Palm Beach Symphony 2018-2019 Masterworks Program Book

2018

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2019

Masterworks Series

December 2

Symphonic Tales ––– January 10, 12

Enchanting Movements ––– February 22

Shades Of Greatness ––– March 18

Cool Winds ––– April 12

Precious Gems

F I N D L AY G A L L E RIES PALM BEACH • NEW YORK

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F O R 1 4 9 Y E A R S L I S T E N I N G TO C O L L E C TO R S

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F I N D L AY G A L L E R I E S 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

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PALMIBEACH S Y M P H O N Y

Table of Contents December 2

D

Symphonic Tales

29

The Kravis Center Strauss | Kodály | Ginastera Wolf-Ferrari | Borodin | Tchaikovsky January 10, 12

Enchanting Movements Jan 10 at Benjamin Hall Jan 12 at Roberts Theater Brahms | Schumann

J

43 J J B

February 22

F

Shades Of Greatness

51

Rosarian Academy Brahms | Schubert

Ro B

March 18

M

Cool Winds

57

Society of the Four Arts Mozart | Haydn

S M

April 12

A

Precious Gems

63

The Kravis Center Mozart | Bruckner

T M

President’s Welcome

7

Message from Ramón Tebar

9

Symphony Mission

Photo Credits: Ramón Tebar (pg. 12) – KOKE Photography, Palm Beach Symphony concerts – Esteban Parchuc, Children’s Concert Series and Alexander Magalong (pg 13) – IndieHouse Film

T S W

12

Executive Director’s Letter

13

Acknowledgements

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

Box Office: 561.281.0145

@pbsymphony

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@pbsymphony

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PALMIBEACH S Y M P H O N Y

2018-19 Calendar of Events

Wednesday, December 12

Seaside Social Young Friends of Palm Beach Symphony Members-Only Social Event Private West Palm Beach Estate | 6 PM Saturday, Oct. 20

Peter And The Wolf Prokofiev Ballet East & Bruce Cameron Benjamin Hall, Palm Beach Gardens 3PM Wednesday, Nov. 7

Season Kick-Off Cocktails Young Friends of Palm Beach Symphony

The Sailfish Club of Florida 11 AM Thursday Jan. 10

Pre-Concert Dinner Members-Only Social Event Admirals Cove | 5:30 PM Thursday, Jan. 10

Enchanting Movements

Monday, Nov. 26

Masterworks Concert 2: Brahms | Schumann

Members-Only Social Event Club Colette | 6 PM Sunday, Dec. 2

Pre-Concert Brunch Members-Only Social Event Cohen Pavilion The Kravis Center | 1 PM Sunday, Dec. 2

Featuring SooBeen Lee, violin Benjamin Hall | 8 PM Saturday, Jan. 12

Enchanting Movements

Masterworks Concert 2: Brahms | Schumann Featuring SooBeen Lee, violin Roberts Theater at Saint Andrew’s School 7:30 PM

Symphonic Tales

Sunday, Jan. 20

Masterworks Concert 1: Strauss | Kodály | Ginastera Wolf-Ferrari | Borodin Tchaikovsky

A Polo Afternoon

Featuring The Master Chorale of South Florida The Kravis Center | 3 PM Pal m Beach Symphony

Holly Jolly Symphony Fête

The Royal Poinciana Plaza 6 PM

Season Opening Cocktail Party

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Monday, Dec. 17

Young Friends of Palm Beach Symphony Members-Only Social Event International Polo Club, Wellington | 2 PM

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Wednesday, Jan. 30

Friday, Feb. 22

Monday, March 18

Viennese Dreams, 1st Movement

Shades Of Greatness

Après Dinner

String Quartets by Haydn and Beethoven

Masterworks Concert 3: Brahms | Schubert

Harriet Himmel Theater 7 PM

Rosarian Academy 7:30 PM

Saturday, Feb. 2

Friday, Feb. 22

VIP Tent Party At Waterfront Concert

Après Dinner

Members-Only Social Event Café Boulud 9:30 PM Wednesday, March 27

Young Friends of Palm Beach Symphony Members-Only Social Event

Members-Only Social Event The Colony Hotel 9:30 PM

Meyer Amphitheatre 3 PM

Harriet Himmel Theater 7 PM

Viennese Chamber Soirèe

Harmony: An Exhibition Of The Arts Meyer Amphitheatre 4 PM

Early Diversions and Entertainments by Mozart and Schubert

Wednesday, March 27

Saturday, Feb. 2

Free Community Concert WPB Waterfront

Viennese Dreams, 3rd Movement

Young Friends of Palm Beach Symphony Members-Only Social Event Wednesday, Feb. 27

Viennese Dreams, 2nd Movement Late Masterworks by Mozart and Brahms Harriet Himmel Theater 7 PM Thursday, March 7

Annual Sunset Dinner Cruise

Harriet Himmel Theater 7 PM Friday, April 12

Pre-Concert Dinner Members-Only Social Event Cohen Pavilion – The Kravis Center 5:30 PM

Members-Only Social Event

Friday, April 12

17th Annual Black-Tie Gala

North Palm Beach Marina 6:45 PM

The Breakers Palm Beach 7 PM

Masterworks Concert 5: Mozart | Bruckner

Monday, March 18

Monday, Feb. 18

Sapphire Dreams

Monday, Feb. 18

Royal Blue Young Friends of Palm Beach Symphony Annual Gala-Night Party

Cool Winds Masterworks Concert 4: Mozart | Haydn

Precious Gems Featuring Leon Fleisher, piano The Kravis Center | 8 PM

Society of the Four Arts 7:30 PM

The Breakers Palm Beach 7:30 PM

@pbsymphony

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PALMIBEACH S Y M P H O N Y

Board of Directors

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Pal m Beach Symphony

Leslie Rose Chairman

Dale McNulty President

James Borynack Vice President

John D. Herrick Treasurer

Phil M. Reagan Secretary

Paul Goldner Director

Gary Lachman Director

Manley Thaler Director

Don Thompson Director

President’s Welcome

We have moved our offices. No small thing after 20 years or so in our previous space.

Think of all that move will mean. Certainly more space for more staff and more programs.

And then think of all the dreams and growth that is possible. With the help and support of our members and benefactors, imagine the expansion that is possible for the Symphony – more concerts, more educational ventures, but also new programs, new twists on old programs, new scholarships and festivals.

We cherish our loyal members and supporters, our dedicated staff, and the direction and wisdom of our chief executive officer, David McClymont.

Imagine with me the heights the Symphony can move to as we build on our growth and dreams.

Dale McNulty President

@pbsymphony

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Message from Ramón Tebar

Dear friends, Welcome to our 45th season full of wonderful classical music masterworks in great venues!

We will open and close this season at the Kravis Center with concerts in December and April. We will have very exciting programs, which will include popular works by Strauss, Tchaikovsky, and Borodin, with the participation of The Master Chorale of South Florida. And we’ll present Mozart featuring one of the greatest living pianists of all time, Leon Fleisher.

We will have more classics featuring violinist SooBeen Lee, playing the Brahms Violin Concerto, as well as big romantic symphonies, including Schumann’s Symphony No. 2 and Bruckner’s Symphony No. 7.

We are very proud of our orchestra musicians. They are outstanding artists who have careers as soloists abroad. This season, four of them will play Mozart’s Sinfonia Concertante for winds together with three Haydn Symphonies: Le matin, Le midi, and Le soir, for an evening with music from two of the greatest classic geniuses.

Our musicians will also participate in the return of our chamber music series after a successful debut last year. Chamber music offers an intimate atmosphere and a vast range of music literature that our audiences and musicians enjoy at the same level as symphonic music.

We hope you will enjoy this season’s chamber music series as much as our symphonic season.

Please join us in celebrating our 45th anniversary season of music making in the Palm Beaches.

Ramón Tebar

@pbsymphony

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PALMIBEACH S Y M P H O N Y

Artistic & Music Director

RAMÓN TEBAR is widely praised as one of the rising stars of the conducting world. Known for his musical versatility, compelling interpretations, and diverse experience in both symphonic and operatic repertoire, this 39-year-old maestro regularly receives global acclaim in both the opera and orchestral arenas.

Now in his 8th season as Palm Beach Symphony’s artistic and music director, Maestro Tebar also serves as artistic director of Florida’s Opera Naples (since 2014), and he holds the distinction of being the first Spanish conductor to be appointed music director of an American opera company, the Florida Grand Opera (since 2011).

Tebar was recently named chief conductor of Orquesta de Valencia, the symphony orchestra of his hometown of Valencia, Spain. While in Valencia, Maestro Tebar also serves as music director at the Festival de Santo Domingo and principal guest conductor of the Palau de les Arts Reina Sofía.

NATIONAL & INTERNATIONAL CONDUCTING CREDITS: Philharmonia Orchestra, Cincinnati Symphony, St. Petersburg Symphony,

• Cross of Officer of the Order of Mérito Civil • in recognition of cultural accomplishments • by His Majesty, the King of Spain Felipe VI (2014)

Philharmonic, Orchestre de Rouen,

• Henry C. Clark Conductor of the Year Award • • • • • • by Florida Grand Opera (2013 and 2010)

Het Gelders Orkest, Bulgarian National

• The 100 Españoles Award (Marca España)

Radio Symphony, Munich Radio

• Featured in Miami Herald’s Top 20 under 40 • (Miami Herald)

Moscow State Symphony, Malasyian

Symphony, Prague Philharmonia, Spanish National Orchestra, Spanish Radio Television Orchestra, Barcelona Symphony Orchestra, Galicia Symphony Orchestra, Teatro Regio di Torino, Teatro Regio di Parma, Cincinnati Opera, Teatro Colón, Gran Teatre del Liceu, Kremlin Palace, Royal Festival Hall, Kölner Philharmonie, Concertgebouw Amsterdam, and Wiener Staatsoper

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AWARDS & HONORS:

Pal m Beach Symphony

• Featured in (Spanish journal) ABC’s Ten • International Spanish Conductors • Special Honor Awards in Piano and Chamber • Music Degrees • The Barenreiter Prize • Special Prize in the Musical Youth of Spain • • • • • • • Competition (Spain) • Medaille d´Honneur “Villa de Claira” (France) • Luigi Mancinelli International Conducting • • • • • • • • Competition (Italy)

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Assistant Conductor

ALEXANDER MAGALONG is associate conductor of the Frost Symphony Orchestra, conductor of the Greater Miami Youth Symphony Concert Orchestra, and conductor of the Frost Flute Ensemble. He was a finalist for music director of the Pikes Peak Philharmonic and has also conducted for the Henry Mancini Institute Orchestra, Broadmoor Pops Orchestra, Chamber Orchestra of the Springs, and the Peakharmonic Youth Orchestra. He has conducted the orchestral world premieres of Fanfares for the Apocalypse by Ken Ueno and Setting Century by Dorothy Hindman.

A passionate advocate for music education in the public schools, Magalong is a respected educator in Colorado, he has guest conducted many honor orchestras, festivals, music camps, youth orchestras, and educator conferences in Denver, Colorado Springs, Pueblo, Westminster, Jefferson County, and the Boulder Valley. He served on the Colorado All-State Orchestra board as Southern Governor for six years and has adjudicated many festivals throughout the state.

Magalong has been conducting as early as age 14. He began his musical studies in the public schools at age 12, and eventually served as concertmaster of the Colorado All-State String Orchestra, winning the Colorado Springs Youth Symphony Concerto Competition, and winning first place in the Pikes Peak Young Composers Competition for several consecutive years.

Magalong holds a Bachelor of Arts in Music from the University of Denver and a Master of Music in Instrumental Conducting from the University of Miami. He is currently pursuing his Doctor of Musical Arts in Instrumental Conducting from the University of Miami. He was selected as a participant for the 2018 Ithaca International Conducting Masterclass with Larry Rachleff and has conducted in workshops with the Rochester Philharmonic, Cabrillo Festival Orchestra, and the FargoMorehead Symphony. He has received mentorship from Thomas Sleeper, Lawrence Golan, Neil Varon, Christopher Zimmerman, and Cristian Macelaru.

This is Magalong’s first season serving as Assistant Conductor with Palm Beach Symphony.

@pbsymphony

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PALMIBEACH S Y M P H O N Y

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

Palm Beach Symphony was founded in 1974 to address the need for a professional orchestra in Palm Beach County. In its earliest years, the orchestra performed only a few concerts a year with a part-time conductor and a volunteer staff. It was not until Mrs. Ethel S. Stone became the Symphony’s board chair, a position she held for 23 years, that the orchestra began establishing itself as a cultural force in the community.

A visionary leader, Mrs. Stone inherited her love of music from her family and generously shared it with the community she loved. During her tenure, a number of well-known musical figures served in leadership roles, including Karl Karapetian, John Iuele, Kenneth Schermerhorn, Stewart Kershaw, David Gray, Ulf Bjorlin, and John Covelli.

When Mrs. Stone died on August 6, 1996, John and Joan Tighe stepped in to continue her legacy. They established a stable board of directors, a dedicated administrative staff, and a small endowment fund to ensure the Symphony’s continued growth. Musicians who led the orchestra during the Tighes’ tenure were Alan Kogosowski, Vladimir Ponkin, Sergiu Schwartz, Ray Robinson and Donald Oglesby.

Today, under the leadership of Dale McNulty and David McClymont, Palm Beach Symphony has grown into a world-class orchestra with a more focused mission that includes vital education and community outreach programs that bring live classical music programs and concerts into schools, community centers, and public venues in and around the Palm Beaches. McClymont oversees a robust season of members-only social engagements and special events, as well as masterworks and chamber music concerts that are directed by internationally renowned conductor Maestro Ramón Tebar.

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Pal m Beach Symphony

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Executive Director’s Letter Welcome to our Sapphire 45 anniversary season!

This year is a celebration of orchestral music like no other in our history. Throughout the years, we’ve been called “the island’s cultural gem.” Though we’ve moved from Palm Beach to our new offices in the Arts and Entertainment District of West Palm Beach, we carry that distinction with us. Palm Beach will always be home, and we’ll continue to shine brightly as its cultural gem.

This season promises to dazzle like the 45th anniversary gem stone, the sapphire, which represents joy, peace, prosperity, and beauty. As a classical music lover, you’ll recognize each of these qualities in this year’s performances. But because you’ll bring your own history with you into the concert hall, you’ll experience each quality in your own unique way. It’s one of the things I love most about music. It moves us all, but it moves us differently.

To ensure your experience is uniquely tailored to your tastes, we hope you’ll take advantage of our Mix & Match Subscription package, a new offering that lets you create your own season of classical music. There are so many wonderful programs to choose from, including five spectacular masterworks concerts and three extraordinary guest artists – the incomparable Master Chorale of South Florida, the dazzling violin prodigy SooBeen Lee, and the legendary Leon Fleisher. We’re also bringing back our chamber music series, free community concert on the waterfront, a full schedule of community outreach performances, members-only social outings, children’s concerts, and Young Friends events.

Now in his tenth season with Palm Beach Symphony, Maestro Ramón Tebar will be conducting all five masterworks, and he’ll be joined by our new assistant conductor, Alexander Magalong, as well as a full roster of world-class musicians, including all your favorite principals.

It will be a season like no other, and it’s the perfect opportunity to introduce new friends to Palm Beach Symphony. Like a precious gem, each classical music experience is brilliant, multifaceted, and unique. And like all things precious, it’s best shared with those you love.

We hope you’ll enjoy our Sapphire Season. See you at the Symphony!

David McClymont @pbsymphony

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PALMIBEACH S Y M P H O N Y

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: • Keep classical music thriving by supporting our world-class musicians • and critically acclaimed conductor.

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

• Build a cultural community by helping us make classical music accessible • to all through free outreach events.

THE DORA BAK SOCIETY The Dora Bak Society recognizes the dedication and generosity of music patrons who choose to include Palm Beach Symphony in their bequests or other long-range 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 To learn more about bequest opportunities that benefit the Palm Beach Symphony, please contact David McClymont at 561-655-2657. Or Join us Wednesday, March 13, 2019 for a Planned Giving Lunch & Learn.

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Pal m Beach Symphony

Palm Beach Symphony / BNY Mellon Wealth Management Series

Save the Date

Planned Giving: Lunch & Learn Wednesday, March 13, 2019 12:00 PM THE BEACH CLUB PALM BEACH 755 North County Road Palm Beach, FL 33480 GUEST SPEAKER

Avery Tucker Fontaine EVENT INFORMATION

Natalie Lambert 561.655.2657 nlambert@palmbeachsymphony.org

PALMIBEACH S Y M P H O N Y

Orchestra & Staff

CELLO

Erika Miras,

Claudio Jaffé,

Co-Principal

Principal

Rhonda Kremer

Aziz Sapaev

Rachelle Jenkins

Brent Charran German Marcano

WAGNER TUBA

ORCHESTRA

Akmal Irmatov

Szilard Molnar

VIOLINS

BASS

Juan Berrios

Evija Ozolins,

Juan Carlos Peña,

Katie Jordan

Audrey Destito

Concertmaster Monica Cheveresan,

Principal

Ann Marie Cherry

Brian Myhr Jeff Adkins

TRUMPET

Svetlana Kosakovskaya

William Bryant

Marc Reese,

Marina Lenau

Santiago Olaguibel

Assistant Principal

Principal Kevin Karabell

Alfredo Oliva Huifang Chen

FLUTE

Federico Montes

Abby Young

Nadine Asin,

Alex Ramazanov

Anne Chicheportiche

Principal Joseph Monticello

TROMBONE

Lily Josefsberg

Domingo Pagliuca,

Mari Pakk

OBOE

Salvador Saenz

Ruby Berland

Robert Weiner,

Michael Nunez,

Valentin Mansurov, Principal Second

Principal

Franz Felki

Bass Trombone

Jaime Mansilla

Principal

Orlando Forte

Carly Gordon

Morena Kalziqi

Paul Chenin, English

TUBA

Nora Lastre

Horn

Kevin Idelfonso, Principal

Claudia Cagnassone Ludek Wojtowicz

CLARINET Anna Brumbaugh,

VIOLA Chauncey Patterson, Principal Scott O’Donnell

Principal Julian Santacoma

TIMPANI Mark Schubert, Principal

John Antisz, Bass Clarinet

PERCUSSION Gary Mayone,

Felicia Besan Roberto Henriques

BASSOON

Yael Hyken

Luciano Magnanini, Principal

Principal Karlyn Vina Rick Urban

Jorge Morera HARP FRENCH HORN Madison Allen, Co-Principal

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Pal m Beach Symphony

Kay Kemper, Principal

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STAFF

Brandon Norris Marketing & Communications Assistant

David McClymont Executive Director

Felix Rivera Patron Development Coordinator

Maryem Bendaoud Development Assistant

Hulya Selcuk Development & Special Events Coordinator

Lisa Bruna Director of Marketing & Communications

Lexi Thompson Education & Community Engagement

Natalie Lambert

Coordinator

Development Associate Kathleen Topham May Bell Lin

Stage Manager

Membership Director Olga M. Vazquez Alfredo Oliva

Director of Education & Orchestra

Orchestra Contractor

Operations

Miami Symphonic Entertainment, Inc.

PALMIBEACH S Y M P H O N Y

Principal Musicians ALFREDO OLIVA is Palm Beach Symphony’s orchestra contractor. He was born in New York City and grew up in Hialeah, Florida. Some of his first performances at age 17 included working with Frank Sinatra, Sammy Davis Jr., Bing Crosby, Ray Charles, Barry White, Smoky Robinson, Burt Bacharach, and many more. Oliva has been the concertmaster of many Broadway shows and has played in nearly every major classical ensemble in South Florida. Oliva has collaborated with hundreds of award-winning recording artists. Recent credits include Gloria Estefan (Grammy® nominated album, The Standards), Natalie Cole (Grammy® nominated album, Natalie Cole En Español), Barry Gibb (In the Now), Michael Jackson (Heaven Can Wait and Whatever Happens from Invincible), Placido Domingo, Barbra Streisand, The Bee Gees, Julio Iglesias, Celia Cruz (Yo Viviré from Siempre Viviré), Alejandro Sanz (El Alma Al Aire, MTV America Latina), José Feliciano (Señor Bolero), Vic Damone, Jennifer Lopez, Shakira, Jon Secada, Enrique Iglesias, Busta Rhymes with Stevie Wonder (Been Through the Storm from The Big Bang), Marc Anthony, Ricky Martin MTV unplugged and others. Since 2007, Oliva’s orchestras have been performing live at the Adrienne Arsht Center and other South Florida concert venues as members of the Florida Grand Opera as well as the Palm Beach Symphony. Under the direction of Alfredo Oliva, producers have come from all over the globe to record with these fantastic musicians.

He was thrilled when they recently performed the incredible movie experience of Harry Potter and the Chamber of Secrets™ in Concert!

EVIJA OZOLINS is concertmaster for Palm Beach Symphony, assistant concertmaster for Florida Grand Opera, and a member of Bergonzi String Quartet. Born in Riga, Latvia, Ozolins is a third-generation musician in a family of professional musicians. She began playing piano at age four and violin at age five. She was educated in Riga at the Emils Darzins Academy of Music and, in 1991, was accepted as a scholarship student at the Mannes College of Music in New York City where she studied with renowned violinists Aaron Rosand and David Nadien. She has given solo recitals in many U.S. cities, including Carnegie’s Weill Recital Hall, as well as in Canada, the Caribbean, and Europe. She has recorded as a soloist with Maureen McGovern, Brian Lane Green, and others. Her name appears on many commercial recordings and movie soundtracks. She also performs in numerous Broadway shows, most recently Motown, The Little Mermaid and Phantom of the Opera in New York City. Ozolins currently plays on a 1782 Antonio Gragnani violin.

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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. Locally, he performs as a member of Florida Grand Opera and Atlantic Classical Orchestra in addition to his performances, both orchestral and chamber, with Palm Beach Symphony. In 2015, Mansurov became a member of the critically acclaimed Delray String Quartet, performing in concerts nationwide. He began studying violin at the age of seven at Uspenskiy’s School for Musically Gifted Children in Uzbekistan and has pursued further college degrees in Turkey, France, Canada, and the United States.

CHAUNCEY PATTERSON is principal violist for both Palm Beach Symphony and Florida Grand Opera, and violist for the Bergonzi String Quartet at University of Miami. He has been principal violist of the Denver and Buffalo Symphonies and, for 15 years, was the violist with the Miami String Quartet, an internationally renowned and extensively recorded ensemble.

He was also interim violist of the Fine Arts Quartet. Patterson’s faculty affiliations include: The Cleveland Institute of Music, Blossom School of Music, Kent State University, Hartt School of Music, Encore School for Strings, Eastern Music Festival, University of Charleston (WV), University of Denver, New World School of the Arts, Florida International University, and The University of Wisconsin at Milwaukee. He attended The University of North Carolina at Chapel Hill, the Cleveland Institute of Music and The Curtis Institute.

CLAUDIO JAFFÉ is principal cellist for both Palm Beach Symphony and Florida Grand Opera as well as cellist for the Delray String Quartet. He made his orchestral debut at the age of 11, performing a concerto written specifically for him.

Trained as a solo cellist, Jaffé received four degrees from Yale University including Doctor of Musical Arts. He is a prizewinner in numerous national and international competitions and has performed in some of the most prestigious concert halls around the world, from New York City to Brazil to Tokyo. As an educator, he served as Dean of the Lynn University Conservatory of Music and created their Preparatory Division. He began the Strings Program at Saint Andrew’s School in Boca Raton and is in his 19th season as resident conductor of the Florida Youth Orchestra. Jaffé performs regularly at the Sunflower and Buzzards Bay Music Festivals and is currently teaching at Palm Beach Atlantic University.

@pbsymphony

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PALMIBEACH S Y M P H O N Y

JUAN CARLOS PEÑA plays principal double bass for both Palm Beach Symphony and the Florida Grand Opera and performs regularly with the Naples Philharmonic Orchestra.

Born in Honduras, he studied at the Victoriano Lopez School of Music. He holds bachelor’s and master’s degrees in double bass performance from the Curtis Institute of Music, and Rice University respectively, and a Master’s degree in orchestral conducting from University of Maryland. In Honduras, he was the artistic and 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 flutist.

She appears with some of the world’s finest ensembles, including the New York Philharmonic, the Metropolitan Opera, the Great Performers Series of Lincoln Center, the Chamber Music Society of Lincoln Center, and the Da Camera Society of Houston. An active commercial recording artist, she can be heard on the soundtracks of Julie and Julia, True Grit, Tower Heist, Tintin, and Extremely Loud and Incredibly Close; on the world premiere of Enchanted Orbits, a concerto for flute and chamber orchestra written for her by Augusta Read Thomas; and on Pleasure is the Law’s debut album released through Boston Records. Asin debuted as a soloist with the Baltimore Symphony at age 16. She studied with Julius Baker at the Juilliard School, where she received both her Bachelor of Music and Master of music degrees. She is a faculty member of the Bard College Conservatory of Music, an adjunct faculty member at the Juilliard School, and she teaches masterclasses at the Peabody Institute, Rice University, and New World Symphony.

ROBERT WEINER is principal oboe for both Palm Beach Symphony and Florida Grand Opera and has in the past been principal oboe with the Miami Symphony Orchestra, Mexico City Philharmonic, Miami City Ballet Orchestra, Oklahoma Symphony Orchestra, and others. Weiner is currently professor of oboe at University of Miami’s Frost School of Music and previously taught oboe at Conjunto Cultural Ollin Yoliztli in Mexico, Oklahoma City University, University of Oklahoma, and Cornell University. Known for his work on gouging machines and reed-making, he advises professionals who work in these areas. He holds a degree from the Eastman School 20

Pal m Beach Symphony

SAPPHIRE SEASON45

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 Long Island Philharmonic. He’s recorded on major labels and is active in Miami recording studios.

ANNA BRUMBAUGH is principal clarinet of Palm Beach Symphony and Florida Grand Opera. She has performed professionally with American Ballet Theatre Orchestra, The Orchestra of St. Luke’s, The Colorado Music Festival Orchestra, The New York Concerti Sinfonietta, and the Boca Symphonia, and she’s collaborated with the Eastman Wind Ensemble to record the Stravinsky Octet for their latest CD. Brumbaugh mentored students at Juilliard’s pre-college division and taught at two of their educational outreach programs. She is a music mentor at Plumosa School of the Arts in Delray Beach. She earned a Master of Music degree in clarinet performance from the Juilliard School, a Bachelor of Music with high distinction and the coveted Performer’s Certificate from the Eastman School of Music. She is currently pursuing her Professional Performance Certificate at Lynn University. Brumbaugh’s teachers have included Jon Manasse, internationally acclaimed soloist, and Bil Jackson, former principal clarinet of the Colorado Symphony.

LUCIANO MAGNANINI is Palm Beach Symphony’s principal bassoonist and has also been principal bassoonist with the Florida Philharmonic Orchestra and Miami Chamber Symphony.

He began his music studies in Italy at the Conservatory Nicolo Paganini in Genoa and continued his music training in the city of Milan. Internationally, he has been principal 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’s played under the baton of renowned conductors, such as Leonard Bernstein, Zubin Meta, Carlo Maria Giuliani, Alain Lombard, Eduardo Mata, James Conlon, and James Judd. Magnanini has an active concertist career playing solo concerts in the United States, South America, and Europe. He is professor of bassoon and director of woodwinds at the University of Miami School of Music. He has recorded for RCA and CBS, Altarus, and Harmonia Mundi.

MADISON ALLEN is Palm Beach Symphony’s co-principal French horn and one of the most in- demand French Horn players in South Florida. She enjoys a full and robust season as principal horn for Florida Grand Opera, and Nu Deco Ensemble, as well as assistant principal horn of the Naples Philharmonic. She also performs frequently with the Sarasota Orchestra and Atlantic Classical Orchestra. She spent many years teaching for the Miami Music Project, an afterschool program for underserved youth, @pbsymphony

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PALMIBEACH S Y M P H O N Y

and Wynwood’s prestigious Miami Arts Charter School. Allen received her Bachelor of Music and Performer’s Diploma from Indiana University under the tutelage of Myron Bloom before continuing to hone her craft at the Manhattan School of Music in the studio of Michelle Baker. She completed her schooling by obtaining her Master of Music degree at the University of Miami while studying with Richard Todd. Originally from Houston, Texas, Allen currently resides in Miami Beach, Florida where she enjoys spending time with her husband, T.J., raising her young daughter, Austen, baking goodies in the kitchen, and watching soccer games.

ERIKA MIRAS is Palm Beach Symphony’s co-principal French horn. She is a freelance musician and teacher in the Bay Area, and has performed with the Saint Paul Chamber Orchestra, Naples Philharmonic, Dallas Opera Orchestra, Brechenridge Music Festival, Florida Grand Opera, Fresno Philharmonic, Modesto Symphony, Santa Rosa Symphony, Santa Cruz Symphony, and Berkeley Symphony, among others.

Miras is an enthusiastic chamber musician; she performed at the International Horn Symposium in 2015 with her horn duo, Erika Squared, and was a 2014 Coleman Chamber Competition finalist. Miras is a founding member of switch, a new chamber ensemble based in Los Angeles that presents a variety of contemporary, classical, electronic and pop music. Her former teachers include Dr. Kristy Morrell, Adam Unsworth, Bryan Kennedy, and Robert Ward, and holds degrees from University of Southern California, University of Michigan and the San Francisco Conservatory of Music.

MARC REESE is Palm Beach Symphony’s principal trumpet.

An internationally acclaimed trumpeter, he is best known for his nearly two-decade tenure in the Empire Brass Quintet. As a member of the quintet, he toured the globe entertaining audiences and inspiring brass players with the quintet’s signature sound and virtuosity. Reese is highly regarded as an orchestral musician, having performed on multiple occasions with the New York Philharmonic, Cleveland Orchestra, and Boston Symphony. He has performed at many of the world’s prestigious summer festivals, including Tanglewood, Ravinia, Blossom, Marlboro, and the Pacific Music Festival, where he also served on the faculty. He appears on numerous recordings with the Empire Brass and has recorded with the Boston Pops. Reese focuses much of his time on education, serving as assistant dean and brass department head for Lynn University’s Conservatory of Music. Visit reeseleonardduo.com.

DOMINGO PAGLIUCA is Palm Beach Symphony’s principal trombonist. A native of Venezuela, he received both Bachelor of Music and Master of Music degrees from

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the University of Miami before returning to Venezuela, where he performed as co-principal trombonist for the Venezuela Symphony Orchestra for 13 years. In 2013, he moved back to the United States and began working for Boston Brass, performing with them on tour and giving master classes throughout the United States, Canada, Central and South America, Europe, and Asia. Pagliuca is a performing artist and clinician for Yamaha, USA. In addition to performing with Palm Beach Symphony, he is also principal trombonist for the Florida Grand Opera. His versatility as a recording artist and live music performer has made him one of the most in-demand trombonists in Latin America. He received four Latin Grammys in 2011, as trombonist, arranger, and brass post-producer. He has performed with Luciano Pavarotti, Plácido Domingo, Andrea Bocelli, and Quincy Jones, and also appears in more than 100 Albums. Currently, he is working on his solo CD. Visit domingopagliuca.com.

MARK SCHUBERT is principal timpanist for the Palm Beach Symphony and Florida Grand Opera. He holds a bachelor’s in composition from the University of Iowa.

His principal teacher, with whom he studied privately in Palm Beach and New York, was Saul Goodman (New York Philharmonic and Juilliard). In South Florida since 1982, Schubert has performed with every major group as a timpanist or as a percussionist. Skilled in every style of music – rock, jazz, Broadway, classical, contemporary – his musical activities also include recording, composing, and arranging. He has performed as a soloist with the American Composers Orchestra and the Lake Placid (NY) Sinfonietta.

GARY MAYONE is Palm Beach Symphony’s principal percussionist and one of the most versatile and highly respected musicians in the business today. He is a multiinstrumentalist who performs all styles of music and has traveled the world playing in 27 countries to date. He is featured on more than 100 recordings and has released his own solo CD project. He’s received multiple accolades from local media outlets, including The Miami Herald (“the xylophonist was succulent”), The Palm Beach Post (“Mayone demonstrated prodigious technique”), and the Key Largo Reporter (“a high energy performer”). Born in Hartford, Connecticut, Mayone began studying drums at age seven and later moved to Florida where he earned an associate’s degree in music education and a Bachelor of Arts in music composition. He also studied at Hartt College of Music and at University of West Virginia and has taught at Miami-Dade College and Broward College in Fort Lauderdale.

He is the founder of a percussion group that plays educational concerts to thousands of elementary school students each year.

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PALM BEACH SYMPHONY THIRD ANNUAL LUNCHEON

MONDAY, DECEMBER 17, 2018 | 11 A.M. SAILFISH CLUB OF FLORIDA, PALM BEACH CO-CHAIRS

Carol and Andrew Hays AUCTION CHAIR

Marietta Muiña McNulty $175 PER PERSON Seaside venue, champagne and cocktails, extensive silent auction, glorious music, fine food, and - new this year! - presentation of the 2018 award for PALM BEACH SYMPHONY INSTRUMENTAL MUSIC TEACHER OF THE YEAR FOR PALM BEACH COUNTY 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

Chamber Music Concert Series

Viennese Dreams Join us on the last Wednesdays of the month in January, February, and March at the HARRIET HIMMEL THEATER with guest narrator, Dr. Thomas L. McKinley.

Jan. 30 | 7 PM

Feb. 27 | 7 PM

March 27 | 7 PM

1st Movement: Master and Pupil

2nd Movement: Further Developments

3rd Movement: The Lighter Side

String Quartets

by Haydn & Beethoven

Late Masterworks

by Mozart & Brahms

Early Diversions and Entertainments

by Mozart & Schubert

PROGRAM

PROGRAM

PROGRAM

HAYDN String Quartet in G Major, Op. 77, No. 1

MOZART Clarinet Quintet in A Major, K. 581

MOZART Flute Quartet in D Major, K. 285

BRAHMS Clarinet Quintet in B Minor, Op. 115

SCHUBERT String Trio in B-Flat Major, D. 471

–––

BEETHOVEN String Quartet in C Minor, Op. 18, No. 4 STRING QUARTET

Evija Ozolins Valentin Mansurov Chauncey Patterson Claudio Jaffé

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CLARINET QUINTET

Anna Brumbaugh Evija Ozolins Valentin Mansurov Chauncey Patterson Claudio Jaffé

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MOZART Duo No. 1 in G Major, K. 423 (for Violin and Cello) MOZART Flute Quartet in A Major, K. 298 FLUTE QUARTET

Nadine Asin Evija Ozolins Felicia Besan Claudio Jaffé

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Symphonic Tales December 2, 2018 | 3 PM

The Kravis Center for the Performing Arts

Ramón Tebar, Conductor

The Master Chorale of South Florida, Guest Artists PROGRAM

–––

JOHANN STRAUSS II

Overture to Die Fledermaus

KODÁLY

Dances of Galanta

GINASTERA

Four Dances from Estancia

(1825 – 1899)

(1882 – 1967) (1916 – 1983)

The Land Workers The Wheat Dance The Cattlemen Malambo

––– INTERMISSION WOLF-FERRARI

Overture to Il segreto di Susanna

BORODIN

Polovtsian Dances from Prince Igor

(1876 – 1948)

(1833 – 1887)

TCHAIKOVSKY (1840 – 1893)

Suite from The Sleeping Beauty Introduction: The Lilac Fairy Adagio: Pas d’action Pas de caractère Panorama Valse

Hilton West Palm Beach, official hotel sponsor.

Lobby Performance | 2 PM The Kings Academy Honor Choir under the direction of David Snyder

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Guest Artists

The Master Chorale of South Florida From Beethoven to Broadway, Bach to Bernstein, The Master Chorale of South Florida performs works by the full range of beloved classical and contemporary composers, along with some lighter fare.

The Master Chorale is a highly select, auditioned ensemble of singers from Broward, MiamiDade, and Palm Beach counties.

Originally founded in 2003, the Chorale is thriving under artistic director and conductor, Brett Karlin.

The Master Chorale communicates the transformative and unifying power of choral music by performing a rich and varied repertoire.

Since its premiere performance of Mozart’s Requiem (in honor of the Florida Philharmonic Orchestra and Chorus), the Master Chorale has delighted South Florida audiences with classical music’s greatest works.

These have included Handel’s Messiah, Beethoven’s Symphony No. 9, Brahms’ Ein Deutches Requiem, Verdi’s Requiem, Bernstein’s Chichester Psalms, Haydn’s Lord Nelson Mass and Bach’s Mass in B Minor. In response to audience demand, the Chorale recently added a concert of lighter fare to its yearly concert series, performing such delights as Broadway favorites, movie music and Gilbert & Sullivan.

In addition to its own concert series, The Master Chorale is in high demand for featured guest performances with other musical organizations. Throughout its history, the Chorale has collaborated with the Cleveland Orchestra, New World Symphony, Russian National Orchestra, Andrea Bocelli, Itzhak Perlman, Franz Welser-Möst, Giancarlo Guerrero, and James Judd, among many others.

The Master Chorale is an avid proponent of maintaining a strong cultural fabric in South Florida and supports its community by engaging local solo artists, orchestras and other nonprofit organizations.

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Notes on the Program

Symphonic Tales Notes on the Program by Aaron Grad

The dance-filled music on this program transports us beyond the concert hall to rustic landscapes and posh ballrooms. Effervescent waltzes by Strauss and Tchaikovsky bookend the more adventurous escapades to Slovakia, Argentina and ancient Russia.

Overture to Die Fledermaus JOHANN STRAUSS II Born October 25, 1825 in Vienna, Austria Died June 3, 1899 in Vienna, Austria Instrumentation: 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (snare drum, cymbals, bass drum, triangle, chime) and strings.

Duration: Approximately 9 minutes Composed: 1874 First Performance: April 5, 1874 in Vienna, Austria Origins: Johann Strauss II grew up surrounded by the dance music of his father’s orchestra, which rehearsed in the family’s apartment in Vienna. The younger Strauss matured into the “Waltz King,” with his own orchestra and a vast catalog of blockbuster hits, some as popular today as they were in their own time. Later in his career, Strauss added the genre of musical theater to his portfolio, writing comic operettas to compete with those written by his Parisian counterpart, Jacques Offenbach. Strauss wrote his most famous operetta, Die Fledermaus (The Bat), in 1874, using a libretto adapted especially for him. Whereas the original French play centered around a midnight dinner party, Strauss’ version naturally transpired at a Viennese ball, providing an excuse to incorporate abundant dance music.

Notes to Notice: The overture to Die Fledermaus serves as a “greatest hits” medley, previewing such highlights as the beloved waltz from the Act II finale, in which the chorus sings, “Ah, what a party, what a night full of joy!”

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Symphonic Tales

Dances of Galánta ZOLTÁN KODÁLY Born December 16, 1882 in Kecskemét, Hungary Died March 6, 1967 in Budapest, Hungary Instrumentation: 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, snare drum, triangle) and strings.

Duration: Approximately 15 minutes Composed: 1933 First Performance: October 23, 1933 in Budapest, Hungary Origins: The son of a railway stationmaster, Zoltán Kodály grew up in the countryside of what is now Slovakia, and his music remained grounded in the folksongs and traditions of the Magyar (Hungarian) people who had occupied those lands for more than a thousand years. In Dances of Galánta, composed in 1933 for the Budapest Philharmonic Society, Kodály referenced a small town on the rail line between Budapest and Vienna where he spent seven years of his childhood.

Notes to Notice: A slow introduction begins with a solemn incantation, first issued by the cellos and then renewed by a solo horn after a flurry of strings. This material frames a series of dance episodes, some restrained (as in the clarinet’s long melody) and others vigorous (like the angular tune first brought out by a flute in its coy middle range). These fluctuations between slow and fast dances reflect Hungary’s verbunkos tradition, a folk style with origins in military recruiting.

Four Dances from Estancia, Op. 8a ALBERTO GINASTERA Born April 11, 1916 in Buenos Aires, Argentina Died June 25, 1983 in Geneva, Switzerland Instrumentation: piccolo, flute (doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (tambourine, cymbals, field drum, triangle, tenor drum, castanets, tam-tam, suspended cymbal, bass drum, xylophone), piano and strings Duration: Approximately 13 minutes Composed: 1941 First Performance: May 12, 1943 in Buenos Aires, Argentina

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Notes on the Program

Origins: On the strength of his first ballet, Argentina’s Alberto Ginastera won over the influential dance producer Lincoln Kirstein, who was on a Latin American tour with the troupe he co-founded with George Balanchine. Kirstein commissioned a new ballet set in the pampas, the fertile lowland plains of Argentina, for which Ginastera devised a scenario based on José Hernández’ epic poem Martín Fierro.

Completed in 1941, the ballet follows a gaucho (equivalent to an American cowboy) through the course of a single day on an Estancia, or cattle ranch.

Notes to Notice: I. The Land Workers. Muscular brass and driving rhythms characterize the toil of the agricultural laborers.

II. The Wheat Dance. Ginastera described the pampas as a landscape of “limitless immensity,” but also one of “profound tranquility.” That gentle side comes out in this morning scene.

III. The Cattlemen. Aggressive motives from braying horns and pounding timpani evoke the brave, steely cowhands and the massive beasts they manage.

IV. Malambo. Ginastera based this finale on the traditional gaucho dance of the same name, in which men show off and compete with lightning-fast, percussive footwork, accompanied by guitars and drums.

Overture to Il segreto di Susanna ERMANNO WOLF-FERRARI Born January 12, 1876 in Venice, Italy Died January 21, 1948 in Venice, Italy Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings Duration: Approximately 3 minutes Composed: 1909 First Performance: December 4, 1909 in Munich, Germany.

Origins: The hyphenated name of Ermanno Wolf-Ferrari speaks to his dual origins, with a father from Bavaria and a mother from Italy. He was not always well received in his native Venice, but he did very well in Germany, exporting comic operas rooted in Italy’s long tradition of opera buffa. The one-act intermezzo known in English as Susanna’s Secret centers on a husband’s jealousy: He suspects his wife is cheating when he smells smoke on her clothes. The secret, it turns out, is that she herself smokes, and they end happily reconciled.

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Symphonic Tales

Notes to Notice: This fast and chirpy overture recalls Rossini and his spirited overtures from the previous century. An added twist is Wolf-Ferrari’s effective use of contrapuntal layering, drawn more from the German side of his musical personality.

Polovtsian Dances from Prince Igor ALEXANDER BORODIN Born October 31, 1833 in Saint Petersburg, Russia Died February 15, 1887 in Saint Petersburg, Russia Instrumentation: piccolo, 2 flutes, 2 oboes (second doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, side drum, triangle, tambourine, glockenspiel), harp, strings and chorus.

Duration: Approximately 14 minutes Composed: 1869-87 First Performance: November 4, 1890 in Saint Petersburg, Russia Origins: Alexander Borodin’s boyhood interest in music gave way to a teenage obsession with chemistry, a pursuit he leveraged into research positions around Europe and ultimately an influential career in science. The composer and critic Mily Balakirev groomed Borodin and other talented amateurs (including a civil servant, Mussorgsky, and a naval officer, Rimsky-Korsakov) into a clique known as “The Russian Five,” a group united in their pursuit of a national style of music for Russia. Borodin’s most ambitious project was the opera Prince Igor, based on the 12th-century tale of a Russian commander and his campaign against nomadic invaders. After 18 years of work, the opera remained unfinished when Borodin died in 1887, but his colleague Rimsky-Korsakov completed and orchestrated it, leading to a posthumous premiere in 1890.

Notes to Notice: Some of Borodin’s most vivid music for Prince Igor came from scenes representing the Turkic enemies, ethnic groups known today as the Kipchaks and Cumans but described in the opera using their old Russian identifier, Polovtsy.

The Polovtsian Dances introduce a number of interconnected, folk-like themes, with different sections expressing the soft gliding of the maidens, the virile energy of the men, and the splendor of the whole group dancing together.

© 2018 Aaron Grad

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Notes on the Program

The Sleeping Beauty Suite, Op. 66a PYTOR 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, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba, timpani, percussion (side drum, tam-tam, glockenspiel, cymbals, bass drum), harp and strings Duration: Approximately 23 minutes Composed: 1888-89 First Performance: January 7, 1901 in Bournemouth, England Origins: Tchaikovsky’s second ballet, The Sleeping Beauty, was the brainchild of Ivan Vsevolozhsky, the director of the Imperial Theater in Saint Petersburg. Working from the old fairy tale transcribed by Charles Perrault and the Brothers Grimm, Vsevolozhsky devised the theatrical libretto and designed the costumes. The other key contributor was Marius Petipa, the ballet master and choreographer for the Imperial Theater, who outlined his needs so specifically that it shaped the musical numbers almost down to a beat-by-beat basis. The public loved the ballet produced by this dream team; Tchaikovsky himself noted, “The Sleeping Beauty pleases me in its entirety from the beginning to the end.” He knew he wanted to publish an orchestral suite but couldn’t decide what to include, so he referred the job to a former student, the composer and conductor Aleksandr Ziloti.

Notes to Notice: I. Introduction: The Lilac Fairy. Opposing musical ideas introduce the main forces of good and evil in this tale. First we hear the music of Carabosse, the wicked fairy who curses Princess Aurora with a future of endless sleep. Her counterpart, the Lilac Fairy, can’t reverse the curse, but she modifies it so that a kiss from a prince can awaken the “Sleeping Beauty” after 100 years.

II. Adagio: Pas d’action. Known as the “Rose” Adagio, this tender scene comes from the ballet’s first act, when four suitors each present a rose to Princess Aurora.

III. Pas de caractère. The fairy tale of course ends happily ever after, and Vsevolozhsky filled the final wedding scene with invited guests borrowed from other children’s stories. This whimsical little number served to introduce Puss-in-Boots and the White Cat. IV. Panorama. This hopeful music comes from the scene in the woods where Prince Desiré encounters the Lilac Fairy and learns of the princess who has been asleep for a hundred years. They travel together toward her castle.

V. Valse. In Act I, Princess Aurora frolics with the villagers as they prepare for her sixteenth birthday party. The Waltz Tchaikovsky wrote for that scene was an instant and enduring hit, and it was the one selection he was certain should be in the suite.

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Walk-In Urgent Care Available in Sizes 0 to 20 Years

The only healthcare network in South Florida dedicated exclusively to children, is always nearby. Nicklaus Children’s Urgent Care Centers are committed to providing convenient care when you need it most. We know how to treat your child’s minor injury or illness so they can get back to feeling like themselves again.

Walk-in Urgent Care Daily 11 a.m. - 10 p.m.

Located in Legacy Place nicklauschildrens.org/PalmBeachGardens 561-799-7256

For more information, including urgent care wait times, please download our app.

PALM BEACH SYMPHONY

17T H A N N U Awe’ve L B L A C K -T I E For over 40 years been fighting alongside children like Gabriela.

GALA

Now we’re fighting under a new name.

Miami Children’s Health Foundation is now Nicklaus Children’s Hospital Foundation.

MONDAY, FEBRUARY 18, 2019 | 7 PM THE BREAKERS PALM BEACH HONORARY CHAIR

Our name has changed, but

Leslie Rose

our dedication to our mission GALA CHAIRS

Tricia and Tom Trimble to inspire hope and promote health for every child has

VICE CHAIRS

remained the same. Gary Lachman & Linda Fellner Give today and fight along with us.

$750 PER PERSON

Nicklaus Children’s Enjoy an unforgettable gala evening celebration with cocktails, live music, dinner, dancing, and Hospital Foundation a live auction to benefit Palm Beach Symphony.

give.nicklauschildrens.org TICKETS & INFO (561) 568-0265 hselcuk@palmbeachsymphony.org SPONSORSHIP AND UNDERWRITING OPPORTUNITIES AVAILABLE

Gabriela, 9, was born with a cleft palate and has undergone 5 surgeries

PALMIBEACH S Y M P H O N Y

Paul & Sandra Goldner Conservatory of Music Palm Beach Symphony’s education and community outreach programs bring classical music appreciation and education into the classroom and into the community. We believe in the transformative power of music to help promote learning and growth.

The Symphony’s mission includes a robust education component, which blends music and mentorship to provide learning opportunities for children in the Palm Beach County school system. Programs include: COACHING SESSIONS Student musicians learn technique, tone, posture, and proper instrument position in small group settings with professional Symphony instrument instructors. During the last portion of the session, the students come together in a large group to work on ensemble balance rehearsing alongside our Symphony musicians. We also provide school residencies, which involve regularly scheduled and continuous coaching sessions throughout the academic year.

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

INSTRUMENTAL MUSIC TEACHER OF THE YEAR FOR PALM BEACH COUNTY Students, parents, colleagues and members of the community are invited to nominate local instrumental music teachers for the title of Palm Beach Symphony’s Instrumental Music Teacher of the Year. Teachers are nominated for their outstanding teaching techniques, ability to nurture musical talents, and their capacity for connecting with and inspiring their students. The winner receives classroom resources and performance opportunity for the students, as well as a basket of personal awards and indulgences.

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LECTURE DEMONSTRATIONS Symphony musicians present lecture demonstrations by performing select pieces and speaking about the music, the instrument, the composer, and their own life as a musician. These unique opportunities help familiarize students with the instruments of the orchestra, the musicians, and the music they perform.

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

STEAM PBS collaborates with the South Florida Science Center and Aquarium in their STEM (Science, Technology, Engineering, and Math) nights, implemented by the School District of Palm Beach County. By incorporating the musical arts, Palm Beach Symphony provides additional music activities, transforming STEM to STEAM (adding the A for Arts).

INSTRUMENT DONATION The Symphony accepts donations of professional or amateur quality orchestral instruments, such as violins, violas, cellos, double basses, clarinets, oboes, bassoons, flutes, French horns, trumpets, trombones, tubas, or pianos.

We ensure the instruments meet performance standards, then donate them to underserved children or school music programs in Palm Beach County. For the first time ever, the Symphony will be awarding 1-3 high school seniors, planning to pursue a music degree program, with an advanced level instrument. The B Major award offers the recipients an opportunity to work closely with PB Symphony to identify, test, and select their preferred instrument.

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

Together with the Paul and Sandra Goldner Conservatory of Music $25,000 matching grant, your contribution will help 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/education.

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PALMIBEACH S Y M P H O N Y

Children’s Concert Series

Oct. 20, 2018 3 PM Benjamin Hall (public performance) Oct. 22, 2018 10:30 AM Kravis Center (school performance) Oct. 25, 2018 10:30 AM Eissey Campus Theatre (school performance) Nov. 9, 2018 10:15 AM & 11:45 AM Society of the Four Arts (2 school performances)

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Pal m Beach Symphony

Peter and the Wolf Palm Beach Symphony treated thousands of local students to a spectacular live performance of one of the most internationally recognized pieces of music, Sergei Prokofiev’s Peter and the Wolf.

This classic tale unfolded through vibrant dance and symphonic music.

To help instill an early appreciation for orchestral music, different instruments were used to “voice” each character – a boy named Peter (strings), a lovable duck (oboe), an impatient bird (flute), a fat cat (clarinet), a grumpy grandfather (bassoon), and a scary wolf (French horn).

Palm Beach Symphony’s new assistant conductor, Alexander Magalong, conducted the lively 22-piece orchestra as Ballet East dancers brought the fully costumed performance to life in a visually stunning performance. Children loved listening for the sounds of their favorite characters. What a wonderful way to start developing instrument recognition and a lifelong love of classical music!

This year, Palm Beach Symphony presented four free school performances of Peter and the Wolf, narrated by our very own Palm Beach Symphony Board President, Dale McNulty. Additionally, a public performance was presented for children and families with special guest narrator, Bruce Cameron, New York Times best-selling author of A Dog’s Purpose. Cameron appeared at the October 20 performance at Benjamin Hall, courtesy of the Symphony’s partnership with the Palm Beach Book Festival.

The first 200 lucky ticket buyers received copies of Cameron’s latest book, Max’s Story: A Dog’s Purpose Puppy Tale.

Treasures from the Spanish Providencia For the first time this year, we presented a Chamber Chats performance of Treasures from the Spanish Providencia, a shortened repeat from one of last season’s chamber music programs. This string quartet performance weaves the music from Spanish composers with tales of Spanish sailors and a legendary shipwreck. The audience of middle and high school students were transported back to Old Florida and the Spanish influence that gave root to so much of the state’s history, through a unique video tour narrated by fifth generation Floridian and author, Harvey E. Oyer, III.

Oct. 12, 2018 10:30 AM Eissey Campus Theatre

The Palm Beach Symphony Children’s Concert Series is made possible thanks to the generous contributions of: PAUL & SANDRA GOLDNER + Paul DeJong and Burton Rocks

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SAPPHIRE SEASON45

Enchanting Movements January 10, 2019 | 8 PM

Benjamin Hall at The Benjamin School

January 12, 2019 | 7:30 PM

Roberts Theater at Saint Andrewí s School

RamÛ n Tebar, Conductor SooBeen Lee, violin,

Young Concert Artists, Featured Guest Artist PROGRAM

!!!

BRAHMS (1833 ñ 1 897)

Violin Concerto in D Major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace !!!"""""""INTERMISSION

SCHUMANN (1810 ñ 1 856)

Symphony No. 2 in C Major, Op. 61 Sostenuto assai ñ Alleg ro, ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

!!!

This evening was generously underwritten by Dodie and Manley Thaler and the Thaler/Howell Foundation (ENCHANTING MOVEMENTS January 10 concert) and Don and Mary Thompson (ENCHANTING MOVEMENTS January 12 concert).

Hilton West Palm Beach, official hotel sponsor.

"#$%&'#()*&!!!!#+,'$-+.(%&'#()*&/)01

!!!!43

Guest Artist

SooBeen Lee, violin

Violinist SooBeen Lee has been called “Korea’s hottest violin prodigy” (Hancinema). She has already appeared as soloist with every major Korean orchestra, including the Seoul Philharmonic, Busan Philharmonic Orchestra and KBS (Korean Broadcasting System) Symphony Orchestra. Other distinctions include performances for Secretary-General of the United Nations Ki-moon Ban, at the Blue House for the King and Queen of Malaysia, with China’s Wuhan Philharmonic, at the Seoul Arts Center, and for many state guests in Korea.

During the 2018-19 season SooBeen Lee appears on the Young Concert Artists Series to give her New York concerto debut, performing the Chausson Poème with the Orchestra of St. Luke’s at Lincoln Center’s Alice Tully Hall, and in recital at the Morgan Library and Museum. She also performs the Tchaikovsky Concerto with the Gulf Coast Symphony and Rockford Symphony, the Mendelssohn Concerto with the Plymouth Philharmonic, the Sibelius Concerto with

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the Longwood Symphony, the Brahms Concerto with the Palm Beach Symphony, and recitals for Boston’s Isabella Stewart Gardner Museum, Cold Spring Harbor Laboratory, Congregation Rodef Shalom, Southern Adventist University, Jewish Community Alliance, Buffalo Chamber Music Society, Abbey Church Events and Cosmos Club in Washington, DC. Ms. Lee’s Festival engagements include the Usedom Music Festival in Germany this season, and appearances at the Heifetz Music Festival, Chopin Music Festival in Poland, City of London Festival, Busan International Music Festival, Great Mountains International Music Festival, Seoul Spring Festival, and Japan’s Ishikawa Summer Music Academy, where she worked with YCA alumnus Koichiro Harada. She won First Prize at the 2013 Moscow International David Oistrakh Violin Competition and First Prize at the 2014 Young Concert Artists International Auditions, where she was also honored with YCA’s Slomovic Prize, which provided support for her Washington, DC debut, the Michaels Award, which provided support for her New York debut, and three performance prizes.

SooBeen Lee began studying the violin at the age of four. At eight years old, she won the National Competition of the Korean Chamber Orchestra and the next year, she won First Prize at the Russia International Youth Violin Competition.

She made her Seoul recital debut at the age of nine on the Kumho Prodigy Concert Series. Ms. Lee studies with Miriam Fried at the New England Conservatory, where she recently performed the Sibelius Violin Concerto as winner of their 2018 Concerto Competition.

Notes on the Program

Enchanting Movements Notes on the Program by Aaron Grad

The Classical style that reached its apex in Vienna at the time of Beethoven and Schubert might have died away completely if not for the efforts of Robert Schumann and his protégé, Johannes Brahms. In his Symphony No. 2 in C Major, Schumann renewed the formal structures and righteous proportions of the traditional symphony, inspired in part by Schubert’s “Great” C-major symphony, a work that Schumann rescued from the dustbin of history. Brahms honored his ultimate idol Beethoven with a grand and imposing Violin Concerto, a work created for the Hungarian musician who sparked the great friendship between Schumann and Brahms.

Violin Concerto in D Major, Op. 77 JOHANNES BRAHMS Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria Instrumentation: solo violin with an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.

Duration: Approximately 38 minutes Composed: 1878 First Performance: January 1, 1879 in Leipzig, Germany Origins: Johannes Brahms turned twenty while on a performance tour of Germany accompanying the Hungarian violinist Ede Reményi. Their travels brought them through the city of Gottingen, where Brahms met one of the most important friends and collaborators of his life: Joseph Joachim. The young violinist’s first great kindness to Brahms was to recommend him to Robert Schumann, who took in Brahms for a mutually stimulating visit in the fall of 1853. Twenty-five years later, Brahms composed the Violin Concerto for his old friend, in a process that involved mailing drafts back and forth, and with Joachim ultimately supplying the cadenza that most violinists still use.

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Enchanting Movements

Notes to Notice: I. Allegro non troppo. On the same program that introduced the Brahms Violin Concerto, Joachim also performed the Beethoven Violin Concerto, likewise in the key of D—the first of many resemblances between the two concertos. Beethoven’s work starts with solo timpani, while Brahms’ introduces the violinist over an exposed timpani roll, joined only by droning horns.

When Beethoven’s soloist concludes the first-movement cadenza, the orchestra returns not with bluster, but with a moment of extreme delicacy; the same is true in the Brahms, which caps the movement with a poignant restatement of the lyrical theme.

II. Adagio. This slow movement presents one of Brahms’ loveliest melodies, which ironically comes from a solo oboe, not the violin soloist. (This sharing of the spotlight prompted the violinist Pablo de Sarasate to quip, “Would I stand there, violin in hand, while the oboe plays the only melody in the whole work?”)

The violin does take up a version of the tune, but it migrates from F major to the stormier world of F-sharp minor. The theme transforms by the time it returns for a closing passage in F major, with only wisps of the opening melody left intact.

III. Allegro giocoso, ma non troppo vivace. The concerto concludes with a rowdy finale in the “Hungarian” style—a nod to Joachim’s place of origin. The telltale motive, voiced in thirds and following a rising and following contour, sounds quite similar to the main theme from the finale of Bruch’s Violin Concerto No. 1, composed ten years earlier, and also edited and premiered by Joachim.

Symphony No. 2 in C Major, Op. 61 ROBERT SCHUMANN Born June 8, 1810 in Zwickau, Germany Died July 29, 1856 in Endenich, Germany Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings Duration: Approximately 38 minutes Composed: 1846 First Performance: November 5, 1846 in Leipzig, Germany Origins: In 1844, during one of his worst mental breakdowns, Robert Schumann’s

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symptoms included insomnia, depression, phobias, paranoia and a constant ringing in the ears. He wrote virtually no new compositions for a year, and he found that the flow of music that had once come so naturally—like when he composed 168 songs in 1840—could no longer be taken for granted. He later wrote in his diary, “I used to compose almost all of my shorter pieces in the heat of inspiration. … Only from the year 1845 onwards, when I started to work out everything in my head, did a completely new manner of composing begin to develop.” One ingredient in Schumann’s renewed craft was formal counterpoint, following a detailed study of the music of J. S. Bach that he undertook with his wife, Clara. Schumann’s interest in composing a new symphony may have been triggered by Schubert’s Symphony No. 9, which Schumann heard performed several days before beginning his own sketches for a symphony in the same key of C major.

Notes to Notice: I. Sostenuto assai - Allegro, ma non troppo. The Second Symphony opens with a hymn-like prelude, establishing a noble tone that continues into the fast body of the movement with the ceremonial snap of dotted rhythms.

II. Scherzo: Allegro vivace. The Scherzo builds a spirited romp around the motive of a descending diminished-seventh arpeggio. Two contrasting sections intervene before the original material returns, capped by a perpetual-motion coda.

III. Adagio espressivo. Demonstrating the lessons Schumann gleaned from his study of Bach, the slow movement’s suspensions and drawn-out appoggiaturas create an ongoing sense of struggle to achieve resolution.

IV. Allegro molto vivace. The finale reaches the halfway point of its triumphant, extroverted form before it pauses and comes back with a tender new theme, first heard in the oboe. Schumann adapted that melody from a Beethoven song, An die ferne Geliebte. © 2018 Aaron Grad.

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SAPPHIRE SEASON45

Shades of Greatness February 22, 2019 | 7:30 PM Rosarian Academy

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Ramón Tebar, Conductor PROGRAM

––– BRAHMS

(1833 – 1897)

Serenade No. 2 in A Major, Op. 16 Allegro moderato Scherzo: Vivace Adagio non troppo Quasi menuetto Rondo: Allegro ––– INTERMISSION

SCHUBERT (1797 – 1828)

Symphony No. 9 in C Major, D. 944 “The Great” Andante – Allegro, ma non troppo – Più moto Andante con moto Scherzo: Allegro vivace Allegro vivace

––– Hilton West Palm Beach, official hotel sponsor.

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Guest Artist

Shades of Greatness Notes on the Program by Aaron Grad

Aspiring composers in their late twenties wrote both works on this program, at points when the public had yet to catch on to their greatness. From there, the future paths of these brilliant musicians could hardly have been more different. Building on the confidence gained in his early Serenades and other large-ensemble experiments, Brahms became the elder statesman of Vienna, with a rich catalog of orchestral music as distinguished and self-assured as his thick gray beard. Schubert, already nearing the end of his tragically short life when he wrote his masterful Ninth Symphony, was not so fortunate; as one publisher wrote when rejecting his manuscripts, ‘The public does not yet sufficiently and generally understand the peculiar, often ingenious, but perhaps now and then somewhat curious procedures of your mind’s creations.”

Serenade No. 2 in A Major, Op. 16 JOHANNES BRAHMS Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, violas, cellos and basses Duration: Approximately 29 minutes Composed: 1858-59 (revised 1875) First Performance: February 10, 1860 in Hamburg, Germany Origins: Each year from 1857 to 1859, Brahms spent a few months conducting a choir and offering piano lessons in Detmold, Germany. It was there that he wrote two Serenades, using as his guide the Classical-era tradition of lighthearted music for evening gatherings. With less baggage than symphonies (a form that flummoxed him for decades) but more textural possibilities than solo piano music and songs (genres that dominated his early output), the Serenades were important laboratories for Brahms’ orchestral craft.

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Notes to Notice: I. Allegro moderato. The Serenade No. 2 owes much of its personality to its instrumentation. Removing the violins clears space for the transparent and breezy woodwind choir, and it also allows the violas to occupy wider sonic territory. The orchestration emphasizes the connection to the outdoor bands associated with Classical serenades, and much of the musical material has an antique patina, as in the simple chorale that begins the work.

II. Scherzo: Vivace. Brahms’ reckoning with the past also fuels the three central movements, starting with a tidy Scherzo that opens into an unexpectedly broad and luminous contrasting trio section.

III. Adagio non troppo. The somber, Baroque-tinged opening of this slow movement provides the raw material for a lush and haunting core.

IV. Quasi menuetto. This additional palate-cleansing movement, in the style of a Minuet, balances naïve dance music (perhaps the measured steps of someone learning to dance) with a contrasting section that builds a halting melody.

V. Rondo: Allegro. The finale exhibits a hunting character in the style of Haydn, adding a piccolo to contribute extra brightness and shimmer.

Symphony No. 9 in C Major, D. 944 FRANZ SCHUBERT Born January 31, 1797 in Vienna, Austria Died November 19, 1828 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings Duration: Approximately 48 minutes Composed: 1825-26 First Performance: March 21, 1839 in Leipzig, Germany Origins: A letter from 1824 attests to Schubert’s ambition to compose a “grand symphony,” a desire that could only have been stoked further when he attended the premiere that year of Beethoven’s epic Symphony No. 9. The next year, while vacationing on an Austrian lake and enjoying his best health in years, Schubert began his massive symphony in C major, the one that would eventually earn the nickname “The Great.” He completed it the next year, but like all his other symphonies it languished; not a single one was heard in public before he died in 1828. The Ninth Symphony’s fortunes finally turned in 1837, when Robert Schumann, an admirer and champion of Schubert, visited the late composer’s brother in Vienna and found the 130-page manuscript. Schumann forwarded the score to his friend Felix Mendelssohn, who finally conducted the first performance in 1839.

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Notes on the Program

Notes to Notice: I. Andante – Allegro, ma non troppo – Più moto. Schumann was not exaggerating when he praised this symphony’s “heavenly length,” which can stretch to nearly an hour depending on tempos and whether sections are repeated as indicated.

Like Beethoven’s Seventh Symphony, Schubert’s first movement places a substantial and not-so-slow introduction before the main body of the movement, with the two sections spliced neatly together through the shared motive of triplet accompaniment figures.

II. Andante con moto. The second movement likewise makes a point of moving forward more purposely than most symphonic slow movements, with the tempo marked Andante con moto, or “At a walking pace, with motion.” (Again Beethoven’s Seventh provided a model, with its nimble Allegretto). Schubert’s symphonic construct builds toward militaristic intensity, but his knack for intimate songwriting makes its presence felt too, with the oboe taking the first turn as a surrogate singer.

III. Scherzo: Allegro vivace. Schubert’s scherzo, as huge as the preceding movements, follows the boisterous and hearty template Beethoven developed in his symphonies as an answer to Haydn’s more polite minuets. The scale of this movement matches the supersized scherzo from Beethoven’s Ninth Symphony, but Schubert is much more effusive with his melodies, supporting them with freewheeling shifts between major and minor harmonies along the way.

IV. Allegro vivace. In some of Schubert’s most famous songs, he generated unrelenting momentum with fleet-fingered piano accompaniments. For this symphonic finale, the violins often fill the same function, churning through streams of rapid triplets in smooth slurs or brittle bursts. © 2018 Aaron Grad.

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Young Friends of Palm Beach Symphony EXECUTIVE COMMITTEE

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SAPPHIRE SEASON45

Cool Winds March 18, 2019 | 7:30 PM Society of the Four Arts

Ramón Tebar, Conductor

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Robert Weiner, oboe; Anna Brumbaugh, clarinet; Madison Allen, horn; Luciano Magnanini, bassoon Soloists PROGRAM

–––

MOZART

(1756 – 1791)

Sinfonia Concertante for four winds in E-flat Major, K. 297b Allegro Adagio Andante con variazioni

HAYDN

(1732 – 1809)

Symphony No. 6 in D Major “Le matin” Adagio – Allegro Adagio – Andante Menuet Finale: Allegro

––– INTERMISSION Symphony No. 7 in C Major “Le midi” Adagio – Allegro Recitativo – Adagio Menuetto Finale: Allegro This evening was generously underwritten

by Mr. Leslie Rose (après dinner at The Colony).

Symphony No. 8 in G Major “Le soir” Allegro molto Andante Menuetto La Tempesta: Presto

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Notes on the Program

Cool Winds Notes on the Program by Aaron Grad

The approach pioneered by Haydn and advanced by Mozart—what we know call the Classical style—reacted against the ornate complexities of Baroque music by emphasizing balance, proportion and reason. Still this cool and elegant new aesthetic was rooted in history, as the works on this program demonstrate. Mozart’s Sinfonia concertante, featuring four wind soloists, updated the Baroque convention of a group concerto. The same tradition informed Haydn’s seminal symphonies for his Esterházy patrons, blended with details lifted from Italian opera, French dance music and other precedents from earlier in the eighteenth century.

Sinfonia concertante for Winds in E-flat Major, K. 297b WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Instrumentation: solo oboe, clarinet, horn and bassoon, with an orchestra of 2 oboes, 2 horns and strings Duration: Approximately 32 minutes Composed: 1778 First Performance: Unknown Origins: While job-hunting in Paris in 1778, Mozart accepted a commission to write a Sinfonia concertante for a prestigious concert series. He wrote the group concerto to feature four standout wind players he had just worked with in Mannheim, Germany, but apparently the performance never took place, and the score remained in Paris when Mozart returned home. That manuscript was lost, but almost a century later a musicologist discovered a similar Sinfonia concertante in Germany. The handwriting was not Mozart’s own, and the replacement of a solo clarinet for the original flute was an obvious change, but scholars saw enough of Mozart in the material to declare this work a variant of the lost Sinfonia concertante.

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Notes to Notice: I. Allegro. The Sinfonia concertante begins with a lovely tutti exposition for the orchestra, but the real fun begins with the arrival of the soloists. They align in octaves for their first phrase, and then the quartet splits off into operatic conversation. The clarinet, besides playing against the oboe as a melodic foil, drops into an accompanying role with fluid arpeggios that are tailor-made for the instrument. (Whoever adapted the woodwind solos must have known and loved the clarinet as well as Mozart.)

II. Adagio. In the slow movement, the soloists once again exchange song-like phrases over a spacious accompaniment. Melodic contributions from the horn contribute to the movement’s noble character, and the pulsing pedal tones in the bass provide a grounded sense of calm in the brief tutti interludes.

III. Andante con variazioni. The theme-and-variations structure of the finale offers ample opportunities to show off the strengths of the four soloists. At the end, the pace slows briefly to an Adagio tempo before notching up to Allegro for a festive conclusion in a dancing triplet meter.

Symphony No. 6 in D Major (“Morning”) FRANZ JOSEPH HAYDN Born March 31, 1732 in Rohrau, Austria Died May 31, 1809 in Vienna, Austria Instrumentation: flute, 2 oboes, bassoon, 2 horns, strings and basso continuo Duration: Approximately 24 minutes Composed: 1761 First Performance: Unknown Origins: In 1761, the 29-year-old Joseph Haydn received a lucrative job offer from Prince Paul Anton Esterházy, the head of one of Austria’s richest and most powerful noble families. During his first five years as Vice-Kapellmeister, Haydn was responsible for putting on concerts with the world-class private orchestra at his disposal, leading him to compose about two-dozen symphonies along with various concertos and other instrumental works. His first Esterházy symphonies were a trilogy connected to times of day—“Le matin” (Morning), “Le midi” (Noon) and “Le soir” (Evening)—an idea that may have been suggested by Prince Paul Anton. The work cataloged as Symphony No. 6 was probably closer to Haydn’s tenth, chronologically.

Notes to Notice: I. Adagio – allegro. The “Morning” Symphony opens with a slow introduction.

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Notes on the Program

The first violins enter alone, then the second violins join in harmony, and soon the entire orchestra surges to a bright climax, like a sunrise breaking over the horizon. The fast body of the movement enters with a melody played by flute alone.

II. Adagio – andante. The slow movement, scored without winds, emphasizes solo parts for violin and cello. Like the flute in the opening movement, these featured parts show this symphony to be a descendent of the Baroque concerto grosso (a concerto for multiple soloists) as much as it is an offspring of the operatic overture or sinfonia.

III. Menuet. A court dance marked by its stately pulse of three beats per measure, the minuet was a staple of the French dance suite. Haydn was among the first to add this extra movement to the Italian sinfonia template, one of the innovations that earned him the nickname “father of the symphony.”

IV. Finale: Allegro. Even in this very early symphony, the finale displays Haydn’s typical panache, like how he turns a simple melodic gesture of a rising scale into a pervasive, energizing accompaniment figure.

Symphony No. 7 in C Major (“Noon”) FRANZ JOSEPH HAYDN Born March 31, 1732 in Rohrau, Austria Died May 31, 1809 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, bassoon, 2 horns, strings and basso continuo Duration: Approximately 21 minutes Composed: 1761 First Performance: Unknown Origins: The symphony nicknamed “Noon” was the second of the three symphonies linked to times of day that Haydn wrote early in his tenure with the Esterházy family. Haydn went on to have such a defining influence on his era that it’s easy to forget the environment in which he began; the year he wrote this symphony, the 80-year-old Telemann was still dispatching vital music from Hamburg, while Mozart was just a five-year-old keyboard prodigy in Salzburg.

Notes to Notice: I. Adagio – Allegro. With its slow introduction built from regal dotted rhythms, the opening movement points to another key influence in the development of the symphony: the French dance suite. The fast portion of the movement features two solo violins and other individual voices in textures reminiscent of the Italian concerto grosso.

II. Recitativo – Adagio. The slow movement is prefaced by a halting Recitativo, a convention borrowed from opera. In the tuneful body of the movement, two flutes

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replace the oboes, adding a smooth new color. Haydn wrote out the fluid cadenza at the end for violin and cello.

III. Menuetto. With a rustic, outdoorsy quality reminiscent of the Austrian ländler dance, the minuet brings extra attention to the horns. The contrasting trio section introduces yet another unexpected voice, with a melody designed to feature a solo bass.

IV. Finale: Allegro. Solo flute, violins and horns all return to the fore in this lively and virtuosic finale.

Symphony No. 8 in G Major (“Evening”) FRANZ JOSEPH HADYN Born March 31, 1732 in Rohrau, Austria Died May 31, 1809 in Vienna, Austria Instrumentation: flute, 2 oboes, bassoon, 2 horns, strings and basso continuo Duration: Approximately 23 minutes Composed: 1761 First Performance: Unknown Origins: The final symphony from Haydn’s early trilogy represents “Evening.”

Like its siblings, it includes ample solo passages in the manner of a concerto grosso. Many other details of form, harmony and orchestration point to Haydn’s mature symphonic voice, a craft he explored in nearly 100 more works over the next thirty-plus years.

Notes to Notice: I. Allegro molto. The most distinctive and Haydnesque moment comes in this movement’s recapitulation, when a held chord momentarily diverts the harmony to the “wrong” key. Haydn was a master of the Sonata-Allegro form that organizes this and most other symphonic first movements, playing off the listener’s expectations for a particular resolution.

II. Andante. The new color in this slow movement is a solo bassoon, which works with the solo cello as a tenor-range counterpart to the two solo violins in the soprano register.

III. Menuetto. Continuing the pattern from the two previous symphonies, a solo contrabass adds a distinctive color to the contrasting trio section.

IV. La Tempesta: Presto. As a bookend to the sunrise that begins the trilogy, this finale engages in literal scene painting by conjuring a storm full of descending swoops and arpeggios. © 2018 Aaron Grad.

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SAPPHIRE SEASON45

Precious Gems April 12, 2019 | 8 PM

The Kravis Center for the Performing Arts

Ramón Tebar, Conductor

5

Leon Fleisher, piano,

Frank Salomon Associates, Featured Guest Artist

PROGRAM

–––

MOZART (1756 – 1791)

Piano Concerto No. 12 in A Major, K. 414 Allegro Andante Allegretto ––– INTERMISSION

BRUCKNER

Symphony No. 7 in E Major

(1824 – 1896)

Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell Finale: Bewegt, doch nicht schnell

Lobby Performance | 7 PM

Youth Orchestra of Palm Beach County Chamber Strings under the direction of Suzanne Prescott This evening was generously underwritten by The McNulty Foundation (pre-concert dinner at The Kravis Center Cohen Pavilion).

Hilton West Palm Beach, official hotel sponsor.

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Notes on the Program

Leon Fleisher, piano

As a recipient of the Kennedy Center Honors in 2007, pianist Leon Fleisher was recognized as a “consummate musician whose career is a testament to the life-affirming power of art.”

The child prodigy began to study the piano at the age of four and by the age of nine, the legendary Artur Schnabel invited him to be his student. Leon Fleisher made his debut with the New York Philharmonic, conducted by Pierre Monteux when he was sixteen years old. Maître Monteux called him “the pianistic find of the century.”

“You can’t see music as it passes through the air.

You can’t grasp it and hold on to it.

You can’t smell it.

You can’t taste it.

But it has a most powerful effect on most people.

And that is a wondrous thing to contemplate.”

Fleisher went on to international renown, becoming the first American to win the prestigious Queen Elisabeth of Belgium Competition in Brussels in 1952. He subsequently enjoyed a prolific recording career, most notably with George Szell and The Cleveland Orchestra. In 1965, Fleisher began to suffer symptoms of a debilitating condition of his right hand, later diagnosed as focal dystonia, a neurological condition that causes the fingers to curl into the palm of the hand.

After a period of great despair, Fleisher channeled his creativity in new directions, mastering the piano repertoire for left hand and initiating a career in conducting. He renewed his dedication to teaching at the Peabody Institute, where he has been an inspiration to hundreds of students since 1959 and holds the Andrew W. Mellon Chair. As a teacher, he has carried on a tradition that descends directly from Beethoven himself, handed down generationally through Carl Czerny, Theodor Leschetizky, Artur Schnabel and Leon Fleisher himself.

In the mid-90s, with the combined therapies of Botox injections and Rolfing, he regained sufficient use of his right hand, leading to an extraordinary career renaissance. In 2003,

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Fleisher joined forces with his wife, pianist Katherine Jacobson, to form the Fleisher-Jacobson Piano Duo, giving concerts world-wide and recording for Sony Classical. Fleisher released the album Two Hands in 2004, which went on to hold a Top 5 Billboard Chart position and was hailed by critics as one of the best recordings of the year.

Two Hands is also the title of the Oscar nominated 17-minute documentary film about his amazing life story. In 2013, Sony Classical issued a 23-CD box set of his entire recorded output, and in 2014, Fleisher released the Grammynominated All the Things You Are, which reached # 1 on the classical charts.

Fleisher continues with an international schedule of performances, orchestral guest conducting and master classes.

In recent seasons, he has conducted leading orchestras in the U.S., Canada, China and Japan; appeared as concerto soloist with orchestras including the Baltimore and Cincinnati Symphonies; performed recitals worldwide; and given his memorable master classes at festivals, conservatories and universities around the country.

In celebration of his 90th year, he made appearances in Toronto, Ottawa, and Montreal as soloist with the Toronto Symphony and Peter Oundjian; at the Gilmore Festival; and in recital at the Ravinia and Tanglewood Festivals. In 2018-2019 he continues the celebration with recitals at Carnegie Hall, Philadelphia, Washington, D.C., and San Francisco, among other appearances.

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Notes on the Program

Precious Gems Notes on the Program by Aaron Grad

Vienna, the wealthy capital of a sprawling empire, was a magnet for the greatest composers in German-speaking lands and beyond. Mozart’s Piano Concerto No. 12 and Bruckner’s Symphony No. 7, written almost exactly a century apart, point to the long and luxurious history of composers mining their most precious music in the city that occupied the center of the musical universe.

Piano Concerto No. 12 in A Major, K. 414 WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Instrumentation: solo piano with 2 oboes, 2 horns and strings Duration: Approximately 25 minutes Composed: 1782 First Performance: 1783 in Vienna Origins: The Piano Concerto No. 12 in A Major was the first of Mozart’s 27 piano concertos created wholly in Vienna. Composed in the fall of 1782, he performed it for the first time during the Lenten concert season in 1783. (Operas couldn’t be staged during that solemn period in the Christian calendar, but concerts were allowed, making it a busy and profitable time for performers.) Later Mozart packaged this concerto and two others from the same period for publication, as a way to extract further income from the works. For maximum marketability, he advertised that the concertos could be played with only a string quartet joining the piano, a more workable combination for home use by amateurs.

Notes to Notice: I. Allegro. Starting from the quiet opening of its initial tutti section, the first movement develops the type of singing melodies that Mozart, the consummate opera composer, transferred so effectively into his piano concertos. The oboes and horns add noble flourishes and extra emphasis to points of arrival without carrying any responsibility so great that their absence would disrupt the proceedings.

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Precious Gems

II. Andante. For the central Andante, Mozart began with a tender quotation from an opera overture by J. C. Bach, who had died earlier in the year. Back when Mozart was a seven-year-old prodigy passing through London in 1763, he struck up an influential and lasting friendship with the youngest son of J. S. Bach. With this tribute in the piano concerto, Mozart seemed to affirm his deep regard for a pivotal composer whose class and refinement helped define what we now know as the Classical style.

III. Allegretto. Mozart’s recent encounters with the all-but-forgotten fugues of J. S. Bach made their mark on the finale of the A-major concerto, with its imitative counterpoint in the piano writing and stark unison phrases from the strings. This contrapuntal awareness would continue to rise to the fore in the concertos and symphonies that Mozart penned during his miraculous final decade in Vienna.

Symphony No. 7 in E Major ANTON BRUCKNER Born September 4, 1824 in Ansfelden, Austria Died October 11, 1896 in Vienna, Austria Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 Wagner tubas, timpani, percussion (cymbals, triangle) and strings.

Duration: Approximately 64 minutes Composed: 1881-83 First Performance: December 30, 1884 in Leipzig, Germany Origins: Anton Bruckner was a tremendous organist and a beloved teacher, but that didn’t stop his Viennese peers from dismissing him as a country bumpkin. His provincial clothing and accent stuck out in the elegant capital, and his devotion to Roman Catholicism and the music of Richard Wagner cost him dearly in a Protestant city aligned with Johannes Brahms. He wrote and revised symphony after symphony with no public recognition to speak of, and even his students grew so exasperated that they took to revising scores behind Bruckner’s back, clouding much of his catalog with questions about authenticity.

It was not until the debut of his Seventh Symphony in 1884 that Bruckner, then 60, finally earned a measure of respect as a composer.

Notes to Notice: I. Allegro moderato. Bruckner’s Seventh Symphony shimmers from the start, with broad melodic phrases soaring over a quivering tremolo accompaniment.

The cellos continue to spin out long phrases with shifting instrumental pairings, establishing the melodic primacy and glacial harmonic flow of the symphony.

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Notes on the Program

Walk-In Urgent Care Bruckner sustains the drama by pacing his effects with the greatest economy— Available in for example, withholding the timpani’s first entrance until the coda nearly 17 minutes into the movement, and then maintaining its roll on the note E until it Sizes 0blooms to minutes 20 Years later into a thunderous climax in the home key.

II. Adagio: Sehr feierlich und sehr langsam (Very solemn and slow). This slow movement bears a resemblance to Bruckner’s next composition, a sacred setting of the Te Deum hymn, and its elegiac quality is heightened by the claim that he wrote its closing section the moment he heard that Richard Wagner had died.

Bruckner makes another nod to his hero by employing a quartet of Wagner tubas, most prominently in the movement’s opening chords. Wagner invented this now-rare instrument, closely related to the French horn but with a darker and more focused sound, for use in the Ring cycle.

III. Scherzo: Sehr schnell (Very fast). The scherzo develops a leaping theme first heard in the trumpet, with an intervallic pattern reminiscent of the symphony’s initial motive. The central contrasting section introduces a more pastoral color, borrowing the flow of the ländler dance from rural Austria.

IV. Finale: Bewegt, doch nicht schnell (Moving, but not fast). The ascending melody that starts the finale prepares the end of this symphony’s sweeping journey, culminating in a fortississimo validation of thenetwork home key.

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–––––I N MEMORI AM–––––

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Howard M. Lester January 21, 1927 – January 27, 2018

Howard will be remembered for his 11 a.m. - 10 p.m. many years as a friend and strong supporter of Palm Beach Symphony.

His memory will be held dear by those who knew him for his great integrity, his wry sense of humor and for his great stoicism. He never complained and continually put others’ needs ahead of his own. He was a true Located in Legacy Place and ambassador for the music nicklauschildrens.org/PalmBeachGardens mission of his community orchestra.

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For over 40 years we’ve been fighting alongside children like Gabriela.

Now we’re fighting under a new name.

Miami Children’s Health Foundation is now Nicklaus Children’s Hospital Foundation.

Our name has changed, but our dedication to our mission to inspire hope and promote health for every child has remained the same.

Give today and fight along with us.

Nicklaus Children’s Hospital Foundation give.nicklauschildrens.org

Gabriela, 9, was born with a cleft palate and has undergone 5 surgeries

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.

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Elizabeth Bowden+

Sheryne Brekus

Trudy Brekus

Nannette Cassidy

Amy Collins

Linda Fellner

Lurana Figueroa+

Virginia Gildea

Sandra Goldner+

Arlette Gordon+

Carol S. Hays

Ann Johnson*

Helene Karp

Marietta MuiĂąa McNulty+

Dawn Galvin Meiners*

Kathleen Miller

Pal m Beach Symphony

SAPPHIRE SEASON45

Sharon Muscarelle

Sally Ohrstrom+

Marguerite Rosner

Ruby Rinker

Karen Rogers

Veronica Tebar*

Tricia Trimble

Sieglinde Wikstrom+

Judy Woods

(Margaret Donnelley not pictured) +Founding Member *Honorary Member

–––––I N MEMORI AM––––– Marguerite Rosner was a Grand Benefactor and Palm Beach Symphony member for more than 40 years. With her passion for classical music and dedication to the Ladies Guild, she devoted her time and support to Palm Beach Symphony’s mission. As an outstanding supporter and active member of the Ladies Guild, she never missed a meeting. Marguerite served as co-chair of Palm Beach Symphony’s Sunset Dinner Cruise for 10 years. She was a much-loved member and an incredible friend to us and she will be greatly missed.

Her passing is an incredible loss and Palm Beach Symphony deeply mourns.

Heather McNulty Wyser-Pratte+

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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.

Doris Hastings John Herrick Susan Mark Philip Reagan Marguerite Rosner

Ray Robinson Endowment

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

David Albenda David C. 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 @pbsymphony

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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.

–––––SP O NSO R S–––––

Addison Hines Charitable Trust

–––––G OVE R NM E NT SP ONSO R S–––––

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Creative • Confident • Courageous

Artistic Expression thrives at The Benjamin School.

Our outstanding visual and performing arts faculty provide a nurturing environment that promotes creative exploration.

Students are encouraged to take risks, develop their talents and follow their passions.

Since 1960

PK3-12 Co-ed Independent Day School North Palm Beach & Palm Beach Gardens, FL thebenjaminschool.org / 561.472.3451

SAPPHIRE SEASON45

In di vidua l Support Palm Beach Symphony gratefu lly recognizes the individuals listed here for their g enerous fi nancial support, which mak es our season of life ≠enriching programs for the community possible.

Received as of N ovember 2, 2018

DIAMOND GRAND BENEFACTOR $1,000,000 AND MORE Dora Bak*

GRAND BENEFACTORS

GIFTS FROM $20,000 TO $49,999 The Cornelia T. Bailey Foundation David and Eunice Bigelow Les lie Rogers Blum Mary B. Galvin Paul and Sandra Goldner Addison Hines Charitable Trust The L achman Family Foundation The McNulty Foundation Dawn Galvin Meiners The David Mink in Foundation Palm Beach Public Orchestral Strings Foundation Lois Pope Li f e Foundation, Inc. Provident Jewelry/Scott Diament Les lie Rose Marguerite M. Rosner David K . Schaf er Silversea Cruises and Atlantis International L td. Inc Don and Mary Thompson West Palm Beach Downtown Development Authority

$100,000 AND MORE GIFTS FROM $10,000 TO $19,999 L eonard and Norma K lorfi ne Foundation L ynn and John Pohanka/ John J. Pohanka F amily Foundation

BENEFACTORS GIFTS FROM $50,000 TO $99,999 James Borynack a nd Adolfo Z aralegui/Findlay Galleries, Inc. The Charles and Ann Johnson Family Foundation Dodie and Manley Thaler and the Thaler/Howell Foundation

Jerome J. Claeys III Julie F & Peter D Cummings Fund of the C ommunity Foundation f or Palm Beach and Martin Counties John W. and Virginia Gildea John D. Herrick Hilton West Palm Beach Stephen L aForte Norman and Susan Oblon Palm Beach State College Foundation, Inc. Steven and K atherine Pinard PNC Arts Alive Ari Rifkin K aren and K enneth Rogers RPP Palm Beach Property LP Robin B. Smith Strauss Foundation K aren N. Tell Tricia and Tom Trimble Sieglinde Wik strom James and Judy Woods

"#$%&'#()*&!!!! #+,'$-+.(%&'#()*&/)01

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Individual Support GIFTS FROM $4,000 TO $9,999 Donna D. Barnette Hans and Sigrid Baumann Arthur E. Benjamin The Benjamin School Jeffrey Blitz Dr. Elizabeth Bowden Trudy Brekus John A. Cammeyer and Marie Feldman CityPlace Retail LLC John and Amy Collins Paul DeJong Mary and Will Demory Scott Diament Anthony DiResta and Terrance Mason Margaret Donnelley Arlette Gordon Gucci America, Inc. Steven and Caroline Harless Carol S. and Joseph Andrew Hays The Kirkwood Fund of the Community Foundation for Palm Beach and Martin Counties Lowell and Joanne Jaeger Michele Kang Dorothy and Sidney Kohl Peter and Paula Lunder Lynn and Robert Francis Mackle Mary Bryant McCourt Dale and Marietta McNulty Charles and Kathy Miller Nicklaus Children’s Hospital Foundation Nancy and Ellis J. Parker, III Barbara and David Perlmutter Philip M. Reagan Burton Rocks Lawrence and Marlene Rocks R.P. Simmons Family Foundation Lesly Smith/The Fortin Foundation of Florida The Seth Sprague Educational and Charitable Foundation Beverly Sommer Mary Lou Wagner

GIFTS FROM $2,000 TO $3,999 John Pierce Archer Dorian L. Baldwin Richard and Lon Behr Hans and Barbara Bergstrom Harry and Marie Bissell William B. Blundin Nannette Cassidy Ms. Maude Cook Todd and Julie Dahlstrom William DeBrule Don Ephraim and Maxine Marks of the Don Ephraim Family Foundation Kent and Pamela Fincham William G. Frick 78

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Betty Godfrey Charles Gradante Ann Grimm Harvey Capital Management Dr. Peter Heydon Alex and Cynthia Housten Joanna and Joseph Jiampietro Mrs. Stanley Karp Carol Katz Phyllis Katz Monica Kaufmann/Kaufmann deSuisse Mrs. James Kay Allan Kennedy Christa Kramer Lamborghini Palm Beach Stephanie Lefes Robert M. Lichten Julian and Sigrid Light Virginia Longo Dr. Howard R. and Joanne Lyboldt The Honorable Bonnie McElveen-Hunter Mrs. J. Brian Moran Kenneth and Sally Ohrstrom Kitty Omura Sarah Pietrafesa Publix Super Markets Charities Denice D. Quinn Barbara Rentschler Ruby S. Rinker Rebecca Robinson Saks Fifth Avenue Gudrun Sawerthal Dyanne Connelly Tosi Heather McNulty Wyser-Pratte

GIFTS FROM $1,000 TO $1,999 Julia M. Amadio Bascom Palmer Eye Institute Harold and Carol Baxter Thomas P. Boland PJ Callahan Foundation, Inc. Chafin Musicenter Dr. Jose and Lurana Figueroa Florida Department of State Division of Cultural Affairs Mrs. Robert Grace IBERIABANK Dr. Robert and Ann Jaeder Lisa Koeper Arefa Lambert David and Millie McCoy Joseph and Sharon Muscarelle/ Jos. L. Muscarelle Foundation Patrick Park The Raymond F. Kravis Center Margret Rost Rustico Italiano South Florida Science Center and Aquarium, Inc. Carol and Jerome Trautschold

Individual Support GIFTS UP TO $999 Anonymous Roni and Tony Abbatiello in memory of Dr. Stuart Bailin Lois Abcug in memory of Dr. Stuart Bailin Madeline Anbinder Carol Anderson The Bachman family in memory of Dr. Stuart Bailin Merris Badcock in memory of Dr. Stuart Bailin Sharon Bailin in memory of her husband Dr. Stuart Bailin Paul Bailin, Jennifer Wenzel & Eliana Bailin in memory of Dr. Stuart Bailin Randee Bank Todd Barron Nicole Basile Kirill Basov C. Gordon Beck III Brandy Billinghurst Timothy H. Birnbaum Bolay Sheryne Brekus Cindy Burke Sandi and Bab Canarick in memory of Dr. Stuart Bailin Lola Carson Sylvia B. Chilli Norma J. and Joseph Ciccone Dana Cilmi Guy W. Clark II Mark Colasurdo Maureen Conte Dr. Alexandra Cook Lauren Cuenant Michael S. Daiell and Elaine C. Levy in memory of Dr. Stuart Bailin Thomas D’Agostino Jr Adam Davids Dgani family in memory of Dr. Stuart Bailin Lori Dornbusch Susan Dyer Diego Echeverri Education Foundation of Palm Beach County Elicia Faitell in memory of Dr. Stuart Bailin Kyle Bartholemew Fant Ellen Feder in memory of Dr. Stuart Bailin Linda Fellner Brad Fox Harris S. Fried The Gardens Mall Elisa Gaudet Theresa M. Gaugler Colleen Gildea Brian and Michelle Grossberg in memory of Dr. Stuart Bailin

Bill Hamilton Cassandra Henderson Carol and Dick Heyman in memory of Dr. Stuart Bailin Lisa Hunt Sabra Ingeman Michelle James Arsine Kaloustian Louise K. Kaufman Kristen Kellogg and Taylor Smith Mark Khachaturian and Kate Blickle Taniel Koushakjian Myriam Leibowitz David Leibowitz Dr. Robert Mackler Malvern Bank, NA Cheryl Mckee Michael and Shari Meltzer Joseph S. Mendozza Lisa Menschel in memory of Dr. Stuart Balin Allison Mittleman in memory of her father Dr. Stuart Bailin Michelle, Jon, Alexa and Zac Mittleman in memory of Dr. Stuart Bailin Loretta Neff Steffanie Ngo-Hatchie Ximena Pacheco-Veliz Anka K. Palitz Roby and Xiomi Penn Justin Platt Juan Pretel Linda and Lee Rascovar in memory of Dr. Stuart Bailin Jill Bailin Rembar in memory of Dr. Stuart Bailin Karen Restaino Patrick Rickel-Finnegan Nathan Rimpf Dr. Lawrence N. & Lana K. Rouff Bonnie Rush-Kanter in memory of Dr. Stuart Bailin Michele Schimmel Eric L. Schmidt Tina Segal in memory of Dr. Stuart Bailin Seminole Indian Casino Coconut Creek Isora and Steve Sherman Judy Sherman in memory of Dr. Stuart Bailin Helene and Irwin Shulman in memory of Dr. Stuart Bailin Kate Stamm Ramsay Stevens Lynne Teich in memory of Dr. Stuart Bailin Cynthia Tsonas Krystian von Speidel Kate Waterhouse Alexandria Watkins

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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 year in a row, ophthalmologists from around the country ranked Bascom Palmer Eye Institute as the best eye hospital in the United States in U.S.News & World Report’s survey on America’s Best Hospitals.

This honor is a great testimony to our experience and technology, and should be a comfort to you knowing that the best eye doctors in the world are right here at home.

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