CONCERT PROGRAM
4
8
MUSIC DIRECTOR
Sarah Ioannides
P R O G R A M S
ABOUT
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The Music Foundation of Spartanburg
POWER & FORCE
Sept. 12 20
GERMAN BLEND
Oct. 2 13
ORCHESTRA
in 2015-2016 31
MUSIC SANDWICHED IN
Fall Concert Schedule 37
LINK-UP
Annual Youth Concert 38
24
AN ENIGMATIC EVOLUTION
Nov. 14 20
FRENCH ROAST
Nov. 20 32
HOME FOR THE HOLIDAYS
Dec. 5
PATRON PROGRAM NOTES Joella Utley DESIGN & ARTWORK Peter B. Kay SPO PHOTOGRAPHY Jimmy Gibson
Information
http://spartanburgphilharmonic.org Music Foundation of Spartanburg
|
200 East Saint John St.
864.948.9020 |
Spartanburg, SC 29306
Volume 67 FALL 2015 Š
2015 Music Foundation of Spartanburg. All Rights Reserved. No portion of these Programs may be reproduced in any form without expressed written permission of The Music Foundation of Spartanburg. All programs and artists subject to change. All performance times are approximate.
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IOANNIDES MU S IC
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Described by the New York Times as a conductor with “unquestionable strength and authority,” Sarah Ioannides’s dynamic presence on the podium has won praise from audiences and critics alike for bringing fresh ideas, original programs and exciting performances to orchestras across the globe. Immediately recognized by the orchestra and audience as a ‘conductor with magic.’ Ioannides’s conducting engagements span five continents with appearances with the North Carolina Symphony, the Charleston Symphony Orchestra, the Los Angeles Philharmonic, the New World Symphony, and the London Symphony Orchestra. Her recording with The Royal Philharmonic Orchestra and violinist Lara St. John was reviewed by Gramophone music magazine as “directed with panache by Sarah Ioannides”, which features the Suite from the Red Violin by John Corigliano and two world premiers. In 2014, Ioannides was
&
CON DUC TOR
appointed Music Director of the Tacoma Symphony Orchestra, and this Fall she will be making her debuts with the Tonkunstler Orchestra in Vienna, National Symphony of Dominican Republic, and the prestigious Yale Philharmonia. Music Director of the SPO since 2005, Ioannides’s successful tenure is characterized by cultivating traditions and establishing effective community relationships through creative programming. “The orchestra and its Music Director, Sarah Ioannides, offered compelling proof of the value and importance of an orchestra.” (Spartanburg Herald Journal) Dedicated to supporting living composers, Ioannides has conducted dozens of premiers including works by John Corigliano, Dario Marianelli, Tan Dun, Kenneth Fuchs, Luis Tinoco and Jennifer Higdon. As a conductor of opera, Ioannides led the European (continued, p.7)
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IOANNIDES (continued)
premiere of Stephen Paulus’ The Woodlanders, garnering acclaim from the Times, The Guardian, The Independent and The Telegraph in the UK. Opera-Opera depicted Ioannides’s lyrical conducting technique as one “with the most persuasive of gentle textures, she coaxed from the performers an extraordinary array of sounds. She was grace personified.” Born in Australia, Ioannides grew up in the UK performing as a violinist in the National Youth Orchestra of Great Britain. She received Masters degrees from both Oxford University, as an instrumental scholar, and the Juilliard School of Music, where she was Assistant Conductor to Otto-Werner Mueller. A recipient of numerous prizes and awards, she came to the United States on a Fulbright Scholar to attend the Curtis Institute of Music, following studies in conducting at the Guildhall School of Music. In 2009 Ioannides was named in the Los Angeles Times as one of six female conductors breaking the glass podium. Noted in the New York Times as part of “a new wave of female conductors in their late 20’s through early 40’s,” Sarah Ioannides is a prizewinner of the Leeds Conducting Competition and was also awarded the JoAnn Falletta award for the most promising female conductor.
T HE
M US IC
FOUN DAT ION
OF
S PARTA N BU RG
from the
PRESIDENT
Dearest Patrons, Creating a musical experience is a magnificent undertaking, and we are excited to offer you one of the SPO’s most ambitious seasons yet. Music is not simply made in-the-moment. It is carefully and artistically carved from hours of practice, weeks of preparation, and years of training. From orchestra rehearsals to individual practice sessions, concert planning to personnel management, fundraising to promotion, operations, scheduling, and ushering, every concert is a massive undertaking - both on stage and off. We do all these things with great pleasure and energy, knowing the joy we bring to you, our friends and audience. These shared musical experiences cannot be replicated. Live music is unmatched in its beauty and depth of communication, and every evening is a fascinating and unique event. As we enter the new season, we are excited to share with you the Spartanburg Philharmonic Orchestra’s program for 2015-2016. In her 11th season with the SPO, Maestra Sarah Ioannides will lead the orchestra to new heights while featuring highly acclaimed guest artists Andreas Boyde, Kristin Lee, Jens Lindemann, Pepe Romero, and our very own Spartanburg Jazz Ensemble. The Board of Directors wish to thank our sponsors, advertisers, and contributors. Your continued support allows us to achieve our Mission: presenting the finest classical music as well as promoting community engagement and educational programs in music. We focus on initiatives that introduce our children and the community to the excitement of music through the Carnegie Hall Link-Up program, school and Library initiatives throughout Spartanburg County and a free community Pops concert in the Zimmerli Amphitheatre at Barnet Park. A final thanks to all of you, our patrons. Your ongoing support is critical to our organization’s health. After all, it is for you that our musicians and the entire SPO family perform. This is your orchestra!
Ray Dunleavy BOARD PRESIDENT MUSIC FOUNDATION OF SPARTANBURG
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BOARD
OF
DIRECTORS
OFFICERS:
Mr. Raymond A. Dunleavy Mr. Dustin L. McCoy
President Treasurer
Mrs. Francie Little Mrs. Laura Allen Sullivan
Secretary Board Committee Liaison
DIRECTORS:
Mrs. Louise B. Connell Mrs. Rachel S. Deems Dr. J. Sidney Fulmer* Mrs. Lark Gaskins Mrs. Lindsey D. Graham Mr. Ben Burke Howell
Mr. James W. Hudgens* Mrs. Robyn Hussa Farrell Mr. Max T. Hyde, Jr. Mrs. Kay Maddox Mrs. Edith Molfenter Dr. Tomas F. Moore
Mr. Jim Pangel Dr. Terry O. Pruitt Mrs. Donna Simpson Dr. Joella F. Utley* *Life Member
The Music Foundation of Spartanburg: chartered in 1949 - but with roots dating back to 1885 - the Music Foundation of Spartanburg serves as the presenting organization for the Spartanburg Philharmonic Orchestra. The Music Foundation presents over 30 events annually, reaching over 15,000 people in the Spartanburg community and surrounding counties. Vision Statement: the Music Foundation of Spartanburg is the community’s primary resource for meaningful live performances of classical and entertaining music. Mission Statement: the Music Foundation of Spartanburg enriches the community by presenting concerts by the Spartanburg Philharmonic Orchestra; providing entertaining musical initiatives and sponsoring educational outreach efforts. Community Outreach: Music Sandwiched In: this free lunchtime concert series showcases local and regional talent at the Spartanburg County Public Library Headquarters, Barrett Room on select Wednesdays from 12:15-1:00pm. Scholarships: the Music Foundation of Spartanburg is proud to support the Lawson Academy for the Arts by providing scholarships opportunities annually for aspiring music students in Spartanburg. Link-Up: in collaboration with Weill Music Institute, the SPO participates in the annual Carnegie Hall “Link Up” initiative. This national program pairs orchestras with schools in their local communities, inviting them to learn about orchestra repertoire through a year-long hands on music curriculum. Teachers guide students in many ways, exploring music through a composer’s lens, actively making music in the classroom, performing repertoire on recorder, violin, or voice. Students compose and perform their own pieces, inspired by the orchestral music they have studied. The culmination of the year-long program is a live performance, with over 3600 students getting the opportunity to sing and play the recorder along with the SPO. The performance often serves as a student’s first concert experience and provides them with the opportunity to apply the musical concepts they have studied.
These programs are funded in part by The Arts Partnership of Greater Spartanburg, its donors, the County and City of Spartanburg and the South Carolina Arts Commission which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of SC.
http://spartanburgphilharmonic.org Music Foundation of Spartanburg
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|
200 East Saint John St.
864.948.9020 |
Spartanburg, SC 29306
SPARTANBURG PHILHARMONIC ANNUAL FUND We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic Orchestra. This list reflects gifts received July 2014 through August 2015.
B E N E F A C T O R
The Alfred Moore Foundation Mr. & Mrs. William Barnet III Mr. & Mrs. James Hudgens
Mr. & Mrs. George Dean Johnson* Mr. & Mrs. Paul Lehner
C O N D U C T O R
C I R C L E
The Arkwright Foundation* Mr. & Mrs. Roger Habisreutinger*
C I R C L E
Mr. & Mrs. John R. Murphy* Mr. S. Reel Robertson Mrs. Gail D. Rodgers* in memory of Dr. W. Gordon Rodgers, Jr. Mr. & Mrs. Peter Ellis Weisman* Mr. Donald D. White Mr. & Mrs. Don Wildman*
$ 5 0 0 - $ 9 9 9
Mr. & Mrs. Lawrence Flynn, Jr. Dr. & Mrs. J. Sidney Fulmer Ms. Ann Karegeannes
Mr. and Mrs. Lindsay Little Mr. Jim Pangel
$ 1 5 0 - $ 4 9 9
Mr. & Mrs. Max Jent Mr. and Mrs. Charles Morgan Mr. & Mrs. Peter Sereque Mr. & Mrs. Joseph B. Traywick, II M E M B E R
Ms. Cheryl S. Athey Ms. Cissy Barnes Dr. & Mrs. James M. Bell Mr. John Bucher Dr. & Mrs. William W. Burns Ms. Patricia Cook Mr. Gardner G. Courson Mr. & Mrs. Dean Gaskins Ms. Angela Geter Mr. & Mrs. David L. Gowing
$ 1 , 0 0 0 - $ 2 , 4 9 9
M U S I C I A N
P A T R O N
Mr. Dagmar Binovec Mrs. Rachel Stevens Deems Mr. and Mrs. Henri Eschauzier Mr. & Mrs. David Ellis
$ 2 , 5 0 0 - $ 9 , 9 9 9
Dr. & Mrs. David A. Holt Dr. Leslie W. Howard, Jr * Mr. Ben Burke Howell* Mr. & Mrs. Joseph Hudson* Dr. Wilton Kanode* Dr. & Mrs. Louis Knoepp, Jr.* Mr. & Mrs. J. Michael Kohler, Jr.* Mr. E.T. McLean* Mr. & Mrs. Don Miles* Mr. & Mrs. Joe Molfenter *
F E L L O W
Mr. & Mrs. Rick Dent, Jr. Mr. & Mrs. Allen Daryl Doyle Mr. and Mrs. Tim Farrell
Dr. Joella Utley* Mr. & Mrs. Kurt Zimmerli*
Mr. & Mrs. Scott and Sarah Ioannides Hartman Dr. & Mrs. Julian C. Josey, Jr.
V I R T U O S O
Mr. & Mrs. Stanley Baker* Mrs. Susan H. Baker* Dr. and Mrs. James E. Bradof* Mrs. Donna R. Cart* Mr. & Mrs. Jerry Cogan* Mrs. Mary Alice Davidson Mrs. Ysal Dulken* Mr. & Mrs. Ray Dunleavy* Ms. Joan B. Gibson Dr. Lois Ann Hesser & Mr. John Rungo
$ 1 0 , 0 0 0 +
Mr. & Mrs. Lee Vogelstein Mrs. Ted Wagner
$ 5 0 - $ 1 4 9
Ms. Laura Henthorn Mrs. Sarah Johnson RADM & Mrs. Stephen Johnson Mr. & Mrs. Harold Joye Mr. and Mrs. Dustin McCoy Mr. Gaines H. Mason, Jr. Mr. & Mrs. Fritz Mezger Ms. Mary Ann Miller Dr. & Mrs. Mark Monson Mr. & Mrs. George Nixon
Ms. Elizabeth Orr Mrs. Kay Powell Mr. & Mrs. Mortimer R. Sams, III Mr. & Mrs. Anthony J. Stokely Mr. Akira Terawaki Mr. Trace Theo Mrs. Charles Trevathan Mr. & Mrs. Marshall T. Walsh
*denotes Three Year Sustaining Pledge donors
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SPO GIVING SOCIETIES THE JERRIE LUCKTENBERG CONCERTMASTER CHAIR ENDOWMENT Dr. Jerrie Lucktenberg - former Concertmaster of the Greater Spartanburg Philharmonic, artist, pedagogue, and author - retired from her position during The Music Foundation’s 2002-2003 season. To help ensure the presentation of Spartanburg’s professional orchestra in our community, Dr. Lucktenberg made a generous gift of $50,000 towards the endowment of the Concertmaster Chair. With your help, The Music Foundation’s goal is to match this gift to fully endow the chair as the Jerrie Lucktenberg Concertmaster Chair. We hope you will be inspired to follow Dr. Lucktenberg’s generous lead.
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THE HENRY JANIEC SOCIETY
THE JOE ROY UTLEY LEGACY SOCIETY
The Henry Janiec Society was established in 2001 to honor the distinguished Dr. Henry Janiec conductor, educator, and pianist. Dr. Janiec conducted the Spartanburg Symphony Orchestra from 1952 to 1995 and served as Dean of the Converse College School of Music from 1967 to 1994. He also served as Director of the Brevard Music Center from 1964 to 1996. Members of the Henry Janiec Society have established permanently endowed chairs in the Spartanburg Philharmonic Orchestra with a gift of $25,000 or more. These chairs and funds help guarantee the future of the Philharmonic.
We have created the Joe Roy Utley Legacy Society to provide a fund through which friends can make bequests in a number of different ways. The easiest method is an instruction in a Will to leave a specific dollar amount to The Music Foundation of Spartanburg. It is a simple matter to add a codicil to an existing Will, giving the direction to make a gift from your estate to the Society. Gifts may also be made by giving appreciated securities or other assets, by way of charitable trust, through gift of life insurance, or by gifts of retirement account assets.
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a dyeing art: contemporary textiles and fiber arts september 29, 2015 - january 14, 2016
free admission great exhibitions
fall art classes family programs 200 e st john st spartanburg sc 29306 864.582.7616 www spartanburgartmuseum org
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The
SPARTANBURG PHILHARMONIC ORCHESTRA Core Orchestra Members & Chair Sponsors A S O F J U LY, 2 0 1 5
VI O L I N I
BASS
T RUMP E T
Sarah Johnson, CONCERTMASTER
Ian Bracchitta, PRINCIPAL
Brian Roberts, PRINCIPAL
Mr. & Mrs. George Dean Johnson Joanna Lebo, ASSISTANT CONCERTMASTER Mrs. Donna R. Cart
Mr. & Mrs. Jerry Cogan Brian Gencarelli, ASSISTANT PRINCIPAL Mr. & Mrs. Don Wildman
Allison Chetta Robin Els Tracy Ensley Adam Kapfhammer Sharon Kerr-Lawrence John Malloy Qian Zou
Jeff Stinson J. Bret Alford
Dr. and Mrs. James E. Bradof in honor of Dr. Joella F. Utley Dan Kirsop, ASSOCIATE PRINCIPAL Mr. & Mrs. John R. Murphy
Kenneth Frick Bruce Cox
F LUT E & P I CCO LO Rhea Jacobus, PRINCIPAL
Mr. & Mrs. Joe Molfenter
Mr. Ben Burke Howell Wesley Lebo, ASSISTANT PRINCIPAL
Caroline Ulrich Mrs. Susan H. Baker
VI O L I N I I
T R O M B O NE Mark Britt, PRINCIPAL
Jessica Sherer
Eric Henson
O B O E & E NGL I S H H O R N Ginny Metzger, PRINCIPAL
TUBA
Mallory Hayes, PRINCIPAL Mr. E.T. McLean in memory of John Turnbull
Michele Tate Mr. & Mrs. Paul Lehner
Ann Buttimer Laura Allen & Roger Sullivan
Ardis Chetta Jessica Martin March Moody Emily Wait
Mr. & Mrs. Roger Habisreutinger Kelly Vaneman, ASSOCIATE PRINCIPAL
Amanda LaBrecque Mary AllyeB Purtle, PRINCIPAL ENG HN
John Holloway, PRINCIPAL Mr. & Mrs. Don Miles T I MPA N I
Patrick Lowery, PRINCIPAL Mr. & Mrs. J. Michael Kohler, Jr.
C L A R I NE T Karen Hill, PRINCIPAL
Dr. & Mrs. Louis Knoepp, Jr.
Harry Hill, Jr.
VI O L A
John Concklin Endowed by friends and family in honor of Wallace Eppes Johnson
Vasily Gorkovoy Mr. & Mrs. Ray Dunleavy
PE RCUSSION
Adena McDaniel, CO-PRINCIPAL
BASSOON
Mr. & Mrs. Joseph Hudson Matt McDaniel, CO-PRINCIPAL Dr. Leslie W. Howard, Jr
Frank Watson, PRINCIPAL
Del Burton
Dr. Lois Ann Hesser and Mr. John Rungo
HA R P
Emily Waggoner, PRINCIPAL
Diana Maley Berti Katy Martin
Mr. & Mrs. Paul Lehner
HORN
Anneka Zuehlke-King, PRINCIPAL Mrs. Ysal Dulken
C E L LO
Brenda Leonard, PRINCIPAL Mr. & Mrs. Stanley Baker Kathy Foster, ASSISTANT PRINCIPAL Dr. Wilton Kanode
Christine Lee Eric Scheider
Christina Cornell Mr. & Mrs. Peter Ellis Weisman
Jeanette Schlimgen Mr. and Mrs. Mark Monson
Bailey Slice Parker
P I A NO & O R G A N Kuo-Pei Cheng-Lin, PRINCIPAL
The Arkwright Foundation Brennan Szafron, PRINCIPAL Mrs. Gail D. Rodgers in memory of Dr. W. Gordon Rodgers, Jr.
STAFF Kathryn Boucher Peter B. Kay
Executive Director Director of Marketing & Operations, and Personnel Manager
Louise Fagan Nse Ekpo
Community Engagement Manager Orchestra Librarian & Apprentice Conductor HearHERE
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LIVE
from Italy, Russia, and Germany
POWER & FORCE
IN
Concert S A T U R D A Y
SEPT. 12
at 7:00PM
Twichell Auditorium at Converse College
Side One:
Side Two:
GIUSEPPE VERDI
LUDWIG VAN BEETHOVEN
La Forza del Destino 1. Overture
Symphony no. 7 in A Major, Op. 92 8’
PYOTR ILYICH TCHAIKOVSKY
Concert for Piano no. 2, Op. 44 2. Allegro brillante 3. Andante non troppo 4. Allegro con fuoco
20’ 13’ 7’
1. 2. 3. 4.
Poco sostenuto – Vivace Allegretto Presto – Assai meno presto Allegro con brio
6:00pm | Pre-Concert Reception 6:15pm | Classical Conversations in the Lawson Academy recital hall
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One of the most ambitious programs Maestra Sarah Ioannides and the Spartanburg Philharmonic Orchestra have ever undertaken, this concert offers three colossal works – some of the most energetic and exhilarating of all time. Verdi’s “The Force of Destiny” overture will be followed by Tchaikovsky’s second piano concerto, featuring guest artist and world-renowned soloist Andreas Boyde. The concert will conclude with Beethoven’s breathtaking 7th Symphony. It will be an evening to remember!
14’ 8’ 9’ 8’
PROGRAM NOTES
Giuseppe Verdi 1813 - 1901
OVE RT UR E TO
LA FORZA DEL DESTINO
I
t has been said that, “Giuseppe Verdi was to the operatic world what Andrew Lloyd Webber is to musical theater, and even what Beethoven was to the symphony.” He became the most influential opera composer of the 19th century, both in his homeland and internationally. Even today, his operas are some of the most frequently performed works by leading opera companies across the globe. Of his more than two dozen operas, none has a more rousing or popular overture than La forza del destino. In December 1860, Verdi was commissioned by directors of the Imperial Russian Theatre to compose an opera, which resulted in La forza del destino. This melodrama,
which premiered in 1862 in St. Petersburg, was not well received by the Russian public, causing Verdi to make significant revisions. The re-worked piece was performed at La Scala in Milan in 1869 where it was enthusiastically received. In the revision, Verdi changed the original short opening prelude to a full-bodied musical introduction. In the Overture we hear the recurring “fate motif,” a three-note unison played by the brass section and low woodwinds. This solemn opening, somewhat like the motif in Beethoven’s Fifth Symphony, foretells the tragic events that are to occur. Themes from various sections of the opera briefly introduce the duets and arias that
will be performed in later acts. These themes are woven throughout the Overture with the ever-present “fate motif ” intertwined. The overture comes to a thrilling conclusion pulsating with the rhythmic passions of La Forza del destino.
PIANO CONCERTO No. 2, Op. 44
T
chaikovsky’s Piano Concerto no. 2 must be judged alongside his first, which was written in 1874. At that time, the composer was teaching at the Moscow Conservatory where the school’s founder, pianist Nikolai Rubinstein, had hired him several years earlier. Tchaikovsky asked Rubinstein to listen to his first concerto only to receive severe criticism from his friend and
Pyotr Ilyich tchaikovsky 1840 - 1893
mentor. Rubinstein essentially called the work “worthless and unplayable … beyond rescue.” Coming to verbal blows, Tchaikovsky retorted, “I shall not alter a single note. I shall publish the work exactly as it stands!” Instead of dedicating the first Piano Concerto to Rubinstein, he dedicated it to Hans von Bulow who played the premiere in New York while on a
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PROGRAM NOTES
tour in the States. Some years later Rubinstein would become a staunch advocate for this work and would play the concerto around the world. Tchaikovsky completed his second concerto for piano and orchestra in April 1880, hoping that Rubinstein would perform the premiere. Unfortunately, Rubinstein died in March 1881, and the premiere performance took place - again in New York - on November 12, 1881.
The first Russian performance was not until May of 1882 when audiences in Moscow first heard the work. As with the first concerto, several musicians voiced criticism of this second and even tried to alter the composition. However these voices have been stilled and Tchaikovsky’s lyrical writing lives on. In this three-movement concerto the opening Allegro brillante develops into a series of graceful melodic interludes. The soulful and dramatic
Andante non troppo contains prominent solos for the violin and cello. So prominent are the parts for these individual instruments that the second movement has been called a “triple concerto” featuring solo violin, cello and piano. In the final movement, Allegro con fuoco, the solo piano seems to take turns, alternating with the full orchestra. This closing movement with its breath-taking runs and flourishes brings the work to a joyous conclusion.
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PROGRAM NOTES
Ludwig van Beethoven 1 7 70 - 1 827
SYMPHONY No. 7, Op. 92
B
eethoven’s Symphony No. 7 was written in the summer of 1812 while Napoleon was fighting across Europe. In this symphony Beethoven created beauty in the midst of chaos. The composer’s deafness was becoming steadily worse. He had recently broken off a love affair. Napoleon had just conquered Vienna, Beethoven’s home city. But by the time of the first performance of the piece on December 8, 1813, Napoleon’s empire was already crumbling.
The work was first performed at a benefit concert for Austrian and Bavarian soldiers at the University of Vienna, with Beethoven conducting. It was a fashionable affair. Beethoven’s conducting was described as ill timed and filled with absurd gestures. Composer Louis Spohr, who was present at the premiere, described: “At a sforzando (sharp accent) he tore his arms asunder. At quiet piano sections he crouched down lower and lower with decreasing volume. For a
crescendo he gradually rose again and at the entrance of the forte (loud) he jumped in the air.” Beethoven’s music broke with many of the traditions of the classical era. Full of tension and stress yet graced with beauty and softness, the Seventh Symphony has been called a sprawling, jovial giant with powerful dancing rhythms. The outer movements are both exuberant and build to high climaxes while the second movement Allegretto is slower and darker giving the impression of grief and despair. At its premiere the second movement was so applauded that it had to be encored. Early critics spoke harsh words against this work calling it eccentric. However over time this symphony has won audiences worldwide. In 1951 critic Olin Downes wrote in the New York Times about Toscanini’s conducting of the Seventh Symphony,
“… one knew again that the greatest beauty and the highest morality that the race of man has known is in the music of Beethoven. We heard a reading that in the sense of proportion and style was of the purist classicism. And we felt the divine intoxication and the earth-shaking laughter of the I.” In Beethoven’s own words “The Grand Symphony in A is one of my very best!”
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PROGRAM NOTES
F E AT U R E D G U E S T A R T I S T : S E P T. 1 2
ANDREAS BOYDE
H
ailed by the critics as “Monsieur 100,000 Volts,” pianist Andreas Boyde’s performances have electrified audiences worldwide. His recitals in renowned concert venues and appearances as soloist with such orchestras as the London Philharmonic Orchestra, the Sächsische Staatskapelle Dresden, the Malaysian Philharmonic Orchestra, the Prague Radio Orchestra, the Dresdner Philharmonie, the Norrköping Symphony Orchestra, the Zürich K a m m e r o r c h e s t e r, the Miami Symphony Orchestra, the Bamberger Symphoniker, the Hallé Orchestra Manchester, the Bolshoi Symphony Orchestra, the Dresden Sinfoniker, the London Mozart Players, the Berliner Sinfonieorchester and the Auckland Philharmonia Orchestra have secured Boyde’s reputation as an esteemed performing artist. Boyde has concertised internationally in Austria, Canada, Chile, Croatia, Czech Republic, France, Germany, Great Britain, Holland, Israel, Italy, Malaysia, New Zealand, Norway, Romania, Serbia, Slovakia, Slovenia, Sweden, Switzerland, Ukraine, USA and Vietnam. Venues where he has appeared to acclaim include
Concertgebouw Amsterdam, Royal Festival Hall and Wigmore Hall London, Cologne Philharmonic Hall, Zürich Tonhalle, Munich Herkulessaal, Symphony Hall Birmingham, Berlin Konzerthaus, Munich Philharmonic Hall, Hamburg Musikhalle, Teatro
Municipal Santiago de Chile, Leipzig Gewandhaus, Munich Prinzregenten Theatre and Pierpont Morgan Library New York. Andreas Boyde recorded the complete solo piano works by Johannes Brahms produced by OehmsClassics, the repertoire now being performed in a cycle. Boyde’s extensive CD recordings receive five star reviews from leading music magazines praising his interpretations “a stroke
T HIS CON C E RT B ROU GH T TO YOU IN PART BY
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P I A NO
of genius” (Fono Forum, Germany). He enjoys a close association with German radio established by frequent broadcasts and productions. The sought-after pianist’s wideranging repertoire encompasses all major areas of the piano literature. Also committed to contemporary music he gave the European premiere of Paul Schoenfield’s Piano Concerto Four Parables, as well as the first performance of John Pickard’s Piano Concerto, which is dedicated to him. Boyde’s musicological interests are demonstrated in his reconstruction of the ‘Schubert’ Variations by Robert Schumann, now published by Hofmeister Leipzig. It is a work that has enjoyed great international acclaim since its 2000 premiere in New York by Andreas Boyde at the Pierpont Morgan Library. Andreas Boyde was born in Oschatz, Germany, where he entered the Book of Honour in 2012. He studied with Christa Holzweißig and Amadeus Webersinke in Dresden and subsequently with James Gibb in London at the Guildhall School of Music & Drama. His mentor and promoter Malcolm Frager also proved a major influence.
The
ESPRESSO CONCERT
SERIES
WHAT’S ON TAP:
The Espresso Series is a set of entertaining, one-hour chamber concerts that offer delightful blends of classical music. Enjoy the satisfyingly rich works of the masters paired with an engaging, fresh new piece by a regional composer. Come early or stick around after at the reception in the lobby of the Chapman Cultural Center.
ENJOY A DRINK (on us): The Hub City Tap House and the Spartanburg Marriott will treat audience members to one FREE DRINK per ticket during the pre-concert reception in the lobby. TAKE A TASTE: sample German and French wines & hors d’oeuvres provided by the Marriott or try out the newest beer from the Hub City Tap House specially brewed for these concerts.
THESE CONCERTS BROUGHT TO YOU IN PART BY:
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LIVE
ESPRESSO #1
IN
German Blend:
Concert
The sensational strings of the orchestra present the youthful verve of Mendelssohn’s Octet, a taste of Mozart and a new work by the SPO’s own Peter B. Kay.
F
R
I
D
A
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OCT. 2
at 6:30PM
Chapman Cultural Center Theatre 5:30pm | Pre-Concert Reception
LIVE IN
Concert
ESPRESSO #2
FRENCH ROAST: Along with guest pianist, Dr. Elizabeth Child, the woodwinds of the SPO delve into South American and French selections. The program features works by Ibert, Poulenc, D’Rivera and even a little Mozart.
F
R
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NOV. 20
at 6:30PM
Chapman Cultural Center Theatre 5:30pm | Pre-Concert Reception
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NEW MUSIC Treefalls is a non-profit organization dedicated to the presentation of contemporary chamber music written by living, active composers. Through a series of FREE concerts in Spartanburg, Treefalls endeavors to offer the public fresh, inventive, and creative new works performed by professional musicians who
support New Music. Treefalls strives to transform current opinion of concert hall music – if only a little – and inspire a new generation of composers and performers in the community. This season, the SPO will partner with Treefalls to realize new, original
works written by emerging and established composers in our area. After holding an open Call for Scores, two pieces will be selected to be performed in the Espresso series. The composers will be in attendance and available to meet the audience before and after the show.
TREEFALLS PARTNE RS:
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www.hometechta.com for more information visit
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purebarre.com/sc-spartanburg
http://treefallsmusic.org
70 years of magic
Sept. 11 – 27, 2015
Nov. 6 – 15, 2015
May 6 – 15, 2016 Jan. 15 – 24, 2016
March 11 – 20, 2016
FOOTHILLS
PHILHARMONIC
Proudly Announcing Our 2015-2016 Season: 5I[\MZ_WZS[ ;MX\MUJMZ I\ " XU /ZMMZ .QZ[\ *IX\Q[\ +P]ZKP 5I[\MZ_WZS[ 7K\WJMZ I\ " XU /ZMMZ .QZ[\ *IX\Q[\ +P]ZKP +PZQ[\UI[ +WVKMZ\ ,MKMUJMZ ! I\ " XU /ZMMZ .QZ[\ *IX\Q[\ +P]ZKP +PIUJMZ +WVKMZ\ .MJZ]IZa I\ " XU +IVVWV +MV\ZM 5I[\MZ_WZS[ 5IZKP I\ " XU /ZMMZ .QZ[\ *IX\Q[\ +P]ZKP 8WX[ +MTMJZI\QWV 5Ia I\ " XU /ZMMZ .QZ[\ *IX\Q[\ +P]ZKP
FREE ADMISSION
<7 )44 +76+-:<;
foothillsphil.org | info@foothillsphil.org | PO Box 3001, Greenville, SC 29602
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LIVE IN
Concert S A T U R D A Y
NOV. 14
at 7:00PM
Twichell Auditorium at Converse College
6:00pm | Pre-Concert Reception 6:15pm | Classical Conversations in the Lawson Academy recital hall
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An
from America, Finland, and England
ENIGMATIC EVOLUTION
Side One: CHRISTOPHER THEOFANIDIS
Dreamtime Ancestors
Side Two: 20’
1. Songlines 2. Rainbow Serpent 3. Each Stone Speaks a Poem JEAN SIBELIUS
Violin Concert, Op. 47 4. Allegro moderato 5. Adagio di molto 6. Allegro, ma non tanto
16’ 9’ 8’
Featured soloist, Kristin Lee, is a vibrant and accomplished soloist around the world. Her mastery of tone and technique brings the music to life like none other! (read more on page 28)
EDWARD ELGAR
Variations, Op. 36 “Enigma”
32’
1.Theme, Andante 2.Var. I, L’istesso tempo (C.A.E.) 3.Var. II, Allegro (H.D.S-P.) 4.Var. III, Allegretto (R.B.T.) 5.Var. IV, Allegro di molto (W.M.B.) 6.Var. V, Moderato (R.P.A.) 7.Var. VI, Andantino (Ysobel) 8.Var. VII, Presto (Troyte) 9.Var. VIII, Allegretto (W.N.) 10.Var. IX, Adagio (Nimrod) 11.Var. X, Intermezzo: Allegretto (Dorabella) 12.Var. XI, Allegro di molto (G.R.S.) 13.Var. XII, Andante (B.G.N.) 14.Var. XIII, Romanza: Moderato ( * * * ) 15.Var. XIV, Finale: Allegro (E.D.U.)
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Christopher Theofanidis b. 1 967
P R E M I E R E P E R FO R MA N CE
DREAMTIME ANCESTORS
C
hristopher Theofanidis is an American composer whose works are widely performed in this country and abroad. He writes in a variety of musical genres from orchestral and chamber music to opera and ballet. He holds degrees from Yale University, the Eastman School of Music and the University of Houston. Numerous awards have come his way including several fellowships (Guggenheim, Fulbright, Tanglewood and the American Academy of Arts and Letters Charles Ives), six ASCAP Gould Prizes, the Rome Prize and the International Masterprize. Theofanidis was nominated for a Grammy Award in 2007 for Best Composition for his chorus and orchestral work, The Here and Now, based on the poetry
of Rumi (1207-1273). He is presently on the faculty of Yale University and has taught at the Peabody Conservatory and the Juilliard School. Recently composed Dreamtime Ancestors centers around Australian aboriginal “dreamtime’ myths. As described by the composer: [This] is a 3-movement tone poem for orchestra that includes optional readings before each movement. It is based on the Australian aboriginal creation myths connected to ‘dreamtime,’ where each of us is connected to each other through our ‘dreamtime ancestors’ in the past, present, and future. This is referred to as ‘all-atonce time’.
Theofanidis dedicates this work to Stephen Paulus, “a wonderful human being and music maker, who is part of us of all, past present, and future.” Paulus (1949-2014) is a Grammy nominated American composer who is best known for his operas and choral music. He died at age 65 of complications of a stroke.
VIOLIN CONCERTO, Op. 47
T
he world recognizes Jean Sibelius as a great composer, but in his native Finland he is much more. He has been called the voice of Finland. A violinist and composer of the late Romantic period, his music contributed to the development of a feeling of national identity, as it echoes the country’s culture, people, geography and lore. The famous symphonic poem Finlandia, written in 1899,
evokes the national struggle of the Finnish people in their effort to escape censorship from the Russian Empire. Of his many works, including seven symphonies, many tone poems and songs, Sibelius wrote only one concerto, this for his preferred instrument, the violin. Commissioned in 1903, the work premiered that year (continued, p.26)
Jean Sibelius 1865 - 1957
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SIBELIUS (continued)
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CLASS SCHEDULE MINDFULNESS For those would like 90 to learn This fall, NOURISH willwho offer ongoing minute art EXPRESS meditation, mindfulness andofbreathing techniques. workshops focusing on themes identity and self-discovery, featuring content inspired by empowering models and performing artsCenter fields. Tuesday role evenings at within 7pm | multiple Nourish creative suite at Chapman Cultural Thursdays, 7 8:30 pm | Nourish suite at Chapman Cultural Center | $10.00 Suggested donation of $2.00 Limit of 10 participants Drop-ins | Online reservations NOURISHSpartanburg.com. E-mailwelcome RFarrell@mentalfitnessinc.org to available. learn more. YOGA A fun, active practice open to the public for those NOURISH CREATIVE ARTS WORKSHOPS FOR SENIORS who feel comfortable moving on a yoga mat and who are interested in learning offers fun, enriching, 60 minute studio art classes for seniors. performing arts and yoga techniques $10.00. Groupevenings rates andatcustom Registration only. Thursday 7pm |programming Nourish suiteavailable. at Chapman Cultural Center For more information, and registration please visit nourishspartanburg.com and Suggested donation $5.00 Limit of 10 participants contact Jenny Bonner at of jbonner@mentalfitnessinc.org RSVP to LDiemer@mentalfitnessinc.org Tuesdays, 2:00 pm | Nourish suite at Chapman Cultural Center
View schedules. Sign up. Get nourished.
NourishSpartanburg.com NOURISH at Chapman Cultural Center 200 East St. John Street Spartanburg, SC 29306 864.278.9665
Music in Landrum is a 501(C)3 non-profit corporation based in Landrum, South Carolina. For three years, Music in Landrum has been proud to bring free performances of virtuoso classical musicians to Landrum. These performances are held at Landrum Presbyterian Church and are funded by donations, sales of recordings, and grants.
www.musicinlandrum.org 26
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in Helsinki. However, the intended performer, Willy Burmeister, was unavailable at the scheduled time. A lesser musician gave that performance which was not well received. Thus the composer withheld this version from publication. Sibelius made substantial revisions of the concerto, and the second writing was performed in Berlin in 1905 with violinist Karl Halir and conductor Richard Strauss. This revision was met with rave reviews. The Deutsche Zeitung described the concerto’s colors as similar to “the Nordic winter landscape painters who, through the distinctive interplay of white on white, secure rare, sometimes hypnotic and sometimes powerful effects.” In this three-movement work, we are taken through music that is rhapsodic, lyrical, extremely rhythmical and tender. It demands virtuosity and physical stamina of the soloist. Of the spirit of the work the composer’s biographer, Eric Tawaststjerna, wrote, “The Concerto is distinctly Nordic in its overwhelming sense of nostalgia. The orchestra does not wallow in rich colors but in the sonorous half lights of autumn and winter; only on rare occasions does the horizon brighten and glow.” Sibelius’s Violin Concerto has the distinction of being the most recorded violin concerto from the 20th century.
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Edward Elgar 1 8 57 - 1 934
ENIGMA VARIATIONS, Op. 36
E
dward Elgar has been called the greatest English orchestral composer since Henry Purcell (1659-1695). From rather humble beginnings, Elgar had a passion for music, teaching himself the rules of composition and performance. He played in local orchestras and ensembles, earning a meager living.
him throughout their lives together. She was his source of inspiration and a discriminating critic. Elgar came to lean of her, to rely on her opinions, and to follow her tactful advice.
With his marriage to Caroline Alice Roberts in 1889 the couple moved to London. Caroline, though not a trained musician, realized her husband’s talents and encouraged
Among his many outstanding works, one of the first to reach high acclaim was Variations on an Original Theme, Enigma, Op. 36. Constructed on a basic theme, this set of variations represents Elgar’s close acquaintances, each labeled with initials or a nickname. Variation No. 1 is a portrait of his wife and
Var. I, (C.A.E.): Elgar’s wife, Caroline Alice Elgar
Var. VI, (Ysobel): introduced Elgar to his wife
Var. II, (H.D. S-P): a pianist friend
Var. VII, (Troyte): represents Elgar’s oldest friend. They enjoyed kite flying and bicycling
Var. III, (R.B.T): an eccentric tricyclist and golfer. His wife was the sister of W.M.B Var. IV, (W.M.B.): refers to an amusing incident in which W.M.B. reads buggy assignments to a group planning an afternoon tour Var. V, (R.P.A): a self-taught pianist who was able to convey musical feeling without playing difficult passages
Var. VIII, (W.N.): a tribute to a local musical patron
No. 14 is Elgar’s self-portrait. Variations 2-13 represent Elgar’s friends (see below). Eventually, individual names for the variations were realized. Elgar’s score caught the attention of the famous German conductor Hans Richter who first conducted it on June 19, 1899. Later Elgar revised the work and conducted the new version at the Worcester Festival. It stands today as one of the most popular works in the repertory of English orchestral music, as well as the first orchestral music by an Englishman to acquire a permanent place in the repertory.
Var. XI, (G.R.S): portrays the feeling of a friend’s dog that falls into the river, and is overjoyed when he finds a landing place Var. XII, (B.G.N.): Elgar’s friend whose house he used in London
Var. IX, (Nimrod): referring to friend, August Jaeger, brings to memory their discussion of Beethoven on a summer evening
Var. XIII, (***): the subject of much curiosity. The romantic music with its sudden tragic turn lead many to speculate that it may refer to an early love of Elgar
Var. X, (Dorabella): a tribute to a close family friend
Var. XIV: relates to Elgar himself
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F E AT U R E D G U E S T A R T I S T : N O V. 1 4
KRISTIN LEE
N
amed the recipient of a 2015 Avery Fisher Career Grant, Korean-American violinist Kristin Lee has been praised by The Strad for her “mastery of tone,” and “one of the most satisfying concerts in years.” A violinist of remarkable versatility and impeccable technique, Ms. Lee enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. Ms. Lee’s recent engagements include her debut with the Milwaukee Symphony Orchestra and at Washington, D.C.’s Phillips Collection, recitals in New York’s Merkin Concert Hall and Florida’s Kravis Center, and appearances with the Guiyang Symphony Orchestra of China and the St. Paul Chamber Orchestra. She recently curated a program that premiered at Philadelphia’s World Cafe Live, in which she commissioned composer/performers to write works for the violin and steelpan, guitar, theremin, spoken word, and carnatic South Indian singing. The program was also performed at New York’s (Le) Poisson Rouge. She also tours with the Chamber Music Society of Lincoln Center, in California, New York, Michigan, and Pennsylvania. A winner of Astral Artists’ 2010 National Auditions and a top prizewinner of the 2012 Walter W. Naumburg Competition, Ms. Lee
VI OL I N
has appeared as soloist dozens of symphonies around the world. She has appeared on the finest concert stages, including Carnegie Hall, Avery Fisher Hall, the Kennedy Center,
Philadelphia’s Kimmel Center, the Metropolitan Museum, Steinway Hall’s Salon de Virtuosi, the Louvre Museum in Paris, and Korea’s Kumho Art Gallery. She has been featured on the Ravinia Festival’s Rising Stars Series, and has toured throughout northern Italy. In April 2012, Ms. Lee organized a memorial concert at the Menlo-Atherton Performing Arts Center for the victims of the Oikos University shooting.
T HIS CON C E RT B ROU GH T TO YOU IN PART BY
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An accomplished chamber musician, Ms. Lee is a member of the Chamber Music Society of Lincoln Center, following her completion of a threeyear residency as a CMS Two artist. She has appeared at the Ravinia Festival, Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, and the Sarasota Music Festival, among many others. She is the concertmaster of the groundbreaking Metropolis Ensemble, with whom she premiered Vivian Fung’s Violin Concerto, written for her, and which appears on Ms. Fung’s CD Dreamscapes, released for the Naxos label CD in 2012. Ms. Lee’s performances have been broadcast on WQXR in New York, on Robert Sherman’s “Young Artists Showcase,” and with guitarist Mattias Jacobsson on Annie Bergen’s “The Office Hours.” Other broadcasts include PBS’s “Live from Lincoln Center,” the Kennedy Center Honors. She also appeared on a nationally broadcast PBS documentary entitled PBS in Shanghai, that chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory. Ms. Lee has received many honors, including awards from the 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship,
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Dorothy DeLay Scholarship, the Aspen Music Festival’s Violin Competition, the New Jersey Young Artists’ Competition, and the Salon de Virtuosi Scholarship Foundation. She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School—in the Pre-College Division in 1997 and 1999, and in the College Division in 2007. Born in Seoul, Ms. Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin Competition. In 1995, she moved to the U.S. and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School’s PreCollege Division. In January 2000, she was chosen to study with Itzhak Perlman, after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Ms. Lee holds a Master’s degree from The Juilliard School, where she studied with Itzhak Perlman and Donald Weilerstein, and served as an assistant teacher for Mr. Perlman’s studio as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College, and has served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@ Menlo Chamber Music Festival.
2015-2016 SEASON
CINDERELLA Prepare To Be Enchanted FRI., OCT. 16 7 PM | SAT., OCT. 17 11 AM | SUN., OCT. 18 3 PM Chapman Cultural Center | Adults $20 Senior & Student $15 | TICKETS: 542-ARTS
THE NUTCRACKER A Pinch of Holiday Magic SAT., DEC. 12 3 PM | SUN., DEC. 13 3 PM Twichell Auditorium | Adults $32 Senior $25 Student $18 | TICKETS: 596-9725
STUDIO SERIES: LOVE INSPIRED Powerful. Passionate. Up close. Personal. FRI., FEB. 12 6 & 8 PM | SAT., FEB. 13 6 & 8 PM Ballet Spartanburg Studios | Adults $25 Senior $20 Student $15 | TICKETS: 583-0339
DANSYNERGY 8/NEW WORKS Bold. Edgy. Illuminating. THURS., APR. 21 8 PM | FRI., APR. 22 8 PM Chapman Cultural Center | Adults $25 Senior $20 Student $15 | TICKETS: 542-ARTS
CHAPMAN CULTURAL CENTER 200 EAST SAINT JOHN STREET SPARTANBURG, SC 29306 WWW.BALLETSPARTANBURG.ORG
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Music Sandwiched In is a lunchtime concert series in downtown Spartanburg, featuring local, regional, and even national talent! All events are free and open to the public. Lunches are available for purchase, prepared by one of Spartanburg’s finest, Chef Bill McClellan!
SPARTANBURG LITTLE THEATRE PRESENTS
flusSion Flute & Percussion Duo
Special preview of Mary Poppins!
11/4
8/26
SPARKLE CITY BRASS SPOOK HANDY
Pops, Classics, and Jazz
Pete Seeger Tribute
11/18
9/9
JOHN AKERS THE CAROLINA PLAYERS BAND
Classical Guitar
Jazz, Blues, and R&B
12/2
9/23
SPO BRASS QUINTET FOOTHILLS OOMPAH BAND
Madrigals and Carols for the Holidays
Octoberfest!
12/16
10/7
CONVERSE CHORALE Special preview of the upcoming concert!
10/21
Hosted and Sponsored by:
WHERE:
Spartanburg County Public Library Headquarters, Barrett Room 151 South Church Street Spartanburg, SC 29306 WHEN:
Select Wednesdays
12:15PM1:00PM Presented by:
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LIVE
HOME FOR THE HOLIDAYS with guest conductors, SIEGWART REICHWALD & HOLT ANDREWS and solo violinist, MALLORY HAYES joined by the FIRST PRESBYTERIAN CHANCEL & CHAMBER CHOIRS and the SPARTANBURG DAY SCHOOL CHILDREN’S CHOIR
IN
Concert S A T U R D A Y
DEC. 5
at 7:00PM
Twichell Auditorium at Converse College
6:00pm | Pre-Concert Reception
Side One: LEE MENDELSON & VINCE GUARALDI
Christmastime is Here FRANZ LISZT
Christmas Tree Suite
Side Two: 3’ 14’
arr. Gordon Jacob
ANTONIO VIVALDI
The Four Seasons,Winter
9’
RALPH VAUGHAN WILLIAMS
Fantasia on Christmas Carols
feat. Paul MacPhail, Baritone
5’ 11’
O Magnum Mysterium
6’
Traditional Carols
arr. John Rutter
ASTOR PIAZZOLLA
32
Gloria, mvt. I
MORTEN LAURIDSEN
3. Allegro non molto 4. Largo 5. Allegro
The Four Seasons, of Buenos Aires Summer, arr. Leonid Desyatnikov
JOHN RUTTER
7’
4. Il le ne le divin enfant 5. Donkey Carol 6. Shepherd’s Pipe Carol MICHAEL W. SMITH
All is Well
3’ 3’ 3’ 4’
PROGRAM NOTES
The
Antonio Vivaldi 1 678 - 1 741
FOUR SEASONS, Op. 8, No. 4 W I N T E R
A
ntonio Vivaldi, nicknamed the “Red Priest” because of his flaming red hair and token involvement as a priest, was a fine violinist and a prolific composer. During his lifetime he composed over four hundred concertos and almost 50 operas as well as numerous sonatas, cantatas, motets and oratorios. Vivaldi’s primary job was as the music director, composer, and violin teacher at a girls’ orphanage called La Pietà in Venice. These young girls were mostly abandoned, orphaned, destitute girls – many “inconvenient” children of upper class parents. The girls were trained in both string and
wind instruments, including organ. Vivaldi composed works that the girls performed in public concerts for the appreciative Venetian public. Published in 1725, The Four Seasons is a set of violin concertos depicting the sounds and feelings of the yearly seasons. These are among Vivaldi’s most popular works. Each of the four – “Spring,” “Summer,” “Autumn” and “Winter”– is in three movements, fast, slow, fast. Vivaldi wrote poems to accompany each concerto and took great pains to relate the music to the text (see p.34).
These sonnets and music were warmly received during Vivaldi’s day and influenced works by Bach, Haydn, Beethoven, and Mendelssohn. However after his death his works and influence were lost from view (continued, p.34)
The
FOUR SEASONS OF BUENOS AIRES S U M M E R
B
orn in Argentina, Astor Piazzolla and his family moved to New York when he was five years old. His father bought him a bandoneon, a South American version of the accordion with buttons instead of keys. The family moved back to Argentina when Piazzolla was seventeen and here the young man began playing in tango orchestras and Astor Piazzolla 1 921 - 1 992
studying classical composition. Upon winning an award that allowed him to study with the famed composer and teacher Nadia Boulanger in Paris, Piazzolla showed her the symphonies and sonatas he had composed. Boulanger felt were “good but not great,” feeling they didn’t express his real self. However when she heard the tangos he had written for the bandoneon she exclaimed, “Now this is Piazzolla! That is the direction you must take.” Piazzolla developed his distinct (continued, p.34)
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VIVALDI (continued)
for almost 200 years. In the 1950s Vivaldi’s music began to re-emerge and the four concerti, The Four Seasons, were especially popular. In Winter, we hear icy pizzicato notes from the high strings calling to mind freezing rain. Arpeggios and scales by the solo violin represent the whipping wind while heavy chords suggest stamping feet running to get warm. A warm melody from the solo violin brings thoughts of a cozy room with its roaring fire. Finally, sliding phrases by the violin suggest walking and slipping on thin ice.
W I N T E R Antonio Vivaldi
Allegro non molto
Frozen and shivering in the icy snow, In the severe blasts of a terrible wind To run stamping one’s feet each moment, One’s teeth chattering through the cold.
Allegro
To walk on the ice with tentative steps, Going carefully for fear of falling. To go in haste, slide, and fall down to the ground, To go again on the ice and run, In case the ice cracks and opens. Largo To spend quiet and happy times by the fire To hear leaving their iron-gated house Sirocco, Boreas, and all the winds in battle— While outside the rain soaks everyone. This is winter, but it brings joy.
DECEMBER
WINTER
SUMMER PIAZZOLLA (continued)
sound by incorporating Argentinian tango with elements of jazz and classical music, thus transforming them into a more sophisticated “Nuevo tango.” Using exciting rhythms and harmonies combined with dissonance, he elevated this sensual folk music to a sophisticated art form. Impressed by Vivaldi’s Four Seasons Piazzolla composed a group of four solo pieces covering the seasons of Argentina. Each of the four is a single movement with different moods; he did not write any prose to explain the works. These four pieces, Cuatro Estaciones, were arranged 34
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for Piazzolla’s Nuevo tango quintet (violin, piano, electric guitar, double bass and bandoneon) between 1964-1970. In the late 1990s, some years after Piazzolla’s death, Latvian violinist Gidon Kremer commissioned Russian composer Leonid Desyatnikov to arrange Piazzolla’s pieces as a companion to Vivaldi’s Four Seasons for solo violin and strings. Desyatnikov wove some of Vivaldi’s Winter themes into Piazzolla’s Summer. (Recognize that summer in Argentina is the country’s coldest period – which relates to Vivaldi’s winter in Italy.) The solo
violin in Desyatnikov’s work is extraordinarily difficult. At times the sounds are produced by using the bow hair and at other times the wooden part of the bow. Summer contains a double-stopped dissonant glissando within the main theme. There are two internal cadenzas. The first, played by the cello, is reminiscent of Bach’s unaccompanied cello suites. Then comes a slow, lyrical middle section, which returns to the first theme and a second cadenza, this time for violin. It concludes with a snapping harshly bowed variation of the opening theme.
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F E AT U R E D G U E S T A R T I S T S : D E C . 5
Siegwart Reichwald is Professor of Music History at Converse College where, in addition to teaching, he conducts the Converse Symphony Orchestra. His book, The Genesis of Felix Mendelssohn’s Paulus, dealt with the compositional process of Mendelssohn’s oratorio Paulus. He is the author of articles on music by Mendelssohn, Brumel and Poulenc.
His principal research interests are in the music of Felix Mendelssohn, the Classic/Romantic period and orchestral performance practice. He recently edited Mendelssohn in Performance, a collection of essays dealing with performance practice issues in the music of Felix Mendelssohn.
Holt Andrews joined the First Presbyerian Church of Spartanburg in 1992. As Music Director, he oversees the entire music program; directs Chancel Choir, Chamber Singers, Genesis Choir, and Handbells Choir; serves as resource for both paid and volunteer musicians; works with pastors to plan music for all worship services; plans and executes special concerts, recitals, and programs; and serves as part of the pastoral care team. Prior to joining First Presbyterian, Holt served as Music
Mallory Hayes is a senior Violin Performance major at Converse College. She is attending on the Paddison Music Scholarship, which is a full comprehensive scholarship. She received her high school diploma from the University of North Carolina School of the Arts in 2012. She was recently named the 2015 Presser Scholar in recognition of outstanding achievement as a music major at Converse College. She won the 2013 Greater Anderson Musical Arts Consortium Concerto and the 2013 Converse Symphony Orchestra concerto competition, performing the first and second movements of the Barber Violin Concerto, respectively, with the orchestras. She won the Music Teachers National Association South
Carolina State competition in the Young Artist Strings category in 2014 and 2015, going on to compete in the Southern Division competition. Mallory has studied and performed in masterclasses with Charles Castleman, James Lyon, Benjamin Sung, Will Fedkenheuer, Janet
Director for churches in Summerville, SC, Beckley, WV, and Nashville, TN. An Arkansas native, Holt holds a Bachelor degree in Music Education from Rhodes College and a Master in Sacred Music from Scarritt Graduate School. Holt has directed the Spartanburg Festival Chorus, and has appeared in and served as musical director for the Spartanburg Little Theatre. He is a board member for the Spartanburg Repertory Company and is a member of the Spartanburg Music Club.
Sung, Rebecca McFaul, Jonathan Kramer, Vadim Gluzman, Carolyn Huebl, Amy Schwartz Moretti, Violaine Melancon, and Paul Kantor. She has also worked with members of notable string quartets such as the Penderecki Quartet, the Shanghai Quartet, and the Fry Street Quartet. She received a full scholarship to attend the 2014 Brevard Music Center Festival, performing in the Brevard Music Center Orchestra side by side with renowned concertmasters and musicians Bill Preucil, David Kim, Noah BendixBagley, and accompanying world renowned soloists, most notably Itzhak Perlman. Mallory is currently the Principal Second Violin of the Spartanburg Philharmonic Orchestra. HearHERE
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United Arts Fund Donors July 1, 2014-June 30, 2015
Thank you to the businesses and individuals who participated in the 2014-15 United Arts Fund Campaign. We truly appreciate Greater Spartanburg’s support of one of our most treasured resources, Chapman Cultural Center and the arts, sciences, history and humanities here and throughout our community. Corporate Donors Public Grants City of Spartanburg County of Spartanburg South Carolina Arts Commission Founders’ Circle American Credit Acceptance, LLC Bank of America - Spartanburg BMW Manufacturing Company, LLC Duke Energy Foundation Inman-Riverdale Foundation J M Smith Foundation Milliken Foundation OTO Development Phifer Johnson Foundation Romill Foundation Spartanburg Regional Healthcare System Wells Fargo Foundation President’s Circle Coca-Cola Bottling Company Denny’s Corp. JM Smith Corporation Johnson Development Associates McAbee,Schwartz,Halliday and Co. Metromont Corporation Sew Eurodrive, Inc. TD Charitable Foundation Pacesetter Advance America Blue Cross and Blue Shield of South Carolina Budweiser of Spartanburg Contec, Inc. KapStone Paper and Packaging Corporation Knights Apparel, Inc. Kohler Company Marriott at Renaissance Park Piedmont Natural Gas Company Inc. Security Finance Corp. Southern States Packaging Co. SunTrust Bank ;HYNL[ *VYWVYH[L 6ɉJLZ William Barnet & Son, LLC World Acceptance Corporation WSPA TV Leader BB&T Better Homes and Gardens Real Estate, Young & Company Blackwood Associates Inc. Duer/Carolina Coil, Inc. Costco Leigh Fibers Inc. Martex Fiber Southern Corp Parker, Poe, Adams & Bernstein, L.L.P. Polydeck Screen Corp Publix Supermarket Charities
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Pure Barre Corporation Southern Printing Spartanburg County Foundation The Palmetto Bank Vic Bailey Ford, Inc. Waldrop Inc Walmart Supercenter #1281 Eastside White’s Pine Street Exxon @V\UN 6ɉJL :\WWS` Zimmer America Corporation Patron National Bank of South Carolina Partner Carolina Alliance Bank Colonial Trust Company CWS Insurance Agency Inc. George Johnson Insurance, Inc. Hodge Floors Johnson Smith Hibbard and Wildman QuikTrip Corporation Sam’s Wholesale The Piedmont Club Supporter Atchison Transportation Services ComFab Inc. 1LɈ /VY[VU 0UZ\YHUJL 0UJ McCutchen Engineering Assoc, PC McMillan Pazdan Smith Mezger, Inc. Performance Payroll Price’s Store for Men Stone Lighting The Merit Group/Lancaster Associate Carey Moving and Storage, Inc. Comfort Keepers Gatti’s Pizza Hilldrup Moving & Storage IBM Matching Grants Program Law Insurance Agency Marko Chemical Inc. Mon Amie Morning Cafe Papa’s Development Corporation QCS, Inc. Sage Automotive Interiors Friend Amazon Smiles Choice Chiropractic & Wellness Care Girls for Steam Hayssen Sandiacre Hyde Law Firm, P.A. M & R Granite Co. Inc. Nash Electric Supply North American Flags 9PɈLUI\YN 0UZ\YHUJL :LY]PJLZ 33* The Duke Energy Foundation Matching Gifts
Individual Donors Founders’ Circle Mr. & Mrs. Jimmy I. Gibbs Mr. & Mrs. George Dean Johnson, Jr. Mr. & Mrs. J. Michael Kohler, Jr. Mr. & Mrs. Thomas P. Nederostek President’s Circle Mr. & Mrs. Robert W. Allen Mr. & Mrs. William Barnet III Mrs. Elizabeth S. Chapman Mr. & Mrs. Walter S. Montgomery, Jr. Mr. & Mrs. J. Patrick O’Shaughnessy Mr. & Mrs. Peter Weisman Pacesetter Dr. & Mrs. Scott B. Boyd Mr. & Mrs. Charles J. Bradshaw Mrs. Donna Cart Ms. Beth C. Cecil Mr. & Mrs. T. Alexander Evins Ms. Sarah Chapman Jackson Mr. & Mrs. William Lowndes III Mr. & Mrs. Barry B. McNaughton Mr. & Mrs. John D. Montgomery Mrs. Anne Porcher Perrin Leader Dr. & Mrs. G. Ashley Allen Dr. & Mrs. Mitchell H. Allen Dr. Thomas Ashley & Dr. Juliette Saad Mr. & Mrs. Robert D. Atkins Mr. & Mrs. William E. Bagwell Mr. & Mrs. Vollie C. Bailey, Jr. Mr. W. D. Bain, Jr. Mr. & Mrs. John P. Barber Mr. & Mrs. Thomas G. Barnet Mr. & Mrs. Bert Dixon Barre Mr. & Mrs. John E. Bauknight IV Mr. Kyle Riser & Ms. Virginia Benintende Mr. & Mrs. Glen B Boggs II Dr. & Mrs. James E. Bradof Mr. & Mrs. George Brandt III Mr. & Mrs. Robert A. Brannon Mr. & Mrs. Walter M. Brice II Mrs. Mellnee G. Buchheit Mr. & Mrs. William H. Burton III Dr. & Mrs. Henry Frederick Butehorn III Dr. & Mrs. Louis Buttino Dr. & Mrs. B. Brant Bynum Mr. & Mrs. William A. Caldwell Dr. & Mrs. Ernest Camp III Mr. & Mrs. Christopher L. Cannon Mr. & Mrs. Harold McMillan Cannon Mr. & Mrs. Terry L. Cash Ms. Kathleen M. Cates Mr. & Mrs. MacFarlane L. Cates, Jr. Mr. & Mrs. C. Cam Cecil Mr. Douglas M. Cecil & Dr. Julie J. Cecil Mr. & Mrs. Randall K. Chambers Mr. & Mrs. Alfred Foster Chapman Mr. & Mrs. Norman H. Chapman Mr. & Mrs. Robert H. Chapman III Mr. & Mrs. Jerry A. Cogan, Jr.
Mr. & Mrs. William M. Coker The Honorable & Mrs. J. Derham Cole, Sr. Mr. & Mrs. Justin Converse Mr. & Mrs. Martin S. Cornelson Mr. & Mrs. Paul J. Cote’ Mr. & Mrs. Kenneth R. Couch Mr. & Mrs. Julian Crawford Mr. & Mrs. E. Dixon Crenshaw, Jr. Mr. & Mrs. Christopher Marion Crowley Mrs. Nancy Rainey Crowley Mrs. Earlene G. Cyrill Mr. Frederick B. Dent, Sr. Mr. & Mrs. Chris A. Dorrance Mr. & Mrs. Raymond A. Dunleavy Angelina Painter Eschauzier Mr. & Mrs. Andrew J. Falatok Dr. & Mrs. John S. Featherston Mr. Michael Ferguson Dr. Elizabeth A. Fleming & Mr. Edward I. Weisiger, Jr. Mr. & Mrs. A. Gordon Floyd Mr. & Mrs. W. Russel Floyd Mr. & Mrs. Lawrence E. Flynn, Jr. Mr. & Mrs. Caleb C. Fort Ms. Elaine T. Freeman Mr. & Mrs. H. Laurence Fritz, Jr. Dr. & Mrs. J. Sidney Fulmer, Sr. Mr. & Mrs. James S. Fulmer, Jr. Mr. & Mrs. John W. Gandy Mr. Jimmy N. Gibson & Dr. Karen M. Czuba-Gibson Ms. Joan Gibson Mr. & Mrs. Barney G. Gosnell Mr. & Mrs. J. Thomas Grier Mr. James H. Grier Mr. & Mrs. John D. Groves Mr. & Mrs. Roger Habisreutinger 4Y :[L]LU ( /HPYÄLSK Mr. & Mrs. Troy M. Hanna Mr. & Mrs. Thomas E. Hannah, Sr. Dr. & Mrs. John A. Harrill, Jr. Miss Elisabeth E. Hayes Mr. & Mrs. J. Howard Henderson Mr. & Mrs. Rick M. Higgins Mr. William C. Hightower & Dr. Mary Lou S. Hightower Dr. & Mrs. Michael W. Holmes, M.D. Dr. Leslie W. Howard, Jr. Mr. & Mrs. Michael Hrubala Mr. & Mrs. James W. Hudgens Mrs. Elsa P. Hudson Mr. & Mrs. James D. Hunt Mr. & Mrs. Henry Jackson Dr. Henry J. Janiec Mr. & Mrs. David G. Johnson Mr. & Mrs. Geordy Johnson Mr. & Mrs. Stewart H. Johnson, Sr. Ms. Wallace Eppes Johnson Dr. & Mrs. Julian C. Josey, Jr. Dr. Joseph Kavanagh & Dr. Julie Kavanagh Dr. & Mrs. John E. Keith, Jr. Dr. & Mrs. Wood N. Lay Dr. & Mrs. W. Brownlee Lowry Mr. & Mrs. William Alan Lyles Mr. & Mrs. Jason C. Lynch Mrs. Nancy T. Lyon
Mr. & Mrs. Edward Mabry Mr. Zerno E. Martin, Jr. Mr. & Mrs. William Mayrose Mr. & Mrs. John S. McBride, Jr. Dr. & Mrs. Thomas R. McDaniel 4YZ :VUPH ) 4J+\ɉL Mr. & Mrs. Thomas P. McMeekin Mr. Stanford McMillan Mr. & Mrs. Michael L. Menard Don & Mary Miles Mr. & Mrs. D. Byrd Miller III Mr. Scott K. Mitchell Mr. & Mrs. William H. Mitchell Mr. & Mrs. Joe Mize Mr. & Mrs. Walter S. Montgomery IV Mr. & Mrs. William James Montgomery Mr. & Mrs. Douglas B. Nash Mr. & Mrs. George Nixon Joy & Walter Oates Mrs. William W. Old III Mr. & Mrs. Stephen Parrott Mrs. Thomas P. Pennell Mr. & Mrs. Craig M. Phillips Mr. & Mrs. John S. Poole Mr. & Mrs. L. Perrin Powell Mr. & Mrs. Norman F. Pulliam, Sr. Mr. & Mrs. John F. Renfro, Jr. Mr. & Mrs. Robert P. Richardson V Dr. & Mrs. Regis H. Robe Mr. & Mrs. C. Leslie Roberson Mr. & Mrs. Randy Romberger Dr. & Mrs. Nayef Samhat Mr. & Mrs. G. Garrett Scott Mrs. Prudence S. Scott Dr. & Mrs. Peter A. Sereque Mr. & Mrs. Marvin Siegel Dr. & Mrs. Steven J. Smiley Mr. & Mrs. Ron G. Smith Mr. & Mrs. Roland A. Stebbins Mr. & Mrs. Hank J. Steinberg Mr. George E. Stone Mr. David E. Tate Mr. & Mrs. George C. Todd, Jr. Dr. Joella F. Utley Mr. & Mrs. Manuel Vallarino Mrs. Barbara Wade Mr. & Mrs. Gregory H. Wade Mr. & Mrs. Benjamin R. Wall Mr. & Mrs. John T. Wardlaw Mr. & Mrs. William M. Webster IV Dr. Charles White & Ms. Ruth Cate Mr. & Mrs. John B. White, Jr. Dr. & Mrs. Thomas D. White, Jr. Mr. & Mrs. Donald B. Wildman Mr. & Mrs. Benjamin S. Willard Mr. & Mrs. William G. Willard III Mr. & Mrs. James C. Wilson, Jr. Mr. & Mrs. Donald P. Woodward Dr. & Mrs. Timothy J. Yeatman Mr. & Mrs. Michael K. Young Mr. & Mrs. Thomas R. Young III Mr. & Mrs. Kurt Zimmerli Mr. & Mrs. Mark J. Zimmerli
LINK UP: ANNUAL YOUTH CONCERT F E B RUA RY 2 0 1 6
E
very 4th grade student in Spartanburg County Schools is given the opportunity to join the orchestra in this highly participatory program, in which they learn to sing and/or play an instrument in the classroom and perform with a professional orchestra from their seats at a culminating concert. This is the ultimate collaboration and partnership of community, teachers, schools, students and the orchestra.
High Quality Curriculum Materials are provided free of charge by Carnegie to each participating student and teacher. Staff development webinars are offered to every teacher that includes program information, instructional plans, and now even assessments that outline and document growth over time
with musical skills and literacy are available. The schools provide transportation to and from the concert, purchase recorders for the students, provide substitutes to enable the music teacher to attend the concert with his/her students and their teachers. The music teachers provide their expertise in providing high quality instruction to prepare students on the music to be performed and attend staff development through the webinars offered by Carnegie and by master teachers and orchestra members during county wide inservice opportunities here at home, many as volunteers who believe in this program. SPO provides the musicians, performers, venue, and hosts for the concert and necessary rehearsals.
Orchestra members and Sarah makes visits to the schools to work directly with the students during the preparation process connecting with students on a personal and musical level throughout the school year.
The 2014-2015 Link Up concert was generously sponsored by Duke Energy. These funds provided the support required for the SPO to provide three free concerts for over 3600 students and enabled the schools to fuel 84 school buses. HearHERE
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PATRON INFORMATION RESTROOMS are located off of the first
L AT E S E ATIN G: For the listening pleasure of our audiences, late arriving patrons will not be seated while music is being performed. Latecomers will be seated at the first appropriate pause in the program. Additionally, those patrons who must leave prior to the end of the performance are asked to leave only between selections if at all possible.
floor lobby. TIC KE T D ONATI ON : We are unable to issue refunds for unused tickets. However, if you are unable to attend a concert, we encourage you to donate your tickets. When you donate your tickets to the SPO, you not only receive a donation tax receipt, but you also share your seat with another music lover. If you would like to give in this way, please notify our ticket office at least 24 hours prior to the performance.
IN CA S E O F E ME RGE NCY: Prior to the performance, we request that you familiarize yourself with the locations of all exits in case of an emergency. If the power to the building should be interrupted for any reason, our generator will begin within 10 seconds for lighting. CA ME RA S , CE L L P HONES, RE CO RDE RS , WATCH ALARMS, & S IMIL A R DE V ICE S : To ensure a quality
experience for everyone, the use of flashphotography or video/audio recording equipment is strictly prohibited. Patrons are asked to turn off or mute (not just turn to vibrate) all personal electronic devices prior to the performance.
If a concert is canceled or rescheduled due to inclement weather, a tax letter will be provided for any ticket returned within 24 hours after the original concert date. SEATING : Twichell Auditorium uses a reserved seating system, so please keep your ticket with you at all times to verify section and seat specifics should there be any confusion. Chapman Cultural Center Theatre uses a general admission system and does not reserve seating.
340 EAST MAIN ST. SPARTANBURG, SC 29302 864.580.8448
flittle@cbcaine.com R EA L ESTAT E
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Free Pick Up and Delivery! 448 Marion Ave Spartanburg SC 29306
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www.bellcleaners.com (864) 583-8668
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Best Wishes
to the Spartanburg Philharmonic for the 2015 - 2016 season!
Francie Little AGENT