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sinfonia: entertain | educate | inspire Our region’s only fully professional symphony orchestra Welcome to season 14 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, Jane Lynch, to Mary Wilson of The Supremes and R&B Legend Roberta Flack. 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 135,000 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 annual music education concert in Northwest Florida, and we are on track to serve nearly 3,300 35 graders in 2020! 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


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SIN GULF ONIA COAST SeaSon 14

contents 15 Founding Partners 16 Season Sponsors 19 A Note from Our President 20 Orchestra Layout/Personnel 22 Donors 25 Become a Supporter 27 Demetrius Fuller bio 29 Note of Thanks 31 Sinfonia Education Initiatives 47 Sinfonia Gala Event AN EvENING wITh Vanessa Williams 71 Classical Connections 1 81 Sinfonia’s holiday Pops 89 Classical Connections 2 100 Crescendo! 113 jurassic park in Concert


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A STANDING OVATION FOR OUR FOUNDING PARTNERS

Spa • Salon • Fitness Center

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2019 | 2020 SEASON PrESENTING SPONSOr

CLASSICAL CONNECTIONS PRESENTING PRESENTING SPONSOR MEDIA SPONSOR

PRESENTING CONCERTS SPONSOR

PODIUM PARTNERS

SEASON PRESENTING EDUCATION SPONSORS

Robert M. Ferguson Memorial Fund for Music Education

INDIVIDUAL IMPRESARIOS Dana & Glenn Armentor Renee & James Beaman Janis & Don Bishop Harriet Crommelin & Stephen Marlette Heavenly & Bill Dawson

Maureen & Keith Gamble Tammy & Jim Pierce Shirley Simpson Pamela Wellborn Bobbie & Jack White

SINFONIA MILITARY TICKET PROGRAM PRESENTING SPONSOR DER

AL CRE

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65 IN

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years 1954-2019

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SEASON SPONSORS PLATINUM SPONSORS

SEASON MEDIA SPONSORS

SEASON PRESENTING ACCOMMODATIONS SPONSORS

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A NOTE from our preSident

welcome to Sinfonia Season 14!

Medicine project. By the conclusion of the 2019-2020 season, Sinfonia will have what an amazing line up of concerts and impacted more than 155,000 students internationally renowned guest artists since 2007. Maestro Demetrius Fuller and the Sinfonia Gulf Coast team has orchestrated for us! On behalf of the Sinfonia Gulf Coast Board of Directors, our great Sinfonia For those of you that have been with us administrative team, and our phenomenal before, you already know the caliber of musicians that comprise the orchestra, I concerts and events that Sinfonia Gulf welcome you to the 2019-2020 season! Coast is honored to present to our community. To those of you, who are new to the Sinfonia experience, wELCOME! 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 3rd8th graders, musicians and guest artists in the schools, the Sinfonia Youth Orchestra programs, String Quartet in residence in Jeff Dannelly the schools, and a continued partnership President of the Board with Sacred heart hospital’s Arts in Sinfonia Gulf Coast 2019-2020 BOARD OF DIRECTORS: Steve Barber Jerry Brown Jeff Dannelly Demetrius Fuller

Eric halter Debra henry Jennifer howard Nina Jeffords

Kate Kelley Don roberts Anastasia Stull sinfonia gulf coast | 19


Violins Mari Lunde^ Kate Kelley* Kristin Pfeifer Yu* Marianna Brickle Petra Bubanja Edward Charity Minyoung Cho Kenneth Davis Sara Fay Taylor Giorgio Nicholas Hatt Jiwon Hwang Ashtin Johnson Grace Kim Nina Kim Natasha Marsalli Megan Sahely 20 | sinfonia gulf coast

Viola Laurel Yu* Daren Fuster* Andrew Collins Maria Santacruz Vincent Scacchetti Miriam Tellechea

Trent Harper Gabriel Monticello

Cello Shea Kole* Chun-Hsin Chang# Riley Beranek Jordan Galvarino Aleksandra Pereverzeva

Oboe Asher Kelly* Trevor Mansell

Double Bass Bleda Elibal* Maurice Belle*

Flute Jessica Sherer* Anglea McCuiston Nicole Frankel+

Clarinet Samuel Peliska* Nancy Saleeby Peter Geldrich


Bassoon Richard Hopkins* Shannon Lowe* Matthew Fay

Trombone Kenneth Johnson* Dunwoody Mirvil Jonathan Lacey*

Horn William Schaffer* Matthew Tavera# Bobby Malone Debra Finlayson

Tuba Charles Goodman*

Trumpet Brian Buerkle* Gerry Mata

Percussion John Thomas III* Luis Rivera Timpani Brian Nozny

Harp Rebekah Atkinson Piano Dan Smith Librarian Sara Fay Personnel Manager Laurel Yu ^ Concertmaster * Principal # Asst. Principal + Acting Principal sinfonia gulf coast | 21


SIN GULF ONIA COAST Maestro’s circle $50,000+ Dugas Family Foundation Emeril Lagasse Foundation Impact 100 Nw Florida Tammy & Jim Pierce vIE Magazine

podiuM partner $20,000+ Alys Beach Foundation Dana & Glenn Armentor harriet Crommelin & Stephen Marlette heavenly & Bill Dawson hilton Sandestin Beach Golf resort & Spa Janis & Don Bishop Jimmy Choo Lynn & Steve Dugas Maureen & Keith Gamble Merrill Lynch wealth Management Pam wellborn Seaside Shirley Simpson St. Joe Community Foundation vIP Destin

conductor’s circle $10,000+ Cumulus Media Dermatology Specialists | Aqua Med Spa Dr. Michael Stickler Demetrius Fuller Destin Center for Family & Cosmetic Dentistry Emerald Ladies Journal hancock whitney Bank Krueger, Fosdyck & Associates ~ Merrill Lynch Linda Miller Pelican Beach resorts ~ Peggy & Jimbo Adams renee & Jim Beaman resortQuest-wyndham SETCO Services Silver Sands Premium Outlets wells Fargo Advisors - Jeffery Barnes

ViVace $2,500- $9,999 Alex & Jerry Brown Anonymous (7) Betty & Charles white Bijoux restaurant + Spirits - Leslie & Jack McGuckin Café Thirty-A Candis & Jack wilson 22 | sinfonia gulf coast

donors as of 11/1/19 Centennial Bank Cindy Cole Fine homes Dana & Thomas Saffel Debra henry Destin Ice Market 30A Dixie rv Superstores - Yvonne & Greg Lala Doodlebugger’s Florida Division of Cultural Affairs Gail Ferguson Glenda & Dennis Lichorwic hyatt Place Grand Boulevard Marisol & Toni Gullo Mary & Gordon Chalmers Insurance Zone ~ Lea & Joe Capers Jack & Bobbie white Jane Solomon - Barlovento, LLC Jenna & Stephen Akers Jennifer & Blevins howard Kim & rick Pataky Lisa & Denny Peters Lisa & Gerald Burwell Lovelace Interiors Malpa Fuller Marjorie Cox Gray Nancy & Don roberts Navarre Press ~ Sandi Kemp Pish Posh Patchouli’s renee Launiere - Bijoux de Mer Sacred heart hospital/Ascension Scenic Sotheby’s International realty Susan Kiley & wayne Paul The Jewel Thirty-A review Tim Krueger and Jill Cadenhead vicki & Chris Camp wUwF 88.1

presto $1,000-$2,499 a Boheme Alfonso Dance Studio Allen French Anonymous (6) Beach Liquors Bijoux de Mer - renee Launiere Brotula’s/Jackacudas/Cuvée Kitchen Bud & Alleys Cathy & Don hay CLAY Garden & Gift


Closet Solutions Cook Dentistry Courtyard Marriott Grand Boulevard Cultural Arts Alliance Denise Stegner Diane Neuman Dr. & Mrs. robert Jack Emerald Coast Motors - Bunny & Stan hall Emerald Coast Science Center Jon Laible KEM Marla & John Crews Muriel & Jim Dollar Nina Jeffords Not Too Shabby - Marisol Gullo Peggy & Thomas Stanton Playground Music Center Scott russell Sea Dunes realty Stubbs Orthodontics The Pearl Today’s Boutique ~ Kim & Jim Dettle velia Lala vIllage of Baytowne vin’tij vue on 30A - Santa rosa Beach Club

allegro $500- $999 Barbara Johnson Barry Johnson Beth Carroll Bobbie white Catherine hay Connie Yarbro Cynthia McCue Denise Dobelek Donna Shoditsch Elaine Tucker Ewa ruyan Glenda Palmore heather Parrish J.r. hendricks Jacquelyn Law Jennifer Dodge Jo Stewart Jovette Mosing Kay Crawford Kay hamilton Margaret Depew Marisol Gullo Martha Broderick Mary Chalmers Mary hemard Maureen Peter Patricia williams

Patti Burcham Shannon Amos Stephanie Brannon Susan Burch Teresa Bolton Tina Corr Tracy McQuillen

andante $250-$499 Arthur rolling Connie Carahalis David Krebs Deanna & Thomas Johnson helen Driggers Jeff harris Kim & Keen Polakoff Mary Maitland richard Michaud in memory of Mary Partlow

adagio $100-$249 Adele Lafaye Alexandra villanueva Andrea James Angela Kornegay Candi Gray Carolyn huff Carroll Kemp Jr. Connie Cross-LaFont Cynthia Linton David Krebs Dennis Smith Diego hayon F. wendell Bobbitt Georgia Ambarian Guy wallace Jack Gatewood Jeff harris Joan hoffman Ussery John Peterson John williams Judy huff Kathy Miller Leta Dehon Linda Leathers Lynn wesson Marianne Grant Marjorie Cox Gray Monique Larson Paula Dorris ruth Anne & James Stevens Steve Barber Thomas Johnson Tom Crawford walda Edelson wilma hendricks sinfonia gulf coast | 23


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Demetrius Fuller muSic & artiStic director

Innovative and energetic conductor Demetrius Fuller is garnering critical acclaim at home and abroad. The 2019-2020 season marks his fourteenth 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, Okaloosa Arts Alliance, Alaqua Animal Refuge, and is a trustee of the Destin Charity Wine Auction Foundation. He is a past chair of the American Cancer Society's Cattle Barons' Ball and continues to serve as a grant panelist for the Florida Division of Cultural Affairs.

Photo by Marcia Wright Reynolds sinfonia gulf coast | 27


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e OF THANKS sinfonia Board of Directors sinfonia founding Partners sinfonia ushers sinfonia Volunteers sinfonia Youth orchestra Parents 2019-2020 sinfonia season sponsors Dana & glenn armentor Michelle Boerstler alex & Jerry Brown sandy & grieg Buckley lisa & gerald Burwell Beth clavier star Darling

lynn & steve Dugas lori Eckert Walda & Wade Edelson Deborah Elmore gail ferguson nathanael fisher Marjorie cox gray Don & Betty Hefner anne nuffer Hinze Kate Kelley tim Krueger Whitney lee Bijoux, Jack & leslie Mcguckin alexis Miller, alys Beach

linda Miller Kay Phelan scott Russell Brenda shoffner Heather tate Elaine tucker aaron King Vaughn Pam Wellborn lynn Wesson Jack & Bobbie White Myra Williams candis & Jack Wilson 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


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Virago Quartet

Sinfonia’S quartet in reSidence

Founded in Tallahassee, Florida, Virago Quartet is a dynamic and evolving ensemble. This quartet features violinists Taylor Giorgio and Megumi Terry, violist Daniella Martinez, and cellist Pono Santos. With a passion for community engagement, Virago Quartet has performed original, interactive concerts in public schools, college classes, and in community spaces around the North Florida region. The ensemble performs often at Florida State University, where all four members are graduate teaching assistants pursuing graduate degrees in music performance. Virago Quartet is currently the String Quartet-in-Residence for Sinfonia Gulf Coast, and all members perform regularly with the orchestra.

megumi terry, violin Beginning her studies at the age of 4, violinist Megumi Terry has toured throughout the United States, Asia, and Europe, performing at venues such as the Statue of Liberty and Great Wall of China. Terry has performed on The Today Show based in New York City and made her solo, Carnegie Hall debut in 2015. A laureate of the International Stradivarius Competition, Terry took the prize for “Utah Native” and subsequently performed with the Utah Philharmonic Orchestra, Southwest Symphony, The Orchestra of Southern Utah as well as Pleasant Grove Orchestra. A recent graduate of Brigham Young University, Megumi spent her time under the tutelage of Monte Belknap and performed as concertmaster and soloist with the BYU philharmonic. Terry’s excellence as a chamber musician resulted in an appointment to the BYU Honor’s Quartet as well as the award of “Presser Scholar” for the 2016-2017 season. Having worked with Josh Groban, the band Train, Andrea Bocelli, Sarah Brightman and other artists, Terry enjoyed an established career in the Salt Lake City area as a freelance performing/recording artist, and held an adjunct faculty position at Brigham Young University before moving to Tallahassee. A graduate assistant to Professor Corinne Stillwell, Terry is currently a violin masters student at Florida State University and is a member of the Tallahassee Symphony Orchestra, Sinfonia Gulf Coast, and Northwest Florida Symphony Orchestra.

taylor giorgio, violin Taylor Giorgio is currently pursuing a doctorate in Violin Performance at Florida State University, where she is a graduate teaching assistant for Professor Corinne Stillwell. An active performer, she is a member of the Tallahassee, Valdosta, Sinfonia Gulf Coast, and Ocala Symphony Orchestras. Taylor serves on the violin faculty at Music For the Sake of Music Summer Festival in Green Bay, WI and maintains a large private violin studio in Tallahassee. She is a founding member of

Invicta Trio, a new music trio comprised of violin, trombone, and piano. For the past two years, Taylor has been the co-director of Classical Revolution Tallahassee, where she organizes, promotes, and performs in classical music concerts in non-traditional venues. Taylor also serves on the Artistic and Orchestra Players' Committees for the Tallahassee Symphony. An active pedagogue, Taylor is currently teaching a lecture course on Romantic violin concertos for the Osher Lifelong Learning Institute at Florida State University. In March 2020, Taylor will give a presentation on her dissertation topic at the American String Teachers Association National Conference in Orlando, FL.

daniella iSabel angulo martinez, violin Daniella was born and raised in Cartagena, Colombia. Daniella started her music studies at the age of ten with the orchestra program at her school. At the age of 14, she won a scholarship to participate in the Virginia Commonwealth University Orchestra summer camp. By the age of 16, Daniella won a scholarship to study Music Performance at Northwestern State University of Louisiana with Dr. Andrej Kurti where she also completed a bachelor’s in Business Administration. She has played with several professional orchestras and string quartets throughout the south of the United States and Colombia. Currently, Daniella is a Graduate Teaching Assistant at Florida State University under the instruction of Dr. Pamela Ryan.

pono SantoS, cello Pono Santos began to love cello when she was accepted into her school district’s audition orchestra, Evergreen Philharmonic. Since then has played and sat principal in the BYU Philharmonic, Chamber Orchestra, and Baroque Ensemble before graduating from Brigham Young University with her bachelor’s degree in April of 2017. Since then she has taught as an adjunct faculty member at BYU and has taught at BYU’s Summer Festival. During her summers she has attended Marrowstone and the Brevard Music Festival where she had the opportunity to learn from renowned cellists such as Johannes Moser, Steve Balderston, and Benjamin Karp. Pono has studied with Valerie Doerrfeld, Garrick Woods, Michelle Kesler, and most recently Greg Sauer at Florida State University where she is currently a graduate assistant and working on completing her master’s degree in cello performance. For her assistantship she gets to teach as well as perform lots of great chamber music regularly. She has played with several orchestras in the area such as Tallahassee Symphony, Sinfonia Gulf Coast, Northwest Florida Symphony, and Panama City Pops. One of her favorite experiences since moving to Florida has been playing in Virago quartet, Sinfonia Gulf Orchestra’s quartet in residency, which often has the opportunity to play outreach concerts at different schools on the Emerald Coast. sinfonia gulf coast | 33


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SIN GULF ONIA COAST SeaSon 14 sinfonia personnel Music and Artistic Director Demetrius fuller Director of Events & Patron Services Beth clavier Marketing Coordinator Kate Kelley Administrative & Programs Coordinator anne Hinze Coordinator of Education & Community Engagement Music Director, Sinfonia Youth Orchestras aaron Vaughn Artistic Administrator and Personnel Manager laurel Yu Auction & Special Events Coordinator Deborah Elmore Production Manager tsc Productions Orchestra Librarian sara fay Administration and Box Office hours Monday - friday 9:00 a.m. - 5:00 p.m. 850.460.8800 36468 Emerald coast Pkwy, suite 11102 Destin, florida 32541 www.sinfoniagulfcoast.org info@sinfoniagulfcoast.org


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2019/2020 SEASON

DECEMBER 12TH-22ND

Gileah Taylor: A Life Lived in Song

Winston Churchill: Through the Storm

JANUARY 9TH

JANUARY 16TH

JANUARY 23RD-26TH

FEBRUARY 6TH

FEBRUARY 20TH TO MARCH 1ST

MAY 14TH-17TH

Resurrecting van Gogh

JANUARY 30TH

Emerald Coast Theatre Company is located at 560 Grand Boulevard, Suite 200 in Miramar Beach. The entrance is on the south side of the building facing Highway 98, take the stairs or elevator to the second floor.

Tickets or info, call 850-684-0323 or visit

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vaneSSa williamS, bio Vanessa Williams is one of the most respected and multi-faceted performers in entertainment today. She has conquered the musical charts, Broadway, music videos, television and motion pictures. She has sold millions of albums worldwide and has achieved critical acclaim as an actress on stage, in film and on television. Her albums “The Right Stuff,” “The Comfort Zone and “The Sweetest Days” earned multiple Grammy nominations and have yielded such classic hits as “Save the Best For Last,” “Dreamin,” “Work To Do,” “Love Is,” the Academy Award-winning single “Colors of the Wind,” from Disney’s “Pocahontas,” and many others. Her recordings also include two holiday albums, “Star Bright” and “Silver & Gold,” “Vanessa Williams Greatest Hits: The First Ten Years” and “Everlasting Love,” a romantic collection of love songs from the 1970’s. Concord Records released Vanessa’s, “The Real Thing,” in June 2009, for which she received a NAACP nomination for Outstanding Jazz Artist. In 1994, Vanessa took Broadway by storm when she replaced Chita Rivera in “Kiss of the Spider Woman,” winning the hearts of critics and becoming a box-office sensation. In 2002 she garnered rave reviews and was nominated for a Tony Award for her performance as the Witch in the revival of “Into the Woods.” She also headlined a limited special engagement of the classic, “Carmen Jones,” at the Kennedy Center and starred in the Encore! series staged concert production of “St. Louis Woman.” After appearing on stage in Stephen Sondheim & James Lapine’s “Sondheim on Sondheim,” an original Broadway musical that ran in the spring of 2010 at The Roundabout Theatre, Vanessa returned to the stage in 2013 where she starred alongside Cicely Tyson as Jessie Mae Watts, the self-involved daughter-in-law to Tyson’s Mother Watts, an elderly widow wishing to revisit her home town, in the Tony nominated play, “The Trip to Bountiful.” In early 2014, Vanessa reprised her role as Jessie Mae for Lifetime’s television adaptation of the Horton Foote classic during Black History Month.

Vanessa made her film debut in 1986 in “Under the Gun” and has starred in features such as “Eraser,” “Hoodlum,” “Soul Food,” “Dance With Me,” “Light It Up,” “Shaft” and “Johnson Family Vacation.” More recently, her film credits have come to include the independent features, “My Brother,” “Somebody Like You” and Disney’s feature film, “Hannah Montana: The Movie.” Vanessa was last seen on the screen in Tyler Perry’s “Temptation: Confessions of a Marriage Counselor.” On television, Vanessa has starred in such movies and mini-series as “Stompin’ at the Savoy,” “The Boy Who Loved Christmas,” “The Jacksons: An American Dream,” ABC’s revival of “Bye, Bye Birdie,” “Nothing Lasts Forever,” “The Odyssey,” “Don Quixote” and “Keep the Faith, Baby.” She executive produced and starred in Lifetime’s “The Courage to Love” for Lifetime and the VH1 Original Movie, “A Diva’s Christmas Carol.” Vanessa starred in ABC’s critically-acclaimed hit series, “Ugly Betty,” earning three Emmy nominations as the deliciously wicked Wilhelmina Slater, in addition to numerous individual and ensemble awards and nominations, including SAG, Golden Globes and NAACP Image Awards. She received an Emmy cont. page 51


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vaneSSa williamS, cont. nomination for her voice-over performance in the 2009 PBS series, “Mama Mirabelle Home Movies. In 2010, she moved to Wisteria Lane to stir things up as the newest resident on ABC’s long-running hit, “Desperate Housewives,” winning an NAACP Image Award helping to carry the show to the end of its 8-year run in 2012. Vanessa played Olivia, the stylish wife of the devilish Gavin (Terry O’Quinn) in the ABC supernatural drama “666 Park Avenue” and recently guest-starred on “Royal Pains,” “The Good Wife” and “Broad City.” Vanessa will have a character arch in the third season of “The Librarians” on TNT, and starred in the drama series “Daytime Divas” on VH1. In April 2012, Vanessa and her mother Helen landed on the New York Times Best Seller list with their acclaimed memoir You Have No Idea: A Famous Daughter, Her No-Nonsense Mother and How They Survived Pageants, Hollywood, Love, Loss (and Each Other). The book brought readers on the personal journey of Vanessa’s life – told for the first time from her perspective and with the wisdom and frankness of her mother, the firecracker Miss Helen. In 2007, Vanessa achieved a career pinnacle, with a star on the Hollywood Walk of Fame for her accomplishments as a performer. In December 2010, the International Foreign Press Academy named Vanessa as the recipient of the 2010 Mary Pickford Award For Outstanding Artistic Contribution to the Entertainment Industry. The award honors her international achievements and success in film, television, stage and recording over the past 28 years. Her charitable endeavors are many and varied, embracing and supporting such organizations as Special Olympics, The Eye Bank and many others.

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SIN GULF ONIA COAST

CLASSICAL CONNECTIONS SooBeen Lee, violin Saturday, November 23, 2019 | 7:30pm Grace Lutheran Church PrOGrAM NOTES

Mad for Mozart Overture to Don Giovanni, K. 527 Concerto for Violin #4, K. 218, D major l. Allegro ll. Andante cantabile lll. rondeau intERMission Symphony no. 41, “Jupiter,� K. 551, C Major l. Allegro vivace ll. Andante cantabile lll. Menuetto: Allegretto - Trio lv. Molto allegro

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Wolfgang Amadeus Mozart (1756-1791) Overture to Don Giovanni, K. 527 On October 28, 1787, the day before its premiere in Prague, Mozart entered in the catalog of his compositions, The Rake Punished, or, Don Giovanni, opera buffa (comic opera) in two acts. The opera centers on Don Giovanni, the seducer of 2,000 women, who murders the father of one of his victims in a street fight. In time, he finds himself in a churchyard in front of the statue of his victim, which he jokingly invites to dinner. To his surprise, the statue accepts the invitation. When the unwelcome apparition arrives, it announces that Don Giovanni is a doomed man; the earth opens and Hell's flames swallow the miserable reprobate Before Don Giovanni, overtures in classical opera rarely foreshadowed the drama to come. This Overture, however, provides more than a hint of what is to follow. The supremely ominous opening music recurs when the statue of the Commendatore comes magically to life to demand that Don Giovanni repent his misspent life. The darkly dramatic opening is only a feint, however; the music soon hurries off with the exuberance, vitality and virility of Don Giovanni himself, interrupted by suggestions of the conflict that he inevitably brings upon himself. Over time, the German Romantic movement came to focus less on the Don's amorous exploits than on the severe morality that sends him to Hell before the audience's very eyes. To cont. page 73 sinfonia gulf coast | 71


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German audiences, Don Giovanni was not the comic opera that Mozart obviously intended when he entered it into his catalogue of compositions. Instead it morphed into a moral lesson, a veritable musical sermon on the consequences of unfettered depravity. Even today, Don Giovanni continues to defy simple classification. Its music is light and often comedic; yet the situations the music depicts are incongruously serious. Wolfgang Amadeus Mozart (1756-1791) Symphony No. 41 in C major, “Jupiter” For many years the source of the nickname "Jupiter" for Mozart's last symphony was unknown. An arrangement of the work for piano, four-hands was published in England around 1820 with the sobriquet, but with no explanation. Mozart's symphony is mentioned in the diaries of Vincent and Mary Novello, a 19th-century English couple who traveled widely and interviewed the composer's widow Constanze in 1829. According to them, the nickname was bestowed by Johann Peter Salomon, the entrepreneur responsible for Haydn's two visits to London in the 1790s. No doubt Salomon was struck, as we must be, by the ceremonial and grand effects of this C major symphony. Assertive and forthright from its opening, it is music of majesty and sweep, convincingly bringing to mind the king of the ancient Roman gods. The slow movement is a standout. Ivor Keys calls it: “the apotheosis of the ornate song which bewitched Mozart since his Italian days. To the beauty of sound of the muted violins is added the woodwind counterpoint featured in so many concertos, but added to this is a new rhythmic dimension sometimes highlighted by unexpected harmony”. Mozart's syncopations and unexpected accents add to the effect. The "Jupiter" is justly famed for its finale. Mozart had developed an interest in the music

of Bach and Handel, which manifested itself in the contrapuntal fabric of this splendid conclusion. The finale is a complex amalgam of double fugue and a sonata movement. Miraculously, Mozart makes this formidable intricacy sound perfectly wonderful. His superb craft reaches its peak in the magnificent coda, where five principal themes are interwoven in one of music's greatest triumphs. Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 4 n D-Major, K. 218 Many music historians consider that Mozart’s Violin Concertos No.s 3, 4 and 5 mark the beginning of his fully mature period of composing. All of his five violin concertos were written in a single year, 1775, and were created for himself as the soloist, a fact about Mozart often overlooked – he was extremely proficient on the violin. By 1775 he had already served five years as a concertmaster in the Salzburg Court Orchestra, for which he composed, co-conducted, played keyboard for every necessity, and performed as soloist. Considering all of this, it’s astonishing that he was still a teenager of 19. Of his five concerti, it’s No. 4 that most listeners and violinists are drawn to first. Intertwined in its wonderful melodies, the perfect balances of orchestration and Classical structure, is a splendid youthfulness, a spirit of happiness and contentment. And of the five, this and the Fifth are the most technically demanding. Mozart nicknamed the Fourth his “Strassburg Concerto” because in the Finale one short episode is based on a bagpipe strain he heard in that country hamlet. The first movement Allegro is bright and charming, filled with melodic and technical frills, smartly paced and airy-light. The second movement is an absolute treasure, a simple structure that is rich in delightfully romantic singing. The Finale - Rondo is a deliciously light-hearted dance movement. sinfonia gulf coast | 73


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Soobeen lee, violin Violinist SooBeen Lee has been called “Korea’s hottest violin prodigy” (Hancinema). She has already appeared as soloist with every major Korean orchestra, including the Seoul Philharmonic, Busan Philharmonic Orchestra and KBS (Korean Broadcasting System) Symphony Orchestra. Other distinctions include performances for Secretary-General of the United Nations Ki-moon Ban, at the Blue House for the King and Queen of Malaysia, with China’s Wuhan Philharmonic, at the Seoul Arts Center, and for many state guests in Korea. During the 2018-19 season SooBeen Lee appears on the Young Concert Artists Series to give her New York concerto debut, performing the Chausson Poème with the Orchestra of St. Luke’s at Lincoln Center’s Alice Tully Hall, in recital at New York’s Morgan Library and Museum, and in recital at the Kennedy Center in Washington, DC as recipient of the Korean Concert Prize. She also performs the Tchaikovsky Concerto with the Gulf Coast Symphony and Rockford Symphony, the Mendelssohn Concerto with the Plymouth Philharmonic, the Sibelius Concerto with the Longwood Symphony, the Brahms Concerto with the Palm Beach Symphony, and recitals for Boston’s Isabella Stewart Gardner Museum, Cold Spring Harbor Laboratory, Southern Adventist University, Jewish Community Alliance, Buffalo Chamber Music Society, Abbey Church Events and Cosmos Club in Washington, DC. Ms. Lee’s Festival engagements include the Usedom Music Festival in Germany this season, and appearances at the Heifetz Music Festival, Chopin Music Festival in Poland, City of London Festival, Busan International Music Festival, Great Mountains International Music Festival, Seoul Spring Festival, and Japan’s Ishikawa Summer Music Academy, where she worked with YCA alumnus Koichiro Harada.

Concert Artists International Auditions, where she was also honored with YCA’s Slomovic Prize, which provided support for her Washington, DC debut, the Michaels Award, which provided support for her New York debut, and three performance prizes. SooBeen Lee began studying the violin at the age of four. At eight years old, she won the National Competition of the Korean Chamber Orchestra and the next year, she won First Prize at the Russia International Youth Violin Competition. She made her Seoul recital debut at the age of nine on the Kumho Prodigy Concert Series. Ms. Lee studies with Miriam Fried at the New England Conservatory, where she recently performed the Sibelius Violin Concerto as winner of their 2018 Concerto Competition. SooBeen Lee appears by arrangement with Young Concert Artists, Inc. www.yca.org and is the winner of the 2018 Sinfonia prize offered to YCA.

She won First Prize at the 2013 Moscow International David Oistrakh Violin Competition and First Prize at the 2014 Young sinfonia gulf coast | 75


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matthew morriSon, vocals Matthew Morrison is a versatile actor who is recognized for his work on-stage and on-screen. He has been nominated for Tony, Emmy and Golden Globe Awards. Morrison’s most recent Broadway credit is starring as J.M Barrie in the musical Finding Neverland through January, 2016. The Broadway production is an adaptation of the 2004 film written by David Magee. The story follows the relationship between Barrie and the Davies family, who became the author’s inspiration for the creation of Peter Pan. Morrison received two Drama Desk nominations for his role, and won the category of Favorite Actor in a Musical in the Broadway.com Audience Awards. In addition to his Broadway tenure in 2016, Morrison performed as a guest star on the CBS hit show The Good Wife, where he played the role of U.S. Attorney, Conor Fox, through the series finale. Morrison performed as a guest star throughout Season 13 and 14 of ABC’s show Grey’s Anatomy. In 2015, Morrison wrapped the final season of Fox’s musical comedy series Glee, where he starred as the director of the glee club, Mr. Schuester. The show was created by Ryan Murphy and received the Golden Globe award Best Television Series – Comedy or Musical in 2010 and 2011. In June, 2013, Morrison released his latest studio album, Where It All Began, which is a Broadway standards record that was produced by the legendary Phil Ramone. Prior to this album, Morrison released his debut, self-titled album through Mercury Records in 2011, which featured an A-list lineup of guest artists including Sting, Gwyneth Paltrow and Sir Elton John. In 2012, Morrison starred in the Lionsgate film, What to Expect When You’re Expecting, which was based on the book of the same name, directed by

Kirk Jones. The film also starred Cameron Diaz, Jennifer Lopez and Dennis Quaid among others. Morrison played a famous dance show star who is faced with the unexpected demands of fatherhood. The film was released on May 18, 2012. In March 2012, Morrison hosted and narrated the PBS special entitled Oscar Hammerstein IIOut of My Dreams, which focused on the Broadway producer’s life and career. Also in March 2012, Morrison was featured in a performance of Dustin Lance Black’s play, 8 – a staged reenactment of the federal trial that overturned California’s Prop 8 ban on same-sex marriage. The performance raised money for the American Foundation for Equal Rights. Morrison studied musical theater, vocal performance and dance at New York University’s Tisch School of the Arts. He made his debut on Broadway in Footloose but his big break came when he was cast as heartthrob Link Larkin in the hit Hairspray. Morrison was later nominated cont. page 85 sinfonia gulf coast | 83


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matthew morriSon, cont. for a Tony Award for his role in The Light in the Piazza, and received a Drama Desk Nomination for Outstanding Actor in a Musical for 10 Million Miles. He also starred in the Tony-winning revival of South Pacific at Lincoln Center Theater in New York. In early 2019, Morrison appeared as a Dance Captain on the Simon Cowell produced BBC One’s dance competition series The Greatest Dancer, season one. Morrison presented the series alongside former Girls Aloud star Cheryl Tweedy and Strictly Come Dancing professional Oti Mabuse. The trio made up the panel of Dance Captains in the BBC One show, which was hosted by Alesha Dixon and Jordan Banjo. The series featured a host of talent from across the world of dance as they gave the performances of their lives in the search for the UK’s

best dancer. The show was picked up for a second season. In addition to his film, television, music and theater credits, Morrison launched Sherpapa in 2017, with friend and colleague Zach McDuffie. The lifestyle and retail company provides heirloom quality goods and collections for new dads, that encourage shared experiences and family adventure. You can find the company online at www.sherpapa.com. Morrison currently resides in New York.

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!


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PrOGrAM NOTES

SIN GULF ONIA COAST CLASSICAL CONNECTIONS Daniel Hsu, piano Saturday, February 1, 2020 | 7:30pm village Church, Destin

classical collusions (with Russia) Festive Overture Dmitri Shostakovich Symphony no. 1, Op. 10 in F minor Dmitri Shostakovich l. Allegretto - Allegro non troppo ll. Allegro lll. Lento lv. Allegro molto INTErMISSION Concerto for Piano no. 2, Op. 18, C minor Sergei rachmaninov l. Moderato ll. Adagio sostenuto lll. Allegro scherzando

Dmitri Shostakovich (1906 - 1975) Festive Overture The death of Joseph Stalin in 1953 brought an end to a period of severe artistic repression. Five years earlier a decree from the Central Committee accused many prominent Soviet composers, including Shostakovich and Prokofiev, of vaguely defined “anti-Soviet” tendencies. All these composers had their works banned and were forced to live hand-tomouth, with the threat of imprisonment or worse hanging over their heads. This decree was lifted too late for Prokofiev, who died on the same day as Stalin, but Shostakovich was able to take several works out of the drawer, including his Tenth Symphony, and arrange for their performance. At about this time, he received a commission for a new work to commemorate the 37th anniversary of the Soviet Revolution. Festive Overture was the result. In contrast to much of Shostakovich’s music, the Overture is a work of unbridled merriment. The fact that Stalin was no longer breathing down his neck was surely a factor. The Overture begins with a grandiose, quasi-ceremonial fanfare. The main body of the work is a lively sonata-form, apparently modeled on Glinka’s Overture to Russlan and Ludmilla. Near the end, the grandiose gesture returns (with optional additional brass). The infectious high sprits of the Overture have made it a popular concert work that is frequently performed all over the world. Dmitri Shostakovich (1906 - 1975) Symphony No. 1, Op. 10

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Shostakovich completed his first symphony in December 1925, and it was first performed on May 12, 1926, in Leningrad. The score calls for three flutes and two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, cont. page 91


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triangle, snare drum, cymbals, bass drum, tamtam, bells, and strings, with an important role for solo piano. Performance time is approximately thirty-three minutes. In our amazement at those rare talents who mature early and die young—Mozart, Schubert, and Mendelssohn immediately come to mind— we often undervalue the less spectacular accomplishments of those who burst on the scene at a young age and go on to live long, full, musically rich lives. Dmitri Shostakovich’s First Symphony, written when he was eighteen— scarcely a less impressive achievement than the Overture to A Midsummer Night’s Dream, finished when Mendelssohn was just seventeen— inaugurated a symphonic career that spanned nearly half a century and the entirety of Shostakovich’s creative life. (The equally significant string quartets, also fifteen in number, are concentrated in the later part of his career.) Shostakovich wasn’t a child prodigy, but he grew up in an unusually musical home and revealed from an early age exceptional talent, a keen ear, a sharp musical memory, and great discipline— all the essential tools (except, perhaps, for self-confidence and political savvy) for a major career in the music world. His Symphony no. 1 is the first indication of the direction his career would take. Written as a graduation thesis at the Saint Petersburg Conservatory, it brought him international attention. In the years immediately following its first performance in May 1926, it made the rounds of the major orchestras, beginning in this country with the Philadelphia Orchestra in November 1926 and coming to the Chicago Symphony on December 28, 1928. (The program note begins, “The name of Dimitri Szostakowicz will vainly be searched for in the dictionaries of musical biography.” Who at that time could have predicted that Shostakovich—to use the transliteration that quickly became standard—would become a household name?) Although his development would be governed by nonmusical forces reflecting some of the most

dramatic social and political events of our century, the issues in the First Symphony are purely musical. It’s a technical exercise, evidence of a well-earned diploma. (That other matriculation symphony, Haydn’s Oxford, was performed when Haydn, at fifty-six, was given an honorary doctorate from Oxford University.) What’s most remarkable about Shostakovich’s First Symphony isn’t the appearance of so many hallmarks of the composer’s mature style— biting sarcasm, unabashed romanticism, dry musical humor, and moments of public rhetoric alongside deeply personal statements—but that everything is handled with mastery and assurance. It’s easy to tell which composers Shostakovich most admired as a young man— there are passing references in particular to his fellow countrymen Prokofiev, Scriabin, Stravinsky, and Tchaikovsky—but the final, lasting image is of Shostakovich himself. It’s the same Shostakovich who appears in photographs at the time—pokerfaced (with tongue in cheek?), intense, diffident, and—despite the reserve in his eyes, shaded by the spectacles that would be his mask for life—determined to succeed. The First Symphony begins as chamber music and ends with the kind of orchestral bombast we now know from the Leningrad and his other symphonies designed to address public issues. It has four thematically related movements, with the scherzo placed before the slow one, which leads without pause into the finale. A solo piano has a significant role in the symphony. (At the conservatory, Shostakovich had been undecided whether to concentrate on composition or piano; years later he said, “If the truth be told, I should have done both.”) The distinctive quality of the first movement is its crystalline texture, delicate yet razor sharp. From the opening measures, where a solo bassoon converses with a single trumpet, individual instruments shine. Important ideas are often introduced simply, by one voice against a spare accompaniment. At the climax, Shostakovich unexpectedly throws a number of ideas together, to tremendous effect. cont. page 93


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The scherzo is an early example of the composer’s humor, refined during his days as a pianist in local movie houses, when he often laughed so uncontrollably during his favorite scenes that he had to stop playing. This movement is filled with high spirits; the ghostly trio, with its persistent triangle and snare drum rolls, is oddly mysterious. Still, before the movement is over, Shostakovich manages to combine these two elements into a thrilling climax. The Lento begins with a plaintive oboe tune, distantly related to the main theme of the first movement, and continues in a richly lyrical vein—music that refutes all the later comments about Shostakovich’s lesser melodic talent. The finale, which brings together many previous themes, is more intricate, with wide mood swings, abrupt tempo changes, bold contrasts (a full orchestral climax answered by a timpani solo, for example), and a general emotional complexity that is inevitable at any reunion. But most of all, it confirms the arrival on the music scene of an exciting and enduring new voice. Sergei Rachmaninov (1873 - 1943) Piano Concerto No. 2 in C Minor, Op. 18 Rachmaninov composed his Second Piano Concerto in 1900–1901 and was soloist for the first performance on November 9, 1901, in Moscow. The orchestra consists of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, bass drum, cymbals, and strings. Performance time is approximately thirty-two minutes. All his life, Rachmaninov was prone to anxiety and depression, a condition often reflected in his sour expression—“a six-and-a-half-foot scowl,” Stravinsky called him. Family and friends knew a warmer, more outgoing personality, but they also encountered a crippling, dark side of his nature the public never saw. The low point—one so debilitating that it nearly robbed us of some of the most popular music ever written—came in the last

years of the nineteenth century, just as his career was getting started. Rachmaninov enjoyed great public success early on, both as a pianist and a composer. The brooding piano prelude in C- sharp minor he composed in 1892, at the age of nineteen, immediately became the calling card of a young artist’s dreams—and eventually a burden as well. Audiences wouldn’t let him leave the stage until he played the work he eventually referred to dismissively as “it.” With the premiere of his First Symphony in Saint Petersburg in 1897, under the baton of Alexander Glazunov, Rachmaninov’s confidence and momentum—if not his entire career—suddenly seemed to fizzle. The performance must have been appalling— Rachmaninov called it “the most agonizing hour of my life.” He hid in a stairwell, with his hands over his ears. (Glazunov was later said to have been drunk when he walked on stage.) And the opening-night review, by composer César Cui, could hardly have been worse—the symphony, Cui concluded, “would have brought ecstasy to the inhabitants of hell.” For the next three years, Rachmaninov wrote nothing—sketches for a new symphony were abandoned, and work on an opera, Francesca da Rimini, was shelved. He continued to perform, and even undertook a concert tour to London in 1898, but day after day he found that he was unable to compose. As he grew more despondent, his friends began to recommend various remedies. Twice he visited Leo Tolstoy, once by himself and once with the bass Fyodor Chaliapin, hoping that contact with the great novelist would shake him out of his slump and jump-start his creativity, but the writer’s selfserving platitudes discouraged him even more. (“You must work,” Tolstoy told him. “I work every day.”) When he and Chaliapin performed one of Rachmaninov’s songs, Tolstoy wasted no words in conveying how much he disliked it. Finally, fearing that Rachmaninov was trapped in a serious depression, his family suggested that he consult Dr. Nikolai Dahl, a Paris internist cont. page 95


PrOGrAM NOTES CONT.

who had become a specialist in curing alcoholism through hypnosis. (Undone by Glazunov’s drunken butchery of his First Symphony, Rachmaninov had begun to drink heavily himself.) In January 1900, he began to see Dahl, who was also a gifted amateur violinist and cellist (he had started his own string quartet). The main objective was to get Rachmaninov back on track—to restore his appetite and improve his sleep, to curtail his drinking, to revive his morale, and to get him composing again. The immediate assignment, which Dahl took very seriously, was for Rachmaninov to write a new piano concerto. (He had promised one to the London Philharmonic when he appeared with the orchestra in 1898.) Through a combination of enlightened discussion and rudimentary hypnosis (“You will begin your concerto . . . it will be excellent,” was one of the mantras), Dahl succeeded. “Although it may seem incredible,” Rachmaninov wrote many years later, “this cure helped me. New musical ideas began to stir within me—far more than I needed for my concerto.” In April, Rachmaninov felt well enough to accompany Chaliapin to Yalta, where they visited Chekhov, and on to Italy, where the singer made his La Scala debut in Boito’s Mephistopheles. By July, when Rachmaninov was ready to go home—“bored without Russians and Russia”—and get to work, he had a stack of sketches to pack, including advanced drafts for two movements of a new piano concerto in C minor. Those movements—the ones we know as the second and third—were finished in the fall and premiered at a benefit concert in early December. Although Rachmaninov came down with a cold the day before the concert—and despite drinking mulled wine to cure it—he played magnificently. In the spring he wrote the opening movement, a highly original piece of music that seemed to confirm his recovery. Then, just five days before the premiere of the complete concerto, Rachmaninov suffered a temporary setback and was paralyzed by fears that his new work was worthless. The premiere, with the composer at the keyboard, was a major

triumph, nevertheless, and the concerto quickly became Rachmaninov’s greatest hit, nearly replacing the beloved C-sharp minor prelude in the public’s affection. The C minor concerto was his new calling card, and he performed it around the world. With this concerto, Rachmaninov not only overcame writer’s block, but he found a new voice as a composer—one with a perfect knack for unforgettable tunes, dazzling pianistic effects, an effortless flow of ideas, and a very suave sense of style. Stravinsky, his close contemporary— and antithesis, as well—later called it a switch from a very young composer to a very old one, not meaning it as a compliment. The C minor concerto is proudly old-fashioned, particularly for 1901—the heyday of wild and radical new music by Debussy, Mahler, Stravinsky, Strauss, Ives, and Schoenberg. It’s one of the crowning works of the nineteenth century, despite the calendar, and, to the chagrin of the avant-garde, it quickly became the most beloved concerto of the twentieth. The C minor concerto begins memorably, with a soft tolling in the piano that grows to a grand fortissimo. The entire first theme, introduced by the strings and clarinet, seems in retrospect a very sumptuous introduction to the big moment when the orchestra falls silent and the piano solo takes the spotlight with a grand melody. It’s a perfectly calculated effect, but it’s one of the things that worried Rachmaninov in the days before the premiere (“When I begin the second theme no fool would believe it to be a second theme,” he wrote to a former classmate. “Everybody will think this is the beginning of the concerto.”) For all the piano’s continuous bravura, however, its role throughout this movement is more often that of ensemble player, accompanist, or even member of the orchestra, than star soloist. This is one of Rachmaninov’s subtlest and most tightly knit movements. The Adagio is in the distant key of E major. (Beethoven, ever the pioneer, used the same unexpected key relationship between the first two movements of his Third Piano Concerto, cont. page 97


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written exactly a hundred years earlier.) Once again, the piano moves easily between its roles of soloist and accompanist (the clarinet has a big solo early on). The relationship between piano and orchestra is unusually delicate throughout, and the scoring is often as transparent as chamber music. The finale, beginning in E major and quickly swinging around to C minor, has many wonderful moments, but it’s usually remembered as the brilliant setting of Rachmaninov’s most famous tune, the one that

made a fortune for Buddy Kaye and Ted Mossman (and not a penny for Rachmaninov) as “Full Moon and Empty Arms.” (The young Sinatra made his classic recording in 1945, two years after Rachmaninov’s death.) Rachmaninov was the first to recognize the melody’s worth, and he uses it three times in the finale, each time freshening it with new touches, the last and grandest of them inspiring countless Hollywood composers. (Ironically, Rachmaninov, who ultimately moved to Beverly Hills, never wrote for films, even though his style was the industry standard for years.) The last word is given to the piano, in an outburst of glittering bravura.

daniel hSu, piano Characterized by the Philadelphia Inquirer as a “poet…[with] an expressive edge to his playing that charms, questions, and coaxes,” American pianist Daniel Hsu is increasingly recognized for his easy virtuosity and bold musicianship. He captured the bronze medal and prizes for best performance of both the commissioned work and chamber music at the 2017 Van Cliburn International Piano Competition, and is also a 2016 Gilmore Young Artist, first prize winner of the 2015 CAG Victor Elmaleh Competition, and bronze medalist of the 2015 Hamamatsu International Piano Competition. A native of the San Francisco Bay Area, Daniel Hsu began taking piano lessons at age 6 with Larisa Kagan. He made his concerto debut with the Fremont Symphony Orchestra at age 8, and his recital debut at the Steinway Society of the Bay Area at age 9, before being accepted into the Curtis Institute of Music at the age of 10, along with his two older siblings. Since then, he has

made his debuts with the Philadelphia Orchestra (2016) and Carnegie Hall (2017) as part of the CAG Winners Series at Weill Recital Hall. He has appeared in recitals at the Dame Myra Hess Memorial Concerts, Krannert Center for the Performing Arts, and Gilmore International Keyboard Festival, as well as in Boston, Philadelphia, Chicago, Denver, Los Angeles, Portland, Pittsburgh, and New York. A sensitive and keen collaborator, Daniel has performed with the Tokyo, North Carolina, Grand Rapids, Anchorage, New Haven, and Fort Worth Symphony Orchestras, working alongside cont. page 99

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daniel hSu, cont conductors Leonard Slatkin, Nicholas McGegan, Cristian Măcelaru, Ruth Reinhardt, Marcelo Lehninger, Eugene Tzigane, and Stilian Kirov. Recent and upcoming highlights include his debuts with the Taiwan Symphony Orchestra with Hannu Lintu, Eugene Symphony with Francesco LecceChong, and Jacksonville Symphony with Courtney Lewis; chamber tours with Curtis-on-Tour (Europe) and the Verona Quartet (United States); and recitals across the United States and Japan. His Boston debut recital in spring 2019 was hailed as a “powerful, thoughtful, and sensitive program… this deeply inquisitive artist’s inner probing brought fresh meaning to great warhorses, reaching well beyond his stunning mastery of technical difficulties” (Boston Musical Intelligencer). Daniel’s chamber music performance with the Brentano String Quartet at the Cliburn Competition earned him the Steven de Groote Memorial Award for the Best Performance of Chamber Music. The Dallas Morning News praised “his impassioned, eloquently detailed Franck Quintet,” proclaiming it to be “a boldly molded account, with a natural feeling for the rise and fall

of intensity, the give and take of rubato. Both he and the Brentano seemed to be channeling the same life force.” He regularly tours the United States with the Verona Quartet and in duo piano with his brother, Andrew, and appears frequently in chamber music festivals. Decca Gold released Daniel’s first album featuring live recordings from the Cliburn Competition of Mussorgsky’s Pictures at an Exhibition and Beethoven’s Piano Sonata, op. 110, as well as his award-winning performance of Marc-André Hamelin’s Toccata on “L’homme armé. He has also been featured in interviews and performances for WQXR, APM’s Performance Today, and Colorado Public Radio, and was profiled as one to watch by International Piano magazine. Now 22 years old, Daniel graduated from Curtis in spring 2019, where he studied with Gary Graffman, Robert McDonald, and Eleanor Sokoloff. He is a Marvel film buff and enjoys programming—he contributed to the creation of Workflow (now known as Siri Shortcuts), which won the 2015 Apple Design Award and was "acquired by the tech giant in 2017."


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Violectric is an acoustic and electric string ensemble led by GRAMMY® Recording Artist Michelle Jones. They perform compositions from Metallica to Led Zeppelin to SIA and other modern artists, and have appeared, recorded and toured around the world with most every major name act in the business from opera to heavy metal, including Sarah Brightman, Josh Groban, Jon Anderson (from YES), and many others. Most recently, Violectric performed for the Boneyard Ball, opening of Tim Burton’s art exhibit “Lost Vegas,” and lighting party of the Hard Rock Café Neon Guitar Sign in Las Vegas at The Neon Museum in 2019, events covered by international news media around the globe. Since 2008, Violectric has performed multiple sold-out shows nationwide. Their performances have been featured on PBS, CNN, ABC, NBC, CBS, FOX, BBC, and many other stations from North America to Australia and Asia and beyond. Violectric is an iHeart Radio Artist, and their music can be heard daily on SiriusXM Radio. Violectric has also been selected as the first Artists in Residence for the new Dr. Phillips Center for the Performing Arts in

Orlando, Florida, including live concerts and educational workshops with the Dr. Phillips Center AdventHealth School of Art and Wellness. Founder and bandleader Michelle Jones has been recording, touring and performing as a special guest with Wayne Newton, including in his resident shows in Las Vegas since 2018. In the summer of 2019, Jones was the Musical Director and Orchestrator for an historic series of shows commemorating the 50th Anniversary of Elvis’ residency and performances at the International Theater for the tribute show “Ted Torres: The Soul of a King”, held at the Westgate Las Vegas Resort and Casino. Jones led the band and members of the Las Vegas Philharmonic and The Original Sweet Inspirations in these concerts that received rave reviews locally and internationally. In 2018, she recorded with Rock and Roll Hall of Fame member Jon Anderson (lead singer from YES) on his newest album, “1000 Hands.” In June 2018, Jones performed a solo sold-out show in Las Vegas at the Neon Museum’s NE10 Studio and helped raise over $186,000 for the restoration of the Hard Rock Café Neon Guitar Sign. Her commitment to philanthropy has earned her four President’s Volunteer Service Awards (gold and bronze) from Presidents Obama and Trump in recent years.


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SINFONIA GULF COAST Saturday, May 16, 2020 | 7:30pm, Demetrius Fuller, Music & Artistic Director A STEVEN SPIELBERG Film

SAM NEILL LAURA DERN JEFF GOLDBLUM and RICHARD ATTENBOROUGH _____ BOB PECK MARTIN FERRERO B.D. WONG SAMUEL L. JACKSON WAYNE KNIGHT JOSEPH MAZZELLO ARIANA RICHARDS Live Action Dinosaurs STAN WINSTON Full Motion Dinosaurs by DENNIS MUREN, A.S.C. Dinosaur Supervisor PHIL TIPPETT Special Dinosaur Effects MICHAEL LANTIERI Music by JOHN WILLIAMS Film Edited by MICHAEL KAHN, A.C.E. Production Designer RICK CARTER Director of Photography DEAN CUNDEY, A.S.C. Based on the Novel by MICHAEL CRICHTON Screenplay by MICHAEL CRICHTON and DAVID KOEPP Produced by KATHLEEN KENNEDY and GERALD R. MOLEN Directed by STEVEN SPIELBERG

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A UNIVERSAL PICTURE

Tonight's program is a presentation of the complete film Jurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits.  Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. © Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved.

PRODUCTION CREDITS Jurassic Park in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Elise Peate Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Jurassic Park has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, Kristin Stark, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of Sinfonia Gulf Coast.

www.filmconcertslive.com

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a note from the compoSer In his highly successful book, Jurassic Park, author Michael Crichton enabled us to imagine what the return of the great vertebrates of 150 million years ago might be like. In his thrilling 1993 film adaptation, Steven Spielberg brought these fascinating and terrifying creatures to life, and in so doing captivated movie audiences around the world. I must say that I greatly enjoyed the challenge of trying to tell the film’s story musically. And while we can luxuriate this evening in the magnificent sound produced by Sinfonia Gulf Coast as they perform the entire score live to the picture, it’s nevertheless tempting to imagine what the trumpeting of these great beasts of the distant past might have been like… I know I speak for everyone connected with the making of Jurassic Park in saying that we’re greatly honored by this event… and I hope that tonight’s audience will have some measure of the joy we experienced while making the film more than twenty years ago.

john williamS, composer In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage. He has served as music director and laureate conductor of one of the country’s treasured musical institutions, the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. Mr. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honors, the Olympic Order, and numerous Academy Awards, Grammy Awards, Emmy Awards and Golden Globe Awards. He remains one of our nation’s most distinguished and contributive musical voices. Mr. Williams has composed the music and served as music director for more than one hundred films. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Amistad, Munich, Hook, Catch Me If You Can, Minority Report, A.I. Artificial Intelligence, Empire of the Sun, The Adventures of TinTin, War Horse, The BFG and Lincoln. Their latest collaboration, The Post, was released in December of 2017. Mr. Williams composed the scores for all nine Star Wars

films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, Nixon, The Patriot, Angela’s Ashes, Seven Years in Tibet, The Witches of Eastwick, Rosewood, Sleepers, Sabrina, Presumed Innocent, The Cowboys, The Reivers and Goodbye, Mr. Chips among many others. He has worked with many legendary directors, including Alfred Hitchcock, William Wyler and Robert Altman. In 1971, he adapted the score for the film version of Fiddler on the Roof, for which he composed original violin cadenzas for renowned virtuoso Isaac Stern. He has appeared on recordings as pianist and conductor with Itzhak Perlman, Joshua Bell, Jessye Norman, and others. Mr. Williams has received five Academy Awards and fifty-one Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. His most recent nomination was for the film Star Wars: The Last Jedi. He also has received seven British Academy Awards (BAFTA), twentyfour Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. cont. page 123


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john williamS, cont. Born and raised in New York, Mr. Williams moved to Los Angeles with his family in 1948, where he studied composition with Mario CastelnuovoTedesco. After service in the Air Force, he returned to New York to attend the Juilliard School, where he studied piano with Madame Rosina Lhevinne. While in New York, he also worked as a jazz pianist in nightclubs. He returned to Los Angeles and began his career in the film industry, working with a number of accomplished composers including Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90. His more recent contributions to television music include the well-known theme for NBC Nightly News (“The Mission”), the theme for what has become network television’s longest-running series, NBC’s Meet the Press, and a new theme for the prestigious PBS arts showcase Great Performances. In addition to his activity in film and television, Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos for flute, violin, clarinet, viola, oboe and tuba. His cello concerto was commissioned by the Boston Symphony Orchestra and premiered by Yo-Yo Ma at Tanglewood in 1994. Mr. Williams also has filled commissions by several of the world’s leading orchestras, including a bassoon concerto for the New York Philharmonic entitled “The Five Sacred Trees,” a trumpet concerto for the Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. “Seven for Luck”, a seven-piece song cycle for soprano and orchestra based on the texts of former U.S. Poet Laureate Rita Dove, was premiered by the Boston Symphony at Tanglewood in 1998. At the opening concert of their 2009/2010 season, James Levine led the Boston Symphony in the premiere Mr. Williams’ “On Willows and Birches,” a new concerto for harp and orchestra. In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993, after fourteen

highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. One of America’s best known and most distinctive artistic voices, Mr. Williams has composed music for many important cultural and commemorative events. “Liberty Fanfare” was composed for the rededication of the Statue of Liberty in 1986. “American Journey,” written to celebrate the new millennium and to accompany the retrospective film The Unfinished Journey by director Steven Spielberg, was premiered at the “America’s Millennium” concert in Washington, D.C. on New Year’s Eve, 1999. His orchestral work “Soundings” was performed at the celebratory opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has contributed musical themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games, and the 1987 International Summer Games of the Special Olympics. In 2006, Mr. Williams composed the theme for NBC’s presentation of NFL Football. Mr. Williams holds honorary degrees from twentytwo American universities, including Harvard University, The Juilliard School, Boston College, Northeastern University, Tufts University, Boston University, the New England Conservatory of Music, the University of Massachusetts at Boston, The Eastman School of Music, the Oberlin Conservatory of Music, and the University of Southern California. He is a recipient of the 2009 National Medal of Arts, the highest award given to artists by the United States Government. In 2016, Mr. Williams received the 44th Life Achievement Award from the American Film Institute – the first composer in history to receive this honor. In 2003, he received the Olympic Order, the IOC’s highest honor, for his contributions to the Olympic movement. He served as the Grand Marshal of the 2004 Rose Parade in Pasadena, and was a recipient of the Kennedy Center Honors in December of 2004. Mr. Williams was inducted into the American Academy of Arts & Sciences in 2009, and in January of that same year he composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama. In 2018, he received the Trustees Award from the National Academy of Recording Arts and Sciences. sinfonia gulf coast | 123


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Profile for Sinfonia Gulf Coast

Sinfonia Gulf Coast ~ bravo! Beat ~ 2019-2020 Season Program  

Sinfonia Gulf Coast ~ bravo! Beat ~ 2019-2020 Season Program