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Volume 95, Fall 2023

200 East Saint John Street Spartanburg, SC 29306 864.948.9020

INFORMATION

CONCERTS

Calendar of Events . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Music Sandwiched In . . . . . . . . . . . . . . . . . . . . . . . . 21

Ticket Information . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Espresso no. 3: Café Celestial . . . . . . . . . . . . . . . . . . . 22

Your Visit to the Philharmonic . . . . . . . . . . . . . . . . . . . 5

Espresso no. 4: Dark Roast Dance . . . . . . . . . . . . . . . . 23

Spartanburg Philharmonic Board of Directors . . . . . . . . . . 7

Bluegrass Spartanburg: Missy Raines & Allegheny . . . . . . . 24

Spartanburg Philharmonic Staff . . . . . . . . . . . . . . . . . . 8

Bluegrass Spartanburg: Junior Sisk Band . . . . . . . . . . . . 25

Spartanburg Philharmonic Orchestra Committee . . . . . . . . 9

Zimmerli Series: Beethoven, Symphony no. 4 . . . . . . . . . . 33

Corporate Partners & Funders . . . . . . . . . . . . . . . . . . 10

Zimmerli Series: Shostakovich, Symphony no. 5 . . . . . . . . 41

Spartanburg Phiharmonic Annual Fund . . . . . . . . . . . . . 12

Youth Orchestra: Winter Concert . . . . . . . . . . . . . . . . 50

Legacy Society Funds . . . . . . . . . . . . . . . . . . . . . . . . 15

Youth Orchestra: Spring Concert . . . . . . . . . . . . . . . . . 51

Instruments of the Orchestra . . . . . . . . . . . . . . . . . . . 28 Spartanburg Philharmonic Musicians . . . . . . . . . . . . . . 30 We are Music Education . . . . . . . . . . . . . . . . . . . . . . 56 Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

From the Board President & Executive Director . . . . . . . . . 6

Authors Diana Maley Berti Molly Cribb

ARTICLES

Katherine Poss Chris Vaneman

Music Lovers' Luncheon . . . . . . . . . . . . . . . . . . . . . . 27 How to Sponsor a Musician . . . . . . . . . . . . . . . . . . . . 29 Meet: Joanna Mulfinger, Concertmaster . . . . . . . . . . . . 30 Spotlight: The Close Family . . . . . . . . . . . . . . . . . . . . 48

Photographers Kavin Bradner Chandler Crawford Peter B. Kay

Mark Olencki Katherine Poss

Symphony: A Poem . . . . . . . . . . . . . . . . . . . . . . . . . 54

Design Peter B. Kay

Connect with the Spartanburg Philharmonic! See photos and video of the symphony on stage, backstage, and behind the scenes. Learn more about music and musical life, and stay up-to-date about our upcoming events. Like, Follow, and Watch facebook.com/SpartanburgPhil instagram.com/SpartanburgPhilharmonic youtube.com/SpartanburgPhilharmonic

HearHere: Spring 2024

CALENDAR OF EVENTS

SPRING 2024

Zimmerli Series (page 33)

Youth Orchestra (page 51)

Espresso Series (page 22)

Music Sandwiched In (page 21)

Bluegrass Spartanburg (page 24)

Event

Date

Venue

January The Jazz Antagonists

Wed 1/10

Spartanburg County Library

Arbor Wind Trio

Wed 1/24

Spartanburg County Library

Espresso no. 3: Café Celestial

Fri 1/26

Chapman Cultural Center

SPYO: Winter Concert

Sun 2/4

Twichell Auditorium

Spook Handy

Wed 2/7

Spartanburg County Library

Beethoven, Symphony no. 4

Sat 2/17

Twichell Auditorium

Bluegrass Spartanburg

Wed 2/21

Spartanburg County Library

Missy Raines & Allegheny

Fri 2/23

Chapman Cultural Center

Laurel and the Lads

Wed 3/6

Spartanburg County Library

Espresso no. 4: Dark Roast Dance

Fri 3/15

Chapman Cultural Center

Spartanburg Little Theatre

Wed 3/20

Spartanburg County Library

Best of Broadway with Spartanburg Little Theatre

Sat 3/23

Twichell Auditorium

Junior Sisk Band

Thurs 3/28

Chapman Cultural Center

Southwind: The Recorder Consort

Wed 4/3

Spartanburg County Library

Tom Wright's Cat & Mouse Ensemble

Wed 4/17

Spartanburg County Library

Shostakovich, Symphony no. 5

Sat 4/20

Twichell Auditorium

SPYO: Spring Concert

Sun 4/21

Twichell Auditorium

Philharmonic Flutes

Wed 5/1

Spartanburg County Library

Reel Sisters

Wed 5/15

Spartanburg County Library

February

March

April

May

SpartanburgPhilharmonic.org/Events 4

TICKET INFORMATION SpartanburgPhilharmonic.org/box-office-venues

Twichell Auditorium

at Converse University Box Office Hours 10:00 AM - 2:00 PM, M-Th 10:00 AM - 1:00 PM, F

Chapman Cultural Center Box Office Hours 10:00 AM - 5:00 PM, T-Th 10:00 AM - 2:00 PM, F Closed Mon

(864) 596-9018 580 East Main Street Spartanburg, SC 29302

(864) 583-2776 200 East Saint John St. Spartanburg, SC 29306

Zimmerli Series & Youth Orchestra Individual Tickets

Espresso & Bluegrass Series Individual Tickets

Spartanburg Philharmonic Administrative Offices 9:00 AM - 5:00 PM, M-F (864) 948-9020 200 East Saint John St. Spartanburg, SC 29306 Season Tickets

YOUR VISIT TO THE PHIL Restrooms: Restrooms in Twichell Auditorium are located off of the first floor lobby and next to the handicap accessible entrance in the auditorium. Restrooms at the Chapman Cultural Center are located to the left and right of the main entrance lobby.

Seating: Twichell Auditorium uses a reserved seating system

for our Zimmerli Series concerts, so please keep your ticket with you at all times to verify section and seat specifics should there be any confusion. Chapman Cultural Center also uses a reserved ticket system for Bluegrass Spartanburg. For our Espresso Series, Chapman uses a General Admission system and does not reserve seating.

Late seating: 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 (typically during applause). Additionally, we ask that patrons who must leave prior to the end of a performance exit only between selections if at all possible.

Ticket donation: 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 back or give them to a friend. When you donate your tickets to the Spartanburg Philharmonic, 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. 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.

Accessibility: The Spartanburg Philharmonic is committed to providing an environment that is welcoming and inclusive to all patrons. Persons requiring assistance are encouraged to call the respective box offices for direct assistance in purchasing the appropriate tickets.

Please note that Twichell Auditorium does not currently have an elevator for balcony seats. Wheelchair accessibility is located at the side entrance of the auditorium. The Chapman Cultural Center is fully ADA compliant, and the theater has state-of-the-art hearing assistance technology. In addition to traditional amplification devices, such as headphones, the theater is equipped with “The Loop” technology.

Food/Beverage: No food or drink, other than bottled water, is allowed in Twichell Auditorium.

Cameras, cell phones, recording devices, watch alarms, and similar devices: To ensure a quality

experience for everyone, the use of flash-photography 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.

In Case of Emergency: 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, generators will begin within 10 seconds for lighting.

The Mission of the Spartanburg Philharmonic is to enrich, inspire, and educate through live performances of high-quality music.

FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR favorites. In each concert there is a treat for the first timer as well as the most seasoned concert goer. Our Espresso Series concerts continue to get rave reviews. We offer light bites, drinks, comradery, and a one-hour “just right” concert for the price of your ticket. Peter B. Kay guides us through the concerts, and you will be not only entertained but inspired. In January, the tranquil, woodwind sounds of Café Celestial will offer a heavenly setting and familiar melodies. In March, a caffeinated Dark Roast Dance will blend the upbeat sounds of piano, violin, trumpet, clarinet, flute, and cello. These concerts are youthful, current, and creatively rewarding and you will be so glad you were there!

“Music can name the unnameable and communicate the unknowable.”

-Leonard Bernstein

There is a buzz around town about the brandnew era that was ushered in when 10th Music Director John Young Shik Concklin conducted an unforgettable debut concert in September. You - our stakeholders, donors, and season subscribers delivered the warmest welcome possible. We could not be more grateful. As you make your 2024 plans, please plan around these three Zimmerli Series concerts: Saturday, February 17, 2024 Beethoven Symphony no. 4 Saturday, March 23, 2024 Best of Broadway with Spartanburg Little Theatre Saturday, April 17, 2024 Shostakovich Symphony no. 5 John Concklin and our musicians will return to the stage to transport us to that unnameable place. Each concert will deliver a new, fresh experience that we can share together. Thoughtful planning has woven stories that bring the classics, like Beethoven and Gershwin, that we all know and love, together with living composers, diverse guest artists and Broadway

Spartanburg Philharmonic

Our Bluegrass Spartanburg concerts are getting national attention. This series has a loyal local following that draws not just from the Upstate but other states as well. Put on your boots and jeans and join the craze of world-class traditional Bluegrass right in your own backyard. Missy Raines & Allegheny, a Grammy nominee and 10-time IBMA Bass player of the year, in February and Junior Sisk Band, with his quintessential bluegrass vocals with a touch of gospel in March are both guaranteed to get your feet tapping. As a result of the overwhelming success of the Music Trail Live! concert, watch for the roll-out of the newly updated Music Trail signs throughout downtown Spartanburg. In short order, you will be able to be a tourist in your own town – taking a walking trail of those musicians, learning about their national recognition, and listening to their music on your phone. An educational component is being designed for field trips for school students as well. Music can be unnameable at times. Music can communicate the unknowable at times. Come to our concerts. Make new concert friends. See what everyone is talking about.

Karen Parrott

President of the Board of Directors

Kathryn H. Boucher Executive Director

BOARD OF DIRECTORS

Karen Parrott President

Dr. Cabe Loring President Elect

David Smart Treasurer

Chris Strickland Secretary

Chip McLeod Past President

Dr. Barry Bodie

James Cheek

John Cribb

Sharon Doyle

Dr. Mark Ferguson

Peter Grzan

Ross Hammond

Dr. Chandra Hopkins

Curt Laird

Dr. Ohmar Land

Samantha Larkins

Kay Maddox

Judy McCravy

Alex Hunt North

Dr. Rick Orr

Helen Tipton

Kate White

Dr. Meisha Whitlock

Dr. Sidney Fulmer

Lifetime Board Member HearHere: Spring 2024

PHILHARMONIC STAFF

Kathryn H. Boucher Executive Director

Peter B. Kay General Manager & Composer in Residence

Chandler Crawford Marketing & Audience Experience Manager

Robert G. Borden Orchestra Librarian

Kordell Hemphill Events & Office Coordinator

Katherine Henderson Poss Development Manager

Hannah Simpson Education Manager

Susana M. Lalama Symphony Conductor

Joshua Miller Prelude Conductor

Youth Orchestra

Spartanburg Philharmonic

SpartanburgPhilharmonic.org/Staff

ORCHESTRA COMMITTEE

Ian Bracchitta Principal Bass

Diana Maley Berti Orchestra Committee Chair, Viola Section

Alvoy Bryan Jr. Principal Viola

Andrew Merideth Associate Principal Horn

Theresa Jenkins Russ Violin Section

Kelly Vaneman Associate Principal Oboe

The goal of the Spartanburg Philharmonic’s Orchestra Committee is to amplify our musicians’ voices throughout the organization and ensure that communication runs smoothly among musicians, staff, and board. Committee members provide a musician’s insights on operational issues as well as artistic policies like outlining a new process for how to select the next concertmaster. We also mediate complaints and conflicts among musicians and staff. Some members serve on multiple committees – we had two members serve on the recent Music Director search committee – to facilitate communication among groups. At least one member of the orchestra committee attends each board meeting to convey the considerations and concerns that are unique to the world of working musicians. This participation ensures that musicians are a part of the decision making at the highest level of the organization.

have won their spot in the orchestra through audition. We represent most of the instrument families – strings, brass, and woodwinds with current members – and have experience playing in more than a dozen orchestras across the region which helps us stay current with best practices from the field. Our day jobs range from college professor to middle school orchestra director to financial advisor to work-from-home mom, and these varied experiences bring diverse perspectives to our decision making. We are proud to represent the musicians of the Spartanburg Philharmonic and are deeply grateful for the tremendous support from the community, the board of directors, and the staff who have kept the organization financially and operationally sound. We look forward to continuing to support our fellow musicians as we make fantastic music this season and for many, many seasons to come.

Orchestra Committee members are elected from among the core musicians of the orchestra, those members who

Diana Maley Berti Committee Chair

HearHere: Spring 2024

CORPORATE PARTNERS When arts and businesses partner, everyone profits. With corporate partnerships, our concerts and events provide invaluable exposure to prospective and current clients, educate the public about your business initiatives, offer networking opportunities with clients, and provide benefits for employees. For full details regarding our Corporate Partnership packages, please contact: Kathryn Boucher, Executive Director kathryn@spartanburgphilharmonic.org

F O U N D A T I O N

FUNDERS Balmer

F O U N D AT I O N

Spartanburg Philharmonic

Donations given to Chapman Cultural Center’s Annual United Arts Fund supports Spartanburg Philharmonic through a General Operating Support Grant. Chapman Cultural Center is a proud supporter of Spartanburg Philharmonic and their mission.

SPARTANBURG PHILHARMONIC ANNUAL FUND We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic. This list reflects gifts received July 2022 through June 2023.

Benefactor ($25,000+) The Balmer Foundation Mr. and Mrs. William Barnet III Mr. and Mrs. George Dean Johnson, Jr. Mrs. Nelly Zimmerli Maestro ($10,000-$24,999) Anonymous Dr. Barry Bodie and Ms. Laurel D. Johnson Mr. and Mrs. John Cribb An Evening of Divertimentos & Dressage Mr. and Mrs. Roger Habisreutinger Alfred Moore Foundation Mr. and Mrs. Stephen P. Parrott Virtuoso & Podium ($5,000-$9,999) Mr. and Mrs. Andrew Babb Ms. Laura Henthorn Mr. and Mrs. John S. McBride, Jr. Mr. and Mrs. Wiley North Baton ($2,500-$4,999) Mrs. Mac Cates, Jr. Mr. Thomas Hudgens In Memory of CRI, M.D. Mr. and Mrs. Paul Lehner Mr. and Mrs. V. C. McLeod, III

Mr. and Mrs. Don Miles Mr. and Mrs. Thomas P. Nederostek Dr. and Mrs. Rick Orr Mr. and Mrs. H. Peter Theiler Mr. and Mrs. Geoffrey Wilson

SpartanburgPhilharmonic.org/GiveNow

E ARE USIC

Principal ($1,000-$2,499) Mr. and Mrs. Stanley Baker Mrs. Susan H. Baker Ms. Karen E. Bjelland Ms. Kathryn H. Boucher Ms. JoAnn Bristow Mr. Lawrence P. Butka & Mr. Gregory Sigg Murphy Mr. Jason Bynum Dr. and Mrs. Ernest Camp III Mr. Mark Carlson Mr. James Cheek Mr. and Mrs. Jerry Cogan Mrs. Celia Cogdell Mr. and Mrs. Ken Deems Mr. and Mrs. Frederick B. Dent, Jr. Mr. and Mrs. Ray Dunleavy Mr. and Mrs. David Ellis Dr. Mark Ferguson Ms. Joan B. Gibson Mr. Peter Grzan Drs. Chandra & Boone Hopkins Dr. Leslie W. Howard, Jr.

Dr. and Mrs. Louis Knoepp, Jr. Dr. Ohmar Land Clint and Samantha Larkins Dr. and Mrs. Gene Lassiter Mr. and Mrs. Lindsay Little Dr. and Mrs. Caleb Loring, IV Col. and Mrs. Robert N. Maddox John McAllister & Katee Castleman Ms. Judy McCravy Mr. E.T. McLean Dr. and Mrs. Peter Sereque David and Jennifer Smart MG(R) Edwin E. Spain, III & Mary B. Spain Mrs. Tamela Spann Mrs. Jack Steinberg Mr. and Mrs. Eliot Stone Mr. and Mrs. Chris Strickland Mr. and Mrs. Walter Sunderlin Mr. and Mrs. Peter Weisman Mr. and Mrs. Donald Wildman

Fellow Musician ($500-$999) Laura Allen and Roger Sullivan Mr. and Mrs. Tom Barnet Scott and Rhonda Beckey Mr. and Mrs. James Burchfield Mr. and Mrs. Halsey Cook Allen and Sharon Doyle Mr. and Mrs. Lawrence Flynn, Jr. Mr. and Mrs. Brandt Goodwin Mr. J. Mark Hayes, II Dr. and Mrs. David A. Holt Mrs. Patricia Hudgens Mr. and Mrs. Chip Johnson Dr. Peter B. Kay & Jenny Bonner Mr. and Mrs. Robert Lyle Mr. and Mrs. William C. Mayrose

Bob and Karen Mitchell Dr. Melinda Moretz Mrs. PJ Morrow Mr. and Mrs. John R. Murphy Mr. and Mrs. Walter Oates Mr. and Mrs. Walter Oliver IV Ms. Joy Shackelford Ms. Johanna Lewis & Mr. Richard Spiers Mr. Peter Stegemann Mr. and Mrs. Joseph B. Traywick, II Mr. and Mrs. Robert Troup Mr. and Mrs. Marshall T. Walsh Mr. and Mrs. Taylor White Dr. Meisha Whitlock Dr. and Mrs. Stefan Wilkes

SpartanburgPhilharmonic.org/GiveNow

Patron ($250-$499) Martha and Clarke Blackman Mr. and Mrs. Jan Caldwell Mr. and Mrs. David Cecil Mr. and Mrs. Joe Cheatham Ms. Elaine T. Freeman Mr. Thomas Frick Mr. and Mrs. James Glenn Mrs. Lucy Hummers

Rear Admiral and Mrs. Stephen Johnson Mr. and Mrs. Stephen Josefski Cathryn and Michael Judice Cindy and Keith Kelly Mr. and Mrs. Donald H. McClure Mr. and Mrs. Boyce Miller Mrs. T. S. Miller, Jr. Mr. Jeffrey Nye

Mr. Dwight F. Patterson, Jr. Ms. Katherine Poss Dr. and Mrs. Jan H. Postma, Jr. Dr. and Mrs. Nayef H. Samhat Dr. Bill Scott Helen and John Tipton Jack and Jane Turner Dr. & Mrs. Auburn Woods

Members ( $100-$149) Ms. Kathy J. Allen Mrs. Ruta Allen Patty and C. Mack Amick Mr. David Anderson Ms. Frances J. Bagwell Ms. Pat Wilks Battle Mrs. Margaret Baughman Mr. and Mrs. Charles Baxter Cyndi and David Beacham Ms. Cathy L. Beck Diana and Alden Berti Mr. and Mrs. Louie W. Blanton Mr. and Mrs. Thomas Blexrud Ms. Harriet Bolen Mr. Robert Borden Mr. and Mrs. Tim Brannon Mrs. Susan Britanisky Mr. Jack Bucher Dr. John Burchfield Robert and Maggie Burnette Dr. and Mrs. William W. Burns Mr. and Mrs. W. Waller Caldwell, Jr. Mr. and Mrs. James G. Cantrell Mr. and Mrs. Robert Case Mr. Charles Clementson Ms. Patricia Cook Mr. Bill and Mr. Martin Cooper-Meek Mr. James C. Curry Mr. and Mrs. William Davis Ms. April Preston & Mr. Kyran Dowling Ms. Alice M. Eberhardt Mrs. Sharon Free Ms. Allen-Fry and Mr. Fry Mr. Heiner Gallmann Col. (Ret.) James D. and Jackie George

Gerald and Hanh-Trang Ginocchio Mr. and Mrs. Jack Gowan Mr. and Mrs. Bruce Greenberg Ms. Karen Hanke Mr. and Mrs. Peyton Harvey Mrs. Patricia Garst Hevener Nancy and John Holmes Mr. and Mrs. Robert Houston Ms. Nancy Hughes Mr. and Mrs. Michael Humeniuk Ms. Erin Hurlbert Mr. and Mrs. Robert E. Hyatt Harriet and David Ike Dr. and Mrs. William A. James Ms. Mary Jenkins Warren Jenkins & Theresa and Leon Russ Ms. Kathleen Jones Ms. Janet Kias Mr. and Mrs. George King Jr. Mr. and Mrs. Thomas N. King Mr. and Mrs. Walter Kucaba Ms. Najean Lee Mr. Derek Lewis Ms. Cornelia Linder Mr. and Mrs. Horace C. Littlejohn, Jr. Mr. and Mrs. George Loudon, Jr Mr. Harold Luhrsen Mr. and Mrs. Kingsley Martin Thorne and Harrison Martin Mr. Daniel Mayer Ms. Cynthia Howe & Mr. Daniel McBride Dr. Cavert K. McCorkle Mr. Joseph McCown Ms. Carol B McCulloch

SpartanburgPhilharmonic.org/GiveNow

Ms. Cabell Mitchell Ms. Bonnie-Lee Mizzell Ashley and Taylor Moody Mr. and Mrs. John P. Moore Dr. and Mrs. Tom Moore Kam and Emily Neely Mr. David Nichols Dr. and Mrs. W. Harold Nixon Mrs. Lisa O’Connell Hall Mr. & Mrs. Daniel O’Connell Mr. Gerald Palmer Mr. and Mrs. Charles L. Powell Dr. Terry O. Pruitt Ms. Elizabeth Refshauge Ms. Naomi Richardson Ms. Rosemary Moody Roberts Mr. and Mrs. Hubert Shuler Mr. and Mrs. Nalin Srivastava Mr. and Mrs. Michael Staley Mr. and Mrs. Frederick Stoll Mr. and Mrs. Ray Sturm Ms. Donna Terry Dr. and Mrs. Ralph Tesseneer Mrs. Martha I. Tiller Malinda & Charles Tulloh Mrs. Sandra G. Turner Mr. and Mrs. Gregory Wade Mrs. Margit Wagner Mr. and Mrs. William Walsh Dr. and Mrs. Lawrence N. Warren, Jr. Mr. and Mrs. Paul D. Weaver Douglas and Rita Weeks Maryela and Frank Weihrauch Ms. Linda Sangster West Ms. Libbo Wise Mr. and Mrs. Bob Wynn

LEGACY SOCIETY FUNDS Many donors feel strongly about preserving the legacy of classical music in the community. They are able to do so by remembering the Spartanburg Philharmonic in their wills, or by creating a planned gift to benefit the Philharmonic. These gifts can be un-restricted, or designated for a special purpose such as the endowment of the Philharmonic. The array of giving options and the ways you can incorporate them into your planning are as varied as the circumstances they serve. We are always available to provide you with further information and suggestions on gifts that fit your lifestyle and philanthropic goals.

THE

UTLEY LEGACY SOCIETY

We have created the 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 Spartanburg Philharmonic. 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.

Dr. Joe Roy Utley & Dr. Joella Utley

If you have chosen to remember the Philharmonic in this manner, we would like to hear from you and to include you either by name or anonymously (your choice) as a member of the Legacy Society. Members will enjoy a variety of Spartanburg Philharmonic activities as major donors.

JERRIE LUCKTENBERG CONCERTMASTER CHAIR ENDOWMENT THE

Dr. Jerrie Lucktenberg - former Concertmaster of the Greater Spartanburg Philharmonic (now the Spartanburg Philharmonic), artist, pedagogue, and author - retired from her position during the Philharmonic’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 Philharmonic has matched this gift, fully endowing the chair as the Jerrie Lucktenberg Concertmaster Chair. We hope you will be inspired to follow Dr. Lucktenberg’s generous lead.

For information about supporting a Legacy Society Fund, contact Kathryn Boucher, Executive Director: kathryn@spartanburgphilharmonic.org

864.948.9020 15

Music Trail LIVE!

Rocking the Chapman Stage Molly Cribb

Contributing Author

The raucous blues of Clara Smith in the Roaring ’20s. The Rockabilly rhythms of the Sparkletones in the 1950s. The hard-driving Southern rock of the Marshall Tucker Band in the 1970s. More than a hundred years of Spartanburg’s music history came to life last fall on October 27 when dozens of performers took the stage at the Chapman Cultural Center to honor Spartanburg artists and fundraise for the Spartanburg Music Trail. Music Trail Live! featured fourteen acts that wowed a sold-out crowd with tunes from all kinds of genres, including country, blues, jazz, bluegrass, gospel, rock n’ roll, and more. Spartanburg’s Music Trail was launched in 2011 to pay homage to artists who have helped make Spartanburg an extraordinary music scene. All of the Trail’s artists—from Hank Garland and Pink Anderson to Ira Tucker and Julius Cheeks—have made a national or international impact in the world of music. The Trail spans Spartanburg’s downtown as a self-guided walking tour, with ten signposts providing photographs and information about twenty artists, as well as song samples via your smartphone. Thousands of residents and visitors have followed the Trail, and now it’s finally getting the update it deserves. Big changes are coming. In 2024, thanks to money raised by ticket sales and generous sponsors, all the Trail’s signs will be replaced with fresh ones, and some will be relocated to make the Trail more walkable. Additional signs will honor new inductees. The Philharmonic will revamp the Trail’s website and develop an education component for students and teachers so they can learn about Spartanburg’s inspiring hometown musicians. Music Trail Live! was produced by Randy Foster, longtime

HearHere: Spring 2024

musician, teacher, composer, and popular performer around town. Randy knew the planning would be challenging, especially because the Music Trail covers such a wide range of history and musical genres. “I knew we wanted a very good representation of the musical diversity that’s on the Trail—blues, bluegrass, gospel, soul, rockabilly, Southern rock, jazz,” he says. “We had to look for people who could perform the acts.” The performers included out-of-town guests with personal connections to the Trail. Spartanburg native Marshall Chapman, a 2013 Music Trail inductee, kicked off the concert. The Reno Gang paid tribute to the famous banjo player Don Reno. The Warren Hood Trio, from Austin, played a mix of their own tunes and those of Uncle Walt’s Band. There was also plenty of local talent on stage playing tunes by Music Trail artists, including Simone Mack-Orr, Kordell Hemphill, Freddie Vanderford, Wayne Arthur, Jimmy Denton, Paul Riddle, Baker Maultsby, the Michael Young Singers, and Spartanburg Philharmonic strings. Three of the night’s performances were dedicated to inducting three brilliant artists onto the Music Trail. Fayssoux Starling McLean, James Reese, and the late Peter Cooper have all made important contributions to the musical landscape over the years, from writing and composing to music education, journalism, and production.

Spartanburg Philharmonic

Fayssoux McLean’s musical talent made an appearance early in her life when she became enamored with blues and bluegrass. She got her start as a young singer performing around Washington D.C., where she met Emmylou Harris and collaborated with her as one of her backup singers for several years afterward. “There is music flowing through my veins, and I’m thrilled that someone figured it out. Until I met Emmy, I was reticent about singing. I was shy,” Fayssoux recalls. When she first moved back to Spartanburg, Fayssoux put her guitar away and focused on raising her kids, but there was an empty part of her life waiting to be filled by a song. Peter Cooper reached out to her while doing research for his now-popular book Hub City Music Makers. “Peter Cooper was a wonderful innovator and promoter of talented musicians,” Fayssoux says. “He did a lot to get me to sing.” Peter helped her rediscover her passion and suggested that she try writing and recording her own songs as a solo artist. Now Fayssoux can be found playing at venues around town, often with Randy Foster and Brandon Turner. “I come from a musical family in Spartanburg,” she says. “It was just wonderful to be inducted onto the Trail.” James Reese is also a new inductee. Originally from the

From left: Fayssoux Starling McLean (new inductee); Baker Maulstby singing a tribute to Peter Cooper (new inductee); James Reese (new inductee)

Atlanta area, James moved to Spartanburg in 1966 to teach music in District 2. He fell in love with teaching, and over the years he became heavily involved with revitalizing Spartanburg’s public school music programs. When he wasn’t teaching students, James loved to jam around town with his trombone. “My principle co-owned a nightclub called the Robin Hood,” he remembers. “He asked me to start a band there. I got to meet a lot of musicians, so many musicians who played different styles of music. I jumped right in. I hadn’t been here long.” He ended up leaving town to play trombone with the Temptations, Stevie Wonder, Diana Ross, Smokey Robinson, The Jackson Five, and more. But Spartanburg called him home, and his legacy lives on through the various music and theater programs he helped start. He continues to support young musicians in this community. James was heart-warmed by the reception he received from Spartanburg upon his induction. “I almost thought when I stepped out there that they were already cheering me on,” he says. “I was amazed by the excitement in the air. The people were genuine, and they continued to cheer me on.” Both Fayssoux and James stress the vital role that mentorship plays within the Spartanburg music community. Spartanburg musicians have a long history of supporting and teaching one another. Younger musicians

look to their mentors as they grow up, and having that mentorship can often give them a foot in doors that might otherwise be closed to them. This idea of mentorship was a big part of Peter Cooper’s approach to preserving Spartanburg’s music legacy. Peter helped conceptualize the Music Trail, researched Spartanburg’s music history, and sought out connections between people. He encouraged Fayssoux to start singing again, and his passion for Spartanburg’s talent helped lead to Fayssoux, James, and all of the other concert performers coming together for a remarkable night. Now, Peter is finally being inducted onto the Music Trail. “Simply said, Peter would not have been Peter without Spartanburg and the citizens of Spartanburg who taught him, welcomed him, were taught by him, encouraged him, and gave opportunities for him to develop his talent and love for both writing and music,” Peter’s father, Wiley Cooper, says. “His love for Spartanburg and its great music tradition continued until his death. It is evidenced and lives on in his songs, in his seminal book, Hub City Music Makers, in the Spartanburg Music Trail, and the lives of the many Spartanburg citizens that he loved.” The Music Trail is changing and growing with downtown Spartanburg. Stay tuned for more to come.

HearHere: Spring 2024

Proud to support the arts in our community with a standing ovation.

At The Johnson Group, we believe in the power of partnership and the transformative energy of the arts. That’s why we’re proud to support the Spartanburg Philharmonic.

TheJohnsonGroup.com

BEYOND THE SYMPHONY

Music Sandwiched In Celebrating over 25 years of Music Sandwiched In, Spartanburg Philharmonic is proud to present an exciting line up of performers for its popular series at the Spartanburg County Public Library Headquarters! MSI is on-going throughout our season, and all concerts are free and open to the public. All are welcome! Presented by Spartanburg Philharmonic

Spring BARRET ROOM

Jan. 10 . . . . . . . . . . . . . . . . The Jazz Antagonists

Spartanburg County Public Library, Headquarters 151 South Church Street

Jan. 24 . . . . . . . . . . . . . . . . . . . Arbor Wind Trio

W ED N E S DAY S

Feb. 7 . . . . . . . . . . . . . . . . . . . . . Spook Handy

12:15 - 1:00 PM

Feb. 21 . . . . . . . . . . . . . . . Bluegrass Spartanburg Mar. 6 . . . . . . . . . . . . . . . . . Laurel and the Lads In Partnership with:

Mar. 20 . . . . . . . . . . . . Spartanburg Little Theatre Apr. 3 . . . . . . . . Southwind: The Recorder Consort Apr. 17 . . . . . . Tom Wright's Cat & Mouse Ensemble May 1 . . . . . . . . . . . . . . . . . Philharmonic Flutes

Read more online:

May 15 . . . . . . . . . . . . . . . . . . . . . .Reel Sisters

Programs subject to change. All timings are approximate.

SpartanburgPhilharmonic.org/MSI

HearHere: Spring 2024

Espresso Series

Café Celestial F R I DAY

Jan. 26, 2024 5:30 PM Pre-Show Mixer 6:30 PM One-hour Concert Info & Tickets Online:

@ the Chapman Cultural Center

Featuring: Wind Quintet Soar with us through the starry evening on the airy notes of our Wind Quintet, showcasing the talented Principal players from the flute, oboe, clarinet, bassoon, and horn sections. From the delicate World-Mothering Air by Peter Bruun to the warmth of Amy Beach's Pastorale to the sparkling Divertimento by Malcom Arnold, it will be an uplifting night of music featuring a light yet warming blend of music! Come early, and enjoy drinks & hors d'oeuvres during our one-hour, pre-show mixer in the lobby. Doors open at 5:30!

Spartanburg Philharmonic

Dark Roast Dance

@ the Chapman Cultural Center

F R I DAY

Featuring a Mixed Ensemble: Flute, Clarinet, Trumpet, Piano, Violins, Viola, and Cello

5:30 PM Pre-Show Mixer 6:30 PM One-hour Concert

Through a fantastic blend of classical and contemporary chamber music, this concert will feature melodies inspired by dance. From the famous Kaiser Waltz by Johann Strauss II to the flashy Tarantelle by Camille Saint-Saëns to the fiery Clearing, Dawn, Dance by Judd Greenstein, the music will move you as our musician’s fingers fly over the strings, tickle the ivories, and leap from note to note.

Mar. 15, 2024

Info & Tickets Online:

Come early, and enjoy drinks & hors d'oeuvres during our one-hour, pre-show mixer in the lobby. Doors open at 5:30!

SpartanburgPhilharmonic.org/Espresso

HearHere: Spring 2024

Peter Grzan, Committee Chair Kristin Scott Benson Joe Cheatham Walker Copley Ray Dunleavy Michael Ferguson Ben Burke Howell Chris Kennedy Chris Strickland

Missy Raines & Allegheny F R I DAY

Feb 23, 2024 8:00 PM

GRAMMY nominated and 10 time IBMA Bass Player of the Year, Missy Raines' bluegrass roots are steeped in the traditions of West Virginia. Hard-driving at its core, Missy and her band offer energizing originality and innovation in their music.

@ Chapman Cultural Center Info & Tickets Online: Bluegrass Spartanburg is proudly supported by

Spartanburg Philharmonic

Andrew & Kitsy Babb Eliot & Michel Stone Jason Bynum

Bluegrass Spartanburg presents both international and local award-winning bluegrass bands in its fourshow series. In 2015, a small group of bluegrass fans living in Spartanburg partnered with the Chapman Cultural Center to bring world-class bands to our hometown. The pilot season was such a success that they sought to expand with the help, experience, and leadership of the Spartanburg Philharmonic. In the fall of 2017, in partnership with the Philharmonic, the series relaunched as“Bluegrass Spartanburg” and has seen enormous success ever since. Bluegrass Spartanburg hopes to continually offer its fans the opportunity to enjoy outstanding bluegrass music in the Upstate.

Junior Sisk Band T H U R S DAY

Mar 28, 2024 8:00 PM

Junior Sisk is widely recognized as one of today's top bluegrass vocalists and is a constant reminder that traditional bluegrass is still alive and well. A longtime resident of the Virginia Blue Ridge, his bluegrass pedigree runs deep.

@ Chapman Cultural Center Info & Tickets Online: Bluegrass Spartanburg is proudly supported by

Andrew & Kitsy Babb Eliot & Michel Stone Jason Bynum

SpartanburgPhilharmonic.org/Bluegrass

HearHere: Spring 2024

Merrill is proud to support the Spartanburg Philharmonic.

V.C. “Chip” McLeod, CFP®, SE-AWMA™ Senior Resident Director Senior Portfolio Manager 864.596.5474 Merrill Lynch Wealth Management 295 East Main Street Spartanburg, SC 29302 fa.ml.com/mcleod

Merrill Lynch, Pierce, Fenner & Smith Incorporated (also referred to as “MLPF&S” or “Merrill”) makes available certain investment products sponsored, managed, distributed or provided by companies that are affiliates of Bank of America Corporation (“BofA Corp.”). MLPF&S is a registered broker-dealer, registered investment adviser, Member SIPC and a wholly owned subsidiary of BofA Corp. Investment products:

Are Not FDIC Insured

Are Not Bank Guaranteed

May Lose Value

The Bull Symbol and Merrill are registered trademarks of Bank of America Corporation. CFP Board owns the marks CFP®, CERTIFIED FINANCIAL PLANNER™, and CFP® (with plaque design) in the U.S. The College for Financial Planning Institutes Corp. owns the service marks Sports & Entertainment Accredited Wealth Management AdvisorSM, SE-AWMA℠ and the SE-AWMA℠ logo, and the certification marks Sports & Entertainment Accredited Wealth Management Advisor™, SE-AWMA™ and the SE-AWMA™ logo. A Senior Portfolio Manager can help clients pursue their objectives by managing on a discretionary basis his own Personalized or Defined Strategies, which may incorporate individual stocks and bonds, Merrill model portfolios, and third-party investment strategies. A Senior Portfolio Manager may make their strategies available to clients working with other Merrill advisors. © 2023 MAP5272720 | AD-06-23-0638 | 470944PM-0123 | 06/2023 26 Bank of America Corporation. All rights reserved.

Music Lovers' Luncheon

Hosted by The Piedmont Club of Spartanburg Did you know that each Friday preceding a Zimmerli Concert, the Spartanburg Philharmonic hosts a delicious lunch at the Piedmont Club? You are invited to join us for a delicious meal and learn more about the fantastic pieces you will hear at Saturday evening’s performance. The icing on the cake (and yes, you do get to visit the fan-favorite Piedmont Club dessert bar), is hearing directly from Music Director John Young Shik Concklin about the pieces which will be performed on Saturday night at the Zimmerli Series Concert. In addition to having a delicious lunch, this event is a wonderful way to become educated about and familiar with the pieces being performed at the upcoming concert. “Learning about the composers’ lives and what they were experiencing at the time they wrote the pieces is so interesting. I find when I attend the Zimmerli Concert after attending a Music Lovers’ Luncheon, I gain much more from my experience at Twichell. I find myself listening to hear certain themes and messages from the composers while the pieces are performed,” said Charlene Lyle, a Music Lovers’ Luncheon regular. “I like meeting

the conductor and getting to know him personally. After chatting with him, I feel like I’m watching a friend on stage and feel so proud to see him delivering a wonderful concert!” Oftentimes, in addition to our Music Director John Young Shik Concklin attending Music Lovers’ Luncheon, the featured soloists will also attend and offer an excerpt of their performance. The intimate size of this audience offers attendees an opportunity to ask questions of the conductor and of the soloists. It’s a truly special offering, and one we urge you to attend.

Spring Dates: • Friday, February 16 • Friday, March 22 • Friday, April 19 Piedmont Club members should RSVP to the Club. Non-Piedmont Club members should RSVP to: chandler@spartanburgphilharmonic.org (864) 278-9671 HearHere: Spring 2024

INSTRUMENT ROAD MAP

FLUTES & PICCOLOS

OBOES & ENGLISH HORNS

The highest, clearest sounding instruments in the woodwind family, the flutes and piccolos are seated in the middle of the stage, directly in front of the conductor.

The oboe and its larger sibling the english horn are seated next to the flutes. The oboe is the first thing you hear when the full symphony tunes at the beginning of a concert.

CLARINETS

BASSOONS

Clarinets come in a variety of sizes, from the small and highpitched E-flat, to the middle range B-flat, all the way down to the Bass Clarinet. They sit behind the flutes in the middle of the stage.

The bass instrument of the woodwind family, the reedy, almost growling nature of the bassoon is very recognizable. They sit next to the clarinets and behind the oboes.

HORNS

TRUMPETS

TROMBONES

TUBA

The heroic sound of the horns is instantly recognizable. The bell (or opening) of the horn faces away from the audience, and they are usually seated toward the back of the stage.

Brilliant and brassy, the trumpets power over the orchestra. They are usually seated toward the rear or side of the orchestra, facing the conductor.

Trombones are the only family of brass instruments that use a slide to change pitch instead of valves. Like the trumpets, they are usually seated behind the rest of the orchestra.

The tuba is the largest and deepest brass instrument. The bell faces upward toward the ceiling. You can usually spot the tuba near the trombones and low stringed instruments.

TIMPANI & PERCUSSION

HARP

Percussion is anything that you can strike or shake to make sound. The timpani (also called kettle drums) has been in the symphony for centuries. They are usually located behind or to the side of the rest of the orchestra. Other percussion instruments have slowly joined over the years as composers look for more colorful sounds.

Although not always a part of the symphony, the harp adds beautiful, sweeping colors to the orchestral sound. The harp is usually seated near (or even in) the violin sections.

VIOLINS

VIOLAS

CELLOS

BASSES

The highest instruments in the strings family, the violins are the largest group on stage. They are typically divided into first and second violins and are seated immediately to the conductor's left.

The violas are slightly larger and deeper sounding than the violins, and they blend well with most other instruments. They sit either in the middle of the stage in front of the oboes or to the conductor's immediate right.

The cellos have an enormous range, sometimes playing the bass line and sometimes the high melody. Like the violas, the cello section is in the middle or to the conductor's right.

The largest and lowest instrument in the string family, the basses are so big that musicians typically stand to play them. They are usually positioned near the cellos and the tuba.

Spartanburg Philharmonic

OUR MUSICIANS

How to Sponsor a Musician Musician Sponsorship is one of the many benefits of being a Philharmonic supporter. At the giving level of $1,000 and above, you have the option to sponsor a musician and be listed beside their name in the program.

Top left: Rosalind Buda (bassoon) with chair sponsor Judy McCravy at Music Sandwiched In. Top Right: Ken Frick (trumpet) with chair sponsor Dr. Ohmar Land. Above: Diana Maley Berti (viola) with chair sponsor Peter Grzan.

Musician sponsorship is important since it not only fosters a relationship between the donor and musician, but it helps the Spartanburg Philharmonic raise critical funds to keep our program thriving. We would like to extend a huge thank you to everyone who currently sponsors a musician! (see pages 32 & 33) Stay tuned for exciting musician and sponsor opportunities coming up this season. And if you’d like more information on sponsoring a musician, please reach out to Katherine Poss in the Philharmonic office. katherine@spartanburgphilharmonic.org

HearHere: Spring 2024

OUR MUSICIANS

Spartanburg Philarhmonic Orchestra Members & Chair Sponsors as of August 2023

Violin I

Violin II

Viola

Joanna Mulfinger, Concertmaster

Ashley Horvat, Principal

Alvoy Bryan Jr.*, Principal

Endowed by the Dr. Jerrie Lucktenberg Concertmaster Endowment

Mr. & Mrs. Roger Habisreutinger

Simone Beach, Assistant Principal

Courtney LeBauer, Associate Concertmaster

Mr. & Mrs. George Dean Johnson

Mary Irwin

Robin Hague Els

Ms. JoAnn Bristow

Carla Bilger Randolyn Emerson

Mr. and Mrs. John Cribb

Amanda Gentile

Mr. & Mrs. Geoffrey Wilson

Abigail Inafuku

Mr. and Mrs. Chris Strickland

Emily Kirkpatrick Nyamka Odsuren

Mr. and Mrs. Peter Weisman

Christine Hallett-Penney

Mr. & Mrs. David Ellis

Arthur Ross, Assistant Principal

Laura Allen & Roger Sullivan

Amber Autry Diana Maley Berti*

Michele Tate Cockram

Mr. E.T. McLean, in memory of Henry Janiec

Mr. James Cheek Mr. Peter Grzan

Mr. & Mrs. Wiley North

Hannah Dara Scott Garrett Emma Smoker

Mrs. Tamela Spann

Michael Weaver

Theresa Jenkins-Russ* Allison Key

Jessica Martin

In Memory of CRI, M.D.

March Moody

Col. & Mrs. Robert N. Maddox

Helen Tipton

Dr. Melinda Moretz

Emily Riesser

Mr. & Mrs. Walter Sunderlin

Mr. & Mrs. Ray Dunleavy

Andrea Pettigrew Kathleen Robinson

Ms. Laura Henthorn

Ann Buttimer

Dr. Barry Bodie & Ms. Laurel D. Johnson

Endowed by friends and family in honor of Wallace Eppes Johnson

Bass Ian Bracchitta*, Principal

Mr. & Mrs. Don Miles

Cello Ismail Akbar, Principal

Mr. & Mrs. Stanley Baker

Kathy Foster, Assistant Principal

Lib & Rick Orr

Jean Anderson Jordan Bartow Meredith Keen

MG(R) Edwin E. Spain, III & Mary B. Spain

Mr. & Mrs. Jerry Cogan

Eric Scheider

Mr. & Mrs. Paul Lehner

Benjamin Smith

Matthew Waid, Assistant Principal Brian Gencarelli

Dr. and Mrs. Gene Lassiter

Dr. and Mrs. Peter Sereque Drs. Chandra and Boone Hopkins

Tim Easter

Meet: Joanna Mulfinger Concertmaster

Joanna Mulfinger is a native of Greenville, SC. She graduated from Bob Jones University and continued her education at the Peabody Conservatory in Baltimore, MD, receiving a Masters Degree under the tutelage of renowned Russian pedagogue Victor Danchenko. While at Peabody, she was awarded the J.C. van Hulsteyn Prize for Outstanding Musical and Academic Contributions. She has pursued additional summer music studies at the Juilliard School in New York, the Hanns Eisler Hochschule Fur Musik in Berlin, Germany,

Spartanburg Philharmonic

and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and has been on the faculty of several local universities. Joanna appreciates learning about all kinds of music. In 2016 she learned and performed a new work for erhu, a stringed instrument of Chinese origin. And, in 2017, as a result of her interest in Baroque violin playing, she started a Baroque String

OUR MUSICIANS

Flute & Piccolo

Horn

Timpani

Rhea Jacobus, Principal

Andrew Merideth*, Principal

Patrick Lowery, Principal

Mr. & Mrs. John S. McBride, Jr.

Caroline Ulrich

Mrs. Susan H. Baker

Jessica Sherer

Larry Butka & Greg Murphy

Oboe & English Horn Ginny Metzger, Principal

Mr. & Mrs. Donald Wildman

Chris George

Ms. Karen E. Bjelland

Darian Washington

Dr. Mark Ferguson

Ms. Joan Gibson

Dr. and Mrs. Ernest Camp III

Rachel & Ken Deems

Tyler Jones, Substitute Principal

David and Jennifer Smart

Kenneth Frick

Clarinet Karen Hill, Principal

Karen & Stephen Parrott

Mr. & Mrs. Lindsay Little

Bruce Cox

Mr. & Mrs. Thomas P. Nederostek

Mrs. Jack Steinberg

Mark Britt, Principal

Mr. and Mrs. Frederick B. Dent, Jr.

John Grodrian, Substitute Principal Rienette Davis

Bassoon Frank Watson, Principal

Dr. & Mrs. Caleb Loring, IV

Rosalind Buda

Ms. Judy McCravy

Stephanie Lipka Rhyne

Mr. Mark Carlson

Piano Brennan Szafron, Principal

Dr. Ohmar Land

Trombone

Kyra Zhang

Dr. Leslie W. Howard, Jr. Mrs. Celia Cogdell

Dr. & Mrs. Louis Knoepp, Jr.

Harry Hill‚ Jr.

Matt McDaniel, Co-principal Del Burton

Trumpet

Mary AllyeB Purtle

Percussion Adena McDaniel, Co-principal

Ericka Grodrian Jeanette Schlimgen

Mrs. Mac Cates, Jr.

Kelly Vaneman*, Associate Principal

John McAllister & Kate Castleman

Harp Emily Waggoner, Principal

Mrs. Nelly Zimmerli

Mr. & Mrs. V. C. McLeod, III Mr. & Mrs. H. Peter Theiler

Eric Henson

Clint & Samantha Larkins

Tuba John Holloway, Principal

Mr. & Mrs. William Barnet III

Ensemble at Anderson University, which she led for four years. Professionally, she has performed with Baroque ensembles, including The Sebastians in New York and New Jersey, and is currently a member of Early Music New York. Joanna is active at the Peace Center in Greenville, where she enjoys playing with National Tours of Broadway shows such as Disney’s Lion King, Chicago, Phantom of the Opera, My Fair Lady, White Christmas, Something Rotten, Motown, Newsies, Porgy and Bess, The Producers, Young Frankenstein, Evita, West Side Story, and Wizard of Oz, among others. She is also in demand to accompany local performances of popular touring artists such as Smokey Robinson, Celtic Woman, Trans-Siberian Orchestra, Josh Groban, Mannheim Steamroller, Anne Murray, Wayne Newton, and Johnny Mathis.

* Orchestra Committee Member

As a chamber musician, Joanna is a member of several local ensembles including the Mulfinger String Quartet, Trio Tapestry (guitar, cello, violin), Tryptich Musica (piano, horn, violin), and Steve Eager and Friends, a band that covers pop and Broadway tunes. She is an active orchestral musician. From 2007-2019 she was Assistant Concertmaster and then Concertmaster of the Spartanburg Philharmonic and returned in 2022, first as Interim Concertmaster and then on a permanent basis after the new Music Director was announced in 2023. She has been Principal Second Violin of the Greenville Symphony Orchestra since 2003. Joanna performs on a 1653 Nicolo Amati violin, a violin she inherited from her mother.

SpartanburgPhilharmonic.org/our-musicians

HearHere: Spring 2024

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ZIMMERLI SERIES

TWICHELL ABOUT AUDITORIUM THE MUSIC

Augusta Holmès

La nuit et l'amour (The Night and the Love)

6 min

Alberto Ginastera

Variaciones concertantes, Op. 23

February 17, 2024 7:00 PM

I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII.

25 min

Tema per Violoncello ed Arpa Interludio per Corde Variazione giocosa per Flauto Variazione in modo di Scherzo per Clarinetto Variazione drammatica per Viola Variazione canonica per Oboe e Fagotto Variazione ritmica per Trombe e Trombone Variazione in modo di Moto perpetuo per Violino Variazione pastorale per Corno Interludio per Fiati Represa dal Tema per Contrabasso Variazione finale in modo di Rondo per Orchestra

INTERMISSION

Ludwig van Beethoven

Symphony No. 4 in B-flat, Op. 60 I. II. III. IV.

35 min

Adagio - Allegro vivace Adagio Allegro vivace Allegro ma non troppo

Program Online:

Programs subject to change. All timings are approximate. HearHere: Spring 2024

ABOUT THE MUSIC

If – as is, I’m afraid, not very likely – there are a bunch of movie producers attending tonight’s concert: listen up, guys. Have I got a pitch for you. Our movie begins in Paris in 1841, when a girl is born to Irish expatriates and possessors of a mysterious fortune; rumors will persist throughout her life that her natural father is a well-known poet who was long her mother’s lover.

La nuit et l’amour Augusta Holmès (1847-1903) COMPOSED

1888

INSTRUMENTATION

2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp, and strings APPROXIMATE DURATION

6 minutes

Spartanburg Philharmonic

The girl will fight her mother for the right to music lessons, and as her talents unfold, she comes into her parents’ fortune when they die. She becomes renowned as a composer even as she becomes a leading light in Paris’ cultural scene. Among her best friends and suitors are figures like the famous poet Stéphane Mallarmé and the famous musician Camille Saint-Saëns, and (perhaps following her mother’s example?) she bears several children out of wedlock to another famous poet, both indifferent and impervious to the attendant scandal. At the same time she is deeply politically active, committed to democracy and the independence of small nations like Ireland and Poland then subject to larger empires. Among her best friends is the Irish freedom fighter and exile Maud Gonne, and her home is a frequent refuge for the young W. B. Yeats.

The girl becomes a composer of vast ambition, inspired by the “total artwork” of Richard Wagner to write huge pieces for large orchestra, chorus, vocal soloists or narrators, for which she supplies all her own texts and stage directions. Because of their very hugeness and the skepticism she faces as a female composer, she struggles to get them staged, but she still manages to become the first woman to have an opera performed at the Paris Opera. Clever readers might have guessed that this movie will be a biopic of the composer Augusta Holmès, who was, clearly, an utterly unique and original figure. “La nuit et l’amour” is an excerpt from her huge 1888 cantata for choir, orchestra, and narrator, Ludus pro patria. “La nuit et l’amour” is a lush but brief interlude, preceded by a sexy text about angels, virgins, and lovers worthy of a 19th Century Gallic Duran Duran lyric. Full of rich and impassioned melody driven by the low strings, it’s a perfect datenight piece: succinct, romantic, and instantly appealing. So: producers? Have your people call my people. We’ll do lunch.

ABOUT THE MUSIC

If Augusta Holmès could easily be the protagonist of a (yet-unmade) dramatic movie, Alberto Ginastera might well have been a supporting character whose part in Evita didn’t quite make the final cut. But Ginastera was still the most important figure in Argentina’s musical world through the middle of the 20th Century, a politically engaged cultural leader who stood up bravely for democracy and artistic freedom, and a composer of colorful and engaging music of great virtuosity and appeal. In the early years of the 20th Century Argentina was a country of immigrants from across Southern Europe, and Ginastera, the son of a Catalan and an Italian, was typical of the nation’s melting pot. The nascent cultural scene in Buenos Aires, the country’s capital, supported a few small music schools, and Ginastera joined the faculty of the Williams Conservatory as soon as he graduated from it. Within a few years Ginastera had established himself among the country’s most accomplished musicians and most respected cultural figures. He was offered a generous sum to tour and study in America, but turned it down when he was asked to help establish a National Conservatory in Buenos Aires. In 1947 he finally did travel to America, where he became close to Aaron Copland; in 1952 he was fired for the first of two times as the Conservatory’s director by the popularist dictator Juan Perón, for opposing Perón’s plan to rename the institution after his recently-deceased wife, Evita. The succeeding government restored Ginastera to his post, but when Perón returned to power and then was followed by a right-wing dictatorship of equal corruption and brutality, the composer fled to Switzerland, where he lived his last years in exile.

The Variaciones Concertantes date to 1953, and like many of his best works display what he called a “subjective nationalism” – that is, they use elements adapted from Argentine traditions without incorporating folk music as such. They begin with a conspicuously Argentine gesture, as the harp plucks the same pitches as a gaucho strumming the open strings of a guitar, but it’s off to the races from that point, and in the midst of the full-technicolor cinematic journey that begins there a listener isn’t likely to take time to wonder which elements are “Argentine” and which ones just sound cool. The theme is stated in an impassioned and expressive two-minute cello-and-harp duet, and in the 11 sections that follow, all between one and three minutes long, every section is featured alone or in combination. Listeners are treated to extensive solos from the viola, double bass, and clarinet, with the clarinet solo being of a virtuosity almost unprecedented in orchestral music (just try typing “Ginastera clarinet variation” into YouTube to get a sampling of the many video tutorials offering tips and tricks to the soloist). In many theme-and-variation pieces the pleasure lies in tracing the theme as it’s transformed, but a listener who insists on that approach here is – it seems to me – going to miss out on the piece’s greatest joy. Sure, you could sit there going, “Okay, I think I heard the tune there! Or, wait a minute, was that actually the harmony being varied? Where am I again?” But Ginastera’s variations are so kaleidoscopic and colorful that you’ll do best just to treat it as a Disney World ride, hurtling you along from Tomorrowland to the Old West in seconds with the turn of a corner. Enjoy the ride!

Variaciones Concertantes

Alberto Ginastera (1916-1983) COMPOSED

1953

INSTRUMENTATION

2 flutes/piccolo, 1 oboe, 2 clarinets, 1 bassoon, 2 horns, 1 trumpet, 1 trombone, timpani, harp, and strings APPROXIMATE DURATION

25 minutes

HearHere: Spring 2024

ABOUT THE MUSIC

Symphony No. 4, Op. 60 Ludwig van Beethoven (1770-1827) COMPOSED

1806

INSTRUMENTATION

1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

APPROXIMATE DURATION

35 minutes

Beethoven stands as such a colossus in the history of music that he has even come to overshadow himself, a curious problem if ever there was one. He has come to be seen as music’s consummate Conquering Hero – the man who overcame deafness to write music of timeless glory, the composer who struggled through years of revising and rewriting to complete his greatest masterpieces, the radical who boldly broke existing conventions of form and harmony to paint a musical picture of an ultimately successful human struggle with fate. And all that is true! Beethoven really was all of those things – but he was also much more than that, even, and this is a truth that’s easy to lose sight of. Beethoven’s music, in fact, runs the whole gamut of human experience. His compositional voice is comfortable and distinctive even when moving within the conventions he inherited from Mozart and Haydn, and his portrayals of boisterous and even tipsy good humor, relaxed ease, and the gentle pang of unrequited love are just as vivid as his depictions of existential struggle. This phenomenon is on particular display in the realm of Beethoven’s symphonies. The Third, the Fifth, the Ninth – music lovers all know those titanic depictions of struggle and triumph. There are over 600 commercially available recordings of the Fifth alone, for instance, and that’s not even counting the disco version (by Walter Murphy and the Big Apple Band, you’ll recall) that was so popular in the Seventies. But too often the Fourth, like the Second and the Eighth, gets overlooked. Those symphonies don’t break the chains of convention and don’t depict Promethean spiritual conflict, but inhabit a happier realm of joy and love where excitement isn’t fraught with terror, and we tend to forget about them. We do so to our loss, however, and this evening’s performance of the Fourth – the Spartanburg Philharmonic’s first in some decades – is a reminder of that. Beethoven was typically in the habit of working on several pieces at once, skipping among them and endlessly revising each over an extended

Spartanburg Philharmonic

period, but the Fourth poured from his pen with Mozartean effortlessness in the summer and early fall of 1806. In fact he interrupted work on the Fifth to devote himself entirely to the Fourth, and the piece reflects his relatively cheerful state of mind during that summer. Over the previous few years the composer had come to terms with his encroaching deafness, had completed with enormous labor his lone opera, Fidelio, he had viewed the meteoric rise of Napoleon first with hope and then with rage (as the Little General reneged on his promises of democracy and had himself crowned), and premiered the massive symphony whose subtitle he changed from “Bonaparte” to “Eroica.” He was ready for a break, and he found one at the Silesian palace of the Count von Oppersdorf. Oppersdorf was a music lover who required that every servant in his household play an instrument, and he pulled them together for frequent concerts in his grand ballroom. We don’t know for certain that this Oppersdorfian ad hoc orchestra was the group that premiered the symphony, but it’s a safe bet that they read through some of its sketches, and we do know that Oppersdorf pampered his guest and paid him amply for the time he spent in Silesia. The Fourth’s relatively slender orchestration may well reflect the size of Oppersdorf’s ensemble, and it certainly reflects the approach to form and proportion of Haydn, Beethoven’s great teacher. The prolonged and mysterious introduction that sets up the energetic first movement is characteristically Haydnesque, as are the small harmonic and orchestrational jokes that stud the symphony like chocolate chips in a cookie. Be on the lookout (or listen-out, I suppose) for the fourth movement’s “Great Bassoon Joke,” as it’s been called for many years: two-thirds of the way through, when we recap our opening melodies, Beethoven places a scurrying tune usually played by the first violin section in the hands of a single chugging bassoon. Sometimes this sort of gentle comedy is exactly what the world needs.

Chris Vaneman

Contributing Author

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ZIMMERLI SERIES

TWICHELL ABOUT AUDITORIUM THE MUSIC

Joel Thompson

An Act of Resistance

7 min

Duke Ellington

Les trois rois noirs (The Three Black Kings) I. II. III.

15 min

King of the Magi King Solomon Martin Luther King

INTERMISSION

April 20, 2024 7:00 PM

Dmitri Shostakovich

Symphony no. 5 in d minor, op. 47 I. II. III. IV.

45 min

Moderato Allegretto Largo Allegro non troppo

Program Online:

Programs subject to change. All timings are approximate. HearHere: Spring 2024

ABOUT THE MUSIC

One of the unchallenged assumptions about classical music is that composers must, over the course of a piece, lead their audiences through moments of tension and confusion to an ending that feels “safe,” a melodic and harmonic return to home at the end of a journey. But what if a composer leaves a piece open-ended, and dares his players to, of their own free will, lead the audience to that safe place?

An Act of Resistance Joel Thompson (1988-)

COMPOSED

2017

INSTRUMENTATION

3 flutes/piccolo, 3 oboes, 2 clarinets & bass clarinet, 3 bassoons/contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani & percussion, harp, and strings APPROXIMATE DURATION

7 minutes

Spartanburg Philharmonic

In An Act of Resistance, the young composer Joel Thompson dares to ask that question. But Thompson, an Atlanta native who has been a choir director and music teacher and is now composer-in-residence at the Houston Grand Opera, isn’t just playing with the rules of form. He’s got a most serious and worthy goal, one he can explain better than I can: “If you don’t use it, you’ll lose it.” Many consider this oft-used saying to be true as it relates to physical fitness, artistic skills, and even mental fortitude. Given the ubiquitous divisiveness and turmoil in the world over the last few years, it seems that this adage may also have other applications. Maybe I’m naive, but I think our current condition can be diagnosed as a severe deficiency in empathy— our world is lacking the strength to love. We haven’t been using it, so we’ve lost it.

This dearth in empathy is so pervasive that is now the new norm. People pride themselves in their rigid opposition of even listening to someone of differing viewpoints in a spirit of openness. So I decided to write a piece that would help me, and hopefully others, rebuild the strength necessary to love deeply, genuinely, and passionately. This piece is essentially a battle between selfishness and empathy—pride v. love—and because one is easier than the other, the victor is clear towards the end of the piece. It is important that the decision to perform the music that follows “the end” remains a choice for each individual member of the ensemble. Asking orchestral musicians to put down their instruments and stand up and sing is risky. The act requires a certain vulnerability. It can be perceived as cheesy; It can elicit negative reactions. Only a few people may choose to do it, and therefore be lonely. It can be uncomfortable. But such is the love that is required to truly change our current circumstance.

ABOUT THE MUSIC

"There are simply two kinds of music: good music, and the other kind." Thus wrote Duke Ellington in 1963, and Ellington’s vast, five-decade career both testifies to and demonstrates that assertion. Ellington’s 20,000 performances, his output of 3,000 songs, pieces, and arrangements – they all point back to that central fact. Edward Ellington’s maternal grandparents had been enslaved, but he grew up in middle-class stability in segregated Washington D.C. On the family piano his father played the latest ragtime hits when his mother wasn’t playing operatic arias, and not long after beginning piano lessons himself at the age of seven the boy was given the nickname “Duke” in reference to his precocious poise and dignity. He was playing professionally in less than a decade, and turned down collegiate scholarship offers in art to build his musical career. By his mid-twenties he was a respected bandleader and songwriter as well as a pianist, and a five-year run as music director at Harlem’s famed Cotton Club made him one of America’s best-known musicians. By the time he left the Cotton Club, in 1932, in order to tour Europe with his band, Ellington’s sophisticated arrangements and compositions had gone a long way towards transforming jazz from a steamy vernacular music of illegal gin joints into the broadly respected art it is today. His innovations in orchestration and form and his group’s virtuosity and polish made jazz at home in the concert hall as well as the nightclub. By 1943 he had pushed onto the symphonic stage with his suite Black, Brown, and Beige, and while he continued to write for and lead his big band for decades, much of his creative energy in the next decades was devoted to blurring the distinction between “classical” and “jazz” – in effect, to recreate in the minds of the world the happy musical cohabitation of his parents as they shared the family piano. He and his band became the US State Department’s go-to goodwill ambassadors, performing thousands of concerts all over the world. During his life, he was awarded both the French Legion of

Honor and the American Presidential Medal of Freedom; after his death in 1974, he was depicted on the face of a commemorative quarter and a USPS postage stamp. The Three Black Kings – or, as Ellington’s puckish humor led him to call it in rhyming French, Les Trois Rois Noirs – was the very last of his 3,000 musical works. It had been gestating ever since the 1968 assassination of his friend, Rev. Martin Luther King, Jr, but it was Ellington’s final illness that spurred him to complete it. Not that he actually did so: he dictated much of it on his hospital bed to his son Mercer, but it fell to Mercer, with help from the eminent arranger Luther Henderson, to ready the piece for performance. It was finally premiered in 1976 as a ballet, choreographed by the great Alvin Ailey, rather than a concert piece. It’s not uncommon for especially good ballet music to live even more vibrantly in the concert hall than onstage (think The Rite of Spring or Bolero, for instance), and that’s the format we most often encounter The Three Black Kings in, as well. The piece’s closing section, a rousing, slow gospel groove that a solo saxophone propels to a soaring climax, was a celebration of and tribute to King after his murder. As was the composer’s habit, Ellington linked the story of the present – in the person of Dr. King – to the past, by preceding it with sections devoted to great Black kings of the past. The first of these, Balthazar (one of the three kings who brought gifts to the infant Christ, Balthazar was, in European tradition, Black), inspires the piece’s intensive, percussive opening section. That gives way to a lush, colorful, and mercurial portrayal of Solomon, celebrated here for the worldly splendors of his court as much as for his wisdom.

Les Trois Rois Noirs Duke Ellington (1899-1974) COMPOSED

1975

INSTRUMENTATION

2 flutes & piccolo, 2 oboes & English Horn, 2 clarinets & bass clarinet, 2 bassoons & contrabassoon, saxophone soloist, 4 horns, 3 trumpets, 3 trombones, tuba, timpani & percussion, harp, piano, and strings APPROXIMATE DURATION

15 minutes

“Beyond genre” was the phrase Ellington lived by, and it is well embodied by the glorious celebration of human possibility that is The Three Black Kings.

HearHere: Spring 2024

ABOUT THE MUSIC

Symphony No. 5, Op. 47 Dmitri Shostakovich (1906-1975) COMPOSED

1937

INSTRUMENTATION

2 flutes, 2 oboes & english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani & percussion, and strings

APPROXIMATE DURATION

40 minutes

One especially cold night in January 1936, Joseph Stalin went to the opera. The Soviet dictator was curious about Lady Macbeth of the Mtsensk District, the first opera by the enormously gifted young composer Dmitri Shostakovich. By that point Lady Macbeth had been running continuously for nearly two years, and its composer was already well known abroad as well as in the USSR. So when, two acts into the opera, patrons looked and saw that the Chairman’s box was already empty, they knew that, for Shostakovich, trouble was afoot. Sure enough, within two weeks an editorial had appeared in Pravda, the state-run newspaper, condemning Lady Macbeth and its composer. Titled “Chaos Instead of Music,” the article derided what it called “an incoherent chaotic stream of sounds” and “petty bourgeois sensationalism,” asserting, “it is difficult to follow such ‘music;’ it is impossible to remember it… Such music can only appeal to aesthetes and formalists who have lost all healthy tastes.” It concluded that “Soviet art can have no other aim than the interest of the people and the State.” This was more than just a bad review: it was, in effect, an artistic death sentence, pronounced by Stalin himself, and everyone knew it. Shostakovich, who had been as busy and popular as any Soviet composer, went into a sort of internal exile; he lost all his commissions and remained unperformed and unemployed for the better part of two years. This was harsh treatment by any measure (especially considering that Lady Macbeth is one of the finest operas of the 20th Century and is relatively accessible to audiences as well), and it was just beginning. Over the next dozen years Shostakovich and Prokofiev, among many others, would feel Stalin’s wrath whenever they wrote a note that displeased his decidedly middlebrow tastes. Until that point Shostakovich, who came of a liberal St. Petersburg family, had been sympathetic to socialist ideals, and was the first respected

Spartanburg Philharmonic

composer to be a product of the Communistrun State music schools. His First Symphony, which he wrote at 19 as a graduation exercise, entered the repertoire of orchestras in Europe and America as well as Russia within just a few years. So, Shostakovich was shocked and deeply traumatized by his treatment at the hands of the state, and when he was permitted to re-enter the Soviet music world with his Symphony No. 5 – to which he gave the groveling subtitle “A Soviet Artist’s Constructive Reply to Just Criticism” – the composer and his music were changed irreparably. While he was constrained by Stalin’s horror of formal, rhythmic, and harmonic complexity, Shostakovich’s slow movements grew more anguished and pleading, and his finales and scherzos developed a bitter, ironic, or even manic tone: if the dictator would compel him to be loud, fast, and motoric, Shostakovich would respond by pushing their loudness, speed, and register to unheard-of extremes. Shostakovich followed the letter of Stalin’s law, but flouted its spirit by exaggerating its diktats almost to obscene degrees. Shostakovich’s Fifth follows the same broad outline as Beethoven’s: a minor key transformed over four movements into a major one, with a touching slow movement shockingly interrupted by a brassy finale. The frantically insistent final resolution (octave A’s are repeated no less than 253 times before they finally resolve to the Symphony’s home note, a unison D) is one of the things that inspired Maxim Shostakovich, the composer’s son, to call the Fifth his father’s “Heroic Symphony.” But, as the insightful New Yorker music critic Alex Ross asks: at this moment, exactly who, or what, is triumphing?

Chris Vaneman

Contributing Author

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Making the Ordinary, Extraordinary.

Tickets: BalletSpartanburg.org

200 EAST SAINT JOHN ST. SPARTANBURG, SC 29306 864-583-0339 BALLETSPARTANBURG.ORG

Four generations of Music Lovers: Edna Jernigan; Gloria & Lee Close; Mary Grace & Grant Close and their children Jane, Grant, and Mary.

Spotlight: The Close Family Four Generations of Music Lovers

Katherine Poss

Development Manager

In almost every family, there is at least one photo picturing members of each generation posed together. For some families it might be three generations together, for others it might be four or even five. When we started talking about our Opening Night concert with friends around town, something unique was discovered: We were going to have FOUR generations of the same family listening to this concert! Gloria and Lee Close, who regularly enjoy Spartanburg Philharmonic concerts, had plans to come to Opening Night. Next, it was discovered their son and daughter-inlaw, Mary Grace and Grant Close, had plans to bring their son, Grant, who studies the bass at Pine Street School, to the concert to hear bass soloist Xavier Foley perform. And, finally, because we have established a relationship with Eden Terrace, Gloria Close’s mother, Mrs. Edna Jernigan, would also be listening to the concert. What a rare, special, and truly documentable occasion!

Spartanburg Philharmonic

And it’s the reason these four generations of music-lovers are highlighted in our Audience Spotlight. When asked how she feels about the Spartanburg Philharmonic, 96-year-old Mrs. Edna Jernigan, mother and mother-in-law to eight, grandmother of eight and greatgrandmother of seventeen, quickly replied, “I love it!” She attended her first orchestra performance in Raleigh, North Carolina, 78 years ago. While working full-time, farming and raising five children, she did not have the opportunity to hear concerts for many years. In 2017, she moved to Spartanburg and rediscovered her love of orchestral music. Mrs. Jernigan lived with Gloria and Lee Close, her daughter and son-in-law, for several years, which gave her the chance to reconnect with one of her passions by attending Spartanburg Philharmonic performances, as well as those school performances of her great grandchildren. Now, as a resident of the Eden Terrace Assisted Living facility, she enjoys watching the videos of each Spartanburg

SPOTLIGHT: THE CLOSE FAMILY

Philharmonic performance during the Watch Party following each live concert performance. She can be found in the front row! Within the Jernigan/Close family there are certain expectations that are not questioned. One of those is that everyone will study music. Edna played the piano for 88 years! Her eyesight prevents that now, but she still listens. Her children and grandchildren play a variety of instruments – violin, bass, cello, piano, trumpet, saxophone, euphonium, guitar, percussion, and others. Many family members have studied voice and been soloists in plays and choirs. Often there are impromptu recitals and jamming sessions in the Close home. Gloria and Lee even studied the great classical works under Dr. Lara Hoggard Keenan, Professor of Music at the University of North Carolina. This family counts the multi-generational, shared love of music a blessing; and hopes that love will endure in the future. Living on Otis Boulevard, the Closes were fortunate to have the legendary Carlos Moseley of The New York Philharmonic as a neighbor. He took great interest in the music studies of his young friends, listening to piano recital practices. His piano practices filled the street with world class music. Now, Courtney LeBauer, Associate Concertmaster of the Spartanburg Philharmonic, lives next door and once again, the air is filled with music. The family often rocks on the porch as Courtney plays. Many of the orchestra’s members are the Closes’ friends, neighbors, fellow church members and music teachers. That tells the youngest generation that music is a lifelong pursuit and companion. When asked about favorites, the responses included Richard Meyer (who arranges many school orchestra pieces), the orchestral rendition of Orange Blossom Special performed by the Spartanburg High School Orchestra, Bach, Beethoven Concerto No. 4 in G Major, Rachmaninoff Concerto No. 2 in C Minor, and Mozart Concerto No. 23 in A Major. Each year the Close family attends a presentation of Tchaikovsky’s Nutcracker and Handel’s Messiah. “We are thrilled to live in a city where great musicians, community leaders and patrons make fabulous music available to all of us. As a family, music is simply part of our lives. When our ten-year-old grandson asked to go to the Spartanburg Philharmonic concert, our gratitude for the orchestra grew. Our hope is that, as Spartanburg Philharmonic nears its 100th Anniversary, it will continue to bring greatness to Spartanburg.”

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

TWICHELL AUDITORIUM

Doug Spata

Across the Wind

4 min

Brian Balmages Scarborough Fair

Winter Concert Feb. 4, 2024 3:00 PM

2.5 min

Kirt Mosier

Two Scenes from the Hollow I. II.

7 min

Ichabod's Walk Hessian's Ride

Conductors

Susana M. Lalama & Joshua Miller

Leo Delibes, arr. Merl Isaac

Procession and Procession of Bacchus

5 min

Domenico Dragonetti Concerto in A I.

This concert is sponsored by:

Allegro Moderato

5 min

Ella Johnson, double bass

Traditional, arr. Paul D. Scott The Moon Represents My Heart

4 min

Wolfgang Amadeus Mozart Concerto for Clarinet III.

Rondo

Program Online:

6 min

Ryan Reynolds, clarinet

Franz Von Suppe

Overture to Poet and Peasant

10 min

Programs subject to change. All timings are approximate.

Spartanburg Philharmonic

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

TWICHELL ABOUT AUDITORIUM THE MUSIC

Kirt N. Mosier Dance of Iscariot

2.5 min

George Sweet

Bravery and Grace

Spring Concert Apr. 21, 2024 3:00 PM

3 min

Doug Spata

Beale Street Strut

2 min

Brian Balmages Lullaby to the Moon

Conductors

Susana M. Lalama & Joshua Miller

5 min

Alan Lee Silva Primrose Hill

3 min

Edvard Grieg

Peer Gynt Suite no. 1

This concert is sponsored by:

I. II. III. IV.

15 min

Morning Ase's Death Anitra's Dance In the Hall of the Mountain King

Fritz Kreisler

Praeludium and Allegro Carrera Stamile, mandolin

Program Online:

5 min

Arthur Pryor, arr. John McAllister

Blue Bells of Scotland Douglas Reid, trombone

6.5 min

George Gershwin, arr. Jerry Brubacker Rhapsody in Blue

9.5 min Programs subject to change. All timings are approximate. HearHere: Spring 2024

ABOUT THE SPYO CONDUCTORS

Susana Lalama SYMPHONY CONDUCTOR

Susana M. Lalama, Ph.D., is Associate Professor of Music Education and Director of the Petrie School of Music at Converse University. Dr. Lalama teaches undergraduate and graduate courses in instrumental music education and conducting, and supervises student teachers in instrumental music. She also advises graduate music education master’s theses and projects. Prior to her appointment as Director of the Petrie School of Music, she served as the Conductor of the Converse Wind Ensemble. Dr. Lalama grew up in Miami, Florida, and pursued her music education degrees from the University of Miami. Prior to her graduate degrees, she served as Director of Bands at Joshua Miller and Susana Lalama backstage at the April 2022 SPYO concert. Barbara Goleman High School in Miami Lakes, where under her direction, the wind ensemble, jazz band, and marching band consistently received superior ratings at district and state music performance assessments. When not teaching in the classroom, Dr. Lalama serves as the adviser of the Collegiate NAfME Converse Chapter. She also serves on the South Carolina Music Educators Association executive board as Past-President of the Higher Education Division and is the Editor of the South Carolina Musician, the official publication of SCMEA. Dr. Lalama is an active scholar, presenter, and researcher in music education. She has presented music education workshops on topics such as strategies for teaching intonation, classroom management for large ensembles, the student teaching experience, and artistry in conducting. Her research interests are centered on caring climates, student social behaviors, and music teacher education.

Joshua Miller PRELUDE CONDUCTOR

Although he didn’t originally set out to become a teacher, he received his Bachelor of Music degree in Music Education from Furman University. While in college, his plan was to become a dentist until he finally listened to the encouragement of those around him to consider teaching. The choice to become an orchestra teacher turned out to be one of the greatest decisions of his life. After graduation, Dr. Miller began his career in Anderson School District One teaching orchestra for grades 5-12. In 2016, he moved back to his hometown and joined the faculty at Spartanburg School District Two. As a music educator, he holds two main philosophies: kids who trust you can learn anything, and fundamentals are key to musical success. He currently teaches at Boiling Springs Middle School where his program, his students, and his teaching have continued to grow each year. In 2021, he was selected by his peers and administration to serve as Teacher of the Year. And this past year, he received the honor of being the WYFF News 4 Teacher of the Year. During his years as an orchestra teacher, his performance groups have earned numerous awards. Dr. Miller and his wife (Raven) currently reside in Inman, SC, with their son (Asher) and daughter (Ayla). He enjoys watching as much Netflix as possible and spending time with his family.

Spartanburg Philharmonic

ABOUT THE SOLOISTS

Ella Johnson

Ella Johnson is a senior at Boiling Springs High School and has played the double bass since 6th grade. After high school, Ella plans to attend college and major in Music Education and Double Bass Performance. She is also a bassist for the Piedmont Chamber Orchestra and BSHS jazz band, as well as the percussion captain of the Boiling Springs Marching Band and Indoor Percussion Ensemble. On February 4th, Ella will perform as one of SPYO’s featured soloists.

Ryan Reynolds

Ryan Reynolds is a homeschooled high school senior and is taking dual enrollment classes at Spartanburg Community College. In addition to his main instrument, the clarinet, he plays saxophone, oboe, flute, recorder and is learning piano. Currently Ryan studies clarinet under Karen Hill at Converse University, plays in several of the university's ensembles, and has received superior rankings in the SCBDA region and all-state bands. Though he has not decided where he will attend college, Ryan plans to major in music performance or composition.

Carrera Stamile

Carrera Stamile is a high school senior from Roebuck, South Carolina. She started violin at age 3 and, after eight years, switched to mandolin at age 11. Some of her honors and performance highlights include: two solo concerts (2021, 2022), soloist for Piedmont Chamber Orchestra (September 2022), Solo Honors Recital at Masterworks Festival (Summer 2022, 2023), first-place winner of Charleston International Baroque Music Competition (2022), Jack Kent Cook Young Artist Award recipient (2022), featured soloist on NPR's From the Top show #429 (April 2023). Carrera is currently playing a double-top mandolin built by Carlo Mazzaccara in Modena, Italy, and her goal is to pursue classical mandolin as a professional career.

Douglas Reid

Douglas Reid is a senior at Dorman High School who has been playing the trombone for 7 years. He will perform his concerto in the Spring Concert in April of 2024. Following High School, he plans to go to college to study engineering while also continuing to pursue music.

HearHere: Spring 2024

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

Symphony The first chord swells, the atmosphere is charged. Soul-sparks light the echoes to flame. Pieces of our hearts break away, Merging to become one. This is the Symphony. The second chord is formed. Grace Trittenwein is a high school sophomore who plays the violin in the Symphony Ensemble of the Spartanburg Philharmonic Youth Orchestra. Grace wrote the following poem after one of her violin lessons. "The first line came to me and the rest just flowed. I love playing with the full symphony and hearing each instrument come together."

Another stream of spoken gold Joins the flaming fountain of sound. Music the color of crimson. This is the Symphony. Wood and brass come alive in their master's hands. Their voices lilt and blend. Feeding life itself, Many voices become one. This is the Symphony. The hush is over, The world has awakened. A field of flowers bloom. And in the silence, there comes a whisper... This is the Symphony. E.G. Trittenwein

Spartanburg Philharmonic

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HearHere: Spring 2024

WE ARE USIC EDUCATION W

SpartanburgMusicTrail.com SpartanburgPhilharmonic.org/msi The "Music Sandwiched In" program features 22 free concerts each year held in the Barrett Room of the Spartanburg County Downtown Library. This 25+ year partnership enriches the lives of the intergenerational population of attendees. Over its span, thousands of individuals have enjoyed many genres of music including jazz, bluegrass, classical, and rock. During "Music Sandwiched In" the doors of the Barrett Room are left open, and the 105,000 square foot library is filled with music, laughter, and applause. Attendees are encouraged to bring their own lunch to enjoy the concert or to purchase a lunch on site. All are welcome! (see page 21 for more details)

Some cities celebrate their war heroes, others their sports stars, but in Spartanburg, it’s all about our musicians. Head out on the Spartanburg Music Trail, a 30-minute outdoor walking tour of the city’s incredibly robust music history. With your GPS enabled smartphone, you’ll be directed to each colorful marker to learn about the artists and hear the music that lifted them onto the national stage. You’ll also discover opportunities for side trips to further explore our musical heritage. The Spartanburg Music Trail honors musicians from Spartanburg who have made a national or international impact in the world of music. The stops highlight artists in such genres as country, gospel, soul, rock ‘n’ roll and more. Ultimately, the trail will circle the downtown as new inductees are added.

SpartanburgPhilharmonic.org/linkup For more than 15 years, the Spartanburg Philharmonic has partnered with Carnegie Hall's Weil Institute to present Link Up, a program that works with local communities to explore orchestral repertoire and fundamental musical skills, including creative work and composition, through a hands-on music curriculum. Link Up addresses the urgent need for music instruction and resources by providing a free, high-quality, yearlong curriculum that teachers can implement, along with classroom materials, online video and audio resources, and the professional development and support necessary to make the program an engaging experience for youth. The Spartanburg Philharmonic utilizes Link Up to provide a music curriculum to all 4th graders in Spartanburg County. This means over 4,000 youth join the Philharmonic in Twichell Auditorium each Spring for a participatory concert like no other!

SpartanburgYouthOrchestra.org The Spartanburg Philharmonic Youth Orchestra was founded in 2019 to bring together the best young players from across the Upstate as a core education program of the Spartanburg Philharmonic. Now composed of two high performing ensembles, the SPYO serves over 150 students in grades 6th - 12th each year. The Youth Orchestra provides a place where musicallyinclined students learn to master their instruments and collaborate with others to produce three highquality performances each year. Working with the SPYO challenges talented young musicians to grasp difficult repertoires and perform at a higher level than what is possible in their school orchestras. (see page 51 for more details)

SEPTEMBER 8-24, 2023

NOVEMBER 3-12, 2023

JANUARY 12-21, 2024

MARCH 1-10, 2024

MAY 3-12, 2024

JULY 12-21, 2024

SPARTANBURGLITTLETHEATRE.COM

Dr. Caleb Loring IV Licensed Psychologist www.DrCalebLoring.com

Phone: 864.641.6979 Fax: 864.278.0136

324 East St. John Street Spartanburg, SC 29302

BOX OFFICE: 864-542-2787

P E TR IE SCHO OL OF MU S I C P R ES E N T S

THE CARLOS MOSELEY CHAMBER MUSIC SERIES

Experience world-renowned musicians and support the arts! Your ticket purchase includes intimate receptions with champagne, hors d’oeuvres, and post-concert conversations where you can meet the performers.

2023-2024 Concert Season

9.25.23

Sharon Isbin with Jessica Rivera

2.26.24

The King’s Singers

11.13.23

Petrie at the Piedmont

4.22.24

Isidore String Quartet

To subscribe, visit: converse.edu/box-office/carlos-moseley-series

And dont miss MoseleyNext!

10.20.23

Akropolis Reed Quintet

Family-friendly, hour-long concerts on Friday evenings, featuring a casual setting, earlier start time, and happy hour before the concert.

3.22.24 Empire Wild

Converse University | 580 East Main Street, Spartanburg, SC 29302 | converse.edu | 864.596.9000

proud sponsor of the

SPARTANBURG PHILHARMONIC eatatwades.com

Calendrier Moonphase

STAGE • PHOTOGRAPH • PRICE • MARKET

My plan to stage, photograph, price, and market your home will hit all the right notes.

A special welcome to John Concklin All the best for a successful and best wishes for a great 2021-2022 season! 2024-2024 concert season!

Francie Little, REALTOR® & Spartanburg Philharmonic Board Member

864.580.8448

864-582-3028 TUE-FRI 9:00 TO 6:00 HILLCREST SPECIALITY ROW | 1040 FERNWOOD GLENDALE RD, SUITE 48 | SPARTANBURG

The 2023 Lincoln Aviator Intelligently Designed for Comfort and Convenience.

501 East Daniel Morgan Avenue Spartanburg, SC 29302 (864) 585-3600 VicBaileyLincoln.com

ADVERTISER INDEX Artists' Guild of Spartanburg . . . . . . . . . . . . . . . . . . . . 54 Ballet Spartanburg . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Bank of America . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Bernhardt House of Violins . . . . . . . . . . . . . . . . . . . . . 55 Caleb Loring, Licensed Psychologist . . . . . . . . . . . . . . . . 58 Chapman Cultural Center . . . . . . . . . . . . . . . . . . . . . . 11 Ciclops Cyderi & Brewery . . . . . . . . . . . . . . . . . . . . . . 37 CWS Insurance Agency . . . . . . . . . . . . . . . . . . . . . . . . 55 Francie Little, Coldwell Banker Caine . . . . . . . . . . . . . . . . 60

George Johnson Insurance . . . . . . . . . . . . . . . . . . . . . . 2 Henderson, Brandt & Vieth, P.A., Attorneys at Law . . . . . . . 47 Hodge Floors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Hyde Law Firm, P.A. . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Judy McCravy, Coldwell Banker Caine . . . . . . . . . . . . . . . 37 Lawson Academy of the Arts . . . . . . . . . . . . . . . . . . . . 46 Milliken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Reel Robertson, C.P.A. . . . . . . . . . . . . . . . . . . . . . . . . 45 Spartanburg | Greer ENT & Allergy . . . . . . . . . . . . . . . . . 45 Spartanburg Day School . . . . . . . . . . . . . . . . . . . . . . . 64 Spartanburg Little Theatre . . . . . . . . . . . . . . . . . . . . . . 58 Spartanburg Regional Healthcare System . . . . . . . . . . . . . 32 Spartanburg School Distric 7 . . . . . . . . . . . . . . . . . . . . 62 Spartanburg Science Center . . . . . . . . . . . . . . . . . . . . . 61 The Carlos Moseley Series . . . . . . . . . . . . . . . . . . . . . . 59 The Johnson Group . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Pharmacy Coffee . . . . . . . . . . . . . . . . . . . . . . . . . 49 TNB Financial Services . . . . . . . . . . . . . . . . . . . . . . . . 34 United Community Bank . . . . . . . . . . . . . . . . . . . . . . . 47 V.C. McLeod, CFP / Lynch Wealth Management . . . . . . . . . 26 Vic Bailey Lincoln . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Wade's Restaurant . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Watchworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Wofford College Arts . . . . . . . . . . . . . . . . . . . . . . . . . 46

Interested in advertising with the Spartanburg Philharmonic? Please contact Chandler Crawford: chandler@spartanburgphilharmonic.org (864) 948-9020

Thanks for putting art in the heart of the community Bank of America recognizes the Spartanburg Philharmonic for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience. Visit us at bankofamerica.com/about.

E DUCATION FOR LIFE

Two Years through 12th Grade 1701 Skylyn Drive, Spartanburg, SC 29307 864.582.7539 admissions@sdsgriffin.org spartanburgdayschool.org

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