanced students get to perform next to PBS musicians. The opportunity to play their instruments side-by-side with professional musicians provides students with an unforgettable performance experience and experiential learning they can later apply to their own professional growth.

INVEST IN THE ARTS, OUR COMMUNITY, AND FUTURE GENERATIONS OF CLASSICAL MUSICIANS. Together with the Paul and Sandra Goldner Conservatory of Music $25,000 matching grant, your contribution will help bridge the gap for arts education in Palm Beach County public schools. Help the Palm Beach Symphony share the gift of music. For more information about sponsorship and underwriting opportunities, please contact the Palm Beach Symphony office at (561) 655-2657 or


Invested in performance. At BNY Mellon Wealth Management, we believe that the arts are part of every vibrant community. It is our great pleasure to support the Palm Beach Symphony.

Stephen J. LaForte | 561-868-7425 @BNYMellonWealth Š2017 The Bank of New York Mellon Corporation.





SEVEN WONDERS WEDNESDAY, DECEMBER 6, 2017 7:30 P.M. THE SOCIETY OF THE FOUR ARTS Albert-George Schram, conductor Seven Wind Soloists: Nadine Asin, Flute Anna Brumbaugh, Clarinet Brian Garcia, Trumpet Luciano Magnanini, Bassoon Erika Miras, French Horn Domingo Pagliuca, Trombone Robert Weiner, Oboe Rossini

Overture to La scala di seta (The Silk Ladder)



Concerto for Seven Wind Instruments


I. Allegro II. Adagietto: Misterioso ed elegante III. Allegro vivace


Symphony No. 104 in D Major (London)


I. Adagio – Allegro II. Andante III. Menuetto: Allegro IV. Finale: Spiritoso

This evening was generously underwritten by Mr. & Mrs. Charles B. Johnson (SEVEN WONDERS concert) and Mr. Leslie Rose (après dinner at Café Boulud). Hotel stays for musicians kindly provided by Hilton West Palm Beach.



Photo courtesy of the Charlotte Symphony

Equally adept at conducting classical and pops programs, Albert-George Schram has led a wide variety of repertoire for many orchestras in the U.S. and abroad. He is currently Resident Staff Conductor of the Columbus (Ohio) Symphony and Charlotte Symphony orchestras. He has also served as Music Director of the Lubbock (Texas) Symphony and the Lynn Philharmonia (Florida). Most recently, Schram concluded his tenure as Resident Conductor of the Nashville Symphony Orchestra. Previously he has held titled positions with the Louisville Philharmonic and Florida Philharmonic orchestras.

Schram has guest-conducted with the symphonies of Dallas, Charlotte, Tucson, New Orleans (Louisiana Philharmonic), Oklahoma City, Louisville, Spokane, San Antonio and Orlando. Conducting engagements abroad have included Netherlands Radio Philharmonic, the KBS (Seoul) and Teagu Symphonies in Korea, the Orquestra Sinfonica Nacional of Bolivia, the Orquestra Sinfonica Universidad Nacional de Cuyo (Mendoza) in Argentina, the National Symphony Orchestra of Uzbekistan and the Orchester der Allgemeinen Musikgesellschaft (Luzern) in Switzerland. Educated at The Hague Conservatory in his native Netherlands, Schram has also studied at the Universities of Calgary and Victoria in Canada, and the University of Washington. His teachers have included Rafael Kubelik, Franco Ferrara, Abraham Kaplan and Neeme Jarvi. Schram has worked with many distinguished artists, including pianists Lang Lang and Olga Kern and violinist Elmar Oliveira, among many others. His vast performance repertoire has included most of the standard symphonic masterpieces, especially the great symphonies of Gustav Mahler, the subject of his dissertation. He has had a lifelong affinity for performing the great choral-orchestral works, in particular the Requiems of Verdi, Mozart, Berlioz, et al. This, in addition to music by such acclaimed contemporary composers as John Corigliano and Jennifer Higdon. As a pops conductor, Schram has worked with James Taylor, Art Garfunkel, Chris Botti, Boyz II Men, LeAnn Rimes, Kenny G, Olivia Newton-John, Smokey Robinson, Chicago, Aretha Franklin, and numerous others.





NOTES ON THE PROGRAM By Aaron Grad SEVEN WONDERS Haydn and Rossini were true entertainers, and few composers in history could rival their shared knack for producing delight and sheer wonderment among their spectators. Between Rossini’s ambitious overture and Haydn’s masterful final symphony, be prepared for abundant joy and a few surprises. The Swiss composer Frank Martin made a point of studying diverse musical traditions and instrumental techniques at the deepest level, allowing him to maximize the expressive potential of each vibrant soloist in his Concerto for Seven Wind Instruments.

Overture to La Scala di Seta (The Silk Ladder) GIOACHINO ROSSINI Born February 29, 1792 in Pesaro, Italy Died November 13, 1868 in Passy, France Instrumentation: flute (doubling piccolo), 2 oboes, 2 clarinets, bassoon, 2 horns, and strings Duration: Approximately 7 minutes Composed: 1812 First Performance: May 9, 1812, in Venice, Italy Origins: Gioachino Rossini was the greatest opera composer of his generation. From his first comic farce written at age 18 to his crowning work for the stage, William Tell, he dashed off an astounding 39 operas in 19 years. Penned in 1812, La scala di seta was Rossini’s sixth opera, a sure-handed work from a composer just 20 years old. The silk ladder that gives this opera its title is the means by which the protagonist, Dorvil, maintains a secret affair with Giulia, climbing up through her bedroom window each night. The farce begins one morning when Dorvil is blocked from his usual means of egress by the appearance of Giulia’s cousin and servant. Notes to Notice: The overture’s second thematic group showcases Rossini’s keen musical wit and knack for scene painting. First, the flute and clarinet begin with a lovely duet that stumbles into a hiccupping descent. This is answered in turn by finger-wagging commentary from the oboes and then a round of chuckles from the clarinets, echoed by the oboes and flute. Incredibly, the opera’s entire plot seems to have been summarized in a few seconds of music: a romantic ascent, a faltering exit, an exchange of reproaches, and, ultimately, a chorus of laughter.


NOTES ON THE PROGRAM By Aaron Grad Concerto for Seven Wind Instruments FRANK MARTIN Born September 15, 1890 in Geneva, Switzerland Died November 21, 1974 in Naarden, The Netherlands Instrumentation: solo group consisting of flute, oboe, clarinet, bassoon, horn, trumpet, and trombone, with an orchestra consisting of timpani, 2 percussionists (cymbals, snare drum, and bass drum) and strings Duration: Approximately 21 minutes Composed: 1949 First Performance: October 25, 1949 in Berne, Switzerland Origins: Frank Martin was one of the premier Swiss composers of the twentieth century. He was unusually receptive to new ideas, with interests ranging from Bulgarian folk music to Schoenberg’s twelve-tone technique, and as a result his musical language continued to grow and mature all the way into his eighties. One constant was Martin’s affection for Bach, an influence that is certainly present in the Concerto for Seven Wind Instruments, a modern-day concerto grosso in the spirit of Bach’s “Brandenburg” Concertos. Notes to Notice: I. Allegro. As Martin explained in a program note, “Each musical element is connected with one soloist” in this conversational first movement. The diverse themes emphasize the idiomatic qualities of the instruments, from the sinuous oboe to the martial trumpet. II. Adagietto: Misterioso ed elegante. The steady stride of this “mysterious and elegant” slow movement resembles a Bach aria with walking bass. The unchanging ostinato, Martin explained, “serves to accompany various musical elements, some elegant and serene, others somber or violent.” III. Allegro vivace. In the outer sections of the finale, the lively three-beat pulse reveals itself in flashes to be a manic waltz of sorts. A central interlude shifts to the two-beat pattern of a march, dredging up traces of the earlier Adagietto in the process.

Symphony No. 104 in D Major (“London”) FRANZ JOSEPH HAYDN Born March 31, 1732 in Rohrau, Austria Died May 31, 1809 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings 34




Duration: Approximately 29 minutes Composed: 1795 First Performance: May 4, 1795, in London, England Origins: After Haydn’s longtime patron Prince Nikolaus Esterházy died in 1790 and his successor disbanded the court orchestra, Haydn was left with a reduced stipend—and more freedom than he had enjoyed in decades. Seizing the opportunity, a German impresario active in London enticed Haydn to England with a generous contract for the 1791-92 season. Haydn’s voyage to London was a tremendous success, as was a second visit in 1794-95. The greatest highlights of Haydn’s London concerts were his twelve new symphonies, works infused with extra color and panache to cater to British tastes. Notes to Notice: I. Adagio – Allegro. The slow introduction (a hallmark of Haydn’s late symphonies) begins in D minor, with a fortissimo proclamation that first leaps up and then answers by jumping down. This figure returns twice, each time subtly altered, framing solemn explorations. The Allegro body of the movement is a rare example of a sonata form that uses the same melody in opposing keys for both main themes, establishing a sense of cohesion and unity that continues throughout the work. II. Andante. The slow movement introduces a sweet and deceptively simple theme, albeit with a bit of Haydn’s typical playfulness in the accented offbeats and a few foreign notes. The music meanders through keys near and far, stretches and pauses at whim to delight in particular sonorities, and flexes its muscles a few times in the course of its relaxed stroll. III. Menuetto: Allegro. The minuet is a courtly dance number, but this being Haydn a little mischief is to be expected, such as the jolting pause of two full measures. IV. Finale: Spiritoso. The “spirited” finale begins with a rustic melody over a held drone, a tune that has been identified as a Croatian folk song, “Oj, Jelena,” which Haydn may have picked up from his time at the Esterházy family’s remote summer palace. © 2017 Aaron Grad.
































We know what art can do — how it can change perspectives, and even change lives. That’s why the PNC Foundation developed PNC Arts Alive, a multi-year, multi-million-dollar initiative that supports the arts in local communities. Through this initiative, we continue to challenge visual and performing arts organizations to put forth their best, most original thinking while expanding audience participation and engagement. Because when art thrives, everybody benefits. To learn more, go to





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ELECTRIFYING DISCOVERIES WEDNESDAY, JANUARY 17, 2018 8:00 P.M. BENJAMIN HALL Robert Moody, conductor Maxim Lando, piano soloist Theofanidis




I. brilliant, fiery II. with a light touch, ornate III. willful, deliberate

Piano Concerto No. 2 in G Minor


I. Andante sostenuto II. Allegro scherzando III. Presto


Symphony No. 7 in A Major


I. Poco sostenuto – Vivace II. Allegretto III. Presto IV. Allegro con brio

Robert Moody appears courtesy of Opus 3 Artists. Maxim Lando is playing on a 7 ft. Bösendorfer piano provided by Atlantic Music Center, exclusive representative of Bösendorfer in Florida.’ This evening was generously underwritten by Mr. & Mrs. Manley H. Thaler and the Thaler/Howell Foundation (ELECTRIFYING DISCOVERIES concert) and BNY Mellon Wealth Management (pre-concert dinner at Admiral’s Cove). Hotel stays for musicians kindly provided by Hilton West Palm Beach.


GUEST CONDUCTOR ROBERT MOODY Robert Moody begins his tenure as Principal Conductor of the Memphis Symphony with the 2016-17 season. He has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008. Moody’s 2015-16 season included debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic. Recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Sewanee Festival, Eastern Music Festival, PortOpera, and the Oregon Bach Festival. Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head Opera, and North Carolina Opera. He also assisted on a production of Verdi Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Kurt Weill Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and he conducts Bartok Bluebeard’s Castle, Leoncavallo I Pagliacci, and Poulenc Dialogues of the Carmelites during 2016-2017. Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral music. Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra. 42




TOP REASONS Prior to Phoenix, Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-inResidence with the Kennedy Center for the Performing Arts, and was instrumental in the commissioning and premiere performances of several of Bates’ important major works for orchestra. Moody’s work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their Bach and Legends CDs; he is also the conductor for the CD Fourth World, highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the WinstonSalem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012. Recently, he was honored to conduct on the “Cancer Blows” concert with Ryan Anthony, members of the Dallas Symphony, and a host of trumpet luminaries, to aid the fight against Multiple Myloma. CD and DVD recordings of that live concert, held in Dallas, TX in March 2015, are now available for purchase.



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GUEST PIANIST MAXIM LANDO Pianist Maxim Lando is a 15-year-old awardwinning American pianist dedicated to making classical music accessible to his own generation. He is an Artemisia Akademie Fellow at Yale University, alumnus of the Lang Lang International Music Foundation, and student of Hung-Kuan Chen at Juilliard Pre-College. Lando has recently been gaining acclaim worldwide in performances that include: Rachmaninoff’s 3rd Concerto with Mariinsky Theater Orchestra in the Mariinsky Theater Concert Hall of Saint Petersburg, a duo concert with violinist Julian Rachlin on the Stars and Rising Stars series in Munich, and “subbing” for Lang Lang at an All-Star Celebration event at Langham Place in New York City. In 2018, Lando will make his debut with the Israel Philharmonic Orchestra, performing with Arie Vardi. Recent performances include solo and chamber music concerts at the National Center for Performing Arts in Beijing, the Louis Vuitton Foundation in Paris, the Kissinger Sommer Festival in Germany, the Musical Olympus Festival Concert at Carnegie Hall, Jupiter Symphony Chamber Players in NYC, the Dinard International Music Festival in France, the Jay Pritzker Pavillion at Chicago Millennium Park, and Ravinia Festival in Chicago. Lando has also performed in Moscow at the Bolshoi Theater, International House of Music, Tchaikovsky Concert Hall, and the Moscow State Gallery of A. Shilov. He has appeared as soloist with the Mariinsky Theater Orchestra, Russian National Orchestra, Moscow Philharmonic Orchestra, New York Wind Orchestra, Kazakh State Philharmonic, Lerman Chamber Orchestra of Russia, Philharmonic Orchestra of the University of Alicante, Midwest Young Artists Symphony Orchestra, and Juilliard Pre-College Orchestra, among others. Lando is a Golden Medal winner of the Berliner International Music Competition (2017)and received an Audience Prize at Carnegie Hall from the prestigious Musical Olympus Foundation (2016). He was the first American ever awarded the Gold Prize at the International Television Contest for Young Musicians in Moscow, Russia (2015). He won Second Prize at the Kissinger Klavier Olymp in German (2015), and won the Juilliard Pre-College Concerto Competition (2014), which led to a Schumann Piano Concerto performance at Lincoln Center. 44




NOTES ON THE PROGRAM By Aaron Grad ELECTRIFYING DISCOVERIES Throughout musical history, the most brilliant composers have been those who discovered the next step forward on the path begun by their forebears. Even Beethoven—perhaps music’s greatest disruptor—found the models he needed in Haydn and Mozart. Saint-Saëns could not have whipped up an immortal concerto in a matter of days without the inspiration of Chopin and Liszt. For all three composers on this program, perhaps the most electrifying discovery was J. S. Bach, whom Christopher Theofanidis honored as his “muse” in this 21st-century response to the “Brandenburg” Concertos.


Born December 18, 1967 in Dallas, Texas Currently resides in New Haven, Connecticut Instrumentation: Strings and harpsichord Duration: Approximately 12 minutes Composed: 2007 First Performance: December 8, 2007 in New York City Origins: Whether writing for orchestras, opera houses, or chamber ensembles, Christopher Theofanidis creates music of uncommon beauty and joy. He composed Muse for the Orpheus Chamber Orchestra’s New Brandenburg Project, in which six eminent composers were asked to respond to Bach’s “Brandenburg” Concertos. Besides retaining the sub-divided string sections of Bach’s Third “Brandenburg” Concerto, Theofanidis sought to honor the “strong sense of propulsion” and the “harmonic deliberation and certitude” in Bach’s model concerto. Notes to Notice: I. brilliant, fiery. The brisk first movement of Muse expands on Bach’s own kaleidoscopic prelude style, with dark, neo-Gothic harmonies that dart through surprising pivots and chord changes. II. with a light touch, ornate. This rapturous slow movement is quintessential Theofanidis in its use of cascading major scales and shimmering ornaments. III. willful, deliberate. The finale mines even earlier history by quoting the Gregorian chant “Veni, redemptor gentium,” a melody that Bach adapted into the chorale “Nun komm, der Heiden Heiland.

Piano Concerto No. 2 in G Minor, Op. 22 CAMILLE SAINT-SAËNS Born October 9, 1835 in Paris, France Died December 16, 1921 in Algiers, Algeria


NOTES ON THE PROGRAM By Aaron Grad Instrumentation: solo piano and orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals (optional), and strings Duration: Approximately 24 minutes Composed: 1868 First Performance: May 13, 1868 in Paris Origins: Before Camille Saint-Saëns had a widespread reputation as a composer, he was known in Paris and around Europe as a brilliant pianist and, in the view of Franz Liszt, the greatest organist in the world. In the spring of 1868, Saint-Saëns played host to one of the world’s other leading pianists, Anton Rubinstein of Russia, who performed a series of concerts in Paris accompanied by an orchestra that Saint-Saëns conducted. On something of a lark—and in a sign of his great respect for his colleague—Rubinstein declared that he wanted to make his debut as a conductor in Paris, and that SaintSaëns should write and perform a piano concerto for the occasion. They booked a date just three weeks out at the Salle Pleyel, and Saint-Saëns got to work composing his Piano Concerto No. 2. Notes to Notice: I. Andante sostenuto. In crafting a complete piano concerto on such a tight timeline, Saint-Saëns leaned on the art of improvisation he had mastered as an organist, a tradition that stretched back to Bach and beyond. The extended introduction that begins the first movement is a pianist’s rendering of an improvised organ prelude, complete with counterpoint in the manner of Bach and the sustained “pedal points” that an organist would play with his feet. II. Allegro scherzando. With no need for a slow movement after the concerto’s profound opening, the timpani ushers in a theme as airy and fleeting as a fresh soufflé to launch this cheeky scherzo. III. Presto. The finale returns to the home key of G minor, but it a feisty type of minor-key music, nothing like the somber harmonies of the first movement. The manic main theme has a flavor akin to a tarantella, that whirlwind Italian folk dance believed to ward off a tarantula’s poison. The first edition of the score provided easier alternatives for the soloist in some of the finale’s most fiendish passages, but we can presume that Saint-Saëns allowed himself no such shortcut, despite finishing this composition mere days before the premiere.

Symphony No. 7 in A Major, Op. 92 LUDWIG VAN BEETHOVEN Born December 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings Duration: Approximately 36 minutes 46




Composed: 1812 Orchestrated by Arnold Schoenberg: 1937 First Performance: December 8, 1813, in Vienna Origins: In 1811, the ailing Beethoven took his doctor’s advice and summered in the Bohemian spa town of Teplitz. The trip succeeded in refreshing Beethoven’s health and spirits, and soon he started on a new symphony, his first in three years. He completed the Symphony No. 7 the following spring, but with the Napoleonic Wars disrupting concert life in Vienna, the new work did not reach the public until the end of 1813. On December 8, Beethoven conducted a benefit concert for wounded soldiers from the Battle of Hanau, featuring the premiere of Wellington’s Victory and also the Seventh Symphony. The audience demanded an encore of the Allegretto movement that night, and it has remained a favorite selection ever since. Notes to Notice: I. Poco sostenuto – Vivace. The Seventh Symphony begins with an introduction, the structure favored by Haydn in his late symphonies. Typically this would be a slow introduction, but Beethoven’s Poco sostenuto tempo has unusual forward drive, its momentum reinforced by repeated notes and rising scales. The introduction is also of an unprecedented length, lasting nearly four minutes before a single repeated pitch links into the lively Vivace continuation, set in a rollicking triple meter infused with the snap of dotted rhythms. II. Allegretto. The second movement again defies the expectation of slow music. It explores a distinctive rhythmic stamp (long, short-short, long, long), advancing a simple theme while expanding the scoring from lower strings to the full orchestra. A contrasting major-key section with broad phrases and pulsing pizzicato intervenes twice, but variants of the opening figure return each time as the heartbeat of the music, even when it is reduced to a skeletal final statement. III. Presto. The third movement is a Scherzo in all but name, Beethoven’s supercharged answer to Haydn’s minuets. It features cheeky rhythmic play and sudden dynamic contrast, as would be expected from a palate-cleansing third movement; more surprising is the strangely earnest trio section, with winds intoning a hymn-like chorale over droning violins. Instead of the typical three-part structure in which the trio appears once as a central departure, here it enters twice and then echoes again in the movement’s coda. IV. Allegro con brio. The finale is another marvel of rhythmic drive, with its vigorous accents on the off-beats. It is no wonder that Richard Wagner called this symphony “the apotheosis of the dance”—each movement is a celebration of relentless, infectious rhythms. © 2017 Aaron Grad.




Philip M. Reagan Leslie Rose

Nannette Cassidy


Denise McCann


Thomas and Tricia Trimble BLACK TIE $750 PER GUEST Enjoy an evening of cocktails, live music, dinner, and dancing at the elegant Breakers Palm Beach. ELEVATE THE EVENING Attend the pre-gala Masterworks Concert in the Ponce de Leรณn Room to create the perfect pairing for a full concert-gala experience. FOR SPONSORSHIP AND UNDERWRITING OPPORTUNITIES, PLEASE CONTACT HULYA SELCUK AT 561.568.0265 OR HSELCUK@PALMBEACHSYMPHONY.ORG TICKETS TO GALA AND CONCERT AVAILABLE BY CALLING 561-281-0145






Symphony No. 3 in A Minor (“Scottish”)

(1809 – 1847)

I. Andante con moto – Allegro un poco agitato II. Vivace non troppo III. Adagio cantabile IV. Allegro vivacissimo – Allegro maestoso assai


Symphony No. 4 in D Minor


I. Ziemlich langsam (Rather Slow) – Lebhaft (Lively) II. Romanze: Ziemlich langsam (Rather Slow) III. Scherzo: Lebhaft (Lively) IV. Langsam (Slow) – Lebhaft (Lively)

Hotel stays for musicians kindly provided by Hilton West Palm Beach. Staging, lighting, and sound by FROST.


NOTES ON THE PROGRAM By Aaron Grad JOURNEY FROM GERMANY TO SCOTLAND In the most literal sense, Mendelssohn’s Third Symphony can be seen as a memento of the young composer’s inspiring romp through Scotland. But through a more philosophical lens, we could view this symphony’s long gestation as a personal journey for Mendelssohn, leading him from the precision and clarity of his German heroes (from Bach to Beethoven) toward a more poetic, impressionistic stance like that of Scotland’s master of verse, Sir Walter Scott. Mendelssohn’s friend and compatriot Schumann likewise needed to expand his craft and his worldview to perfect the Fourth Symphony a decade after he first drafted it. Each composer, in his own way, produced a seamless symphonic journey into uncharted imagination.

Symphony No. 3 in A Minor, Op. 56 (“Scottish”) FELIX MENDELSSOHN Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig, Germany Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings Duration: Approximately 40 minutes Composed: 1842 First Performance: March 3, 1842, in Leipzig, Germany Origins: Felix Mendelssohn was one of music’s most remarkable prodigies, creating immortal compositions while still a teenager. At twenty, he performed on a typical rite of passage for well-heeled young men, embarking on a “grand tour” of Europe. With extended visits to the British Isles and Italy, Mendelssohn expanded his worldview and brought home inspiration for future projects. The first germ of musical material for a “Scottish” Symphony emerged on July 30, 1829, when Mendelssohn and a friend visited Holyrood Castle in Edinburgh. Mendelssohn was struck by the gloomy, crumbling palace, and he soon sketched the elegiac melody that would serve as the theme of the introduction. He waited over a decade to complete the “Scottish” Symphony, which he dedicated to Queen Victoria. Notes to Notice: I. Andante con moto – Allegro un poco agitato. A slow introduction establishes the noble and wistful mood inspired by the Queen Mary’s decrepit castle, contrasting the fast and edgy tempo in the body of the movement. That 50




agitated quality overflows in a late passage of swelling chromatic rises and falls, surging in sheets like a vicious squall. The material of the introduction makes a brief reprise to close the movement on a somber note. II. Vivace non troppo. The scherzo enters next without pause, and the clarinet reels out a playful melody, perhaps inspired by a bagpipe contest Mendelssohn heard in Scotland. III. Adagio cantabile. This singing slow movement may have been a nod to the Scottish poet Sir Walter Scott and his poem The Lady of the Lake, in which a girl sings the Ave Maria hymn accompanied by a harp. The first phrase of the melody tracks perfectly with the words “Ave Maria,” and the plucked accompaniment certainly evokes a harp. IV. Allegro vivacissimo – Allegro maestoso assai. The finale thunders in with a militaristic theme in a tempo Mendelssohn initially labeled as Allegro guerriero (fast and warlike). The ferocious music slinks away, and a majestic conclusion in the major key rises up to bring the symphony to a triumphant finish.

Symphony No. 4 in D Minor, Op. 120 ROBERT SCHUMANN Born June 8, 1810 in Zwickau, Germany Died July 29, 1856 in Endenich, Germany Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings Duration: Approximately 28 minutes Composed: 1841-51 First Performance: December 6, 1841 in Leipzig, Germany; revised version first performed March 3, 1853 in Düsseldorf, Germany. Origins: The Fourth Symphony that Schumann worked on late in 1851 was actually a revision of the work he had composed a decade earlier as his Second Symphony. 1841 had been the year of Schumann’s symphonic breakthrough, but he saw fit to revise much of the orchestral music from that year, such as the “Symphonette” that became the Overture, Scherzo and Finale, and the one-movement Fantasy for piano and orchestra that grew into the Piano Concerto. Even in its original form, the D-minor Symphony was a marvel of interconnectedness and unification; in the 1851 revision, Schumann went even further by linking the movements together without pauses and reorganizing some of the motives. The 1851 edition has become the standard choice for performance, but the original version has had its champions over the years, including Brahms, who insisted on publishing it in 1891. Notes to Notice: I. Ziemlich langsam (Rather Slow) – Lebhaft (Lively). The symphony begins


NOTES ON THE PROGRAM By Aaron Grad with an introduction of long-held tones and slow-spinning melodies that build tension like a coil preparing to spring. A gradual quickening and a taste of the music to come lead smoothly to the fast body of the movement and its kinetic theme in D minor. II. Romanze: Ziemlich langsam (Rather Slow). The slow Romance extends the continuity, emerging out of the first-movement’s final cadence and subtly migrating to a new home key. The sustained tones and stepwise melody that enter after the initial thematic statement reveal this movement’s kinship to the opening introduction. III. Scherzo: Lebhaft (Lively). When the slow movement closes softly on a dangling chord, it prepares the leap up to start the Scherzo. That ascending jump continues as a central motive in this rollicking movement, answered by distinctive downward leaps on off-beats. IV. Langsam (Slow) – Lebhaft (Lively). An abbreviated introduction provides a ramp to the finale, which commences its festive music with three chords, a gesture familiar from the first movement. After so much taut and interwoven music, this movement adds a dose of reckless exuberance, with thundering brass, crescendos resembling Hollywood sound effects, and an accelerated ending. © 2017 Aaron Grad.

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THE GLORY OF BAROQUE MONDAY, MARCH 12, 2018 7:30 P.M. CHURCH OF BETHESDA-BY-THE-SEA Ramón Tebar, conductor Delray Beach Chorale with Florida Atlantic University, guest artists Handel

Dixit Dominus

(1685 – 1759)

I. Dixit Dominus Domino meo II. Virgam virtutis III. Tecum principium IV. Iuravit Dominus V. Tu es sacerdos VI. Dominus a dextris tuis VII. Iudicabit in nationibus VIII. De torrente in via bibet IX. Gloria Patri


Gloria in D Major

(1678 – 1741)

I. Gloria in excelsis Deo II. Et in terra pax III. Laudamus te IV. Gratias agimus tibi - Propter magnam gloriam V. Domine Deus VI. Domine, Fili unigenite VII. Domine Deus, Agnus Dei VIII. Qui tollis peccata mundi IX. Qui sedes ad dexteram Patris X. Quoniam tu solus sanctus XI. Cum Sancto Spiritu

THE GLORY OF BAROQUE is dedicated to the memory of Mr. Addison Hines. This evening was generously underwritten by the Addison Hines Charitable Trust (THE GLORY OF BAROQUE concert co-sponsor) and Mr. John Herrick (après dinner at The Colony). Hotel stays for musicians kindly provided by Hilton West Palm Beach. Staging, lighting, and sound by FROST.


GUEST ARTISTS DELRAY BEACH CHORALE The Delray Beach Chorale is a long-established choral performance group dedicated to sharing the experience of beautiful music with the Palm Beach County community. They are composed of qualified and dedicated volunteer singers including professional, semi-professional, and amateur musicians. DBC’s 60-plus members come from diverse backgrounds and range in age from 20 to 80. They rehearse with professional leadership and perform two major programs a year, in winter and spring. Sopranos  Mandy Albert  Rachel Begleiter  Alli Brachmann  Megan Crowder (YA)  Kaylene Dahl (YA)  Melody DeSanto  Jody Dillon  Rebbekah Faustin  Kimberly Graham  Heather Harmon  Nancy Lewison  Jessika Roy (YA)  Vicky Scherer  Linda Sturdy  Josselin Villatoro  Altos  Rana Agaoglu  Michelle Aronson  Dee Black  Andrea Chen  Zdenka Demus 



Donna Drucker Jillyn Feldman  Kayla Fuce (YA)  Monica Hidalgo (YA)  Kit Johnson  Ilene Levin  Louise Marine  Brittany Miller  Patricia Moore  Lily Norton  Deborah Sherman  Brenda Smith  Terri Voss  Tenors  Keith Boelter  Jeremiah Cummings (YA)  Michael Lakhovsky  Michael Miranda (YA)  Chris Ramsey (YA)  Paul Tasca 



Basses Jonathan Balcombe  Chris Cimorelli  Olukayode’ Dare’  Donald Dickerson  Dylan Evans  Samuel Flores (YA)  Christopher Jarvis  Calvin Maki  Stan Newman  Barry Ogrin  Armando Robles  Boris Sherwin  Glenn Tomlinson  Apprentice (APP)  Young Artists (YA) 

NOTES ON THE PROGRAM By Aaron Grad THE GLORY OF BAROQUE Neither Handel nor Vivaldi specialized in liturgical music, and yet they each managed to express their unmistakable personalities through sacred vocal compositions. When the young Handel went to Italy to master the art of opera, he channeled those dramatic skills into his Latin psalm setting, Dixit Dominus. Just as in Handel’s later operas and oratorios, the music extracts every last bit of drama from the text, enhancing its meaning word by word. For Vivaldi, preparing a portion of the Latin mass for soloists and chorus did not neutralize his instrumental dexterity; the choruses and arias of his Gloria are as rich in orchestral detail as his signature concertos.

Dixit Dominus, HWV 232 GEORGE FRIDERIC HANDEL Born February 23, 1685 in Halle, Germany Died April 14, 1759 in London, England Instrumentation: five vocal soloists (two sopranos, alto, tenor and bass), five-part chorus, strings and basso continuo. Duration: Approximately 31 minutes Composed: 1707 First Performance: Unknown Origins: The German-born Handel found his greatest fame in England, but he got there by first mastering Italian opera. After working for the opera orchestra in Hamburg, Germany, he left for Italy to learn firsthand from the trendsetting composers in Rome, Florence and other musical hotspots. Handel also cultivated important patrons in Italy, including several cardinals. With opera performances banned in Rome, Handel channeled his growing vocal expertise into large-scale sacred music, including his 1707 setting of Psalm 110, Dixit Dominus. Notes to Notice: I. Dixit Dominus Domino meo. The brilliant violin figurations demonstrate Handel’s debt to Vivaldi and other Italian masters of instrumental forms. Some of the same leaping gestures are transferred to the highly virtuosic vocal writing. II. Virgam virtutis. This alto aria, supported by obbligato cello phrases, is surprisingly tender for a portion of the psalm that deals with sending “the rod of thy power” in the midst of enemies.


NOTES ON THE PROGRAM By Aaron Grad III. Tecum principium. Here the violins serve as melodic foils to a soprano soloist, their long chains of triplets intertwining to emphasize the repeated offerings of “holy worship.” IV. Iuravit Dominus. After a severe opening in a Grave tempo, the fast continuation of this chorus punctuates the word “non,” to drive home the message that the Lord will not repent. V. Tu es sacerdos. This learned, priestly chorus highlights Handel’s contrapuntal dexterity. VI. Dominus a dextris tuis. The key word here is “confregit,” meaning destroy or break. It is especially impactful when a bass soloist elongates the word in naked unison with the basso continuo. VII. Iudicabit in nationibus. The progress of this active chorus breaks down at the word “ruinas” (destruction), until the skull-shattering conclusion resumes in a pounding new tempo. VIII. De torrente in via bibet. This fluid soprano duet floats over austere, pulsing harmonies from the strings. Gentle interjections from the male voices enhance the ancient, monastic atmosphere. IX. Gloria Patri. Long before Messiah and his other signature oratorios in English, Handel exhibited his distinctive flair with a closing “Amen.”

Gloria in D Major, RV 589 ANTONIO VIVALDI Born March 4, 1678 in Venice, Italy Died July 28, 1741 in Vienna, Austria Instrumentation: three vocal soloists (two sopranos and alto), four-part chorus, oboe, trumpet, strings and basso continuo Duration: Approximately 30 minutes Composed: Circa 1715 First performance: Unknown Origins: Antonio Vivaldi took after his father in playing the violin, but “The Red Priest,” as the ginger-haired composer came to be called, trained for a life in the church instead of studying music. Ordained in 1703, Vivaldi took a job at the Ospedale della Pietà, a school for orphaned girls in Venice. As their violin teacher, Vivaldi used the talented instrumentalists under his care to try out and refine many of his hundreds of concertos. He also wrote sacred music for the girls to sing, especially after a colleague responsible for such compositions fell ill in 1713. Vivaldi probably composed this Gloria (a portion of the Latin Mass) in 1715, borrowing some of his material from another Gloria composed eight years earlier by his Venetian colleague Giovanni Maria Ruggieri. 58




Notes to Notice: I. Gloria in excelsis Deo. The instrumental writing, including prominent parts for oboe and trumpet, reflects Vivaldi’s well-developed concerto style. The choral writing draws out long lines of harmony, while the instrumental ensemble continues to carry the most distinctive melodic phrases. II. Et in terra pax. Again the choral phrases unfold in patient harmonies, evoking church music from earlier centuries, while violins fill in the finegrained details. III. Laudamus te. This soprano duet adds luxurious decoration to the vocal lines, resembling the operatic craft that also occupied Vivaldi in those years. IV. Gratias agimus tibi - Propter magnam gloriam. A richly harmonized introduction prepares an ornate choral fugue. V. Domine Deus. Obbligato oboe adds a pastoral feeling to this sweet soprano aria. VI. Domine, Fili unigenite. The brisk dotted rhythms (i.e. long-short) give this chorus its distinctive forward motion, each beat propelled into the next. VII. Domine Deus, Agnus Dei. Responses from the chorus and strings enrich this delicate alto solo. VIII. Qui tollis peccata mundi. Choral harmonies elaborate the responses first heard in the Domine Deus. IX. Qui sedes ad dexteram Patris. With a recurring ritornello from the strings structuring the florid solo lines from the alto, this aria has a strong resemblance to Vivaldi’s concertos style X. Quoniam tu solus sanctus. The opening music of the Gloria, recognizable from its buoyant octave leaps, makes a bright return. XI. Cum Sancto Spiritu. This inventive double fugue demonstrates Vivaldi’s prowess in a formal style associated more with Bach and Handel. © 2017 Aaron Grad.

IN MEMORIAM Eugene Baxter Webb Baxter will be remembered by those who knew and loved him for his happy, contagious, hospitable personality. He was a member and great supporter of the Palm Beach Symphony for more than 20 years.


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ROMANTIC REFLECTIONS TUESDAY, APRIL 17, 2018 8:00 P.M. THE KRAVIS CENTER Ramón Tebar, conductor Răzvan Suma, cello soloist Elgar

Cello Concerto in E Minor


I. Adagio – Moderato II. Lento – Allegro molto III. Adagio IV. Allegro – Moderato – Allegro ma non troppo


Symphony No. 2 in E Minor


I. Largo – Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

This evening’s pre-concert dinner at The Kravis Center was generously underwritten by The McNulty Charitable Foundation. Hotel stays for musicians kindly provided by Hilton West Palm Beach.




R ĂZVAN SUMA Răzvan Suma is one of the most important cello soloists in Romania. Born in 1977 in Cluj-Napoca (Romania), he picked up the cello at age six, and received first prize in a competition by age seven. He’s won numerous awards since that time, many from important international competitions, including the Markneukirchen Competition (Germany), the G. B. Viotti Competition (Italy), and Chişinau Competition – Republic of Moldavia and Villa de Llanes (Spain).

Suma has performed with more than 30 orchestras throughout Europe, including Basel Symphony Orchestra or Enescu Philharmonic Orchestra playing next to celebrated musicians, such as Maxim Vengerov, Alexander Sitkovetski, Richard Galliano, Borromeo Quartet, Justus Frantz, Josef Lendvay, Misha Katz, Jin Wang, Cristian Mandeal sau Marin Cazacu. Since 2010, Suma has been the cello soloist in residence of the Romanian Radio Orchestras. He has performed concerts and recitals in France, Germany, Switzerland, Spain, Portugal, Austria, Hungary, Argentina, USA, Macao, China and the Republic of Moldovia. He was invited at the MDR Music Festival in Dresden, Germany, Murten Classics Festival in Switzerland or SONORO Festival in Romania. Since 2011, Suma has been touring every year in Romania with Vă place…? (“Do you like…?”/ “Aimez-vous...?”) project. The first edition of the tour – Aimez-vous Bach? - was conceived around J. S. Bach - The Six Suites for Unaccompanied Cello. Suma played 19 concerts with all suites in the same concert. The second tour was a J. Brahms tribute – Aimez-vous Brahms? with the two cello and piano sonatas and included 13 concerts. Suma is a member of the Cellissimo Quartet, together with Marin Cazacu, Alexandra Guţu, and Octavian Lup. They have performed all around Romania and in Macao, China, Italy, Malaysia, Turkey, Portugal and Spain.





NOTES ON THE PROGRAM By Aaron Grad ROMANTIC REFLECTIONS In the face of an uncertain future, Elgar and Rachmaninov each found solace and structure in traditions of the past. The Cello Concerto that Elgar composed in the wake of World War I reacted to that cataclysm with clarity and directness, preserving the traditions mastered by the likes of Beethoven, Schumann and Brahms. Rebounding from personal crisis, Rachmaninov used his Second Symphony to build upon Tchaikovsky’s emotion-rich legacy. In their own unique ways, these two composers from opposite sides of Europe rekindled the glowing embers of the great Romantic age.

Cello Concerto in E Minor, Op. 85 EDWARD ELGAR Born June 2, 1857 near Worcester, England Died February 23, 1934 in Worcester, England Instrumentation: solo cello and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba (optional), timpani, and strings Duration: Approximately 30 minutes Composed: 1919 First Performance: October 27, 1919, in London Origins: Edward Elgar gained international recognition with his intriguing Enigma Variations in 1899, and he helped forge a distinctly British sound in the waning years of the Romantic era. In a final creative burst, Elgar released four major compositions in 1918 and 1919, all constructed in minor keys and traditional forms. The last of these works, the Cello Concerto, has become one of the cornerstones of the repertoire, joining a rare class that also includes concertos by Schumann and Saint-Saëns. Only months after completing the concerto, Elgar’s beloved wife Alice died, and the heartbroken composer produced nothing else significant during the fourteen years he survived her. Notes to Notice: I. Adagio – Moderato. The mood of the Cello Concerto matches the image of Elgar in his autumnal years: nostalgic, dignified, and utterly absent of artifice. The cello drops into a serious theme from the first downbeat, starting with three wide chords. The body of the movement pulses at a moderate pace, and the cello writing prioritizes singing melodies over busy virtuosity.


NOTES ON THE PROGRAM By Aaron Grad II. Lento – Allegro molto. Plucked versions of the same three chords heard earlier provide the link to the second movement. After another free-flowing introduction, the material gathers itself into a light-stepping scherzo full of chattering bow strokes. III. Adagio. In the slow movement, endless melodic lines whisper over a reduced orchestra. The final phrase lands on a questioning harmony, and the orchestra provides the answer in the form of an agitated transition that restores the home key. IV. Allegro – Moderato – Allegro ma non troppo. Another free-form introduction recalls the mood of the opening movement. Even the spirited music in the body of the finale cannot stave off the concerto’s urge for introspection, including a return of the three mysterious chords heard in earlier movements. The lively theme rears up for one last statement, but it is a hollow victory; the ear hears finality, but the heart recognizes a deeper, unsettled silence.

Symphony No. 2 in E Minor, Op. 27 SERGEI RACHMANINOV Born April 1, 1873 in Oneg, Russia Died March 28, 1943 in Beverly Hills, California Instrumentation: 3 flutes (third doubling piccolo), 3 oboes (third doubling English horn), 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, glockenspiel, and strings Duration: Approximately 60 minutes Composed: 1906-07 First Performance: February 8, 1908 in Saint Petersburg, Russia Origins: After the disastrous premiere of his First Symphony in 1897, Rachmaninov barely composed for three years. He finally sought help from a psychiatrist in 1900, and through months of hypnotherapy he regained his confidence. Rachmaninov redeemed himself in 1901 with the highly acclaimed debut of the Second Piano Concerto, but still he hesitated to plunge into another symphony. He finally began his Second Symphony in 1906, after resigning from his conducting duties in Moscow and moving to Dresden, Germany. He completed the score in 1907, and he conducted the premiere himself the following year in Saint Petersburg. The symphony was a triumph, earning Rachmaninov the Glinka Prize and leading to performances around the world. For much of the twentieth century, conductors took





the liberty of trimming down the hour-long symphony, but the renewed appreciation for Rachmaninov in recent decades has restored this score to its full glory. Notes to Notice: I. Largo – Allegro moderato. The very qualities that so rankled the tastemakers of the twentieth century now stand out as Rachmaninov’s strengths. His musical language was one of grandeur, intense emotion and unabashed beauty, all inherited from his Romantic forebears—especially Tchaikovsky. The Second Symphony, much like Tchaikovsky’s Fifth and Sixth Symphonies, makes a slow and quiet entrance, beginning with a bare theme from the cellos and basses and ending with a plaintive solo line for English horn. The Allegro moderato body of the movement maintains unity by developing a violin melody related to the introduction’s opening theme. II. Allegro molto. After such a weighty opening movement, the symphony proceeds directly to the invigorating Scherzo. The main theme quotes the Dies Irae chant from the Requiem mass, a fragment that appears in more than a dozen of Rachmaninov’s works, including the tone poem Isle of the Dead (1909) and the Rhapsody on a Theme of Paganini (1934). III. Adagio. The tuneful slow movement later became the basis of a quotation itself, providing the melody for Eric Carmen’s 1976 hit “Never Gonna Fall in Love Again.” IV. Allegro vivace. Following the model of Tchaikovsky’s Fourth and Fifth Symphonies (and before those, Beethoven’s Fifth Symphony), Rachmaninov’s finale leaves aside E minor and instead strikes up triumphant music in E major. Echoes of earlier movements seal the work’s interconnectedness, and one of Rachmaninov’s great lyrical, sweeping melodies provides a passionate capstone for this lush and nostalgic symphony. © 2017 Aaron Grad.


THE LADIES GUILD The Ladies Guild of the Palm Beach Symphony was formed to assist the Board of Directors in sharing ideas about the programs and membership of the Symphony. Their role is to be “friend raising.” As ambassadors of the Symphony, Ladies Guild members share their enthusiasm for the organization and work together to invite and encourage membership.

Leslie Blum    


Elizabeth Bowden                   Trudy Brekus                         Nannette Cassidy                   

Amy Collins   

Lurana Figueroa

Carol S. Hays            

JoAnne Jaeger                        Joanna                         R. Jiampietro



Sandra Goldner          


Arlette Gordon           

Ann Johnson*           

Helene Karp                           

Sally Ohrstrom        

Amy McGowan         

Bernadene Rand-Mileti*

Marguerite M. Rosner

Marietta Muiña McNulty                   

Ruby S. Rinker                      

Veronica Tebar*

Dawn Meiners*                    

Karen Rogers                         

Tricia Trimble

Sieglinde Wikstrom                 Heather McNulty Wyser-Pratte * Honorary Member **Margaret Donnelley not pictured.



The Palm Beach Symphony appreciates our businesses and government agencies whose generous partnership allows us to enrich and expand our world-class music, education, and community outreach programs. SPONSORS









Palm Beach Symphony is grateful to those who have made the commitment – through a planned gift or bequest – to help ensure the continuation of our world-class orchestra, music education, and outreach programs to enrich the community for generations to come. Doris Hastings John Herrick Susan Mark Philip Reagan Marguerite Rosner RAY ROBINSON ENDOWMENT

We are grateful to the Palm Beach Symphony’s Ladies Guild for their support in establishing the Ray Robinson Endowment Fund Mr. David Albenda Mr. & Mrs. David C. Bigelow Mrs. Leslie Rogers Blum Mrs. Trudy B. Brekus Mrs. Margaret C. Donnelley Dr. & Mrs. Jose Figueroa Mr. & Mrs. Paul Goldner Mr. & Mrs. Joseph Andrew Hays Mr. & Mrs. Lowell Jaeger

Mrs. Helene Karp Mr. & Mrs. Leonard Klorfine Mr. & Mrs. Dale McNulty Ms. Barbara Rentschler Mrs. Ruth A. Robinson Mrs. Marguerite Rosner Mrs. Robin B. Smith Mr. & Mrs. Donald V. Thompson


INDIVIDUAL SUPPORT Received as of November 13, 2017 The Palm Beach Symphony gratefully recognizes the individuals listed here for their generous financial support of our programs and who make our season possible. DIAMOND BENEFACTOR INDIVIDUAL GIFTS FROM $1,000,000 AND MORE Mrs. Dora Bak* GRAND BENEFACTOR’S CIRCLE GIFTS FROM $100,000 AND MORE Mr. Leonard & Mrs. Norma Klorfine Mr. John and Mrs. Lynn Pohanka THE BENEFACTOR’S CIRCLE GIFTS FROM $50,000 TO $99,999 Mr. James Borynack Mr. & Mrs. Charles B. Johnson Mr. & Mrs. Manley H. Thaler and the Thaler/Howell Foundation GIFTS FROM $20,000 TO $49,999 Addison Hines Charitable Trust Mr. & Mrs. David Bigelow

Mr. & Mrs. Howard Lester and the David Minkin Foundation

Mrs. Leslie Rogers Blum

McNulty Charitable Foundation

BNY Mellon Wealth Management

Mr. Patrick Park

Board of County Commissioners, The Tourist Development Council and the Cultural Council of Palm Beach County

Mrs. Lois Pope

Mr. & Mrs. Paul Goldner Mr. John Herrick

Mr. Leslie Rose Mrs. Marguerite Rosner Mr. David Schafer West Palm Beach Downtown Development Authority

Mr. Gary Lachman





GIFTS FROM $10,000 TO $19,999 Ann Eden Woodward Foundation Mr. & Mrs. Harry Bissell Mr. Jerome Claeys III Mr. & Mrs. Peter Cummings Mrs. Robert Grace Mr. & Mrs. Joseph Andrew Hays Hilton West Palm Beach Mr. & Mrs. Michael McGowan

Mr. & Mrs. Dale McNulty PNC ArtsAlive Mrs. Ari Rifkin Mrs. Ruby Rinker Mrs. Robin Smith Mr. & Mrs. Donald Thompson Mrs. Sieglinde Wikstrom

GIFTS FROM $4,000 TO $9,999 Mrs. Trudy Brekus Mrs. Donna Barnette Mr. Arthur Benjamin The Benjamin School Mr. Jeffrey Blitz Dr. Elizabeth Bowden Mr. & Mrs. Steven R. Burke CityPlace Retail LLC Mr. & Mrs. John Collins Mr. Louis J. Daniello Mr. & Mrs. Willard Demory Dr. & Mrs. Jose Figueroa First Republic Bank Mr. & Mrs. John W. Gildea Mrs. Arlette Gordon Mrs. Ann R. Grimm Gucci Mr. & Mrs. Lars Henriksen Mr. & Mrs. Lowell Jaeger Mrs. Michele Kang

Mrs. Dawn Galvin Meiners Mr. & Mrs. Charles Miller Palm Beach Day Academy Palm Beach Public Orchestral String Foundation Palm Beach State College Foundation Mr. & Mrs. Paul M. Paddock Mr. & Mrs. David Perlmutter Mr. & Mrs. Steven C. Pinard, Sr. Mr. Philip Reagan Mr. & Mrs. Kenneth R. Rogers Royal Poinciana Plaza The Seth Sprague Educational and Charitable Foundation Mrs. Robin B. Smith State of Florida, Department of State, Division of Cultural Affairs Mrs. Karen N. Tell Mr. & Mrs. Thomas Trimble Vineyard Vines Ms. Mary Wagner

GIFTS FROM $2,000 TO $3,999 Mr. & Mrs. Hans D. Baumann Mr. William Blundin Ms. Nannette Cassidy Mr. & Mrs. J. Michael Cook Mrs. William DeBrule Mrs. Margaret C. Donnelley Mr. & Mrs. Kent Fincham Mr. Charles Gradante Mrs. Betty Godfrey

Harvey Capital Management Dr. Peter Heydon International Society of Palm Beach County Mr. & Mrs. Joseph Jiampietro Mrs. Stanley Karp Kaufmann de Suisse Ms. Carol Katz Ms. Phyllis Katz Mrs. James Kay


INDIVIDUAL SUPPORT Received as of November 13, 2017 GIFTS FROM $2,000 TO $3,999 (CONTINUED) Mr. Allan Kennedy Kirkwood Fund of the Community Foundation for Palm Beach and Martin County Mrs. Christa Kramer Ms. Stephanie Lefes Mr. & Mrs. Julian C. Light Mr. & Mrs. Peter Lowenstein Dr. & Mrs. Howard R. Lyboldt Mr. & Mrs. Robert Mackle Mrs. Mary Bryant McCourt Mrs. Bonnie McElveen-Hunter

Mrs. John Moran Mr. & Mrs. Norman Oblon Mr. & Mrs. Kenneth Ohrstrom Dr. Henry J. Petraki Mrs. Sarah Pietrafesa Publix Super Market Charities Ms. Denice D. Quinn Ms. Barbara Rentschler Ms. Rebecca Robinson Ms. Gudrun Sawerthal Ms. Dyanne Connelly Tosi

GIFTS FROM $1,000 TO $1,999 Ms. Julia Amadio Mr. John Pierce Archer Bascom Palmer Eye Institute Mr. Thomas Boland Mrs. William Bowron Mr. & Mrs. Tommy Davis Dr. & Mrs. Robert Jaeder Mrs. Lisa Koeper Dr. Ernst & Mrs. Nataly Langner

Lawrence A. Moens Associates Mrs. Virginia Longo P. J. Callahan Foundation Provident Jewelry R. P. Simmons Family Foundation Ms. Margret B. Rost Rustico Italiano TD Wealth Mrs. Baxter Webb

GIFTS UP TO $999 Ms. Carol Anderson Mr. & Mrs. Todd Barron City Cellar West Palm Ms. Maureen Conte Dr. Alexandra Cook Ms. Angela Cortesio Mr. Todd W. Dahlstrom Ms. Gabrielle Darcey Mr. Jason Lowe The Lunder Foundation Ms. Zoe Malluzzo Ms. Marjorie Marks Mr. & Mrs. Michael Meltzer Ms. Xiomi Murray Ms. Ximena Pacheco-Veliz Palm Beach Tax Group




Paradiso Restaurant Mr. Lee & Mrs. Jill Pollock Mr. & Mrs. Bruce W. Polozker Ms. Farley M. Rentschler Mrs. Karen P. Restaino Mr. Burton E. Rocks Mr. Brian Saipe Ms. Michele Schimmel Ms. Patricia Sheffield Mr. & Mrs. Steve Sherman Ms. Cherish Thompson Mr. & Mrs. Jerome Trautschold Mr. Krystian von Speidel Mrs. Kate Waldman Ms. Alexandria Watkins Ms. Tara Woodend pbsymphony



Bascom Palmer Eye Institute salutes the Palm Beach Symphony on another thrilling season. For the fourteenth year in a row, ophthalmologists from around the country ranked Bascom Palmer Eye Institute as the best eye hospital in the United States in U.S. News & World Report’s survey on America’s Best Hospitals. This honor is a great testimony to our experience and technology, and should be a comfort to you knowing that the best eye doctors in the world are right here at home.



7101 Fairway Dr., Palm Beach Gardens 561-515-1500 Miami • Naples • Plantation 305-326-6000



Direct Ocean...

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And Everything In Between.

Live Palm Beach TM – Lawrence Moens


245 Sunrise Avenue, Palm Beach, Florida 33480 Tel: (561) 655-5510 • Fax: (561) 655-6744






2017/18 Masterworks Series Program Book  

For the Palm Beach Symphony's 44th season, Maestro Ramón Tebar has designed another magnificent masterworks series that takes audiences on a...

2017/18 Masterworks Series Program Book  

For the Palm Beach Symphony's 44th season, Maestro Ramón Tebar has designed another magnificent masterworks series that takes audiences on a...