Committed to the arts.
Committed to you. Hancock and Whitney Bank is proud to support Sinfonia Gulf Coast. We salute Sinfonia and the commitment to enhance Northwest Florida’s cultural vitality and the growth of the Gulf South region. Hancock and Whitney Bank is ready to help you grow financially with a broad range of services and a strong commitment to the communities that we call home.
850-278-2423 hancockwhitney.com
Whitney Bank uses these trade names: Hancock, Hancock Bank and Whitney. Whitney Bank, Member FDIC.
sinfonia gulf coast | 3
sinfonia gulf coast | 5
6 | sinfonia gulf coast
SIN GULF ONIA COAST season 12 sinfonia personnel Music and Artistic Director Demetrius Fuller Director of Events Elaine Tucker Marketing Coordinator Kate Kelley Artistic Administrator and Personnel Manager Laurel Yu Education Coordinator MaryEdith Malin Sinfonia Youth Orchestra Music Director Liz Aylor Production Manager TSC Productions Orchestra Librarian Sara Nodine Administration and Box Office Hours Monday - Friday 10:00 a.m. - 3:00 p.m. 850.460.8800 36468 Emerald Coast Pkwy, Suite 11102 Destin, Florida 32541 www.SinfoniaGulfCoast.org Info@SinfoniaGulfCoast.org sinfonia gulf coast | 7
As a proud sponsor of Sinfonia, we applaud the 2017/2018 Season and Maestro Demetrius Fuller. VIEMAGAZINE.COM 8 | sinfonia gulf coast
sinfonia: entertain | eduCate | inspire Our region’s only fully professional symphony orchestra welcome to season 12 and thank you for joining us! Thank You, our many patrons, sponsors and community collaborators. Sinfonia would not be what it is today without your support! I would like to focus on Sinfonia’s mission, which comprises the three words at the top of this page. ENTERTAIN- Sinfonia continues to present world-class concert events that engage the highest caliber, award-winning guest artists such as Kristin Chenoweth, Bernadette Peters, to Mary Wilson of The Supremes, who will most definitely provide a rockin’ holiday experience this December 15. Sinfonia also continues to engage the very best orchestral musicians in the Southeast U.S. whose level of musicianship, concert after concert, is impressive and inspiring. EDUCATE- Music education remains at the core of our existence. By impacting more than 110,000 school children since 2007, Sinfonia is providing critical arts education to a very diverse group in both Okaloosa and Walton Counties, both designated underserved in the arts by the Florida Division of Cultural Affairs. Our partnership with Carnegie Hall’s LINK UP program has resulted in the largest music education concert in Northwest Florida, TWICE (we beat our own record in 2017 vs. 2016), and we are on track to serve nearly 3,600 3-5 graders in 2018! INSPIRE- Sinfonia exists to culturally enhance our community by presenting live music on a level unparalleled in our region. We aim to inspire students through education programs, live concerts, and the Sinfonia Youth Orchestra program. Thank you to our many generous sponsors that comprise this publication, who help us entertain, educate and continue to inspire. Their support is instrumental to our success, and so is yours… Did you know that ticket sales only cover a small fraction of Sinfonia’s operating costs each season? Your tax-deductible contribution will enable Sinfonia to continue to provide great music and educational outreach to our community. In the meantime, send me a note if you have any questions: dfuller@sinfoniagulfcoast.org Musically yours,
Demetrius Fuller Music & Artistic Director
DOWNLOAD the FREE Sinfonia app for Android & iPhone
ConneCt with us!
10 | sinfonia gulf coast
SIN GULF ONIA COAST season 12
Contents 7
Sinfonia Personnel
13 A Note from Our President 15 Founding Partners 16 Season Sponsors 21 Orchestra Layout 22 Donors 25 Become a Supporter 27 Demetrius Fuller bio 29 Note of Thanks 31 Sinfonia Education Initiatives 50 Classical Connections 1 74 Sinfonia’s “Rockin’ Holiday” 80 Classical Connections 2 96 Classical Connections 3 109 Sinfonia Gala Event MEREDITH WILLSON’S The Music Man AT THE SYMPHONY
Luxury isn’t a price point. It’s a feeling.
We’d love to share what our brand can do to help you achieve your real estate goals. Call 850.585.7334
JENNIFER HOWARD
JIMMY CHAMBERS
Broker Associate jhoward@scenicsir.com
Assistant & REALTOR® jimmy@scenicsir.com
Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Each Office is Independently Owned and Operated.
12 | sinfonia gulf coast
A NOTE from our president
Welcome to Sinfonia Season 12! What an amazing line up of concerts and internationally renowned guest artists Maestro Demetrius Fuller and the Sinfonia Gulf Coast team has orchestrated for us! For those of you that have been with us before, you already know the caliber of concerts and events that Sinfonia Gulf Coast is honored to present to our community. To those of you, who are new to the Sinfonia experience, WELCOME!
season, Sinfonia will have impacted more than 120,000 students since 2007.
On behalf of the Sinfonia Gulf Coast Board of Directors, and our phenomenal musicians that comprise the orchestra, I welcome you to the 2017-2018 season!
And if our concert events weren’t enough, we hope that you will join us for our annual and largest fundraiser crescendo! to benefit Sinfonia Gulf Coast and its music education initiatives throughout Okaloosa and Walton Counties. These include: LINK UP in partnership with Carnegie Hall for 3rd-5th graders, Paint the Music for 3rd-8th graders, musicians and guest artists in the schools, the Sinfonia Youth Orchestra programs, and Jeff Dannelly a continued partnership with Sacred President of the Board Heart Hospital’s Arts in Medicine project. By the conclusion of the 2017-2018 2017-2018 BOARD OF DIRECTORS: Steve Barber Jerry Brown Patti Burcham Jeff Dannelly
Hense Ellis Demetrius Fuller Debra Henry Jennifer Howard
Nina Jeffords Kate Kelley Don Roberts Michael Sherwood
14 | sinfonia gulf coast
A STANDING OVATION FOR OUR FOUNDING PARTNERS
Spa • Salon • Fitness Center
sinfonia gulf coast | 15
2017 | 2018 SEASON PRESENTING SPONSOR
CLASSICAL CONNECTIONS PRESENTING PRESENTING SPONSOR MEDIA SPONSOR
PRESENTING CONCERTS SPONSOR
PODIUM PARTNERS
SEASON PRESENTING MEDIA SPONSORS
SEASON PRESENTING EDUCATION SPONSORS
16 | sinfonia gulf coast
SEASON SPONSORS SEASON PRESENTING ACCOMMODATIONS SPONSORS
PLATINUM SPONSORS
INSIGHT INVESTMENTS LLC
Dr. James R. Patrinely, MD, FACS Renee & James Beaman Maureen & Keith Gamble
SINFONIA MILITARY TICKET PROGRAM PRESENTING SPONSOR
sinfonia gulf coast | 17
18 | sinfonia gulf coast
E V E N R O U T I N E D E S E R V E S A R E WA R D . Relaxation and luxury welcome you at Serenity by the sea Spa. Embrace temptation and treat yourself to a lavish spa experience that only Serenity can provide. Enjoy a decadent dinner at Seagar’s Prime Steaks & Seafood, the area’s only AAA FourDiamond steakhouse since 2000, located in the lower lobby of Hilton Sandestin Beach.
4 0 0 0 S A N D E ST I N B LV D S O U T H , M I R A M A R B E AC H , F L 3 2 5 5 0 | S E R E N I T Y BY T H E S E A S PA .C O M A P P O I N T M E N TS 8 5 0. 6 2 2 . 9 5 9 5
sinfonia gulf coast | 19
CHOOSE JOY!
gioiajewelr yandgifts .com • 45 Central Square Seaside, FL 32459 • 850.213.4242
SINFONIA GULF COAST MUSICIANS
Violins Mari Thomas+ Kristin Pfeifer Yu* Kate Kelley* Petra Bubanja Minyoung Cho Ken Davis Taylor Giorgio Jiwon Hwang Grace Kim Sara Nodine Brianna Rhodes Megan Sahely Marisa Votapek Viola Laurel Yu* Daren Fuster* Josiah Coe Maria Santacruz Meghan Yost Cello Adam Collins* Chun-Hsin Chang^ Jordan Galvarino Andrea Beltran Landers Aleksandra Pereverzeva Double Bass Bleda Elibal* Maurice Belle* Melanie Punter Trent Harper Gabriel Monticello
Flute Jessica Sherer* Angela McCuiston Rachel Nozny Oboe Casey Knowlton* Asher Kelly Clarinet Samuel Peliska* Nancy Saleeby Bassoon Richard Hopkins* Shannon Lowe Kayleigh Bagley Horn William Schaffer* Matthew Tavera^ Chris Phelps Debra Finlayson Trumpet Brian Buerkle* Aaron Witek Trombone Kenneth Johnson* Dunwoody Mirvil
Bass Trombone Jonathan Lacey Tuba Daniel Rowland Percussion John Thomas III* Luis Rivera Timpani Brian Nozny Harp Rebekah Atkinson Piano Dan Smith Librarian Sara Nodine Personnel Manager Laurel Yu +Concertmaster *Principal ^Asst. Principal
sinfonia gulf coast | 21
SIN GULF ONIA COAST donors as of 11/1/17 Maestro’s CirCle $50,000+ Dugas Family Foundation Emeril Lagasse Foundation VIE Magazine
ViVaCe $2,500- $9,999
Alex & Jerry Brown Anonymous (5) Betty & Charles White Blueprint Health Studio Brightview Landscape Services podiuM partner $20,000+ Café Thirty-A Alys Beach Foundation Carter & Company CPA Dana & Glenn Armentor Centennial Bank Florida Division of Cultural Affairs Chris & Michele Poate Harriet Crommelin & Stephen Marlette Cindy Cole Fine Homes Heavenly & Bill Dawson City Market Hilton Sandestin Beach Golf Resort & Spa Dana & Thomas Saffel Janis & Don Bishop Debra Henry Lynn & Steve Dugas Demetrius Fuller & Jimmy Chambers McNeese Title/McNeese Distributing ~ Destin Jewelers Demetria & Richard McNeese Dr. James Patrinely Merrill Lynch Wealth Management Emerald Coast Title Services Rowland Publishing Gail Ferguson Shirley & Chuck Simpson Glenda & Dennis Lichoriwc St. Joe Community Foundation HARRISON SALE McCLOY VIP Destin Insurance Zone ~ Lea & Joe Capers Jack & Bobbie White ConduCtor’s CirCle $10,000+ Jenna & Stephen Akers Dermatology Specialists | Aqua Med Spa Jennifer & Blevins Howard Dr. Michael Stickler Joan & Stephen Carter Destin Center for Family & Cosmetic Dentistry Lisa & Denny Peters Emerald Coast Convention Center Lisa & Gerald Burwell Emerald Ladies Journal Malpa Fuller Hancock Bank Krueger, Fosdyck & Associates ~ Merrill Lynch Marjorie Cox Gray Navarre Press ~ Sandi Kemp Pamela & Frank Burge Pelican Beach Resorts ~ Peggy & Jimbo Adams Northwestern Mutual ~ Jeff & Cindy Garrard Pish Posh Patchouli’s ResortQuest Renee & Jim Beaman Silver Sands Premium Outlets Sacred Heart Hospital SoWal.com Scenic Sotheby’s International Realty Sunshine Shuttle Susan Kiley & Wayne Paul Tim Krueger and Jill Cadenhead WUWF 88.1
22 | sinfonia gulf coast
presto $1,000-$2,499 Allen French Anonymous (6) BIJOUX ~ Jack & Leslie McGuckin Blueprint Health Studio Bridgeway Center Brotula’s/Jackacudas/Cuvée Kitchen Candis & Jack Wilson Cathy & Don Hay Churchill Oaks CLAY Garden & Gift Courtyard Marriott Grand Boulevard Crab Island Cantina ~ Carlos Safran Dana & Thomas Saffel Dana Lee & Jim Johnston Design Services of Florida ~ Dale Trice Dr. & Mrs. Robert Jack Hillary & Cory Fosdyck Laura & Charles Bland Michael Sherwood Nina Jeffords Playground Music Center Sarah & Horace Noe SETCO ~ Stephanie & George Brannon Today’s Boutique ~ Kim & Jim Dettle
allegro $500- $999 Barbara Johnson Beth Carroll Crystal Spencer Denise Dobelek Denise Kendust Donna Shoditsch Doreen Baca Glenda Palmore Harborwalk Village Helen Driggers Jacquelyn Law Jeanette Molique Jon Laible Jovette Mosing Kim Kamm Marison Gullo Mary Chalmers
Nancy McConnel Patti Burcham Shannon Amos Sharon Stark Susan Lovelace Thomas & Peggy Stanton Tina Corr V.E. Aylor Yvonne Wilkerson
andante $250-$499 Arthur Rolling Connie Carahalis Deanna & Thomas Johnson Jeff Harris Kim & Keen Polakoff Mary Maitland
adagio $100-$249 Adele Lafaye Alexandra Villanueva Andrea James Angela Kornegay Carolyn Huff Carroll Kemp Jr. Connie Cross-LaFont Cynthia Linton David Krebs Dennis Smith F. Wendell Bobbitt Georgia Ambarian Jack Gatewood Jeff Harris Joan Hoffman Ussery John Peterson John Williams Judy Huff Kathy Miller Marianne Grant Paula Dorris Ruth Anne & James Stevens Thomas Johnson Walda Edelson Wilma Hendricks
sinfonia gulf coast | 23
24 | sinfonia gulf coast
SIN GULF ONIA COAST supporters Your support means the world to us. Become a member of the Sinfonia support community and enjoy benefits at each level along with our sincerest thanks. braVo! $100-149 Exclusive invitations to VIP events and Season-end VIP reception $50 off ZOOM! Teeth  Whitening at Destin Center for Cosmetic and Family Dentistry Complimentary e-newsletter adagio $150-249 (a gift at this level will enable us to purchase music) All bravo! level benefits PLUS: Your name in the season program Bag of special-blend organic bravo! coffee courtesy of Amavida Coffee andante $250-499 (a gift at this level will pay for musicians to visit one school) All Adagio level benefits PLUS: Access for two to pre-concert or post-concert VIP receptions allegro $500-999 (a gift at this level will pay for musician for one concert) All Andante level benefits PLUS: Access to all pre-concert and post-concert receptions Two complimentary tickets to the Gala Event reception presto $1,000-2,499 (a gift at this level will assist with education concerts) All Allegro level benefits PLUS: Lunch for two with Maestro Fuller ViVaCe $2,500 & aboVe (a gift at this level will enable us to hire a guest artist) All Presto level benefits PLUS: Lunch for four with Maestro Fuller Photograph with Maestro Fuller and Gala Event guest artists www.SinfoniaGulfCoast.org
850.460.8800
sinfonia gulf coast | 25
Demetrius Fuller conductor
Innovative and energetic conductor Demetrius Fuller is garnering critical acclaim at home and abroad. The 2017-2018 season marks his twelfth as music and artistic director of Florida's Sinfonia Gulf Coast. Fuller has redefined the cultural landscape of Northwest Florida by offering inspiring and artistically evocative performances that have excited critics and patrons alike. A versatile conductor, Fuller has been chosen to work with some of the world's most prestigious conductors and orchestras. He is an award recipient from the National Foundation for Advancement in the Arts, the Werner Foundation, and the International Music Foundation. Fuller trained at the University of Cincinnati - College-Conservatory of Music, earning both his bachelor's and master's degrees in music. As an accomplished clarinetist, Fuller has performed in the Dame Myra Hess Chamber Music Series sponsored by the International Music Foundation and broadcast live on Chicago's WFMT 98.7 FM. Festival appearances include the Opera Theatre of Lucca (Italy), David Oistrakh Festival (Estonia), Aspen Music Festival, Cabrillo Festival of Music, and Eastern Music Festival (USA). He has appeared in master classes with Gustav Meier, Michael Tilson Thomas, Daniel Lewis, Marin Alsop, Neeme Jarvi, Jorma Panula, Larry Rachleff, David Loebel, and the late Robert Shaw. Fuller has been fortunate to work with various icons in the music industry, including Roberta Flack, Kristin Chenoweth, Bernadette Peters, Mary Wilson, Patti LuPone, Chris Brubeck, Sharon Isbin, and Pink Martini, among others. An advocate of contemporary music, Fuller has premiered, commissioned and/or collaborated with composers such as Augusta Read Thomas, Dorothy Hindman, Thomas Schneller, Ricardo Zohn-Muldoon, Joel Hoffman, Moiya Callahan, Samuel Robles, Steven Winteregg, Tan Dun (giving
the Southeastern US premiere of his Crouching Tiger Concerto) and Chris Brubeck (giving the Southeastern US premiere of both his violin concerto Spontaneous Combustion and symphonic tribute Ansel Adams: America, which was co-composed with his father, the late Dave Brubeck). During the 2013-2014 season, Fuller led the Southeast US premiere of Identity: Zhongshan Zhuang, co-composed by Victor Cheng and Michael Gordon Shapiro. During the 2014-2015 season, Fuller and Sinfonia co-commissioned and performed the US premiere of Chris Brubeck and Guillaume Saint-James's Brothers in Arts and the world premiere of Nico Muhly's full orchestration of his electric violin concerto Seeing Is Believing. Abroad, Fuller was invited several times by Maestro Kurt Masur to conduct the l'Orchestre Nationale de France (Paris) in a set of conductor readings. In July 2007, Fuller was one of two conductors selected worldwide to conduct the Iraqi National Symphony and three other Iraqi orchestras in a groundbreaking Unity Academy in Erbil, Northern Iraq, sponsored by American Voices and the US Department of State. In 2009, New York City-based Musicians for Harmony appointed Fuller as one of three artistic advisors-an honor shared with musical luminaries Arnold Steinhardt of the renowned Guarneri String Quartet and violinist Cho-Liang Lin. Locally, Fuller serves on the boards of the Destin Charity Wine Auction Foundation, Okaloosa Arts Alliance, and Alaqua Animal Refuge. He is a past chair of the American Cancer Society's Cattle Barons' Ball and continues to serve as a grant panelist for rhe Florida Division of Cultural Affairs. sinfonia gulf coast | 27
e OF THANKS Sinfonia Board of Directors Don & Betty Hefner Sinfonia Founding Partners Elaine & Geno Tucker Sinfonia Ushers Emerald Coast Convention Center Sinfonia Volunteers Heather Tate Sinfonia Youth Orchestra Parents Hulda& Dick Mahlum 2017-2018 Jack & Bobbie White Sinfonia Season Sponsors Jimmy Chambers 2017-2018 Kate Kelley Crescendo! Committee Kay Phelan Bijoux, Jack & Leslie McGuckin Kelli Siler, Alys Beach Brenda Shoffner Lauren Gall Candis & Jack Wilson Lindsey Smith Christine Carter Lisa & Gerald Burwell Cory Fosdyck Liz Aylor Dana & Glenn Armentor Lori Eckert Debbie Wheeler Lorre James Demetria & Richard McNeese
Lynn & Steve Dugas Lynn Wesson Marjorie Cox Gray MaryEdith Malin Michelle Boerstler Myra Williams Nathanael Fisher Pam Wellborn Sandy & Grieg Buckley Scott Russell Star Darling Stephanie & Chuckles Robinson Tim Krueger Walda & Wade Edelson Whitney Lee Zandra Wolfgram
The Florida Division of Cultural Affairs is Florida’s state arts agency. The Division promotes arts and culture as essential to quality of life for all Floridians. Arts and culture contribute to a vibrant and creative Florida. These diverse resources include arts in education, local arts agency, state service organization, theater, dance, folk art, literature, media arts, museum, multidisciplinary, music, sponsor/presenter, and visual arts programs and projects.
Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Arts Council, and the National Endowment for the Arts. sinfonia gulf coast | 29
30 | sinfonia gulf coast
sinfonia gulf coast | 31
32 | sinfonia gulf coast
sinfonia gulf coast | 33
34 | sinfonia gulf coast
sinfonia gulf coast | 35
36 | sinfonia gulf coast
The Community’s Hospital is Growing OUR SUCCESS IS BUILT AROUND YOU! We’re celebrating our growth and the completion of our newly expanded inpatient units and emergency department - providing you with the area’s most advanced healthcare in a state-of-the-art facility.
12 NEW INPATIENT ROOMS
Providing increased capacity for our nationally recognized inpatient experience in a state-of-the-art facility.
12 NEW PRIVATE MOTHER/BABY ROOMS
This major expansion nearly doubles the previous capacity for maternity services.
13 NEW EMERGENCY ROOMS
Providing shorter wait times and direct access to life-saving cardiac intervention or emergency surgery.
10 BED LEVEL II NICU
A new 10-bed Level II Neonatal Intensive Care Unit is now in the final completion stage with a projected opening in 2018.
7800 U.S. Hwy 98 West • Miramar Beach, FL 32550 850) 278.3600 • www.sacredheartemerald.org sinfonia gulf coast | 37
38 | sinfonia gulf coast
sinfonia gulf coast | 39
40 | sinfonia gulf coast
sinfonia gulf coast | 41
sinfonia gulf coast | 43
sinfonia gulf coast | 45
SINFONIA GULF COAST’S 2017–2018 SEASON
THE CLASSICS eeping the tempo at the forefront of the Emerald Coast’s cultural scene since its founding in 2005, Sinfonia Gulf Coast maintains the tradition of “symphony redefined.” The organization, led by music and artistic director Demetrius Fuller, enters its twelfth season with a stellar lineup of concerts and educational initiatives as the region’s only fully professional symphony orchestra.
The season will start on a high note at Fleming’s Prime Steakhouse & Wine Bar at 5:30 p.m. on Tuesday, October 24, with an intimate cabaret-style performance by singer Chris Mann. He has garnered acclaim from his debut on the world’s stage as a finalist on NBC’s The Voice to rave reviews from his PBS Chris Mann in Concert: A Mann for All Seasons performance and landing the lead role in the national US tour of The Phantom of the Opera. Mann and his crystalline voice will take the Sinfonia audience on a musical journey from Broadway to contemporary standards and the Great American Songbook.
The Silver Sands Premium Outlets’ Classical Connection series features three concerts at Grace Lutheran Church in Destin during the 2017–2018 season: THURSDAY, NOVEMBER 9, 2017 FEATURING CELLIST SANG-EUN LEE Hailed for her expressive artistry and dazzling technique, the Washington Post praised her performance saying: “She is a prodigiously talented young artist with powerful technique and musical poise.” FRIDAY, JANUARY 26, 2018 FEATURING STRING QUINTET SYBARITE5 One of the most exhilarating string groups on the scene today, this quintet has taken audiences by storm all across the U.S. via an exciting ride that engages the senses and redefines the rules from Mozart to Radiohead. SATURDAY, MARCH 3, 2018 FEATURING VIOLINIST CORINNE STILLWELL Stillwell, who is on the faculty at both Florida State University and the Brevard Music Festival, joins Sinfonia’s principal musicians as guest concert master and soloist.
Mary Wilson of the Supremes is bringing her largerthan-life voice and amazing energy back to the Sinfonia stage at Destiny Worship Center for “A Rockin’ Holiday” concert on Friday, December 15 at 7:30 p.m. This Rock and Roll Hall of Fame inductee and multiple award-winning artist will have music lovers dancing in their seats with the sensational songs that made her famous, holiday favorites, and Sinfonia’s full orchestra. The finale of the main season comes to life during the annual gala event on Saturday, March 31, 2018, at 7:30 p.m. at the Emerald Coast Convention Center. Sinfonia Gulf Coast brings the world premiere of America’s most beloved movie musical to the Emerald Coast: Meredith Willson’s The Music Man. Gloriously restored and projected on the big screen, with unforgettable performances by Shirley Jones and Robert Preston, Willson’s brilliant songs and score will be performed live by Sinfonia Gulf Coast in their exhilarating and spectacular original Oscar-winning orchestrations by the legendary Ray Heindorf. Emmy winner and five-time Emmy nominee George Daugherty will conduct the performance.
Season Tickets offer preferred seating and a discount over single-ticket prices and include all three Classical Connections concerts, plus “A Rockin’ Holiday” with Mary Wilson of the Supremes. Single tickets for all performances are available for purchase by calling the Sinfonia Box Office at (850) 460-8800 or going online to SinfoniaGulfCoast.org. All performances begin at 7:30 p.m. unless noted otherwise. sinfonia gulf coast | 47
An experience to behold.
30A Blue Mountain Beach | 30Avenue Inlet Beach | City Market Bayside Destin Visit us online at scenicsir.com Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Each Office Is Independently Owned And Operated.
48 | sinfonia gulf coast
Passionate experts. Unmatched reach. Worldwide connections.
We harmonize remarkable resources to expose your home to the perfect audience. 850.231.6052
sinfonia gulf coast | 49
SIN GULF ONIA COAST Serenade No. 11 in E-flat Major, K.375 Wolfgang Amadeus Mozart l. Allegro maestoso ll. Menuetto lll. Adagio lV. Menuetto V. Allegro Variations on a Rococo Theme for Cello and Orchestra, Op. 33 Peter Ilyich Tchaikovsky Serenade in E major for String Orchestra, op. 22 (1875) Antonin Dvořák l. Moderato ll. Tempo di Valse lll. Scherzo: Vivace lV. Larghetto V. Finale: Allegro vivace
Presenting Sponsor:
50 | sinfonia gulf coast
CLASSICAL CONNECTIONS Sang-Eun Lee, cello Thursday, November 9, 2017 | 7:30pm Grace Lutheran Church PROGRAM NOTES
Wolfgang Amadeus Mozart (1756-1791) Serenade No. 11 in E-flat Major, K375 Mozart composed this serenade in 1781, and it was first performed in Vienna on October 15 of that year. It was originally scored for pairs of clarinets, horns, and bassoons; Mozart revised the work, adding a pair of oboes, in the summer of 1782. On November 3, 1781, Mozart wrote to his father from Vienna: At eleven o'clock last night I was serenaded by two clarinets, two horns and two bassoons playing my own music... These musicians had the front gate opened for them, and when they had formed in the courtyard, they gave me, just as I was about to undress for bed, the most delightful surprise in the world with the opening E-flat chord. The nighttime disturbance that delighted Mozart at his apartment window more than two centuries ago – and would, no doubt, incur the wrath of many a condominium board today—is one of the landmarks of the literature. It was Mozart's earliest masterpiece for wind ensemble and the first great work of its kind by any composer. The six musicians gathered beneath Mozart's window–“poor wretches who play together quite nicely all the same”–were the same men who had given the first performance of the serenade on October 15 at the Vienna home of court painter Joseph von Hickel.
The Allegro maestoso opens with solemn repeated chords (the resounding E-flat “fanfare” that echoed in Mozart's courtyard that night) which serve as an architectural pillar throughout the movement, returning at important structural moments in the standard sonata form blueprint–to mark the development and recapitulation sections, as well as the coda. Two minuets frame the great central adagio. The first, in C minor, is highly chromatic; the second overflows with hearty, folk-song melodies. With the intimate, deeply expressive Adagio, we leave behind the world of festive, public serenades for the personal confidences of the opera stage with the oboe, clarinet, bassoon, and horn stepping forward to the footlights, singly and in various combinations, while the action freezes. The finale, breezy and lighthearted, but never superficial, is a sure-fire crowd pleaser.
Peter Ilyich Tchaikovsky (1840-1893) Variations on a Rococo Theme for Cello and Orchestra, Op. 33 Tchaikovsky’s abiding love of Mozart and an idealized 18th century is one of the many conflicting facets of his complex personality. Passion and self-dramatization existed side by side with precision and elegance. The Variations on a Rococo Theme was the first work to plunge unashamedly into this world, making a strong and striking contrast with the unrestrained passion of the symphonic poem Francesca da Rimini that preceded it. But by this time (the fall of 1876) Tchaikovsky’s inner tensions and the relentless self-realization that embittered his whole life were already evident. Perhaps these yawning differences between one work and the next reflect his distraughtly atomized state of mind in those years.
Tchaikovsky always yearned to compose such a work, so long had his admiration for 18thcentury rococo been implanted in him; this urge, combined with his observation, on hearing the great Russian cellist Karl Davidov in March 1875, that the cello was poorly served for solo repertoire, led him to write a concert piece that explicitly recalled Haydn’s form and Haydn’s orchestra. In December 1876 he simply told his brother that he was writing a piece for cello and orchestra without saying why or whom it was for. Davidov had just become director of the St. Petersburg Conservatoire, so if Tchaikovsky wrote the Variations in the hope that he would perform it, it may have been the burden of his new duties that prevented him from taking it on. Possibly, too, Davidov might have been unwilling to be featured in a work that was so deliberately old-fashioned. A brief introduction prepares the presentation of the theme by the soloist, a tune of immaculate symmetry and grace, lightly accompanied, and having both its halves repeated. The orchestra appends a coda in a more personal, chromatic style that is to be a regular feature of each variation. Variation 1 preserves the tempo and key and allows the soloist some triplet decorations. Neither half is repeated, but the coda is there. Variation 2 introduces a faster motion and shorter phrases in dialogue. The coda is still there, extended to take the music into a new key for… Variation 3, an expressive slow waltz, longer than the previous variations. Variation 4 returns to the original key for a grazioso version of the theme that brings the coda in at the end of each phrase over low held notes on the cello. The flute introduces Variation 5, which gives the soloist a stream of trills and brilliant passages and eventually a cadenza. Variation 6 moves to the minor mode with an sinfonia gulf coast | 51
expressive melody with a more romantic flavor. The last variation restores the main key and sets a swift tempo for some brilliant exchanges between the soloist and the orchestra, particularly the winds. If Tchaikovsky’s purpose was to make a real contribution to the cello soloist’s repertoire, he succeeded superbly. In the age of high Romanticism, a neo-classic work of such fine craftsmanship was something to be treasured.
animation, and whose central section features echoic counterpoint, a device Dvořaḱ will use in each of the succeeding movements. Next comes a buoyant and very skillfully composed scherzo, then a song-like Larghetto of great tenderness. The finale has the robust spirit of a Bohemian folk dance. (Already the composer had discovered the value of Czech folk music as a source for added color and character in his compositions, a discovery he would pursue more energetically in the years ahead.) Dvořák now ties the Serenade together, so to speak, with recollections of the lyrical melody from the Larghetto and, later, the opening theme of the first movement.
Antonin Dvořák (1841-1904) Serenade in E major for String Orchestra, op. 22 (1875)
Dvořaḱ began writing his Serenade in E for string orchestra on May 3, 1875. Less than two weeks later, on May 14, the score was complete. This was a happy as well as productive period for the composer. Little more than a year earlier he had married a loving and devoted woman who now provided him with much-valued domestic happiness. More recently, he had enjoyed his first signs of success as a composer. It is not surprising, then, that the Serenade is a light, essentially carefree work. But this in no way means that it is insubstantial or carelessly composed. On the contrary, its unobtrusive use of counterpoint and sensitive handling of string sonority are the work of an expert musical crafts- man, and its form reveals both an innate sense of proportion and a thoughtful consideration for unity and coherence. Excepting the finale, each of the work’s five movements follows an A-B-A design, in which a contrasting central section is ranked by material heard at both the opening and close. The first movement is succeeded by a waltz that alternates between wistfulness and sinfonia gulf coast | 53
sang-eun lee, cello 22-year-old cellist Sang-Eun Lee has been hailed for her expressive artistry and dazzling technique. The Washington Post praised: “She is a prodigiously talented young artist with powerful technique and musical poise.” Ms. Lee has won top prizes in various international competitions; she won the 2014 Young Concert Artists International Auditions, and First Prize at the 2014 YCA Auditions in Seoul, Korea. At 15, she won First Prize at the 2009 Johansen International Competition in Washington, D.C., Second Prize at the 2009 International Tchaikovsky Competition for Young Musicians, and the Young Musician Prize of the Emanuel Feuermann Competition in Berlin. She was also awarded Germany’s Kronberg Academy Cello Festival’s 2009 Ingrid zu Solms Culture Prize. Her 2016-2017 season includes performances at the Morgan Library and Museum, Boston’s Isabella Stewart Gardner Museum, Cold Spring Harbor Laboratory, Chamber on the Mountain, Tri-County Concert Association, the Evergreen Museum and Library, and an appearance as soloist with the Orchestra of St. Luke’s at Alice Tully Hall. Last season, Ms. Lee made her acclaimed Kennedy Center debut, co-presented with Washington Performing Arts and supported by the Korean Concert Society Prize, and her New York recital debut, sponsored by the Michaels Award, on the Young Concert Artists Series. She also performed at Colgate University, Buffalo Chamber Music Society, the Paramount Theatre, the Jewish Community Alliance in Florida, the Lied Center of Kansas, and the Music@Menlo Festival. Ms. Lee has been invited to perform as a soloist with Korea’s leading orchestras including the Seoul Philharmonic under
Myung-Whun Chung, the Suwon Philharmonic, the Prime Philharmonic, the Korean National University of Arts Orchestra, the Gangnam Symphony and GMMFS orchestras. She made her Seoul recital debut at the age of 13 on the Kumho Prodigy Concert Series and has given recitals at the Blue House in Seoul and the Musée du Louvre in Paris. Ms. Lee has been featured on KBS (the Korean Broadcasting System). She currently holds the Anne & George Popkin Cello Chair. Born in Seoul, Korea, Ms. Lee attended the Korean National University of Arts, from the age of nine, where she worked with Myung Wha Chung and Sang Min Park. She is a grant recipient of the Bagby Foundation for the Musical Arts, and currently attends the Curtis Institute of Music, working with Peter Wiley and (YCA Alumnus) Carter Brey. Sang-Eun Lee appears by arrangement with Young Concert Artists, Inc. www.yca.org sinfonia gulf coast | 55
sinfonia gulf coast | 57
SEVENTH
ANNUAL
30A WINE FESTIVAL Bene ting Children’s Volunteer Health Network FEBRUARY 22–25
Alys Beach, Florida
PROUD TO BE AN ACTIVE SUPPORTER OF SINFONIA GULF COAST YOUR SOURCE FOR LONGEST-LASTING OUTDOOR FURNITURE
Breezesta, Brown Jordan, Castelle, Jensen Leisure, Lane Venture, Lloyd Flanders, Polywood, Ratana, Seaside Casual, Skyline Design, Summer Classics, Telescope, Tommy Bahama, Tropitone, Windham Castings and Winston AOG, Big Green Egg, Broilmaster, DCS, Delta Heat, Fire Magic, Lynx, Memphis Grills, Twin Eagles and Wilmington Grill
32 FOREST SHORE DRIVE, MIRAMAR BEACH, FL OFF HWY 98, A MILE WEST OF SILVER SANDS PREMIUM OUTLETS VISIT US ONLINE AT BAYBREEZEPATIO.COM • 850.269.4666
sinfonia gulf coast | 65
66 | sinfonia gulf coast
sinfonia gulf coast | \69
70 | sinfonia gulf coast
Experience. Knowledge. Integrity. Instrumental to Your Real Estate Success
Professional experience and knowledge matter. Rely on the only source you’ll need for a smooth transaction and unparalleled friendly service... every time.
Serving Northwest Florida’s Emerald Coast Proud supporter of Sinfonia
YOUR BEACH SALES AGENT
DENISE STEGNER LIC. REALTOR – GRI, RSS, CDPE, GREEN, TRC, ALHS
ResortQuest Real Estate 850.865.9301 | Denise@Destin.org YourBeachSalesAgent.com | 30Asales.com | WaterscapeSales.com
Destin | Miramar Beach | Ft. Walton | 30A | Santa Rosa Beach | Grayton Beach Watercolor/Watersound | Alys Beach | Rosemary Beach | Inlet Beach | Panama City Beach 72 | sinfonia gulf coast
sinfonia gulf coast | 73
“Mary Wilson: Up Close” show, she wowed audiences with an intimate selection of standards and easy-listening tunes that showcased her smoky voice and vocal prowess. Wilson closed the season at the prestigious nightclub, which The New York Post called “an invaluable New York institution.”
A ROCKIN’ HOLIDAY Mary Wilson of The Supremes Friday, December 15, 2017 | 7:30pm Destiny Worship Center Concert Sponsors:
Guest Artist Sponsors:
MARY WILSON
As an original Supreme, Wilson was a much sought-after interview regarding the awardwinning film, DREAMGIRLS. After covering the red carpet premiere for “Extra,” she endeared herself to a whole new generation of Hollywood stars and fans alike, including Golden Globe winners Eddie Murphy and Jennifer Hudson, as well as Jamie Foxx, BEYONCE and Snoop Dogg! The success of DREAMGIRLS has also rekindled interest in Wilson’s best-selling autobiography, DreamGirl: My Life as a Supreme. In addition to her tireless performing and trips to the studio to record her new album, Wilson, along with The Vocal Group Hall of Fame and Friends Against Musical Exploitation, is lobbying state governments to pass a bill prohibiting bogus musical groups from cashing in on the names and likeness of such famous acts as The Supremes and Four Tops. Wilson and company have proposed an amendment to the Truth in Advertising Act (1968) that would prevent such groups from performing under such classic bands’ names unless they contained an original member or had specific licenses to do so. Wilson’s goal is to garner enough state support to lobby Congress to pass a federal law. “We have given America and the world happiness with our music; it’s time that we have a law that protects us and our legacy,” Wilson states.
Tireless in her contributions to charity and society at large, Wilson was recently named as a spokesperson for The Humpty Dumpty Institute’s initiative to raise public awareness about the worldwide scourge of landmines. As HDI’s Mine Action Spokesperson, Wilson traveled to Sri Lanka and then Laos this past fall, visiting schools impacted by unexploded ordinance left over from the Vietnam War. After helping to detonate 58 bombs and declaring safe zones, she held a charity concert in Colombo, Sri This past summer, Wilson performed a number Lanka. In addition, Wilson addressed the annual of consecutive shows at Feinstein’s at the conference of the US Department of Agriculture Regency, New York’s premiere supper club. In her on Food Security. In early summer, she will travel
It was a vision of musical stardom as a Detroit teen that inspired Mary Wilson, along with Diana Ross and Florence Ballard, to found one of the most successful female singing groups in recording history – The Supremes. Since then, Wilson has written a best-selling autobiography, performed on stage and screen, lectured and toured the world, and continues to be looked up to as a singer who set the standard for females in the recording industry.
Supremes, and has performed for handfuls of celebrities and politicians all over the world, In 2003 Wilson was named a US Cultural Am- including The Clintons at The White House. bassador by US Secretary of State Colin Powell as part of a “Culture Connect” program. The goal Throughout the late 70s and 80s, Mary hit the was to improve cross-cultural understanding lecture circuit to tell her amazing story. She still internationally. As such, she undertook missions lectures to this day, her “Dare To Dream” circuit to Bangladesh, Pakistan, South Asia and South including such organizations at American Cancer America on behalf of the US Department of Society, St. Jude’s Children’s Hospital, UNICEF State. Wilson was also recently awarded a and many more. Wilson eventually put her story Doctorate of Humane Letters from Paine College to print, becoming a best-selling author with her autobiography, DreamGirl…My Life As A in Augusta, GA. Supreme. DreamGirl went on to sell over 250,000 While growing up in Detroit’s Brewster Projects, copies in hardback, becoming one of the her love for singing blossomed when she most successful rock and roll autobiographies befriended Florence Ballard, Betty McGlown and of all time. Diane Ross at age 13. Fueled by their mutual love of music and their ambition for stardom, the The overwhelming success of that first book quartet formed a singing group, The Primettes, prompted Wilson to pen its sequel, Supreme and became the sister group of The Primes, who Faith…Someday We’ll Be Together. Currently, The saw two members go on to form The Tempta- third book by Mary Wilson combines the first two tions. Together they auditioned for the then books with additional updated chapters. fledgling Motown label and were eventually signed. Betty and her replacement Barbara, Throughout her career, Mary Wilson has had the both dropped out of the group, and the remaining privilege and pleasure of performing all over the trio of Mary, Flo and Diane became known as world. Royalty requested many of her performances with The Supremes, such as for Britain’s The Supremes. Queen Mother as well as for the King of Sweden. At first, success eluded the girls, who recorded In 2000, Wilson had the prestigious honor of several albums before getting their first hit. In performing at the White House for the Millenfact, they were dubbed the “No-Hit Supremes” nium Celebration as well as two inaugural dinners until Motown founder Berry Gordy put them in held in President Bush’s honor. touch with his top writing and producing team, Holland-Dozier-Holland. Four decades and 40 In 1988, The Supremes were inducted into the albums later, what once started as a dream has Rock & Roll Hall of Fame, receiving the prestigious exceeded beyond Wilson’s wildest imagination. Lifetime Achievement Award, which Wilson With an unprecedented 12 number-one hits, personally accepted. Seven years later, the Hall including five in a row – “Where Did Our Love launched an exhibit of the “Supremes” gowns for Go,” “Baby Love,” “Stop, In The Name Of Love,” the museum’s opening in Cleveland, Ohio called and “Back in My Arms Again” – The Supremes The Supremes Reflections: The Mary Wilson Supreme Legacy Collection. Wilson had been set the precedent for super group success. personally archiving the gowns for years. The Wilson worked hard to keep the dream alive even Mary Wilson Supreme Legacy Collection, after Florence and Diana left the group. In 1970, including the Butterfly dresses worn on their 1968 Berry Gordy brought in Jean Terrell to replace television special, is currently on tour in the Ross, with Cindy Birdsong having replaced United Kingdom. Florence Ballard. Together, they formed The New Supremes, racking up three top 10 hits [“Up The With a successful solo career – and new CD out Ladder To The Roof”, “Stoned Love”, and “River this spring – an equally successful literary career and her tireless humanitarian efforts, Mary’s Deep, Mountain High” (with the Four Tops)]. future couldn’t look brighter. She is living proof To this day Wilson continues to tour under the that dreams really do come true! For more on moniker of Mary Wilson of The Original Mary Wilson, please visit www.marywilson.com. to Vietnam and visit the mine action program.
sinfonia gulf coast | 77
Luxury Estates specializes in showcasing and selling exceptional properties from Destin to Panama City Beach. Sellers have a choice between our traditional listing service or our accelerated sales process through our luxury auction division, which handles premier properties throughout all of Florida.
Call us today to learn more, 850-460-8877.
4507 Furling Lane, Suite 113 • Destin, FL 32541
SIN GULF ONIA COAST
CLASSICAL CONNECTIONS Friday, January 26, 2018 | 7:30pm Grace Lutheran Church
Overture to L’Italiana in Algeri Gioacchino Rossini Suite No. 2 for Small Orchestra Igor Stravinsky l. Marche ll. Valse lll. Polka iV. Galop Everything in its Right Place Sybarite5 Intermission Symphony No. 2 in D major, Op. 36 Ludwig van Beethoven l. Adagio molto, Allegro con brio ll. Larghetto lll. Scherzo: Allegro IV. Allegro molto
Presenting Sponsor:
80 | sinfonia gulf coast
PROGRAM NOTES
Gioacchino Rossini (1792-1868) Overture to L’Italiana in Algeri Rossini’s two-act opera The Italian Girl in Algiers was first performed in 1813 (when the composer was just 21 years old) in Venice; its sparkling overture premiered in the United States in 1824. Note that although this particular opera is indeed comic, so the light-hearted mood suits the story, all of Rossini’s overtures are similarly joyful: The mood bespeaks the festivity of opera itself, not any particular plotline. Likewise the form is always the same: a slow introduction; then two themes, the second given to a solo woodwind; a big climax, and recapitulation–or wholesale repetition. What is remarkable, however, is the immense musical variety and drama Rossini manages to put inside this standard package. The opening of The Italian Girl in Algiers is among the most memorable in all of Rossini’s oeuvre: eight measures of pizzicato, plucked strings lead to the crashing entrance of the entire orchestra. An oboe solo runs into a second fortissimo surprise, and then eventually returns again to round off the three-part slow introduction. The winds present the main
theme of the Allegro, the heart of the overture, with the second theme in the solo oboe, answered by the piccolo. This material returns, verbatim, at the end as a recapitulation. In between, much of the interest is rhythmic, with repeated rising and falling scales in the entire orchestra (with notable strikes of the tympani) and fortissimo repeated chords.
approaching Neo-Classical period. The leanness of the instrumentation, the infectious rhythmic drive and the always perfect instinct for dramatic timing – each a hallmark of the coming years – are all present in the music of the Suites. More than mere caricatures, these eight "Easy Pieces" are vintage Stravinsky, and nothing less.
Igor Stravinsky (1882-1971) Suite for Small Orchestra no. 2
Ludwig van Beethoven (1770-1827) Symphony No. 2 in D major, Op. 36
Stravinsky spent the years immediately following The Rite of Spring (1914-1920) exiled in Switzerland. The War had necessitated a temporary pause in the Paris operations of the Ballet Russes, the composer's primary source of income but he remained productive. He concentrated mainly on works for smaller ensembles and used the time wisely to further refine his compositional voice and delve more deeply into the language and folk heritage of his homeland.
A young man doesn’t expect to go deaf. And so Beethoven was both surprised and frightened when he admitted to himself a musician’s worst nightmare—that he was having trouble hearing. We can’t be certain when he first acknowledged his cruel fate, but he apparently kept it a secret for a number of years. In June 1801, he finally confessed to his dear friend Franz Wegeler, who also happened to be a doctor: “For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf.”
The two Suites for Small Orchestra were orchestrated in 1921 and 1925 but date originally from the Swiss period. The source material was from the two little-studied sets of piano duets Stravinsky wrote as "teaching pieces" for young musicians. Three Easy Pieces was completed in 1915 and each short movement includes an affectionate dedication to a colleague (composers Alfredo Casella and Erik Satie as well as Ballet Russes impresario Serge Diaghilev) which indicates the composer's desire to also entertain adults with his delightful miniatures. The companion Five Easy Pieces (1917) were designed specifically for the education of Stravinsky's two older children with simple melodies that were to be played by the youngsters and more difficult accompaniments meant for skilled hands, presumably the composer's. It is tempting to view these eight duets as little more than the dashed-off curiosities of an extremely fertile musical mind, but closer scrutiny reveals much about what Stravinsky had become and would become as a composer. Beyond the obvious charm, wit and winning "personalization" of the included dance forms, what is offered here (particularly in the orchestrated versions) is a premonition of Stravinsky's
By then Beethoven was worried. He had already sought treatment from a number of doctors, who prescribed hot and cold baths, olive oil, pills, and infusions, to no avail—his ears continued to hum and buzz. Young Carl Czerny, on his first visit to Beethoven, probably in 1800, noticed “with the visual quickness peculiar to children,” as he later recalled, “that he had cotton, which seemed to have been steeped in a yellowish liquid, in his ears.” Czerny didn’t think of this again until he, like much of the music world, heard rumors that Beethoven was hard of hearing. Beethoven found no relief until he turned to Dr. Johann Adam Schmidt, a professor of general pathology and therapy, who seemed full of sympathy and optimism. Apparently it was Dr. Schmidt, who, among his other prescriptions, recommended that Beethoven abandon Vienna for rural Heiligenstadt. In late April of 1802, Beethoven left for the pastoral suburb that to this day is known for the document he wrote there some six months later. The Heiligenstadt Testament, as it has come to be called, was begun on October 6 and finished four days later.
p g
_
y
g
12 seasons of award winning events.
NAVARRE PRESS 18 years of award winning news. NAVARRE PRESS would like to
and ask that you not
the same mistakes.
# news coverage may we suggest that you...
The
For
: :
for a moment
is you’re not getting the
story.
fff SUBSCRIBE TO NAVARRE PRESS! Now you can
and enjoy Sinfonia.
“Excellence is our ordinary”
NAVARRE PRESS NEWS & INFORMATION
“Three time winner of Florida Press Association Weekly Newspaper of the Year!” 850-939-8040 • navarrepress.com
LEGEND: 82 | sinfonia gulf coast
Pause
: :
Repeat
Treble
Whole
#
Sharp
fff
Very Loud
Rest
It’s addressed to the composer’s brothers, Carl and Johann. Although Beethoven’s hearing would deteriorate considerably in later years, 1802 marked the moment of crisis: the Heiligenstadt Testament includes Beethoven’s admission that his malady was permanent and incurable. He didn’t fail to see the horrible irony of “an infirmity in the one sense which ought to be more perfect in me than in others.” This, surprisingly, is the background for Beethoven’s Second Symphony—one of his most energetic, cheerful, and outgoing works. Beethoven surely had begun the D major symphony before he packed for Heiligenstadt that spring. He finished it there sometime that autumn, in a setting very like the one he would later depict in the Pastoral Symphony. When his student Ferdinand Ries came to visit Beethoven, he called his attention to a shepherd who was piping very agreeably in the woods on a flute made of a twig or elder. For half an hour Beethoven could hear nothing, and though I assured him that it was the same with me (which was not the case), he became extremely quiet and morose. The D major symphony, like other music written at the time, shows no signs of Beethoven’s obvious despair. It’s possible that Beethoven put the finishing touches on the confident, rollicking finale of his Second Symphony only days before he confessed thoughts of suicide in the letter to his brothers. After Beethoven returned to Vienna, his hearing and his spirits both unimproved, he began to make plans for a major concert of his music to be held on April 5, 1803, which would include not only his new symphony, but also the premieres of his Third Piano Concerto and the oratorio Christ on the Mount of Olives. That concert, conducted by the composer, achieved the combination (not unknown in our own time) of mixed reviews and a box office bonanza. Although Beethoven and his audience considered Christ on the Mount of Olives the main attraction, the Second Symphony would ultimately triumph. One reporter decided on the spot that “the first symphony is better than the
later one,” although he did acknowledge that Beethoven seemed to be “striving for the new and surprising.” Around this time, Beethoven said to a friend, “I am only a little satisfied with my previous works. From today I will take a new path.” That path was forged primarily by the daring venture of the Eroica Symphony, but the Second Symphony is already a sign of fresh things to come, and it’s a great advance over the First. The influential Beethoven biographer Maynard Solomon calls it “both retrospective and prospective.” It’s still Haydn’s orchestra—pairs of winds, with horns, trumpets, timpani, and strings—and the layout of his last twelve symphonies—four movements, with a slow introduction and a rondo finale—that serve as Beethoven’s starting point. This is music that Haydn would have understood but couldn’t have written. Beethoven’s slow introduction is a full thirtythree measures of powerful, expansive music, rich in the kind of dramatic gesture he would later exploit so famously. The ensuing Allegro con brio crackles with a nervous energy and maintains an all-business edge unprecedented in symphonic music. The Larghetto, on the other hand, moves at a gracious and easy pace that’s rare for this composer. Leisure wasn’t to Beethoven’s taste; several years later, when he devised the misguided notion of arranging this symphony for piano trio, he added “quasi andante” to the larghetto marking to keep things moving. Instead of the minuet-and-trio combination third movement of the Haydn model (it served Beethoven well in his own First Symphony), Beethoven now writes scherzo, forever changing the complexion of the standard symphonic design. Beethoven’s scherzo, more compact than many of Haydn’s minuets, is wildly playful, with just enough weight to suggest the drama that’s always present in Beethoven, even when he’s playing games. The explosive finale is what we now call pure Beethoven, although audiences in 1803 didn’t yet know what that meant, and no doubt found it shocking and unpredictable, with its coltish movement and energy, and its uninhibited, nose-thumbing sense of humor. sinfonia gulf coast | 83
Hear the Classics Wear the Classics
by Renee Launiere • 4495 Furling Lane, #170 • Destin, FL • 850.830.5465 • BijouxDeMer.com \84 | sinfonia gulf coast
86 | sinfonia gulf coast
We would like to welcome our returning and new Snowbirds to the region and congratulate Sinfonia Gulf Coast and Maestro Demetrius Fuller on another great season!
Be sure to pick up Snowbirds Gulf Coast at area visitor centers, chamber offices, rental lobbies, Snowbird club meeting venues and more!
88 | sinfonia gulf coast
“Their rock star status…is well deserved. Their classically honed technique mixed with grit and all out passionate attack transfixes the audience...” That is how the Sarasota Herald Tribune described SYBARITE5 , the first string quintet ever to win the Concert Artists Guild International Competition. Comprised of Sami Merdinian and Sarah Whitney, violins; Angela Pickett, viola; Laura Metcalf, cello; and Louis Levitt, bass, SYBARITE5 has taken audiences by storm all across the US, forever changing the perception of chamber music performance. From the moment their bows hit the strings, this quintet of talented, diverse musicians takes the audience on an exciting ride that engages the senses and redefines the rules. From Elgar to Radiohead and Visconti to Akiho, SYBARITE5’s eclectic repertoire and commanding performance style is turning heads throughout the music world: “…in a program of serial high points, there were too many to mention” (The Washington Post). The quintet’s debut album Disturb the Silence, was released in 2011 and quickly reached the top ten on the Billboard charts. The group’s follow-up album, Everyth ing in its Right Place, was released in 2012 at Carnegie Hall to critical acclaim. SYBARITE5 recently completed its latest album, Outliers, featuring all new works from American composers. It will be available in the 2016-2017 season. With their dynamic view on 21 st -century entrepreneurial musicianship, the group will conduct residencies and workshops at major institutions and conservatories including the Curtis Institute of Music and New England Conservatory among others. SYBARITE5 will serve as the resident ensemble for the American Composers Forum National Competition in the fall of 2016 to be held at (le) poisson rouge in New York City.
York City at Carnegie Hall, Lincoln Center, National Sawdust, the Apple Store and an ongoing residency at the cell. In addition to their own groundbreaking, portable music festival Forward Festival, SYBARITE5 has appeared at Ravinia, Caramoor Center for the Arts, Wolf Trap Opera, Grand Teton Music Festival, Aspen Music Festival, Walla Walla Chamber Music Festival, Interlochen Center for the Arts, Music in the Mountains, Chautauqua Music Festival, Green Lake Music Festival, Look and Listen Festival and many others. International appearances include Canada’s Tuckamore Music Festival, the New Docta International Music Festival in Cordoba, Argentina, and the Osaka International Competition and Festa. SYBARITE5 was the Classical Contemporary Artist selected for the prestigious 2015-2016 Mid Atlantic Arts Tour funded by the Mid Atlantic Arts Foundation, and was appointed to the New Music USA's Impact Fund Cohort in 2016. The group was also awarded the Sylvia Ann Hewlett Adventurous Artist Prize from Concert Artists Guild.
In 2015 the quintet gave the shared world premiere of BEATBOX--the very first concerto for string quintet and orchestra--written by acclaimed American composer Dan Visconti. The commissioning orchestras included DuluthSuperior Symphony Orchestra (MN), South Carolina Philharmonic and the Midland Highlights of recent seasons have included Symphony (MI). performances in 41 states and counting, from the Library of Congress and St. Paul (MN)'s SYBARITE5 is deeply committed to education Schubert Club to Anchorage (AK) Concert and outreach as well as performance. In addition Association and Sun Valley (ID) Center for the to presenting masterclasses and workshops for Arts as well as concerts in their home of New over 25,000 students ages 5-25, they have
worked closely with the composition departments of colleges and universities such as Luther College, Penn State, Samford University, New College (FL) and others to give students first-hand experience writing for string quintet in a popular program called "So You Think You Can Compose."
Zeppelin. But that doesn't even begin to describe the range of their eclecticism or the depth of their repertoire." ~ Strings Magazine
"[SYBARITE5] excelled at the exquisite... [they played] with relish, a sense of comfort, and a frisson of missionary zeal." ~ The Washington Post SYBARITE5 got its start at the Aspen Music Festival and was the first string quintet admitted to the Aspen Advanced String Quartet Studies "If you're looking for a worthy successor to the program; it later became the official AMFS Kronos Quartet as a small string ensemble pushing the envelope of concert music, count alumni ensemble for four seasons. this exciting gang of five as one excellent candidate.” ~ Blogcritics Magazine "Their fresh approach to classics and their approach to new repertoire represent an ideal of what we strive for in Aspen." ~ Alan Fletcher, President & CEO, Aspen Music Festival “…enormous and touching impact in a supremely musical rendition...” ~ Sarasota Herald Tribune
Quotes
"Not your grandparents' chamber music." ~ The Observer
"Classically trained to rock your ******* socks "In a program of serial high points, there were off." too many to mention...An intriguing and hugely ~ Creative Loafing Magazine enjoyable evening in every way — and a standout in the Washington Performing Arts Society’s fine winter season." On SYBARITE5’s ~ The Washington Post Everything in Its Right Place CD: "Expect an experience that will satisfy your inner "SYBARITE5’s concert schedule has garnered rock star and your secret Mozart." much acclaim; their classically‐sharpened ~ Arizona Daily Star expertise and passion have mesmerized crowds “Their rock star status... is well deserved... Their from Alaska to Florida…showcases a musical classically honed technique mixed with grit and brilliance…SYBARITE5 proves chamber music all out passionate attack transfixes the audience, can be thinking people’s music which can also whether on Piotr Szewczyk’s “The Rebel” or interest folks who appreciate progressive and passionate music.” Radiohead’s “Weird Fishes.” ~ Audiophile Audition ~ Sarasota Herald Tribune "SYBARITE5 is a New York – based group of gifted young string musicians who have gained a reputation for juxtaposing the likes of Stravinsky with Radiohead, or Dvorák with Led sinfonia gulf coast | 91
Private Residen ce in Alys Beach
Luxury Residential Architecture & Interiors www. ab oheme. c om
850 2 31 6803
BOHEME AA 26001879
94 | sinfonia gulf coast
2017 ALL RIGHTS RESERVED A BOHEME DESIGN, LLC
sinfonia gulf coast | 95
SIN GULF ONIA COAST
CLASSICAL CONNECTIONS Corinne Stillwell Saturday, March 3, 2018 | 7:30pm Grace Lutheran Church
Octet in E flat major, Op. 20 Felix Mendelssohn Bartholdy l. Allegro moderato ma con fuoco ll. Andante lll. Scherzo: Allegro leggierissimo iV. Presto Four Seasons of Buenos Aires Astor Piazzolla Las Cuatro estaciones porteńas Intermission Appalachian Spring Suite for 13 instruments Aaron Copland
Presenting Sponsor:
96 | sinfonia gulf coast
PROGRAM NOTES
Felix Mendelssohn Bartholdy (1809-1847) Octet in E flat major, Op. 20 Felix Mendelssohn (Bartholdy was added by his father when Felix was 7) was born into an intellectual and affluent household: his grandfather Moses was the pre-eminent Jewish philosopher of the Enlightenment, and both his father and mother’s families were bankers. Felix and his sister Fanny were outstandingly precocious and were driven hard by their parents – their day started at 5 am at the latest. In 1818 the 9-year old Felix publicly performed a Dussek piano concerto from memory, and his first datable composition was performed in Berlin the same year. His copious early compositions outshone even those of Mozart. When Mendelssohn was 12 he played for Goethe who had also heard the young Mozart. Goethe was impressed: “...what [Mendelssohn] already accomplishes bears the same relation to the Mozart of that time as the cultivated talk of a grown-up person bears to the prattle of a child.” At the age of 16 he produced his first undoubted masterpiece, his String Octet Op 20, incidentally at the same time as a metrically accurate German translation of a comedy by
Terence which was published by his tutor the following year!
a rising arpeggio vanishing pp diminuendo in a puff of air.
The Octet was intended as a birthday present for Eduard Rietz, Mendelssohn's violin teacher. Like the D minor Violin Concerto, it is dedicated to Rietz and the first violin part written for him; Mendelssohn himself occasionally played the second viola part. The work is orchestral in its scope and writing. Mendelssohn exhorts the players as follows: “Note: This Octet must be played by all the instruments in a symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this genre.� Without such discipline, important individual parts can be lost against the seven others.
The Presto finale is definitely more muscular; the second cello growls out the energetic fugal subject which passes quickly all the way up the octet. This continues to carry the movement along almost without interruption in a celebration of teenage energy and exuberant genius.
The Octet opens with rising arpeggios on the first violin above a tensely expectant accompaniment. New material is introduced by the fourth violin and first viola in sixths and these ideas form the basis for an exhilarating and masterfully scored sonata form movement. The lower strings open the second movement with dark foreboding, which gives way to a serene melody from the violins. Tension ebbs and flows with triplet semiquavers, dissolving, in a moment of genius, into an ecstatic pianissimo of cascading scales (illustrated). The uneasy triplets return, dispelled again by the cascading scales, and the triplets of Mendelssohn's second viola, now calmed, have the last word. The Scherzo presages Mendelssohn's renowned overture to A Midsummer Night's Dream, which he wrote immediately after the Octet. The movement is pianissimo and staccato throughout, reinforced again by an admonition from the composer. According to the composer's sister Fanny, it was inspired by lines from Goethe's Faust, the Walpurgis Night Dream, 'Clouds and mist pass / it grows bright above. / Air in the bushes and wind in the reeds / and all is dispersed' Rietz's first violin part emerges briefly in the middle section with a tricky, trill-laden, more legato passage, but the staccato returns and the movement ends with
Astor Piazzolla (1921-1992) Four Seasons of Buenos Aires Las Cuatro estaciones portenas The greatest master of the modern tango was Astor Piazzolla, born in Mar Del Plata, Argentina, a resort town south of Buenos Aires, on March 11, 1921, and raised in New York City, where he lived with his father from 1924 to 1937. Before Astor was ten years old, his musical talents had been discovered by Carlos Gardel, then the most famous of all performers and composers of tangos and a cultural hero in Argentina. At Gardel's urging, the young Astor moved to Buenos Aires in 1937, and joined the popular tango orchestra of Anibal Troilo as arranger and bandoneĂłn player. Piazzolla studied classical composition with Alberto Ginastera in Buenos Aires, and in 1954 he wrote a symphony for the Buenos Aires Philharmonic that earned him a scholarship to study in Paris with Nadia Boulanger. When Piazzolla returned to Buenos Aires in 1956, he founded his own performing group, and began to create a modern style for the tango that combined elements of traditional tango, Argentinean folk music and contemporary classical, jazz and popular techniques into a "Nuevo Tango" that was as suitable for the concert hall as for the dance floor. In 1974, Piazzolla settled again in Paris, winning innumerable enthusiasts for both his Nuevo Tango and for the traditional tango with his sinfonia gulf coast | 97
many appearances, recordings and compositions. By the time he returned to Buenos Aires in 1985, he was regarded as the musician who had revitalized one of the quintessential genres of Latin music. Piazzolla continued to tour widely, record frequently and compose incessantly until he suffered a stroke in Paris in August 1990. He died in Buenos Aires on July 5, 1992. Piazzolla realized his electrifying blend of the fire and passion of the traditional tango with the vast expressive resources of modern harmony, texture and sonority in some 750 widely varied works that explore the genre's remarkable expressive range, from violent to sensual, from witty to melancholy, from intimate to theatrical. Among his most ambitious concert works is Las Cuatro Estaciones Porteñas ("The Four Seasons"), published originally for piano solo in 1968 and later arranged for his own ensemble (he often used one of the movements to open his concerts) and for other instrumental combinations. The four movements are not specifically pictorial, as are Vivaldi's well-known precedents, but are instead general evocations of the changing seasons in Piazzolla's native Argentina.
Aaron Copland (1900-1990) Appalachian Spring Suite Some of Copland’s most populist “American” music was produced during the Depression and war years, including the overtly patriotic morale boosters Lincoln Portrait and Fanfare for the Common Man. Appalachian Spring capped a trilogy of dance interpretations of the American frontier spirit, beginning with Billy the Kid (1938) and continuing with Rodeo (1942). This was music that created the concert and theater equivalent of the poignant “high lonesome” bluegrass sound emerging at the same time, music of open chords and spare textures that often drew on traditional sources. Appalachian Spring was commissioned by Elizabeth Sprague Coolidge for Martha
Graham. Copland began work on Graham’s then-untitled scenario in Hollywood in June 1943, completing the ballet a year later in Cambridge, Massachusetts. “After Martha gave me this bare outline, I knew certain crucial things – that it had to do with the pioneer American spirit, with youth and spring, with optimism and hope,” Copland later wrote. Graham took the eventual title from a poem by Hart Crane, though not the narrative of an Appalachian housewarming for pioneer and his bride. Copland originally scored the ballet for an ensemble of 13 instruments, since the premiere was in the small Elizabeth Sprague Coolidge Auditorium at the Library of Congress (with Graham herself as the Bride, Erick Hawkins as the Husbandman, and Merce Cunningham as the Revivalist). In the spring of 1945 he arranged a suite from the ballet for full orchestra, which won the Pulitzer Prize for music that year. The Suite is cast in eight uninterrupted sections. It opens with a slowly blooming introduction, which unison strings burst into in an elated Allegro. The scenes that follow move from a warm, gentle duet for the pioneering couple, through fleetly fiddling dances for a revivalist preacher and his followers, to an animated dance of anticipation for the bride. A transitional interlude recalls the opening, before the Suite’s climax, a set of variations on the Shaker hymn “Simple Gifts,” which supported scenes of rustic domesticity in the choreography. In the coda, the married couple is left alone in their new home, with tender music that bookends and fulfills the opening expectations. Graham told Copland that she wanted the dance to be “a legend of American living, like a bone structure, the inner frame that holds together a people,” and the ballet and its music were immediately understood as reflections of a national identity, of hope and fulfillment in a difficult time. “… the Spring that is being celebrated is not just any Spring but the Spring of America; and the celebrants are not just half a dozen individuals but ourselves in different phases,” John Martin wrote in his New York Times review. sinfonia gulf coast | 99
100 | sinfonia gulf coast
sinfonia gulf coast | 101
sinfonia gulf coast | 103
104 | sinfonia gulf coast
corinne stillwell, violin Violinist Corinne Stillwell entered The Juilliard School at the age of ten, where she subsequently spent 15 years, working with Dorothy DeLay, Joel Smirnoff, Earl Carlyss, and Samuel Sanders. A versatile musician, she is equally in demand as a teacher, soloist and chamber musician, and has spent 25 years as a concertmaster and orchestral leader. As a recitalist, she has performed at Carnegie’s Weill Hall, Chicago’s Dame Myra Hess series, and in Germany, Canada, and across the United States. With a repertoire of nearly 30 concerti, she has appeared frequently as soloist with numerous orchestras, including the New Jersey Symphony, the Nanjing Philharmonic in China, the Amarillo Symphony, the Greater Rochester Women’s Philharmonic, and on tour to Romania, Hungary, and Poland. An avid chamber musician, Ms. Stillwell has coached with members of the Juilliard, Cleveland, Amadeus and Vermeer quartets and Felix Galimir. She has performed with the ProMusica Chamber Orchestra of Ohio, and has collaborated with clarinetist Richard Stoltzman, violinist Mikhail Kopelman, and members of the Ying and Carpe Diem quartets. She has also performed at Alice Tully Hall and the Chamber Music Society of Lincoln Center in New York City, Chamber Music Rochester, the Amarillo Chamber Music Society, Kosciuszko Foundation, and the American Festival of Microtonal Music. Other appearances include the Saarburg (Germany) Festival, Aspen Music Festival, Norfolk and Skaneateles chamber music festivals, and the Victoria Bach Festival. As a member of the Harrington Quartet, she performed extensively across the Midwest, with engagements from Texas to Wisconsin. Other projects included a PBS documentary, TV and radio broadcasts, and collaborations with clarinetist David Shifrin, pianist Robert Levin, guitarist Pepé Romero, and members of the Pro Arte and Cavani quartets.
From 2002-2007, Ms. Stillwell served as Assistant Concertmaster of the Rochester Philharmonic and Director of Chamber Music at the Hochstein School. Prior to that, she was Concertmaster of the Amarillo Symphony and on the faculty at West Texas A&M University. Currently, Ms. Stillwell is Associate Professor at Florida State University, faculty at the Brevard Music Center, a founding member of Trio Solis, and Concertmaster of the Tallahassee Symphony. She has recorded for Harmonia Mundi, Naxos, and MSR Classics.
Sinfonia Gulf Coast brings the regional premiere of some of America’s most beloved movie musicals to the Emerald Coast. Iconic film clips, including "The King & I", "South Pacific", "Oklahoma!", "Carousel", and "The Sound of Music" on the screen, plus gorgeous live performances on stage, all accompanied by Sinfonia's full symphony orchestra with special guest vocalists Kristin Clayton and Bojan Knezevic. Conducted by Emmy winner, and five-time Emmy nominee George Daugherty. Saturday, March 31, 2018 Emerald Coast Convention Center | 7:30pm Tickets: 850.460.8800 | SinfoniaGulfCoast.org
IN PURSUIT OF MAGIC THEGULF.COM 1284 MARLER AVE OKALOOSA ISLAND, FL 32548 850-387-1300
27500 PERDIDO BEACH BLVD ORANGE BEACH, AL 36561 251-424-1800
sinfonia gulf coast | 107
108 | sinfonia gulf coast
110 | sinfonia gulf coast
sinfonia gulf Coast presents
Music by RICHARD RODGERS Lyrics by OSCAR HAMMERSTEIN II SINFONIA GULF COAST GEORGE DAUGHERTY, Conductor KRISTIN CLAYTON, Soprano BOJAN KNEZEVIC, Bass-Baritone AN IFX PRODUCTION by special arrangement with THE RODGERS & HAMMERSTEIN ORGANIZATION Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG Film Clips Courtesy of TWENTIETH CENTURY FOX HOME ENTERTAINMENT To learn more about the musicals of RODGERS & HAMMERSTEIN, Please visit www.rnh.com
Rodgers & Hammerstein is a trademark used under license from The Rodgers & Hammerstein Organization on behalf of the owners. “Twentieth Century Fox,” “Fox,” and their associated logos are the property of Twentieth Century Fox Film Corporation.
112 | sinfonia gulf coast
richard rodgers and oscar hammerstein ii After long and highly distinguished careers with other collaborators, Richard Rodgers (composer) and Oscar Hammerstein II (librettist/lyricist) joined forces to create the most consistently fruitful and successful partnership in the American musical theatre. Prior to his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with lyricist Lorenz Hart on a series of musical comedies that epitomized the wit and sophistication of Broadway in its heyday. Prolific on Broadway, in London and in Hollywood from the '20s into the early '40s, Rodgers & Hart wrote more than 40 shows and film scores. Among their greatest were ON YOUR TOES, BABES IN ARMS, THE BOYS FROM SYRACUSE, I MARRIED AN ANGEL and PAL JOEY. Throughout the same era Oscar Hammerstein II (1895-1960) brought new life to a moribund artform: the operetta. His collaborations with such preeminent composers as Rudolf Friml, Sigmund Romberg and Vincent Youmans resulted in such operetta classics as THE DESERT SONG, ROSE-MARIE, and THE NEW MOON. With Jerome Kern he wrote SHOW BOAT, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was CARMEN JONES, the highly-acclaimed 1943 all-black revision of Georges Bizet's tragic opera CARMEN. OKLAHOMA!, the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by CAROUSEL, ALLEGRO, SOUTH PACIFIC, THE KING AND I, ME AND JULIET, PIPE DREAM, FLOWER DRUM SONG and THE SOUND OF MUSIC. Rodgers & Hammerstein wrote one musical specifically for the big screen, STATE FAIR, and one for television, CINDERELLA. Collectively, the Rodgers & Hammerstein musicals earned 35 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and 2 Emmy Awards. In 1998 Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century and in 1999 they were jointly commemorated on a U.S. postage stamp. Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, NO STRINGS, earned him two Tony Awards for music and lyrics, and was followed by DO I HEAR A WALTZ?, TWO BY TWO, REX and I REMEMBER MAMA. Richard Rodgers died on December 30, 1979, less than eight months after his last musical opened on Broadway. In March of 1990, Broadway's 46th Street Theatre was renamed The Richard Rodgers Theatre in his honor. At the turn of the 21st century, the Rodgers and Hammerstein legacy continues to flourish, as marked by the enthusiasm that greeted their Centennials, in 1995 and 2002 respectively. In 1995, Hammerstein's centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, "Some Enchanted Evening." The ultimate tribute came the following season, when he had three musicals playing on Broadway simultaneously: SHOW BOAT (1995 Tony Award winner, Best Musical Revival); THE KING AND I (1996 Tony Award winner, Best Musical Revival); and STATE FAIR (1996 Tony Award nominee for Best Score.) In 2002, the Richard Rodgers Centennial was celebrated around the world, with tributes from Tokyo to London, from the Hollywood Bowl to the White House, featuring six new television specials, museum retrospectives, a dozen new ballets, half a dozen books, new recordings and countless concert and stage productions (including three simultaneous revivals on Broadway, matching Hammerstein's feat of six years earlier), giving testament to the enduring popularity of Richard Rodgers and the sound of his music.
COMPLIMENTARY
MEGAWATT STAR
KRISTIN CHENOWETH Opens
SINFONIA GULF COAST’S TENTH-ANNIVERSARY SEASON
FALL / WINTER 2008
A Sense of Place The Muscogee Nation
Giving Beauty from Ashes Nancy Alcorn of Mercy Ministries
Projecting a Brand Behind the Scenes Rebranding Southern Theatres
DR AGON CON 2015
ARTISTRY IN MOTION
NERD IS THE NEW BLACK
CHRISTIAN
FIND YOUR FANDOM
SIRIANO DRESSES THE STARS
Plus Seabreeze Jazz Festival Moving to Pier Park in 2009
Pensacola's 450th Anniversary VIEcation Give-Away! Win 1 of 3 great prizes from St. Joe!
A LIFE OF SACRIFICE
CHRISTMAS IN NEW YORK
THE FAMILY WE CHOOSE
TOP FIVE HOLIDAY DESTINATIONS
ZZ TOP ROCKS
BAMAJAM! STARS FELL ON ALABAMA!
VIE - Fall / Winter 2008
NORTHWEST FLORIDA – COLA 2 COLA®
November/December 2015
THE MUSIC ISSUE
November/December 2014
THE MUSIC ISSUE November/December 2013
CARRIE UNDERWOOD WAS BORN TO SHINE
VIEMAGAZINE.COM 114 | sinfonia gulf coast
1
MORGAN JAMES TAKES THE STAGE
HELP US END THE 2017 | 2018 SEASON ON A HIGH NOTE WITH YOUR TAX-DEDUCTABLE CONTRIBUTION! Our season and the education programs we provide would not be possible without your continued support.
www.sinfoniagulfCoast.org/education
Best Happy Hour Best Atmosphere
www.cuveekitchen.com
850 – 460 – 2909
Consistently Delicious since 1995! www.cafethirtya.com
3899 E. Co. Hwy. 30A, Seagrove ¡ 850.231.2166 Open Daily At 5