Palm Beach Symphony - 2019/20 Masterworks Program Book

2019

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2020

Masterworks Series Introducing Our New Music Director

Gerard Schwarz

Season 46

Dare to Dream December 8

January 13

February 7

March 19

April 19

Canopy of Stars

Breaking Ground

Heavenly Mischief

Earth Tones

Climbing Tomorrow

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Gilles Gorriti (1939-2019) | La partition

F I N D L AY G A L L E R I E S is honored to continue su p p or t i n g

165 Worth Avenue, PAlm BeAch, FloridA 33480 • (561) 655 2090 724 FiFth Avenue, 7th Floor, neW York, neW York 10019 • (212) 421 5390 W W W . F i n d l AY g A l l e r i e s . c o m

© Wal ly Fi n d l ay G al l e r i e s I n t e r n at i o n al , I n c . Ja nua ry 2020

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Table of Contents

December 8

Canopy of Stars

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All Beethoven!

The Kravis Center January 13

Breaking Ground

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Heavenly Mischief

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Copland | Mendelssohn Thomas | Mozart The Society of the Four Arts February 7

Mozart | Arriaga | Haydn Benjamin Hall March 19

Earth Tones

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Diamond | Creston | Mendelssohn Rosarian Academy April 19

Climbing Tomorrow

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Lee | Gershwin | Tchaikovsky The Kravis Center

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President’s Welcome

Message From the Music Director 9 Symphony Mission

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Chief Executive Officer’s Letter

Acknowledgments

Photo Credits:

IndieHouse Films: All performance photos Capehart Photography: 13, 31 Gregory Reed: 29 Matt Dine: 62 Priska Ketterer: 68 VanHouten Photography: 9, 27

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400 Hibiscus Street, Suite 100, West Palm Beach, FL 33401 Phone: 561.655.2657

Box Office: 561.281.0145

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2019–2020 Calendar of Events Thursday, Dec. 5

Symphony Sessions 1 Hosted by Gerard Schwarz Table 26 12:00 pm

Tuesday, Dec. 17

Wednesday, Jan. 22

Holly Jolly Symphony Fête

I Am Not A Rock Star

The Beach Club 11:00 am

Chamber Music Concert 1

Wednesday, Jan. 8

Marika Bournaki, Piano

Hosted by Phillip J. Bergmann

Screening of documentary film “I Am Not a Rock Star” at 5:30 pm

Table 26 12:00 pm

The Norton Museum of Art 7:00 pm

Symphony Sessions 2

Sunday, Jan 26

Sunday, Dec. 8

A Polo Afternoon

Pre-Concert Luncheon

MEMBERS-ONLY SOCIAL EVENT

MEMBERS-ONLY SOCIAL EVENT

Young Friends of Palm Beach Symphony

The Kravis Center 1:00 pm

International Polo Club 2:00pm

Sunday, Dec. 8

Tuesday, Jan. 28

Concert & Cocktails MEMBERS-ONLY SOCIAL EVENT

Young Friends of Palm Beach Symphony The Kravis Center 1:30 pm Sunday, Dec. 8

Canopy of Stars Masterworks Concert 1 All Beethoven!

Horacio Gutiérrez, piano Sandra Lopez, soprano Robynne Redmon, mezzo-soprano Stuart Neill, tenor Clayton Brainerd, bass-baritone Palm Beach Atlantic University Oratorio Chorus Choral Society of the Palm Beaches Masterworks Chorus of the Palm Beaches The Kravis Center 3:00 pm

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Poulenc | Mozart

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Playing Still: Monday, Jan. 13

Breaking Ground

The Dean of Afro-American Composers Children’s Concert Series

Masterworks Concert 2

Eissey Campus Theatre 10:30 am

Copland | Mendelssohn Thomas | Mozart

Lake Worth High School 1:30 pm

Chee-Yun, violin The Society of the Four Arts 7:30 pm Monday, Jan. 13

Après Dinner MEMBERS-ONLY SOCIAL EVENT

Café Boulud 9:30 pm Tuesday, Jan. 21

Annual Gala-Night Party Kickoff

BY INVITATION ONLY

Young Friends of the Palm Beach Symphony Leslie Hindman Auctioneers Palm Beach 6:00 pm

Wednesday, Feb. 5

Symphony Sessions 3 Hosted by José-Luis Novo Table 26 12:00 pm

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Sunday, March 15

Thursday, April 2

Sunset Dinner Cruise

MEMBERS-ONLY SOCIAL EVENT

Inaugural Golden Baton Society Dinner

Admirals Cove 5:30 pm

1000 North 7:00 pm

North Palm Beach Marina 6:45 pm

Friday, Feb. 7

Wednesday, March 18

Thursday, April 16

Heavenly Mischief

Symphony Sessions 4

Symphony Sessions 5

Hosted by Gerard Schwarz

Hosted by Thomas L. McKinley

Table 26 12:00pm

Table 26 12:00 pm

Thursday, March 19

Sunday, April 19

Earth Tones

Pre-Concert Dinner

Benjamin Hall 8:00 pm Monday, Feb. 17

Diamond |Creston

Friday, Feb. 7

Pre-Concert Dinner

Masterworks Concert 3 Mozart | Arriaga | Haydn José-Luis Novo, Conductor Nadine Asin, flute Kay Kemper, harp

The Magic of Music 18th Annual Black-Tie Gala The Breakers Palm Beach 7:00 pm Monday, Feb. 17

Fantasia Young Friends of Palm Beach Symphony Annual Gala-Night Party

Rosarian Academy 7:30 pm Thursday March 19

Après Dinner

BY INVITATION ONLY

The Colony Hotel 9:30 pm

Wednesday, Feb. 19

BY INVITATION ONLY

Stravinsky Performed to the 1984 animated film by Robert O. Blechman: The Soldier’s Tale The Norton Museum of Art 7:00 pm Wednesday, March 4

Seaside Social MEMBERS-ONLY SOCIAL EVENT

The Kravis Center 5:30 pm

Mendelssohn Hanzhi Wang, accordion

Wednesday, March 25

Chamber Music Concert 2

MEMBERS-ONLY SOCIAL EVENT

Masterworks Concert 4

The Breakers Palm Beach 7:30 pm

The Soldier’s Tale

MEMBERS-ONLY SOCIAL EVENT

Chamber Soirèe

Sunday, April 19

Climbing Tomorrow

Young Friends of Palm Beach Symphony

Masterworks Concert 5

Norton Museum of Art 7:00 pm

Lee | Gershwin |Tchaikovsky David Zinman, Conductor Misha Dichter, piano

Wednesday, March 25

The Future Is Here Chamber Music Concert 3

The Kravis Center 7:30 pm

Beethoven | Danielpour Mendelssohn Norton Museum of Art 7:00 pm

Young Friends of Palm Beach Symphony Private West Palm Beach Estate 6:00 pm

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Board of Directors

Leslie Rose

Dale McNulty

James Borynack

Chairman

President

Vice President

John D. Herrick

Phil M. Reagan

Paul Goldner

Treasurer

Secretary

Director

Y. Michele Kang

Gary Lachman

Manley Thaler

Director

Director

Director

Don Thompson Director

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President’s Welcome This is the beginning of a new year at the Symphony. I would highlight that by our new Music Director Maestro Gerard Schwarz, who is bringing new experience and new energy to our major concerts, and whose influence has brought new horizons to all our educational programs, the caliber of our soloists and the enthusiasm of our staff and volunteers...We have been on the brink of excitement for our new beginnings.

Even a few short years ago we would have never “dared to dream” that this growth was possible. We are now recognized as an official arts provider for the School District of Palm Beach County. Our dedicated staff has been actively envisioning how to creatively engage, educate, and entertain our community through our talented musicians and initiatives. This season is forecasted to be one of the most impactful and exciting seasons in my many years as a supporter of this great organization.

On behalf of the board of directors, I’d like to thank our loyal members and subscribers, our dedicated staff, and every member of the audience for making music with us.

Dale McNulty President

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Message from the Music Director Welcome to the 46th season of the Palm Beach Symphony.

I am so happy and honored to be entering my first season as Music Director. We have already been very active working in the local Palm Beach County schools with our extensive educational programs and children’s concerts in collaboration with Demetrius Klein Dance Company and the South Florida Science Center and Aquarium. Last season, the Symphony’s educational programming served more than 17,500 students in these programs that are so important to our community and to our mission.

We continue to program the great masterpieces of the orchestral repertoire including Beethoven’s 9th, Mendelssohn’s 4th, Tchaikovsky’s 4th, Mozart’s 35th and 41st and Haydn’s 45th. We are very lucky to have two outstanding pianists joining us, Horacio Gutiérrez and Misha Dichter, both winners at the Tchaikovsky competition in Moscow. Violinist Chee-Yun plays the Mendelssohn Concerto with the orchestra and two of our musicians, Nadine Asin and Kay Kemper, will appear as soloists in Mozart’s concerto to flute and harp. I’m very excited about presenting Hanzhi Wong, accordionist, as I was on the jury when she won the Young Concert Artists competition last year. I would never have believed that an accordion could sound like that and to hear such an expressive artist playing it! We will be playing a wonderful work that I feel sure you will enjoy: the accordion concerto by Paul Creston, who was also my composition teacher. Other American music that we are featuring is by Gershwin, Copland, Diamond, Augusta Read Thomas and HyeKung Lee. The chamber music series at the Norton Museum is very interesting indeed.

Stravinsky’s History of the Soldier will be performed with the Emmy® award- winning film

by Robert O. Blechman. The great pianist Marika Bournaki is the subject of another film, I Am Not A Rock Star, which will be shown as she joins our superb wind players in music of Mozart and Poulenc. The series finale features composer Richard Danielpour hosting a program of his 6th quartet with the Palm Beach Symphony string quartet.

We also have two of my dear friends as outstanding guest conductors, David Zinman and José-Luis Novo.

What an exciting season for me and I hope for our wonderful audience as well.

See you there!

Gerard Schwarz @pb sy m p h o ny

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Music Director Gerard Schwarz In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades. Over the years, he has received six Emmy Awards, 14 GRAMMY nominations, eight ASCAP Awards and numerous Stereo Review and Ovation Awards.

Internationally recognized for his moving performances, innovative programming and extensive catalogue of recordings, American conductor Gerard Schwarz serves as Music Director of the All-Star Orchestra, Eastern Music Festival, Palm Beach Symphony and Mozart Orchestra of New York, and is Conductor Laureate of the Seattle Symphony and Conductor Emeritus of the Mostly Mozart Festival. He is Distinguished Professor of Music; Conducting and Orchestral Studies of the Frost School of Music at the University of Miami.

His considerable discography of over 350 albums showcases his collaborations with some of the world’s greatest orchestras including The Philadelphia Orchestra, London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony, among others.

Schwarz began his professional career as co-principal trumpet of the New York Philharmonic and has held Music Director positions with the Mostly Mozart Festival, Royal Liverpool Philharmonic, Los Angeles Chamber Orchestra and New York Chamber Symphony. As a guest conductor, he has worked with many of the world’s finest orchestras and has led the San Francisco, Washington National and Seattle Opera companies on many occasions. He is also a gifted composer and arranger with an extensive catalogue of works that have been premiered by ensembles across the United States, Europe and Korea.

Schwarz is a renowned interpreter of 19th century German, Austrian and Russian repertoire in addition to his noted work with contemporary American composers. He completed his final season as music director of the Seattle Symphony in 2011 after an acclaimed 26 years - a period of dramatic artistic growth for the ensemble.

In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades including Emmy Awards, GRAMMY nominations, ASCAP Awards and the Ditson Conductor’s Award. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle named the street alongside the Benaroya Hall “Gerard Schwarz Place” in his honor. His book, Behind the Baton, was released by Amadeus Press in March 2017.

Music Director position underwritten by the Leonard and Norma Klorfine Foundation

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History & Mission Palm Beach Symphony is South Florida’s premier orchestra known for its diverse repertoire and commitment to community. Founded in 1974, this 501(c)(3) nonprofit arts organization adheres to a mission of engaging, educating, and entertaining the greater community of the Palm Beaches through live performances of inspiring orchestral music and is celebrated for delivering spirited masterworks and chamber music concerts by first-rate musicians and distinguished guest artists.

In our earliest days, 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 Palm Beach Symphony 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 musicians served in leadership roles, including Karl Karapetian, John Iuele, Kenneth Schermerhorn, Stewart Kershaw, David Gray, Ulf Bjorlin, and John Covelli.

Upon Mrs. Stone’s death 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.

From our humble beginning, Palm Beach Symphony has grown to become a cultural pillar in the Palm Beach community. Now a key cultural force in the area, we attract members who enjoy pairing quality concerts with fine dining experiences and social events, and who value and support the Symphony’s music education and community outreach programs.

In 2018, as the Symphony entered its 45th season, we moved our operations across the bridge from Palm Beach (where we’d operated since 1974) to West Palm Beach, allowing us space to realize our full potential by expanding our mission and reaching even more corners of the community with orchestral music. By integrating with the rich fabric of the Downtown West Palm Beach business district, we’re able to align with countless economic development and tourism assets to enrich the lives of families, businesses, residents, students, and tourists.

Through important collaborations with our valued community partners – the School District of Palm Beach County, the Related Group, the Cultural Council, the Downtown Development Authority, and the West Palm Beach Arts and Entertainment District, to name just a few – we’re continuing to grow our mission and expand our reach in Palm Beach County, bringing classical music to people of all ages, backgrounds, and life experiences.

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Chief Executive Officer’s Letter Thank you for making music with us in our “Dare to Dream” season 46!

Palm Beach Symphony is evolving, moving forward, and becoming the premier orchestra in South Florida, as you’ve come to expect from an organization like ours. We’re grateful to you, our generous supporters, sponsors, world-class musicians, staff, volunteers, and all who enjoy our inspiring music for making our growth possible. Last season, we reflected on our expansion and highlighted our history and beginnings for you, but now, I invite you to join us in dreaming bigger on all the future possibilities for Palm Beach Symphony.

With continued financial stability, the opportunities are endless, and in this Dare to Dream season, you’ll get a glimpse of our vast potential. You’ll notice our programming re-envisioned thanks to our new Music Director Gerard Schwarz, who has great skills in building worldclass orchestras and crafting brilliant/innovative programs. You’ll experience new music extras, Symphony Sessions and Meet the Artist events, created to bring you closer to Symphony musicians and give you an opportunity to review the great stories in classical music. You may notice many new faces in the audiences, which is due entirely to you; our subscriptions for the season have doubled from the previous year. You may have also had the great opportunity to experience our new program for the Children’s Concert Series, One Small Step - a spectacular free interactive concert for thousands of Palm Beach County students.

And this is only the beginning. In order to continue raising the bar, we must continue to outperform what we’ve done and discover new ways to engage, educate, and entertain you as well as future audiences. This is why I encourage you to not only dream with us this season, but to join us and share your ideas with us. You can always find our staff or board members at any of our five masterworks concerts as well as our chamber music concerts, members-only social outings, Young Friends events, our lively Holly Jolly Symphony Fête luncheon, and our lavish annual gala.

We appreciate you for sharing your dreams on how to make Palm Beach Symphony the premier orchestra in Florida. It’s thanks to you, our members, donors, sponsors, and community partners for helping us get to where we are today.

Let’s “Dare to Dream” this season while enjoying all the unforgettable experiences that inspiring music can provide!

David McClymont @pb sy m p h o ny

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Planned Giving: Leave A Musical Legacy 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 by: • Keeping classical music thriving by supporting our world-class musicians and critically acclaimed conductor.

• Allowing thousands of local students to be instructed and inspired by our concerts and education programs.

• Building 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 the dedication and generosity of music patrons who choose to include Palm Beach Symphony in their bequests or other longrange charitable giving plans. The Society offers a wonderful way to help sustain the Symphony’s mission for generations to come.

Dora Bak Society members are acknowledged in a variety of ways, including presence on all printed donor lists and other naming opportunities that will carry the donor’s name into perpetuity.

Contact Us When you’re ready to learn more about bequest opportunities that benefit Palm Beach Symphony, please contact David McClymont at 561-655-2657, or join us on Tuesday, March 10, 2020 for a Planned Giving Lunch & Learn.

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Palm Beach Symphony / PNC Wealth Management Series

Save the Date

Planned Giving: Lunch & Learn Tuesday, March 10, 2020 12:00 PM THE BEACH CLUB PALM BEACH

755 North County Road Palm Beach, FL 33480 EVENT INFORMATION

Hulya Selcuk 561.568.0265 hselcuk@palmbeachsymphony.org

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Orchestra & Staff

Cello Claudio Jaffé* Aziz Sapaev Brent Charran Germán Marcano Shea Kole

frenCh Horn Amber Dean**

violins Evija Ozolins, Concertmaster Marina Lenau ^ Monica Cheveresan Svetlana Salminen Alfredo Oliva Huifang Chen Avi Nagin Gregory Cardi Anne Chicheportiche

bass Juan Carlos Peña* Brian Myhr Jeff Adkins William Bryant

Erin Paul Szilard Molnar Rhonda Kremer Deb Fialek

Valentin Mansurov+ Abby Young Michelle Skinner Charles Hardt Ruby Berland Jaime Mansilla Orlando Forte Morena Kalziqi Nora Lastre Claudia Cagnassone

oboe Robert Weiner* Sara Luciani Elizabeth England, English Horn

OrChestra

(Dec, Jan, Mar Principal)

Aleks Ozolins** (Feb Principal)

Ryan Little** (Apr Principal)

viola Chauncey Patterson* Scott O’Donnell Yael Hyken Felicia Besan Roberto Henriques Caroline Buse

flute Nadine Asin* Joseph Monticello Lily Josefsberg, Piccolo

Clarinet Anna Brumbaugh* Julian Santacoloma Zach Manzi, Bass Clarinet bassoon Luciano Magnanini* Gabriel Beavers Christina Bonatakis * Principal ** Co-Principals ^ Assistant Principal + Principal Second

Principal Chairs Sponsored by: Karen & Kenneth Rogers, horn The Lachman Family Foundation, viola Leslie Rogers Blum, cello

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truMPet Marc Reese* Kevin Karabell Federico Montes troMbone Domingo Pagliuca* Salvador Sáez ** Juan Zuniga Jason Donnelly, Bass Trombone José León, Bass Trombone tuba Kevin Ildefonso* tiMPani Lucas Sanchez* PerCussion Evan Saddler* Guillermo Ospina Karlyn Viña Benjy Krauss harP Kay Kemper*

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Staff

David McClymont Chief Executive Officer Jason Barroncini Stage Manager May Bell Lin Membership Director Brandon Norris Marketing Coordinator Felix Rivera Patron Advancement Coordinator

Hulya Selcuk Development & Special Events Coordinator Lexi Thompson Education & Community Engagement Coordinator Olga M. Vazquez Director of Education & Orchestra Operations Alfredo Oliva Orchestra Contractor Miami Symphonic Entertainment, Inc.

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Principal Musicians Alfredo Oliva is Palm Beach Symphony’s orchestra contractor. A New York City native, he grew up in Hialeah and his first performances at age 17 included working with Frank Sinatra, Sammy Davis Jr., Bing Crosby, Ray Charles, Barry White, Smoky Robinson and Burt Bacharach. The Concertmaster of many Broadway shows, he has played in nearly every major classical ensemble in South Florida. Oliva has collaborated with hundreds of award-winning recording artists including 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 and Ricky Martin (Ricky Martin MTV Unplugged). Since 2007, Oliva’s orchestras have been performing 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 and recently performed the incredible movie experience 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 the acclaimed Bergonzi String Quartet. Born in Riga, Latvia, she is a third generation musician in a family of professional musicians and began playing the piano at the age of four and violin one year later. After participating in numerous competitions, solo recitals and chamber music performances throughout Latvia and Europe in her teens, she was accepted at the Mannes College of Music in New York City where she studied with renowned violinists Aaron Rosand and David Nadien and played under conductors Kurt Masur, James Levine, Leonard Slatkin and Yehudi Menuhin. She has given solo recitals in many U.S. cities including Carnegie’s Weill Recital Hall in Manhattan, as well as in Canada, the Caribbean and Europe. Ozolins has premiered multiple contemporary chamber music and solo violin works such as Imants Mezaraups Short Suite for violin solo and electronic sound. She has served as concertmaster for Camerata NY, Jupiter Symphony and the Carnegie Hall concert series of the New England Symphonic Ensemble. She has also served as Principal 2nd violin with the Binghamton Philharmonic and, for several years, was a member of the Jupiter Symphony under conductor Jens Nygaard. Having recorded as a soloist with Maureen McGovern, Lee Leesack and Brian Lane Green, her name also appears on movie soundtracks and commercial recordings including releases with Barry Gibb, 18

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Natalie Cole and Gloria Estefan. She performs in numerous Broadway shows including Motown, Little Mermaid, Camelot, Lion King, My Fair Lady, Color Purple and Phantom of the Opera on Broadway. Recently, she performed the Mendelssohn’s D minor Violin Concerto and the Beethoven Two Romances for violin and orchestra in New York City. Ozolins plays on a 1782 Antonio Gragnani violin.

Valentin Mansurov is Palm Beach Symphony’s principal second violinist. 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.

In addition to his Palm Beach Symphony performances, both orchestral and chamber, he performs locally as a member of Florida Grand Opera Orchestra. 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 violist for Palm Beach Symphony and Florida Grand Opera, violist for Bergonzi String Quartet at University of Miami, Assistant Principal Violist of The Eastern Music Festival summer program and Associate Professor of Chamber Music at Lynn Conservatory of Music. He has been principal violist of the Denver and Buffalo Symphonies, interim violist of the Fine Arts Quartet and, for 15 years, violist of the renowned and extensively recorded Miami String 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, FIU 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 cellist for 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. A prizewinner in numerous national and international competitions, he has performed in prestigious concert halls around the world. 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 has been @pb sy m p h o ny

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resident conductor of the Florida Youth Orchestra for over 18 years. Jaffé performs regularly at the Sunflower and Buzzards Bay Music Festivals and is currently teaching at Palm Beach Atlantic University.

Juan Carlos Peña plays 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, he studied at the Victoriano Lopez School of Music.

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 and maintains a busy career since leaving her full-time position with the Metropolitan Opera Orchestra after a 20-year tenure. She performs as principal flutist of the Florida Grand Opera Orchestra and with the new All-Star Orchestra (a recent PBS series). Asin has performed with the New York Philharmonic, Great Performers Series of Lincoln Center, Chamber Music Society of Lincoln Center, Da Camera Society of Houston, NPR’s Performance Today, Seattle Chamber Music Society, the Norton Museum and the Musimelange series. She commissioned, performed and recorded the world premiere of Augusta Read Thomas’s flute concerto, Enchanted Orbits, and David Schiff’s After Hours for flute and piano, and recorded Aaron Avshalomov’s Flute Concerto on the Naxos label. She serves on the faculty of the Bard College Conservatory of Music and as adjunct faculty at The Juilliard School.

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 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 oboist of the Cleveland Orchestra.

Weiner has performed with American Symphony Orchestra, New York City Ballet and 20

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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.

She’s collaborated with the Eastman Wind Ensemble to record the Stravinsky Octet. Having 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 undergraduate degree and the coveted Performer’s Certificate from the Eastman School of Music and she is currently pursuing her Professional Performance Certificate at Lynn University. Her teachers have included soloist Jon Manasse and Bil Jackson, former principal clarinet of the Colorado Symphony.

Luciano Magnanini is Palm Beach Symphony’s principal bassoonist and has been principal bassoonist with the Florida Philharmonic Orchestra and Miami Chamber Symphony. He studied at the Conservatory Nicolo Paganini in Genoa and continued his music training in Milan. Internationally, he has been principal bassoonist 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 has played with conductors 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.

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 @pb sy m p h o ny

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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 reeseleonardduo.com.

doMingo PagliuCa is principal trombonist for the Palm Beach Symphony and the Florida Grand Opera Orchestra. A native of Venezuela, he received undergraduate and master’s degrees from the University of Miami. After returning to Venezuela, he performed as co-principal trombonist for the Venezuela Symphony Orchestra for 13 years. In 2013, he returned to the U.S. and began working for Boston Brass, performing with them on tour and giving master classes throughout the U.S., Canada, Central and South America, Europe and Asia. Pagliuca is a performing artist and clinician for Yamaha, USA. 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. Appearing on more than 100 albums, he recently released his solo CD. Visit domingopagliuca.com

Kevin ildefonso is principal tuba for Palm Beach Symphony and Florida Grand Opera. He has also performed with Orchid City Brass Band. Raised in Miami, he began his musical studies as a guitar player at age 11 and picked up the tuba at age 13. After receiving his bachelor of music degree from University of Miami, he moved to Boston to pursue his master of music degree at the New England Conservatory of Music. While there, he worked with several members of the Boston Symphony Orchestra and studied tuba primarily with Mike Roylance, principal tubist of the BSO. Other primary tuba teachers have included Sam Pilafian, John Olah, and Calvin Jenkins. He has performed throughout South Florida and has held teaching positions at New World School of the Arts (tuba and euphonium instructor) and Keys Gate Charter School (band director).

luCas sanChez is Palm Beach Symphony’s principal timpanist and enjoys a multi-faceted career as a timpanist, percussionist and teacher. Sanchez currently performs with Florida Grand Opera, Nu Deco Ensemble and the Southwest Michigan Symphony Orchestra. Previously, he has appeared with the Houston Symphony and the Amarillo Symphony. Sanchez maintains a private percussion studio in Coral Gables, is an instructor for the Greater Miami Youth Symphony program and gives masterclasses at high schools and colleges in South Florida. After beginning his studies in Albuquerque with Douglas Cardwell, he received his undergraduate and master’s degrees from Rice University under the tutelage of Richard Brown.

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Sanchez is currently writing his thesis for a Doctor of Musical Arts degree from the University of Miami, studying with Matthew Strauss and Svetoslav Stoyanov.

Sanchez is proudly endorsed by Pearl/Adams instruments, and performs on Adams Philharmonic Dresden Classic Timpani.

evan saddler Evan Saddler is Palm Beach Symphony’s principal percussionist. He is a member of Miami’s genre-bending chamber orchestra Nu Deco Ensemble and co-artistic director of the chamber ensemble Conduit. Performance highlights include engagements with New World Symphony, NOVUS NY, and with members of the Grammy Award-winning chamber group eighth blackbird. Saddler has also performed at the Bang on a Can Festival, Madison New Music Festival, Stellenbosch International Music Festival in South Africa, Princeton Festival of the Arts, and in venues such as The Metropolitan Museum of Art, Alice Tully Hall, MoMA, and Carnegie Hall.

Saddler is a graduate of Interlochen Arts Academy, University of Michigan, and The Juilliard School.

Kay Kemper is Palm Beach Symphony’s principal harpist.

A classically trained harpist and musician, Kemper has over 30 years professional playing experience including appearances with the Boston Symphony Orchestra and Boston Pops, the Milwaukee Symphony, the Atlanta Symphony and Orquesta Filarmonica de Caracas in Venezuela. She has also participated in the summer music festivals at the Interlochen National Music Camp, Tanglewood Music Festival, Eastern Music Festival and the Palm Beach Chamber Music Festival. As an active freelance musician in South Florida since 1990, Kemper performs regularly with the Palm Beach Symphony, Palm Beach Opera Orchestra, Florida Grand Opera Orchestra, and the Southwest Florida Symphony in Ft. Myers, as well as various private functions in the area. She maintains a private teaching studio and has served as President of the South Florida Chapter of the American Harp Society.

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PALM BEACH SYMPHONY FOURTH ANNUAL HOLIDAY LUNCHEON

TUESDAY, DECEMBER 17, 2019 THE BEACH CLUB, PALM BEACH CHAIRS

Virginia and John Gildea

CO-CHAIRS

Amy and John Collins

AUCTION CHAIR

Marietta Muiña McNulty $200 PER PERSON Seaside venue, champagne and cocktails, extensive silent auction, glorious music, fine food, and the presentation of the 2019 award for PALM BEACH SYMPHONY INSTRUMENTAL MUSIC TEACHER OF THE YEAR This festive luncheon supports the Symphony’s instrument donation initiative to benefit underserved music students.

TICKETS & INFO:

(561) 568-0265 hselcuk@palmbeachsymphony.org SPONSORSHIP AND UNDERWRITING OPPORTUNITIES AVAILABLE

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Chamber Music Series Join us one Wednesday a month in January, February, and March at the Stillman Family Foundation Auditorium at Norton Museum of Art for a unique 90-minute chamber music experience.

Jan. 22

Feb. 19

March 25

I Am Not A Rock Star

The Soldier’s Tale

The Future Is Here

Chamber Music Concert 1

Chamber Music Concert 2

Chamber Music Concert 3

Screening of documentary film, “I Am Not a Rock Star” at 5:30 PM

Performed to the 1984 animated film by Robert O. Blechman, The Soldier’s Tale

Featuring a work of living American composer Richard Danielpour and the legends who inspired him

Concert Program

Concert Program

Concert Program

Poulenc - Sextet for Piano and Winds Mozart - Quintet for Piano and Winds in E-flat Major

Stravinsky – L’histoire du soldat

Beethoven – Duet in E-flat Major for Viola and Cello (“Eyeglasses Duo”) Danielpour – String Quartet No. 6 Mendelssohn – String Quartet No. 2 in A Minor

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Concert ticket required for entry.

Wind Sextet

Marika Bournaki, guest pianist Nadine Asin, flute Robert Weiner, oboe Anna Brumbaugh, clarinet Luciano Magnanini, bassoon Alex Ozolins, french horn

Septet

Anna Brumbaugh, clarinet Luciano Magnanini, bassoon Craig Morris, trumpet Domingo Pagliuca, trombone Svetoslav Stoyanov, percussion Evija Ozolins, violin Juan Carlos Peña, bass Conductor, Gregory Cardi

String Quartet

Evija Ozolins, violin Valentin Mansurov, violin Chauncey Patterson, viola Claudio Jaffé, cello

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Symphony Sessions Lunch & Learn Introduced in our 2019-20 Season, Symphony Sessions are an opportunity to lunch and learn about the artistic context of our Masterworks Series with our Music Director Gerard Schwarz and other select guests. Each lunch takes place at Table 26 Palm Beach.

Thursday, Dec. 5

Canopy of Stars Lunch & Learn Hosted by Gerard Schwarz 12 PM – 1:30 PM Wednesday, Jan. 8

Lunch is best paired with a ticket to its accompanying masterworks concert.

Breaking Ground Lunch & Learn Hosted by Phillip J. Bergmann 12 PM – 1:30 PM Wednesday, Feb. 5

Heavenly Mischief Lunch & Learn Hosted by José-Luis Novo 12 PM – 1:30 PM Wednesday, March 18

Earth Tones Lunch & Learn Hosted by Gerard Schwarz 12 PM – 1:30 PM Thursday, April 16

Climbing Tomorrow Lunch & Learn Hosted by Thomas L. McKinley 12 PM – 1:30 PM

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Paul and Sandra Goldner Conservatory of Music Each year Palm Beach Symphony and its musicians reach more than 17,500 students by mentoring talented young musicians, performing free concerts in schools, participating in workshops and going into the community to connect with vulnerable and isolated populations through music.

Coaching Sessions and Residencies Student musicians learn technique, tone, posture and proper instrument position from our musicians in coaching sessions and residencies.

Instrument Donations and Lisa Bruna B-Major Award One to three extremely talented student musicians will be honored with the annual Lisa Bruna B-Major Award and receive an advanced level instrument after working with Symphony musicians to identify, test and select the perfect one with which to study and launch a career. In addition, we provide the donations of orchestral instruments we receive to underserved children or school music programs.

In-School Performances and Steam Nights Palm Beach Symphony also presents free in-school lecture demonstrations and, in collaboration with the South Florida Science Center and Aquarium, we add Arts to Science, Technology, Engineering and Math to create learning-fueled STEAM nights implemented by the School District of Palm Beach County.

Instrumental Music Teacher Of The Year We will once again pay tribute to one special band or orchestra K-12 music teacher in Palm Beach County as the Instrumental Music Teacher of the Year with an award that incudes coaching sessions by Palm Beach Symphony musicians, a classroom visit by Music Director Gerard Schwarz and Symphony concert tickets for the winner’s classes.

Children’s Concert Series It was full STEAM ahead at the start of the school year, as we performed One Small Step, free in-school concerts that marked the 50th anniversary of the first lunar landing by integrating music, dance, science and history into an inspiring program featuring works by Aaron Copland, John Williams and Joan Tower.

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Selected fourth grade students had the opportunity to heighten their One Small Step learning experience through pre-and-post-concert workshops presented at their schools free of charge by our musicians and teaching artists from Demetrius Klein Dance Company and the South Florida Science Center and Aquarium.

We return to free student performances in January to shine a spotlight on the music of William Grant Still, the first black American composer to have a work performed by a major American orchestra and the first to conduct a leading American orchestra.

Community Outreach Palm Beach Symphony provides impactful outreach programs through its partnerships with organizations in the community. Among these programs are Nurturing Notes in collaboration with Creative Arts Therapies of the Palm Beaches, Musical Masterpieces with disabled individuals at the Els Center of Excellence and NAMI, and visits with performances at local hospitals and community centers.

Invest in the arts, our community, and future generations of classical musicians.

Your contribution will help enhance and increase arts education in Palm Beach County public schools.

Help the Palm Beach Symphony share the gift of music. For more information about music education sponsorship and underwriting opportunities, please contact the Palm Beach Symphony office at (561) 655-2657 or visit www.palmbeachsymphony.org/programs/education.

Palm Beach Symphony’s educational outreach programs are sponsored in part by generous donations and grants from The Paul and Sandra Goldner Conservatory of Music, The Frederick A. DeLuca Foundation, Publix Charities and the School District of Palm Beach County.

PAUL AND SANDRA GOLDNER

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OR L A N D O | W E ST PA L M B E AC H | O N L I N E

Your future starts here.

Learn more about our affordable and accelerated degree programs for working professionals: 561-803-2122 or grad@pba.edu or explore.pba.edu DEGREES

BS in Business Administration BS in Organizational Leadership BA in Christian Studies BA in Ministry BS in Community Psychology BSN (for RNs) Master of Accountancy Master of Arts in Christian Studies Master of Business Administration Master of Divinity Master of Science in Clinical Mental Health Counseling Master of Science in General Counseling Studies Master of Science in Global Development Master of Science in Leadership Master of Science in Marriage, Couple and Family Counseling Master of Science in Nursing — Health Systems Leadership Master of Science in School Counseling Doctor of Nursing Practice Doctor of Pharmacy

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In Memoriam Lisa Bruna (1965-2019)

Lisa Bruna joined Palm Beach Symphony two seasons ago as Director of Marketing and Communications and in that short period of time she was instrumental in elevating the Symphony to a new level by effectively connecting the impact of our powerful performances with the lasting influence of our many educational outreach programs in the community.

If you have attended one of our concerts or seen a news story about us, you have seen her work. Lisa named the themes of our seasons, many of our concert series, individual concerts and the annual gala as well as this year’s children’s performance One Small Step, the outreach program Nurturing Notes and the B-Major Award.

An award-winning playwright, Lisa had works published with Smith & Kraus and Applause Theatre & Cinema Books, among others, and was a member of the Dramatists Guild, South Florida Theatre League and Palm Beach Playmakers.

She was also deeply committed to our community and served as a guardian ad litem, board member of the Deaf Service Center of Palm Beach County and as a volunteer reading tutor with the library’s literacy program.

To honor her talents as a writer, her passion for helping others and her significant contributions to the Palm Beach Symphony, we are renaming the annual B-Major Award as the Lisa Bruna B-Major Award in which one to three high-school seniors each year are presented with an advanced level instrument enabling them to further their studies and carry classical music into the future.

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Young Friends of Palm Beach Symphony EXECUTIVE COMMITTEE Todd Barron C Gordon Beck III Alexandra Cook Tom D’Agostino Jr. Todd Dahlstrom Susan Dyer Tracie Elliot Theresa Gaugler Colleen Gildea Sabra Ingeman Michelle James Arsine Kaloustian Taniel Koushakjian Juliza Kramer Elizabeth Marshman Matthew McGeever Tyler Moynihan Jennifer Nawrocki J. Roby Penn IV Xiomi Penn Philip Reagan Nathan Rimpf Jessica Swift Trent Swift Krystian von Speidel

Robert Waterhouse Ava Wilder

SEASON KICK-OFF COCKTAILS The Colony Palm Beach Wednesday, November 6 at 6 PM

CONCERT & COCKTAILS In collaboration with Young Friends of the Kravis Center Sunday, December 8 at 1:30 PM

A POLO AFTERNOON International Polo Club, Wellington Sunday, January 26 at 2 PM

FANTASIA: ANNUAL GALA-NIGHT PARTY The Breakers Palm Beach Monday, February 17 at 7:30 PM

SEASIDE SOCIAL Private West Palm Beach Estate In collaboration with Friends of Uffizi Wednesday, March 4 at 6 PM

CHAMBER SOIRÉE Norton Museum of Art In collaboration with Friends of the Norton Wednesday, March 25 at 7 PM

Photo: Brandon Norris

Eli Wachter Kate Waterhouse

Exclusive Events 2019-2020 Season

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Canopy of Stars December 8, 2019 | 3:00 pm The Kravis Center for the Performing Arts

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Gerard Schwarz, Conductor Horacio Gutiérrez, piano Sandra Lopez, soprano Robynne Redmon, mezzo-soprano Stuart Neill, tenor Clayton Brainerd, bass-baritone Palm Beach Atlantic University Oratorio Chorus with The Choral Society of the Palm Beaches and The Masterworks Chorus of the Palm Beaches

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Beethoven (1770 – 1827)

Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto Rondo: Vivace interMission

Beethoven

Symphony No. 9 in D Minor, Op. 125

(1770 – 1827)

Allegro ma non troppo, un poco maestoso Scherzo: molto vivace Adagio molto e cantabile Finale

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lobby PerforManCe: 2:00 PM

Park Vista High School Choir “Prima” under the direction of Bryan Anthony Ijames The Colony Palm Beach, official hotel sponsor @pb sy m p h o ny

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Canopy of Stars

Mr. Gutiérrez is an advocate of contemporary American composers. Of special importance were his performances of William Schuman’s Piano Concerto in honor of the composer’s 75th birthday at New York’s 92nd Street Y, and of André Previn’s Piano Concerto with the New York Philharmonic with Mr. Previn conducting.

On his recital programs, he frequently included George Perle’s Phantasyplay and a set of Nine Bagatelles that Mr. Perle dedicated to him.

Horacio Gutiérrez, piano Considered one of the great pianists of our time, Horacio Gutiérrez is consistently praised by critics and audiences alike for the poetic insight and technical mastery he brings to a diverse repertoire. Born in Havana, Cuba, his professional debut was in 1970 with Zubin Mehta and the Los Angeles Philharmonic. Since then, Mr. Gutiérrez has appeared regularly with the world’s greatest orchestras (including all the major London orchestras) and on its major recital series.

Mr. Gutiérrez has given recitals in Amsterdam’s Concertgebouw, London’s Queen Elizabeth Hall, Berlin’s Philharmonie, New York’s Carnegie Hall and Avery Fisher Hall, as well as in Philadelphia, Los Angeles, Boston, Chicago, San Francisco and Cleveland. Mr. Gutiérrez has performed with orchestras on numerous occasions at Lincoln Center’s Avery Fisher Hall and Carnegie Hall, including the New York Philharmonic, the Cleveland Orchestra, Pittsburgh Symphony, Montreal Symphony, Orchestre National de France, the Leipzig Gewandhaus, and Dresden Staatskappele. He was a frequent soloist at the Mostly Mozart Festival, appearing on its season-opening Live from Lincoln Center telecast. As a Chamber Musician, he has collaborated with the Guarneri, Tokyo, and Cleveland Quartets, as well as the Chamber Music Society of Lincoln Center. In 1982, he was the recipient of the prestigious Avery Fisher Prize.

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Mr. Gutiérrez Telarc recordings include Rachmaninoff’s Piano Concerti Nos. 2 and 3 with Lorin Maazel and the Pittsburgh Symphony, nominated for a Grammy Award.

Also available on that label are separate discs of the two Brahms Concerti with André Previn and the Royal Philharmonic Orchestra; and Tschaikowsky’s Piano Concerto No. 1 and Rachmaninoff’s Rhapsody on a Theme of Paganini with David Zinman and the Baltimore Symphony. For the Chandos label, he has recorded Prokofiev’s Concerti nos. 2 and 3 with Neeme Järvi and the Royal Concertgebouw Orchestra. His recording, George Perle: A Retrospective, was named one of the ten best recordings of 2006 by The New Yorker.

His television performances in Great Britain, the United States and France were widely acclaimed. And, he won an Emmy Award for his fourth appearance with the Chamber Music Society of Lincoln Center. A great film and theatre fan, he has performed in recital with Irene Worth and Mariette Hartley. Mr. Gutiérrez is an American citizen, and resides in NY City with his wife, pianist Patricia Asher. He will again be on the faculty of the Manhattan School of Music, beginning in the fall of 2014.

Guest Artists

Sandra Lopez, Soprano Internationally acclaimed soprano Sandra Lopez’s upcoming engagements include the title role in Florida Grand Opera’s Madama Butterfly and her role debut as Lady Macbeth in Verdi’s Macbeth with Opera North. She has made her mark on the classical music scene in a wide variety of repertoire. Ms. Lopez has performed on the world’s great stages including recent performances with the Finnish National Opera as Elisabetta in Don Carlo, the Opera de Oviedo and Opera på Skäret in Sweden singing the title role in Tosca, as well as Venice’s Gran Teatro la Fenice, Opera Carolina, Florida Grand Opera, and the Fort Worth Opera as Mimi in La Boheme.

A graduate of the Metropolitan Opera Lindemann Young Artist Program, she has appeared with the Metropolitan Opera in numerous roles which include Catherine in Bolcom’s View From The Bridge, Frasquita in Carmen, 4th Maid in Elektra, Tebaldo in Don Carlo, Flower Maiden in Parsifal, covers including Liu/Turandot, Marguerite/Faust, Nedda/I Pagliacci, and Roberta Alden for the world premiere of American Tragedy, among others.

Ms. Lopez is also known for her performances in new works, and has participated in several world premieres, most recently in the 2014 premiere of Crozier/Krask’s ‘With Blood, With Ink’ with the Fort Worth Opera which was released in 2015 on Albany Records.

She has collaborated with many conductors including James Levine, Fabio Luisi, Daniele Callegari, Valery Gergiev, Eduardo Muller, Julius Rudel, Dennis Russell Davies, Donald Runnicles, Yves Abel, Anton Guadagno, among others. Ms. Lopez was selected for the acoustical testing

of the Sanford and Dolores Ziff Opera House at the Arscht Center in Miami, Florida, and also performed the role of Mimi in their Opening Night Gala Celebration.

Ms. Lopez has toured with Andrea Bocelli to critical acclaim and has performed a wide variety of repertoire, including the Verdi Requiem, Strauss’ Four Last Songs, Brahms’ Ein Deutsches Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony and Missa Solemnis, Gounod’s Saint Cecilia mass, and Villa-Lobos’ Bachianas Brasileiras No. 5.

Ms. Lopez has been the recipient of numerous prizes, awards, and grants, including Winner of the Metropolitan Opera National Council Competition, and subsequently a Metropolitan Opera Lindemann Young Artist, the Grand Prize Winner of the Florida Grand Opera Young Patroness Association, First Prize at the Palm Beach Opera Competition, Career Grant Recipient from the George London Foundation and the Beau Bogan Foundation, and World Finalist in the Luciano Pavarotti Competition.

Robynne Redmon, soprano American mezzosoprano Robynne Redmon has firmly established herself as one of the finest leading ladies of this generation, having the unusual distinction of success in Bel Canto, French Grand Opera and the Italian Dramatic Repertoire.

Ms. Redmon has been hailed the world over for her “glorious singing, intense acting, excellent phrasing, ardent tone, splendid shading, solid coloratura and excellent artistic sense.” (Das Opernglas) She has graced the world’s greatest stages including The Metropolitan Opera, @pb sy m p h o ny

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Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Staatsoper Berlin, Bayerische Staatsopera, Opéra de Marseilles, Teatro Regio di Torino, Teatro Municipal de Santiago, Opéra Montréal, Santa Fe Opera, Opera Theatre of Saint Louis, New York City Opera, Atlanta Opera, Boston Lyric Opera and Minnesota Opera. Ms. Redmon has not only made her indelible mark in standard repertoire, but she has also been an ardent champion of new works as well, creating such roles as the eponymous role of Bright Sheng’s opera, Madame Mao. A consummate veteran of the stage, Ms. Redmon continues to add new repertoire befitting the splendor of her magnificent instrument and stage gravitas. Recently, she has had phenomenal success in such roles as Gertrude in Hamlet, La Principessa in Puccini’s Suor Angelica, and Verdi’s Amneris in Aida and Azucena in Il Trovatore. She has also assumed the mantle of several of Strauss’ greatest characters including Herodias in Salome and The Composer in Ariadne auf Naxos.

Always seeking to broaden her artistic horizons, Ms. Redmon has made it a point to lend her considerable talents to the great recital and orchestral stages of the world. Her large and varied concert repertoire has included Verdi’s Requiem, Beethoven’s Missa Solemnis (available on Naxos), Dvorak’s Stabat Mater and Mahler’s great symphonies, Nos. 2, 3 and 8.

Stuart Neill, tenor With powerful and vocally thrilling performances in the world’s finest opera houses and concert halls with leading conductors and orchestras, Stuart Neill has established himself as one of the most important tenors in the classical-singing world.

During the 2016/17 season, tenor Neill took on the mantle of heroic tenor in his debut as Verdi’s Otello at the Macerata Opera Festival to outstanding critical and audience response, a spectacle held in an outdoor arena seating 36

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3,500. Fortunately, Dynamic Records was there to capture the extraordinary event on CD, DVD and Blu-ray.

As a Verdi tenor, Mr. Neill is internationally recognized as the go-to tenor for the Verdi Requiem having performed this Masterpiece more than 250 times, including the historic ‘live’ recording with the London Symphony under Colin Davis.

Tenor Neill can be heard on more than a dozen classical recordings including Bellini’s Il Pirata for Berlin Classics, Verdi’s Oberto for Philips Classics, Janacek’s Glagolitic Mass and Taras Bulba with the Berlin Symphony under Janowski for Pentatone, and the Grammy Award winning recording of Stravinsky’s Persephone with the San Francisco Symphony under Tilson Thomas for RCA Red Seal.

Mr. Neill appears at The Metropolitan Opera, Teatro alla Scala, Teatro La Fenice, Vienna Staatsoper, The Royal Opera Covent Garden, Teatro Colon, Alte Oper Frankfurt, Opera Company of Philadelphia, Dallas Opera, Lyric Opera of Chicago, The Atlanta Symphony Orchestra, New York Philharmonic, Israel Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Boston Symphony Orchestra and Dresden’s Staatskapelle.

Stuart Neill collaborates with conductors Gustavo Dudamel, Daniel Barenboim, Zubin Mehta, James, Levine, John Neshling, Pinchas Steinberg, Sir Andrew Davis, Lorin Mazel, Eduardo Muller, James Conlon, Michael Tilson Thomas, Sir Roger Norrington, Nello Santi, and has worked with the late Carlo Maria Giulini, Sir Colin Davis, Wolfgang Sawalish, Michelangelo Veltri, Giuseppe Sinapoli and Anton Guadagno.

Mr. Neill trained at The Academy of Vocal Arts, Philadelphia, PA, where he was a student of Christofer Macatsoris, Richard Raub and William Schuman.

Guest Artists

Mr. Neill studied privately with Roberta Knie, Elizabeth N. Colson and the late Peter S. Harrower at Georgia State University, Atlanta.

Clayton Brainerd, bass-baritone This Portland, Oregon born, award-winning baritone has amassed a wonderful list of accolades and successes in the last decade singing leading roles with the major orchestras and opera companies of the world under the baton of conductors including Seiji Ozawa, Michael Tilson Thomas, Gerard Schwarz, Charles Dutoit, Zdenek Macal, Jeffery Tate, Jesus Lopez-Cobos Christophe von Dohnanyi and James Levine.

His imposing stage presence and magnificent voice have electrified audiences in Europe, New Zealand, Canada, North and South America, Korea and Japan.

Recently Mr. Brainerd was seen as King in Aida with Seattle Opera and highlights of the past few seasons include performances with the Seattle Symphony including Missa Solemnis, Mozart Requiem, & a recording of Beethoven 9th and Mahler 8th, Oedipus Rex with the Boston Symphony under the direction of von Dohnanyi and Les Troyens with Levine conducting in Boston and at Tanglewood, Walküre Wotan (cover) on the MET tour of Japan and Sachs (cover) in Die Meistersinger von Nürnberg at the MET. Mr. Brainerd made his debuts with the American Premier of the opera Sophie’s Choice by Nicholas Maw at the Washington Opera.

Mr. Brainerd sang the role of Amonasro in the production of Aida and Wotan in Die Walküre at the Scottish Opera’s second installment of their internationally acclaimed Ring Cycle. In fact, he was awarded the coveted “Herald Angel Award” from the Edinburgh Festival, naming him as one

of the most outstanding performers at the festival.

Clayton Brainerd also made his debut at the Paris Opera (Bastille) in La Damnation de Faust with Seiji Ozawa on the podium, a debut in Madrid singing the title role in performances of a newly discovered opera Merlin by Isaac Albéniz, and performances of Messiah at Carnegie Hall. He also debuted with the New Zealand Symphony as Wotan in five concert performances of Wagner’s Das Rheingold -- a role in which he won critical acclaim with the Arizona Opera Ring Cycle. Mr. Brainerd sang Golaud in Pelléas et Mélisande in Japan with the New Japan Philharmonic under the auspices of Seiji Ozawa. Also, with Ozawa, were performances of Madama Butterfly and the Boston Symphony and Damnation of Faust at the Saito Kinen Festival in Japan.

Mr. Brainerd’s versatility encompasses not only the Wagnerian repertoire but also many roles in the Italian and French operatic repertoire, including Scarpia in Tosca, Falstaff, Commendatore in Don Giovanni, Villains in Hoffman, Golaud in Pelléas et Mélisande and Mephistopheles in The Damnation of Faust.

Mr. Brainerd is also in great demand as a concert artist throughout the world singing a vast repertoire from the Baroque to Modern.

Palm Beach Atlantic University Oratorio Chorus The Oratorio Chorus was founded in 1990 for students to study and perform choral masterpieces. The ensemble has sung many of the monuments for chorus and orchestra, including J. S. Bach’s Magnificat and St. John @pb sy m p h o ny

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Passion; Beethoven’s Symphony No. 9; Duruflé’s Requiem; Fauré’s Requiem; Handel’s Messiah; Haydn’s The Creation and Lord Nelson Mass; Mendelssohn’s Elijah; Mozart’s Requiem; Rutter’s Gloria, Magnificat, Requiem and Te Deum; Schubert’s Mass in G; and Vivaldi’s Gloria among other works. The Oratorio Chorus is open to any student on campus without audition. The ensemble is under the direction of Dr. Geoffrey Holland, Director of Choral Activities.

The Choral Society of the Palm Beaches The “Community Chorus of North Palm Beach County” was founded in 1962 by Shirley Spitzer Anschutz, with Stan Doyle as its first director.

As membership grew, the group changed its name to “The North County Choral Society” and eventually to “The Choral Society of the Palm Beaches.”

Under the direction of Mark Aliapoulios, the group is composed of volunteer singers from Palm Beach and Martin counties and performs three major concerts each season. The Choral Society of the Palm Beaches is a proud member of the Cultural Council of Palm Beach County and Northern Palm Beaches Cultural Alliance.

The Masterworks Chorus of the Palm Beaches The Masterworks Chorus was founded by Dr. Jack W. Jones in 1979 as a community chorus. Its primary purpose is to educate its members and the public about the history of great choral masterpieces and to enrich and enhance the lives of its members and the community through the continued performance of these great works.

The Masterworks Chorus of the Palm Beaches was organized in August 1979 by Dr. Jones and several interested members of the community.

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It was incorporated as a nonprofit corporation in February 1980.

The first rehearsal of the Masterworks Chorus was held on Tuesday, October 9, 1979 at the Royal Poinciana Chapel in Palm Beach. Its first concert was Johann Sebastian Bach’s Christmas Oratorio, which was presented with orchestra on November 27, 1979 at Bethesda-By-The-Sea Episcopal Church in Palm Beach. There were 70 original members of the chorus.

Throughout the years, Masterworks Chorus has performed an extensive repertoire of classical masterpieces including several Requiems, Gloria, The Creation, Ninth Symphony, Lord Nelson Mass, Carmina Burana, Stabat Mater, Mass in C Major, Mass in F, Mass in G, Coronation Anthems, Elijah, and numerous Magnificats.

The Chorus has gone on several tours including trips to England, Eastern Europe, Western Europe, Italy, Spain, and New York. Members have performed at Carnegie Hall, Avery Fischer Hall at the Lincoln Center in New York, and at the Kravis Center in West Palm Beach. In the summer of 2015, the Masterworks Chorus returned to New York and Carnegie Hall where members joined with other choruses to sing portions of Handel’s Messiah.

Every member in the 90-voice Masterworks chorus is auditioned and comes from all walks of life and backgrounds. Singers receive no compensation for their participation but join out of their love for keeping alive the classics.

In the spring of 2010, after 31 years, the Masterworks Chorus of the Palm Beaches’ director Dr. Jones retired. In the fall of 2012, its Board of Directors elected Ken Taylor as its third director.

Notes on the Program

Canopy of Stars Notes on the Program by Aaron Grad

In the right hands, music transcends the earthly realm, elevating simple notes and rhythms into stardust and wonder. No composer ever managed that transformation quite like Beethoven, a deaf and obstinate man whose Ninth Symphony has come to signify the unity and hope of humankind, and whose Fourth Piano Concerto ponders the ineffable mysteries of the universe.

Piano Concerto No. 4 in G Major, Op. 58 LudWig Van Beethoven Born December 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria Instrumentation: solo piano with flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

Duration: Approximately 33 minutes Composed: 1806 First Performance: December 22, 1808 in Vienna Origins: Beethoven had lost most of his hearing by 1808, but that did not stop him from appearing as the soloist in his Piano Concerto No. 4, debuted on a December night in Vienna.

For four long hours in a frigid concert hall, audiences sat mystified by Beethoven’s latest creations, including the first performances of the Fifth and Sixth Symphonies, along with the Choral Fantasy, composed as a showstopper for the occasion. (The under-rehearsed orchestra actually ground to a halt during that grand finale, leading Beethoven to start it again from the beginning.) The Fourth Piano Concerto left spectators particularly baffled, and it didn’t register as one of Beethoven’s masterworks until Felix Mendelssohn revived it in 1836.

Notes to Notice:

I. Allegro moderato. The Fourth Piano Concerto begins with an enigmatic solo that presents a simple harmonic progression marked piano dolce (quiet and sweet). Then, after the piano leaves a chord hanging that by all expectations would resolve back to a stable point of arrival, the soloist withdraws and the strings enter in a totally foreign and exotic new key.

Unexpected harmonic transitions continue to crop up throughout the first movement, in keeping with the quizzical mood established at the outset.

II. Andante con moto. In the slow movement, a single line, scored across several octaves in the strings, engages the piano in a halting tête-à-tête in E minor. A nineteenth-century musicologist described this dialogue as “Orpheus taming the Furies,” a vivid description that has lingered ever since, even if it was not part of Beethoven’s own thinking. @pb sy m p h o ny

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III. Rondo: Vivace. The slow movement’s final cadence flows directly into the Rondo finale, which again starts with just a whisper. The galloping melody begins with a repeated tone and an ascending arpeggio that anchors our ears in C major—except the actual destination of this concerto is to return to its starting key of G major. Amazingly, this main theme of the finale never begins in the “proper” key, even when it appears moments from the end, adding to the sense of disruption that defines this most elusive of Beethoven’s piano concertos.

Symphony No. 9 in D Minor, Op. 125 LudWig Van Beethoven Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (cymbals, triangle, bass drum) and strings.

Duration: Approximately 65 minutes Composed: 1824 First Performance: May 7, 1824 in Vienna Origins: In the face of poor health, continued hearing loss, and family troubles related to the care of his nephew, Beethoven’s output as a composer slowed to a trickle. He was reenergized in part by an invitation, received in 1817, to compose two new symphonies for the Philharmonic Society of London, although several years passed before he took up the project. Plans for what might have been two distinct symphonies merged into one massive composition, capped by an unprecedented finale featuring chorus and vocal soloists.

Beethoven completed the Symphony No. 9 in 1824, and he introduced it in Vienna on the same program that featured the first public hearing of selections from Missa solemnis.

Beethoven was by that point as deaf as he was stubborn, and he insisted on “conducting” the symphony’s premiere, even though the performers knew to ignore him.

Notes to Notice:

I. Allegro ma non troppo, un poco maestoso. With a message and impact that is deeply personal and in no small part spiritual, the Ninth Symphony is a quintessential product of Beethoven’s transcendent “late period.” Still, the musical methods reflect the great advancements of his “middle period,” when he learned to strip his motives down to the utmost clarity and to assemble those building blocks into structures of uncanny precision and cohesion. That elemental quality announces itself from the start of the Ninth Symphony, with an opening movement that fixates on the resonant intervals of perfect fifths and fourths.

II. Scherzo: Molto vivace. Relief might seem imminent after the first movement settles sternly on the home key of D minor, but then the Scherzo dives right back in with obsessive leaps in the same key, this time pounding on the motive of a descending octave. (And a pounding it is, thanks to the timpani’s contributions.)

III. Adagio molto e cantabile. The spacious third movement outlines two main themes,

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Notes on the Program

the first in B-flat major in a four-beat tempo, and the second shifting to a 3/4 pulse and reaching the significant key of D major—not the first appearance of this bright tonality in the symphony, and certainly not the last. These two themes develop in turn through a series of warm, patient variations.

IV. Finale. All the preceding music serves to set up the epic finale of the Ninth Symphony, a single movement that lasts about as long as Beethoven’s entire First Symphony. In case we have lost track of the journey that has led to this juncture, a tense introduction gives us flashbacks of the three preceding movements and tantalizing hints of the way forward. Finally we land definitively in the redemptive key of D major, and the cellos and basses issue the first full statement of that simple, stepwise melody that so thoroughly changed the course of music. Finally the “Ode to Joy” can begin its epic rise, a rich interweaving of soloists, chorus and worldly orchestration (including a raucous march in the “Turkish” style) that delivers astounding new delights with every turn. Beethoven had been contemplating setting those verses by Friedrich Schiller for more than 30 years, and in the Ninth Symphony he finally found a vehicle to express all the rapture and exuberance of that essential German text. © 2019 Aaron Grad.

As a long time supporter of the Palm Beach Symphony, I will donate 10% of my net commissions from either buyer or seller side referrals. Price & details upon request.

Stephanie Lefes

Palm Beach New Construction

Broker Associate Cell 561-789-2393 SEL254@bellsouth.net stephanielefes.com @pbsymphony

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The Ease & Elegance You Deserve in Retirement.

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11/20/19 2:40 PM

Monday, February 17, 2020 | 7:00 PM THE BREAKERS PALM BEACH GRAND BENEFACTORS

Norma & Leonard Klorfine GOLDEN BATON SOCIETY HONORARY CHAIRS

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$750 Per Person Enjoy an unforgettable gala evening with cocktails, live music, dinner, dancing, and a live auction to benefit Palm Beach Symphony.

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Breaking Ground January 13, 2020 | 7:30 pm The Society of the Four Arts

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Gerard Schwarz, Conductor Chee-Yun, violin

––– PrograM

CoPland

Appalachian Spring Suite

(1900 – 1990)

Mendelssohn

Violin Concerto in E Minor, Op. 64

(1809 – 1847)

Allegro molto appassionato Andante Allegro molto vivace interMission

ThoMas

Plea for Peace

(b. 1964)

Mozart (1756 – 1791)

Symphony No. 41 in C Major, K. 551 (“Jupiter”) Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro

––– This evening was generously underwritten by Mr. and Mrs. Charles B. Johnson (Breaking Ground Concert) and Mr. Leslie Rose (après dinner at Café Boloud).

The Colony Palm Beach, official hotel sponsor

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champion of contemporary music, Chee-Yun has performed Christopher Theofanidis’ Violin Concerto conducted by David Alan Miller as part of the Albany Symphony’s American Festival, in addition to performing Kevin Puts’ Violin Concerto with the Fort Worth Symphony Orchestra.

Chee-Yun, violin Chee-Yun has performed with many of the world’s foremost orchestras and conductors.

Orchestral highlights include her tours of the United States with the San Francisco Symphony under Michael Tilson Thomas and Japan with the NHK Symphony, a concert with the Seoul Philharmonic conducted by Myung-Whun Chung that was broadcast on national television, and a benefit for UNESCO with the Orchestra of St. Luke’s at Avery Fisher Hall. Chee-Yun has performed with such distinguished conductors as Michael Tilson Thomas, Jaap van Zweden, Manfred Honeck, Hans Graf, James DePriest, Jesus LopezCobos, Krzysztof Penderecki, NeemVioline Järvi, Pinchas Zukerman, Giancarlo Guerrero, José Luis Gomez, Miguel Harth-Bedoya, and Carlos Kalmar. She has appeared with the Toronto, Pittsburgh, Dallas, Atlanta, and National symphony orchestras, as well as with the Saint Paul and Los Angeles Chamber Orchestras. Other orchestral engagements include performances with the Orquesta Sinfonia Nacional and the Mobile and Pasadena Symphonies, in addition to appearances with the National Philharmonic, Colorado and Pacific Symphonies, and the Tucson, Detroit, and Pensacola symphony orchestras. A 46

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As a recitalist, Chee-Yun has performed in many major U.S. cities, including New York, Chicago, Washington, Los Angeles, San Francisco, and Atlanta. Career highlights include appearances at the Kennedy Center’s “Salute to Slava” gala honoring Mstislav Rostropovich and with the Mostly Mozart Festival on tour in Japan, as well as a performance with Michael Tilson Thomas in the inaugural season of Carnegie Hall’s Zankel Hall and the U.S. premiere of Penderecki’s Sonata No. 2 with pianist Barry Douglas. In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th anniversary of South Korea joining the UN. Other career highlights include recitals in St. Paul, Buffalo, Omaha, Scottsdale, and Washington, D.C., duo recitals with cellist Alisa Weilerstein, a recital tour with pianist Alessio Bax, and a performance at American Ballet Theatre’s fall gala. Firmly committed to chamber music, Chee-Yun has toured with Music from Marlboro and appears frequently with Spoleto USA, a project she has been associated with since its inception. Additional chamber music appearances include performances at the Ravinia, Aspen, Bravo! Vail Valley, La Jolla, Caramoor, Green Music, Santa Fe, Orcas Island, Hawaii Performing Arts, and Bridgehampton festivals in the U.S.; the Great Mountains Music Festival in South Korea; the Clandeboye Festival with Camerata Ireland in Northern Ireland; the Opera Theatre and Music Festival in Lucca, Italy; the Colmar Festival in France; the Beethoven and Penderecki festivals in Poland; and the Kirishima Festival in Japan.

Chee-Yun has received exceptional acclaim as a recording artist since the release of her debut album of virtuoso encore pieces in 1993.

Guest Artists

Her recent recording of the Penderecki Violin Concerto No. 2 on Naxos was acclaimed as “an engrossing, masterly performance” (The Strad) and “a performance of staggering virtuosity and musicality” (American Record Guide).

Her releases on the Denon label include Mendelssohn’s E-minor Violin Concerto, Vieuxtemps’ Violin Concerto No. 5, Lalo’s Symphonie Espagnole and Saint-Saëns’ Violin Concerto No. 3 with the London Philharmonic under the direction of Maestro Lopez-Cobos, and violin sonatas from Debussy, Fauré, Franck, Saint-Saëns, Szymanowski, Brahms and Strauss.

Two compilation discs, Vocalise d’amour and The Very Best of Chee-Yun, feature highlights of Chee-Yun’s earlier recordings. In 2007, CheeYun recorded the Beethoven Triple Concerto with Camerata Ireland, pianist Barry Douglas, and cellist Andrés Diaz for Satirino Records.

In 2008, Decca/Korea released Serenata Notturno, an album of light classics that went platinum within six months of its release.

Chee-Yun has performed frequently on National Public Radio’s Performance Today and on WQXR and WNYC radio in New York City. She has been featured on KTV,a children’s program on the cable network CNBC, A Prairie Home Companion, Public Radio International, and numerous syndicated and local radio programs across the world. She has appeared on PBS as a special guest on Victor Borge’s Then and Now 3, in a live broadcast at Atlanta’s Spivey Hall concurrent with the Olympic Games, and on ESPN performing the theme for the X Games.

In 2009, she also appeared in an episode of HBO’s hit series Curb Your Enthusiasm. A short documentary film about Chee-Yun, “Chee-Yun: Seasons on the Road,” premiered in 2017 and is available on YouTube.

Chee-Yun’s first public performance at age eight took place in her native Seoul after she won the Grand Prize of the Korean Times Competition.

At 13, she came to the United States and was invited to perform Vieuxtemps’ Concerto No. 5 in a Young People’s Concert with the New York Philharmonic. Two years later, she appeared as soloist with the New York String Orchestra

under Alexander Schneider at Carnegie Hall and the Kennedy Center. In 1989, she won the Young Concert Artists International Auditions, and a year later she became the recipient of the prestigious Avery Fisher Career Grant. In Korea, Chee-Yun studied with Nam Yun Kim. In the United States, she has worked with Dorothy DeLay, Hyo Kang, Daniel Phillips, and Felix Galimir (chamber music) at The Juilliard School.

In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. She gives master classes around the world and has held several teaching posts at notable music schools and universities. Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati College-Conservatory of Music and as Visiting Professor of Music (Violin) at the Indiana University School of Music. From 2007 to 2017, she served as Artist-in-Residence and Professor of Violin at Southern Methodist University in Dallas.

See Chee-Yun again with Palm Beach Symphony’s Chamber Ensemble Sunday, February 9, 2020 3:00 PM The Society of the Four Arts

––– Halvorsen Passacaglia in G Minor with principal violist, Chauncey Patterson Kodály Duo for Violin and Cello with principal cellist, Claudio Jaffé Mendelssohn Octet in E-flat Major

––– Tickets and Info: (561) 655-7226 www.fourarts.org/feature/concerts/

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Breaking Ground

Breaking Ground Notes on the Program by Aaron Grad

Authentic American music has always been grounded in local culture and history, whether it is Copland’s iconic ballet score depicting humble pioneers, or a recent meditation by Augusta Read Thomas on the experiment that launched the nuclear age. Even the “pure” music of Mozart and Mendelssohn leans on the past to chart a path forward, as can be heard in their late masterpieces that went back to Bach and beyond to redefine the symphony and the concerto for generations to come.

Appalachian Spring Suite Aaron CoPland Born November 14, 1900 in Brooklyn, New York Died December 2, 1990 in North Tarrytown, New York Instrumentation: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion (glockenspiel, xylophone, cymbals, triangle, claves, woodblock, bass drum, snare drum, tabor), harp, piano and strings.

Duration: Approximately 23 minutes Composed: 1943-44 First Performance: October 30, 1944 in Washington, DC (original ballet) Origins: In the wake of two well-received ballets set in the American West—Billy the Kid (1938) and Rodeo (1942)—Aaron Copland began Appalachian Spring in 1943. He created the ballet for the dancer and choreographer Martha Graham, and he worked under the title Ballet for Martha until not long before the premiere, when Graham suggested Appalachian Spring, borrowing a phrase from Hart Crane’s poem “The Bridge.” Created for the 500-seat auditorium at the Library of Congress in Washington, DC, this ballet needed a suitably compact pit orchestra, so Copland used just thirteen instruments in the original version. The next year he arranged most of the ballet into this concert suite for orchestra.

Notes to Notice:

Copland built the unmistakable sound world of Appalachian Spring out of simple and familiar musical materials, like the major triads and resonant intervals of perfect fourths and fifths heard at the beginning. The famous section near the end, starting with a theme in the clarinet, quotes the tune of Simple Gifts, a Shaker dance song written in 1848 by Joseph Brackett. Copland found the song in a 1940 collection of Shaker tunes, and his treatment of the melody transformed an obscure gem into one of the most recognizable of all American themes.

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Notes on the Program

Violin Concerto in E Minor, Op. 64 FeliX Mendelssohn Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig, Germany Instrumentation: solo violin with an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

Duration: Approximately 26 minutes Composed: 1844 First Performance: March 13, 1845 in Leipzig, Germany Origins: Felix Mendelssohn, the grandson of the great Jewish philosopher Moses Mendelssohn and the son of a prominent banker, was afforded every opportunity to develop his considerable musical talents. As a teenager in Berlin, when he wasn’t composing or mounting performances in his family’s private theater, he gathered to play chamber music with other talented youngsters, including Ferdinand David, a virtuoso violinist one year his junior. Years later, when Mendelssohn became Music Director of the Leipzig Gewandhaus Orchestra, he invited David to join the orchestra as concertmaster. In 1838, Mendelssohn suggested to his old friend, “I’d like to write a violin concerto for you next winter; one in E minor sticks in my head, the beginning of which will not leave me in peace.” The piece gestated for six years, until Mendelssohn fleshed it out in the summer of 1844. Mendelssohn died three years later following a series of strokes, leaving the Violin Concerto as his last completed orchestral work.

Notes to Notice:

I. Allegro molto appassionato. Some of the concerto’s most magical moments are those that defy conventional responsibilities, like when the violin launches immediately into the brooding first theme. Instead of a big flourish at the end of the cadenza (which is placed earlier than would be expected), the violin simply continues its ghostly arpeggios while the orchestra brings back the main melody.

II. Andante. A single held bassoon note links the first movement to the second, which blooms into a heartbreaking “song without words” delivered by the violin. The movement ends with another transitional passage, ensuring that all three movements flow together seamlessly.

III. Allegro molto vivace. Brass and timpani herald the arrival of the finale in the new, sunny home key of E major. As a contrast to the flirty main theme, a regal secondary theme injects new grandeur and gravitas. It is fitting that this last big tune reworks the rhythms and intervals of the violin’s initial melody, such that an idea that first appeared in the concerto as a lonely question returns transformed into a communal affirmation.

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Plea for Peace Augusta Read ThoMas Born April 24, 1964 in Glen Cove, New York Currently resides in Chicago, Illinois and Becket, Massachusetts Instrumentation: Flute, oboe, trumpet and strings.

Duration: Approximately 7 minutes Composed: 2017 First Performance: December 1, 2017 in Chicago (original version for soprano and string quartet) Origins: In 1942, Enrico Fermi and a team of scientists built and tested the world’s first artificial nuclear reactor, known as Chicago Pile-1, under the bleachers of the football stadium at the University of Chicago. 75 years later, the school commemorated that scientific breakthrough—and the destruction it helped to unleash—by commissioning a new work from local composer Augusta Read Thomas. In its original version, her Plea for Peace used a wordless soprano to deliver the melody, a performance style known as vocalise. The version heard here, introduced by Maestro Gerard Schwarz at the Eastern Music Festival in 2018, distributes that melody among three treble instruments: flute, oboe and trumpet.

Notes to Notice:

Many of the melodic phrases and supporting harmonies in Plea for Peace use an ancient collection of tones known in church music as the Phrygian mode. Compared to a familiar minor scale, the second tone of this Phrygian mode is lower (just a help-step above the keynote), and Thomas maximizes the anguish and friction that comes from juxtaposing those two adjacent tones.

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Notes on the Program

Symphony No. 41 in C Major, K. 551 (“Jupiter”) Wolfgang AMadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Instrumentation: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

Duration: Approximately 31 minutes Composed: 1788 First Performance: Unknown Origins: Some of the symphonies Mozart wrote as a seventeen- and eighteen-yearold ranked among his first truly brilliant compositions, and by that time he had already completed three-fourths of his lifetime symphonic output. He had fewer occasions to write symphonies during his heyday as a busy freelancer in Vienna, and he might never have written his three final symphonies were it not for the money troubles that plagued his final years, a period when demand for his concert performances had dried up. The Symphony No. 41, completed on August 10, 1788, has long been known as the Jupiter Symphony, a moniker probably added by Johann Peter Salomon (the same impresario who later brought Haydn to London).

Notes to Notice:

I. Allegro vivace. Posthumous nicknames for compositions can be iffy, but in this case Jupiter—king of the Roman gods, ruler of the sky and protector of law—is a fitting emblem for Mozart’s resplendent C-major symphony. The opening movement establishes the ceremonial atmosphere with its abundance of quick, stepwise swoops.

II. Andante cantabile. The slow movement follows with serene and spacious music, in which ample rests and breaks leave melodies unaccompanied, downbeats unstressed, and textures uncluttered.

III. Menuetto: Allegretto. Like in the symphonies by his friend Haydn, this minuet functions as a light-hearted palate cleanser. The main “joke” here comes in the form of phrases that slip down through segments of the chromatic scale, touching on notes that momentarily clash with the home key.

IV. Molto allegro. In this symphonic tour de force, the orchestra introduces a number of related themes and then juggles them using a variety of contrapuntal techniques. The balancing act reaches its climax in the coda, which contains a swirling fugue treatment of all five main themes simultaneously. © 2018 Aaron Grad.

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Heavenly Mischief February 7, 2020 | 8:00 pm Benjamin Hall

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José-Luis Novo, Guest Conductor Nadine Asin, flute

Kay Kemper, harp

––– PrograM Mozart (1756 – 1791)

Symphony No. 35 in D Major, K. 385 (“Haffner”) Allegro con spirito Andante Menuetto Finale: Presto

Mozart (1756 – 1791)

Concerto for Flute and Harp in C Major, K. 299 Allegro Andantino Allegro interMission

Arriaga

Overture to Los Esclavos Felices

(1806 – 1826)

Haydn (1732 – 1809)

Symphony No. 94 in G Major (“Surprise”) Adagio cantabile: Vivace assai Andante Minuet Finale

This evening was generously underwritten by Dodie and Manley Thaler and the Thaler/Howell Foundation (Heavenly Mischief concert)

The Colony Palm Beach, official hotel sponsor @pb sy m p h o ny

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former Music Director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.

José-Luis Novo, conductor Since his appointment as Music Director and Conductor of the Annapolis Symphony Orchestra (ASO) in Maryland in 2005, Spanish born José-Luis Novo has instilled a new and vibrant artistic vision. Some of the ASO’s highlights during Novo’s tenure include yearly appearances at the Music Center at Strathmore with cellist Lynn Harrell, violinist James Ehnes, guitarist Manuel Barrueco and the Naval Academy Glee Club, a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves, national broadcasts on NPR’s Performance Today and the launching of the ASO’s first commercial CD commemorating the 300th anniversary of the signing of Annapolis’ Royal Charter.

Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists, have resulted in unprecedented artistic growth, praising audiences, and enthusiastic reviews from publications such as The Washington Post and The Baltimore Sun.

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José-Luis Novo has also developed a reputation as a keen educator of young musicians. He has held conducting positions with the Cincinnati Symphony Youth Orchestra, Miami University Symphony Orchestra, National Repertory Orchestra, National Youth Orchestra of Spain and the Yale Symphony Orchestra. From 2017 to 2019 he was Interim Director of Orchestral Activities at the University of Maryland School of Music, College Park, and has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina since 1999. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra, and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema.

Maestro Novo was featured in the League of American Orchestra’s Symphony magazine in “Podium Powers,” an article about emerging

Michael Adams

In addition to his directorship of the ASO, in 2016 Maestro Novo concluded an impressive thirteen-year tenure as Music Director and Conductor of the Binghamton Philharmonic in New York state. Prior to this, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under both late Music Director Emeritus Jesús López-Cobos and

Recent and upcoming guest conducting engagements include debut appearances with the Rochester Philharmonic, the Palm Beach, Alexandria and South Bend Symphony Orchestras, and return appearances with the Baltimore Symphony, the Fresno Philharmonic, Symphoria, and a Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra. After a successful debut with the Thailand Philharmonic Orchestra (TPO) for the Thailand International Composition Festival in 2015, Maestro Novo has been invited back regularly to guest conduct the TPO on several occasions. Other guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley; the Minnesota Orchestra; the Syracuse, Modesto, Windsor, Stamford, Tulsa, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics, and most of the major Spanish orchestras.

Guest Artists

Hispanic conductors in the United States of America. He holds music degrees from the Cleveland Institute of Music, Yale University and the Royal Conservatory of Music in Brussels, and is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 American Society of Composers, Authors, and Publishers Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

Nadine Asin, flute

Michael Adams

Nadine Asin, flute, maintains a varied and busy career since leaving her full-time position with the Metropolitan Opera Orchestra after a twenty year tenure. She currently performs as principal flutist of the Florida Grand Opera and the Palm Beach Symphony Orchestra, and with the new All-Star Orchestra (a recent PBS series).

She serves on the faculty of the Bard College Conservatory of Music, as adjunct faculty at The Juilliard School, and coaches the Fellows of the TON Orchestra. As a master pedagogue, she has recently given master classes at the New World Symphony, the New World School of the Arts, Bard College Conservatory, the Shepherd School of Music at Rice University and Lynn Conservatory.

Ms. Asin has performed with the New York Philharmonic, Great Performers Series of Lincoln Center, Chamber Music Society of Lincoln Center, Da Camera Society of Houston, NPR’s Performance Today, Seattle Chamber Music Society, the Norton Museum (Palm Beach, FL), and the Musimelange series. She commissioned, performed and recorded the world premiere of Augusta Read Thomas’s flute concerto, Enchanted Orbits, and David Schiff’s After Hours for flute and piano, and

recorded Aaron Avshalomov’s Flute Concerto on the Naxos label. Ms. Asin is an Aspen Music Festival and School alumna and longtime member of its artist-faculty. She currently sits on the AMFS Board as a musician trustee, and has served on the Boards of Concert Artist Guild, Chamber Music America, and the New World School of the Arts. She currently sits on the Campaign Committee of the Miami Book Fair.

Kay Kemper, harp Classically trained harpist and musician Kay Kemper has had over 30 years professional playing experience.

A graduate of the Cleveland Institute of Music, her teachers include Joan Ceo, Lucile Lawrence and Alice Chalifoux. Kay has appeared with the Boston Symphony Orchestra and Boston Pops, the Milwaukee Symphony, the Atlanta Symphony, and Orquesta Filarmonica de Caracas in Venezuela. She has also participated in the summer music festivals at the Interlochen National Music Camp, Tanglewood Music Festival, Eastern Music Festival and the Palm Beach Chamber Music Festival. A versatile performer, Kay enjoys giving lecture recitals, playing chamber music or providing ambience with background music.

As an active freelance musician in South Florida since 1990, Kay performs regularly with the Palm Beach Opera Orchestra, Palm Beach Symphony, the Palm Beach Pops, Florida Grand Opera Orchestra, and the Southwest Florida Symphony in Ft. Myers, as well as various private functions in the area. She maintains a private teaching studio and has served as President of the South Florida Chapter of the American Harp Society.

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Heavenly Mischief

Heavenly Mischief Notes on the Program by Aaron Grad

Mozart’s joyous spirit was irrepressible, even in the most mundane situations, like when he was dashing off party music to celebrate a boyhood pal or kissing up to a rich flutist and his harpist daughter in Paris. It’s no wonder he got along so well with jolly old Haydn, who packed maximal fun into the symphonies he composed for adoring fans in London. Arriaga, the short-lived composer known for good reason as “The Spanish Mozart,” showed off his own frisky humor in an opera composed at 14.

Symphony No. 35 in D Major, K. 385 (“Haffner”) Wolfgang AMadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

Duration: Approximately 18 minutes Composed: 1782 First Performance: March 24, 1783 in Vienna Origins: During the whirlwind summer of 1782, when Mozart was finishing work on the opera Abduction from the Seraglio and preparing to marry Constanze Weber on the sly, his father wrote with a request for a new Serenade to celebrate the ennoblement of Sigmund Haffner, the son of Salzburg’s mayor. Mozart completed a first movement within a week, and he dispatched subsequent movements to his hometown as quickly as he could in the following weeks, not even making copies to keep himself. Later, when he needed music to fill out a self-produced concert, he wrote to his father asking for the manuscript back; after it arrived, Mozart replied, “My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.”

Notes to Notice:

I. Allegro con spirito. When he converted the original Serenade into a Symphony, Mozart added flutes and clarinets to the outer movements, and he also dropped the opening March. The first movement begins with broad, regal leaps that give the impression of a slow introduction, but it turns out that this theme is integral to the sonata-allegro form and its “fast and spirited” tempo, providing fodder for many variants on those bold leaps.

II. Andante. The spaciousness of this slow movement at a walking pace owes much to its use of repeated notes that bounce lightly to stretch out harmonies and melodic phrases.

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Notes on the Program

III. Menuetto. Trumpets and timpani give this minuet unusual heft, counterbalanced by a central trio section with a pastoral melody in the oboes.

IV. Finale: Presto. Mozart probably went too far for a lighthearted Serenade in his finale, with all its boisterous humor, rude surprises and drama worthy of the operatic stage. We don’t know how it was received in stodgy Salzburg in its original form, but it was a hit with the discerning crowd at Vienna’s Burgtheater in its new symphonic guise.

Concerto for Flute and Harp in C Major, K. 299 Wolfgang AMadeus Mozart Instrumentation: solo flute and harp with an orchestra of 2 oboes, 2 horns and strings.

Duration: Approximately 30 minutes Composed: 1778 First Performance: Unknown Origins: Desperate for a job away from his hometown of Salzburg, Mozart spent part of 1778 in Paris, a city that had adored him as a child prodigy. The best lead he generated was an offer to become an organist at Versailles (which he declined), and on top of the professional disappointment, his mother fell ill and died in Paris, casting a pall over the entire trip. The Concerto for Flute and Harp was one of the projects Mozart took on while trying to ingratiate himself with Paris’ music patrons; it was written for a flute-playing duke and his daughter, a harpist who also took some composition lessons from Mozart.

Notes to Notice:

I. Allegro. This is the only music Mozart ever wrote for the harp—an instrument more at home in salons at the time, and not yet a concert hall fixture—and it provides a fascinating case study of a young composer eager to satisfy a patron’s unusual request. The idea of a concerto for multiple instruments (also known as a Sinfonia concertante) was quite popular at the time, especially in Paris, and it allowed Mozart to work around some of the challenges that come from trying to place a harp alone in the foreground. Ultimately the harp part looks a lot like piano music on paper, with broken chords in the left hand and running lines in the right supporting the flute’s melodic phrases.

II. Andantino. The oboes and horns sit out this slow movement, and the strings provide sparse and transparent accompaniments, allowing the delicacy of the two solo instruments to shine through. The sweetness of the harp creates a sense of innocence—almost naïveté— that perhaps reflects Mozart’s impression of the duke’s teenaged daughter.

III. Allegro. This finale takes the form of a rondo, an episodic structure that allows for a great variety of textures and thematic treatments. After working mostly as an integral unit for the first two movements, here the flute and harp separate to act as witty conversationalists, exchanging breezy phrases over shifting subsets of the orchestra.

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Heavenly Mischief

Overture to Los Esclavos Felices Juan CrisÓstoMo Arriaga Born January 27, 1806 in Bilbao, Spain

Died January 17, 1826 in Paris, France

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, timpani and strings.

Duration: Approximately 8 minutes Composed: 1819-20 First Performance: Unknown Origins: Juan Crisóstomo Arriaga, “the Spanish Mozart,” was born 50 years to the day after his Austrian forebear. While Mozart had a paltry 36 years to accomplish his life’s work, Arriaga didn’t even reach his 20th birthday, cutting short a career of extraordinary promise.

He wrote his sole opera at the age of fourteen, and it appears to have been staged in his hometown of Bilbao, although most of the music has been lost.

Notes to Notice:

After a swaying introduction in an Andantino pastorale tempo that suggests a Mozartean sense of calm, the fast body of this overture is pure Rossini in its scampering strings and chirping winds, showing young Arriaga’s sensitivity to the newest operatic trends.

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Notes on the Program

Symphony No. 94 in G Major (“Surprise”) Franz JosePh Haydn Born March 31, 1732 in Rohrau, Austria Died May 31, 1809 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

Duration: Approximately 23 minutes Composed: 1791 First Performance: March 23, 1792 in London Origins: After Prince Nikolaus Esterházy died in 1790 and his successor cut back on music, the family’s longtime Kapellmeister, Joseph Haydn, had new freedom to capitalize on his international fame. He accepted a lucrative invitation from a German violinist and impresario working in England, Johann Peter Salomon, who soon accompanied Haydn to London.

Besides a busy schedule of socializing and teaching, Haydn prepared music for the upcoming spring concert season with Salomon’s 40-piece orchestra, which offered mixed programs of symphonies, concertos, arias and chamber music each Monday in London’s Hanover Square Rooms. Haydn ended up presenting six new symphonies on that trip and six more during a follow-up visit in 1794-95, capping his extraordinary lifetime of work in a genre that he, more than any other composer, shaped into its everlasting form.

Notes to Notice:

I. Adagio cantabile – Vivace assai. London audiences at the time liked their music as splashy and colorful as possible, and Haydn responded by stuffing his “London” symphonies with extra drama and nickname-worthy effects. None is more memorable than the “Surprise” that gives the Symphony No. 94 its name, but even before that signature passage in the Andante, this symphony starts building anticipation with a noble introduction and an arrival at the fast body of the first movement that deceptively masks the home key for a moment before enunciating it with the full orchestra at a forte dynamic.

II. Andante. You can’t miss this symphony’s big punch line, which somehow never seems to lose its impact even for listeners who are in on the joke.

III. Minuet. Passages of sophisticated counterpoint and unexpected phrasing keep this hearty dance music on its toes.

IV. Finale. This movement uses one of Haydn’s favorite tricks of starting at a whispered piano dynamic to set up a big arrival, and this example draws out the suspense longer than most, waiting until the 38th measure before the gratifying wallop of a forte downbeat played by the entire orchestra. © 2019 Aaron Grad.

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palmibeach S y m p h o n y

Earth Tones March 19, 2020 | 7:30 pm Rosarian Academy

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Gerard Schwarz, Conductor Hanzhi Wang, accordian

––– PrograM

DiaMond

Rounds

(1915 – 2005)

Allegro, molto vivace Adagio Allegro vigoroso

Creston

Concerto for Accordion and Orchestra, Op. 75

(1906 – 1985)

Allegro maestoso Adagio pastorale Rondo: Presto

Mendelssohn (1809 – 1847)

Symphony No. 4 in A Major, Op. 90 (“Italian”) Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

––– The Colony Palm Beach, official hotel sponsor

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Guest Artist

Anniversary Young Concert Artists Series at the Kennedy Center, co-presented with Washington Performing Arts.

Hanzi Wang, accordian Praised for her captivating stage presence and performances that are technically and musically masterful, the groundbreaking young musician Hanzhi Wang is the first accordionist to win a place on the roster of Young Concert Artists in its 58-year history, and her hour-long interview and performance on the 2,145th episode of New York WQXR’s Young Artists Showcase marked the first appearance of a solo accordionist on the program.

In 2018, Musical America named Hanzhi Wang “New Artist of the Month,” and Naxos released its first-ever solo accordion CD, Ms. Wang’s “On the Path to H.C. Andersen.” It features music by Danish composers including “The Little Match Girl,” written for her by Martin Lohse, and was nominated for the prestigious DR (Danish Radio) P2 Prize 2019. In addition to Mr. Lohse, Ms. Wang’s artistry has also been recognized by other contemporary composers, with works dedicated to her by James Black and Sophia Gubaidulina, with whom she has worked extensively.

First Prize Winner of the 2017 Young Concert Artists International Auditions, Ms. Wang’s debut opened the Young Concert Artists Series in New York in The Peter Marino Concert at Zankel Hall at Carnegie Hall, and her Washington, DC debut opened the 40th

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Ms. Wang was awarded YCA performance prizes with the Candlelight Concert Society in Columbia, MD; the Sinfonia Gulf Coast in Destin, FL; the Tri-I Noon Recitals at Rockefeller University in New York City; the Vancouver Recital Society; Tannery Pond Concerts (NY), the Usedom (Germany) Festival; the Chamber Orchestra of the Triangle (NC); the University of Florida Performing Arts Prize; and at the Krannert Center at the University of Illinois in Urbana. Additional engagements include appearances for IRIS Orchestra in Tennessee, Bravo! Vail Music Festival, and YCA alumnus Alexander Fiterstein’s Clarinet Academy in Minneapolis.

Ms. Wang won First Prize in the 40th Castelfidardo International Accordion Competition in Italy, has served on the jury for the Accordion Competition of Rome and Portugal’s International Accordion Festival, and inspired the next generation of accordionists with lectures, performances and master classes at the Manhattan School of Music, Royal Danish Academy of Music, Tianjin Music Conservatory, Beijing’s Capital Normal University, Tilburg and Ghent Music Conservatories (Belgium), and the inaugural 2018 Nordaccordion Festival in Norway.

A Young Concert Artists Fellowship for Hanzhi Wang for the 2018-19 Season has been sponsored by Alan & Judy Kosloff and Mike Lubin & Anne-Marie McDermott. In addition, she holds YCA’s Ruth Laredo Prize and the Mortimer Levitt Career Development Award for Women Artists of YCA. Ms. Wang earned her bachelor’s degree at the China Central Conservatory of Music in Beijing, and her master’s degree at the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.

Earth Tones

Earth Tones Notes on the Program by Aaron Grad

In Paul Creston’s singular concerto for accordion, the American son of Sicilian immigrants lifted the humble squeezebox from European sidewalks to the world’s loftiest concert halls.

Another overlooked American, David Diamond, drew on the age-old technique of singing in “rounds” to create one of the most enduring and attractive works of mid-century modernism.

Memories of Italy, with its bright sunshine and fiery people, informed the vibrant and wild energy of Mendelssohn’s Fourth Symphony.

Rounds David DiaMond Born July 9, 1915 in Rochester, New York Died June 13, 2005 in Rochester, New York Instrumentation: string orchestra Duration: Approximately 13 minutes Composed: 1944 First Performance: May 11, 1960 in Boston Origins: David Diamond is primarily known today as the composer of Rounds, a legacy that obscures his many contributions to American music that were admired by the likes of Gershwin, Copland and Bernstein. After studying in Paris with Nadia Boulanger, Rounds returned to the United States during World War II. Amid the ongoing despair of the war, conductor Dmitri Mitropoulos commissioned a new piece from Diamond; “These are distressing times,” Mitropoulos wrote in his invitation. “Most of the difficult music I play is distressing. Make me happy.”

Notes to Notice:

I. Allegro, molto vivace. As the title suggests, this music is full of rounds, along with many other types of canons, in which voices enter sequentially with the same material.

II. Adagio. Smooth lines and full harmonies make the linear counterpoint less obvious in this rich slow movement, but still it relies on imitation between voices to provide a sense of cohesion and an antique glow.

III. Allegro vigoroso. The fiery finale goes beyond basic rounds or canons to integrate the whole work, bringing details back from the first movement within a sophisticated fugue. Still, for all the technical skill that went into it, this music succeeds by virtue of its excitement and self-evident attractiveness. Diamond liked to recount a line from his friend Aaron Copland,

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Earth Tones

who programmed Rounds frequently when he appeared as a conductor. “I wish I had written that piece,” Copland purportedly said. “It really works for the audience very well.”

Concerto for Accordion and Orchestra, Op. 75 Paul Creston Born October 10, 1906 in New York, New York Died August 24, 1985 in San Diego, California Instrumentation: solo accordion with orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.

Duration: Approximately 18 minutes Composed: 1958 First Performance: May 11, 1960 in Boston Origins: Paul Creston, a self-taught musician born into a poor family of Sicilian immigrants in New York, rose to become one of the most performed American composers in the middle of the twentieth century. The symphonies that first made him famous have fallen out of the repertoire, and today he is best known for his concertos featuring unconventional soloists, including alto saxophone, marimba and this work for accordion, which was commissioned by the American Accordionists’ Association and premiered by accordion virtuoso Carmen Carrozza with the Boston Pops.

Notes to Notice:

I. Allegro maestoso. This concerto attempts to prove that the accordion, a relatively young instrument that was eagerly adopted by performers in European dance halls and sidewalk cafes, could fit just as readily into a modern concerto hall. Using robust rhythms, swirling motives, and harmonies that strain toward the edges of conventional tonality, Creston makes a case for the accordion as a powerhouse soloist in this restless opening movement.

II. Andante pastorale. The accordion harmonizes with itself through long, singing phrases, calling attention to the lyrical quality of an instrument that is, after all, a member of the woodwind family.

III. Rondo: Presto. Rapid, shifting rhythms borrow a page from Stravinsky’s neoclassical style, demanding crisp attack and nimble cornering from the accordion soloist. Certain passages of vigorous dance music seem to foreshadow the “new tango” style that Ástor Piazzolla developed in Argentina in the 1960s, using the local form of accordion known as the bandoneón.

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Notes on the Program

Symphony No. 4 in A Major, Op. 90 (“Italian”) 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, 2 horns, 2 trumpets, timpani, and strings.

Duration: Approximately 27 minutes Composed: 1833 First Performance: May 13, 1833 in London Origins: At twenty, Mendelssohn did what most young men from wealthy families did at the time: He embarked on a “grand tour” through Europe. Whereas Scotland inspired the stormy “Hebrides” Overture and the “Scottish” Symphony, a visit to sunny Italy sparked a symphony that, according to the composer, was “the jolliest piece I have ever done.” He sketched part of the symphony while in Italy in 1830–31, and he completed it in 1833 for the Philharmonic Society of London, the same group that had commissioned Beethoven’s Ninth Symphony.

Notes to Notice:

I. Allegro vivace. Mendelssohn’s bright impressions of Italy are borne out by the bouncing themes and running triplet pulse in this lively opening movement.

II. Andante con moto. This music may have been influenced by a religious processional Mendelssohn witnessed in Naples, an image that fits with the movement’s walking bass and grave harmonies.

III. Con moto moderato. The moderate pace and smooth flow of the third movement resemble the minuets native to the symphonies of Mozart and Haydn, as opposed to the more rambunctious scherzos popularized by Beethoven.

IV. Saltarello: Presto. For the symphony’s whirlwind finale, Mendelssohn borrowed the lively rhythmic patterns of the saltarello, a folk dance from central Italy defined by its fast triplet pulse and its leaping movements. © 2018 Aaron Grad.

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Climbing Tomorrow April 19, 2020 | 7:30 pm The Kravis Center for the Performing Arts

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David Zinman, Guest Conductor Misha Dichter, piano

––– PrograM

Lee

Climbing Tomorrow

(b. 1959)

GershWin

Piano Concerto in F

(1898 – 1937)

Allegro Adagio –Andante con moto Allegro agitato

TChaiKovsKy

Symphony No. 4 in F Minor, Op. 36

(1840 – 1893)

Andante sostenuto –Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato (Allegro) Finale: Allegro con fuoco

––– lobby PerforManCe: 6:30 pm Park Vista High School Choir “Prima” under the direction of Bryan Anthony Ijames

––– This evening was generously underwritten by: The Honorable Bonnie McElveen-Hunter (Climbing Tomorrow Premier) and The McNulty Foundation (pre-concert dinner at The Kravis Center Cohen Pavilion).

The Colony Palm Beach, official hotel sponsor @pb sy m p h o ny

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Climbing Tomorrow

David Zinman, conductor Conductor Laureate of the TonhalleOrchester Zürich, having completed his 19-year tenure as Music Director in summer 2014, David Zinman has held positions as Music Director of the Rotterdam Philharmonic, Rochester Philharmonic and Baltimore Symphony orchestras and more recently at the Orchestre Français des Jeunes, Principal Conductor of the Netherlands Chamber Orchestra, Distinguished Visiting Artist at the Eastman School of Music, and Music Director of the Aspen Music Festival, School and American Academy of Conducting.

The 2019/20 season includes appearances with hr Sinfonieorchester Frankfurt, as well as Konzerthausorchester Berlin, Orchestre symphonique de Montréal, Orchestra della Svizzera Italiana and Dresdner Philharmonie.

Zinman also returns to conduct the TonhalleOrchester Zürich.

He has long-standing collaborations with soloists such as Mitsuko Uchida, Joshua Bell, Yefim Bronfman, Radu Lupu, Truls Mørk, Lisa Batiashvili, Gil Shaham, Julia Fischer, Renée Fleming, Yo-Yo Ma, Emanuel Ax and András Schiff.

In addition to his guest conducting engagements, Zinman also gives regularly world-renowned masterclasses which he began as part of his tenure in Zurich – most recently students at the Sibelius Academy and Royal Academy of Music have benefitted from his expertise as a teacher and coach. Last season included masterclasses in collaboration with the Tonhalle-Orchester Zürich and Orchestre National de Lyon.

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David Zinman’s extensive discography of more than 100 recordings has earned him numerous international honours, particularly for his interpretation of Beethoven’s symphonies with the Tonhalle-Orchester Zürich, including five Grammy awards, two Grand Prix du Disque, two Edison Prizes, the Deutsche Schallplattenpreis and a Gramophone Award. Recent releases include a 50 CD box set David Zinman: Great Symphonies – The Zurich Years, which commemorates his recording legacy with the Tonhalle-Orchester.

In 2000 the French Ministry of Culture awarded David Zinman the title of Chevalier de l’Ordre des Arts et des Lettres, and in October 2002 the City of Zürich Art Prize was awarded to him for his outstanding artistic efforts - making him the first conductor and first non-Swiss recipient of this award. More recently, Zinman received the prestigious Theodore Thomas Award in recognition of outstanding achievement and extraordinary service to one’s colleagues in advancing the art and science of conducting.

In 2008 he won the Midem Classical Artist of the Year award for his work with the Tonhalle-Orchester Zürich. He was also the 1997 recipient of the prestigious Ditson Award from Columbia University in recognition of his exceptional commitment to the performance of works by American composers.

Misha Dichter, piano Now in the sixth decade of a distinguished global career, Misha Dichter remains one of America’s most popular artists, extending a musical heritage from the Russian Romantic School, as personified by Rosina Lhevinne, his mentor at The Juilliard School, and the German Classical style that was passed on to him by Aube Tzerko, a pupil of Artur Schnabel. He also studied composition and analysis with Leonard Stein, a disciple of Arnold Schoenberg.

Guest Artists

Born in Shanghai to parents who had fled Poland at the outbreak of World War II, Misha Dichter and his family moved to Los Angeles when he was two; he began studying the piano at five. At the age of 20, while enrolled at the famed Juilliard School in New York City, he won the Silver Medal at the 1966 International Tchaikovsky Competition in Moscow, which helped launch an enviable concert career. Shortly thereafter, on August 14, 1966, Mr. Dichter was the guest soloist in a Tanglewood performance of Tchaikovsky’s Piano Concerto No. 1 with Erich Leinsdorf and the Boston Symphony Orchestra, a concert that was broadcast nationally on NBC and subsequently recorded for RCA. Two years later, he made his New York Philharmonic debut under the baton of Leonard Bernstein, collaborating on the same concerto.

Appearances with the Berlin Philharmonic, Amsterdam’s Concertgebouw Orchestra, the principal London orchestras and every major American orchestra soon followed.

A recognized champion of Leonard Bernstein’s Symphony #2, Age of Anxiety, Misha Dichter performed this great work with David Zinman and the Chicago Symphony Orchestra at the 2016 Ravinia Festival. During the 2017-18 season, he collaborated on Age of Anxiety with Maestro Zinman and the Deutsches SymphonieOrchester Berlin, David Itkin and the University of North Texas Symphony Orchestra and Ward Stare and the Rochester Philharmonic Orchestra.

Misha Dichter has performed and recorded with some of the most illustrious conductors of the 20th and 21st centuries, among them Leonard Bernstein, Pierre Boulez, Colin Davis, Lawrence Foster, Gerard Schwarz, Michael Tilson Thomas, and David Zinman, while notable chamber music collaborations have included violinists Itzhak

Perlman, Mark Peskanov and Nadja SalernoSonnenberg, cellists Lynn Harrell and Yo-Yo Ma and the American, Argus, Cleveland, Emerson, Guarneri, Harlem, St. Petersburg and Tokyo string quartets. With his wife, pianist Cipa Dichter, he has toured North America and Europe, presenting both masterworks and neglected scores of the two-piano and piano-four-hand repertoires. Mr. Dichter has been seen frequently on national television and was the subject of an hour-long European television documentary.

Misha Dichter’s discography on the Philips, RCA, Music Masters and Koch Classics labels are legendary, iconic and musically omnivorous, encompassing the major scores of Beethoven, Brahms, Chopin, Gershwin, Liszt, Mussorgsky, Schubert, Schumann, Stravinsky and Tchaikovsky. A noted exponent of Liszt’s piano works and a champion of the composer’s forward-looking contributions to the development of music, Mr. Dichter was honored in 1988 with the “Grand Prix International du Disque Liszt,” presented for his Philips recording of the master’s piano transcriptions. His first recording with Cipa Dichter is a three-CD set of Mozart’s complete piano works for four hands and is available on the Nimbus label. American Record Guide called the album “an unmitigated delight,” and Music Web International named it a 2005 “Record of the Year.”

In 2007, Misha Dichter took a three-month hiatus from the concert stage to deal with the onset of Dupuytren’s Disease, a contracting of one or more fingers. After totally successful surgery and physical therapy, Mr. Dichter returned to public performance and became a supporter of, and spokesperson for, the American Society for Surgery of the Hand.

Fiercely dedicated to extending his artistic traditions to new generations of pianists, Misha Dichter conducts widely attended master classes at major conservatories, universities and music festivals, including Aspen, Curtis, Eastman, Harvard, Juilliard, Yale and Holland’s Conservatorium van Amsterdam.

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Climbing Tomorrow

Climbing Tomorrow Notes on the Program by Aaron Grad

Three outsiders, representing three different centuries and cultures, affirm the limitless possibilities of music: Tchaikovsky’s Fourth Symphony, composed amid a period of personal anguish, traces a journey from despair to hope; In Gershwin’s Piano Concerto, a young Jewish-American songwriter tests his mettle on the home turf of Mozart and Beethoven; With her recent orchestral score, Climbing Tomorrow, the Korean-born composer HyeKyung Lee engages with the aspirations of the future-you, seeking something higher…

Climbing Tomorrow HyeKyung Lee Born 1959 in Seoul, Korea Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion (temple blocks, cowbells, triangle, glass wind chime, xylophone, conga drums, vibraphone, wood blocks, snare drum, tom-toms, marimba, brake drum), piano, harp and strings.

Duration: Approximately 17 minutes Composed: 2018 First Performance: July 21, 2018 in Greensboro, North Carolina Origins: An accomplished composer and pianist, HyeKyung Lee began her musical studies in her native Korea, and she went on to earn her doctorate in composition from the University of Texas at Austin. She now teaches composition at Denison University in Ohio.

Climbing Tomorrow was commissioned by Ambassador Bonnie McElveen-Hunter for the Eastern Music Festival, where Maestro Gerard Schwarz conducted the world premiere in 2018.

Note from the Composer:

The piece is an abstract evocation of the contrasts between you-in-the-present (comfortable) and you-in-the-future (seeking something higher). The struggle between these is sometimes direct, with more tension, and sometimes indirect, without tension. Beginning with a calm melody over a shimmer of strings and harp, the aspiration of driving, agitated, repeated sixteenth-notes and the tension between quarter-notes continually grows and changes shape. The striving between these sections is sometimes connected by long held notes, and sometimes is abrupt. The perpetual motion between harp, piano, and percussion keeps the piece constantly moving forward until it reaches an outburst of unison rhythm, only to conclude with more yearning. – HyeKyung Lee

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Notes on the Program

Piano Concerto in F George GershWin Born September 26, 1898 in Brooklyn, New York Died July 11, 1937 in Hollywood, California Instrumentation: solo piano with 2 flutes (second doubling piccolo), 2 oboes (second doubling English horn), 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bells, xylophone, snare drum, wood block, whip, crash cymbals, suspended cymbal, triangle and gong) and strings.

Duration: Approximately 31 minutes Composed: 1925 First Performance: December 3, 1925 in New York Origins: George Gershwin, already a top songwriter at the age of 25, made his first real splash in the world of “serious” music with Rhapsody in Blue. Among the spectators at that work’s debut was Walter Damrosch, the conductor of the New York Symphony Orchestra, who was so impressed that he immediately invited Gershwin to compose a true concerto.

Gershwin himself understood that Rhapsody in Blue was insufficient to establish his classical credentials; he wrote, “Many persons had thought that the Rhapsody was only a happy accident. Well, I wanted to show that there was plenty more where that had come from. I made up my mind to do a piece of ‘absolute’ music.” The concerto’s gestation was much more arduous than that of Rhapsody in Blue (which took less than a month to draft), not least because Gershwin endeavored to teach himself the art of orchestration, rather than bringing in an arranger as he had for the previous score.

Notes to Notice:

I. Allegro. The Concerto in F successfully masks any discomfort Gershwin may have had with venturing so deep into territory staked out by the likes of Mozart and Beethoven. The opening tutti section, with its juxtaposition of bombastic timpani and syncopated dance rhythms reminiscent of “The Charleston,” establishes the duality that runs throughout the score. Offsetting that first orchestral flurry, the piano arrives with a cadenza that teases out a slow and sultry response.

II. Adagio – Andante con moto. The middle movement calls out a trumpet to present the lazy melody, colored with characteristic “blue” notes and backed up by a chorus of clarinets.

(The instruction for the trumpet to play into a “hat with felt crown” when it returns takes a page from the jazz trumpeter King Oliver, who popularized the sound of a derby hat used as a mute.) The piano responds with a sassy theme propelled forward by strummed chords from the strings, mimicking a jazz guitar or banjo.

III. Allegro agitato. The brisk Rondo finale plays up the virtuosic gesture of repeated notes on the piano. Echoes of earlier music bring the work full circle, until a final barrage from the timpani sets up the swelling cadence.

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Climbing Tomorrow

Symphony No. 4 in F Minor, Op. 36 Pyotr Il’yiCh TChaiKovsKy Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum) and strings.

Duration: Approximately 44 minutes Composed: 1878 First Performance: February 22, 1878 in Moscow Origins: Tchaikovsky began his Symphony No. 4 in 1877, during the build-up to his disastrous marriage to a former student. A sensitive soul who was racked with insecurity at the best of times, Tchaikovsky had an especially hard time as a closeted gay man in an intolerant society, and he only lasted three months in his sham marriage, during which time he made the suicidal gesture of wading into the frigid Moscow River, followed by a nervous breakdown and two weeks spent unconscious in Saint Petersburg. This tumultuous period provided the backdrop for a massive symphony obsessed with “Fate, the inexorable power that hampers our search for happiness,” as Tchaikovsky described it in a letter to his patron.

Notes to Notice:

I. Andante sostenuto – Moderato con anima. Following the model of Beethoven’s Fifth Symphony, Tchaikovsky’s “fate” motto announces itself at the beginning. Whereas Beethoven subjected his initial kernel to continual variation, Tchaikovsky reserved his motto for carefully timed reprisals, snapping listeners back to awareness of fate’s inescapable force. After the slow introduction, the substantial first movement takes up a searing new melody full of tense descents.

II. Andantino in modo di canzona. Tchaikovsky’s Italian tempo heading indicates that this music, moving at a gentle walking pace, is constructed in the manner of a song. A solo oboe delivers the first statement of the innocent, folk-like theme.

III. Scherzo: Pizzicato ostinato (Allegro). This fast and kinetic Scherzo is a study on the string technique of plucking, or pizzicato.

IV. Finale: Allegro con fuoco. Again observing the model of Beethoven’s Fifth, Tchaikovsky’s minor-key “fate” symphony closes with a finale in the affirmative major key. The movement quotes a Russian folk song, “In the Meadow there Stood a Birch Tree,” building increasing urgency until a return of the dramatic “fate” theme. A return of the fiery music from the start of the movement burns away any lingering uncertainty, and the symphony ends triumphantly. © 2019 Aaron Grad.

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palmibeach S y m p h o n y

The Ladies Guild The Palm Beach Symphony Ladies Guild was formed to assist the Board of Directors in developing ideas related to Symphony programs and membership. As ambassadors of the Symphony, Ladies Guild members are “friend-raisers” who share their enthusiasm for the organization and work together to invite and encourage membership.

Elizabeth M. Bowden+

Sheryne Brekus

Trudy B. Brekus

Sophia Harvey Burnichon

Nannette Cassidy

Amy Collins

Virginia Gildea

Sandra Goldner+*

Arlette Gordon+

Carol S. Hays

Ann Johnson*

Helene Karp

Linda FellnerLachman

Marietta Muiña McNulty+

Dawn Galvin Meiners*

Kathleen Miller

Sharon M. Muscarelle

Sally Ohrstrom+

Ruby S. Rinker

Karen Rogers

Katherine Shenaman

Tricia Trimble

Sieglinde Wikstrom+

Judy Woods

Heather McNulty Wyser-Pratte+

(Margaret Donnelley not pictured)

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Laurie V. Bay

+Founding Member

*Honorary Member

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50th Anniversary CELEBRATORY SEASON!

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Dora Bak Society

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.

Dora Bak Doris Hastings John Herrick Susan Mark Philip Reagan Marguerite Rosner

Ray Robinson Endowment

We are grateful to Palm Beach Symphony’s Ladies Guild for their support in establishing the Ray Robinson Endowment Fund.

David Albenda David C. and Eunice Bigelow Leslie Rogers Blum Trudy B. Brekus Margaret C. Donnelley Jose and Lurana Figueroa Paul and Sandra Goldner Carol and Joseph Andrew Hays JoAnne and Lowell Jaeger Helene Karp Leonard and Norma Klorfine Foundation Dale and Marietta McNulty Barbara Rentschler Ruth A. Robinson Marguerite Rosner Robin B. Smith Don and Mary Thompson @pb sy m p h o ny

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palmibeach S y m p h o n y

Thank You Sponsors And Corporate & Government Partners Palm Beach Symphony extends sincere appreciation to the businesses and government agencies whose generous partnership allows us to enrich and expand our world-class music, education, and community outreach programs.

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Addison Hines Charitable Trust

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Ben VanHouten

Wishing the most successful season to Palm Beach Symphony Honoring

The Magic of Music Congratulations!

T H E L A C H M A N FA M I LY F O U N D AT I O N Milton and Roslyn Lachman Gary S. Lachman William B. Lachman D IR ECTORS

Celebrating the arts and the joy they bring to life every day.

The arts make us think, make us feel, and make us wonder. And being able to support Palm Beach Symphony today makes us proud.

Contact Gina Sabean Senior Banking Advisor 561-803-1280 gina.sabean@pnc.com

The PNC Financial Services Group, Inc. (“PNC”), uses the marketing name PNC Wealth Management® to provide investment and wealth management, fiduciary services, FDIC-insured banking products and services, and lending of funds through its subsidiary, PNC Bank, National Association, which is a Member FDIC. PNC does not provide services in my jurisdiction in which it is not authorized to conduct business.

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Individual Support

GIFTS FROM $20,000 TO $49,999 James and Laurie Bay David and Eunice Bigelow

Palm Beach Symphony gratefully recognizes the individuals listed here for their generous financial support, which makes our season of lifeenriching programs for the community possible.

Leslie Rogers Blum

Received as of November 14, 2019

Mary B. Galvin

Board of County Commissioners, the Tourist Development Council, and the Cultural Council of Palm Beach County Jerome J. Claeys III Department of State, Division of Cultural Affairs, the Florida Council of Arts and Culture and the State of Florida Virginia and John Gildea Paul and Sandra Goldner

diamond Grand Benefactor $1,000,000 and more Dora Bak*

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Leonard and Norma Klorfine Foundation Grand BenefactorS $100,000 and more The Frederick A. DeLuca Foundation Doris L. Hastings Foundation Leonard and Norma Klorfine Foundation Milly and Patrick Park Marguerite M. Rosner* Leslie Rose BenefactorS Gifts from $50,000 to $99,999 Mr. James R. Borynack and Mr. Adolfo Zaralegui/Findlay Galleries The Charles and Ann Johnson Family Foundation The Lachman Family Foundation Bonnie McElveen-Hunter The McNulty Foundation Dawn Galvin Meiners Dodie and Manley Thaler and the Thaler / Howell Foundation, Inc.

Lois Pope LIFE Foundation, Inc. The David Minkin Foundation David Schafer The William and Karen Tell Foundation Don and Mary Thompson Foundation

GIFTS FROM $10,000 TO $19,999 Arthur Benjamin The Colony Hotel Peter D. and Julie Fisher Cummings Family Foundation Dr. Jose and Lurana Figueroa Carol S. and Joseph Andrew Hays Hospital for Special Surgery inSIGHT Through Education, Inc. Patricia Lambrecht Teitsa and Allen Mann Norman and Susan Oblon Nancy and Ellis J. Parker, III Mr. and Mrs. James Perrella / Jim and Diane Perrella Foundation Katherine and Steven C. Pinard Philip M. Reagan The Len-Ari Foundation / Ari Rifkin Mrs. Ruby Rinker Karen and Kenneth Rogers Lesly Smith / The Fortin Foundation of Florida Robin B. Smith Kimberly V. Strauss Sieglinde Wikstrom James and Judy Woods / Ann Eden Woodward Foundation @pb sy m p h o ny

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Individual Support GIFTS FROM $4,000 TO $9,999 John Pierce Archer Hans and Sigrid Baumann Jeffrey Blitz Dr. Elizabeth M. Bowden Trudy Brekus John and Amy Collins Mary and Will Demory Edith R. Dixon Margaret Donnelley The Don Ephraim Family Foundation Arlette Gordon Hilton West Palm Beach Dorothy and Sidney Kohl Lynn and Robert Francis Mackle Anthony DiResta and Terrance Mason Dale and Marietta McNulty Charles and Kathy Miller Kitty and Dudley Omura Palm Beach State College Foundation, Inc. Drs. Thomas and Ling Patnaude Sarah Pietrafesa Lynn and John Pohanka Mr. and Mrs. William Robertson Dr. Arthur and Jane Tiger Carol and Jerome Trautschold Tom and Tricia Trimble Dinyar Wadia/Wadia Associate Herme de Wyman Miro, Founder / President of The International Society of Palm Beach The Seth Sprague Educational and Charitable Foundation

GIFTS FROM $2,000 TO $3,999 Anonymous JoAnne Berkow Thomas P. Boland Nannette Cassidy James and Lisa Cohen Maude Cook Todd and Julie Dahlstrom William Frick Debbie Goldenhersh Mrs. Robert Grace / Mae Cadwell Rovensky Foundation Charles Gradante Ann R. Grimm Gucci America, Inc. Caroline Harless Harvey Capital Management James Hawkins Alex and Cynthia Housten Lisa L Huertas

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Joseph and Joanna Jiampietro Mrs. James Kay The Kirkwood Fund of the Community Foundation for Palm Beach and Martin Counties Lisa Koeper Christa Kramer Stephanie Lefes Robert M. Lichten in memory of Joy Lichten Mary Bryant McCourt Heather McNulty Wyser-Pratte Shari and Michael Meltzer Lawrence A. Moens Associates, Inc. Publix Super Markets Charities Denice Dara Quinn Carol and Lawrence A. Reich / Modestus Bauer Foundation Karen Restaino Rebecca Robinson Burton Rocks Dr. Lawrence Rocks and Marlene Rocks Gudrun Sawerthal Dr. and Mrs. William H. Schneider Frances Trani-Zallie Michael S Trent United Technologies Corporation James J. Verrant Mary Lou Wagner

GIFTS FROM $1,000 TO $1,999 Bascom Palmer Eye Institute C. Gordon Beck III Richard and Lon Behr Sheryne Brekus Donald Burgess Mr. and Mrs. James L. Freeman The Gardens Mall Audrey Halperin Dr. Peter Heydon Dr. Robert and Ann Jaeder Lamborghini Palm Beach Virginia Longo Sarah MacNamee and Kevin McCaffrey David and Millie McCoy William A. Meyer Foundation Jennifer Nawrocki Sally Ohrstrom Paul and Anne Paddock PJ Callahan Foundation Phyllis Pressman R.P. Simmons Family Foundation Dr. Lawrence and Lana Rouff Dr. Richard and Mrs. Arlene Siudek of the Ayco Charitable Foundation

Individual Support South Florida Science Center and Aquarium David S. Wood

GIFTS UP TO $999 Lisa Alfiero Julia Amadio Madeline Anbinder Easter Arora AW Property Co. Judy Ballard Randee Bank Michael Barron Todd Barron Kirill Basov Mark and Deborah Belkowski, in memory of Charles Norton Margaret Benvenuto Valerie Bernstein John Betz Susan Bigsby Timothy H. Birnbaum Harry and Marie Bissell Kate Blickle and Mark Khachaturian Stephanie Branscomb Dee and Seymour Brode Michelene Brown Carl Buchheister Tammy Canfield, in memory of Steven Ray Harless Mark Castellano Cedric DuPont Antiques Stanley Cherelstein Sylvia Chilli Ashley Ciaburri Dr. Alexandra Cook Karen Corcoran Thomas D’Agostino, Jr. Joe and Mary Dempsey, in memory of Charles Norton Jane Dunn Susan Dyer Darlene A. Dzuba Tracie Elliot-Schulman and Eli Wachtel Leon Farris in memory of Steven Ray Harless Dr. Justin Frobose Gillian S. Fuller Theresa Gaugler Colleen Gildea Mark Goldman and Marny Glasser, in memory of Steven Ray Harless Raymond E. Graziotto Linda Grosz Todd Herbst Jo Ann Holl / Red Sky Capital, in memory of Steven Ray Harless Mr. Earl A. Hollis, in memory of Steven Ray Harless Meredith Hope

Sabra Ingeman Michelle James Celeste Jones Stuart Joseph Arsine Kaloustian and Taniel Koushakjian Mrs. Stanley Karp Evan Kass Richard Katzenberg Farrah Kisel and Christopher B. Scott George Kunzman Myriam and David Leibowitz John and Diane Madison in memory of Charles Norton Malvern Bank, NA Marathon Petroleum Corporation / Gary R. Heminger Chairman and CEO Matthew McGeever James McLelland Casi Morris Tyler Moynihan Ann Neal, in memory of Steven Ray Harless Samuel Neulinger Brandon Norris Sheri and Kirk Novak, in memory of Charles Norton Linda and Anthony Pantano, in memory of Charles Norton Roby and Xiomi Penn Sally R. Phelps Scott Porter Carol Price Janet Promesso Robert Reveley J. and Patrick Rickel-Finnegan Nathan Rimpf Michele Schimmel J. Douglas Self, Jr., in memory of Steven Ray Harless Michael and Robin Sexton Jeanne Shanley, in memory of Charles Norton Kelly Singh Kate Stamm Ramsay Stevens and Chia Schmitz Kathy Strother, in memory of Charles Norton Trent and Jessica Swift Don and Carrie Templin, in memory of Charles Norton Ms. Debra Tomarin Jeremy Vencel Zach von Gonten Krystian von Speidel Kate and Robert Waterhouse Alexandria Watkins Judi Weiss Wells Fargo Clearing Services, LLC Ava Wilder Robin Wilder Carole Wilson Wittmann Building Corporation

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IT IS MUSIC TO YOUR EYES

Bascom Palmer Eye Institute salutes the Palm Beach Symphony on another thrilling season.

For the sixteenth 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.

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