Palm Beach Symphony - 2021/22 Masterworks Program Book

palm be ach symphony I 2021-22

MASTERWORKS music director gerard schwarz

November 7

December 2

January 10

March 7

April 10

Hélène Grimaud

Jon Manasse

Yefim Bronfman

Maria João Pires

Midori

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Table of Contents November 7 Tchaikovsky’s Fifth Symphony Tchaikovsky I Coleman I Schumann The Kravis Center December 2 Mozart’s Final Year Mozart The Kravis Center

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January 10 Romantic Rachmaninoff Liadov I Rachmaninoff I Shostakovich The Kravis Center March 7 Beethoven & Mahler Beethoven I Mahler The Kravis Center

President’s Welcome Message from the Music Director Chief Executive Officer’s Letter Acknowledgements

Photo Credits IndieHouseFilms: All performance photography Capehart Photography: All social photography

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April 10 Dvořák’s Eighth Symphony W. Schuman I Korngold I Dvořák The Kravis Center

Symphony Mission

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Palm Beach Symphony 400 Hibiscus Street, Suite 100, West Palm Beach, FL 33401 Phone: 561.655.2657 I Box Office: 561.281.0145 @pbsymphony I palmbeachsymphony.org palmbeachsymphony.org

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2021-22

CALENDAR OF EVENTS Sunday, Oct. 24 Eudora’s Fable: The Shoe Bird Dale A. McNulty Children’s Concert Series FAMILY CONCERT Eissey Campus Theater 3:00 pm November 1 - 31 Eudora’s Fable: The Shoe Bird, Virtual Field Trip CHILDREN’S CONCERT SERIES Kravis Classroom Connection Tuesday, Oct. 26 Season Kick-Off MEMBERS-ONLY SOCIAL EVENT Young Friends of Palm Beach Symphony The Colony Hotel 6:00 pm Monday, Nov. 1 Season Kick-off Cocktails: Celebrating Our 48th Anniversary MEMBERS-ONLY SOCIAL EVENT Club Colette 6:00 pm Sunday, Nov. 7 Pre-Concert Brunch MEMBERS-ONLY SOCIAL EVENT Young Friends of Palm Beach Symphony The Hilton West Palm Beach 12:30 pm Sunday, Nov. 7 Tchaikovsky’s Fifth Symphony MASTERWORKS CONCERT 1 Tchaikovsky I Valerie Coleman I Schumann Gerard Schwarz, conductor Hélène Grimaud, piano The Kravis Center 3:00 pm Sunday, Nov. 7 Après Dinner MEMBERS-ONLY SOCIAL EVENT Cohen Pavilion, The Kravis Center 5:00 pm

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Palm Beach Symphony

Friday, Nov. 19 Music Men Kick-off Cocktails INVITATION-ONLY SOCIAL EVENT Findlay Galleries 6:00 pm Thursday, Dec. 2 Mozart’s Final Year MASTERWORKS CONCERT 2 Mozart Gerard Schwarz, conductor Jon Manasse, clarinet Master Chorale of South Florida The Kravis Center 7:30 pm Thursday, Dec. 2 Après Dinner MEMBERS-ONLY SOCIAL EVENT Cohen Pavilion, The Kravis Center 9:30 pm Tuesday, Dec. 7, 2021 The Fifth Annual Holly Jolly Symphony Fête Holiday Luncheon The Beach Club Palm Beach 10:30 am Thursday, Dec. 16, 2021 Instrument Donation Drive MEMBERS-ONLY SOCIAL EVENT & GUESTS WHO DONATE AN INSTRUMENT Young Friends of Palm Beach Symphony Grandview Public Market 4:00 -8:00 pm Thursday, Dec. 23 Friday, Dec. 24 Sunday, Dec. 26 Friday, Dec. 31 Sounds of the Season Televised Holiday Concert Presented by CBS12 News Featuring the rising star soprano Virginia Mims and award-winning baritone Kim Josephson.

CBS 12 News & CW34

Monday, Jan. 10 Romantic Rachmaninoff MASTERWORKS CONCERT 3 Liadov I Rachmaninoff I Shostakovich Gerard Schwarz, conductor Yefim Bronfman, piano The Kravis Center 7:30 pm Monday, Jan. 10 Après Dinner MEMBERS-ONLY SOCIAL EVENT Cohen Pavilion, The Kravis Center 9:30 pm February - March 2022 One Small Step, Student Education Performances, Virtual Field Trip CHILDREN’S CONCERT SERIES Thursday, Feb. 3 Seaside Social MEMBERS-ONLY SOCIAL EVENT Young Friends of Palm Beach Symphony Private Residence 6:00 pm Thursday, Feb. 10 Swings for Strings Golf Invitational Kick-off INVITATION-ONLY SOCIAL EVENT Private Residence 6:00 pm Monday, Feb. 21 20th Anniversary Annual Gala: A Musical Journey Honoring late president Dale Archer McNulty The Breakers Palm Beach Black-Tie 7:00 pm Monday, Mar. 7 Beethoven & Mahler MASTERWORKS CONCERT 4 Beethoven I Mahler Gerard Schwarz, conductor Maria João Pires, piano The Kravis Center 7:30 pm

Monday, Mar. 7 Après Dinner MEMBERS-ONLY SOCIAL EVENT Cohen Pavilion, The Kravis Center 9:30 pm Thursday, Mar. 31 Swings for Strings Golf Invitational Wellington National Golf Club 11:00 am Sunday, Apr. 10 Dvořák’s Eighth Symphony MASTERWORKS CONCERT 5 W. Schuman I Korngold I Dvořák Gerard Schwarz, conductor Midori, violin The Kravis Center 3:00 pm Sunday, Apr. 10 Après Dinner MEMBERS-ONLY SOCIAL EVENT Cohen Pavilion, The Kravis Center 5:00 pm Tuesday, Apr. 12 Sunset Dinner Cruise on the Catalina MEMBERS-ONLY SOCIAL EVENT North Palm Beach Marina 6:45 pm Thursday, Apr. 14 Mallets & Mozart MEMBERS-ONLY SOCIAL EVENT Young Friends of Palm Beach Symphony National Croquet Center 5:30 pm Tuesday, May. 24 Recital & Social MEMBERS-ONLY SOCIAL EVENT Young Friends of Palm Beach Symphony The Norton Museum of Art Mary Hilem Taylor Music Scholarship Compeiition winners and PBS muscians.

6:00 pm

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BOARD OF DIRECTORS

Peter M. Gottsegen Chair

James Borynack Vice Chair

John D. Herrick Treasurer

Manley Thaler Secretary

Todd Dahlstrom Director

Paul Goldner Director

Carol S. Hays Director

Gary Lachman Director

Marietta Muiña McNulty Director

Felicia Taylor Director

Don Thompson Director

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CHAIR’S WELCOME

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elcome to Palm Beach Symphony! We are delighted that you have chosen to join us for an unforgettable concert of inspiring orchestral music. The excitement of returning to live performances in the red velvet seats at the Kravis Center hearing the orchestra’s first notes is electrifying.

The sensation we longed to share with you while the concert halls were closed is now once again made possible only due to your extraordinary commitment. The support of Symphony patrons helped Palm Beach Symphony navigate the many challenges and obstacles, leading us to this season with the rebirth of live orchestral music in person.

As Palm Beach Symphony’s new board chair, I am honored to have around me in my first year our internationally acclaimed Music Director Gerard Schwarz, talented musicians, my fellow board members, long-standing patrons and a dedicated staff.

I thank the late Dale Archer McNulty for leading Palm Beach Symphony for more than ten years making and guiding the Symphony to what it has become today and building the team that currently surrounds me.

I look forward to continuing the great work Dale accomplished and honoring him at Palm Beach Symphony’s 20th Anniversary Annual Gala.

On behalf of the board of directors, thank you for joining Palm Beach Symphony as we again enjoy great music live and in person.

Peter Gottsegen Board Chair

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MESSAGE FROM

GERARD SCHWARZ

W

e are so thrilled and thankful to be bringing music LIVE to everyone in Palm Beach Symphony’s 48th season.

Five concerts, five unique experiences– all brought to you at our new home for the 2021/22 Masterworks Season, The Kravis Center for the Performing Arts!

Last year we had to pivot and offer livestream concerts only, which will still be available, but we are thrilled to be performing in front of a live audience again!

I’ve been amazed by the passion and commitment of the Symphony’s board of directors, musicians, guest artists, and staff who have worked tirelessly to arrange a season where we can join together and maintain health and safety protocols. Even in these challenging times, Palm Beach Symphony’s educational efforts, which have impacted the lives of more than 50,000 students in recent years, continue to make a difference in the lives of students in Palm Beach County through virtual coaching sessions, instrument donations, and virtual concerts.

Because of this I am excited to lead the orchestra for a performance of Eudora’s Fable: The Shoe Bird, a concert part of the Dale A. McNulty Children’s Concert Series. This family concert will premiere on October 24th and will additionally reach thousands of students around Palm Beach County as a virtual field trip through Kravis Classroom Connection.

This family concert will premiere on October 24th and will additionally reach thousands of students around Palm Beach County as a virtual field trip through Kravis Classroom Connection. Workshops will also be presented in partnership with the Literacy Coalition of Palm Beach County for upper elementary and middle school students.

First – Tchaikovsky’s Fifth will sweep you off your feet with some of the most famous romantic melodies ever composed. Then, Mozart’s Requiem – which should be on everyone’s bucket list to experience live – is featured on a unique concert diving into Mozart’s drama-filled final years.

Be there as a master pianist takes on one of the all-time most challenging works: Rachmaninoff’s Third Piano Concerto. Immerse yourself in the sound world of Mahler in March, and then discover an under-recognized composer who shaped the sound of Hollywood’s golden age, Erich Korngold.

We are excited to share inspiring works of orchestral music with you again for the 48th season safely with protocols that include wearing masks, keeping musicians and staff six feet apart, and air circulation. In addition, The Kravis Center has created health and safety protocols: masks and negative covid result required, enhanced cleaning and sanitizing, and new Ion and UV-C technology.

Again, we can’t wait to reunite at the concert hall on November 7 at the Kravis Center for the Performing Arts!

Gerard Schwarz Music Director

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MUSIC DIRECTOR

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

I

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

His considerable discography of over 350 albums showcases his collaborations with some of the world’s greatest orchestras including The Philadelphia Orchestra, London Symphony Orchestra, Berlin Radio Symphony Orchestra, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony Orchestra among others. In 2017 The Gerard Schwarz Collection, a 30-CD box set of previously unreleased or limited release works spanning his entire recording career was released by Naxos.

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

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

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

Music Director position underwritten by the Leonard and Norma Klorfine Foundation

palmbeachsymphony.org

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Jon Soto

SVP, Managing Director

Mimi Bengio

Senior Vice President

Stephen LaForte

Senior Vice President

Together, we can make beautiful music and communities.

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CHIEF EXECUTIVE

OFFICER’S LETTER The doors are now open! It is nearly beyond comprehension, that 20 months have passed since we have joined together to enjoy a Masterworks Season of live Palm Beach Symphony Concerts. We are so excited to have you in person this season to experience LIVE inspiring orchestral music, which for the first time is all held at The Raymond F. Kravis Center for the Performing Arts.

It is a reunion of the audience with the musicians on stage.

Music Director Gerard Schwarz has set the occasion with remarkable programs and has recruited many celebrated artists.

Though now is the moment of our return, Palm Beach Symphony will continue to innovate. Once again, we provide access to live streams of our Masterworks Concert Series, to meet the sustained demand for our performances online. We are excited to celebrate spirited music with a packed hall of concertgoers in person and thousands at home as we expand the ways Palm Beach Symphony realizes its mission for our community.

We are also tremendously enthusiastic about continuing one of the highlights from the past season, the Sounds of Season Holiday Concert presented by CBS 12 News. After receiving many accolades, our partnership with Sinclair Broadcast Group continues for a second year and will introduce a new special 4th of July televised performance in 2022. It’s thanks to you and the incredible generosity of Dodie and Manley Thaler and the Thaler/ Howell Foundation, along with the Addison Hines Charitable Trust, for making these special broadcasts possible.

To honor our late president Dale McNulty, we have renamed our annual concert series for students to the Dale A. McNulty Children’s Concert Series. As the first program under the renamed series, Palm Beach Symphony was thrilled to introduce Eudora’s Fable: The Shoe Bird this fall. The production is available to the 110,000 students and families in Palm Beach County virtually through the Kravis Classroom Connection and was provided as a family concert at the Eissey Campus Theatre.

I am overwhelmed with gratitude to you, patrons, board members, staff, musicians, and volunteers, who have helped the Symphony overcome the challenges from the past year as we continued our programs virtually in 2020/21 and discovered new opportunities for the Symphony to share its world-class orchestral music with so many in our community.

Together, we look forward to celebrating a bold, big season in person again. There is no substitute for live music, and it is an honor to have you return, as we remain committed to following health and safety guidelines from CDC recommendations and partner policies.

Thank you for joining us! Palm Beach Symphony is ready to perform world-class live music for you again.

David McClymont

Chief Executive Officer

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HISTORY & MISSION Palm Beach Symphony is South Florida’s premier orchestra known for its diverse repertoire and commitment to the community. Founded in 1974, this 501(c)(3) nonprofit arts organization adheres to a mission of engaging, educating, and entertaining the greater community of the Palm Beaches through live performances of inspiring orchestral music. The orchestra is celebrated for delivering spirited performances by first-rate musicians and distinguished guest artists. Recognized by The Cultural Council for Palm Beach County with a 2020 Muse Award for Outstanding Community Engagement, Palm Beach Symphony continues to expand its education and community outreach programs with children’s concerts, student coaching sessions and masterclasses, instrument donations and free public concerts that have reached more than 56,000 students in recent years.

History: In our earliest days, the orchestra performed only a few concerts a year

with a part-time conductor and a volunteer staff. It was not until Mrs. Ethel S. Stone became the Symphony’s board chair, a position she held for 23 years, that the Palm Beach Symphony orchestra began establishing itself as a cultural force in the community.

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

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

Today: From our humble beginnings, Palm Beach Symphony has grown to become

a cultural pillar in the Palm Beach community. Now a key cultural force in the area, we attract members who enjoy pairing quality concerts with fine dining experiences and social events, and who value and support the symphony’s music education and community outreach programs.

In 2019, as the Symphony entered its 45th season, we moved our operations across the bridge from Palm Beach (where we’d operated since 1974) to West Palm Beach, allowing us space to realize our full potential by expanding our mission and reaching even more corners of the community with orchestral music. By integrating with the rich fabric of the Downtown West Palm Beach business district, we’re able to align with countless economic development and tourism assets to enrich the lives of families, businesses, residents, students, and tourists.

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

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L&B-PBSymphony-Program21.qxp_Layout 1 9/21/21 2:05 PM Page 1

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Each day we draft a new movement in our symphony of life; what melody will you compose today?

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PLANNED GIVING

LEAVE A MUSICAL LEGACY Palm Beach Symphony is deeply grateful to those who remember us through bequests or planned gifts. There are many ways to make a planned gift to the Symphony. Depending on your age, your income and assets, and your vision of giving, you may wish to consider: • Beneficiary Designations under Retirement Plan Assets

• Charitable Lead Trusts

• [401(k), 403(b), IRA]

• Gift Annuities

• Bequests via Will or Living Trust • Cash

• Charitable Remainder Trusts • Life Insurance • Pledges

Your planned gift will help ensure the Symphony’s bright future by: • Keeping classical music thriving by supporting our world-class musicians and critically acclaimed conductor.

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

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

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 When you’re ready to learn more about bequest opportunities that benefit the Palm Beach Symphony, please contact David McClymont at 561-655-2657.

palmbeachsymphony.org

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ORCHESTRA & STAFF ORCHESTRA Violins

German Marcano^

Evija Ozolins, Concertmaster

Brent Charran

Marina Lenau^

Aziz Sapaev

Monica Cheveresan

Jason Calloway

Claudia Cagnassone

Shea Cole

Alfredo Oliva

Tadeo Hermida

Huifang Chen

Erin David

Bass

Zulfiya Bashirova

Juan Carlos Peña*

Valentin Mansurov+

Brian Myhr^

Marcia Littley^

Jeff Akins

Michelle Skinner^

William Bryant

Svetlana Salminen

Santiago Olaguibel

Anne Chicheportiche

Matthew Medlock

Kristin Baird

Peter Savage

Morena Kalziqi Patrisa Tomassini

Flute

Orlando Forte

Nadine Asin*

Abby Young

Joseph Monticello ^

Anna Khalikova

Elizabeth Lu

Katrina Rozmus

Lily Josefsberg

Abbey Young Rosie Weiss

Oboe

Erika Venable

James Riggs*

Evgeniya Antonyan

Antonio Urrutia^

Royce Lassley

Gabriel Young^

Avi Nagin

Erin Gittelsohn

Kiku Enomoto

Clarinet

Viola

Anna Brumbaugh*

Chauncey Patterson*

Julian Santacoloma ^

Yael Hyken^

Calvin Falwell

Felicia Besan Ethan Durell

Bassoon

Vishnu Ramankutty

Gabriel Beavers*

Naomi Graff

Christina Bonatakis

Kayla Williams

Glenn Loontjens Lisa Suslowicz Roberto Henriquez

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Cello Claudio Jaffé*

Palm Beach Symphony

French Horn

STAFF

Amber Dean* Joseph Lovinsky

David McClymont

Ryan Little

Chief Executive Officer

Amber Jenkins Stanley Spinola

Jason Barroncini

Emily Hagee

Stage Manager

Andrew Karr

Trumpet

Renée LaBonte Community Outreach Coordinator

Kevin Karabell* Marc Reese^

Sage Lehman

Jim Hacker^

Patron Relations Concierge

Trombone

May Bell Lin

Domingo Pagliuca*

Membership Director

Salvador Saenz^

Alfredo Oliva

Bass Trombone

Orchestra Contractor

Gabriel Ramos

Miami Symphonic Entertainment, Inc.

Tuba

Felix Rivera

Kevin Ildefonso*

Patron Advancement Coordinator

Timpani

Olga M. Vazquez

Lucas Sanchez*

Director of Education & Orchestra

Percussion

Operations

Evan Saddler*

Katrina Wynne

Guillermo Ospina *

Marketing and Development

Scott Crawford

Coordinator

Matthew Nichols

Harp Kristina Finch* Kay Kemper*

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

* principal

Leslie Rogers Blum, cello

^ assistant principal

Norman and Susan Oblon, clarinet

+ principal second

Felicia Taylor/The Mary Hilem Taylor Foundation, flute

palmbeachsymphony.org

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PRINCIPAL MUSICIANS Alfredo Oliva is Palm Beach Symphony’s orchestra contractor.

A New York City native, he grew up in Hialeah, and his first performances at age 17 included working with Frank Sinatra, Sammy Davis Jr., Bing Crosby, Ray Charles, Barry White, Smoky Robinson and Burt Bacharach. The Concertmaster of many Broadway shows, he has played in nearly every major classical ensemble in South Florida. Oliva has collaborated with hundreds of award-winning recording artists, including Gloria Estefan (Grammy® nominated album The Standards), Natalie Cole (Grammy nominated album, Natalie Cole En Español), Barry Gibb (In the Now), Michael Jackson (“Heaven Can Wait” and “Whatever Happens” from Invincible), Placido Domingo, Barbra Streisand, The Bee Gees, Julio Iglesias, Celia Cruz (“Yo Viviré” from Siempre Viviré), Alejandro Sanz (El Alma Al Aire, MTV America Latina), José Feliciano (Señor Bolero), Vic Damone, Jennifer Lopez, Shakira, Jon Secada, Enrique Iglesias, Busta Rhymes with Stevie Wonder (“Been Through the Storm” from The Big Bang), Marc Anthony and Ricky Martin (Ricky Martin MTV Unplugged). Since 2007, Oliva’s orchestras have been performing at the Adrienne Arsht Center and other South Florida concert venues as members of the Florida Grand Opera Orchestra as well as the Palm Beach Symphony and recently performed the incredible movie experience Harry Potter and the Chamber of Secrets™ in Concert!

Evija Ozolins is concertmaster for Palm Beach Symphony, assistant concertmaster for Florida Grand Opera and a member of the acclaimed Bergonzi String Quartet. Born in Riga, Latvia, she is a third generation musician in a family of professional musicians and began playing the piano at the age of four and violin one year later. After participating in numerous competitions, solo recitals and chamber music performances throughout Latvia and Europe in her teens, she was accepted at the Mannes College of Music in New York City where she studied with renowned violinists Aaron Rosand and David Nadien and played under conductors Kurt Masur, James Levine, Leonard Slatkin and Yehudi Menuhin. She has given solo recitals in many U.S. cities, including Carnegie’s Weill Recital Hall in Manhattan, as well as in Canada, the Caribbean and Europe. Ozolins has premiered multiple contemporary chamber music and solo violin works such as Imants Mezaraups Short Suite for violin solo and electronic sound. She has served as concertmaster for Camerata NY, Jupiter Symphony and the Carnegie Hall concert series of the New England Symphonic Ensemble. She has also served as Principal 2nd violin with the Binghamton Philharmonic and, for several years, was a member of the Jupiter Symphony under conductor Jens Nygaard. Having recorded as a soloist with Maureen McGovern, Lee Leesack and Brian Lane Green, her name also appears on movie soundtracks and commercial recordings, including releases with Barry Gibb, Natalie Cole and Gloria Estefan. She performs in numerous Broadway shows, including Motown, Little Mermaid, Camelot, Lion King, My Fair Lady, Color Purple palmbeachsymphony.org

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Cummings & Lockwood Proudly Supports the Palm Beach Symphony

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PRINCIPAL MUSICIANS

and Phantom of the Opera on Broadway. Recently, she performed the Mendelssohn’s D minor Violin Concerto and the Beethoven Two Romances for violin and orchestra in New York City. Ozolins plays on a 1782 Antonio Gragnani violin.

Valentin Mansurov is Palm Beach Symphony’s principal second violinist. An award-winning musician who has won multiple competitions in the former U.S.S.R, Canada, and the United States, Mansurov has performed in solo recitals and chamber music concerts throughout Europe, North America and South America. In addition to his Palm Beach Symphony performances, both orchestral and chamber, he performs locally as a member of the Florida Grand Opera Orchestra. In 2015, Mansurov became a member of the critically acclaimed Delray String Quartet, performing in concerts nationwide. He began studying violin at the age of seven at Uspenskiy’s School for Musically Gifted Children in Uzbekistan and has pursued further college degrees in Turkey, France, Canada and the United States.

Chauncey Patterson is principal violist for Palm Beach Symphony and Florida Grand Opera, violist for Bergonzi String Quartet at University of Miami, Assistant Principal Violist of The Eastern Music Festival summer program and Associate Professor of Chamber Music at Lynn Conservatory of Music. He has been principal violist of the Denver and Buffalo Symphonies, interim violist of the Fine Arts Quartet and, for 15 years, violist of the renowned and extensively recorded Miami String Quartet.

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

Claudio Jaffé is principal cellist for Palm Beach Symphony and Florida Grand Opera Orchestra, as well as cellist for the Delray String Quartet. He made his orchestral debut at the age of 11, performing a concerto written specifically for him. Trained as a solo cellist, Jaffé received four degrees from Yale University, including Doctor of Musical Arts. A prizewinner in numerous national and international competitions, he has performed in prestigious concert halls around the world. As an educator, he served as Dean of the Lynn University Conservatory of Music and created their Preparatory Division. He began the Strings Program at Saint Andrew’s School in Boca Raton and has been resident conductor of the Florida Youth Orchestra for over 18 years. Jaffé performs regularly at the Sunflower and Buzzards Bay Music Festivals and is currently teaching at Palm Beach Atlantic University. palmbeachsymphony.org

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PRINCIPAL MUSICIANS

Juan Carlos Peña Plays principal double bass for both Palm Beach Symphony and the Florida Grand Opera Orchestra and performs regularly with the Naples Philharmonic Orchestra. Born in Honduras, he studied at the Victoriano Lopez School of Music.

In Honduras, he was artistic/technical director for the Victoriano López School of Music and music director of the San Pedro Sula. In Colombia, he was director of the Chamber Orchestra of the Antonio Valencia Conservatory, and in Spain, he was music director of the Madrigalia Chamber Choir. Other credits include: principal double bass and soloist with the Orquesta Sinfónica Nacional (Honduras) and Orquesta Sinfónica del Valle (Colombia), co-principal double bass with Orquesta Sinfónica de Galicia (Spain), conductor of the Symphony Orchestra of the Escuela Nacional de Música (Honduras), and bass instructor and soloist at Soli Deo Gloria Music Camp (Dominican Republic).

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

James Riggs is the acting principal oboe of the Palm Beach Symphony and the Florida Grand Opera orchestra. As an orchestral musician, he has performed with the Metropolitan Opera, the New Jersey Symphony Orchestra, was an oboe fellow of the New World Symphony in Miami, and he is the former principal oboist of the Peoria Symphony. As a chamber musician, he was the oboe fellow for Ensemble Connect, a group based at Carnegie Hall, and has played throughout the US and Latin America. James has been featured as guest artist and teacher at colleges and festivals in Brazil, Colombia, Cuba, as well as the US. In his free time, he likes reading and training Gracie jiu-jitsu.

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PRINCIPAL MUSICIANS

Anna Brumbaugh is principal clarinet of Palm Beach Symphony and Florida Grand Opera. She has performed professionally with American Ballet Theatre Orchestra, The Orchestra of St. Luke’s, The Colorado Music Festival Orchestra, The New York Concerti Sinfonietta and the Boca Symphonia.

She’s collaborated with the Eastman Wind Ensemble to record the Stravinsky Octet. Having mentored students at Juilliard’s pre-college division and taught at two of their educational outreach programs, she is a music mentor at Plumosa School of the Arts in Delray Beach.

She earned a master of music degree in clarinet performance from the Juilliard School, an undergraduate degree and the coveted Performer’s Certificate from the Eastman School of Music and she is currently pursuing her Professional Performance Certificate at Lynn University. Her teachers have included soloist Jon Manasse and Bil Jackson, former principal clarinet of the Colorado Symphony.

Gabriel Beavers is Palm Beach Symphony’s principal bassoonist and the Associate Professor of Bassoon at the University of Miami Frost School of Music. Prior to joining the faculty at Frost, he served on the faculty of the Louisiana State University School of Music. He is also a member of the Nu-Deco ensemble and serves as 2nd bassoonist in the Music in the Mountains Festival Orchestra in Durango, CO. Formerly a fellow with the New World Symphony, he has also served as Principal Bassoon with the Virginia Symphony, Acting Principal Bassoon with the Malaysian Philharmonic Orchestra and the Jacksonville Symphony and as Acting Second Bassoon with the Milwaukee Symphony for one season. Beavers has also previously held the position of Visiting Assistant Professor at the University of Missouri-Columbia School of Music. In addition to his orchestral activities, he has an active schedule of solo and chamber performances. He has appeared as a soloist with the Virginia Symphony, Baton Rouge Symphony, Henry Mancini Institute Orchestra, Greater Miami Symphonic Band and Louisiana Sinfonietta and has given recitals throughout the United States and at international wind and double reed festivals in England, Brazil and Japan. Beavers also has recorded two well-reviewed solo albums, “A Quirky Dream” and “Gordon Jacob: Music for Bassoon” both of which are available on Mark Records.

Amber Dean is a French horn player from East Moline, Illinois. In 2012, Amber joined the Orquesta Sinfónica Sinaloa de las Artes in Culiacán, Sinaloa, Mexico, where she played third horn for three years. In February 2015, Dean became the second horn of the Orquesta Filarmónica de Jalisco in Guadalajara, Jalisco, Mexico. During her time with the OFJ, the orchestra went on tours to South Korea, Germany, Austria, and the United States of America. Dean can be heard playing on two albums that the OFJ recorded during her time there, “Tchaikovsky: Violin Concerto-Francesca da Rimini” and “Mariachitlán”. In 2019, Dean moved to Miami to palmbeachsymphony.org

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pursue a master’s degree at the University of Miami’s Frost School of Music, where she is a fellow in the Henry Mancini Institute. Since moving to Miami, Amber Dean has been playing Principal Horn in the Palm Beach Symphony and Florida Grand Opera.

Kevin Karabell a Venezuelan-American trumpeter, regularly performs as principal trumpet of the Florida Grand Opera and Palm Beach Symphony. He recently performed as principal trumpet of the New York City Ballet and has also performed as principal trumpet of the Sichuan Symphony in Chengdu, China.

In 2017 Mr. Karabell was selected to tour with the Orchestra of Americas to Chile, Argentina, and Brazil. During this tour he recorded Ravel’s Piano Concerto in G Major with Grammy award winning pianist Gabriela Montero, which can be heard on Spotify. Mr. Karabell holds degrees from the Lynn Conservatory of Music and the Cleveland Institute of Music. During his studies at the Cleveland Institute of Music he was the recipient of the Dr. Calvin E. Weber Award for excellence in trumpet performance. He has attended Spoleto Festival USA, Colorado College Summer Music Festival, Chautauqua Summer Music Festival and has been the teacher assistant/faculty brass member of the Sewannee Summer Music Festival.

Domingo Pagliuca is principal trombonist for the Palm Beach Symphony and the Florida Grand Opera Orchestra. A native of Venezuela, he received undergraduate and master’s degrees from the University of Miami. After returning to Venezuela, he performed as co-principal trombonist for the Venezuela Symphony Orchestra for 13 years. In 2013, he returned to the U.S. and began working for Boston Brass, performing with them on tour and giving master classes throughout the U.S., Canada, Central and South America, Europe and Asia. Pagliuca is a performing artist and clinician for Yamaha, USA. One of the most in-demand trombonists in Latin America, he received four Latin Grammys in 2011, as trombonist, arranger, and brass post-producer. He has performed with Luciano Pavarotti, Plácido Domingo, Andrea Bocelli and Quincy Jones. Appearing on more than 100 albums, he recently released his solo CD. Visit domingopagliuca.com Kevin Ildefonso is principal tuba for Palm Beach Symphony and Florida Grand Opera. He has also performed with Orchid City Brass Band. Raised in Miami, he began his musical studies as a guitar player at age 11 and picked up the tuba at age 13.

After receiving his bachelor of music degree from University of Miami, he moved to Boston to pursue his master of music degree at the New England Conservatory of Music. While there, he worked with several members of the Boston Symphony Orchestra and studied tuba primarily with Mike Roylance, principal tubist of the BSO. Other primary tuba teachers have included Sam Pilafi an, John Olah, and Calvin Jenkins. He has palmbeachsymphony.org

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WHERE STYLE LIVES

“Here’s to another incredible year for the Palm Beach Symphony”.

Gil Walsh

W W W.G I L WA L S H.C O M | 5 6 1 .9 3 2 .0 6 3 1

PRINCIPAL MUSICIANS

performed throughout South Florida and has held teaching positions at New World School of the Arts (tuba and euphonium instructor) and Keys Gate Charter School (band director).

Lucas Sanchez is Palm Beach Symphony’s principal timpanist and enjoys a multi-faceted career as a timpanist, percussionist and teacher. Sanchez currently performs with Florida Grand Opera, Nu Deco Ensemble and the Southwest Michigan Symphony Orchestra. Previously, he has appeared with the Houston Symphony and the Amarillo Symphony. Sanchez maintains a private percussion studio in Coral Gables, is an instructor for the Greater Miami Youth Symphony program and gives masterclasses at high schools and colleges in South Florida. After beginning his studies in Albuquerque with Douglas Cardwell, he received his undergraduate and master’s degrees from Rice University under the tutelage of Richard Brown. Sanchez is currently writing his thesis for a Doctor of Musical Arts degree from the University of Miami, studying with Matthew Strauss and Svetoslav Stoyanov. Sanchez is proudly endorsed by Pearl/Adams instruments and performs on Adams Philharmonic Dresden Classic Timpani.

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

Kristina Finch is a model of an independent modern musician based in Hattiesburg, MS. Versatile and flexible in all settings Kristina is constantly striving to connect with new and diverse audiences using classical training and a passion for popular music to defy expectations and expand perceptions of the harp. Kristina holds a Doctorate in Music Performance and Literature and Bachelor of Music Degree from the Eastman School of Music in Rochester, NY and a Master of Music Degree from Florida State University. Kristina maintains an active freelance, orchestral, and chamber music career throughout South Florida, which has included performances for the Palm Beach Symphony Orchestra, Nu Deco Ensemble, Miami Symphony Orchestra, Florida Grand Opera, Tiffany & Co., Prestige Imports, Burgees Yachts, and the Biltmore Hotel. Besides her musical activities, Kristina is a RYT/200 Yoga Teacher, a contributor to Harp Column Magazine, and the host/creator of “Harp Column Podcast.” palmbeachsymphony.org

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SAVE THE DATE

PALM BEACH SYMPHONY SIXTH ANNUAL HOLIDAY LUNCHEON

TUESDAY, DECEMBER 6, 2022, 10:30 AM COHEN PAVILION THE KRAVIS CENTER FOR THE PERFORMING ARTS HONORARY CHAIRS Amy and John Collins

CHAIRS Karen and Kenneth Rogers

VICE-CHAIRS Sheryne and Richard Brekus

AUCTION CHAIR Marietta Muiña McNulty

Celebrate the season with fine food, camaraderie, glorious music, and an extensive silent auction.

Join us for our traditional instrument donations and the presentation of the 2022 award for PALM BEACH SYMPHONY INSTRUMENTAL MUSIC TEACHER OF THE YEAR! This festive fundraising luncheon supports Palm Beach Symphony’s mission to provide world-class music, community outreach, and music education programs to Palm Beach County. All proceeds impact the people of all ages and every corner of the community we serve.

SPONSORSHIP AND UNDERWRITING OPPORTUNITIES AVAILABLE EVENT INFORMATION: 561.655.2657 dmcclymont@palmbeachsymphony.org

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Palm Beach Symphony

PAUL & SANDRA GOLDNER

CONSERVATORY OF MUSIC

E

ach season our music education initiatives are expanded upon to reach more students in Palm Beach County, and in the last five years, our efforts have impacted more than 50,000 students. These programs continuously evolve to deepen and extend student learning opportunities with multiple interactions that enhance learning and reinforce academic and arts concepts.

Coaching Sessions and Residencies Student musicians learn technique, tone, posture, and proper instrument position in small group settings with professional Palm Beach Symphony instrument instructors.

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

Lecture Demonstrations and In-School Concerts Presented in a variety of small ensemble combinations, Symphony musicians perform selected works, discuss the music, the instrument, the composer, and their backgrounds and professional careers. The in-school concerts, a highly sought-after program, provide students with the opportunity to ask questions and speak with musicians in an intimate and more personal setting. The program is offered directly to school sites, or as a virtual option, free of charge to Title 1 middle and high schools.

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

Mary Hilem Taylor Music Scholarship Competition The Taylor Competition offers scholarships to students of strings, woodwinds, brass and percussion who are between 18-24 years of age and reside or are enrolled at an educational institution in the tri-county South Florida area. In this inaugural year, the Competition will present cash prizes to three winners who are musicians of woodwind instruments. Each year, on a three-year rotation, the competition will be open to musicians of strings and then brass and percussion. This competition is made possible through a generous donor in honor of her mother, Mary Hilem Taylor, who was part of an entire family that played orchestral instruments. palmbeachsymphony.org

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IN MEMORIAM

DALE ARCHER MCNULTY (1941-2021)

Dale Archer McNulty served as the President of Palm Beach Symphony’s Board of Directors from 2008 until his death earlier this year. Following his nearly 40-year career as a member of the New York Stock Exchange, Dale provided passionate and expert leadership that was vital in transitioning the Symphony into the world-class orchestra it is today.

When Dale joined the Board, the Symphony presented concerts with less than half the musicians seen on our stage this season.

Concerts were held at various intimate venues and, due to Dale’s guidance and support, the Symphony performs this entire season at the Kravis Center. As part of Dale’s ardent commitment to excellence, the internationally acclaimed musician and composer Gerard Schwarz joined us as our Music Director in 2019 and he continues to elevate and dramatically transform the Symphony into one of the nation’s top regional orchestras.

As the narrator of the Children’s Concert Series productions of Peter and the Wolf and Carnival of the Animals, Dale loved being a part of the show, bringing life to the characters and story through his compelling and friendly voice. During his tenure, the Symphony created education and community outreach programs that have reached more than 56,000 students in recent years and resulted in the Symphony’s recognition by The Cultural Council for Palm Beach County with the 2020 Muse Award for Outstanding Community Engagement.

Dale and his wife, Marietta, were tremendously generous to the Symphony as well as being actively involved in supporting numerous charities throughout the area. The Symphony will recall and celebrate his contributions throughout this season. In his honor, our family concerts have been renamed the Dale A. McNulty Children’s Concert Series and students this season are enjoying Eudora’s Fable: The Shoe Bird, an adaptation

by Samuel Jones of Pulitzer Prize winner Eudora Welty’s only children’s book. In addition, we will dedicate the opening concert of the season to Dale, who rarely missed a concert.

During his lifetime, Dale donated many instruments to the Symphony to provide to underserved children. Marietta will once again be actively involved as students and music programs in public schools receive instruments this holiday season at the Fifth Annual Holly Jolly Symphony Fête. We have entitled our February 21, 2022 social event at The Breakers, the “20th Anniversary Annual Gala: A Musical Journey honoring Palm Beach Symphony’s late president Dale Archer McNulty,” when we will again raise a glass in his honor.

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Palm Beach Symphony

DALE A. MCNULTY

CHILDREN’S CONCERT SERIES EUDORA’S FABLE: THE SHOE BIRD Virtual Field Trips and Workshops

T

he magic of Palm Beach Symphony’s educational presentations continues with a musical fable with music and lyrics written by ASCAP winning composer Samuel Jones. Based on the book by Pulitzer Prize-winning author, Eudora Welty, the story is similar to one of Aesop’s fables which contains a moral or lesson. While describing the many birds of the story, the music introduces and expands children’s knowledge of orchestral instruments. With a 2008 Grammy Award nomination for “Best Musical Album for Children,” our production features Young Singers of the Palm Beaches, Emmy Award Winning narrator Charlie Adler, visual artist Ed McGowin creating bigger than life sized art projections, and Palm Beach Symphony Orchestra led by our Music Director Gerard Schwarz. As part of the project and with our partnership with the Literacy Coalition of Palm Beach County, literacy workshops focused on proverbs and idiomatic expressions related

to birds will be offered to students, while Symphony music teaching artists provide music workshops that explore rhythm, timbre, and musical phrases.

Eudora’s Fable: The Shoe Bird

Young Singers of the Palm Beaches Gerard Schwarz, Conductor Charlie Adler, Narrator Ed McGowin, Visual Artist Sunday, October 24, Eissey Campus Theater of Palm Beach State College November 1 - 30, Kravis Center Classroom Connection Virtual Field Trip Filmed for a national audience by multiple Emmy Award-winning director, Habib Azar. palmbeachsymphony.org

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hive home, gift & garden 4 2 4 p a l m s t, w e s t p a l m b e a c h w w w. h i v e p a l m b e a c h . c o m

CHILDREN’S CONCERT SERIES ONE SMALL STEP Virtual Field Trips and Workshops

O

ur successful production of One Small Step returns for another year as a virtual field trip for students this spring. A celebration of the first lunar landing by integrating music, dance, science and history into an inspiring program, the production features works by Aaron Copland, John Williams and Joan Tower. Conducted by Maestro Gerard Schwarz and with special script narrated by Brenda Alford, the production is offered to all students in grades K-12 in February and March 2022 with targeted science and music workshops for students in grades 3-5.

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

Your contribution will help enhance and increase arts education in Palm Beach County public schools. Help the Palm Beach Symphony share the gift of music.

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

Gerard Schwarz, Conductor Brenda Alford, Narrator Demetrius Klein Dance Company, choreography February - March 2022 Virtual Field Trips for K-12 Students Sign Up: www.palmbeachsymphony.org/education/one-small-step

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

PAUL AND SANDRA GOLDNER

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Young Friends of Palm Beach Symphony Is an active group of young professionals in their 20s, 30s, and 40s who have an appreciation for classical music and are committed to supporting Palm Beach Symphony’s impactful education and outreach programs.

As a Young Friends member, you are supporting our programs that provide instruments for needy students, support coaching sessions by professional Symphony musicians for the next generation, and offer free concerts for children. Benefits of membership include:

Invitation to social events Access to special single ticket rate Complimentary glass of champagne at Masterworks Series concerts A Masterworks Series subscription … and much more For more information, please contact Palm Beach Symphony at (561) 655-2657 or visit palmbeachsymphony.org/youngfriends.

PALM BEACH SYMPHONY

SWINGS

for STRINGS

GOLF INVITATIONAL

THURSDAY, MARCH 31, 2022, 11:00 AM WELLINGTON NATIONAL GOLF CLUB 400 BINKS FOREST DRIVE, WELLINGTON, FL 33414 CHAIR Todd Dahlstrom Join us for the annual Swings for Strings Golf Invitational at Wellington National Golf Club, designed by the legendary Johnny Miller. This incredible event will benefit Palm Beach Symphony’s mission to engage, educate, and entertain the greater community of the Palm Beaches through live performances of inspiring orchestral music.

Special golf foursome rate available until Friday, December 31 EVENT INFORMATION:

(561) 655-2657 | frivera@palmbeachsymphony.org

Palm Beach Symphony

COMMUNITY OUTREACH Middle-Bridge Trio The Middle Bridge Trio combines the worlds of European classical string playing and American fiddle music to create an intoxicating blend of concert hall and barn dance.

Palm Beach Symphony provides impactful outreach programs that allow us to reach beyond our concert venue to engage members of the community.

Our community outreach events serve as the cornerstone of our efforts to reach Palm Beach County’s broad and diverse community which together with our educational initiatives enabled us to be recognized by The Cultural Council for Palm Beach County with a 2020 Muse Award for Outstanding Community Engagement.

Randolph A. Frank Prize The mission of the Randolph A. Frank Prize for the Performing Arts is to recognize and reward individual performing artists and dedicated educators who enrich the quality of the performing arts in Palm Beach County, Florida.

Chamber Chats Palm Beach Symphony presents lively chamber music concerts enhanced by enlightening narration by local musicians, historians, and scholars. These informative and engaging chamber music programs provide both entertainment and learning experiences for audiences of all ages.

Musical Masterpieces Through our musical masterpieces project, we work with diverse populations all over the community, children and adults, to turn unusable donated instruments into works of art. We partner with Organizations that hold art classes, then donate the completed musical masterpiece instruments. This season, Palm Beach Symphony partnered with more than two dozen local artists from Zero Empty Spaces Working Art Studio on a joint fundraising online auction project. These extraordinary artists took unusable instruments to create imaginative and inspiring works of art that were on exhibition and auctioned to benefit both non-profit organizations.

Music Mondays at Rosemary Square and More!

In a unique partnership with Related Companies, Palm Beach Symphony will present student groups in the community performing in Rosemary Square each Monday starting November 15 through December 27. This partnership will also feature varied musical events during the season, including musician ensembles of Palm Beach Symphony performing on select Saturdays on the Rosemary Square Lawn as well as at the Hilton on selected Sundays for brunch.

palmbeachsymphony.org

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FL AWLES S LIKE HER WEST PALM 561.833.7755

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NAPLES 239.649.7200

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PALM BEACH 561.833.0550

P R O V I D E N TJ E W E L R Y. C O M

Palm Beach Symphony

WELLINGTON 561.798.0777

Members of the Impresario Society play a leading role in Palm Beach Symphony’s efforts to deliver spirited Masterworks concerts with the finest musicians in South Florida and distinguished world-class guest artists.

As part of the Impresario Society, members enjoy our most world-class benefits, including: • Exclusive VIP events like an intimate dinner with a guest artist • One-of-a-kind keepsake signed by a guest artist • Backstage pass for you after a concert • Exquisite post-concert dining experiences • Recognition • … and much more Memberships are offered at a variety of levels starting at $15,000 and include a variety of benefits that can be tailored to your needs. If you are interested in becoming an Impresario member, contact CEO David McClymont at (561) 655-2657 or visit palmbeachsymphony.org/impresario.

Impresario Society

We are grateful to the inaugural year of Impresario Society members for their generous support in underwriting the concerts, guest artists, conductor, and orchestra chairs.

Grand Impresarios

Peter M. Gottsegen Leonard and Norma Klorfine Foundation Gary and Linda Lachman/The Lachman Family Foundation Patrick and Milly Park Felicia Taylor/The Mary Hilem Taylor Foundation

Associate Impresarios

Charles and Ann Johnson/The C and A Johnson Family Foundation Patricia Lambrecht Dodie and Manley Thaler and the Thaler Howell Foundation

Contributing Impresarios David C. and Eunice Bigelow Lois Pope

Assistant Impresarios Leslie Rogers Blum Karen and Kenneth Rogers Mary Mochary

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Sunday, November 7, 2021 3:00 PM Dreyfoos Hall The Kravis Center for the Performing Arts and livestreamed

Tchaikovsky’s Fifth Symphony with Hélène Grimaud

Program

1

Gerard Schwarz, Conductor Hélène Grimaud, Piano

VALERIE COLEMAN (born 1970)

Umoja: Anthem of Unity

SCHUMANN (1810-1856)

Piano Concerto in A Minor, Op. 54 I.

Allegro affetuoso

II.

Intermezzo

III. Allegro vivace

Intermission TCHAIKOVSKY (1840-1893)

Symphony No. 5 in E Minor, Op. 64 I.

Andante-Allegro con anima

II.

Andante cantabile, con alcuna licenza

III. Valse: Allegro moderato IV. Finale: Andante maestoso – Allegro vivace

This evening was generously underwritten by Peter M. Gottsegen/Gottsegen Family Foundation Accommodations for our Masterworks Season are generously provided by Related Companies.

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Palm Beach Symphony

M AT H E N N E K

palmbeachsymphony.org

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ARTIST PROFILES

ARTIST PROFILES

HÉLÈNE GRIMAUD

R

enaissance woman Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and peerless technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist and as a writer.

Grimaud was born in 1969 in Aix-en-Provence and began her piano studies at the local conservatory with Jacqueline Courtin before going on to work with Pierre Barbizet in Marseille. She was accepted into the Paris Conservatoire at just 13 and won first prize in piano performance a mere three years later. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo. That same year, renowned conductor Daniel Barenboim invited her to perform with the Orchestre de Paris: this marked the launch of Grimaud’s musical career, characterised ever since by concerts with most of the world’s major orchestras and many celebrated conductors.

Between her debut in 1995 with the Berliner Philharmoniker under Claudio Abbado and her first performance with the New York Philharmonic under Kurt Masur in 1999 – just two of many notable musical milestones – Grimaud made a wholly different kind of debut: in upper New York State she established the Wolf Conservation Center.

Her love for the endangered species was sparked by a chance encounter with a wolf in northern Florida; this led to her determination to open an environmental education centre. “To be involved in direct conservation and being able to put animals back where they belong,” she says, “there’s just nothing more fulfilling.” But Grimaud’s engagement doesn’t end there: she is also a member of the organisation Musicians for Human Rights, a worldwide network of musicians and people working in the field of music to promote a culture of human rights and social change.

For a number of years, she also found time to pursue a writing career, publishing three books that have appeared in various languages. Her first, Variations Sauvages, appeared in 2003. It was followed in 2005 by Leçons particulières, and in 2013 by Retour à Salem, both semi-autobiographical novels.

It is, however, through her thoughtful and tenderly expressive music-making that Hélène Grimaud most deeply touches the emotions of audiences. Fortunately, they have been able to enjoy her concerts worldwide, thanks to the extensive tours she undertakes as a soloist and recitalist. A committed chamber musician, she has also performed at the most prestigious festivals and cultural events with a wide range of musical collaborators, including Sol Gabetta, Rolando Villazón, Jan Vogler, Truls Mørk, Clemens Hagen, Gidon Kremer, Gil Shaham and the Capuçon brothers. Her prodigious contribution to and impact on the world of classical music were recognised by the French government when she was admitted into the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).

Hélène Grimaud has been an exclusive Deutsche Grammophon artist since 2002.

Her recordings have been critically acclaimed and awarded numerous accolades, among

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them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Klassik Award.

Her early recordings include Credo and Reflection (both of which feature a number of thematically linked works); a Chopin and Rachmaninov Sonatas disc; a Bartók CD on which she plays the Third Piano Concerto with the London Symphony Orchestra and Pierre Boulez; a Beethoven disc with the Staatskapelle Dresden and Vladimir Jurowski which was chosen as one of history’s greatest classical music albums in the iTunes “Classical Essentials” series; a selection of Bach’s solo and concerto works, in which she directed the Deutsche Kammerphilharmonie Bremen from the piano; and a DVD release of Rachmaninov’s Second Piano Concerto with the Lucerne Festival Orchestra and Claudio Abbado.

In 2010 Grimaud recorded the solo recital album Resonances, showcasing music

by Mozart, Berg, Liszt and Bartók. This was followed in 2011 by a disc featuring her readings of Mozart’s Piano Concertos Nos. 19 and 23 as well as a collaboration with singer Mojca Erdmann in the same composer’s Ch’ io mi scordi di te?. Her next release, Duo, recorded with cellist Sol Gabetta, won the 2013 Echo Klassik Award for “chamber recording of the year”, and her album of the two Brahms piano concertos, the First recorded with Andris Nelsons and the Bavarian Radio Symphony Orchestra, the Second with Nelsons and the Vienna Philharmonic, appeared in September 2013.

This was followed by Water (January 2016), a live recording of performances from tears become… streams become…, the critically-acclaimed large-scale immersive installation at New York’s Park Avenue Armory created by Turner Prize-winning artist Douglas Gordon in collaboration with Grimaud. Water features works by nine composers: Berio, Takemitsu, Fauré, Ravel, Albéniz, Liszt, Janáček, Debussy and Nitin Sawhney, who wrote seven short Water Transitions for the album as well as producing it. April 2017 then saw the release of Perspectives, a two-disc personal selection of highlights from her DG catalogue, including two “encores” – Brahms’s Waltz in A flat and Sgambati’s arrangement of Gluck’s “Dance of the Blessed Spirits” – previously unreleased on CD/via streaming.

Grimaud’s next album, Memory, was released in September 2018. Exploring music’s ability to bring the past back to life, it comprises a selection of evanescent miniatures by Chopin, Debussy, Satie and Valentin Silvestrov which, in the pianist’s own words, “conjure atmospheres of fragile reflection, a mirage of what was – or what could have been.”

For her most recent recording, The Messenger, Grimaud created an intriguing dialogue between Silvestrov and Mozart. “I was always interested in couplings that were not predictable,” she explained, “because I feel as if certain pieces can shed a special light on to one another.” Together with the Camerata Salzburg, she recorded Mozart’s Piano Concerto K466 and Silvestrov’s Two Dialogues with Postscript and The Messenger – 1996, of which she also created a solo version. Mozart’s Fantasias K397 and K475 complete the programme. The Messenger was released in October 2020.

Hélène Grimaud began the 2021-22 season with a performance of the Schumann Piano Concerto with the Los Angeles Philharmonic at the Hollywood Bowl. Her forthcoming plans include performances of Ravel’s Piano Concerto in G major with the Houston Symphony and Matthias Pintscher (November) and the Seattle Symphony and Peter Oundjian (December); the Schumann in Zurich with the Tonhalle Orchester Zürich and Paavo Järvi (January 2022) and with the Bamberger palmbeachsymphony.org

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Symphoniker and Jakub Hrůša on tour in Bad Kissingen, Düsseldorf, Hanover, Cologne and Dortmund (February); and Mozart’s Piano Concerto K466 with the Camerata Salzburg in Luxembourg, Berlin, Munich, Freiburg, Paris and Hamburg (February/March).

Hélène Grimaud is undoubtedly a multi-faceted artist. Her deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental, literary and artistic interests.

KEYNOTE ARTIST MANAGEMENT

MASTERWORKS ONE Notes on the Program

By Aaron Grad

Unity and Faith: Tchaikovsky’s Fifth Symphony Written at the height of his craft, Tchaikovsky’s Fifth Symphony ruminates on existential questions of fate and faith, resulting in one of the most emotionally stirring compositions in history. In the Piano Concerto written for his wife, Clara, Robert Schumann encoded his beloved’s name into the music as a unifying touchstone. With Umoja, Valerie Coleman amplifies a principle from Kwanzaa to offer a new model of unity for the twenty-first century.

Umoja: Anthem of Unity [2019]

VALERIE COLEMAN Born 1970 in Louisville, Kentucky

The multitalented Valerie Coleman first gained renown as a flutist and founder of Imani Winds. She is also an educator at the University of Miami’s Frost School of Music and an advocate for young and diverse artists through a variety of organizations, and in recent years she has experienced a meteoric rise as a composer, with commissions pouring in from major orchestras around the country. For all these reasons and more, Performance Today summed up Coleman’s impact by naming her the 2020 Classical Woman of the Year. The Philadelphia Orchestra commissioned the orchestral version of Coleman’s Umoja. This program note appears on her website.

I

n its original form, Umoja, the Swahili word for Unity and the first principle of the African Diaspora holiday Kwanzaa, was a simple song for women’s choir. It embodied a sense of ‘tribal unity,’ through the feel of a drum circle, the sharing of history through traditional “call and response” form, and the repetition of a memorable sing-song melody. It was rearranged into a woodwind quintet during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself.

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Almost two decades later, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is sweetly singing in its simplest form, with an earnest reminiscent of Appalachian style music. From there the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass-led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem. Umoja has seen the creation of many versions that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever-evolving creativity and perspective. © 2021 Vcolemanmusic.com Piano Concerto in A Minor, Op. 54 [1841-45]

ROBERT SCHUMANN Born June 8, 1810 in Zwickau, Germany Died July 29, 1856 in Endenich, Germany

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obert Schumann’s own self-assessment, at the age of 20, was that his “talents as musician and poet are at the same level.” He soon committed to a life in music, and he organized his life in Leipzig around piano lessons with the distinguished teacher Friedrich Wieck. Schumann’s fanatical practice regimen, combined with his ill-advised use of a finger-strengthening device, resulted in permanent damage to his right middle finger, but at least there was a silver lining to his aborted piano career: Schumann came to know his teacher’s daughter, Clara, a gifted prodigy who would become his wife twelve years after they first met.

After many false starts and failures, Schumann finally made headway in composing for the orchestra in 1841, when he completed two symphonies and a three-movement “Symphonette” (later recast as the Overture, Scherzo and Finale), plus a Phantasie for piano and orchestra designed as a feature vehicle for his wife. Clara, more than eight months pregnant, read through the single-movement work that August at a private session with the Leipzig Gewandhaus Orchestra, conducted by their friend Felix Mendelssohn. With the addition of two more linked movements, the Phantasie expanded in 1845 into Schumann’s first and only piano concerto.

The opening movement comes with an unusual tempo marking—Allegro affettuoso, meaning “fast and affectionate.” After a stabbing entrance, an oboe leads a wind chorale in a melody that descends tenderly to the repeated keynote. Those first four notes, C-BA-A, are rendered in German as C-H-A-A, thereby spelling Chiara, the Italian equivalent of Clara. This encoded tribute to his wife suffuses Schumann’s first movement, and it makes a significant appearance later in the concerto.

To answer the four-note descent of the “Chiara” theme, the central Intermezzo responds by arriving with an exchange of four rising notes, a device that immediately palmbeachsymphony.org

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unifies these sections composed four years apart from each other. In a contrasting passage, the cellos swoon through a big, romantic melody while the piano comments in the margins.

A clever transition pivots from the four-note upward segments back to the “Chiara” theme, which then accelerates into the lively new pulse of the finale. Coming from a composer who was neither a piano virtuoso nor a natural-born creator of large-scale compositions, this marvelously cohesive concerto is a testament to Schumann’s hardearned union of heart and craft.

Symphony No. 5 in E Minor, Op. 64 [1888]

PYOTR ILYICH TCHAIKOVSKY Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia

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hen Tchaikovsky was drafting his Fifth Symphony in 1888, his external triumphs as a respected composer of symphonies, operas and ballets did nothing to temper the anguish of his ongoing health challenges, several recent deaths of loved ones, and the ever-present loneliness of being gay and closeted in a homophobic society. He left no public record of an underlying program to shape

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MASTERWORKS ONE

the Fifth Symphony, but the discovery in the 1950s of a journal entry offered new insights into the work’s meaning. The note laid out a form for the symphony, or at least its first two movements, with references to “complete resignation before Fate” in the introduction and “murmurs [and] doubts” in the fast portion of the first movement, followed by this question for the second movement: “Shall I throw myself in the embrace of faith?”

Through the lens of this journal entry, the Fifth Symphony can be interpreted as a treatise on fate and faith, with a musical arc venturing from dark to light in the manner of Beethoven’s Fifth. Tchaikovsky had already explored similar themes in the Fourth Symphony, with a recurring motto that represented fate, and the Fifth Symphony likewise wove an inescapable theme into all four movements.

The all-important motto theme opens the Fifth Symphony’s slow introduction, voiced in the haunting low range of the clarinets and supported by the strings. It returns at the end of the gorgeous slow movement (a melody recast as the jazz standard “Moon Love”), and it also ends the waltzing third movement. A ceremonial introduction to the finale recasts the same recurring theme in the hopeful new key of E-major. © 2021 Aaron Grad.

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Thursday, December 2, 2021 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts and livestreamed

Mozart’s Final Year with Jon Manasse

Program MOZART (1756-1791)

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Gerard Schwarz, Conductor Jon Manasse, Clarinet Robyn Marie Lamp, Soprano Robynne Redmon, Mezzo-Soprano Jason Ferrante, Tenor Richard Ollarsaba, Bass Master Chorale of South Florida

Overture to The Magic Flute, K. 620 Clarinet Concerto in A Major, K. 622 I.

Allegro

II.

Adagio

III. Rondo: Allegro

Intermission Requiem in D Minor, K. 626 I.

Introitus

II.

Kyrie

III. Sequentia IV. Offertorium V.

Sanctus

VI. Benedictus VII. Agnus Dei VIII. Communio

Ave verum corpus, K. 618

This evening was generously underwritten by Felicia Taylor/The Mary Hilem Taylor Foundation Accommodations for our Masterworks Season are generously provided by Related Companies.

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ARTIST PROFILES

ARTIST PROFILES

JON MANASSE

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mong the most distinguished classical artists of his generation, clarinetist Jon Manasse is internationally recognized for his inspiring artistry, uniquely glorious sound and charismatic performing style.

Recent season highlights include return performances with the Seattle Symphony Orchestra and debuts with the Baltimore Symphony Orchestra, Erie Philharmonic, The Chappaqua Orchestra, Montana’s Missoula Symphony Orchestra and Oregon’s Rogue Valley Symphony. With pianist Jon Nakamatsu, he continues to tour throughout the United States as half of the acclaimed Manasse/Nakamatsu Duo. The Duo’s activities include the world premiere performances of Paquito D’Rivera’s The Cape Cod Concerto with Symphony Silicon Valley, conducted by Leslie B. Dunner.

Jon Manasse’s solo appearances include New York City performances at Lincoln Center for the Performing Arts’ Avery Fisher Hall and Alice Tully Hall, Hunter College’s Sylvia & Danny Kaye Playhouse, Columbia University, Rockefeller University and The Town Hall, fourteen tours of Japan and Southeast Asia – all with the New York Symphonic Ensemble, debuts in Jerusalem, Tel Aviv, and Osaka and concerto performances with Gerard Schwarz and the Mostly Mozart Festival Orchestra, both at Lincoln Center’s Avery Fisher Hall and at the prestigious Tokyu Bunkamura Festival in Tokyo. With orchestra, he has been guest soloist with the Augsburg, Dayton, Evansville, Naples and National philharmonics, Canada’s Symphony Nova Scotia, the National Chamber Orchestra and the Alabama, Annapolis, Bozeman, Dubuque, Florida West Coast, Green Bay, Indianapolis, Jackson, Oakland East Bay, Pensacola, Princeton, Richmond, Seattle, Stamford and Wyoming symphonies, under the batons of Leslie B. Dunner, Peter Leonard, Eckart Preu, Matthew Savery, Alfred Savia and Lawrence Leighton Smith. Of special distinction was Mr. Manasse’s 2002 London debut in a Barbican Centre performance of Mozart’s Clarinet Concerto with Gerard Schwarz and the Academy of St. Martin in the Fields.

During the 2009-2010 season, Jon Manasse gave the world premiere performances of Lowell Liebermann’s Concerto for Clarinet & Orchestra with the Dayton Philharmonic Orchestra, under the baton of Music Director Neal Gittleman – performances that were recorded for commercial CD release. Subsequent performances included those with the symphony orchestras of Evansville, Juneau, Las Cruces, North State (CA), Roanoke and the University of Massachusetts.

An avid chamber musician, Jon Manasse has been featured in New York City programs with The Chamber Music Society of Lincoln Center and at Carnegie Hall’s Weill Recital Hall, Alice Tully Hall, Walter Reade Theatre (on Lincoln Center’s “Great Performers Series”), The Sylvia & Danny Kaye Playhouse and Merkin Concert Hall; at the Aspen Music Festival, Caramoor International Music Festival, Colorado Springs Music Festival, Newport Music Festival, Sarasota Music Festival and France’s Festival International des Arts, as well as the chamber music festivals of Bridgehampton, Cape and Islands, Crested Butte, Georgetown, St. Bart’s, Seattle and Tucson. He has also been the guest soloist with many of the leading chamber ensembles of the day, including The Amadeus Trio and Germany’s Trio Parnassus and the American,

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Borromeo, Colorado, Lark, Manhattan, Moscow, Orion, Rossetti, Shanghai, Tokyo and Ying String Quartets, and has collaborated with violinist Joshua Bell and pianist Jon Nakamatsu.

Manasse is also principal clarinetist of the American Ballet Theater Orchestra and the Mostly Mozart Festival Orchestra. In 2008 he was also appointed principal clarinetist and Ensemble Member of the Orchestra of St. Luke’s in New York City. As one of the nation’s most highly sought-after wind players, has also served as guest principal clarinetist of the New York Pops Orchestra, Orchestra of St. Luke’s, Orpheus Chamber Orchestra and New Jersey, Saint Louis and Seattle Symphony Orchestras, under the batons of Gerard Schwarz, Zdenek Macal, Jerzy Semkow, Robert Craft and Hugh Wolff. For several seasons, he was also the principal clarinetist of the New York Chamber Symphony.

Mr. Manasse has been a guest clarinetist with the New York Philharmonic in concerts conducted by Valery Gergiev and André Previn, and, during the 2003-04 season, served as the principal clarinetist of The Metropolitan Opera Orchestra, performing under the batons of Artistic Director James Levine and, among others, Andrew Davis, Valery Gergiev and Vladimir Jurowski.

In addition to the premiere performances of Lowell Liebermann’s Clarinet Concerto, which was commissioned for him, Jon Manasse has also presented the world premieres of James Cohn’s Concerto for Clarinet & String Orchestra at the international ClarinetFest ’97 at Texas Tech University and, in 2005, of Steven R. Gerber’s Clarinet Concerto with the National Philharmonic.

Jon Manasse has six critically acclaimed CDS on the XLNT label: the complete clarinet concerti of Weber, with Lukas Foss and the Brooklyn Philharmonic Orchestra; the complete works for clarinet and piano of Weber, with pianist Samuel Sanders; recording premieres of 20th Century clarinet works; “Clarinet Music from 3 Centuries,” including Mozart’s Clarinet Quintet (with the Shanghai Quartet), as well as music by Spohr, Gershwin and James Cohn; James Cohn’sClarinet Concerto #2; and the concerti of Mozart, Nielsen and Copland, with the Slovak Radio Symphony Orchestra. Also available are his recordings of Steven R. Gerber’s Clarinet Concerto with Vladimir Lande and the St. Petersburg State Academic Symphony on the Arabesque label and Lowell Liebermann’s Quintet for Clarinet, Piano and String Trio on KOCH International. His debut CD with pianist Jon Nakamatsu, a harmonia mundi album of the Brahms Clarinet Sonatas, was released to international rave reviews, early in 2008. 2010 saw the release of concerti by Mozart and Spohr with Gerard Schwarz and the Seattle Symphony, also on the harmonia mundi label.

Jon Manasse is a graduate of The Juilliard School, where he studied with David Weber. Mr. Manasse was a top prize winner in the Thirty-Sixth International Competition for Clarinet in Munich and the youngest winner of the International Clarinet Society Competition. Currently, he is an official “Performing Artist” of both the Buffet Crampon Company and Vandoren, the Parisian firms that are the world’s oldest and most distinguished clarinet maker and reed maker, respectively. Mr. Manasse is currently on the faculties of The Juilliard School,The Lynn Conservatory, and The Mannes School of Music.

Jon Manasse and his Duo partner, the acclaimed pianist Jon Nakamatsu, serve as Artistic Directors of the Cape Cod Chamber Music Festival, an appointment announced during summer 2006.

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Robyn Marie Lamp, Soprano Soprano Robyn Marie Lamp’s voice has been described as “robust, easily produced, golden but warm rather than metallic.” In the summer of 2017, she sang the role of Adele, and covered Metropolitan Opera soprano Angela Meade’s Imogene, in Bellini’s rarely heard Il pirata at Caramoor’s Music Festival. Of her Adele, one reviewer wrote, “I was especially impressed by every phrase sung by Robyn Marie Lamp as Imogene’s confidante. I’d love to hear how she’d surge through a bel canto cavatina. Keep your ears peeled.” The 2019 - 2020 season will find Ms. Lamp appearing as Clotilde and covering the title role in Bellini’s Norma with Boston Lyric Opera and appearing as the soprano soloist in Beethoven’s Ninth Symphony with the South Florida Symphony Orchestra. She will also return to Gulfshore Opera to sing an all Puccini concert and will sing the title role in Puccini’s Suor Angelica with south Florida’s Opera Fusion.

In 2019, Ms. Lamp made her Carnegie Hall debut singing the soprano solo in Ralph Vaughan-Williams’ Dona Nobis Pacem with MidAmerica Productions. She also sang three Verdi Messa da Requiem’s in her 2018 – 2019 season, one of which she sang with only hours’ notice, as she filled in for an ailing soprano with the Southwest Florida Symphony Orchestra. Of her Verdi, one reviewer wrote, “Robyn has a radiant soprano voice which she handles with great expertise and ease. She plucked bell-like high As, Bs and Cs out of some celestial sphere, always interpreting the text with deep-felt emotion.” She also has been a three-time Regional finalist in the Metropolitan Opera National Council Auditions.

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

Ms. Redmon has been hailed the world over for her “glorious singing, intense acting, excellent phrasing, ardent tone, splendid shading, solid coloratura and excellent artistic sense”. (Das Opernglas) She has graced the world’s greatest stages including The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Staatsoper Berlin, Bayerische Staatsopera, Opéra de Marseilles, Teatro Regio di Torino, Teatro Municipal de Santiago, Opéra Montréal, Santa Fe Opera, Opera Theatre of Saint Louis, New York City Opera, Atlanta Opera, Boston Lyric Opera and Minnesota Opera.

Ms. Redmon has not only made her indelible mark in standard repertoire, but she has also been an ardent champion of new works as well, creating such roles as the eponymous role of Bright Sheng’s opera, Madame Mao. A consummate veteran of the stage, Ms. Redmon continues to add new repertoire befitting the splendor of her magnificent instrument and stage gravitas. Recently, she has had phenomenal success in such roles as Gertrude in Hamlet, La Principessa in Puccini’s Suor Angelica, and Verdi’s Amneris in Aida and Azucena in Il Trovatore. She has also assumed the mantle of several of Strauss’ greatest characters including Herodias in Salome and The Composer in Ariadne auf Naxos.

Jason Ferrante, Tenor American tenor and voice teacher JASON FERRANTE has been praised by Opera News for “singing up a stylish storm” and by the Sarasota Herald Tribune as “one of the best voices I have heard” He returns to the stage in the 2021-2022 season as Beadle

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Bamford in a new production of Sweeney Todd with Opera Omaha, Don Basilio and Don Curzio in Le Nozze di Figaro in his debut with Virginia Opera, the Fourth Jew in Salome in his debut with Tulsa Opera and a debut with the Palm Beach Symphony as tenor soloist in Mozart’s Requiem conducted by Gerard Schwarz.

With two decades of experience on the operatic stage in over 80 different roles and on the concert stage as a tenor soloist , Ferrante maintains an acclaimed career as both a tenor and a sought-after voice teacher, having taught singers who appear on the greatest stages in the world as soloists, recording artists, and winners in major competitions. As an administrator, he leads the classical voice discipline for YoungArts and is currently on the voice faculty of several American young artist training programs. In 2021, Ferrante served as the Director of the Wolf Trap Opera Studio and continues his role as voice faculty at Wolf Trap, and the training programs at Minnesota Opera, Pensacola Opera and Nashville Opera.

Richard Ollarsaba, Bass Mexican-American bass-baritone, Richard Ollarsaba, praised by The Washington Post for his “meltingly smooth bass-baritone” and for “evoking a young Ruggero Raimondi in looks and manner,” represented the USA in the 2019 BBC Cardiff Singer of the World competition, was a member of the prestigious Ryan Opera Center at Lyric Opera of Chicago for three seasons, and a grand finalist in the 2013 Metropolitan Opera National Council Auditions. Last season, he appeared in Lyric Opera of Chicago’s digital concert Pasión Latina and made his New Zealand Opera debut as Figaro in Le nozze di Figaro.

Engagements for the 2021-2022 season include the title role in Don Giovanni with Opera Grand Rapids and Opera Carolina, Mozart’s Requiem with the Palm Beach Symphony, the Count in Le nozze di Figaro with Virginia Opera, and Schaunard in La bohème with the Jacksonville Symphony.

His 2019-2020 season saw a reprise of his Escamillo in Carmen with Kentucky Opera and Handel’s Messiah with the Pittsburgh and Phoenix Symphonies as well as cancelled performances of Pulcinella with The Dallas Opera. In recent seasons, Mr. Ollarsaba sang Escamillo in Carmen with North Carolina Opera, Annapolis Opera, and Bar Harbor Music Festival; the title of Don Giovanni in his debut with Opera Hong Kong; returned to Minnesota Opera in the title role in Mozart’s Le nozze di Figaro; debuted with Virginia Opera in Lucia di Lammermoor as Raimondo; performed Pistola in Falstaff with Opera Omaha and Intermountain Opera Bozeman; and returned to Wolf Trap Opera where he scored a triumph as Asdrubale in Rossini’s La pietra del paragone.

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 comprised of singers from Broward, Miami-Dade, 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 palmbeachsymphony.org

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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.

MASTERWORKS TWO Notes on the Program

By Aaron Grad

Magic: Mozart’s Final Year The hindsight of history lets us appreciate 1791 as a miraculous year for Mozart, even within the incredibly high standards he set during his final decade in Vienna. In the moment, the 35-year-old composer was simply trying to stay afloat financially and feed a growing family, leading him to capitalize on old friendships and accept oddball commissions he might have otherwise passed up. From a kitschy musical to a sacred mass, everything Mozart touched in 1791 turned out to be exceptional, leaving us in awe and wonderment at what this mere mortal accomplished in his last year on earth.

Overture to The Magic Flute, K. 620 [1791]

WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria

In 1791, Mozart joined with his friend and fellow Freemason Emanuel Schikaneder to create a singspiel, a popular format that blended singing and spoken dialogue in native German, akin to today’s Broadway musicals. This new comic opera, The Magic Flute, took shape during the spring and summer of 1791 and debuted on September 30, just months before Mozart’s untimely death.

Mozart had completed most of The Magic Flute by July, and then he paused it to dash off another opera, La clemenza di Tito, which would be his last. He finished the overture

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to The Magic Flute just in time, marking its date of completion as September 28, two days before the premiere.

The overture’s slow and solemn introduction draws out the sense of anticipation, until resolution comes in the surprising form of a breathless fugue that serves to whip the first main theme into a glorious frenzy. Ceremonial chords, mysterious detours and even a passing flute solo all hint at the supernatural mischief and power struggles of the forthcoming opera.

Clarinet Concerto in A Major, K. 622 [1791] The music that Mozart wrote for his friend Anton Stadler, a clarinetist and fellow freemason, was instrumental in establishing the clarinet as an equal to its older cousins in the woodwind family. Mozart’s first composition for Stadler was the “Kegelstatt” Trio from 1786, scored for clarinet, viola and piano. (Mozart played the viola part himself.) Next came a quintet for clarinet, two violins, viola and cello, completed in 1789. This work required a basset clarinet in the key of A, an instrument with a low-range extension designed by Stadler. Mozart went on to write Stadler a concerto featuring the same instrument, completed two months before the composer’s untimely death.

The Clarinet Concerto in A Major demonstrates Mozart’s keen understanding of the solo instrument’s range and agility. The tonal quality of the clarinet changes through its range, from the deep resonance of the bass notes, through the warm and hollow midrange of the chalumeau register, and up into the brilliant clarity of the highest octaves. At certain points in the fast opening movement, the soloist seems to play several opera characters engaged in dialogue, leaping from range to range; other times, a single scale or arpeggio journeys across all four octaves of the instrument’s compass.

A critic, in 1785, wrote of Anton Stadler, “One would never have thought that a clarinet could imitate the human voice to such perfection.” Judging by the slow movement penned expressly for Stadler, Mozart surely agreed!

The finale has a bit of Haydn’s sense of humor in it, as in the playful held notes of the main theme that draw out unresolved tension. The episodic structure of the Rondo allows for fanciful and dramatic excursions, making each return to the familiar music all the more delightful.

Requiem in D Minor, K. 626 [1791] Mozart, cash-strapped as ever and trying to support his family in the suburbs of Vienna, was in no position to be choosy when he was approached with a strange commission in the summer of 1791. The patron, Count Franz von Walsegg-Stuppach, wanted to commemorate his recently deceased wife with a new Requiem; he also liked to pass off works by other composers as his own, and so his offer came with the stipulation that it had to be kept secret. Mozart accepted the terms and a fifty-percent down payment, and he turned his focus to the Requiem as soon as he could, once he got past pressing deadlines for two operas, The Magic Flute and La clemenza di Tito.

As of the December night when the ailing Mozart gathered friends around his bedside to sing through portions of the Requiem, he had completed and orchestrated the first portion, “Requiem aeternam,” and he had drafted the vocal parts and skeletal harmonies for the next six sections. He died just hours later, possibly from rheumatic fever (related to strep throat), leaving the remainder of the Requiem unfinished.

MASTERWORKS TWO

Mozart’s widow, Constanze, could hardly afford to forfeit the unpaid balance on the Requiem, and she wasted little time enlisting help from her late husband’s students.

Franz Xaver Süssmayr ended up orchestrating the unfinished movements, and he completed the rest of the Requiem from scratch, possibly consulting various scraps left

by Mozart, if we are to believe Constanze. (There’s no way to know if she was telling the truth or just trying to bolster the score’s market value by attributing more of it to her husband.)

Wherever his pen dropped off, this musical monument to eternal rest holds up as Mozart’s own creation. It seems that we can trust another remark from Constanze, who told a biographer that her late husband “expressed a wish to try his hand at this type of composition, the more so as the higher forms of church music had always appealed to his genius.”

Ave verum corpus, K. 618 [1791] Pregnant with their sixth child, Mozart’s wife Constanze visited the spa town of Baden in the summer of 1791. Mozart made the short journey from Vienna to visit her in June, and he took some time away from the rush to write The Magic Flute to compose a short motet for a friend who directed Baden’s church choir. Back when he worked for the archbishop in his hometown of Salzburg, Mozart composed a good amount of sacred vocal music on Latin texts (even if he would have preferred to be working on operas, symphonies, and concertos at the time), and he avoided the genre entirely during his years of freelancing in Vienna. This sweet and humble setting of a text honoring the bodily suffering of Jesus foreshadowed Mozart’s more extensive dive into liturgical music that would come with the commission for his Requiem a few months later. © 2021 Aaron Grad.

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Monday, January 10, 2022 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts and livestreamed

Romance and Rebirth with Yefim Bronfman

Program

Gerard Schwarz, Conductor Yefim Bronfman, Piano

3

LIADOV (1855-1914)

Kikimora, Op. 63

RACHMANINOFF (1873-1943)

Piano Concerto No. 3 in D minor, Op. 30 I.

Allegro ma non tanto

II.

Intermezzo (Adagio)

III. Finale (Alla breve)

Intermission SHOSTAKOVICH (1906-1975)

Symphony No. 5 in D Minor, Op. 47 I.

Moderato

II.

Allegretto

III. Largo IV. Allegro non troppo

This evening was generously underwritten by Charles and Ann Johnson/The C and A Johnson Family Foundation Patricia Lambrecht Accommodations for our Masterworks Season are generously provided by Related Companies.

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ARTIST PROFILES

YEFIM BRONFMAN

I

nternationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

In the wake of world-wide cancellations beginning in spring 2020 his 2020/21 season began in January 2021 with the Concertgebouworkest followed by Bayerischer Rundfunk Orchestra, Berlin Philharmonic and London’s Philharmonia in special programs recorded for streaming.

Concerts in North America continued with Dallas, Philadelphia, New York, Atlanta, Houston and Pittsburgh orchestras despite restrictions imposed by COVID 19 followed by summer in Vail (Philadelphia Orchestra), Aspen, Tanglewood (Boston Symphony) and Grand Tetons.

As 2021/22 Artist-in-Residence with the Concertgebouw, Amsterdam the season began on tour with the orchestra in Europe and will conclude with the world premiere of a concerto commissioned for him from Elena Firsova. The fall continues with the Enescu Festival, Bucharest and return visits to the New York and Los Angeles philharmonics and symphonies of Boston, Houston, St. Louis, San Francisco, Montreal, San Diego, Pittsburgh, Oregon, San Antonio, Cincinnati and Palm Beach. In recital he can be heard in California, Arizona, New Mexico, Chicago and Carnegie Hall, NY in addition to Italy, Russia, Spain and Germany. With the Munich Philharmonic he will visit Vienna and Frankfurt; Luxembourg and Paris with the Concertgebouw; London with the Philharmonia and Israel with the Israel Philharmonic Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

OPUS 3 ARTISTS

MASTERWORKS THREE Notes on the Program

By Aaron Grad

Romance and Rebirth With a showstopper concerto made for America, the Russian superstar Rachmaninoff reached a new Romantic peak and launched an international phenomenon. Back at home, Liadov’s supernatural tone poem and Shostakovich’s redemptive Fifth Symphony showcase the earthy, brooding continuity of Russian music into the Soviet era. palmbeachsymphony.org

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MASTERWORKS THREE

Kikimora, Op. 63 [1909]

ANATOL LIADOV Born May 11, 1855 in Saint Petersburg, Russia Died August 28, 1914 in Polinovka, Russia

A

s a disciple of Rimsky-Korsakov, the Russian composer Anatol Liadov might have rivaled his teacher in composing wondrous orchestral music if his notoriously poor work ethic hadn’t slowed him down. Liadov is perhaps most famous for the gig he missed out on; he was supposed to compose The Firebird, but when he faltered the young Stravinsky got his big break. We can get a taste of how Liadov was rendering Slavic folklore into music right around the time he should have been working on The Firebird in Kikimora from 1909, a tone poem depicting an evil sprite who passes each night spinning flaxen thread with “evil intentions for the world,” as Liadov wrote in a note. What he may have lacked in forward drive he more than made up for in his ability to bask in mystical moments, starting in the introduction with a timeless English horn solo, and continuing in the ensuing fast section full of glittery mayhem.

Piano Concerto No. 3 in D minor, Op. 30 [1909]

SERGEI RACHMANINOFF Born April 1, 1873 in Oneg, Russia Died March 28, 1943 in Beverly Hills, California

S

ergei Rachmaninoff established a solid reputation as a composer and conductor in the early years of the twentieth century, but it was his virtuosity at the piano that elevated him to international stardom. He performed extensively in Russia and throughout Europe, and, after years of negotiation, scored a lucrative American debut scheduled for the 1909 season. He decided to bring a new showpiece on the tour, so he used his summer composing holiday in 1908 to write his Piano Concerto No. 3. Given his packed schedule, he did not have time to learn the piano part until the trans-Atlantic boat ride, when he practiced on a silent dummy keyboard. The much anticipated premiere took place on November 28, 1909, with the New York Symphony Society conducted by Walter Damrosch. (Rachmaninoff stopped in New York again later on the tour, reprising the concerto with Gustav Mahler conducting the New York Philharmonic.) The American public embraced the work and the performer warmly, while the critical reviews were somewhat more tepid. Rachmaninoff himself abhorred the experience, writing privately: The audiences are remarkably cold, spoiled by the guest performances of first-class artists, those audiences which always seek something extraordinary, something different from the last one. Their newspapers always remark on how many times the artist was recalled to take a bow and for the large public this is the yardstick of your talent, if you please.

The notoriety of Rachmaninoff’s Third Concerto can be traced in large part to Vladimir Horowitz, who added the work to his repertoire and recorded it in 1930.

(Rachmaninoff was so astounded by Horowitz’ rendition that he never performed the concerto again in public.) In time, the fiendishly difficult work became a benchmark for aspiring soloists and a fixture at competitions. The concerto’s iconic status jumped yet another notch following its star turn in the 1996 movie Shine. palmbeachsymphony.org

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MASTERWORKS THREE

For all the hyperbole surrounding the work, Rachmaninoff’s Piano Concerto No. 3 comes off quite elegant and understated, stating with the octave melody that opens the work. The musical vocabulary bears the stamp of High Romanticism in its sunset days, with surging climaxes and nostalgic melodies. The centerpiece of the first movement is an extended cadenza—most pianists use the longer and denser of the two versions Rachmaninoff wrote—which emerges into transcendent woodwind solos. The second movement passes through mournful, Slavic-tinted themes and dark orchestral colors of muted strings and low winds until connecting without pause to the Finale. Here Rachmaninoff was at his most playful, developing a martial-like theme in the piano (characterized by the repeated interval of a rising fourth) and exploring crisp and dry orchestral textures.

Symphony No. 5 in D Minor, Op. 47 [1937]

DMITRI SHOSTAKOVICH Born September 25, 1906 in Saint Petersburg, Russia Died August 9, 1975 in Moscow, Soviet Union

O

n January 26, 1936, Joseph Stalin walked out of Shostakovich’s opera Lady Macbeth of the Mtsensk District during the third act. Two days later, the newspaper Pravda published a scathing review titled “Muddle instead of Music.” The critic decried, “Here we have ‘leftist’ confusion instead of natural human music. The power of good music to infect the masses has been sacrificed to a petty-bourgeois, ‘formalist’ attempt to create originality through cheap clowning. It is a game of clever ingenuity that may end very badly.”

At a time when Stalin’s enemies were disappearing by the millions, the warning that Shostakovich’s embrace of modernism “may end very badly” was no idle threat. He was understandably cautious with his next works, withdrawing his Fourth Symphony before the planned debut in 1936 and shelving his only other major work of the year, Four Romances on Poems by Pushkin, until 1940.

Shostakovich began his Fifth Symphony in April of 1937, and he completed the scoring that fall. No established conductor would take on the score, so the task of preparing the debut fell to Yevgeny Mravinsky, a young conductor who had recently joined the Leningrad Philharmonic.

The debut of the Fifth Symphony on November 21, 1937, was a watershed moment in Shostakovich’s career, capped by curtain calls that night lasted some thirty minutes, until the stunned composer was escorted out of the hall. It was a remarkable redemption for Shostakovich, coming less than two years after his official rebuke.

“Rebirth” was in fact central to Shostakovich’s plan for the Fifth Symphony. In the finale, he quoted a song by that name, one of his recent Pushkin settings. Pushkin’s text begins: “An artist-barbarian with his lazy brush / Blackens the painting of a genius.” In the poem, the work of the “genius” endures while the damage inflicted by the “artistbarbarian” sloughs away.

The symphony strikes an ominous tone from the beginning. In the first four measures, the strings introduce three gestures of central importance to the rest of the movement: a leaping figure with a snapping, dotted rhythm; a sequence of descending, sigh-like

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fragments; and a closing motif of three repeated notes. With this material laid out, the violins intone a quiet, nervous melody over an accompaniment built from the leaping motive. Music of a contrasting character arrives with a recurring figure that repeats a long-short-short rhythm, itself a variant of the earlier “sighing” motive. At first this marching music is sweet and docile, but later the same rhythmic pattern supports a frightful journey to a harrowing climax.

The scherzo comes next, and at first the heavy bass line promises more of the first movement’s intensity, but ultimately a juxtaposition of bombastic and silly music creates a carnival-like atmosphere.

The Largo third movement echoes the opening of the symphony, beginning with strings alone, subdivided here into eight sections to create a rich, layered sound.

Offsetting the somber gravity of the strings, passages featuring solo woodwinds and flecks of harp and celesta cut through like beams of light.

The finale is a brutish march that again toes the line between sincerity and parody.

On one level it appears to be a model example of “Socialist Realism,” glorifying Soviet might in an accessible language that the proletariat could relate to; and yet at the same time, a more cynical spectator might sense mockery and sarcasm of that same heavyhanded ideal. © 2021 Aaron Grad.

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Monday, March 7, 2022 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts and livestreamed

Beethoven & Mahler with Maria João Pires

Program BEETHOVEN (1770-1827)

Gerard Schwarz, Conductor Maria João Pires, piano

4

Piano Concerto No. 3 in C Minor, Op. 37 I.

Allegro con brio

II.

Largo

III. Rondo. Allegro

Intermission MAHLER (1860-1911)

Symphony No. 4 I.

Bedächtig, nicht eilen

II.

In gemächlicher Bewegung, ohne Hast

III. Ruhevoll, poco adagio IV. Sehr behaglich

This evening was generously underwritten by Patrick and Milly Park Accommodations for our Masterworks Season are generously provided by Related Companies.

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ARTIST PROFILES

MARIA JOÃO PIRES

B

orn on 23 July 1944 in Lisbon, Maria João Pires gave her first public performance at the age of 4 and began her studies of music and piano with Campos Coelho and Francine Benoît, continuing later in Germany, with Rosl Schmid and Karl Engel.

In addition to her concerts, she has made recordings for Erato for fifteen years and Deutsche Grammophon for twenty years.

Since the 1970s, she has devoted herself to reflecting the influence of art in life, community and education, trying to discover new ways of establishing this way of thinking in society. She has searched for new ways which, respecting the development of individuals and cultures, encourage the sharing of ideas.

In 1999, she created the Centre for the Belgais Centre for the Study of the Arts in Portugal. Maria João Pires regularly offers interdisciplinary workshops for professional musicians and music lovers. In the Belgais concert hall concerts and recordings regularly take place. In future these will be shared with the international digital community (pay and non-pay).

In 2012, in Belgium, she initiated two complementary projects; the Partitura Choirs, a project which creates and develops choirs for children from disadvantaged backgrounds as in Belgium the „Hesperos Choir, and the Partitura Workshops. All of the Partitura projects have the aim to create an altruistic dynamic between artists of different generations by proposing an alternative in a world too often focused on competitiveness.

This philosophy is being spread worldwide at Partitura projects and workshops.

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MASTERWORKS FOUR Notes on the Program

By Aaron Grad

Heavenly Heroics: Beethoven & Mahler Beethoven expanded upon the elegant style of Mozart and Haydn in the Third Piano Concerto, and Mahler revisited the same paragon of perfection in his Fourth Symphony a century later. Even when grounded in tradition, these two seekers couldn’t help but explore thrilling new territory in their formal structures and modes of expression.

Piano Concerto No. 3 in C Minor, Op. 37 [1800-03]

LUDWIG VAN BEETHOVEN Born December, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria

B

eethoven wrote most of the Third Piano Concerto in 1800, in advance of a major debut concert in Vienna, but he chose to play an earlier concerto instead. After a few more years of tinkering, he unveiled the new concerto on an 1803 program that also included the premieres of the Second Symphony and the oratorio Christ on the Mount of Olives, along with a reprise performance of the First Symphony. For the new concerto, Beethoven performed off of a hastily written score that, in the words of his page turner, contained “almost nothing but empty leaves; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him.”

The concerto opens with a definitive statement from the strings countered by a questioning response from the winds. In line with the style that would come to dominate Beethoven’s “middle” period, these themes separate into essential fragments to be examined from all angles, with various rising triads, falling scales, and timpani-like alternations appearing in the foreground and background.

The first E-major chord of the central Largo could hardly be more alien, or more luminous. The movement continues as a study in contradictions: humble yet ornate, foreign yet familiar, slow yet restless. A striking exchange occurs when the flute and bassoon trade childlike melodies over a simple plucked background, while the piano issues gusts of sound blurred by the sustain pedal.

The finale returns to the home key with a theme that lands heavily on an unresolved A-flat: the very same pitch that, in a different guise, defined the bright harmonies of the slow movement. (On the piano, A-flat is identical to G-sharp, the major third in the key of E.) Later in the movement, the same musical pun allows the slow movement’s key of E-major to return briefly to put a radiant new sheen on the finale’s main theme.

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MASTERWORKS FOUR

Symphony No. 4 [1899-1900]

GUSTAV MAHLER Born July 7, 1860 in Kalischt, Bohemia Died May 18, 1911 in Vienna, Austria

G

ustav Mahler was born into a German-speaking, upwardly mobile Jewish family in what is now the Czech Republic. Although he focused on composition as a student at the Vienna Conservatory, his meteoric rise as a conductor soon crowded out his composing, leaving him only limited time to explore the two genres he was most attracted to in his own music: songs and symphonies.

Mahler composed the Fourth Symphony at his lakeside cottage in the summers of 1899 and 1900, during his time off from directing the Vienna Court Opera.

Like the two preceding symphonies, the Fourth drew upon his songs based on Des Knaben Wunderhorn (The Youth’s Magic Horn), a collection of folk poetry. The Fourth Symphony, however, had a different scope than its expansive predecessors. In 1901, Mahler wrote, “I only wanted to write a symphonic humoresque and out of it came a symphony of the normal dimensions—whereas, earlier, what I imagined would be a symphony turned out, in my Second and Third, to be three times the normal length!”

Beyond the relative brevity and reduced instrumentation (forgoing trombones and tuba), the musical material of the Fourth Symphony conveys charm and civility

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befitting a “humoresque.” The flutes and sleigh-bells at the beginning hold the promise of strange and exotic directions, but down-to-earth melodies and crisp accompaniment soon establish an unpretentious calm, a throwback to Haydn’s genteel style from eighteenth-century Vienna. The alluring possibility of that first sleigh-bell passage returns, and the movement ventures into vivid escapades.

The second-movement Scherzo transports the symphony to a spookier domain.

A solo violin, tuned up a step, plays the part of Freund Hein, a fiddle-playing folk character representing death—a good-humored grim reaper. The relaxed lilt of the contrasting trio section assuages any fear raised by this ghoulish vision.

The third movement, marked “peacefully,” is the tender heart of this symphony, and one of the most serene passages in all of Mahler’s music. In a patient series of variations unfolding over approximately twenty minutes, a theme of child-like simplicity alternates with darker and more nuanced statements. Mahler was wise not to follow such an affecting meditation with a typical grand finale, or even a jaunty romp in the manner of Haydn. He turned instead to a Wunderhorn song from 1892: The Heavenly Life, offering a child’s perspective of saints preparing a feast. The text is full of wonderment and joy, albeit with an ironic bite, as when describing the lamb’s slaughter.

Pastoral verses play against brittle flashbacks of the first movement’s wilder strains, until the quiet and unclouded major-key conclusion releases this effervescent symphony back into the realm of reverie. © 2021 Aaron Grad.

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Sunday, April 10, 2022 3:00 PM Dreyfoos Hall The Kravis Center for the Performing Arts and livestreamed

Dvořák’s Eighth Symphony with Midori

Program

5

Gerard Schwarz, Conductor Midori, Violin

W. SCHUMAN (1910 -1992)

New England Triptych

KORNGOLD (1897-1957)

Violin Concerto in D Major, Op. 35 I.

Moderato nobile

II.

Romance

III. Allegro assai vivace

Intermission DVOŘÁK (1841-1904)

Symphony No. 8 in G Major, Op. 88 I.

Allegro con brio

II.

Adagio

III. Allegretto grazioso – Molto vivace IV. Allegro ma non troppo

This evening was generously underwritten by Gary and Linda Lachman/The Lachman Family Foundation Accommodations for our Masterworks Season are generously provided by Related Companies.

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TIMOTHY GREENFIELD-SANDERS

ARTIST PROFILES

MIDORI

M

idori is a visionary artist, activist and educator who explores and builds connections between music and the human experience and breaks with traditional boundaries, which makes her one of the most outstanding violinists of our time.

In concert around the world, she transfixes audiences, bringing together graceful precision and intimate expression. Midori has performed with, among others, the London, Chicago, and San Francisco Symphony Orchestras, the Sinfonieorchester des Bayerischen Rundfunks, the Berlin and Vienna Philharmonics, and the Mahler Chamber palmbeachsymphony.org

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ARTIST PROFILES

Orchestra. She has collaborated with such outstanding musicians as Claudio Abbado, Emanuel Ax, Leonard Bernstein, Jonathan Biss, Constantinos Carydis, Christoph Eschenbach, Daniel Harding, Paavo Järvi, Mariss Jansons, Yo-Yo Ma, Susanna Mälkki, Joana Mallwitz, Antonello Manacorda, Zubin Mehta, Donald Runnicles, Jean-Yves Thibaudet, and Omer Meir Wellber.

Midori’s latest recording with the Festival Strings Lucerne of Beethoven’s Violin Concerto and two Romances was released in October 2020 by Warner Classics. Her diverse discography by Sony Classical, Ondine and Onyx includes recordings of Bloch, Janáček and Shostakovich and a Grammy Award-winning recording of Hindemith’s Violin Concerto with Christoph Eschenbach conducting the NDR Symphony Orchestra as well as Bach’s Sonatas and Partitas for Solo Violin filmed at Köthen Castle, which was recorded also for DVD (Accentus).

As someone deeply committed to furthering humanitarian and educational goals, she has founded several non-profit organizations. Midori & Friends provides music programs for New York City youth and communities, and MUSIC SHARING, a Japan-based foundation, brings both western classical and Japanese music traditions into young lives in Japan and throughout Asia by presenting programs in schools, institutions, and hospitals. Throughout the pandemic in 2020 and 2021, she continued to create virtual programming for these organizations, which serve many different communities. She commissioned composer Derek Bermel to write a new piece, “Spring Cadenzas,” which was premiered (mostly virtually) by student orchestras in 2021 through Midori’s Orchestra Residencies Program (ORP) and will continue to be performed by ORP participants in future seasons; Midori also performed the piece this summer with the National Repertory Orchestra in Breckenridge, CO. Through Partners in Performance (PiP), Midori co-presents chamber music concerts around the U.S., focusing on smaller communities that are outside the radius of major urban centers and have limited resources. During the pandemic, she recorded recitals that were shared with PiP audiences, and provided a series of live, virtual workshops to accompany the recorded performances.

In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace. In recognition of her lifetime of contributions to American culture, Midori is the recipient of the Kennedy Center Honors and was celebrated by Yo-Yo Ma, Bette Midler and John Lithgow, among others, during the May 2021 Honors ceremonies in Washington, DC. During 2020 and 2021, she also continued to perform, when possible, and appeared in recital (virtually and/or in person) at the Philadelphia Chamber Music Society, at the 92nd Street Y, in a virtual concert also streamed by the Schubert Club and Lied Center for Performing Arts in Nebraska, and at the Amelia Island Chamber Music Festival. She performed live with the Houston and Detroit Symphonies and in European engagements with the Royal Scottish National Orchestra, The OCM Symphony Orchestra in Spain, Borusan Istanbul Philharmonic Orchestra in Turkey and Orchestra del Teatro Massimo di Palermo in Italy.

She began her 2021-22 season with the Festival Strings Lucerne on July 1, performing the concert that had been scheduled for March 2020, but was cancelled due to the pandemic. This season, she has performances scheduled with orchestras in Atlanta, New Mexico, Phoenix, Austin, Kansas City and Palm Beach, a U.S. recital tour and tours throughout Europe and Asia. She will perform the World Premiere of Detlev Glanert’s

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ARTIST PROFILES

Violin Concerto No. 2 with the Royal Scottish National Orchestra in November and will also perform the piece with the NDR Elbphilharmonie Orchestra in Hamburg the following month.

Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-yearold Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert, where the foundation was laid for her following career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music in Philadelphia and is a Distinguished Visiting Artist at the Peabody Institute of the Johns Hopkins University.

Midori plays the 1734 Guarnerius del Gesù ‘ex-Huberman’. She uses four bows – two

by Dominique Peccatte, one by François Peccatte and one by Paul Siefried.

KIRSHBAUM ASSOCIATES INC.

MASTERWORKS FIVE Notes on the Program

By Aaron Grad

Close to Home: Dvořák’s Eighth Symphony To channel their deepest passions, these composers didn’t have to look far. Dvořák found inspiration for his Eighth Symphony in the Bohemian countryside, and William Schuman turned to a pioneering American composer he encountered during his time as a choir conductor. Korngold mined his recent film scores for his swashbuckling Violin Concerto.

E

rich Korngold, a child prodigy, matured into a successful opera composer and teacher in Vienna. Starting in 1934, he began to shuttle between Vienna and Hollywood, and the techniques he brought from opera (especially the Wagnerian device of the leitmotif, wherein a memorable snippet of music accompanies a particular character or idea) reshaped the art of film scoring, earning him several Oscars in the process.

Korngold was in California when the Nazis annexed Austria in 1938. From then on he made Hollywood his home, taking American citizenship in 1943. He ceased composing “serious” music for the duration of the war, until he finally agreed in 1945 to begin a Violin Concerto for his friend Bronislaw Hubermann. The work stalled after a young violinist gave a disastrous reading of a draft, leaving Korngold to wonder if the violin part was too difficult; meanwhile, Hubermann balked on scheduling a premiere, hedging until he could see a finished score. The impasse was broken by another European émigré, Jascha Heifetz, who actually encouraged Korngold to ratchet up the virtuosity, and who became the concerto’s leading champion.

The Violin Concerto borrows most of its main themes from the movies. In the first movement, the alluring opening melody—with the soloist entering right away, as in Mendelssohn’s Violin Concerto—comes from the film Another Dawn (1937). A palmbeachsymphony.org

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T H E L A CH M A N FA M I LY F O U N D AT I O N Milton & Roslyn Lachman Gary and Linda Lachman D I R EC TO R S

MASTERWORKS FIVE

poignant secondary theme originated in the Juaréz (1939). The middle movement, a Romanze, takes its main theme from Korngold’s Oscar-winning score to Anthony Adverse.

The finale’s musical material, from The Prince and the Pauper (1937), affords ample opportunities for the violinist to weave sprightly filigree among the melodic statements.

New England Triptych [1956]

WILLIAM SCHUMAN Born August 4, 1910 in New York, New York Died February 15, 1992 in New York, New York

I

t’s hard to name an American musician who held more diverse roles and who had a broader impact than William Schuman (except perhaps his friend Leonard Bernstein).

Until his mid-twenties, Schumann was writing popular songs and hoping to join the Gershwins and company on Broadway. Soon concert music caught his ear, and in 1935 he began teaching at Sarah Lawrence College and directing their choir while also forging his own sound as a composer, leading to a Pulitzer Prize in 1943 for a piece commissioned by the Boston Symphony Orchestra. His composing continued on the side through his tenures leading the Juilliard School and then the newly-opened Lincoln Center, which expanded its artistic scope dramatically thanks to his creations like the Chamber Music Society of Lincoln Center and the Mostly Mozart Festival.

When Schumann composed New England Triptych in 1956, he revisited hymns he had conducted at Sarah Lawrence College by the Boston-based William Billings (17461800), a contemporary of the Founding Fathers who helped to shape the burgeoning scene of American choral singing. Material from Billings’ hymn “Be Glad Then, America” inspired a rousing buildup to powerful orchestral textures, with the themes hinting at Revolutionary-era tunes in oblique ways. The source material is more transparent in “When Jesus Wept,” with Schumann presenting Billings’ theme in a setting closer to its original context as a round. The beginning of “Chester” preserves Billings’ hymn as the placid chorale it started as, but that music took on new life as an anthem of the Colonial Army, and so too Schumann’s elaboration takes on a martial flair.

Violin Concerto in D Major, Op. 35 [1945]

ERICH KORNGOLD Born May 29, 1897 in Brno, Moravia Died November 29, 1957 in Hollywood, California

E

rich Korngold, a child prodigy, matured into a successful opera composer and teacher in Vienna. Starting in 1934, he began to shuttle between Vienna and Hollywood, and the techniques he brought from opera (especially the Wagnerian device of the leitmotif, wherein a memorable snippet of music accompanies a particular character or idea) reshaped the art of film scoring, earning him several Oscars in the process.

Korngold was in California when the Nazis annexed Austria in 1938. From then on he made Hollywood his home, taking American citizenship in 1943. He ceased composing palmbeachsymphony.org

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MASTERWORKS FIVE

“serious” music for the duration of the war, until he finally agreed in 1945 to begin a Violin Concerto for his friend Bronislaw Hubermann. The work stalled after a young violinist gave a disastrous reading of a draft, leaving Korngold to wonder if the violin part was too difficult; meanwhile, Hubermann balked on scheduling a premiere, hedging until he could see a finished score. The impasse was broken by another European émigré, Jascha Heifetz, who actually encouraged Korngold to ratchet up the virtuosity, and who became the concerto’s leading champion.

The Violin Concerto borrows most of its main themes from the movies. In the first movement, the alluring opening melody—with the soloist entering right away, as in Mendelssohn’s Violin Concerto—comes from the film Another Dawn (1937). A poignant secondary theme originated in the Juaréz (1939). The middle movement, a Romanze, takes its main theme from Korngold’s Oscar-winning score to Anthony Adverse.

The finale’s musical material, from The Prince and the Pauper (1937), affords ample opportunities for the violinist to weave sprightly filigree among the melodic statements.

Symphony No. 8 in G Major, Op. 88 [1889]

ANTONÍN DVORÁK Born September 8, 1841 near Prague, Bohemia Died May 1, 1904 in Prague, Bohemia

A

ntonín Dvořák came from a small Bohemian village, where his zither-playing father was the local butcher and innkeeper. After a slow start as a freelancer in Prague, an intervention by Brahms helped Dvořák secure a publishing deal, and the overnight success of his Slavonic Dances made him an international star. He eventually used the proceeds from his conducting tours to fulfill his dream of buying a country house in the Bohemian village of Vysoká, where he spent his summers composing, walking through the woods, and tending to his garden and pigeons. He composed his Eighth Symphony there in 1889, filling it with sunny tunes, bright fanfares and bird calls.

The symphony’s home key is G-major, and its starting tempo is Allegro con brio (Fast, with vigor), but the deceptive opening gives the impression that the expressive minor-key theme in the cellos constitutes a slow introduction. A flute responds with a motive that becomes a recurring touchstone of the symphony, rising up the three notes of the G-major arpeggio and then bouncing through a series of bird-like chirps. In the slow second movement, an initial string hymn is juxtaposed with a woodwind-led answer, with the flute adding bird-like alternations that recall the first movement.

Instead of a rowdy scherzo, the Allegretto grazioso third movement enters as a debonair waltz. The trumpets launch the finale with a rousing call, and the cellos counter with a graceful theme that once again starts with a rising triad. All the thematic interconnections prove that this work, so relaxed and indubitably Czech, operates beneath the surface with as much rigor and integrity as any Beethoven or Brahms symphony. © 2021 Aaron Grad.

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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.

Mrs. James N. Bay

Elizabeth M. Bowden+*

Trudy B. Brekus*

Sheryne Brekus

Sophia H. Burnichon

Nannette Cassidy

Amy Collins

Julie Dahlstrom

Mary Demory

Margaret C. Donnelley

Virginia Gildea

Sandra Goldner+*

Arlette Gordon+

Carol S. Hays

Ann Johnson*

Helene Karp*

Linda Fellner Lachman

Marilyn Macron

Marietta Muiña McNulty+

Dawn Galvin Meiners*

Jacqui Michel

Sally Ohrstrom+

Karen Rogers

Mary Thompson

Tricia Trimble

Sieglinde Wikstrom+

Judy Woods

Heather McNulty Wyser-Pratte+ +Founding Member *Honorary Member

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THANK YOU 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.

SPONSORS AND CORPORATE PARTNERS

GOVERNMENT PARTNERS

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PLANNED GIFTS & ENDOWMENT Palm Beach Symphony is grateful to those who have made the commitment – through a planned gift or bequest – to help ensure the continuation of our world-class orchestra, music education, and outreach programs to enrich the community for generations to come.

Dora Bak Society Dora Bak Doris Hastings John Herrick Philip Reagan Marguerite Rosner

Ray Robinson Endowment

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

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

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Palm Beach Symphony

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

Received as of October 15, 2021

Diamond Grand Benefactor $1,000,000 and more

Gifts from $20,000 to $49,999

Dora Bak*

David and Eunice Bigelow

Golden Baton Society Patrick and Milly Park, Honorary Chairs Leonard and Norma Klorfine Foundation Leslie Rose Grand Benefactors $100,000 and more Doris L. Hastings Foundation

Mrs. James N. Bay Cornelia T. Bailey Foundation Board of County Commissioners Palm Beach County, the Tourist Development Council, and the Cultural Council of Palm Beach County Jerome J. Claeys Dawn Galvin Meiners Mary Galvin Paul and Sandra Goldner John D. Herrick

Frederick A. DeLuca Foundation

Addison Hines Charitable Trust

Peter M. Gottsegen/Gottsegen Family Foundation

Y. Michele Kang Henry & Elaine Kaufman Foundation, Inc.

Leonard and Norma Klorfine Foundation

Lugano Diamonds & Jewelry Inc.

Gary and Linda Lachman/The Lachman Family Foundation

The David Minkin Foundation/Trustees, Prescott Lester and Pamela Lester

Patrick and Milly Park

Bonnie McElveen-Hunter

Leslie Rose

The McNulty Foundation

Felicia Taylor/The Mary Hilem Taylor Foundation

NetJets

Benefactors Gifts from $50,000 to $99,999 James R. Borynack and Adolfo Zaralegui/ Findlay Galleries Department of State, Division of Cultural Affairs, and the Florida Council of Arts and Culture Max M. and Marjorie S. Fisher Foundation of the Community Foundation for Palm Beach and Martin Counties Charles and Ann Johnson/The C and A Johnson Family Foundation

Lois Pope/Leaders in Furthering Education, Inc. PNC Wealth Management David Schafer WPEC CBS 12 - Sinclair Broadcast Group William & Karen Tell Foundation Sieglinde Wikstrom Herme de Wyman Miro/The International Society Gifts from $10,000 to $19,999 Max G. and Christine Ansbacher

Howard and Michele Kessler/The Kessler Family Foundation

C. Kenneth & Laura Baxter Foundation, Inc.

Patricia Lambrecht

Amy and John Collins

Dodie and Manley Thaler and the Thaler/ Howell Foundation

Julie and Todd Dahlstrom

Leslie R. Blum

Mary and Will Demory palmbeachsymphony.org

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INDIVIDUAL DONORS Jose and Lurana Figueroa

Marianne and John Castle

Bill and Kem Frick/The Frick Foundation Inc.

Vera F. Chapman

Gillian Spreckels Fuller

The Colony Hotel

John and Virginia Gildea

Thomas D’Agostino Jr. and Danielle Rollins

Jim Hawkins

Anthony DiResta and Terrance Mason

Joseph Andrew and Carol S. Hays

Edith R. Dixon

HSS Florida

Margaret C. Donnelley

IYC

Ivan Dvorak and Josee Nadeau

Mary Mochary

The Fortin Foundation of Florida, Inc.

Palm Beach Design Masters Nancy and Ellis J. Parker, III

Eric Friedheim Foundation, Inc./Edith Hall Friedheim

Mr. and Mrs. James Perrella/Jim and Diane Perrella Foundation

GGE Foundation, Inc. Barbara Gilbert

Provident Jewelry/Scott Diament

Michael and Elizabeth Galvin

Ari Rifkin / The Len-Ari Foundation

Nancy Goodes/Melvin R. Goodes Family Foundation

William Robertson Karen and Kenneth Rogers Ann E. and David R. Sauber Robin Smith The Seth Sprague Educational and Charitable Foundation Kimberly V. Strauss Don and Mary Thompson Carol and Jerome Trautschold The Ann Eden Woodward Foundation/James and Judy Woods, Trustees Gifts from $4,000 to $9,999 Leonard Ackerman John Archer Josephine Linder duPont Bayard Hans and Sigrid Baumann Arthur and Mara Benjamin Barbara Ann and Hans Bergstrom JoAnne Berkow Jeffrey Blitz Thomas Boland Richard and Sheryne Brekus Trudy Brekus Braman Motorcars Palm Beach Nancy Brown Thomas and Carol Bruce Manny and Sophia Burnichon/Private Cask Imports Inc.

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Arlette Gordon Mr. and Mrs. Robert Grace/Mae Cadwell Rovensky Foundation Jo and Douglas Gressette Ann R. Grimm Caroline Harless Dr. Peter N. Heydon Mrs. James Kay Chris and Vicki Kellogg The Kirkwood Fund of the Community Foundation for Palm Beach and Martin Counties Matthew Kutcher Fred and Beth Lane Stephanie Lefes Syndie Levien Janet and Mark S. Levy Charitable Fund The Lunder Foundation Lynn and Robert Mackle Marilyn Macron Mary Bryant McCourt Marietta Muiña McNulty Charles and Kathy Miller Bruce and Marcell Nager Norman and Susan Oblon Drs. Thomas and Ling Patnaude Sarah Pietrafesa Katherine and Steven Pinard

INDIVIDUAL DONORS Lynn Pohanka

Alexander Myers

Philip M. Reagan

Virginia Pellicci

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Esther Rosenberg and David Simon David Sarama Gudrun Sawerthal Nancy and William H. Schneider Nancy Stone Arthur and Jane Tiger Mary Lou Wagner Gil Walsh Heather McNulty Wyser-Pratte Gifts from $2,000 to $3,999 C. Gordon Beck III Dr. Elizabeth M. Bowden The Burnap Foundation Nannette Cassidy Chervo Maude Cook Dean Dimke Ed Morse Automotive Group John and Sandi Failla Alfonso Fanjul/Florida Crystals Corporation Moti and Idit Ferder Fifth Third Bank Fox Rothschild LLP Michael M. Gottsegen Charles Gradante Hierromat Development, LLC Lisa Huertas Joanna and Joseph Jiampietro Helene Karp Allan A. Kennedy Keel Harbour Capital Jim and Renee LaBonte Stephanie Lefes Robert M. Lichten Malvern Bank, N.A. Peter May David and Millie McCoy Michael and Shari Meltzer

Philip Reagan/J.P. Morgan Carol and Lawrence A. Reich/Modestus Bauer Foundation Burton Rocks Dr. Lawrence Rocks and Marlene Rocks Lana and Larry Rouff Rustico Italiano SmartSource Howard and Sarah Solomon James Verrant Camilla Webster Wellington Bay Gifts from $1,000 to $1,999 ADA Site Compliance/Barry Schwartz The Pearl Antonacci Group/Compass Realty Alberto Arias Bascom Palmer Eye Institute Lon and Richard Behr The Ben West Palm Mr. and Mrs. Gene M. Bernstein Big Time Restaurant Group William B. Blundin Larmoyeux & Bone John Cammeyer Dr. Alexandra C. Cook Cummings & Lockwood LLC Cleveland Clinic William and Katherine Devers Jane Dillon Donald M. Ephraim Family Foundation Stephen Epstein Aaron Ferraris Annette Friedland Gillian Fuller Theresa & Michael Hammond Harvey Capital Management Priscilla H. Heublein

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INDIVIDUAL DONORS Hive Home, Inc.

Delight Banker

William and Peggy Johnson

Steven Barre

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Todd Barron

Arsine and Taniel Koushakjian

Kirill Basov

Larmoyeaux & Bone, P.L.

Howard and Elinor Bernstein

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Tom Block

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Daniel Bouaziz

Jerome Jacalone

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Terrence McGeever

Cressman Bronson

Morse Life Health System

Carl W. Buchheister II

Arnold Moss

David Burck

Tyler Moynihan

John Campbell

Mirela O’Sullivan

Lola Carson

Paul and Anne Paddock

Ann Marie K. Chamberlain

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Karen Restaino

Guy Clark and Harrison Morgan

R. P. Simmons Family Foundation

Margaret M. Condron

Anne and J. Christopher Reyes

Maureen Conte

Michele Schimmel

John & Mary Coons

Chris Shea

Jonathan Cordoba and Morgan Lewis

Dr. Richard and Mrs. Arlene Florence Siudek of the Ayco Charitable Foundation

Ian Danic

Ryan Swenson

Elizabeth Denis

Jane Tracy Artist Estate Michael S. Trent Sigrid Van Eck Donna Ward Elizabeth J. Weber Floria Whittle and Stan O’Hoppe David S. Wood Gifts up to $999 David Albenda Anne Albino Brenda Alford Julia M Amadio Stephan and Madeline Anbinder Jonathon Andrews Barbara S. Aschheim Nadine Asin and Thomas van Straaten Joe Babcock Arlyn and David R. Bamberger III

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Janine de Nigris Pat D’Orazio Frank Dowling Lenir Drake Dave Duebendorfer Rey C Dwyer Susan Dyer Darlene Dzuba Lindsay Eakin Diego Echeverri Michael Enriquez Stephen J. Epstein John Failla Max Faller Kyle Fant Joyce G. Ferguson Brian Ferrell Maureen Fitzpatrick Joseph P. Flanagan Justin Frobose

INDIVIDUAL DONORS Gannett Foundation

Mark Khachaturian

Michael Ganz

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Chris Knapp

Austin Garrett Jr

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Homer and Elizabeth Marshman

Roslyn Grant

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Liz McDermott

The Halperin Foundation/Barry & Silvana Halperin

John and Barbara McDonald

Rosirma Hardin

Cheryl McKee

Travis Harmony Alan Hetelson The Ernest M. Hodge Foundation, Inc. Lesley Hogan Jacob Holmes Dr. Neri Holzer Robert and Barbara Hurwit John Iaciofano Sabra Ingeman Abby & Eric Jablin Martin D. and Mary A. Jacobson Dr. and Mrs. Robert Jaeder Dale Jenkins Evan Jones Aramas Kaloustian Sarah Stimson Karis Evan Kass Patricia Kennedy

Matthew McGeever Timothy McMaugh Veronica McNiff Mike Melim Jacqui Michel Adam Mills Carmel and Glen Mitchell Matt Mitchell Ashley Montgomery Joseph and Sharon Muscarelle Adam Myron Hank Narrow Jennifer Nawrocki Samuel Neulinger Lilian Nodelman Sally O’Connor Sally and Kenneth Ohrstrom Maryka Olberg Mari Orikasa palmbeachsymphony.org

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INDIVIDUAL DONORS Doug Nelson and Lynn Osborne

Kate Stamm

Ximena Pacheco-Veliz

Barbara Stein

Tim Pagel

Christine Stenko

David and Ellen Paulson

William Straith

Laura Peebles

John Strasswimmer

Charles Pero

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Olga and Serge Strosberg

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Maria Pierson

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Dr. Lynn Tishman

Gordon Lee Pollock

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Theodore Tribolati

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L. River

John Turgeon

Drs. Marcia Robbins-Wilf & Perry Robbins

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Jordan Rothenberg

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Scott Rubenstein

Camilla Webster

Philip E. Ruppe

Wellington Regional Medical Center

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Ava Wilder

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Carole Wilson

Steve Schulman

Lonnie L. Winter

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Nicole Winter

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Alan and Paula Wiseman

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Barbara Signo

Felicia Zayne

Dan Silverstein

Susan Zuckert

Lenny Silverstein Paul Sneden Christopher Snyder Bryan Solomon Francine Sovinee St. Edwards Church Charles and Benita Staadecker

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