Sav Phil 2019-2020 Season - Volume 1

SAVANNAH PHILHARMONIC 2019/2020 SEASON VOL. 1 OF 2

Meet your new Music & Artistic Director Designate:

Keitaro Harada pg 13

Picnic in the Park pg 19

Mendelssohn Violin Concerto pg 34

Holiday Spectacular & Matinee: Fun for the whole family! pg 40

#SavPhil

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Table of Contents

TEAM

Terri O’Neil

EXECUTIVE DIRECTOR

Keitaro Harada pg 13

Picnic in the Park: Color Your World with Music pg 19

Keitaro Harada

MUSIC & ARTISTIC DIRECTOR DESIGNATE

Mel Whitehead CHORUSMASTER

Edward (E.J.) Lada

DIRECTOR OF ARTISTIC OPERATIONS

Holiday Spectacular pg 40

Dr. Sinisa Ciric

CONCERTMASTER & ARTISTIC DIRECTOR OF LARSEN MUSICIAN CONCERT SERIES

Frances C. Colón DEVELOPMENT & PATRON SERVICES ASSOCIATE

Katherine Poss

DEVELOPMENT & COMMUNICATIONS ASSOCIATE

6 From the Board Chair 8 Not to be Missed

Kristen Spiridon

9 Larsen Spotlight Series

EDUCATION & OUTREACH COORDINATOR

Margaret Murphy FINANCE ASSOCIATE

Marsha Krantz LIBRARIAN

10 Orchestra 12 Chorus Pre-Concert Talks pg 25 Going Green pg 7

13 Keitaro Harada 14 Concertmaster 15 Chorusmaster 16 Make the Most of Your Visit 19 Picnic in the Park 20 Triple Treat 25 Pre-concert Talks 26 Le Resistance 28 From UGA with Love 30 The Death of Romance

Make the Most of Your Visit pg 16

34 Mendelssohn Violin Concerto 40 Holiday Spectacular 48 Annual Fund Contributors 54 Enhance Your Experience 56 Become an Annual Fund Contributor

Cover photo: Claudia Hershner

58 Education & Outreach 63 Sponsors #SAVPHIL • 5

From the Board Chair

SAVANNAH PHILHARMONIC BOARD OFFICERS

Rhegan White-Clemm BOARD CHAIR

Scott Lauretti VICE CHAIR

Bud Green TREASURER

Phyllis Albertson SECRETARY

Nina Eidell

EXECUTIVE COMMITTEE MEMBER

Susan Whitaker

EXECUTIVE COMMITTEE MEMBER

BOARD MEMBERS

Carol Bell Carolyn Brown Staci Donegan Rachel Fields Lyon Jemison Marek Lewanda Roger Moss Daphne Nash Kelley Parker Renee Portell Cindy Prutzman Mel Whitehead EX OFFICIO

Terri O’Neil

EXECUTIVE DIRECTOR

Keitaro Harada

MUSIC & ARTISTIC DIRECTOR DESIGNATE

Dear Philharmonic Friends, Thank you for choosing to spend this evening with the Savannah Philharmonic.

To begin the 11th season we welcome our new Music and Artistic Director Designate, Maestro Keitaro Harada, to Savannah. As Music Director Designate for the Philharmonic’s 11th season, Mr. Harada is conducting our Opening and Finale concerts. Our Philharmonic Musicians, Staff and Board of Directors are thrilled that this talented young man of exceptional artistic vision has been chosen to lead our orchestra to the next level of excellence.

This season, we also welcome a fabulous roster of Guest Conductors who will bring their own brand of magic to each of their performances.

Creating a full season of fabulous orchestral music is an undertaking of tremendous scope and nuance. Behind the scenes, we have a committed team of staff who power the production of our eight Full Season concerts, our six Spotlight Series concerts, our two youth concerts, our integrative medicine programs, and our numerous outreach events.

I extend my sincere thanks to our Philharmonic employees, our amazing Phil Ambassador volunteer corps, and our exceptional Board of Directors for all of their hard work and dedication.

On center stage, the Savannah Philharmonic boasts an orchestra of tremendous musicians and a chorus of beautiful singers, all passionate about making music that touches the soul. I know I speak for us all when I thank our orchestra and chorus for the joy they bring to us in each of their performances.

The Savannah Philharmonic has an important role to play in the city as a cultural cornerstone in our performing arts community. The news of the demolition of the Johnny Mercer Theatre in the next few years has marshaled our voices with those of other performing arts organizations as we seek a solution to ensure that our vibrant musical community will have a new, purpose-built performance venue for generations to come.

It is my great honor to serve as the Board Chair of the Savannah Philharmonic for another year and in that capacity, I express my deep gratitude to our many patrons, donors and corporate sponsors. Your generosity allows us to continue making a difference by making music.

The Savannah Philharmonic is proof that the power of music lifts the spirits of all who will listen and draws our community closer together.

Mrs. Rhegan White-Clemm Chair, Savannah Philharmonic Board of Directors

6 • SAVANNAHPHILHARMONIC.ORG

WE’RE GOING GREEN! Savannah Philharmonic is proud to announce its going green initiative. In order to cut down on waste we have chosen to print two programs per season: Volume 1 will feature all orchestral and Larsen Musician Spotlight Series concerts from September through December.

Volume 2 will feature all orchestral, chorus, and Larsen Musician Spotlight Series Concerts from January through May. Help us go green! n Keep your program and bring it with you to each concert.

-Orn Recycle your program in the designated recycle bins at the end of each concert. n View the program online, including program notes, days ahead of the concert.

Your participation in going green will make an impact on the Savannah community, the environment and help us allocate saved dollars to producing more music.

#SAVPHIL • 7

Not to be Missed

2019-2020 SEASON Tickets $25-80

MISCHIEVOUS MUSICIANS January 18 7:30 pm Lucas Theatre for the Arts Janna Hymes, conductor Nathan Lee, piano MODERN TO MAJESTIC February 8 7:30 pm Johnny Mercer Theatre Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet GERMANIC PASSION March 21 7:30 pm Lucas Theatre for the Arts Vlad Vizireanu, conductor Ryne Cherry, baritone SATURDAY NIGHT’S FEVER April 18 7:30 pm Lucas Theatre for the Arts McDowell Fogle, conductor Savannah Philharmonic Chorus & Friends MOZART’S REQUIEM May 2 7:30 pm Johnny Mercer Theatre Keitaro Harada, conductor Colleen Daly, soprano Zoie Reams, mezzo-soprano Omar Najmi, tenor David Cushing, bass Savannah Philharmonic Chorus

8 • SAVANNAHPHILHARMONIC.ORG

Larsen Musician Spotlight Series

STRINGS UNITED: Savannah Arts Academy ensemble presented by Savannah Philharmonic Sunday, January 26 5:00 pm First Presbyterian Church CINEPHILE DU JOURE: “Blue Heron” chamber ensemble Sunday, February 23 5:00 pm Lutheran Church of the Ascension MARTIN GENDELMAN: Sympátheia Sunday, March 8 5:00 pm TBD Tickets $25

To purchase tickets: VISIT savannahphilharmonic.org Presented by Nancy & Ken Larsen

CALL the Savannah box office at 912 525 5050, option 1 to speak with a representative STOP BY the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm)

#SAVPHIL • 9

Orchestra

VIOLIN

Angela Loizides

Sinisa Ciric Concertmaster

Betul Soykan

Sponsored by Susan & Ron Whitaker

Andrea Pettigrew Assistant Concertmaster Sponsored by Dr. and Mrs. Sidney Jefferson Bolch, III

David Song

Sponsored by Kelley B. Parker

David Edwards Danijela Žeželj-Gualdi

David Katz Conrad Thomas Marsha Krantz Jason Economides Alex Shlifer Marina Volynets VIOLA

LiZhou Liu Principal

Sponsored by Rhegan White-Clemm & Timothy Clemm

Yvonne Johnson Assistant Principal

Pedro Miszewski

Sponsored by Pierce Jemison

Sponsored by Dave & Sylvaine Neises

Adrianne Munden-Dixon Sponsored by Richard Foster

Magaly Seay

Sprite Crawford Patrick Shelc Sadie Nichols

Anastasia Petrunina

Gabriel Schlaffer

Martha Gardner

Marsha Krantz

Lucas Scalamogna

Michael Giel

Ann Cafferty

William McClain

Robert Givens Kathryn Gardner-Otwell Jonathan Wright Jeanne Johnson Ricardo Ochoa Principal Second Violin Sponsored by Fran & Hue Thomas

Adrienne Caravan Assistant Principal Second Violin Sponsored by Lyon Jemison

Christian Simmelink

CELLO

Alfred Gratta Guest Principal Roee Harran Guest Principal Joyce Yang Guest Principal Jessica Messere Erin Cassel

Sponsored by Cynthia Heil

Mary Beth Bryant

Sponsored by Ruth & Tom McMullin

Sponsored by Anonymous

Katie Truex

Jessica Daniel

Ismail Akbar

Sarah Land

Daniel Mumm

10 • SAVANNAHPHILHARMONIC.ORG

Jean Gay

Emily O’Shea

TUBA

Sarah Kapps

Andy Warwick

Mary Horst

Katherine White

David Zerkel Principal

DOUBLE BASS

Vadim Volynets Principal Joel Schnackel Tod Leavitt Gabriel Monticello

Sponsored by Dr. & Mrs. Jules Victor III

Patrick Hanudel

Jimmy Hendricks

Russell Brown

TIMPANI

BASSOON

Ray McClain Principal

Sandra Nikolajevs Principal

Sponsored by Susan & Ron Whitaker

Sasha Enegren

PERCUSSION

Stephen Primatic Principal

Sponsored by Nancy & Ken Larsen

Marc Chesanow

Sponsored by Michael W. & Peggy Towson

Matt Fallin

Peter Berquist

Reed Hanna

Ryan LeVeille

Brad Behr

Jesse Monkman

Emory Clements

Sponsored by Tim & Dorothea Coy

Jacqueline Pickett

SAXOPHONE

Branca Ivanovic

Jody Espina Principal

FLUTE

Jeana Melilli Principal Julie DeMott Erica Bass Pirtle Regina Helcher Yost OBOE

Andrew Jay Ripley Principal

FRENCH HORN

Mike Daly Principal

Carolyn Munford Principal Kela Walton KEYBOARD

Helen Werling

McDowell Fogle Principal

Jonathan Croy

Michael Braz

Judith Thompson

Martha Kleiner

Clayton Chastain Principal John Harrison Bryant Jonathan Swygert

Sponsored by Ron & Peg Morris

Mark Gould

Taylor Massey

TROMBONE

Sponsored by Ann Lytle

HARP

Debra Sherrill-Ward

TRUMPET

Kristen Spiridon Principal

Patti Tolbert

David Bradley

Brian Seaton

CLARINET

Diana Sharpe

Jeffrey Brooks

Carl Polk Principal

Gretchen Roper

Mark Spradley Hollie Lawing Pritchard

This list reflects current seating order within each section. However, the seating order may change on a per concert basis.

#SAVPHIL • 11

Chorus

McDowell Fogle Inna Amromin

Thank you to our Chorus members for all of their support and dedication. This list is current as of September 10, 2019.

An updated list will appear in volume 2.

Merritt Quarles

SOPRANO

CHORUSMASTER

PIANO ACCOMPANIST CHORUS MANAGER

Rebecca Sentman (SL) Suzanne Prior Lori Bailey CHORUS STAGE Perri Baxter MANAGER Katie Beaumont Kelly Bell CHORUS BOARD Peggy Breese Renee Portell Fran Conway CHAIR Christina D’Aguillo Jennifer Livingstone Cornelia Fahy SECRETARY Julia Flowers Michael Elwell Angela Hopper-Lee TREASURER Ellen Lea Samantha Liang Mark Berry Susan Masters Lucas Bradley Jennifer Menken Fran Conway Kara Mobley Anthony D’Aguillo Jeanne Mundy Gretchen Ernest Suzanne Prior Annette Podolak Merritt Quarles Howell Kenneth Rimes Jeffrey Watson ALTO Gretchen Ernest (SL) Flo Bryant Yelena Chernyak Diane Davis Kyrin Dunston Susan Ganas Deborah Helmken Barbara Jenks Mimi Krupp Jennifer Livingstone

Mary Nestor Terri Norburg Joy Aune Olson Juliet Pearl Annette Podolak Renee Portell Georgeanne Schopp Dawn Stanford Lauren Wallick TENOR

Jeff Watson (SL) Phyllis Albertson David Edwards Peter Humphrey George Longstreth David Lotz Kathleen McGuire Don Read Chris Thompson Darren Weaver Billy Wooten BASS

Curt Bryant (SL) Mark Berry Joel Darulla David Frothingham Tom Olson Kenneth Rimes Jack Van Eck * (SL) denotes Section Leader

The Savannah Philharmonic would like to thank Elizabeth Oxnard for generously refurbishing the conductor’s podium for the 2019-2020 season.

12 • SAVANNAHPHILHARMONIC.ORG

Meet Your Music & Artistic Director Designate

Conductor Keitaro Harada maintains a growing, international presence throughout North America, Asia, Mexico, and Europe. Recently named Music & Artistic Director Designate of Savannah Philharmonic, he will conduct the 2019-20 opening and closing concerts before his inaugural season in 2020-21. Harada’s broad scope of musical interest in symphonic, opera, chamber works, pops, film scores, ballet, educational, outreach, and multi-disciplinary projects leads to diverse and eclectic programs.

Recent and upcoming highlights include Houston Symphony, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Osaka Symphony, Osaka Philharmonic, Hawaii Symphony Orchestra, Kanagawa Philharmonic Orchestra, Nagoya Philharmonic Orchestra, New Japan Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Fort Worth Symphony, Indianapolis Symphony, Memphis Symphony, Louisiana Philharmonic, Charlotte Symphony, West Virginia Symphony, Tucson Symphony, Phoenix Symphony, Virginia Symphony, and Orquesta Filarmónica de Sonora (México).

No stranger to the operatic cannon, Harada returns this season for his debut of Leoncavallo’s Pagliacci with North Carolina Opera, for whom he has previously led productions of Carmen and Britten’s Turn of the Screw. In 2017, he conducted Mazzoli’s Song from the Uproar for Cincinnati Opera, as well as run of Carmen for Bulgaria’s Sofia National Opera and Ballet that reprised with a Japan tour in fall 2018. In past seasons and as Associate Conductor of Arizona Opera, he led productions of Don Pasquale, Le Fille du Regiment, and Tosca. As a 2010 Seiji Ozawa Fellow at Tanglewood, Harada conducted critically-acclaimed performances of Strauss’ Ariadne auf Naxos.

Currently finishing his fourth season as Associate Conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops, Harada regularly assists Music Director Louis Langrée, conducts the CSO, POPS, and works with James Conlon and Juanjo Mena for the May Festival. He is a three-time recipient of The Solti Foundation U.S. Career Assistance Award (2016, 2015, 2014), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, and was a student of Lorin Maazel at Castleton Festival and Fabio Luisi at Pacific Music Festival. In 2018 and 2016, he was invited by Valery Gergiev to serve on the faculty of the Pacific Music Festival. kharada.com | @KHconductor #SAVPHIL • 13

Meet the Concertmaster

Dr. Sinisa Ciric is the concertmaster of Savannah Philharmonic, Gwinnett Ballet Orchestra, and a former concertmaster of New Atlanta Philharmonic, Jackson Symphony and Rome Symphony. He appeared as a soloist with Savannah Philharmonic, Rome Symphony Orchestra, Georgia Philharmonic as well as LaGrange Symphony and Bach Festival Orchestra and many other regional orchestras in USA. Dr. Ciric is a founding member of Balkan Quartet with whom he performed in many concerts promoting rich musical heritage of his native Serbia and countries of Balkan Peninsula.

He received his undergraduate degree from the Academy of Arts, University of Novi Sad (Serbia), masters and doctoral degree in violin and viola performance at University of Georgia in Athens where he studied with distinguished professors Levon Ambartsumian and Mark Neumann.

Dr. Ciric is an Artist Affiliate with Emory University and had taught violin, viola and chamber music at Oxford College of Emory University. He also held a position of Violin and Viola Instructor at Georgia Perimeter College, Atlanta GA. Since January of 2016, Dr. Ciric is the Director of the Strings Conservatory Program at Savannah Classical Academy and the Artistic Director of Larsen Spotlight Chamber Music Series of Savannah Philharmonic.

CONNECT WITH US @SavPhilharmonic @SavPhilharmonic @SavPhilharmonic SHARE US YOUR EXPERIENCE USING #savphil

14 • SAVANNAHPHILHARMONIC.ORG

Meet the Chorusmaster

McDowell Fogle serves as the Chorusmaster for the Savannah Philharmonic Chorus. In addition, he serves as the Director of Music for the Episcopal Church of St. Paul the Apostle in Savannah. Prior to his tenure at St. Paul’s, he served as Director of Music at the Cathedral of St. John the Baptist (Savannah), where he began the foundation of a professional music program and formed the Friends of Cathedral Music Concert Series.

Originally from Louisville, Kentucky, Mr. Fogle holds degrees in Organ Performance and Choral Conducting from the University of Louisville (Bachelor of Music), the Manhattan School of Music, New York (Master of Music), Choral Studies with Dr. Dennis Keene (Voices of Ascension, New York) and Dr. James Jordan (Residency Program, Oxford, England), Gregorian Chant studies with the Benedictine Order (St. Meinrad School of Theology and St. Johns University), and certification in Liturgy and Music (Archdiocese of Louisville). McDowell and his husband Gary Shelby, their two dogs (Jasper and Scout) and two cats (Miss B and Shelby) currently reside in Savannah and Tybee Island.

SHAPE YOUR PHILHARMONIC EXPERIENCE! After each concert, ticket purchasers will receive a short electronic survey.

You’ll only have seven days to make your voice heard, so check your e-mail!

Your invaluable feedback will help shape the future of your Savannah Philharmonic.

Questions? Let us know at info@savannahphilharmonic.org. #SAVPHIL • 15

Make the Most of Your Visit Savannah Philharmonic welcomes you to an exciting season! Here are answers to some

WHERE DO I BUY TICKETS?

There are a few ways you can purchase tickets for our concerts: Go online to Savannahphilharmonic.org to purchase tickets and view concert details and learn about single tickets, Multi-Concert Ticket packages and Season Subscriptions.

Call the Savannah box office at 912 525 5050, option 1 to speak with a representative.

Stop by the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm).

WHAT SHOULD I WEAR?

Never let your wardrobe keep you from a concert!

Your experience of the music is what's important, so wear whatever makes you feel comfortable. As you'll see, a lot of concertgoers wear business attire or casual business attire. We do ask that you refrain from using strong scents, as they may be distracting to other patrons and the performers.

WHEN SHOULD I ARRIVE?

We recommend 30-45 minutes prior to a performance. This allows time for you to find parking downtown, go through security, find your seat, and relax before the concert.

Classical performances typically feature a pre-concert talk that starts one hour before the concert. If you wish to attend please make sure to plan accordingly.

WHY IS THERE A SECURITY CHECK-POINT?

Due to recent events in the media, security check-points and large bag checks are in effect at both the Lucas Theatre of the Arts and the Johnny Mercer Theatre.

Weapons of any kind are prohibited on the premises.

CAN I BRING MY CHILD?

Savannah Philharmonic welcomes young concertgoers aged two and above. Regardless of age, all attendees should have a ticket for entry into the hall.

Looking for a more family-oriented experience?

16 • SAVANNAHPHILHARMONIC.ORG

We offer our Holiday Spectacular Family Matinee on December 7 at 3:00 pm at the Johnny Mercer Theatre. Consider attending our Larsen Musician Spotlight Series: six Sunday concerts at 5:00 pm, offering an intimate musical experience with educational components.

CAN I BRING CONCESSIONS INTO THE HALL?

Concessions are available at both the Lucas Theatre for the Arts and the Johnny Mercer Theatre. New this year: Attendees are invited to bring their beverages into the hall to enjoy the concert. To avoid unnecessary noise, drinks with ice are not allowed in the auditorium.

CAN I HAVE MY CELL PHONE OUT DURING THE CONCERT?

We ask that you turn your devices to silent mode and refrain from cell phone use during the concert. Even if you have the brightness on the lowest setting, it can still be a distraction for our musicians and other patrons. If you want to take a photo, be sure to tag #SavPhil in your pictures, but please wait until an applause break,

frequently asked questions to help you have the best experience possible. and make sure to turn off your flash. Audio and video recording is strictly prohibited.

HOW SHOULD I LISTEN?

There is no “right” way to enjoy a concert. Everyone experiences music differently. In fact, it’s completely okay not to like a piece of music!

That’s part of the discovery of listening to music: expanding your horizons and learning about yourself. Music is meant to affect you, to spark reactions and feelings, to lead you to reflect on memories. It can be as exciting and energizing as it can be romantic or spiritual. Lose yourself in the music, or keep your eyes glued to the stage to capture the talent and passion of the orchestra, or simply use the time to disconnect, relax and people-watch.

What you get out of a concert experience is entirely up to you.

WHEN DO I APPLAUD?

The short answer: Applaud when you feel moved to do so. The longer answer: many pieces of music are divided into sections

(“movements”), so if you aren’t sure if it’s over, wait for others to start clapping and join in.

Why two pieces of advice? Well, the rituals around applause changed over time. In Mozart's day, the audience was rather rowdy— clapping, talking, and even shouting during the performance. In the 20th century, this changed, and audiences clapped only at the end of the entire piece of music and then clapped for a long time. This is still the convention today at most orchestras around the world, though our policy is if you have an emotional reaction to the music and need to express it, do it. The musicians are playing their hearts out for you, and your applause means everything to them.

WHAT IF I’M LATE?

Out of respect for our performers, we ask that you find your seat before the concert. If you are late, you will be seated at applause breaks. Please take your seat quickly and quietly.

Some performances do not have many applause breaks, so please do your best to be on time.

I ATTENDED ONCE AND DIDN’T LIKE IT. WHY SHOULD I GO AGAIN?

We wish we could guarantee you would love each and every concert, but art speaks to every person differently.

Consider trying a few concert experiences to see what best suits your tastes. That’s the joy of it! We hope you’ll play the field a bit and “date” a few different concert experiences—true love could be just around the corner.

HOW DO I GET MORE INVOLVED?

We’re glad you’ve enjoyed your experience with us! If this is your first time at one of our concerts, you can consider becoming a season subscriber, volunteering, or donating to our Annual Fund. Together, we can continue Savannah Philharmonic’s mission to inform, instruct and enrich the community through orchestral and choral performances, and to promote and increase community knowledge and appreciation of the arts.

Visit our website at savannahphilharmonic.org for tickets and more information.

Still have more questions? Call the Savannah Philharmonic at 912 232 6002 and speak with our Development & Patron Services Associate. #SAVPHIL • 17

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18 • SAVANNAHPHILHARMONIC.ORG

S A V A N N A H

P H I L H A R M O N I C

P R E S E N T S

PICNIC IN THE PARK SUNDAY, OCTOBER 6, 2019 I FORSYTH PARK 3 PM COMMUNITY PERFORMANCES I 7 PM ORCHESTRA I FREE GENE CHANG, conductor I EMILY YOCUM BLACK, soprano

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#SAVPHIL • 19

Triple Treat

Saturday, September 14 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Keitaro Harada, conductor Ian Parker, piano

TRIPLE TREAT: Bernstein, Gershwin, and Mussorgsky Overture from “Candide” Concerto in F

Leonard Bernstein George Gershwin

INTERMISSION Pictures at an Exhibition

Promenade

Modest Mussorgsky, arr. Maurice Ravel

I. Gnomus Promenade II. Il vecchio castello Promenade

Thank you to our generous sponsors

III. Tuileries IV. Bydlo Promenade V. Ballet of Unhatched Chicks VI. Samuel Goldenberg and Schmüyle

Rhegan White-Clemm

VII. Limoges – The Market

Michael & Catherine Thames

VIII. Catacombs – With the Dead in a Dead Language IX. The Hut on Hen’s Legs (Baba Yaga) X. The Great Gate of Kiev

Carolyn & Darryl Brown Nina & Ron Eidell Mrs. Robert O. Levitt Marek & Pamela Lewanda Kelley B. Parker Dr. & Mrs. J. Wayne Sheridan

20 • SAVANNAHPHILHARMONIC.ORG

Notes on the Program

Saturday, September 14 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Keitaro Harada, conductor Ian Parker, piano

Overture from Candide (1956)

by Leonard Bernstein Last SP performance: September 2013 Performance time: Approx. 4 minutes Leonard Bernstein’s Candide is sometimes overlooked among his works for the theater. It wasn’t an instant hit like West Side Story, but it also wasn’t a flop like A Quiet Place.

His music for Candide was brilliant, and almost universally admired, but it never really clicked with audiences. Some critics complained the second act was too slow, or pointed to a lack of a love story to engage audiences. Whatever the reason, parts of Candide did manage to find a home in the concert hall, like the showstopper soprano aria “Glitter and Be Gay” and this boisterous Overture.

Candide—originally written by Voltaire in 1759—was a biting social satire written as a frantic procession of short scenes without much of anything in the way of interludes tying the scenes together. Bernstein built his overture the same way, in a quasi-homage to the great opera composer Rossini.

Bernstein takes the most memorable themes from the operetta, bounces them into and off of one another at a frenetic pace, and then borrows Rossini’s trademark long, gradual crescendo to drive the overture headlong to its conclusion.

This sense of breathless propulsion is a fantastic way for the Savannah Philharmonic to start its second decade of programming.

Concerto in F (1925)

by George Gershwin Savannah Philharmonic premiere Performance time: Approx. 32 minutes In 1924, Paul Whiteman organized a concert in New York City that he called “An Experiment in Modern Music.” That concert became best known for the next-to-last piece on the concert – a brand-new work called Rhapsody in Blue. The premiere performance of Rhapsody in Blue was quite literally an overnight phenomenon. One of the audience members that night was the conductor Walter Damrosch—head of the New York Symphony Orchestra (which, just four years later, would merge with the Philharmonic Society of New York to form what is now the New York Philharmonic).

The very next day after Rhapsody in Blue premiered, Damrosch contacted George Gershwin and commissioned him to write a full-scale piano concerto to be premiered by the New York Symphony Orchestra at Carnegie Hall. Much like Rhapsody in Blue, the Concerto in F was immediately popular with the public, while critics were confused about whether to call the piece “jazz” or “classical.” #SAVPHIL • 21

Notes on the Program cont’d

Saturday, September 14 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Keitaro Harada, conductor Ian Parker, piano

Damrosch’s reaction was much more decisive. He wrote, “Various composers have been walking around jazz like a cat around a plate of soup, waiting for it to cool off so that they could enjoy it without burning their tongues. Lady Jazz… has danced her way around the world… but for all her travels and sweeping popularity, she has encountered no knight who could lift her to a level that would enable her to be received as a respectable member of musical circles. George Gershwin seems to have accomplished this miracle.”

Gershwin summed up the contents of the concerto in straightforward terms, without attempting to paint pictures with the music as was the fashion in more “classical” circles.

“The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young enthusiastic spirit of American life… The second movement has a poetic, nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout."

Pictures at an Exhibition (1874 / 1922)

by Modest Mussorgsky; arranged by Maurice Ravel Savannah Philharmonic premiere Performance time: Approx. 30 minutes Modest Mussorgsky’s close friend Viktor Hartmann was a respected artist, architect, and designer. Through the highest points of his career, Mussorgsky held Hartmann’s opinions in very high regard, to the point of revising certain scenes of his monumental opera Boris Godunov at Hartmann’s suggestion.

During this revision process in 1873, running up to the premiere of Boris Godunov, Hartmann died suddenly from an aneurysm.

Mussorgsky and other of Hartmann’s friends organized a memorial exhibition of Hartmann’s works at the Imperial Academy of Arts in St. Petersburg. After visiting the exhibition, Mussorgsky was inspired to write Pictures at an Exhibition.

Many composers have created orchestra arrangements of Mussorgsky’s piano suite, which is still highly regarded as a virtuosic showpiece of the piano repertoire. But the most enduring was the arrangement by Maurice Ravel, commissioned in 1922 by the conductor Serge Koussevitsky.

Originally a suite for piano, Pictures is structured as a series of short movements, each movement inspired by one of Hartmann’s works. The movements are connected by variations on a “promenade” theme that give the feeling of someone attending the exhibition, moving from picture to picture, in different mental states after seeing each work.

22 • SAVANNAHPHILHARMONIC.ORG

Saturday, September 14 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Keitaro Harada, conductor Ian Parker, piano

Some of the pictures Mussorgsky used as inspiration have since been lost—only six out of the eleven have been preserved—but descriptions of all exist. Through the piece, Mussorgsky highlights contrasts, following a bright, energetic image with darker, more somber images—most likely to reflect the conflicting emotions swirling around the death of his friend.

The first scene after the opening promenade, “Gnomus,” was inspired by a sketch of a nutcracker in the shape of a small, bandy-legged gnome with large, crooked teeth. This somewhat grotesque image is contrasted by the next image, a watercolor of an “Old Castle” with a small human figure included by Hartmann for scale. In Mussorgsky’s mind, the figure became a singing troubadour, which Ravel chose to represent with an alto saxophone.

Mussorgsky based the third scene on a picture of the Jardin des Tuileries, outside the Louvre in Paris, with a group of children playing, followed quickly by a fourth scene, “Bydlo,” evoking an image of a Polish cart on massive wheels, pulled by a team of oxen.

The fifth scene, after another short interlude, is the first one based on one of Hartmann’s surviving works, the “Ballet of Unhatched Chicks.” Hartmann’s sketch is a costume design for the ballet Trilby, produced at the Bolshoi Theater in 1871, showing dancers dressed as baby chickens emerging from their shells.

“Samuel Goldenberg and Schmuÿle,” the sixth vignette, contrasts portraits of a “Rich Jew” and a “Poor Jew.” Ravel highlighted the difference by separating the scene’s two themes into low strings against a piercing piccolo trumpet solo.

The final part of the suite, in Ravel’s adaptation, moves forward with no further interruptions of the promenade theme, except as woven into the body of the scenes. The seventh scene, a busy marketplace in the French city of Limoges, is quickly contrasted with another French scene: Hartmann himself and two companions exploring the Paris catacombs by lantern-light.

The ninth and next-to-last scene, recalls the grotesque nature of the first scene. Hartmann’s sketch was an ornate clock in the shape of a hut on hen’s legs. Mussorgsky’s scene incorporates the flight of the Baba Yaga, a hag-like figure from Russian fairytales. This leads with no break to the final scene, the Great Gate of Kiev. Hartmann designed a huge, ornate city gate in honor of Tsar Alexander II, though construction plans were later scrapped. The music is fittingly triumphant and grandiose, making it a fantastic conclusion to a concert. n

#SAVPHIL • 23

Meet the Artist

Magnetic, easy-going, and delightfully articulate, Canadian pianist Ian Parker captivates audiences wherever he goes.

He has appeared as a solo artist across the US, Canada, and Asia including the orchestras of San Francisco, Buffalo, Calgary, Cleveland, Cincinnati, the Hong Kong Sinfonietta, and many more.

An enthusiastic recitalist, Ian has performed across the United States, Western Europe, Israel, and throughout Canada.

He made his Lincoln Center recital debut at the Walter Reade Theater in 2004, and recently became Artistic Director of North Vancouver's Kay Meek Centre.

Saturday, September 14 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Keitaro Harada, conductor Ian Parker, piano

Ian was invited to collaborate with the internationally renowned Vogler Quartet during its twentieth anniversary tour in 2005-06, and has toured with them regularly ever since.

He is also an active recording artist, releasing two CDs in 2010: one with the London Symphony encompassing concerti

by Ravel, Stravinsky, and Gershwin, and a solo CD including the fantasies of Chopin, Schumann, and Beethoven.

Born in Vancouver to a family of pianists, Ian began his piano studies at age three with his father, Edward Parker. He holds both the Bachelor and Master of Music degrees from The Juilliard School, where he was a student of Yoheved Kaplinsky. He has also received numerous awards from prestigious national and international competitions.

Biography of Keitaro Harada can be found on pg 13

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PRE-CONCERT TALKS Presented before each of the seven full orchestral concerts 6:30 pm Designed to enhance your concert experience and better acquaint attendees with the evening’s music, the host of the pre-concert talks will deliver insightful conversation.

You won’t want to miss this behind the scenes opportunity!

Pre-concert talks are scheduled for all concerts except Picnic in the Park and Saturday Night’s Fever.

#SAVPHIL • 25

Le Resistance

Larsen Musician Spotlight Series Sunday, September 15

LE RESISTANCE: Composers in the modern Era Siete Canciones populares

Manuel de Falla

Españolas

Transcribed for cello

by Maurice Maréchal

5:00 pm

1. El Paño Moruno

Lutheran Church of the Ascension 120 Bull Street

2. Nana

Ricardo Ochoa, violin Yvonne Johnson, viola

3. Canción Sacred Secrets of the Love Goddess Frøya

James Naigus

Hyperion in the Red Forest

Karen Walwyn

Sextet in C Major, Op. 37

Ernő Dohnányi

Jessica Messere, cello

I. Allegro apassionata

Kristen Spiridon, clarinet

III. Allegro con sentimento

Debra Sherrill-Ward, horn

II. Intermezzo IV. Finale. Allegro vivace, giocoso

Laura Ball, piano

Thank you to our generous sponsors Nancy & Ken Larsen

26 • SAVANNAHPHILHARMONIC.ORG

Meet the Artist

Laura Ball (piano/soprano) is the founder and creative director of the UNED!TED concert series in Charleston, SC. Equally at home in both the classical and contemporary repertoires, Ball believes in building bridges through sound.

She is an active teacher, music director, composer, and performer known for her innovative collaborations across musical genres. Miss Ball is an alumna of Goddard College where she received her MFA in Interdisciplinary Arts.

In Charleston she serves as the music director for Holy Spirit Catholic Church and as the primary music instructor at Charleston Collegiate School.

Sunday, September 15 5:00 pm Lutheran Church of the Ascension 120 Bull Street

#SAVPHIL • 27

From UGA with Love

Larsen Musician Spotlight Series Sunday, October 13 5:00 pm

From UGA with Love Concerto for Two Violins in D minor, BWV 1043 I. Vivace II. Largo ma non tanto III. Allegro

Johann Sebastian Bach

Yamacraw Performing Arts Center

Cras Ignotum (Unknown Tomorrow) Efrem Podgaits

649 W. Jones Sreet

Les Saisons (The Seasons), op. 37a

1. January: At the Fireside 2. February: Carnival 3. March: Song of the Lark 4. April: Snowdrop 5. May: Starlit Nights 6. June: Barcarolle 7. July: Song of the Reaper 8. August: Harvest 9. September: The Hunt 10. October: Autumn Song 11. November: Troika

Levon Ambartsumian, violin Dr. Sinisa Ciric, violin Anatoly Sheludyakov, piano Denis Petrunin, percussions Jaclyn Hartenberger, conductor

Thank you to our generous sponsors Nancy & Ken Larsen

INTERMISSION Pyotr Ilyich Tchaikovsky arr. by Igor Bulakhov

12. December: Christmas

VIOLIN

Shakhida Azimkhodjaeva Anastassia Petrunina Fei Tong Yidan Zheng Paulo Bratschauer Thiago Formiga Courtney Daglis Cristobal Provoste Alexander Ambartsumian Rachel McClellan

28 • SAVANNAHPHILHARMONIC.ORG

VIOLA

Elitsa Atanasova Bryan Johnson Yeasol Kang CELLO

Valentina Ignjic Adriana Estrela Ceija Leah Dutton BASS

Davide Sorbello

Meet the Artist

Levon Ambartsumian, Regent’s and Franklin Professor of Violin at the University of Georgia, is an internationally acclaimed violinist, winner of the 1977 International Violin Competition in Zagreb, the 1979 Montreal International Competition, and of the USSR National Violin Competition in 1981. He is a Merited Artist of Armenia and Russia. He continues to perform and present master classes around the world, and has released 47 albums with various recording labels in the USA and Russia.

In May 2009, Ambartsumian was awarded a gold medal of the Moscow Composers' Union for his contribution to the development of contemporary music and musical culture.

Sunday, October 13 5:00 pm Yamacraw Performing Arts Center 649 W. Jones Sreet

Mr. Ambartsumian founded the ARCO Chamber Orchestra in 1990 at the Moscow Tchaikovsky Conservatory, where he served as Professor of Violin. Almost immediately, ARCO performances throughout Europe drew high critical praise and enthusiastic audience responses. The international acclaim grew in subsequent years, following ARCO’s concert tours in Italy, Spain, Germany, Romania, France and Korea. In 1995, Mr. Ambartsumian moved the home base of the orchestra to UGA, where the ensemble has become a talented international blend of musicians. ARCO has released several CDs with music by Vivaldi, Mendelssohn, Tchaikovsky, Shostakovich, Piazzolla, Vasks, Bronner, and Nielson.

Dr. Jaclyn Hartenberger is the conductor for the UGA Wind Symphony, Associate Director of Bands, and Assistant Professor of Music at the University of Georgia’s Hugh Hodgson School of Music. Her national conducting activities include appearances with the West Point Band, the Concordia Santa Fe Winds, and various regional and district honor bands.

Her international conducting appearances span the Czech Republic, Brazil, and Italy. Dr. Hartenberger holds degrees from the University of North Texas (B.S. in Music Education) and the University of Texas at Austin (M.M. and D.M.A. in conducting). Her professional affiliations include the College Band Directors National Association, the Georgia Music Educators Association, and the National Association for Music Education.

#SAVPHIL • 29

The Death of Romance

Larsen Musician Spotlight Series Sunday, November 3 5:00 pm

The Death of Romance Il Tramonto, P. 101

Ottorino Respighi, text by Percy Bysshe Shelley, transl. by Roberto Ascoli

Melodie

Lutheran Church of the Ascension 120 Bull Street

Les Chemins de l’Amour

Francis Poulenc, text by Jean Anouilh

L’Attente

Richard Wagner, text by Victor Hugo

Mikki Sodergren, mezzo soprano

Beau Soir

Claude Debussy, text by Paul Bourget

Adrianne Munden-Dixon, violin

Élégie

Jules Massenet, text by Louis Gallet

Quartet No. 4 in E minor, Op. 44, No. 2

Felix Mendelssohn

Caroline Drexler, violin

III. Andante

Carrie Frey, viola

IV. Presto Agitato

Julia Henderson, cello

Chanson perpétuelle

Michael Braz, piano

Lieder

Ernest Chausson, text by Charles Cros

Die Männer sind Méchant!

Franz Schubert

Op. 27

Richard Strauss

No. 4: Morgen!

No. 2: Cäcilie Thank you to our generous sponsors Nancy & Ken Larsen

30 • SAVANNAHPHILHARMONIC.ORG

text by John Henry Mackay text by Heinrich Hart

Meet the Artist

Sunday, November 3 5:00 pm Lutheran Church of the Ascension 120 Bull Street

With a gift of changing vocal styles quickly and often, Mikki Sodergren’s vocal flexibility has afforded her many wonderful musical opportunities. Recently, she performed the eponymous role of Carmen with Queens Opera Theatre, Aldonza/Dulcinea (Man of La Mancha) alongside Ron Raines at Amarillo Opera (TX), and has been involved in workshops and readings of several new musical theatre works, including work for Disney Theatricals and The National Theatre of Great Britain. Sodergren has performed as the Alto soloist in Handel’s Messiah with the Johnstown Symphony (PA), the Mezzo-Soprano soloist in the Rachmaninoff Vespers with the twice-GRAMMY®- nominated Clarion Choir, and the Mezzo-Soprano soloist in Vivaldi’s Gloria with Pro Arte Chorale, and will repeat that performance in the spring with the period ensemble, REBEL. She has performed Pops programs with the symphonies of Jacksonville, Tallahassee, Savannah, and the New Jersey Festival Orchestra. Mikki loves ensemble work, touring to Cuba and Ecuador with the ensemble Meridionalis, and will tour Handel’s Semele, conducted by Harry Bicket, with the English Concert and the Clarion Choir across Europe and the US this spring. Favorite roles include Eponine (Les Miserables), Brooke/Journalist (Looking at You), and Ali (The Bad Years).

Mikki currently serves as the Artistic Director of the American Traditions Vocal Competition in Savannah, Georgia, where all styles of American music are celebrated equally. mikkisodergren.com

#SAVPHIL • 31

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Saturday, October 26 I 1 pm-4 pm I FREE and open to the public Savannah Classical Academy Join the Savannah Philharmonic to celebrate community! Performances by the Savannah Brass Quintet and The Savannah Classical Academy String Conservatory. This is a Family friendly event with children’s activities by local entertainer Magic Marc!

Free Ice Cream from Leopold’s Prowl Food Truck

Investment is provided by the City of Savannah

Betsey Andersen

SAVANNAHPHILHARMONIC.ORG

#SAVPHIL • 33

Mendelssohn Violin Concerto

Saturday, November 16

Mendelssohn Violin Concerto

7:30 pm

Masquerade Anna Clyne

Lucas Theatre for the Arts 32 Abercorn Street

Concerto for Violin in E minor, Op. 64

Performance length approx. 1.5 hours

Symphony No. 5 in B-flat major, Op. 100 Sergei Prokofiev

Sameer Patel, conductor William Hagen, violin

Felix Mendelssohn

INTERMISSION Andante Allegro marcato Adagio Allegro giocoso

Thank you to our generous sponsors Charles C. Taylor & Samir Nikocevic Charitable Foundation

34 • SAVANNAHPHILHARMONIC.ORG

Notes on the Program

Saturday, November 16 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Masquerade Program Notes

by Anna Clyne Program Notes

by Edward J. Lada

Masquerade (2013)

by Anna Clyne Savannah Philharmonic premiere Performance time: Approx. 5 minutes Grammy-nominated composer Anna Clyne provides the following notes about her piece Masquerade: “Masquerade draws inspiration from the original mid-18th century promenade concerts held in London’s pleasure gardens. As is true today, these concerts were a place where people from all walks of life mingled to enjoy a wide array of music. Other forms of entertainment ranged from the sedate to the salacious with acrobatics, exotic street entertainers, dancers, fireworks and masquerades. I am fascinated by the historic and sociological courtship between music and dance. Combined with costumes, masked guises and elaborate settings, masquerades created an exciting, yet controlled, sense of occasion and celebration. It is this that I wish to evoke in Masquerade.

“The work derives its material from two melodies. For the main theme, I imagined a chorus welcoming the audience and inviting them into their imaginary world. The second theme, Juice of Barley, is an old English country dance melody and drinking song, which first appeared in John Playford’s 1695 edition of The English Dancing Master.

“It is an honor to compose music for the Last Night of the Proms and I dedicate Masquerade to the Prommers.”

Concerto for Violin in E minor, Op. 64 (1844)

by Felix Mendelssohn Savannah Philharmonic premiere Performance time: Approx. 26 minutes In a list of the “great” violin concertos, most people will notice a large gap stretching from Beethoven’s concerto in 1806 to Mendelssohn’s in 1844. For those forty-odd years, audiences became far more interested in the showmanship and virtuosity of the soloists rather than the compositional skill behind the music, fueled by a fascination with the flamboyant showmanship—and, according to critics, shallow musicianship—of artists like Niccolò Paganini. In a way, it was the 19th century’s version of Beatlemania.

Felix Mendelssohn, though, did not set out to write a virtuosic showpiece—he felt the concerto should be a more serious art form. Mendelssohn’s good friend Ferdinand David was also serving as concertmaster in Mendelssohn’s Gewandhaus Orchestra. Around 1838, Mendelssohn mentioned to David that he had become obsessed with a melody for a violin concerto, and intended to write it for him. After six years of writing, re-writing, and advice from David, Mendelssohn’s #SAVPHIL • 35

Notes on the Program cont’d

Saturday, November 16 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Masquerade Program Notes

by Anna Clyne Program Notes

by Edward J. Lada

concerto finally premiered in 1844 with David as the soloist.

The concerto was revolutionary in a number of ways.

First, Mendelssohn had the soloist begin playing almost immediately, doing away with the previously-typical lengthy orchestral introduction. He also wrote out the soloist’s cadenza rather than leaving it up to the soloist’s improvisational skill. He also relocated the cadenza earlier in the movement for better musical effect, and then chained the movements of the concerto together without breaks; at the time it was common for audiences to applaud between movements.

The result was an instant success, quickly becoming one of the most important (and most imitated) concertos in the violin repertoire.

Symphony No. 5 in B-flat major, Op. 100 (1945)

by Sergei Prokofiev Savannah Philharmonic premiere Performance time: Approx. 42 minutes Unlike Mendelssohn’s polished and perfected Concerto, Prokofiev’s Symphony No. 5 is a work of a flash of inspiration, written in just a month in the summer of 1944. This swiftness stands in contrast to Prokofiev’s reputation as a composer governed by the clock, maintaining strict personal schedules marked by “office hours” for his composing. In the summer of 1944, though, Prokofiev had just remarried and relocated to an idyllic composer’s retreat outside Moscow, he was the Soviet Union’s most famous and popular living composer, and the entire USSR was optimistic following a string of military victories pushing the Nazis out of Eastern Europe.

Thus, in Prokofiev’s own words, his Fifth Symphony was written to “sing the praises of the free and happy man.” The premiere, in Moscow on January 13, 1945, under the composer’s baton, was widely anticipated. As Prokofiev’s first new symphony since returning to Russia, and his first in 16 years, every important musical figure in Moscow was present. The program was lengthy, and also included Prokofiev’s Classical Symphony and Peter and the Wolf.

One audience member, the noted pianist Sviatoslav Richter, described the premiere: “When Prokofiev stood up, the light seemed to pour down on him from somewhere up above…

And then, when Prokofiev had taken his place on the podium and silence reigned in the hall, artillery salvos thundered forth… He waited, and began only when the cannons had stopped… It was as if all of us – including Prokofiev – had reached some kind of shared turning point.”

The audience would learn later that the thunderous cannon salute – that nearly disrupted the beginning of the concert

36 • SAVANNAHPHILHARMONIC.ORG

Saturday, November 16 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Masquerade Program Notes

by Anna Clyne Program Notes

by Edward J. Lada

– was in fact announcing the successful beginning of the Vistula offensive. The Red Army had crossed the Vistula river into Nazi territory, and over the next two weeks would liberate much of Poland, many of the most notorious concentration camps, and advance deep into eastern Germany.

The Fifth Symphony, between its optimistic themes and the prevalent patriotic fervor, was instantly successful in Russia and abroad, making its American debut with the Boston Symphony in November of that same year. Serge Koussevitsky declared it was the greatest symphony “since Brahms and Tchaikovsky! It is magnificent! It is yesterday, it is today, it is tomorrow.”

Musically, Prokofiev was known as a ruthless wielder of the eraser, adhering strictly to the editor’s maxim of “delete – never add,” no doubt learned from his experience as a film composer. His symphonies are much shorter and more compact than his contemporary, Shostakovich. Prokofiev’s harmonic textures are complex and modern, breaking many of the “rules” of his predecessors, but clear, not over-cluttered.

The Fifth Symphony, especially, is a highly melodic work. The first movement dives directly in, without an introduction, starting with a lyrical theme in flute and bassoon and quickly giving way to shifting textures and development that will feel familiar to anyone who has seen films scored by James Horner or John Williams. The movement’s thunderous finale earned highest praise from the audience at the premiere.

The second movement is a sort of perpetual motion scherzo, built on an incessant two-note motive that gradually grows into a more fully-realized melody. Prokofiev’s cheeky sense of humor is evident throughout, especially in the slower central section with jarring “wrong” notes disrupting the melody. After the gentler interlude, the trumpets drive a gradual locomotive-style acceleration into a return of the opening themes.

The third movement broods in multiple layers, with a lyrical melody in the upper woodwinds and violins placed over shimmering, ethereal chords, which are all suspended above foreboding low strings. The movement builds to a tumultuous climax of discordant brass and percussion before transforming into a delicate piccolo solo as the coda.

The final movement unifies the entire symphony. It opens with a reminder of the themes that opened the first movement.

As the movement progresses, it accumulates more musical ideas from elsewhere in the symphony, rushing forward like an avalanche into a wild coda. Nearly 75 years after its premiere, Prokofiev’s Symphony No. 5 remains a monumental musical experience. n

#SAVPHIL • 37

Meet the Guest Conductor

Internationally recognized for his deep musicianship and passionate communication, Sameer Patel is one of America's most exciting young conductors.

In the 2018-2019 Season, Sameer continues in his role as Associate Conductor of the San Diego Symphony and as Associate Conductor of the Sun Valley Music Festival, whose distinguished musicians come from many of North America’s finest orchestras. With an unending enthusiasm for understanding the music of our time, Sameer has curated programs and has championed music by living composers such as Adam Schoenberg, Anna Clyne, Mason Bates, Ellen Reid, Hannah Lash, Tan Dun, and others.

Saturday, November 16 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Sameer’s impressive work spans three continents and has led to recognition from the Solti Foundation U.S., which granted him three consecutive Career Assistance Awards and an Elizabeth Buccheri Opera Residency with North Carolina Opera. In 2016 he was recognized by Daniele Gatti as a top conductor at the Accademia Chigiana in Siena, Italy, which led to his acclaimed professional debut with the Orchestra Sinfonica di Sanremo. In 2013, Kurt Masur, the late Music Director of the New York Philharmonic, recognized Sameer’s talents with a prize from the Felix Mendelssohn-Bartholdy Foundation, which allowed him to study with and assist Maestro Masur in his appearances with the Leipzig Gewandhaus Orchestra and the Finnish Radio Symphony Orchestra. That same year, Sameer was one of only six conductors selected by the League of American Orchestras for the Bruno Walter National Conductor Preview with the Jacksonville Symphony Orchestra, which led to subsequent, multiple engagements with that orchestra. In the early stages of his career he held conducting positions with the Chicago Sinfonietta and the Fort Wayne Philharmonic.

A graduate of the University of Michigan, Sameer furthered his training across Europe with some of the greatest conductors of our time, including Gianandrea Noseda, Daniele Gatti, the late Kurt Masur, Bernard Haitink, David Zinman, and Neeme and Paavo Järvi. Born and raised in Michigan, Sameer is an enthusiastic advocate for music education and in his spare time pursues his passions for literature, languages, traveling, history, and geopolitics. He makes his home in Southern California with his wife, Shannon, and their young son, Devan.

38 • SAVANNAHPHILHARMONIC.ORG

Meet the Artist

Twenty-six year old violinist William Hagen has performed as soloist, recitalist, and chamber musician across the United States, Europe, and Asia. This season, William performs with orchestras all over the United States, including his debut with the Detroit Symphony Orchestra, and appears at the Louvre in Paris and other venues around Europe.

Saturday, November 16 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 1.5 hours

Since his debut with the Utah Symphony at age nine, William has performed with conductors such as Marin Alsop, Christian Arming, Christoph Eschenbach, Miguel HarthBedoya, Michel Tabachnik and Hugh Wolff, and with the orchestras of Seattle, San Francisco, Buffalo, Fort Worth, St. Louis, and others. Abroad, he has performed with the Brussels Philharmonic, the Frankfurt Radio Orchestra, the Orchestre Philharmonique Royal de Liège, and in Japan with the Yokohama Sinfonietta and the Sendai Philharmonic.

A native of Salt Lake City, Utah, William first heard the violin when he was three and began taking lessons soon after. At age 10, he began studying with Robert Lipsett at the Colburn School in Los Angeles, where he studied until the age of 17.

After two years studying at the Juilliard School with Itzhak Perlman, William returned to the Colburn Conservatory for further studies with Robert Lipsett.

William performs on the 1732 “Arkwright Lady Rebecca Sylvan” Antonio Stradivari, on generous loan from the Rachel Barton Pine Foundation.

#SAVPHIL • 39

Holiday Spectacular

EVENING CONCERTS HOLIDAY SPECTACULAR CONCERT SERIES December 6-7 This year, we’re reimagining what it means to celebrate the holiday season. In the first half of our program, we collab7:30 pm orate with the Savannah Children’s Choir to tell O. Henry’s Johnny Mercer heartfelt The Gift of the Magi as adapted by Adolphus Theatre Hailstork. Savannah celebrity Roger Moss narrates a 301 W Oglethorpe universal story of love, sacrifice, and giving.

Ave. Then, in the second half, the Philharmonic Chorus joins the FAMILY MATINEE Orchestra as we let our hair down and get a little funky!

December 7 American Traditions Vocal Competition Gold Medalist Mykal 3:00 pm Kilgore brings his phenomenal range, versatility, and personality to a Motown-flavored holiday celebration. Make plans Nadège Foofat, now to join your Savannah Philharmonic while we make a conductor joyful noise to close out 2019.

Mykal Kilgore, voice Savannah Philharmonic Chorus

FAMILY MATINEE PRICING

Savannah Children’s Choir

Looking for a more family-oriented experience? Join us at our Holiday Spectacular Family Matinee on December 7 at 3:00 pm for shorter 1-hour program.

Family package: 4 tickets $50 Individual tickets: $15

Thank you to our generous sponsors

Mrs. Robert O. Levitt

40 • SAVANNAHPHILHARMONIC.ORG

Meet the Guest Conductor

Nadège Foofat is a conductor, violinist, violist, and advocate for innovation in thought, action, music, and culture. In April of 2018, Nadège made her conducting debut with the Nashville Symphony Orchestra in the 2018 Bruno Walter National Conductor Preview, selected for her “experience, talent, leadership potential, and commitment to a career in service to American orchestras” by the League of American Orchestras.

EVENING CONCERTS December 6-7 7:30 pm

As former Assistant Conductor to Kent Nagano at the Hamburg State Opera and Philharmonic Orchestra in Germany, she assisted on productions of Wozzeck, Lulu, Walküre, Madama Butterfly, Zauberflöte, and Stilles Meer, new productions of Fidelio and Parsifal, as well as for Hamburg Philharmonic Orchestra concerts at the Elbphilharmonie, including performances with Hamburg's St. Michaelis Choir, and the International Musikfest Hamburg.

Johnny Mercer ​ champion of equal representation for women in orchestral A Theatre programming, this past season Nadège's concerts included 301 W. Oglethorpe Ave. works by Amy Beach, Jennifer Higdon, Mary Howe, Vítězslava Kaprálová, Missy Mazzoli, Leslie Opatril, Florence Price, Joan FAMILY MATINEE Tower, and Gwyneth Walker. Nadège is a member of the December 7 Executive Council of the Institute for Composer Diversity.

3:00 pm In 2014, Nadège served as Associate Conductor for the Naxos recording of Darius Milhaud's L'Orestie d'Eschyle, which was nominated for a 2015 GRAMMY® Award (Best Opera Recording). From 2009-2014, Nadège was the Founder and Music Director of the Esopus Chamber Orchestra, a twenty-fivemember award-winning professional chamber orchestra based in the Hudson Valley, New York.

Nadège also enjoys collaborating as a violinist and violist in recital and chamber performances. She has performed as an instrumentalist at Carnegie Hall, Alice Tully Hall, Town Hall, the Banff Centre, and MoMA summer music festivals.

She holds a Doctor of Music degree in orchestral conducting from the Université de Montréal, a Diplôme de perfectionnement in contemporary orchestral conducting from the Conservatorio della Svizzera italiana, (Switzerland) a Master of Music degree from the Yale University School of Music, and Bachelor of Music degree from The Juilliard School in viola performance.

Born in Canada, Nadège is also a citizen of the United Kingdom and the United States. She is based in Virginia, where she resides with her husband Jonathan Newman, and family.

#SAVPHIL • 41

Meet the Artist

Mykal Kilgore was most recently seen on Broadway in Motown the Musical. Other theater credits include: Hair (Broadway), Freckleface Strawberry (Off-Broadway), the 1st National Tour of the Book of Mormon, and the World Premiere of Marley. Mykal has performed to sold out audiences at Joe’s Pub, Roseland Ballroom, Birdland, The Laurie Beechman Theatre, The Kennedy Center, and in his own cabaret “MYKAL @54Below.” You can also hear him on the albums “#LoVE” by Lyons and Pakchar, “Living in A Dark World” by Slow Knights, Scott Alan’s “LIVE” and on “Make Me Believe in Hope” by Bright Light Bright Light!

A classical music graduate from Florida State University, he can shift from singing a Broadway show tune to Soul and Jazz scatting all with Gospel undertones in one song. His multi-faceted and multi-octave tenor can easily slide up to 7:30 pm a crystal clear soprano, a feat unmatched by even today’s Johnny Mercer Themost popular male vocalists. Mykal’s sound is a gumbo of atre American roots music and modern feels, perfect for Soul 301 W. Oglethorpe Ave. songs that talk about love, what’s happening in the world, FAMILY MATINEE and more.

December 7 EVENING CONCERTS December 6-7

3:00 pm

42 • SAVANNAHPHILHARMONIC.ORG

AMERICAN

TRADITIONS VOCAL COMPETITION

SAVANNAH’S WEEK LONG CELEBRATION OF SONG FEB. 17-21, 2020

Wishing our 2019 Gold Medalist Mykal Kilgore a happy holiday season and a wonderful performance with the fantastic Savannah Philharmonic!

From our musical family to yours - Season's Greetings!

PURCHASE YOUR TICKETS!

AMERICANTRADITIONSCOMPETITION.COM #SAVPHIL • 43

Savannah Children’s Choir

Priscilla Allen

Hayden Lewis

Abby Becker

Sarah Kate Maher

Mary Anne Bennett

William Maher

Makenzie Boylson

Hannah Middleton

Jeremy Brown

Zoe Middleton

Nia Brown

Graylyn Miller

Lily Byrd

Hudson Miller

FAMILY MATINEE December 7

Jar'mari Campbell

Madeleine Miller

Ethan Carelock

Loren Mitchell

3:00 pm

Ruby Cavendish

Zecharya Moore

Tori Cummings

Sarah Morris

Abbey D’Aguillo

Ava Nuttall

Amari Daniels

Livia Posey

Jasmine DeWitt

Bella Sheley

Warren Drayton

Brianna Shellman

Tegan Evans

Braunz Smalls

Adahlia Fonseca

Mackenzie Stafford

Madge Giorgio

Reese Stainback

Luna Greco

Ben Templeton

Vivienne Hall

Elsie Thompson

Morgan Harrell

Kit Thompson

Tatiana Hendricks

Luke Trisler

LaMyla Hill

Solon Trisler

Jewel Huff

Alex Turner

Kennedy Hunter

Lea Vaquer

Lolita Jolley

David Westcott

Breanna Jones

Olivia Wilder

Noah Keenan

Wesley Witbeck

Audrey Kirk

Maya Witry

Valerie Kirk

Molly Woods

EVENING CONCERTS December 6-7 7:30 pm Johnny Mercer Theatre 301 W Oglethorpe Ave.

44 • SAVANNAHPHILHARMONIC.ORG

Savannah Philharmonic Presents

AN EVENING OF

Tango

Hosted by Maestro Keitaro Harada

save the date

FRIDAY, JANUARY 31 6:00 pm $150 Victory North 2603 Whitaker St

Cocktails, tapas, and an evening of tango music and dance Tickets Available September 30 Savannah Philharmonic Office 912 232 6002, opt. 3 or online at savannahphilahrmonic.org All proceeds support Savannah Philharmonic’s mission

#savphil

SAVANNAHPHILHARMONIC.ORG #SAVPHIL • 45

Proud to Support Savannah Philharmonic’s Eleventh Season

colonialgroupinc.com 46 • SAVANNAHPHILHARMONIC.ORG

Thank you to our Savannah Philharmonic Ambassadors Join the Phil Ambassadors!

The Phil Ambassadors is an organization of community leaders and volunteers dedicated to supporting the Savannah Philharmonic at concerts, special events, education and integrative medicine programs.

For more information about how to join the Phil Ambassadors, please visit savannahphilharmonic.org or call our office at 912 232 6002.

#SAVPHIL • 47

Contributors

The Savannah Philharmonic Orchestra is very grateful to the individuals, organizations and corporations who support us. Donations listed are Annual Fund, Corporate, Foundation & Government Grantor Contributors as of August 27, 2019.

The Legacy Society recognizes donors who provide support through planned giving.

48 • SAVANNAHPHILHARMONIC.ORG

Legacy Society: $100,000 - $999,999

David Goslin & Nancy McGirr

E. Austin Hill Revocable Trust

Bunny & Fenton Ludtke

Rhegan White-Clemm

Ann Lytle

Concertmaster Circle: $50,000 - $99,999 Mr. & Mrs. Robert Demere Nancy & Ken Larsen Susan & Ron Whitaker

Cynthia Heil

Thomas & Ruth McMullin Dave & Sylvaine Neises Kelley B. Parker Greg & Margo Plaunt Michael & Catherine Thames Fran & Hue Thomas

Soloists’ Circle: $15,000 - $49,999

Michael W. & Peggy Towson

Robert Faircloth

Dr. & Mrs. Jules Victor, III

Joseph L. Herring Karen & Don Ringsby Charles C. Taylor & Samir Nikocevic Charitable Foundation Principals’ Circle: $7,500 - $14,999 Rhegan White-Clemm & Timothy Clemm Peter & Camille Edwards Lyon D. Jemison Joan & Herb McKenzie Peg & Ron Morris Maura Sovchen

Ed & Mary Tritch

Allegro Circle: $2,500 - $3,499 Phyllis E. Albertson Kathleen & Steve Brenneman Kathryn & Michael Bryson Harold W. Bulman Mimi Cay Chris Poe & David Zyla Chris & Staci Donegan Mr. & Mrs. F. Reed Dulany, III Bernice & Ronald Gantt Dr. & Mrs. Joel A. Greenberg Annette B. Hartley

Diane Tracy

Mrs. Toby Hollenberg

Musicians’ Circle: $3,500 - $7,499

Mrs. Robert O. Levitt

Anonymous

Joann McElravy & Fred Wolf

Dr. & Mrs. Sidney Jefferson Bolch, III Carolyn & Darryl Brown Dorothea & Tim Coy Jo & Will Crake Richard & Judy Eckburg Nina & Ron Eidell Richard Foster

The Lauretti Family Venessa Lott Kathryn & Mike McLearn Mr. & Mrs. J.R. Paddison Greg & Margo Plaunt Sue & Dick Prior Georgine & Jim Scott Dr. & Mrs. J. Wayne Sheridan Mrs. Frank L. Wooten Jr.

#SAVPHIL • 49

Contributors

PATRON LEVELS Composers’ Circle: $1,000 - $2,499 Judy & Shelly Barquist Gary & Sandy Bocard Mr. & Mrs. Daniel H. Bradley Malcolm & Julia Butler Joan & Gary Capen Betsy & Bob Contino Thomas L. Curless Lynne & Charles Davis Cheri Sheridan & Joe Drake Karl & Sandy Dreisbach David & Patty Frothingham Johnny & Susan Ganas Morris & Marla Geffen Dr. John Bryan & Dr. Donna Graham Dr. Alex C. & Ann Guira Marie Simmons & Tom Hairston The Rev'd J. Patrick Hunt SSC Pat & Scott James Rodger Johnson Patricia & Frank Kabela Joan & Jack Kaster Fran & Bob Kelly John G. Kennedy Foundation Mimi & Joe Krupp Dr. Richard F. Leighton & Dr. Sylvia K. Fields Dayle & Aaron Levy Bruce & Dorothy Maston Kathleen McGuire & Robert Jones Sam & Barb McLaughlin Susan & Lefty Moore Ann Yingling & Charles Morrow

50 • SAVANNAHPHILHARMONIC.ORG

Bill & Jane Peterson Ronald Pratt Mary Raines William & Margaret Rousseau Christine B. Aiken Sickles Philip & Cathy Solomons Mary & Ned Sommer Priscilla & Ronald Stahl Chris & Leigh Swanson Dr. Susan Timna Bill Udry Patty & Bill Ulmer Brianna & O.C. Welch Alice & Howard Welt Don & Beverly White Ray Williams Charles & Sally Yarber Patron: $500 - $999 Anonymous Anonymous Diane & Jim Bradshaw Margaret Betz & John Chropovka John Copp Maureen Craig Margot Cutting Mr. & Mrs. Andrew H. Dekle D. Morgan Derst Dr. Thomas A. & Mrs. Kerstin Donohue Roger & Karen Foulkes John & Anne Gardner Myra & Robert Hill Scott & Betsy Howard David & Gail Kerr Susan & John Kleine J. Del & Jeanine Lamb

Bert & Carol Larsson

Brenda & Brian Kenworthy

William & Ellen Lea

Marie & Bob Kraft

Dick & Mary Molnar

Walter & Christina Lehneis

Johno Morisano

Carol & Robert Lestina

John Porter

Marjorie & B. H. Levy, Jr.

Betsy & John Rabun

Karen & Cliff Lindholm

Dr. & Mrs. Peter Rives

Dr. & Mrs. George B. Longstreth

Marie Scheuermann Bob & Marilyn Slagel Donna & Edwin Slappey John & Penny Telgener Haydee & Jim Toedtman Dr. & Mrs. H. Emerson Thomas, Jr. Mr. & Mrs. Phillip D. Walters Louise & Tom Wagner Gurdon & Kathy Wattles Mr. & Mrs. David A. Young Chris Poe & David Zyla Supporter: $250 - $499 Betty & Walker Beeson JP & Eva Blachere Sue & Bill Bouton Mr. & Mrs. Claude R. Breese

Don & Margaret McCulloch Chris & Ward Milner Chris & Stu Mitts Ashby & Annie Moncure James & Kathleen Moore Lawrence M. & Arlene C. Oberdank Tom & Kay Osborn Susannah & Jason Pedigo Barbara Pilzer Kris Brenard & Barbara Powers Merritt Quarles Don & Phyllis Read Col. & Mrs. Henry M. Reed II Dan & Diane Reitman Maria Roelle

David & Maynett Breithaupt

Joan Ross

Edward & Joyce Conant

Michael & Kat Scandura

Anne W. Dauray

Thomas & Janet Schendorf

Harriett DeLong

Brendan & Patricia Shea

George & Martha Fawcett

William P. Simmelink

Sheila & Martin Grossman

Cindy & Will Telljohann

Rita & Roger Haneline

Barby & Al Townsend

Lynn P. Harrington

Mr. & Mrs. John Tucker

Janet Hietbrink Dick & Joanne Hochman

Melvin Hutcheson & Billy Wooten

Jeff & Kathy Ignatoff

Richard & Jan Wright

Joseph & Marie Rozman

#SAVPHIL • 51

Contributors

Sustainer: $100 - $249 Nancy & Ned Almy Lynda G. Beam B. G. Bowers Joan D. Burns Mr. & Mrs. Bernard Y. Conyers, Sr. John Cork Stacie Court

Marilyn S. & Stephen J. Sztuk Nancy Thompson Joan & Stuart Weiner Dr. & Mrs. John West Carol C. Wheaton Mr. & Mrs. Pendleton White Dr. & Mrs. Leslie L. Wilkes

Ralph & Linda Davis

Dr. & Mrs. Michael Zoller

Celia Dunn

CORPORATE SPONSORS

Ruth E. Fenster Jeff & Lynn Franklin Skip & Peggy Gillenwater Peggy Hedeman Howard & Deborah Helmken Carolyn Hultman James Johnson Nancy Lazard Harvey & Cathy Lynn Monica McGoldrick Jack & Barbara McMaken Biff & Jerry Montana Douglas & Kathleen Olen R. Valerie Osborn Robert Perkins Guy & Carole Renfer Gary & Elizabeth Schubert Erich & Anneliese Schweistris Christopher & Cristina Senkowski Scott & Jane Sodergren Carol & Mike Spahn Ellen Lenart Spiridon Catherine Spruill & Thomas Shinnick

52 • SAVANNAHPHILHARMONIC.ORG

Bouhan Falligant Brasseler USA Cabretta Capital CIBC Private Wealth Management Charles Schwab Colonial Group Inc. Cordasco & Company, Inc. Critz Auto Group The Eichholz Law Firm Enmarket Georgia Power Globe Shoe Company Gulfstream Aerospace Corporation Habersham Beverage HunterMaclean The Kennickell Group Old Town Trolley Paris Market The Perry Lane Hotel Savannah Coca-Cola Stage Front Tourism Leadership Council Turn It Pink, Inc. United Community Bank

Visit Savannah Wells Fargo Wet Willie’s World Trade Center Savannah FOUNDATION & GOVERNMENT GRANTORS Investment is provided by the City of Savannah Georgia Council for the Arts The Hodge Foundation Johanna Anderson Trueblood Foundation Savannah Friends of Music INTEGRATIVE MEDICINE DONORS Joseph & Marie Rozman St. Joseph’s/Candler Foundations The One Hundred Children’s Foundation MEDIA SPONSORS WTOC 11 Savannah Morning News Lesley Francis PR Connect Savannah GPB 91.1

#SAVPHIL • 53

ENHANCE YOUR EXPERIENCE

BY HOSTING A MUSICIAN

54 • SAVANNAHPHILHARMONIC.ORG

The Savannah Philharmonic draws world-class talent well beyond Savannah. Savannah Philharmonic has a long history offering musicians The opportunity to stay in the private homes of our supporters during concert cycles.

Hosting responsibilities are minimal-a private bedroom and bath and perhaps a refreshment. Musicians provide their own transportation and meals.

BENEFITS TO HOSTING INCLUDE:

n Developing great and lasting

friendships.

n Bringing the sound of music to

your home and providing a sneak peek of the concert to come.

n Offering an important avenue

of support to the Philharmonic (beyond your subscription and annual fund support).

n It’s fun!

A SPECIAL THANK YOU TO OUR HOST FAMILIES THIS SEASON:

Mrs. C. Scott Bartlett Kathleen & Stephen Brennaman Angel Everidge & Marc Chesanow

Rhegan White-Clemm & Tim Clemm Jon & Will Crake Richard Foster Lynn Weddel & Bud Green Cynthia Heil Bettina & Kim Huffman Carol Kirchner Ruth & Thomas McMullin Kelley B. Parker Dr. & Mrs. Peter Rives Georgine & Jim Scott Linda Moore Skinner Kristen Spiridon Dr. & Mrs. Jules Victor, III Erin & Jim Waterman Brooke & Andrew Wilford

If you would like to host a musician, please contact Edward J. Lada at 912 232 6002 or ej@savannahphilharmonic.org.

#SAVPHIL • 55

Become an Annual Fund Contributor

Become a Savannah Philharmonic annual fund contributor and join a community of committed orchestral and choral music enthusiasts.

The benefits listed here are our way of expressing our gratitude for your commitment to great music all season long. Be sure to visit savannahphilharmonic.org for a full listing of benefits.

LEGACY SOCIETY

The Legacy Society recognizes those who support Savannah Philharmonic’s mission through the following: Estate commitments, Life-Income gifts, Trusts, Life Insurance and Retirement Plans. Supporters receive recognition in perpetuity.

Levels of commitment: $1 million or more $100,000 - $999,999 $25,000 - $99,999 Under $25,000 Federal Tax ID for the Savannah Philharmonic is 26-4016312.

CRESCENDO SOCIETY: $2500+

We invite you to join the Crescendo Society! Supporters of the Savannah Philharmonic Annual Fund at the $2,500 level or greater are members of the Crescendo Society—our inner circle of supporters who share our pride and passion for our orchestra and chorus. Members of the Crescendo Society enjoy exclusive benefits designed to enhance your musical experience, including the opportunity to engage with the conductor and musicians in private settings. In recognition of extraordinary generosity and commitment, donors at the Soloists’ Circle level and above receive customized attention and benefits designed to show our appreciation and grow their connection to the Savannah Philharmonic.

The Development Department at 912 232 6002 for more information.

CONDUCTOR’S CIRCLE: $100,000+ CONCERTMASTER’S CIRCLE: $50,000+ SOLOISTS’ CIRCLE: $15,000+ PRINCIPAL CIRCLE: $7,500 - $14,999 The opportunity to sponsor a Savannah Philharmonic principal musician’s chair for the full season.

MUSICIAN CIRCLE: $3,500 - $7,499

The opportunity to sponsor a Savannah Philharmonic musician’s chair for the full season, excluding principal musicians.

ALLEGRO CIRCLE: $2500- $3,499

Invitation to Crescendo Society events, including the Season Finale Celebration PATRON LEVELS

We welcome donations at all levels. All annual donors giving at the Patron Levels receive recognition in all season concert programs and listing on our website. For donors at the Composers’ Circle and above we offer protected seat holds for Subscribers and Multi-Ticket holders during the subscription renewal period.

56 • SAVANNAHPHILHARMONIC.ORG

COMPOSER: $1,000 - $2,499 PATRON: $500 - $999 SUPPORTER: $250 - $499 SUSTAINER: $100 - $249 DONATION OPTIONS

Contributions can be made online at Savannahphilharmonic. org, or by the Development Department at 912 232 6002.

MEMORIAL/HONORIA GIFTS

You may make gifts to the Savannah Philharmonic in memory of, or to honor individuals.

CORPORATE MATCHING GIFTS

With a corporate matching gift, you can double your donation, resulting in greater benefits to you and Savannah Philharmonic. Consult with your current, or past employer for details on their matching gift program for charitable organizations.

DEFERRED/PLANNED GIVING THROUGH THE LEGACY SOCIETY

You can support Savannah Philharmonic with planned and deferred gifts through your estate in the form of bequests, life income gifts, a charitable lead trust, or life insurance policies.

FLEXIBLE PAYMENT OPTIONS

Donations to the Savannah Philharmonic can be made in incremental monthly, quarterly, or semi-annual payments.

CORPORATE PARTNERSHIPS

Savannah Philharmonic corporate partners receive valuable benefits, including; brand visibility brand alignment with meaningful education and outreach programs, community development and corporate hospitality opportunities.

CORPORATE SPONSORSHIP OPPORTUNITIES

n Sponsoring a concert n Sponsoring a guest conductor n Sponsoring a guest soloist n Sponsoring a Savannah Philharmonic musician n Sponsoring a special event n Sponsoring one of the Savannah Philharmonic’s education

or integrative medicine programs.

The Savannah Philharmonic team can assist you in creating a customized sponsorship program that suits your company’s needs and helps you achieve your goals and objectives.

For information about corporate sponsorship packages, please contact the Development Department at 912 232 6002.

#SAVPHIL • 57

Education and Outreach

In partnership with

Investment is provided by the City of Savannah

Johanna Anderson Trueblood Foundation The Hodge Foundation, Inc

In partnership with Investment is provided by the City of Savannah

Greg & Margo Plaunt

LINK UP YOUNG PERSON’S CONCERTS

Each February, the Savannah Philharmonic offers two Young Person’s concerts for area students in collaboration with Carnegie Hall’s Weill Music Institute. The Link Up Young Person’s Concerts are presented after students study a three-month curriculum provided by Carnegie Hall in their music classes. This curriculum includes learning the recorder flute, singing an array of melodies and songs, composing musical works, and learning music history and biographical information about various composers. After the curriculum is fulfilled, students get to join the Savannah Philharmonic for their “debut” performance, playing their recorder flutes and singing alongside our very own Philharmonic musicians!

ORCHESTRA LAB

Savannah Philharmonic is excited to continue Orchestra Lab for area students throughout the City of Savannah, Chatham County, and surrounding areas. Orchestra Lab consists of in-school education and outreach programs during the entire school year. Philharmonic musicians, in partnership with music teachers and band directors, provide in-school sectionals, helping the students to achieve their personal and academic music goals. Soloists performing with the orchestra are invited to give masterclasses to groups of students who are studying the same instrument as the soloist. Philharmonic musicians also perform in small chamber groups at area schools to introduce students to different forms and genres of chamber music. Lastly, the Philharmonic partners with Friends of Ben Tucker to produce three “Keep the Music Playing” workshops where students that have been given a donated instrument through Friends of Ben Tucker’s instrument donation program learn how to care and maintain their instruments.

58 • SAVANNAHPHILHARMONIC.ORG

In partnership with

Stacie Court Joseph & Marie Rozman

INTEGRATIVE MEDICINE

Integrative medicine, the practice of treating the patient holistically: combining mind, body and spirit, is an often-overlooked aspect of patient care.

Music can play an important role in this holistic healing process.

The Magic Flute. Monthly, members of the Savannah Philharmonic Orchestra and Chorus present a rendition of Mozart’s Magic Flute for children receiving care in the Memorial Health Dwaine and Cynthia Willett Children’s Hospital of Savannah. The twenty-minute comedic performance brings smiles and laughter to the young patients, their families and caregivers. Our musicians perform, sing, dance, and frolic in professionally-designed costumes to create a truly authentic production.

Savannah Philharmonic works with both the Curtis and Elizabeth Anderson Cancer Institute and the Nancy and J.C. Lewis Cancer and Research Pavilion to provide professional musicians who interact and perform live music for patients waiting to receive or while receiving cancer treatments.

In partnership with Investment is provided by the City of Savannah

Betsey Andersen

PHILHARMONIC IN THE STREETZ

Developed to take orchestral music into neighborhoods around the city, “Philharmonic in the Streetz” is a casual afternoon gathering aimed at bringing live music to members of our community who would likely not attend an orchestral concert. “Philharmonic in the Streetz” brings together neighbors, students, and civic leaders, giving us the chance to celebrate music with both new and familiar faces. Free and open to the general public, Savannah Philharmonic presents this bi-annual event to share music and the arts with the entire City of Savannah. #SAVPHIL • 59

MUSIC TO YOUR EARS

Our doctors can help you hear everything you've been missing!

Don’t miss a beat. Call us today!

912.351.3038 AHAS Main Office 912.351.3030 ENT of Savannah 912.598.0616 AHAS Landings Top Row (L-R): William Moretz, MD; Diane Davis, MD; Kristen Thomas, PA; Michelle Yamada, PA; Katherine Neufeld, AuD, CCC-A; Brad Rawlings, MD; Bottom Row (L-R): Fred Daniel, MD, FACS; Michael Zoller, MD, FACS; Dr. Stephen Rashleigh, MD, FACS; Casey Allen, AuD, CCC-A; Cori Palmer, AuD, CCC-A; Susan Timna, AuD, CCC-A

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It’s the state of mind when it all comes together in one of life’s perfect moments.

When your mind wanders to this paradise, why not follow it home?

We have heard your call…

Minto Communities and Margaritaville welcome you to Latitude Margaritaville!

Inspired by the legendary music and lifestyle of singer, songwriter and best-selling author Jimmy Buffett, your new home in paradise features exciting recreation, unmatched dining and FINtastic nightlife. With Minto’s 40 years of experience developing award-winning, master-planned communities and building quality homes for over 25,000 families, innovative new homes are a given.

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2019

Obtain the Property Report required by Federal law and read it before signing anything. No Federal agency has judged the merits or value, if any, of this property. WARNING: THE CALIFORNIA BUREAU OF REAL ESTATE HAS NOT INSPECTED, EXAMINED, OR QUALIFIED THE OFFERINGS. Pennsylvania Registration Numbers OL00169 (Latitude Margaritaville at Daytona Beach) and OL001170 (Latitude Margaritaville at Hilton Head). Latitude Margaritaville at Daytona Beach and Latitude Margaritaville at Hilton Head are registered with the Massachusetts Board of Registration of Real Estate Brokers and Salesmen, 1000 Washington Street, Suite 710, Boston, MA 02118 and with the Consumer Financial Protection Bureau, 1700 G Street, NW, Washington, D.C. 20552. This material shall not constitute a valid offer in any state where prior registration is required and has not been completed. The facilities and amenities described and depicted are proposed but not yet constructed. Photographs are for illustrative purposes only and are merely representative of current development plans. Development plans, amenities, facilities, dimensions, specifications, prices and features depicted by artists renderings or otherwise described herein are approximate and subject to change without notice. ©Minto Communities, LLC 2019. All rights reserved. Content may not be reproduced, copied, altered, distributed, stored, or transferred in any form or by any means without express written permission. Latitude Margaritaville and the Latitude Margaritaville logo are trademarks of Margaritaville Enterprises, LLC and are used under license. Minto and the Minto logo are trademarks of Minto Communities, LLC and/or its affiliates. CGC 1519880/CGC 120919. 2019

MINTT-014_LMHH_5.25x8.25_savannah_philharmoic.indd 1

62 • SAVANNAHPHILHARMONIC.ORG

9/3/19 4:35 PM

Thank You to Our Corporate and Community Partners for their Generous Support

Investment is provided by the City of Savannah

Charles C. Taylor & Samir Nikocevic Charitable Foundation

Johanna Anderson Trueblood Foundation

Nancy & Ken Larsen

The Hodge Foundation, Inc.

Susan & Ron Whitaker

HunterMaclean A T T O R N E Y S

Media Sponsors

pr

#SAVPHIL • 63

SAVANNAHPHILHARMONIC.ORG