Spartanburg Philharmonic - HearHERE, Fall 2018

page 56

page 28

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Volume 90, Fall 2018 200 East Saint John St. Spartanburg, SC 29306 864.948.9020

Information 4 5 7 13 33 35 47 48 70

Calendar of Events

Staff:

Ticket Information

Stefan Sanders

Your Visit to the Phil

Music Director

Board of Directors Classical Conversations

Kathryn Boucher

Spartanburg Philharmonic Orchestra Members

Executive Director

Corporate Sponsorships Spartanburg Philharmonic Annual Fund

Peter B. Kay

Upcoming Events

General Manager & Composer in Residence

Concerts 17 19 23 36 42

Music Sandwiched In: Fall Schedule Bluegrass Spartanburg

Rachel Hansen Director of Marketing & Special Events

The Espresso Series

Robert Borden

90th Season Celebration

Orchestra Librarian

Heroes & Villains: Music from Hollywood Films Volunteers:

Articles 11 11 20 24 28 34 52 54 55 56 62 64 66

A Letter from the President of the Board A Letter from the Executive Director Sparkle City Bluegrass A Short Shot of Classical Music Meet Stefan Sanders Meet Joanna Mulfinger

Marianne Fortin Karen Czuba Gibson Marsha Moore Interns:

Jennings Cavin Kathryn Monroe Laura-Clare Thevenet

Educate: The Harp

HEARHERE Contributors

Educate: The Saxophone Enrich: Tyerra Clayborne Reflections of the Past and Present Inspire: A New Audience at Twichell Educate: Link Up Enrich: The Spartanburg Music Trail

Authors:

Photographers:

Peter Grzan Rachel Hansen Morgan A. Jordan Kathryn Monroe Meghan Blanton Smith Laura-Clare Thevenet Kela Walton Katherine Waters Tom Wright

Kavin Bradner Jimmy Gibson Design:

Peter B. Kay

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Calendar of Events Fall 2018

Classics & POPS! (page 36) Espresso Series (page 23) Bluegrass Spartanburg (page 19) Music Sandwiched In (page 17) Special Events - more info online!

Event

Date

Venue

AUGust Tom Wright’s Cat & Mouse Ensemble Wed 8/22

Spartanburg County Library

September The Mulfinger Quartet

Wed 9/5

Spartanburg County Library

The Patrick Moss Trio

Wed 9/19

Spartanburg County Library

A Dinner in Paris

Tues 9/25

Spartanburg Marriott

Music Trail Dedication

Wed 9/26

Downtown Spartanburg

90th Season Celebration

Sat 9/29

Twichell Auditorium

90th Season Celebration After-Party

Sat 9/29

Wilson Hall

Foothills Oompah Band

Wed 10/3

Spartanburg County Library

The Grascals

Sat 10/13

Chapman Cultural Center

CelloBop

Wed 10/17

Spartanburg County Library

Conductors and Kryptonite:

Fri 10/26

Gray-Jones Room, Wofford

Nosferatu: A Dark Brew

Fri 10/26

Chapman Cultural Center

Ensemble Radieuse

Wed 10/31

Spartanburg County Library

Heroes & Villains: Music from Hollywood Films

Sat 11/10

Twichell Auditorium

Windjammers

Wed 11/14

Spartanburg County Library

BellaNova: Electric Strings

Wed 11/28

Spartanburg County Library

Doyle Lawson & Quicksilver

Sat 12/8

Chapman Cultural Center

Arbor Wind Trio

Wed 12/12

Spartanburg County Library

Holiday Grande

Fri 12/14

Chapman Cultural Center

October

A Conversation with Maestro Sanders

November

December

additional information is available online at:

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SpartanburgPhilharmonic.org/events

Ticket INFORMATION Twichell Auditorium Box Office Hours 9:30am - 5:30pm, M-Th 9:30am - 5:00pm, F

Chapman Cultural Center Box Office Hours 10:00am - 5:00pm, M-F

Spartanburg Philharmonic Administrative Offices 9:00am - 5:00pm, M-F

864.596.9724

864.542.2787

864.948.9020

580 East Main St. Spartanburg, SC 29302

200 East Saint John St. Spartanburg, SC 29306

200 East Saint John St. Spartanburg, SC 29306

call for:

call for:

call for:

Classics & POPS!

Bluegrass & Espresso

Season Tickets

individual tickets

individual tickets

or you can purchase tickets online

SpartanburgPhilharmonic.org/tickets

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Your VIsit to the Phil Restrooms: Restrooms at Twichell are located off of the first floor lobby and next to the handicap accessible entrance in the auditorium.

Restrooms at Chapman are located to the left and right of the main entrance lobby.

Seating: Twichell Auditorium uses a reserved seating system for our Classics and POPS! 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 Theatre also uses a reserved ticket system for Bluegrass Spartanburg.

For our Espresso Series, Chapman uses a General Admission system and does not reserve seating.

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. 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.

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.

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.

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Let’s Celebrate!

Welcome to a new season of the Spartanburg Philharmonic and to a year ahead of musical events sure to capture your imagination and to deepen your appreciation for our organization’s musical legacy and its connection to our community. This season we celebrate 90 years of the Spartanburg Philharmonic. Our beginnings as a volunteer organization in 1928 were born out of a love and appreciation of classical music and a commitment to share musical artistry with the community. Because of the steadfast support of volunteers and donors who believe in its cause, today the Spartanburg Philharmonic is fulfilling its mission to enrich, inspire, and educate through live performances of high-quality music This season we welcome Maestro Stefan Sanders. He and our talented leadership have planned a season with a broad array of music opportunities including our Classics, Pops, and Espresso Series, Bluegrass Spartanburg, education for our youngest audience members, and community programs like Music Sandwiched In and Spartanburg’s Music Trail.

Thank you for being a part of the rich history of the Spartanburg Philharmonic by your attendance at concerts and your financial support. The year ahead is sure to be one to remember as we celebrate the legacy of 90 years of music as the Spartanburg Philharmonic!

Rachel S. Deems

President, Board of Directors

Spartanburg Philharmonic

Dear friends, Spartanburg is booming, and we are excited to grow with the community. Last year, our organization reached out to the community to learn where we could make the greatest impact, and we heard you.

We’ve expanded our programs to include Spartanburg’s musical history through the Spartanburg Music Trail as well as branching out into different genres with Bluegrass Spartanburg, now a feature in our selections.

With new and expanding programs, we recognized the need to communicate clearly how we continue to enrich, inspire, and educate our community through highquality live music. As we embark on our 90th anniversary season, we have a new name and a new logo for one concise message to our community.

We chose our new logo with a few things in mind - simplicity, versatility, and a modern edge. And as you can see, the logo is accompanied by our new name, Spartanburg Philharmonic. We will no longer be the Music Foundation of Spartanburg, Spo, S.P.O., or the Spartanburg Philharmonic Orchestra. We are simply: the Spartanburg Philharmonic.

We are thrilled to kick off our next 90 years with a fresh perspective and new Music Director, Stefan Sanders. Stefan’s vital role began with programming this fantastic season. He will shape the artistic growth of the organization and create strong connections with musicians, educators, audiences, and supporters. We look forward to Stefan collaborating with our talented musicians for this historic season!

Cheers to 90 Years, and Welcome to Spartanburg, Stefan!

Kathryn H. Boucher Executive Director

Spartanburg Philharmonic

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Board of Directors 2018-2019 Officers Rachel Deems Ray Dunleavy Laura Allen

President Past President President Elect

Travis Sutton Treasurer Chip McLeod Secretary

Directors Dr. Meisha Adderley Karen Bjelland James Cheek Jimmy Gibson Peter Grzan Rosalyn Henderson Myers Dr. Cabe Loring

Judy McCravy Dr. Melinda Moretz Samantha Nicholson Karen Parrott Dr. Justin SchĂźtrumpf Bert Shuler Betsy Neely Sikma

Jeff Tillerson Helen Tipton John Verreault Kate White William (Bill) Wilkinson

Lifetime Directors Dr. J. Sidney Fulmer Dr. Joella Utley

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

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Spartanburg Philharmonic

Celebrating 22 years of Music Sandwiched In, the Spartanburg Philharmonic is proud to present an exciting line up of performers for its popular series at the Spartanburg County Public Library Headquarters. Lunch is available for purchase, or you can bring your own. MSI is held every other Wednesday throughout our season.

Concerts are FREE and open to the public. All are welcome!

Fall SChedule Aug. 22 Sept. 5 Sept. 19 Oct. 3 Oct. 17

Tom Wright’s Cat & Mouse Ensemble The Mulfinger Quartet The Patrick Moss Trio Foothills Oompah Band

Oct. 31 Nov. 14 Nov. 28 Dec. 12

Ensemble Radieuse The Windjammers BellaNova: Electric Strings Arbor Wind Trio

CelloBop

SpartanburgPhilharmonic.org/msi

W ED N E S DAYS

12:15-1:00pm

151 South Church St

Barrett Room

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S AT U R D AY

OCT. 13 2018

8:00pm at the Chapman Cultural Center 200 East Saint John St., Spartanburg, SC

cutting-edge modern their bluegrass is delivered with

a deep knowledge of, and admiration for, the work of the music’s founding fathers. Timely yet timeless, The Grascals make music that is entirely relevant to the here and now, yet immersed in traditional values of soul and musicianship. It’s a unique sound that has earned three Grammy® nominations and two Entertainer of the Year awards from the International Bluegrass Music Association. As their records prove, The Grascals’ rare musical empathy gives them an unerring ear for just the right touch to illuminate each offering’s deepest spirit – whether they’re digging into one of their original songs or reworking a bluegrass classic or a pop standard.

S AT U R D AY

DEC. 8 2018

8:00pm at the Chapman Cultural Center 200 East Saint John St., Spartanburg, SC

nearly 40 albums to with their credit, Doyle Lawson

& Quicksilver have multiple Grammy, Dove, ICM, IBMA and SPBGMA Award nominations, and are 7-time winners of IBMA’s Vocal Group of the Year. Lawson is reigning SPBGMA Mandolin Player of the Year, and Doyle Lawson & Quicksilver are the reigning Inspirational Country Music Association (ICM) Vocal Group of the Year, crowned in October 2012 at Nashville’s Schermerhorn Symphony Center, on the heels of Lawson’s induction into the International Bluegrass Music Hall of Fame at the Ryman Auditorium on September 27, 2012.

SpartanburgPhilharmonic.org/bluegrass 19

from left: Peter Grzan with Balsam Range in the Chapman Center lobby; The Grascals (top); the Steep Canyon Rangers enjoying a glass of wine in the Chapman Green Room (bottom)

Sparkle City Bluegrass

The Philharmonic’s Newest Series

F

or so many in the “Sparkle City,” music of all types is an important – no – a necessary part of daily life. Our rich musical heritage goes back over a century, when John Philip Souza and his band would visit Converse College.

In that spirit, a group of local businessmen, led by Andrew Babb, got together in the spring of 2015 to create an ongoing and world class bluegrass series at the Chapman Cultural Center.

In a very short time, what was created was an outstanding program that has brought some of the top names in bluegrass to our great city. GRAMMY and IBMA (International Bluegrass Music Association) award winning artists such as Flatt Lonesome, the Steeldrivers, and the Steep Canyon Rangers – to name a few – have graced our stage and our city. The audiences have been enthusiastic and so have the bands.

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In 2017, the group decided to partner with and become a part of the Spartanburg Philharmonic organization. This allowed the Committee to work with the Philharmonic team, a group led by Executive Director Kathryn Boucher.

All involved have worked diligently, not only to excite our community but to also make this series one that excites the performers through hospitality and a welcoming venue. We have had a wonderful time providing food and beverage for the bands, and each has been extremely complimentary of the experience. It is something that they rarely experience in their travels.

Our 2018-2019 season schedule has been set, and we are extremely excited to welcome the Grascals on October 13, 2018. Please check out our website for the rest of the schedule. I hope to see many of you at the Chapman Cultural Center!

Bluegrass Spartanburg Committee: Peter Grzan Chair, Andrew Babb, Kristin Scott Benson, Ray Dunleavy, Ben Burke Howell, Chris Kennedy, and Chris Strickland 20

Peter Grzan

Committee Chair

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Scott and Laura Montgomery NAI Earle Furman Corry and Amy Oakes Parris Lawn Management Spencer Hines Michel and Eliot Stone Ben and Jamie Wall

From a Performer’s Perspective “It’s been a privilege to sit with the organizers of Bluegrass Spartanburg. This is exactly the type of organization that every city needs to ensure a healthy arts scene. Any type of roots genre benefits from committed citizens, who are passionate about the music and want to share it with their community. With the revitalization of downtown Spartanburg and the thriving Upstate, in general, it’s only appropriate that the arts are nurtured.

These folks are successful business people, who are applying their skills to bringing quality bluegrass music to Spartanburg, in a well-organized and thoughtful way. I admire the purity of their motives and wish there were more organizations like this one. A vibrant music scene makes Spartanburg a better place to live.”

— Kristin Scott Benson The Grascals 21

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Espresso Series at the Chapman Cultural Center 200 East Saint John St., Spartanburg, SC

5:30-6:30pm 6:30-7:30pm

Happy Hour Reception One-Hour Performance F R I D A Y

OCT. 26 2018

Nosferatu: A Dark Brew Adapted from Bram Stoker’s novel Dracula, the film Nosferatu stars Max Schreck as the vampire, Count Orlok.

Stefan Sanders will conduct music by Johannes Brahms and Spartanburg Philharmonic composer in residence Peter B. Kay during this hour long feature that will unearth the Halloween lover in all of us.

F R I D A Y

DEC. 14 2018

Holiday Grande The glorious sound of brass instruments epitomizes the joyousness of the holiday season. Come and enjoy the sounds of the Philharmonic’s brass section performing sparkling arrangements of holiday favorites under the direction of Spartanburg Philharmonic’s Principal Tuba player, John Holloway. This family friendly event is sure to put you in the holiday spirit!

SpartanburgPhilharmonic.org/espresso 23

A Short-Shot of Classical Music A Closer Look at the Espresso Series

T

he Espresso Concert Series offers an exceptional and exciting classical music experience, connecting the Spartanburg community through fellowship and a shared love of music. The night kicks off at 5:30 p.m. with a happy hour filled with delicious hors d’oeuvres, drinks, merriment, and mingling with fellow patrons. Following this, at 6:30 p.m. is a brief hour-long concert that is designed to be a “short shot” of classical music, playing off of the word “espresso.” This laid-back and convenient format attracted patrons, Samir Mašic and Dawn Maddux.

Samir and Dawn are well-traveled, having lived in Atlanta and most recently, Navajo Nation in Arizona before moving to Spartanburg. Dawn grew up in Nashville, Tennessee, and Samir is a native of Bosnia and Herzegovina. After the couple moved to Spartanburg last year, they began seeking out different opportunities to get involved in the Spartanburg community through music. They soon stumbled upon the Spartanburg Philharmonic and the Espresso Series and thought it was the perfect fit for their busy lives.

Samir is a healthcare consultant, and Dawn works as a nurse and lactation consultant for the Spartanburg Medical Center. With jobs and a small family of their own, the Dawn Maddux and Samir Mašic after Saxoccino in May, 2018

24

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Laura Clare Thevenet Philharmonic Intern

couple considers the Espresso Concerts to be a perfect option for date night saying, “The relaxed atmosphere makes the evening so enjoyable. Each series provides a small ensemble with a great backstory that, in our minds, provides a very intimate setting and enhances the musical experience. As an added benefit, the series is a great time and length for a date night for parents of young children.”

The Espresso Series takes place on Friday nights, so it is perfect for parents looking for a night out. Not only is the concert at a convenient time, but it is also affordable with prices at $25 per ticket. Additionally, when patrons walk in the lobby, they receive a free, custom wine or beer glass, depending on their drink of choice, to use during the happy hour and to take home. The wine is provided by the Spartanburg Marriott, and the beer is specially brewed by the Ciclops Cyderi & Brewery. Hors d’oeuvres are also provided by SELECT Restaurant to pair with the drinks.

The concert is general seating, but some lucky patrons have the chance to win the “Best Seats in the House.” During the happy hour, guests can buy raffle tickets to win the coveted best seats, located in the middle of the auditorium, along with a bottle of wine to enjoy during the concert.

You do not have to be a classical music expert to enjoy the Espresso Series. It has something for everyone. The series offers a special blend and variety of entertainment. In the past, the Spartanburg Philharmonic has had everything from Charlie Chaplin’s film “The Kid” with live musical accompaniment to Saxoccino, a concert featuring the Assembly Quartet, to a Valentine’s Day special with romantic classical and pop pieces performed by the Spartanburg Philharmonic piano and string quartet.

Former patrons and new Espresso goers will not want to miss Spartanburg Philharmonic’s upcoming 2018-2019 Espresso Season. The Series starts off with Nosferatu: A Dark Brew conducted by the new Music Director, Stefan Sanders. Patrons will also be delighted to ring in the holiday season and spread festive cheer with the Holiday Grande concert. The Espresso Concert Series continues with Piano Forte in January, highlighting a mesmerizing performance from the Lomazov Rackers Piano Duo and finally with Music She Wrote, which focuses solely on music from female composers.

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Dawn and Samir’s advice for first time Espresso goers is, “Have a drink, some food, sit and enjoy.

You will not regret it! We have grown to cherish our Espresso nights and look forward to each concert!”

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Bourbon and Cigar Night $20 Bourbon Flights on the Terrace

T H U R S D AY S $18 Salmon

F R I D AY S

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S AT U R D AY S

$6 Specialty Cocktails

S U N D AY S $5 Desserts

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Meet Stefan Sanders

A New Director for a New Era

A

n orchestra concert conducted by Stefan Sanders may seem a little different to patrons who are used to a more formal atmosphere; during the performance, Sanders likes to turn around and talk to the audience.

“The idea that people come to the concert hall, it’s dark and they have to be quiet, I think it can be a little off-putting for some,” he says. “I try to engage the audience. I try to give them context of the music, of the pieces, so that they can have a richer experience when they are listening. And in this way, not only are we giving them a richer experience, but from the stage, we’re developing rapport with the audience.

And rapport is essential for trust, for enjoyment, for an open line of communication with our audience, our community.”

Sanders will soon have the chance to connect with much of the Spartanburg community. Earlier this year, he was

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Katherine Waters

Contributing Author

named the new conductor of the Spartanburg Philharmonic, succeeding former conductor Sarah Ioannides, who had been with the orchestra since 2005. The worldwide search for a new conductor took two years, starting with a pool of 127 candidates and eventually narrowing to three. The finalists each spent a week in Spartanburg and conducted one concert with the Spartanburg Philharmonic. A final decision was made by the search committee comprised of board members and musicians, using input from the orchestra and audience members ho were present during the auditions.

Sanders was the first of the three finalists to conduct a concert with the orchestra, and his audition opened the 2017-2018 season with a performance of Mozart’s Symphony no. 39, Tchaikovsky’s Variations on a Rococo Theme, and Beethoven’s Symphony no. 5. Not having a

pre-existing relationship with the orchestra before a concert would seem difficult and nerve-wracking, but Sanders thinks that the rehearsal process is actually when the musicians and the conductor can learn the most about each other and truly begin to understand how the other will operate.

“By the end of our rehearsal process I knew that the concert was going to be spectacular. I left Spartanburg the next day knowing that I would be very fortunate to be offered the position. When the call came, I was absolutely over the moon!”

John Holloway, principal tuba player for the Spartanburg Philharmonic since 1981 and member of the Music Director Search Committee, says that Sanders came across as engaged and expressive during his audition, as well as audience-friendly. He seemed like the best match out of the pool of candidates because of where he was in his career and how interested he was in Spartanburg.

“What’s most important is that the conductor is a good match for our community and structure. I think he’ll connect well with the audience and with the Spartanburg community.”

I left Spartanburg the next day knowing that I would be very fortunate to be offered the position.

When the call came, I was absolutely over the moon!

That connection to Spartanburg is pretty important Sanders and his wife, professional harpist Kela Walton, will soon be moving to the city from their current home in Buffalo, New York. Often, orchestra conductors will have a permanent address that serves as a kind of “home base” while they travel to other cities to conduct the local orchestras there. Sanders is currently the music director for the Fayetteville Symphony Orchestra in Fayetteville, NC and the Round Rock Symphony in Central, TX. This summer he concludes a four-year appointment as the resident conductor of the Buffalo Philharmonic Orchestra in Buffalo, NY. He plans to become a resident of Spartanburg in August, just before the start of the Spartanburg Philharmonic’s 90th season. He stays in regular contact with members of the Philharmonic staff while he is traveling, saying “our work is ongoing, and it is crucial to our success that we are always on the same page.”

Sanders was able to visit Spartanburg before his audition with the orchestra and says that he was impressed by the

people in the community who are “fun, interesting and passionate about Spartanburg.” In addition, he recognized the boom of new buildings, businesses and renovations happening in the city, and added that he hoped the orchestra could be a significant part of the change as well. Besides the orchestra, Sanders noticed that the city of Spartanburg has public art displayed in many places and places an emphasis on artistic organizations such as Ballet Spartanburg and the Spartanburg Little Theatre, both of which are located in the Chapman Cultural Center where the Philharmonic also has its offices.

The burgeoning arts scene in Spartanburg is one reason why it’s so exciting for an orchestra director to move to the city. The orchestra itself has debuted a new logo and name this season, dropping the word “Orchestra” from the title. The ensemble was named the “Spartanburg Philharmonic Orchestra” (SPO) when Sarah Ioannides first began as music director in 2005, the “Greater Spartanburg Philharmonic” when Bill Scott took the podium in 1995, and the “Spartanburg Symphony” prior to that. The economy reflects this growth as well. A study conducted in 2017 by Americans for the Arts showed that the arts and culture industry in Spartanburg county generates more than $32 million in economic activity.

“One of the things I was most impressed with about Spartanburg was just how artistically

29

inclined the community is,” says Sanders. “It’s not the same scale or size as New York City, but I would say it’s just as passionate.

For the community to have as many performance venues as it does is a sign of people that are committed and interested in having these venues and these types of events.”

When Sanders visited Spartanburg in September of 2017 for his audition, members of the orchestra had the chance to observe his conducting style and perform with him for the first time. Just like Sanders did, the musicians used that opportunity to get to know their conductor and how he operates during a rehearsal. Frank Watson, principal bassoonist, noted that Sanders’ background as an internationally renowned trombonist who played with the Buffalo Philharmonic for seven seasons provides a fresh perspective on the music.

“Unlike a large string section, the wind section is often smaller, so each player is essentially a soloist for their part,” says Watson.

“He’s a wind player; wind players have a different perspective on preparation and on each line of the composition.”

But the role of a musician isn’t exactly the same as the role of a conductor. The conductor functions as the face of the organization as a whole, beyond simply the leader of the

30

orchestra. They must − in Sanders’ words − “constantly and effectively advocate for the organization,” and cultivate relationships with community members and orchestra stakeholders.

Despite differences between the roles, being a musician can provide needed expertise for a conductor − like anything, conducting takes practice to perfect, and a conductor cannot practice without an orchestra present. Any other preparation must come from understanding how the musicians will approach the music, made easier by having experience as a musician, and from studying the techniques of other conductors.

When it comes time for the concert, you sort of have to let go and remember that the conductor does not make any sound. The orchestra is amplifying not only what the conductor is trying to accomplish in the music, but also their own ideas on how things should go.

It’s really a group effort.

“I’ve been very fortunate to have had positions that have given me the opportunity to conduct a lot, and I think one of my strongest assets is having played in professional orchestras; I feel that it gives me the ability to empathize with musicians, and to put their best interests at the forefront of what I’m trying to accomplish musically.”

One conductor that Sanders particularly looks up to is Larry Rachleff, conductor at the Shepherd School of Music at Rice University and one of Sanders’ mentors at the American Academy of Conducting at Aspen.

“The first time I worked with him it was quite transformative, he really opened my eyes to what conducting is really about. I’ve tried to emulate his approach to conducting and communicating with the musicians. All artists have mentors, and I’ve been very fortunate to have some fantastic ones.”

Rachleff is widely revered for his connection with his orchestra, something that Sanders tries to carry into his relationships as well. Sanders relates his role to that of an athletic coach; someone who can advise the players on how to perform to the best of their ability, but also gives them the freedom to take on the music on their own.

“When it comes time for the concert, you sort of have to let go and remember that the conductor does not make

any sound. The orchestra is amplifying not only what the conductor is trying to accomplish in the music, but also their own ideas on how things should go. It’s really a group effort.”

Before coaching the musicians, Sanders must determine how he will approach the music as conductor and develop an interpretation. To begin, the conductor has to understand the information that the composer has included in the score.

Sanders thinks of that information as a blueprint which the conductor and musicians will use to establish the general feeling that they want the music to create. The conductor instructs the musicians and guides them towards that mood during rehearsals. “Ultimately,” Sanders says, “the conductor must preserve the mystery and magic of the music in rehearsal and especially the performance.”

When the Spartanburg Philharmonic’s season begins, the members of the Spartanburg community will finally be able to observe Sanders’ conducting style and relation to the orchestra, many for the first time. He hopes that the audience will notice his passion both for music and for making music more relevant to everyone in the community.

He has made it clear that he wishes to form a strong connection to the audience members and thinks that his personality will be visible in his conducting, reinforcing the connection he strives for.

“I really enjoy humor, I really enjoy caring and kindness in people - those are things that are abundant in Spartanburg.

I think that they’ll enjoy seeing this new era with fresh ideas coming from the podium.”

Possibly the number one element that an audience should expect from Sanders’ conducting is his devotion to making orchestra performances more accessible. For the same reason that he likes to speak to audience members during a performance, Sanders works to plan programming that the audience will connect with. Throughout his directing career, he chalks his favorite moments up to those when he can truly connect with the audience and they can understand the message that the orchestra wants the mu-sic to convey.

“People get to dress up and go to this beautiful place to be together, to experience something together. I think the more the orchestra is able to put together experiences that are relevant, the more the orchestra is going to be something that people in our community will be very proud of, and they’ll feel a sense of ownership towards their orchestra.”

Stefan at The Reveal special event last March with guests. From top left: Jennifer Evins, Patsy Hudgens, Chris Vaneman, Peter Grzan, and Terry Pruitt.

The event featured a toast to the new Maestro who shared his vision for the orchestra and offered a preview of the 2018-2019 season. Bottom right, Stefan poses with Sharon Doyle.

above: Stefan visiting Spartanburg High School; Stefan and the Philharmonic; the Philharmonic Staff (Rachel Hansen, Stefan Sanders, Kathryn Boucher, and Peter B. Kay); Stefan visiting Dorman High School; Stefan Sanders and cellist Claire Bryant with the Spartanburg Philharmonic. right: Stefan conducting the Philharmonic; Stefan and his wife, professional harpist Kela Walton (see page 52)

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Classical Conversations

6:00-6:30pm in the Auditorium Before each concert this season, join host Chris Vaneman and Music Director Stefan Sanders for a fun and informative pre-concert chat and preview of the nights’ performances. Find out more about the music and how each piece fits together on the program. It’s a great way to start the evening and adds so much to the listening experience!

During Classical Conversations, please enter the auditorium and find your seats as quietly as possible so as not to disrupt patrons who are enjoying the pre-concert chats.

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Meet Joanna Mulfinger

Concertmaster of the Spartanburg Philharmonic 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, and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and is currently on Adjunct Faculty at Anderson University where she teaches private violin and viola lessons, coaches student chamber ensembles, and conducts the String Ensemble.

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 Ensemble at Anderson University. Joanna is an active musicians at the Peace Center in Greenville, where she enjoys playing with National Tours of Broadway

34

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.

As a chamber musician, Joanna is a member of several local ensembles including the Mulfinger String Quartet, Trio Tapestry (guitar, cello, violin) and Tryptich Musica (piano, horn, violin).

She is an active orchestral musician. Since 2003 she has been the Principal Second Violin of the Greenville Symphony Orchestra. In 2007 she won the job of Assistant Concertmaster of the Spartanburg Philharmonic, and in 2017 was named (Interim) Concertmaster.

Joanna performs on a 1653 Nicolo Amati violin, a violin she inherited from her mother.

Spartanburg Philharmonic

Orchestra Members & Chair Sponsors as of July, 2018

Violin I

Bass

Horn

Ian Bracchitta**, Principal

Anneka Zuehlke-King, Principal

Matthew Waid, Assistant Principal

Chris George

Mrs. Donna Cart

J. Bret Alford

Andrew Merideth, Assistant Principal

Ms. Thelma A. Powell

Brian Gencarelli Jeff Stinson

Mark Frederick* Jeanette Schlimgen Darian Washington*

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

Flute & Piccolo

Joanna Mulfinger, Concertmaster

Mr. & Mrs. George Dean Johnson

Deirdre Hutton*, Assistant Concertmaster Mary Irwin

Robin Hague Els Sharon Kerr-Lawrence Zoe Kushubar*

John Malloy Tania Moldovan Arta Prekadini* Xiaoli Saliny* Sarah Johnson, Concertmaster Emeritus

Violin II Tracy Ensley**, Principal

Mr. & Mrs. Roger Habisreutinger

Mr. & Mrs. Jerry Cogan

Mr. & Mrs. Paul Lehner Mrs. Betty Dunleavy

Rhea Jacobus, Principal

Mr. & Mrs. Peter Ellis Weisman

Caroline Ulrich

Mrs. Susan H. Baker

Jessica Sherer Esther Waite*

Mr. & Mrs. Donald Wildman Mr. & Mrs. Joe Molfenter Dr. & Mrs. Tom Moore

Trumpet Dan Kirsop, Associate Principal

Mr. & Mrs. John R. Murphy

Kenneth Frick

Dr. John M. Bullard

Bruce Cox

Mr. & Mrs. Thomas P. Nederostek

Oboe & English Horn

Cody Beard

Ginny Metzger, Principal

Trombone

Simone Beach Ann Buttimer

Kelly Vaneman, Associate Principal

Mark Britt, Principal

Melissa Dant* Theresa Jenkins-Russ Emily Kirkpatrick* March Moody Michele Tate Emily Wait

Andrew Parker* Mary AllyeB Purtle

Michelle Guthrie*, Assistant Principal

Mr. & Mrs. John F. Verreault, III Laura Allen & Roger Sullivan

Rachel & Ken Deems

Mr. William Wilkinson & Mr. Robert K. Bellinger Ms. Joan B. Gibson

Clarinet Karen Hill, Principal

Viola Anna Joiner*, Principal

Endowed by friends and family in honor of Wallace Eppes Johnson

Dr. & Mrs. Louis Knoepp, Jr.

Harry Hill, Jr.

Mrs. Patricia Hudgens

Kyra Zhang

Mr. & Mrs. David Ellis

Angie Jones*, Assistant Principal

Mr. & Mrs. Ray Dunleavy

Carolyn Alford* Diana Maley Berti** Matthew Darsey* Amber Holden Katy Martin Michael Weaver

Bassoon Frank Watson**, Principal

Dr. Lois Ann Hesser and Mr. John Rungo

Rosalind Buda

Mr. & Mrs. Lawrence Flynn, Jr.

Stephanie Lipka Rhyne

Cello

Dr. Melinda Moretz

Brenda Leonard, Principal

Saxophone

Kathy Foster, Assistant Principal

Tom Wright, Principal

Mr. & Mrs. Stanley Baker

In Memory of Jean Kanode

Christine Lee

Lib & Rick Orr

Jean Anderson Lisa Hastings* Eric Scheider Benjamin Smith

Mr. & Mrs. Bob Maddox

Piano & Organ

Travis & Allison Sutton

Rienette Davis

Mr. & Mrs. Jerome R. Cogdell

Eric Henson

Tuba John Holloway, Principal

Dr. & Mrs. David Holt

Timpani Patrick Lowery, Principal

Mr. & Mrs. J. Michael Kohler, Jr.

Percussion Adena McDaniel, Co-principal

Dr. Karen Czuba Gibson & Mr. Jimmy Gibson

Matt McDaniel, Co-principal

Dr. Leslie W. Howard, Jr.

Del Burton

Harp Emily Waggoner, Principal

Mr. & Mrs. Lindsay Little

Kela Walton*

Karen & Stephen Parrott

Brennan Szafron, Principal

Mr. James Cheek

*denotes substitute musician, playing 50% or more concerts in the 2018-2019 season **2018-2019 Orchestra Committee Member

35

90 Season Celebration! th

September 29, 2018 7:00 pm

| Twichell Auditorium

6:00−6:30pm : Classical Conversations with Chris Vaneman & Stefan Sanders

Overture to Candide . . . . . . . . . . . . . . . Leonard Bernstein 5 min

An American in Paris . . . . . . . . . . . . . . . George Gershwin

18 min

La valse, poème chorégraphique . . . . . . . . . Maurice Ravel

14 min

Intermission Rhapsody in Blue . . . . . . . . . . . . . . . . George Gershwin Anton Nel, piano

16 min

Boléro . . . . . . . . . . . . . . . . . . . . . . Maurice Ravel 14 min

Programs subject to change

36

|

Timings are approximate

A Note from the Music Director

“We are delighted to begin our 90th Anniversary Season by featuring two beloved works written - yes - 90 years ago: Maurice Ravel’s Boléro and George Gershwin’s An American in Paris.

Gershwin’s musical love letter to Paris made such an impression in 1928 that it became the inspiration for the 1951 film of the same name. Ravel’s tour de force of orchestration is his best known composition. With its repetitive Spanish dance rhythm providing the foundation for the entire piece, Ravel explores the vast possibilities of musical colors an orchestra can create, resulting in a marvelous showcase for all of the instruments in the orchestra.

And in honor of the great American conductor, composer, pianist, and statesman’s 100th anniversary year, the program will begin with Leonard Bernstein’s boisterous Overture to Candide.”

Program Notes

Overture to Candide Leonard Bernstein (1918-1990)

Described in The New York Times as “one of the most prodigiously talented and successful musicians in American history,” Leonard Bernstein was a composer, conductor, author, and music lecturer as well as a fine pianist.

He was popular on Broadway, in Hollywood, at Carnegie Hall, and on radio and early television broadcasts. His many compositions covered a wide range, including classical music, opera, musicals, ballet, and jazz.

Bernstein composed the music for Candide in 1956 based on a satirical novel by the 18th century French author, Voltaire. The Broadway production was poorly received

and ran for only two months. The New York Times blamed the libretto as being “too serious,” and in the ensuing years, the script was re-written as many as seven times.

With each revival Candide won bigger audiences, and today it has become a favorite of opera lovers and critics alike.

Yet apart from the operetta, the Overture to Candide was an instant success. Bernstein conducted its first performance with the New York Philharmonic Orchestra on January 26, 1957. Today it has become one of the most frequently performed orchestral compositions by a 20thcentury American composer.

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Program Notes

Candide continued

An American in Paris George Gershwin (1898-1937)

The Overture incorporates tunes from several of the songs in the operetta along with independent melodies written specifically for this opening music. One of the work’s audience-grabbing features is its rhythmic vitality. It is extremely quick-paced and exhilarating. The timpani, bass drum, and snare drum

play strong percussion accents, while the xylophone, triangle and glockenspiel highlight many of the notes. Strong brass and shifting time meters propel the opening and closing sections of this music while strings and woodwinds create a gentle mid-section.

In the 1920s George Gershwin’s career was growing rapidly. His musicals playing on Broadway and in London were great hits. Yet, as a self-taught Broadway tunesmith, he wanted a more cultivated musical style and sought further musical training from European composers such as Ravel, Stravinsky, Prokofiev and others. Famed music coach Nadia Boulanger told him, “Don’t copy others; be yourself. … Why try to be a second rate Ravel when you are already a first rate Gershwin?”

There they enjoyed the Paris scenes, the street noises and the French atmosphere. Having started work on the music before leaving New York, Gershwin completed the writing back in New York. Walter Damrosch conducted the Carnegie Hall premiere on December 13, 1928.

Gershwin traveled to Paris in the spring of that year along with his sister, his brother Ira and Ira’s wife.

The composer described the piece as a “rhapsodic ballet” with a walking theme written in a free style. Included in the extensive instrumentation were four authentic French taxi horns.

The music opens with the sounds that would have been heard by the American strolling through Paris.

Later, perhaps sitting in a café in the evening and having a couple of drinks, the trumpet introduces a spell of the blues felt by the “homesick American”. But when back on the street, our American tourist revives with the energetic street noises and the sense of the triumphant French atmosphere.

As early as 1906 Ravel began thoughts of composing a tribute to Waltz King Johann Strauss II. His working title, “Vienne,” was later changed to “Wein.” It was

written initially for piano solo, and then transcribed as a two-piano duo. After World War I Russian ballet master Serge Diaghilev commissioned Ravel to write a

Walter Damrosch, director of the New York Symphony Orchestra, respected Gershwin’s work. After hearing his Rhapsody in Blue Damrosch commissioned Gershwin’s Piano Concerto in F in 1925 and then commissioned him to compose An American in Paris in 1928.

La Valse Maurice Ravel (1875-1937)

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Program Notes

La Valse continued

version for ballet performance.

Ravel and pianist Alfredo Casella played the piano duo version for Diaghilev, who praised the music as a “masterpiece,” … but then said, “it’s not a ballet but the painting of a ballet.” Ravel was crushed by the rejection and the friendship between the two ended forever.

Ravel completed an orchestral version of La Valse, which premiered in Paris on December 12, 1920.

It was well received in the concert hall and in 1928 Bronislava Nijinska choreographed La Valse for the dance company of Ida Rubinstein. In

Rhapsody in Blue George Gershwin (1898-1937)

Growing up in New York with his Russian immigrant parents, George Gershwin’s natural musical talents were realized early on. At age twelve, when his parents bought a piano, George surprised everyone as he promptly played a popular piece of the day. He had previously experimented on a player piano at the home of a friend. By age 15 George became the youngest piano performer ever employed in Tin Pan Alley.

His first great classical success came in l924 with his composition Rhapsody in Blue for jazz band and piano. He completed this work in an amazingly short time.

As he recalled later, “I had already begun some work on the rhapsody. … It was on a train, with its steely rhythms, its rattily-bang that is so often stimulating to a composer. I frequently hear music in the heart of noise. I suddenly heard and even saw on paper the complete

1951 George Balanchine (Diaghilev’s former student) premiered a successful dance for the New York City Ballet based on La Valse and other works of Ravel.

La Valse contains a delightful waltz theme, which is accompanied by considerable ornamentation and change of key. The mood changes throughout, ranging from a heavy opening to the sweet, brisk waltz theme, which becomes heavy, dramatic, and even delirious. The frenzy ends as dissonant chords bring this mad whirling to a sudden end.

construction of the rhapsody. I heard it as a musical kaleidoscope of America, of our vast melting pot, our national pep, our blues, our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece.”

The Paul Whiteman Band along with Gershwin at the piano gave the first performance of Rhapsody in Blue on February 12, 1924 at New York’s Aeolian Hall. There were several blank pages on Whiteman’s musical score at this opening performance, which Gershwin filled in later. Some of the notables in attendance that day included Sergei Rachmaninoff, Fritz Kreisler and Leopold Stokowski.

The opening clarinet glissando of Rhapsody, which has become an iconic sound of American music, is followed by bluesy tunes, march-like melodies and romantic themes in the strings.

39

Program Notes

Boléro Maurice Ravel (1875-1937)

Ravel was considered the greatest French composer of his generation and a cultural leader during the artistic fervor that existed in Paris before the outbreak of World War I. This short time period has been called le belle epoque.

In 1928, at the request of ballet producer Ida Rubinstein, Ravel set out to write music for a new ballet, which ultimately resulted in Boléro.

When forming the work Ravel chose a simple tune and said to a friend, “Don’t you think this is a pretty insistent kind of theme? … I am go to try to repeat it a number of times on different orchestral levels but without development.”

He first called the piece Fandango but changed the name to Boléro although it has no relation to the Spanish dance of the same name.

Before the first performance Ravel said, “I issued a warning to the effect that what I had written was a piece … consisting wholly of orchestral texture without music — of one long, very gradual crescendo.” And at a later time

Ravel wrote, “I’ve written only one masterpiece, Boléro. Unfortunately there’s no music in it.”

Over a non-varying snare drum rhythm a single theme repeats relentlessly. The tempo is rigid; only the orchestration and volume change. With each repetition the volume grows through the addition of more instruments. Almost every instrument in the orchestra plays the theme, creating layers of effect that pile up on one another. It is played in the key of C major throughout until the very end when the tonality and tempo pick up, giving a bold finish.

Although criticized by some, the public made Boléro one of the most popular pieces of concert music in the 20th century. It was played by virtually every major American orchestra and was recorded for jazz band and almost every conceivable instrument and musical ensemble.

Boléro has been background music in films including most recently the movie Ten starring Dudley Moore and Bo Derek.

by Dr. Joella Utley

40

Anton Nel Guest Artist

W

inner of the first prize in the 1987 Naumburg International Piano Competition at Carnegie Hall, Anton Nel enjoys a remarkable and multifaceted career that has taken him to North and South America, Europe, Asia, and South Africa. Following an auspicious debut at the age of twelve with Beethoven’s C Major Concerto after only two years of study, the Johannesburg native captured first prizes in all the major South African competitions while still in his teens, toured his native country extensively and became a well-known radio and television personality.

A student of Adolph Hallis, he made his European debut in France in 1982, and in the same year graduated with highest distinction from the University of the Witwatersrand in Johannesburg. He came to the United States in 1983, attending the University of Cincinnati, where he pursued his Masters and Doctor of Musical Arts degrees under Bela Siki and Frank Weinstock. In addition to garnering many awards from his alma mater during this three-year period he was a prizewinner at the 1984 Leeds International Piano Competition in England and won several first prizes at the Joanna Hodges International Piano Competition in Palm Desert in 1986.

Highlights of Mr. Nel’s nearly four decades of concertizing include performances with the Cleveland Orchestra, the symphonies of Chicago, San Francisco, Seattle, Detroit, and London, among many others. (He has an active repertoire of more than 100 works for piano and orchestra.) He was also chosen to give the North American premiere of the newly discovered Piano Concerto No. 3 in E Minor by Felix Mendelssohn in 1992.

Eager to pursue dual careers in teaching and performing he was appointed to the faculty of the University of Texas at Austin in his early twenties, followed by professorships at the Eastman School of Music, and the University of Michigan, where he was chairman of the piano department.

In 2000, he returned to the University of Texas at Austin, and in 2010, he became the first holder of the new Joe R. and Teresa Lozano Long Endowed Chair in Piano. Since 2015 he has been presenting an annual series of masterclasses in piano and chamber music at the Manhattan School of Music

in New York as Visiting Professor, and also teaches regularly at the Glenn Gould School in Toronto.

Mr. Nel is also an acclaimed harpsichordist and fortepianist.

In recent seasons has performed concertos by the Bach family, Haydn, and Mozart with La Follia Austin Baroque as well as the Poulenc Harpsichord Concerto (Concert Champêtre) with the Austin Symphony.

His recordings include four solo CDs, several chamber music recordings (including the complete Beethoven Piano and Cello Sonatas and Variations, and the Brahms Sonatas with Bion Tsang) , and works for piano and orchestra by Franck, Faure, and Saint-Saens.

Anton Nel became a citizen of the United States of America on September 11, 2003 and is a Steinway artist. for more information, visit: AntonNel.com

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Heroes & Villains Music from Hollywood Films

November 10, 2018 7:00 pm

| Twichell Auditorium

6:00−6:30pm : Classical Conversations with Chris Vaneman & Stefan Sanders

Tribute to the Film Composer . . . . . . . . . arr. John Williams 4 min

Pirates of the Caribbean . . . . . . . . . . . . . . Klaus Badelt arr. Ricketts

6 min

Themes from 007 . . . . . . . . . . . . . . . Monty Norman arr. Custer

4 min

Wonder Woman (2017) . . . . . . . . . . Rupert Gregson-Williams arr. Lopez

4 min

Batman: Dark Knight Rises . . . . . . . . . . . . Hans Zimmer arr. Ford

6 min

Hymn to the Fallen . . . . . . . . . . . . . . . John Williams

5 min

Armed Forces Salute . . . . . . . . . . . arr. Bob Lowden arr. Custer

4 min

Programs subject to change

42

|

Timings are approximate

A Note from the Music Director

“Can you imagine a Hollywood blockbuster movie without that incredible music? Neither can we! This family-friendly POPS! concert will feature music from several of Hollywood’s most recognizable soundtracks, including: Pirates of the Caribbean, James Bond, Batman: Dark Knight Rises, and The Magnificent Seven, to name a few.

Also, on the program is a ‘soundtrack’ (so to speak) for a film that has never been made, entitled Godzilla Eats Las Vegas. This music composed, by the popular American composer Eric Whitacre, is one of the most entertaining pieces of music you will ever hear anywhere. It musically depicts the city of Las Vegas being attacked by - the big man himself - Godzilla. But before all hope is lost an army of marching Elvi (plural of Elvis) parachute in to save the day. This outrageous and fun piece of music is something you just have to see and hear for yourself!”

Intermission Also Sprach Zarathustra . . . . . . . . . . . . Richard Strauss 2 min

The Ride of the Valkyries . . . . . . . . . . . Richard Wagner arr. Hutschenruyter

5 min

Suite from Mulan . . . . . . . . . . . . . . . Jerry Goldsmith arr. Courage

7 min

Incredits from The Incredibles . . . . . . . Michael Giacchino arr. Chambers

4 min

The Magnificent Seven . . . . . . . . . . . . Elmer Bernstein arr. Russ

5 min

Godzilla Eats Las Vegas! . . . . . . . . . . . . Eric Whitacre

14 min

43

Program Notes

Godzilla Eats Las Vegas!

Eric Whitacre (1970-)

Eric Whitacre remembers his time working on Godzilla Eats Las Vegas! as an enjoyable, albeit silly, experience. “It took me seven years to get my bachelor’s degree from the University of Nevada, Las Vegas,” Whitacre writes. “By the time I graduated I was ready to eat Las Vegas.”

After receiving the commission, Whitacre says,“I thought it would be a blast to do something completely ridiculous.” Throughout the work, listeners will enjoy, “about thirty different styles from mambo to cheesy lounge music.”

The piece is based on a story written by the composer himself.

“The audience follows a ‘script’ that I wrote simulating a campy, over the top Godzilla movie (is there any other kind?). I wrote the bulk of the piece while in my first year of grad

school, and - no kidding - I used to act out the ‘script’ every morning devouring animal crackers, wreaking havoc all over the breakfast table.”

“The idea that this piece is being played all over the world in such serious concert venues is the single funniest thing I have ever heard. It has even been played on the steps of the Capitol by the United States Marine Band and by the Scottish National Wind Symphony!”

Godzilla was commissioned by the University of Nevada Las Vegas, Thomas G. Leslie, conductor, and received its premiere on November 28th, 1996.

The performers are encouraged to go crazy: wear costumes, act out scenes on stage, use video and lighting – anything to get a laugh.

The script for Godzilla Eats Las Vegas! will be included as a program insert at the concert on Nov. 10.

Thursday–Saturday 10 am–5 pm | Sunday 1-5 pm

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fun for the entire family

MAKING THE ORDINARY, EXTRAORDINARY. At United Community Bank, our mission is to provide extraordinary banking services, while caring deeply for the communities we serve. We are passionate about our neighbors and proud to support the 90th season of the Spartanburg Philharmonic.

Member FDIC. © 2018 United Community Bank | ucbi.com

Corporate Partnerships 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 kboucher@spartanarts.org

Corporate Partners

F O U N D A T I O N

THE JOHNSON GROUP

Funders Carlos Moseley TRUST

F O U N D AT I O N

These programs are funded in part by the Chapman Cultural Center, its donors, the County of Spartanburg, and the South Carolina Arts Commission which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of SC.

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Spartanburg Philharmonic Annual Fund

We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic.

This list reflects gifts received July 2017 through June 2018

Benefactor ($15,000+) Mr. & Mrs. William Barnet III Dr. Joella Utley Mr. & Mrs. Kurt Zimmerli Maestro ($10,000-$14,999) Dr. Karen Czuba Gibson & Mr. Jimmy Gibson Mr. & Mrs. George Dean Johnson The Alfred Moore Foundation Virtuoso & Podium ($5,000-$9,999) The Arkwright Foundation The Carlos Moseley Trust Mrs. Patricia Hudgens

Baton ($2,500-$4,999) Anonymous Ken & Rachel Deems Mr. & Mrs. Roger Habisreutinger Mr. & Mrs. J. Michael Kohler, Jr. Mr. & Mrs. Peter Ellis Weisman Mr. & Mrs. Donald Wildman

Principal ($1,000-$2,499) Ms. Laura Allen & Mr. Roger Sullivan Mr. & Mrs. Stanley Baker Mrs. Susan H. Baker Dr. Barry Bodie & Ms. Laurel D. Johnson Kathryn & Jeff Boucher Dr. John M. Bullard Mrs. Donna R. Cart Mrs. Elizabeth S. Chapman Mr. James Cheek Mr. & Mrs. Jerry Cogan Mr. & Mrs. Jerome R. Cogdell Mrs. Betty Dunleavy Mr. & Mrs. Ray Dunleavy

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Mr. & Mrs. David Ellis Mr. & Mrs. Lawrence Flynn, Jr. Ms. Joan B. Gibson Dr. Lois Ann Hesser & Mr. John Rungo Dr. & Mrs. David A. Holt Dr. Leslie W. Howard, Jr. In Memory of Jean Kanode Dr. & Mrs. Louis Knoepp, Jr. Mr. & Mrs. Paul Lehner Mr. & Mrs. Lindsay Little Mr. & Mrs. Bob Maddox Mr. E.T. McLean Mr. & Mrs. Joe Molfenter

Dr. & Mrs. Tom Moore Dr. Melinda Moretz Mr. & Mrs. John R. Murphy Mr. & Mrs. Thomas P. Nederostek Lib & Rick Orr Karen & Stephen Parrott Ms. Thelma A. Powell Dr. Terry O. Pruitt Travis & Allison Sutton Mr. & Mrs. John F. Verreault, III Mr. William Wilkinson & Mr. Robert K. Bellinger

Fellow Musician ($500-$999) Anonymous Dr. & Mrs. Mitchell Hurst Allen Ms. Karen E. Bjelland Mr. & Mrs. Thomas Blexrud Mr. Robert Borden Dr. & Mrs. James E. Bradof Mr. & Mrs. Allen Daryl Doyle Mrs. Alice M. Eberhardt Ms. Elaine T. Freeman Dr. & Mrs. J. Sidney Fulmer

Mr. Peter Grzan Ms. Elizabeth Crews and Mr. Ben Burke Howell Mr. & Mrs. Stewart H. Johnson Mr. & Mrs. Jack McBride Mr. & Mrs. V. C. McLeod, III Mr. & Mrs. Don Miles Dr. & Mrs. Peter Sereque Mr. & Mrs. Brand Stille Mr. & Mrs. Joseph B. Traywick, II

Patron ($150-$499) Mr. & Mrs. Michael Baird Mr. & Mrs. Charles Baxter Mr. Stephen Blake Mr. & Mrs. Ken Boucher Dr. John Burchfield Dr. & Mrs. William W. Burns Bill & Martin Cooper-Meek Mr. & Mrs. Dick Crenshaw Mr. & Mrs. Ken Deems Ms. Nancy Freeman Rainey Mr. & Mrs. Ryan Gaylord Mr. & Mrs. James D. George Mr. Gerald Ginocchio Dr. & Mrs. Robert J. Haas Ms. Laura Henthorn Ms. Joann Hoffmeyer Mr. & Mrs. Robert Houston

Mr. & Mrs. Robert E. Hyatt Mr. & Mrs. Williams James Mr. & Mrs. Max Jent Mr. & Mrs. Stephen Johnson Ms. Sally Kay Mr. & Mrs. Ray Kenney Mr. Vince J. Krydynski, Jr. Mr. & Mrs. Bruce Lueck Mr. & Mrs. Robert Lyle Ms. Brenda Lytle Mr. Gaines H. Mason, Jr. Mr. & Mrs. Hearon McCravy Mr. John N. McNamara Mr. & Mrs. Fritz Mezger Mr. & Mrs. Thomas Miller, Jr. Ms. Cabell Mitchell Mr. & Mrs. George Nixon

Mr. & Mrs. Ronald O’Neill Mr. & Mrs. Charles L. Powell Mr. & Mrs. Mortimer R. Sams, III Mr. & Mrs. John A. Schwartz Mr. & Mrs. Mack Secord Betsy Neely Sikma & Jason Sikma Mr. & Mrs. Garrett Snipes Mr. Tracy Theo Mrs. Martha I. Tiller Mr. Robert Troup Mr. & Mrs. Gregory Wade Mrs. Ted Wagner Mr. & Mrs. Marshall T. Walsh Mr. & Mrs. William Walsh Mr. & Mrs. Andy Wright Mr. & Mrs. Robert L. Wynn, III

Mr. & Mrs. David L. Gowing Dr. & Mrs. Marvin Hevener Ms. Mary Ann Hipp Ms. Cindy Howe & Mr. Dan McBride Mr. & Mrs. Bob Ireland Ms. Ann Karegeannes Mr. & Mrs. Wood Lay Ms. Cornelia Linder Mr. & Mrs. George Loudon, Jr Mr. & Mrs. Kingsley Martin Mr. & Mrs. Paul McChesney Dr. Cavert K. McCorkle Ms. Carol B McCulloch Mr. & Mrs. Boyce Miller Ms. Bonnie-Lee Mizzell Ms. Bonnie H. Monson Dr. & Mrs. Mark Monson Ms. Pamela Nienhuis Ms. Jean Ogden

Mr. & Mrs. David Painter Mr. & Mrs. Gary T. Poole Mr. & Mrs. Jan Postma Mr. Wilbur H. Reames, Jr. Dr. & Mrs. Justin Schütrumpf Ms. Prudence S. Scott Dr. & Mrs. Bertram C. Sippola Mr. & Mrs. Chris Strickland Mr. & Mrs. Ray Sturm Mr. Akira Terawaki Mr. & Mrs. William Tolstedt Mr. & Mrs. Dean Turner Mr. Arnold Tuttle Dr. & Mrs. Robert Watson, Jr. Dr. & Mrs. Douglas Weeks Dr. & Mrs. Richard Weir Ms. Linda West Mr. & Mrs. John Worthen

Members ($50-$149) Ms. Carolyn Alexander Mr. & Mrs. Jim Badger Ms. Nancy Bane Ms. Barbara Barnes Ms. Cissy Barnes Mr. & Mrs. John Bennett Mr. Markus Bolliger & Mr. Stephan Bolliger Mr. & Mrs. Grier Bomar Dr. & Mrs. Mark Bound Ms. Alyson Campbell Mr. Mark Carlson Mr. & Mrs. George E. Case, Jr. Mr. & Mrs. Luciano Cont Ms. Patricia Cook Mr. & Mrs. Paul Cote Mr. Perrin Q Dargan, Jr Dr. C. Edward Davidson Mr. & Mrs. Jack Gowan

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John Holloway, Conductor

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51

Educate: The Harp

One of the Latest Additions to the Symphony

W

ith seven pedals, forty-seven strings, and over fourteen-hundred moving parts, the modern pedal harp epitomizes cutting edge 19th century technology.

People have been playing harps for thousands of years, and the instrument exists in one form or another in almost every part of the world. The first harps were much smaller and less complex than the concert grand pedal harp seen in orchestras today.

The strings on a pedal harp are arranged in a diatonic scale spanning just over six octaves - like the white keys on a piano C, D, E, F, G, A, B, C, etc. Pedals at the bottom of the harp are attached to rods in the column, which attach to a complex mechanism in the neck called the action. The action connects to a set of two discs at the top of each string. Each disc shortens the string by a half step, for example, from b-flat to b-natural. With two discs per string, the doubleaction mechanism allows each string to produce flat, natural, and sharp pitches depending on the pedal and disc position. Harpists are great multitaskers since they play with both hands and both feet at the same time to accomplish the changes in pitch called for throughout the music!

You won’t find harp being played in a Beethoven symphony. If a piece calls for harp, most of the time you will only see one harp on stage, however, two harps are used in pieces written by composers such as Ravel and Strauss. So why do some orchestral works include one harp or multiple harps, while others do not include harp at all?

Prior to the 1800s, harps were not as robust in sound, and could only play in a few key signatures. While these limitations didn’t stop composers from writing for the harp in solo and chamber music, they were seriously handicapped by the harp’s limitations when composing for increasingly larger orchestras playing more complex musical works. A harp and piano manufacturer in France, Sébastien Érard, changed the fate of the harp when he patented the first doubleaction pedal harp in 1810. Érard’s other structural innovations to harp design and double-action

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Kela Walton

Contributing Author

allowed harps to produce more volume and to play in all the possible key signatures.

Ballet and opera composers eagerly embraced the harp. In these dramatic works composers use the sound of the harp to transport the audience to other worlds and non-earthly realms. Richard Wagner (1813-1883) was very fond of exploiting the pedal harp’s chromatic possibilities. In the Ring cycle of operas, Wagner wrote parts to be played by two, four, and even six harps at the same time. The harp sound becomes the flowing waters of the Rhine, the magic fire music, and is featured throughout his various operas. Because of harp’s association with the fantasy of opera and ballet, many composers felt the harp was not a serious instrument to be used in symphonic works. Pyotr Tchaikovsky (1840-1893) wrote some of the most iconic harp parts in his ballets like the Nutcracker, but never included harp in any of his six symphonies.

French composer Hector Berlioz (1803-1869) was one of the first to write a symphonic work that included the new and improved pedal harp. His Symphonie fantastique features two distinct harp parts, and his Treatise on Instrumentation advocated for the use of harp in more orchestral works. Subsequent generations of composers including Nikolai RimskyKorsakov (1844-1908), Gustav Mahler (1860-1911), Claude Debussy (1862-1918), Richard Strauss (18641949), and Maurice Ravel (1875-1937) used harp extensively in their symphonic works, and often wrote two distinct harp parts thanks to the influence of Berlioz.

Ravel was known, even in his own lifetime, as the master of orchestration. His ability to combine the different timbres of various instruments to create new sound qualities is arguably unparalleled by any composer to this day. Ravel’s La Valse features two harp parts played by principal harpist Emily Waggoner and second harpist Kela Walton.

Sometimes both harps play in unison, which boosts the volume, and at other times the two harps each play their own distinct parts.

Emily Waggoner, Principal Harp, began harp lessons at the age of seven in California.

She earned a Bachelor’s Degree in Church Music with harp proficiency from Bob Jones University, and her Master’s Degree in Harp Performance from Converse College. In 2006, Emily established the harp program at Bob Jones University, desiring to offer higher education to harpists seeking a Christian liberal arts education. She has been the principal harpist with the Spartanburg Philharmonic since 2015 and is the acting principal harpist with the Asheville Symphony Orchestra. Emily serves as a Children’s Ministry leader and in her church orchestra at Hampton Park Baptist Church where she and her husband have been members for 18 years. Together they have five young children.

Kela Walton began her musical journey as a Suzuki piano student at the age of five and fell in love with harp at the age of eleven.

She earned a Bachelor’s Degree from the University of Texas in Harp Performance, and her Master’s Degree in Harp Performance and Pedagogy from the University of Houston. Kela served as the interim principal harpist with the Buffalo Philharmonic Orchestra during the 2017-18 season and toured with the BPO on their international tour in Poland. Her other orchestral credits include past positions with the Rochester Philharmonic Orchestra, San Antonio Symphony, Austin Symphony Orchestra, Corpus Christi Ballet, Temple Symphony Orchestra, and Waco Symphony Orchestra. A registered Suzuki harp teacher and innovative educator, Kela enjoys teaching students of all ages. Kela lives in Spartanburg with her husband, Stefan Sanders (see page 28). When not at the harp, she enjoys running and practicing yoga.

Above: Emily Waggoner (top) and Kela Walton (bottom)

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Educate: The Saxophone

Why is the Sax a Stranger to the Symphony?

O

ne of the most important days in music history, the old story goes, was when Adolphe Sax hooked his clarinet mouthpiece to his garden hose and invented the saxophone.

All right, so this may not have been exactly how it happened. In the 1840’s, Adolphe Sax realized that if he took a clarinet, made it out of metal, and changed the shape of the instrument from a cylinder to a cone, he would have a perfect “marching horn” that would be as loud as a brass instrument yet as agile as a woodwind. Adolphe’s instrument was quickly picked up by military bands, and when jazz took hold in America, the saxophone became a staple of the jazz band, too.

Symphonies, however, resisted the trend. Certainly, when the saxophone was invented, there were a few composers like Hector Berlioz who immediately started writing for the new instrument (Berlioz even went so far as to call the saxophone “the most beautiful low voice known to this day”), but most composers didn’t follow suit. Nowadays, the literature for saxophone in symphony orchestra is limited either to composers who wrote jazz-influenced pieces like Gershwin or rare composers like Ravel who simply wanted to hear a saxophone.

Why didn’t the saxophone find its way into the orchestra?

Well, there’s the obvious answer that much of the orchestral

Tom Wright and his saxophones

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Tom Wright

Principal Saxophone

cannon was written before the invention of the saxophone (although the same is true for the valve trumpet, which is nevertheless commonly found in an orchestra), and there were some intonation issues for the early saxophones as well. However, the more surprising reason has little to do with music and much to do with the politics of instrument manufacturing in 19th-century France.

Adolphe Sax’s saxophones were constructed differently from instruments made by his contemporaries. At the time, manufacturers constructed musical instruments by buying premade parts from part shops, which they would then fasten together to make an instrument. Sax, by contrast, made all the parts for his saxophones himself.

Understandably, part-makers were unhappy with Adolphe, and those makers convinced many of their orchestral friends to object to the inclusion of a saxophone in the orchestras; in several particularly famous instances, the musicians actually threatened to walk out if a saxophone appeared in the symphony. (Fortunately, the members of the Spartanburg Philharmonic have not followed suit.) The composers and conductors were unwilling to fight with the orchestra members, and the orchestral saxophone was cast aside.

So, the next time you see a saxophone in an orchestra, remember that its presence in the ensemble is a very contentious issue. And remember that there’s a lot more to a saxophone than a mouthpiece and a hose.

Enrich: Tyerra Clayborne Intern Spotlight

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Rachel Hansen Staff

T

he Philharmonic prides itself on being a place to grow and mentor the next generation of music-industry enthusiasts. Whether you’re a performance major, a DJ, an artist, or musician, we welcome all Arts appreciators to intern with us and get a taste of what it’s like behind-thescenes at a nonprofit Arts organization. This past fall, I had the privilege of taking on my first intern. Tyerra Clayborne, a sophomore at Converse College double majoring in Studio Art and Contemporary Music came in every week, bright-eyed, bushy-tailed, and ready to take on the world.

One of Tyerra’s first tasks was taking on front-ofhouse management for our Espresso series. Tyerra coordinated event volunteers and sold merchandise for the Philharmonic. She was also able to see what happens behind-the-scenes, from ordering table cloths to production management during a show. Tyerra was able to do backstage work with general manager, Peter B. Kay as well as set up the hundreds of free glasses that we give out to Espresso concert-goers. “I loved the ability to work with all sorts of people, from musicians to skilled planners and everyone in between.” Tyerra also went LIVE on Facebook during one of our concerts to try out her on-camera skills.

Due to her very full schedule, Tyerra was unable to intern with us for more than a semester but she continued to stay active in her volunteering with the Philharmonic. Whether it is volunteering a few hours a week, an hour at a concert or doing a long-term internship, the Philharmonic tries to work with everyone’s schedules so that you get the most out of your experience with us.

Tyerra gained experience and an appreciation for the administrative side of non-profit work, an important aspect of any musical organization. “I learned how the Spartanburg Philharmonic is more than just an orchestra.

The organization has free programming at the library every other week so that the Spartanburg community can

enjoy music during their busy days. There are outreach programs to encourage music in school, and members of the Philharmonic even volunteer to do music programs that appeal to younger children. I was also excited about how the organization brings all sorts of musicians into Spartanburg that we might not normally get to experience.

All of that is part of what the Philharmonic does, and it was really exciting to see what I could possibly do in the future with my music and art background.”

While I have certainly missed having Tyerra in the office with us, it is nice to know that we have helped her on her own musical journey and I am certain we will hear about her many accomplishments while she is at Converse and beyond.

For more information on interning or volunteering, contact Rachel Hansen at rhansen@spartanarts.org or read more on our website: SpartanburgPhilharmonic.org/volunteers-interns

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Reflections of the Past and Present 90 Years of Music in Spartanburg

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hen you look in one of the large mirrors in the lobby at Twitchell Auditorium this year on your way to a Spartanburg Philharmonic concert, you will see not only your own reflection, but also a reflection of the world in which we live. Hints of 2018 shimmer from a delicate cut of fashionable fabric, the shine on a leather shoe, the faded indigo of denim, accented by the auditory fragments of trendy words and popular expressions caught in the background from lobby conversations. When audience members pass those mirrors for one last-minute glance before ascending into the ambiance set by the waiting orchestra and evening ahead, it is a glimpse of the present moment they catch. It is the year 2018, defined in so many ways by the things we carry in our pockets daily, such as smartphones and bank cards and devices that hold thousands of hours of music in hardware that fits in the palm of a hand.

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Morgan A. Jordan

Contributing Author

Ninety years ago, mirrors would have reflected the same familiar facial expressions, but the hints of the world reflected would have been something only a person like Ernest Hemingway, Erich Maria Remarque, or F. Scott Fitzgerald could capture. Having been torn apart by the first world war, in turn tipsy and hungover from the giddiness and effects of prohibition and the roaring 1920s, and shocked to the core by one of the greatest economic downturns of the industrialized world at that time, the audience members walking into one of the first concerts in the concert hall at Converse College − later named for Albert H. Twichell in 1941 − featuring the Spartanburg Symphony were from a very different world. No matter the time, the place, or the circumstances, the notes that resonated that night were only the beginning to a 90-year tradition of music culture in Spartanburg.

Thanks to Converse College and its annual series of threeday music festivals that began in 1895, the Spartanburg community was already familiar with world-renowned musicians and symphonies by the turn of the century.

Between 1928 and 1929, Guy Hutchins formed the Spartanburg Symphony Orchestra from a group of volunteer musicians and music students from Converse College. Having studied at Wofford College, Clemson University, and the Curtis Institute in Philadelphia, Hutchins was grounded in both the vast richness of musical education the nation had to offer, as well as the talented local resources and musicians of Spartanburg.

During the lowest point of The Great Depression, when almost 15 million Americans were unemployed, this group of all-volunteer musicians and students grew in popularity and talent. Although the orchestra had existed for almost five years, in 1933, the first audience was welcomed at Twichell Auditorium at Converse College for the orchestra’s debut major performance.

As the nation eventually recovered from the financial crisis and the world marched into the second world war, change was again seen through the eyes of a new audience. It was not uncommon for members of the audience to be seen wearing more conservative, economical fashions, symbols of love and loss created by the war, and expressions varying from hope to despair to determination. It is a common sentiment among communities and people that live through, suffer, and triumph in times of strife to recognize that perhaps those are the times to appreciate the arts for the honesty and human experience they express. The arts, particularly music, continued to thrive in Spartanburg.

Guy Hutchins Maestro from

1928-1937

Ernst Bacon Maestro from

1937-1945

When Guy Hutchins moved on to another position in Greenville, the Spartanburg Symphony invited other talented conductors Ernst Bacon (1938-1945), Lionel Nowak (1942-1945) who shared duties with Bacon, and Pedro Sanjuan (1945-1952) to the podium.

Henry Janiec was welcomed at Converse College in 1952 to lead the Symphony and serve as the Dean of the School of Music until his retirement in 1994.

Henry conducted the orchestra for over four decades, welcoming an assortment of talented musicians from around the globe. Tossy Spivakovsky (1965), Cesare Siepi (1961), Ken Noda (1988), and even Princess Irene of Greece (1967) all performed with the Spartanburg Symphony and Henry Janiec.

Some performers even arrived as a team to share their music with Spartanburg. The year 1973 introduced

Pedro Sanjuan Maestro from

1945-1952

continued on p.58

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brother/sister musicians Yehudi and Hephzibah Menuhin, as well as husband/wife performers James McCracken, an American tenor and Sandra Warfield, a Mezzo-Soprano.

Henry Janiec Maestro from

1952-1994

While many people might remember the 1980s as a period defined by Indiana Jones, neon fashions, MTV, Public Enemy, and Ronald Reagan, audience members at the Symphony during the decade might remember a distinctly younger crowd both on and off the stage.

The Vienna Boys’ Choir from St. Stephen’s Cathedral performed with the Spartanburg Symphony in 1983. A young violinist, Joshua Bell, was also welcomed to the stage in 1988. Although he was barely 20 at the time of his Spartanburg performance with Jean Yves Thibaudet, Bell has become one of the most recognizable talents in the world.

In 1995, the Music Foundation of Spartanburg hired Dr. Bill Scott to conduct the Spartanburg Symphony under the new name, the Greater Spartanburg Philharmonic.

Taking on the duties of conductor and Music Director of the now-paid contract orchestra of musicians, Dr. Scott led the organization into a new century. Outreach and education programs such as Music Sandwiched In, the annual Youth Concert, and an early version of the Apprentice Program all experienced great success under Dr. Scott’s leadership. After eight seasons with the orchestra, Dr. Scott left Spartanburg in 2003 for a position at Western Kentucky University.

Bill Scott Maestro from

1994-2003

After an intensive search directed by James W. Hudgens, the orchestra welcomed conductor and Music Director Sarah Ioannides to the stage in 2005. The orchestra also received a new name, retiring its previous name as the Greater Spartanburg Philharmonic to become the Spartanburg Philharmonic Orchestra (SPO). Serving as the first woman to conduct the orchestra, Sarah approached her responsibilities with a distinct eye for creativity and innovation.

Sarah also solidified the Apprentice program with Concertmaster Sarah Johnson from Converse College.

Through their efforts, high school and college students around the Upstate received the opportunity to receive on-the-job training and experience by performing with the SPO.

Sarah Ioannides Maestro from

2005-2017

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“The Apprentice Program has been very popular with Converse students, in particular”, comments Kelsey Leahy, an oboe player and past librarian for the orchestra. “It’s amazing what the students are capable of. Mallory Hayes, a very talented musician, actually placed for principal second violin during a blind audition while still a student

at Converse. That’s an unbelievable opportunity, and we are lucky to have initiatives like this in Spartanburg.”

continue to create the kinds of events that urge users to click on the ‘Going’ status button.”

Rachel Hansen, Director of Marketing and Special Events with the Spartanburg Philharmonic, also remembers fondly the opportunities presented to her as a student at Converse College. “Back when I was a college student, I had the privilege of being a part of the Spartanburg Festival Chorus that performed Carmina Burana with the Spartanburg Philharmonic and Ballet Spartanburg.

The entire experience of watching and listening to a professional orchestra rehearse, learning from Maestro Sarah Ioannides, and performing on concert day was unforgettable. The combination of the orchestra, chorus and ballet delivered such a powerful performance. It was one of those heart-overflowing moments that has forever impacted my love of and commitment to the Arts.”

And after attending one of the recent Espresso concerts, it is easy to see why people are talking about music on social media channels and elsewhere. Recently started in 2015, the Espresso series offers audiences a chance to listen to music in a more leisurely fashion that fits an evermore-busy schedule. Just an hour in length, the Espresso concerts begin first with a happy hour and hors d’oeuvres right after the typical workday ends around 5:30. Guests are greeted with commemorative pint or wine glasses, and encouraged to sample local craft beers and wine before the concert begins.

Many children in Spartanburg will most likely remember being a part of the Carnegie Hall Link-Up program, another initiative aimed at a younger generation of musicians. Through the program, every 4th grader in Spartanburg receives a free recorder and music curriculum to prepare for a performance with the Spartanburg Philharmonic in the spring.

After 90 years, our musical heritage continues to honor the past, cherish the present, and embrace the future.

To many residents, it might appear that the entire city is in a state of transition. With new buildings being constructed all over downtown and adventurous breweries and restaurants appearing on every street corner, Spartanburg reflects the rise of a new generation of interests.

One doesn’t have to look around Spartanburg for long before seeing the distinct mark of a millennial population.

The iconic “hipster” glasses rest on the nose of one of Spartanburg’s lightbulb installations on Church St., right across from restaurants serving Asian fusion food, avocado toast, and locally brewed craft beer.

After graduating from Converse in 2008, Rachel Hansen has stayed in Spartanburg and is excited by the recent growth. “Everything that is going on in Spartanburg right now is pretty amazing. I remember being here ten years ago as a college student and struggling to find things to do with my friends. Now, events and businesses are flooding my Facebook wall! The Philharmonic wants to

“It’s quite an experience to go to an Espresso concert,” says Kelsey Leahy. “It’s laid-back, fun, and a bit more leisurely than most audiences are accustomed to with professional music performances. There’s even been cotton candy made and served at one concert. You don’t see that often!”

John Akers, a classical guitarist and retired professor from Wofford College, admires the Espresso series for the variety they offer. “The Espresso series retains the wonderful traditions and taste of classical music but in a more intimate and socially pleasant environment. The programs are compact, leaving the rest of the evening free for a special dinner or cocktails with friends.”

Our organization – now known as the Spartanburg Philharmonic – has experienced and reflected the growth and transitions of the entire city over the last ninety years.

Now, with the introduction of Maestro Stefan Sanders as the next conductor and music director of the orchestra, a new year of music begins.

This year, perhaps you will see yourself in your evening finest in the mirrors of Twitchell Auditorium before a Classics concert. Maybe you will catch a glimpse of your own smile outside the Chapman Cultural Center as you stand with friends, still in your business clothes and sipping a craft brew before an Espresso concert begins.

It’s possible your children may grin at their reflections in their best Batman or Wonder Woman costumes before the POPS! concert this autumn. Wherever you happen to be, whatever concert you happen to attend, know for a brief moment that you are a reflection of a living legacy of music in Spartanburg. After 90 years, our musical heritage continues to honor the past, cherish the present, and embrace the future.

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1928

The year our symphony was born!

The best thing since...

Sliced Bread hits the market, produced using a machine created by Otto Rohwedder.

Harry Burnett Reese combines peanut butter and chocolate and begins producing his Reese’s Peanut Butter Cups.

To celebrate the 1928 summer games in Amsterdam, the Netherlands introduces the Olympic Torch.

The roar from MGM’s “Leo the Lion” is heard for the first time in theaters across the country.

Mickey & Minnie Mouse make their debut in Plane Crazy, and a few months later, Mickey appears in Steamboat Willie.

Dr. Alexander Fleming finds a mold that inhibited the growth of Staphylococci and Penicillin was discovered!

Amelia Earhart is the first woman on the crew of a transatlantic flight.

The Hoberg Paper Company introduces the world to a “charming” new brand of toilet paper dubbed Charmin - the first to be a marketing success!

Richard Drew files a patent for an adhesive “cellophane tape,” to be manufactured by 3M which is later nicknamed Scotch Tape.

Herbert Hoover is elected President of the United States. He is known for the famous catch-phrase, “A Chicken in Every Pot.”

The Academy Awards are held for the first time, celebrating and honoring the films of 1926 and 1927.

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2018-19 SEASON SEPT 21 Gryphon Trio

DEC 10 The King’s Singers

FEB 11 Petrie at the Piedmont APR 22 Cavani String Quartet

LEARN MORE! converse.edu/MoseleySeries

Inspire: A New Audience at Twichell SC Test Prep Goes to the Symphony

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Meghan Blanton Smith Contributing Author

DAAA DUM... DAAA DUM...

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e’re all familiar with those first iconic notes from the Jaws theme. During the recent John Williams concert, guest conductor, John Young Shik Concklin aptly stated that Williams is able to evoke suspense, anxiety, and fear with only two notes. That’s the power of music. It can transport us to a new world and open doors in our imagination that might have never seemed possible. In a similar way the first two words of a college acceptance letter - You’re in - can forever change the trajectory of a student’s life. Both music and education provide opportunities for deeper exploration, richer creativity, and a more informed imagination.

The Philharmonic seeks to enrich, inspire, and educate the Spartanburg community through high-quality music. At SC Test Prep we strive to do the same by opening college and career doors for our students. SC Test Prep is a Spartanburgbased nonprofit organization that believes that all students, regardless of income level or background, deserve access to higher education. Through test prep, college visits, college counseling, and life skills workshops, our Open Doors program increases college readiness among low-income and first-generation college students.

In order to more wholly fulfill their mission, the Philharmonic graciously invited our Open Doors students to attend the recent John Williams concert. I waited for the students and their families in the lobby of Twichell Auditorium and wondered if the pouring rain and stinging wind would keep them home. But they came - drenched and eager for a new experience. We took our pictures with Bobba Fett and Darth Vader and made our way to our seats in the crowded auditorium where the likes of the great Duke Ellington and the prodigious Yo-Yo Ma have performed. This was the first time my students and their family members had attended a concert in Twichell. One of the students described the concert as “one of those hard-to-come-by opportunities so we took the chance to experience something new.”

And something new it was. The orchestra swept us away into the colorful and evocative world that only John Williams can create. Occasionally I’d glance over to see if they were enjoying the concert. Every one of them was rapt, fully immersed in the world of magical wizards, bike riding extraterrestrials, ravenous dinosaurs, and noble Jedi.

Meghan Blanton Smith with her students outside of Twichell; Darth Vader conducts the Philharmonic

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Aislinn, a recent Dorman graduate, attended the concert with her mom and two brothers. She will be attending Lander University in the fall and plans to study forensic science. She will be the first in her family to graduate from college. Aislinn “believes it’s important for all types of students to have access to these kinds of experiences because it opens doors to experience some creativity and to bond with others that have same likes or ambitions.”

Access to quality music and higher education should be available to all. We are thankful to the Philharmonic for providing access to our students and for cultivating magical bonding moments of creativity through music.

The Rebel Legion in the lobby before the concert

WHITE’S PINE STREET EXXON 2166 S. Pine Street Spartanburg, SC 29302-3350

JUNIE WHITE Owner

Phone: (864) 585-1226

Fax: (864) 585-4305

Educate: Link Up

Performer Spotlight: Paige Vasel

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ince 2012, the Spartanburg Philharmonic has been a part of the world-wide music education program Link Up. Created by Carnegie Hall’s Weill Music Institute, Link Up brings together students in grades 3-5 with a local orchestra and allows the students to get up close and personal with music. The Spartanburg Philharmonic brings in fourth graders from all over Spartanburg County for this event.

Each year, they rely heavily on teachers, volunteers, and performers to create a fun-filled, educational experience for the children.

One outstanding performer is Paige Vasel. Originally from Eau Clarie, WI, Paige was a musical theater major and dance minor at Converse College when she began working with the Spartanburg Philharmonic. She has performed with the orchestra for Link Up for the past three years and has loved every minute of her time working with the program.

In a recent conversation with two of her professors, Dr. Chandra Hopkins and Professor Margaret Tominaga, I learned about her passion for the theater and for working with others. They both had wonderful things to say about Paige and her commitment and passion to perform.

According to Dr. Hopkins, “Paige is a gifted theatre artist because she brings not only talent but an incredible sense of generosity, heart, and intelligence to her work on and off the stage. She is someone who makes a show, class,

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Philharmonic Intern

rehearsal, or project better by her presence and by her impact on others.”

Professor Tominaga continued by saying “the care and concern she extends to those around her, and the healthy environments that she fosters with her positive energy and attitude, are what makes working with her a successful experience for everyone involved.” The comments made by these well-respected professors are right in line with Paige’s commitment and passion for working with the Link Up program.

In a recent interview with Paige, I had a chance to get to know her and learn about how she has been impacted by her work with Link Up. One of the most interesting things Paige shared was that she did not grow up in a musical family, but because she saw her father’s love for classic rock and the joy he showed when he would sing, she was inspired to explore live music. She discovered the impact music has on people and how it has the power to bring them together. Paige went on to say that, by becoming so many different characters on stage, taking the time to walk in their shoes, she has a new perspective of the world and works towards being more compassionate and graceful towards others. Paige’s pursuit of music and experience in the theater led her to begin working with the Link Up program and the Philharmonic.

Paige Vasel dancing and singing with Jonathan Bright during the 2018 Link Up concert; Morihiko Nakahara conducts.

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Kathryn Monroe

In an interview with Paige, I learned about what she loves most about working with Link Up and how Link Up has changed her life:

KM: What is your favorite memory from Link Up? PV: When we perform the final song of the concert, it’s so

with Link Up — entertaining kids! There is nothing more fulfilling than to hear the laughter and excitement from the children in the audiences at Link Up. I go out on stage and join the orchestra on a few songs, dance, and interact with the kids. It’s the best job I could ask for.

high energy that it’s impossible not to dance along. Some kids are a little shy and stayed sitting though, but I could sense they wanted the freedom and support to stand up and join in on the fun. So I made it my mission to look out in the crowd and find those kids and encourage them to move, at least a little bit. Just as I suspected all they needed was an encouraging smile, and they were up on their feet or dancing in their chair or singing along. That image will stay with me for a very long time.

KM: What is your favorite part of Link Up? PV: The best part of this program is getting to perform for

KM: How has Link Up impacted your life?

PV: Link Up changed my life goals. Before I joined the Link

KM: Describe your role in the performance.

PV: I have the most amazingly fun role ever when I work

a younger audience. I love hearing the groups of kids shuffle into the auditorium because the hall starts to fill up with a buzzing joy and excitement. A younger audience is so open to what they’re about to experience and they’re absolutely delighted to hear the music. They’ll gladly move and sing along to what the orchestra is playing and that lack of inhibition and freedom for expression is a beautiful thing.

KM: Why have you continued with Link Up? PV: I believe the program is wonderfully beneficial to young people. It introduces them to music and educates them in a fun and interactive way, allowing for their creativity to be celebrated. Music − any creative art from really − encourages imagination, teaches dedication, and instills confidence in young people. What could be more important than that?

Up crew, I didn’t realize that I wanted to work creatively with young people, and now I know I absolutely have to make that my mission. Seeing the impact it has on them left a lasting impression on me. I want to continue to inspire young minds and encourage kids to use and trust their imagination, feel confident in themselves, and support one another in their creative endeavors.

Through her work with the Spartanburg Philharmonic and Link Up, Paige has discovered a lot about herself and what she wants to do with her life. She has made memories that will remain with her and remind her of what she loves to do.

Her love for the children and her passion for musical theater have been a wonderful addition to the Link Up program. to get involved, visit us online at: SpartanburgPhilharmonic.org/volunteers-interns

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Enrich: The Spartanburg Music Trail Celebrating Spartanburg’s Musical History

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f you were to ask an average Spartanburg resident what the area’s major exports to the world were, you would likely receive answers such as textiles, cotton, or peaches.

Spartanburg’s musical heritage could be considered an export of equal merit. In the early 20th century, the area was rightfully known as the “Hub City,” a center that moved people and goods, and each train brought the world to Spartanburg. The city’s location and activity drew artists from all over the world, and undoubtedly made an impact on the sons and daughters of Spartanburg.

To ensure that the city never forgets the talent it bore, the Spartanburg Music Trail opened in the downtown area in 2011, originally highlighting 12 local musicians. After the publication of Peter Cooper’s book, Hub City Music Makers: One Southern Town’s Popular Music History (Hub City Press) in 1996, the nonprofit Hub City Writer’s Project began laying the foundation for a physical, interactive music trail around the city. Every few years, new local artists with an affiliation with Spartanburg that have made a national or international impact on the world of music are added to the trail. Each addition reveals another thread in the region’s rich, diverse tapestry of talent.

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Morgan A. Jordan

Contributing Author

The roster boasts a broad selection of artists, crossing racial boundaries, musical genres, gender, eras and age groups.

Over 100 years of music-making history are represented throughout the trail in genres from rock n’ roll, country, blues, jazz, gospel, and more.

One of the earliest artists on the trail, Clara Smith, born in Spartanburg in 1892, was one of the most popular blues artists of her time. Clara began performing in vaudeville shows in the early 1900s and became a star of the Theatre Owners Book Association circuit, the main circuit for AfricanAmerican performers at that time.

Other legendary artists such as Walter Hyatt, Pink Anderson, Marshall Chapman, Hank Garland, and the Marshall Tucker Band honed their craft in the area and are represented in various locations along the trail. 18 musicians are featured on the trail so far, with more to follow soon.

This year, the two new artists being added to the trail include internationally renowned soprano Gianna Rolandi and Rev. Julius “June” Cheeks. Gianna’s extensive musical career includes performances with the New York City Opera, the Metropolitan Opera, and many more. Rev. Julius “June”

additional information is available online at:

SpartanburgMusicTrail.com

Spartanburg Little Theatre 2018-19 Season

Cheeks gained fame as an American gospel singer whose gritty, powerful baritone voice influenced stars such as James Brown and Wilson Pickett.

The Spartanburg Music Trail loop may be walked in about 30 minutes. Located downtown, the designated signs are marked by their bright exterior paint and large photographs of the artists. Using a smartphone, wanderers along the trail may access narrations, song samples, side trips, and other information as they travel.

Every artist along the trail tells a different story and brings new perspectives to the history of the city and of popular music. Their markers celebrate their lives and accomplishments, but they also demonstrate to us the ability of Spartanburg to shape artists and their art.

The markers point not just the genius of the human spirit but to the character of this city. They remind of us of our past and suggest the nature of creativity that resides in us all. The artists that we commemorate have been enjoyed by countless past and present audiences throughout the world. As new stops continue to be added, the trail will also be enjoyed in the future by those not yet born. The trail is a perfect example that the world of music is ever influencing, ever changing, and ever transforming all those that stop to listen.

September 7-23, 2018

November 2-11, 2018

January 11-20, 2019

March 8-17, 2019

May 3-12, 2019

July 12-20, 2019

Spartanburg youth Theatre 2018-19 Season

FOR TICKETS

ChapmanCulturalCenter.org or (864) 542-2787 October 5-6, 2018

Nov. 30 - Dec. 1, 2018

FOR SEASON TICKETS

spartanburglittletheatre.com spartanburgyouththeatre.com (864) 585-8278

February 15-16, 2019

April 12-13, 2019

2018 ELIZABETH O’NEILL VERNER AWARD RECIPIENT

FRI., DECEMBER 7 7 PM SAT., DECEMBER 8 3 PM SUN., DECEMBER 9 3 PM

and the FRI., OCTOBER 19 7 PM SAT., OCTOBER 20 3 PM SUN., OCTOBER 21 3 PM

— T I C KET S: 8 6 4 - 5 9 6 - 9 7 2 4 bal l et spa r ta nbu r g.o r g —

TICKETS: 864-542-2787 balletspartanburg.org

twichell auditorium Student $18 | Senior $25 | Adult $32

chapman cultural center Student $15 | Senior $20 | Adult $25

The Spartanburg Philharmonic is honored to celebrate the work of gospel legend Rev. Julius “June” Cheeks (above left) and renowned soprano Lady Gianna Rolandi (above right) with a new stop along the Music Trail. The sign is located near the intersection of W. Saint John Street and N. Spring Street in downtown Spartanburg.

Join us for the Dedication Ceremony!

Tuesday, Sept. 26 at 10:00am

#collectiveworks BREAKING BOUNDARIES WITH CONTEMPORARY BALLET

FRI., MARCH 22 7 PM SAT., MARCH 23 7 PM TICKETS: 864-542-2787 balletspartanburg.org

FRI., FEB. 22 7 PM | SAT., FEB. 23 3 & 7 PM — TICKETS : 8 6 4 - 5 4 2 - 2 7 8 7

ba llets pa r ta nbur g.o r g —

Chapman Cultural Center Student $15 | Senior $20 | Adult $25

Chapman Cultural Center Student $15 | Senior $20 | Adult $25

APRIL 26 & 27 6PM & 8PM

CHAMPAGNE & SWEETS

Ballet Spartanburg Studio tickets $20

TICKETS: 864-583-0339 balletspartanburg.org

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CCC Annual Fund Donors July 1, 2017-June 30, 2018 Individual Donors Founders’ Circle Mr. Frederick B. Dent, Sr. Mr. & Mrs. Jimmy I Gibbs Mr. & Mrs. George Dean Johnson, Jr. Mr. & Mrs. J. Michael Kohler, Jr. Mr. & Mrs. Thomas P. Nederostek Mr. & Mrs. Geoffrey Wilson President’s Circle Mr. & Mrs. Robert W. Allen Mr. & Mrs. Willam Barnet III Mr. & Mrs. Bert Dixon Barre Mrs. Elizabeth S. Chapman Mr. & Mrs. Geordy Johnson Mr. & Mrs. Walter S. Montgomery, Jr. Mr. & Mrs. Peter Weisman Pacesetter Mrs. Darelyn Arduser Mr. & Mrs. Charles J. Bradshaw Mrs. Donna Cart Mr. & Mrs. MacFarlane L. Cates, Jr. Ms. Beth C. Cecil & Ms. Isabel Forbes Mr. & Mrs. E. Dixon Crenshaw, Jr. Mrs. Angelina P. Eschauzier Mr. & Mrs. C. Sloan Evans Ms. Jennifer Clark Evins Mr. James H. Grier Mrs. Linda Hannon Mr. & Mrs. L. Barry McNaughton Mr. & Mrs. Corry W. Oakes III Mr. & Mrs. Robert P. Richardson V Mr. & Mrs. Michael K. Young Leader Dr. & Mrs. G. Ashley Allen Dr. & Mrs. Mitchell H. Allen Mr. & Mrs. Andrew M. Babb Mr. & Mrs. Vic Bailey III Mr. W. D. Bain, Jr. Mr. & Mrs. Stanley W. Baker Mr. & Mrs. John P. Barber Mr. & Mrs. Thomas G. Barnet Mr. & Mrs. H. Walter Barre II Mr. Kyle Riser & Ms. Virginia Benintende Mr. & Mrs. William D. Blackford Dr. & Mrs. James E. Bradof Mr. & Mrs. George Brandt III Mr. & Mrs. Robert A. Brannon Mrs. Mellnee G. Buchheit Dr. John M. Bullard Mr. & Mrs. Ethan R. Burroughs Mr. & Mrs. William H. Burton III Dr. & Mrs. Fritz Butehorn Dr. & Mrs. B. Brant Bynum Mr. & Mrs. Bill A. Caldwell Dr. & Mrs. Ernest Camp III Mr. & Mrs. Christopher L. Cannon Mrs. Marjorie Cannon Mr. & Mrs. William Z. Cannon Ms. Kathleen M. Cates Mr. & Mrs. C. Cam Cecil Mr. Douglas M. Cecil & Dr. Julie J. Cecil Mr. & Mrs. Randall K. Chambers Mr. & Mrs. Norman H. Chapman Mr. & Mrs. William Cobb Mr. & Mrs. Jerry A. Cogan, Jr. Mr. & Mrs. Jerome R. Cogdell Mr. & Mrs. William M. Coker The Honorable & Mrs. J. Derham Cole, Sr. Mr. & Mrs. Justin Converse Mr. & Mrs. Martin S. Cornelson Mr. & Mrs. Paul J. Coté Mr. & Mrs. Kenneth R. Couch Mr. T. Kenneth Cribb, Jr. Mr. George Crow Mr. & Mrs. Christopher Crowley Mrs. Earlene G. Cyrill Mr. & Mrs. Frederick B. Dent, Jr. Mr. & Mrs. Chris A. Dorrance Mr. & Mrs. Raymond A. Dunleavy Mr. & Mrs. Andrew J. Falatok Mr. Willis B. Fitch Mr. & Mrs. A. Gordon Floyd Mr. & Mrs. W. Russel Floyd Mr. & Mrs. Lawrence E. Flynn, Jr. Ms. Cordelia L. Fort Ms. Elaine T. Freeman Mr. & Mrs. H. Laurence Fritz, Jr. Dr. & Mrs. J. Sidney Fulmer, Sr. Mr. & Mrs. Jamie S. Fulmer, Jr. Mr. & Mrs. John W. Gandy Mr. & Mrs. William P. Gee Ms. Joan Gibson Mr. & Mrs. Barney G. Gosnell Mr. & Mrs. Roger Habisreutinger Mr. Steven A. Hairfield Mr. & Mrs. Troy M. Hanna Mr. & Mrs. Thomas E. Hannah, Sr. Dr. & Mrs. John A. Harrill, Jr. Ms. Elisabeth E. Hayes Mr. Gaetan Hemond & Ms. Lisa Hemond Mr. & Mrs. J. Howard Henderson Mr. William C. Hightower & Dr. Mary Lou S. Hightower Dr. & Mrs. Michael W. Holmes Mr. & Mrs. Michael Hrubala Mrs. Patricia Hudgens Mrs. Elsa P. Hudson Ms. Sarah Chapman Jackson Louise & David Johnson Mr. & Mrs. Stewart H. Johnson, Sr. Ms. Wallace Eppes Johnson Dr. & Mrs. Julian C. Josey, Jr. Dr. Joseph Kavanagh & Dr. Julie Kavanagh Dr. & Mrs. Harry W. Kinard Dr. & Mrs. Sonny King Dr. & Mrs. Wood N. Lay Mr. & Mrs. Paul H. Lehner Mr. & Mrs. William Lowndes III Dr. & Mrs. W. Brownlee Lowry Mr. & Mrs. William Alan Lyles Mr. & Mrs. Jason C. Lynch Mrs. Nancy T. Lyon Mr. & Mrs. William Mayrose Mr. & Mrs. John S. McBride, Jr. Dr. & Mrs. Thomas R. McDaniel Mrs. Sonia B. McDuffie Mr. Thomas P. McMeekin Mr. & Mrs. Leslie L. McMillan, Jr. Mr. Stanford M. McMillan Mr. & Mrs. Michael L. Menard Don & Mary Miles Mr. & Mrs. D. Byrd Miller III Mr. Scott K. Mitchell Mr. & Mrs. William H. Mitchell Mr. & Mrs. John D. Montgomery Mr. & Mrs. Walter S. Montgomery IV Mr. & Mrs. William James Montgomery Mr. John K. Moore & Ms. Susan Bridges Mr. & Mrs. Thomas F. Moore Mr. & Mrs. King Mueller Mr. & Mrs. George Nixon Mr. & Mrs. J. Patrick O’Shaughnessy

Mrs. William W. Old III Mrs. Anne P. Perrin Mr. & Mrs. Craig M. Phillips Mr. & Mrs. John S. Poole Dr. & Mrs. Jan H. Postma, Jr. Mr. & Mrs. L. Perrin Powell Ms. Thelma A. Powell Mr. & Mrs. Norman F. Pulliam, Sr. Mrs. Beverly Renfro Dr. & Mrs. Regis H. Robe Mrs. Betty G. Roberson Mr. & Mrs. Randy Romberger Dr. & Mrs. Nayef Samhat Mr. & Mrs. G. Garrett Scott Mrs. Prudence S. Scott Dr. & Mrs. Peter A. Sereque Mr. & Mrs. Marvin Siegel Mr. & Mrs. Ron G. Smith Mr. & Mrs. Warwick F. Spencer Mr. & Mrs. Roland A. Stebbins Paige & Kyle Stephenson Dr. John C. Stockwell & Dr. Diane Vecchio Mr. & Mrs. Eliot Stone Mr. & Mrs. George W. Sykes Mr. & Mrs. Brian D. Tate Mr. & Mrs. David E. Tate Mr. & Mrs. George C. Todd, Jr. Dr. Joella F. Utley Mr. & Mrs. Manuel Vallarino Mr. & Mrs. Gregory H. Wade Mr. & Mrs. Benny E. Waldrop Ms. Lindsay L. Webster Dr. Charles White & Ms. Ruth Cate Mr. & Mrs. John B. White, Jr. Mr. & Mrs. Donald B. Wildman Mr. William Wilkinson & Mr. Robert K. Bellinger Mr. & Mrs. Benjamin S. Willard Mr. & Mrs. William G. Willard III Mr. & Mrs. James C. Wilson, Jr. Mr. & Mrs. Donald P. Woodward Mr. & Mrs. James C. Wright Mr. & Mrs. Barry D. Wynn Mr. & Mrs. Kurt Zimmerli Mr. & Mrs. Mark J. Zimmerli Patron Mr. & Mrs. Jan R. Caldwell Mr. & Mrs. Thomas R. McLeod Mr. John Rush Partner Ms. Terril Bates Mr. & Mrs. Victor Bilanchone Ms. Karen Bjelland Mr. Stephen David Blake Mr. & Mrs. W. Reed Brown Mr. & Mrs. James V. Burchfield Mr. & Mrs. Donald C. Coggins, Jr. Mr. Thomas Moore Craig, Jr. Dr. & Mrs. Ty Dawson Mr. & Mrs. James B. Drennan III Dr. & Mrs. John F. Dunbar, Jr. Dr. & Mrs. William M. Edwards Mr. & Mrs. Robert J. Elliott, Jr. Mr. & Mrs. W. David Ellis Mrs. Nora S. Featherston Abby & Steve Fowler Dr. & Mrs. Michael W. Funderburk Mr. & Mrs. James R. Glenn Mr. & Mrs. Craig Grimm Mr. & Mrs. John D. Groves Ms. Sheila D. Henderson Ms. Laura Beeson Henthorn Dr. & Mrs. Boone J. Hopkins Mrs. Avarilla Hughes Dr. & Mrs. Darwin W. Keller Honorable R. Keith Kelly & Mrs. Cynthia J. Kelly Mr. & Mrs. Michael L. Lyon Mr. & Mrs. J. Robert Mauney Dr. & Mrs. Donald H. McClure Mr. & Mrs. Sean McEnroe Mr. & Mrs. W. Keith Parris Ms. Carlotta Redish, PhD Erwin Redl Mr. & Mrs. Gerald Smith Mr. & Mrs. James M. Smith Mr. Brand R. Stille & The Honorable Laura E. Stille Mr. Raymond C. Sturm & Mrs. Elaine Hare-Sturm Mr. & Mrs. Claude Tidwell Mr. & Mrs. Jospeh B. Traywick II Mr. & Mrs. W. Burnham Uhler II Mr. & Mrs. Michael B. T. Wilkes Ms. Rachel Williams Mr. & Mrs. John E. Worthen Supporter Mr. & Mrs. Winthrop Allen Mr. & Mrs. Thomas L. Arthur Mr. Robert Badgett Ms. Susan H. Baker Dr. Amy Baruch & Mr. Mark Sarstrand Mr. & Mrs. Charles E. Baxter, Jr. Mr. & Mrs. David Beacham Mr. & Mrs. John W. Beeson, Jr. Drs. Marc D. & N. Dawn Bingham Mr. & Mrs. Rocky D. Blackwell Mr. & Mrs. Glen B Boggs II Mr. & Mrs. J. Grier Bomar Dr. & Mrs. S. Michael Bozard Mrs. Beatrice S. Bruce The Honorable & Mrs. E. C. Burnett III Dr. & Mrs. Louis Buttino Mr. & Mrs. David W. Cecil II Mrs. Sheila H. Chapman Mr. & Mrs. Timothy L. Cleveland The Honorable & Mrs. J. Derham Cole, Jr. Mr. & Mrs. Jonathan Couchell Mr. Chris Curtis & Dr. Amy Curtis Mr. & Mrs. Michael R. Daniel Mr. & Mrs. Ken G. Deems Mr. David Dover & Dr. Sarah Dover Mrs. Carol J. Dunn Mr. & Mrs. Daniel F. Dunn Mrs. Alice M. Eberhardt Mr. & Mrs. Allen W. Edgerton Mr. Zachary David Ellis Mr. Michael Ferguson Mr. Trey Finney Mr. & Mrs. John P. Fruit Mr. & Mrs. Ryan Gaylord Dr. & Mrs. W. David Goolsby Mr. & Mrs. David L. Gowing Mr. & Mrs. William Gray Mr. & Mrs. Roy Griffin Dr. & Mrs. Robert J. Haas Ms. Kelly T. Harvey Ms. Beth A. Hudson Dr. & Mrs. L. Ronald Hurst Dr. & Mrs. J. Vernon Jeffords Dr. & Mrs. Albert L. Jeter Ms. Frances S. Jordan Mr. & Mrs. Jay H. Kaplan

Mr. & Mrs. J. Whitner Kennedy Ms. Beverly M. Knight Dr. & Mrs. Louis F. Knoepp, Jr. Mr. & Mrs. Jeffrey Lehrer Mr. Paul Licurs, Jr. Mrs. Jeanne S. MacPhail Ms. Thorne S. Martin Mr. & Mrs. Samuel H. Maw, Jr. Mr. & Mrs. James W. McCabe Mr. & Mrs. Hearon McCravy Mr. & Mrs. Boyce F. Miller Mr. & Mrs. E. Lewis Miller, Jr. Mrs. Cathleen M. Minch Dr. & Mrs. Robert E. Mitchell Mr. & Mrs. Herbert B. Moore, Jr. Mr. & Mrs. Andrew Moorman Dr. Charles Morrow Mr. & Mrs. Kirk Willingham Neely Dr. John T. Nichols & Dr. Carol S. Nichols Mr. & Mrs. Walter A. Novak Ms. Laura Odom Mr. Mark S. Olencki Mr. & Mrs. John W. Orr, Jr. Dr. & Mrs. Richard K. Orr Mr. Thomas A. Davies & Mrs. Karyn A. Page-Davies Mr. & Mrs. Stephen Parrott Dr. & Mrs. Pranay R. Patel Mr. & Mrs. Dwight M. Pemberton Mrs. Carolyn D. Pennell Mr. & Mrs. E. Jack Porter Mr. & Mrs. George W. Price III Mr. & Mrs. Philip N. Racine Mr. & Mrs. H. Cullen Reed, Jr. Mr. & Mrs. Fred H. Robbins Dr. & Mrs. Thomas L. Robinson Mr. Robert J. Royle Mrs. Joy G. Shackelford Mr. & Mrs. Raymond A. Shingler Dr. & Mrs. Gary R. Smiley Mr. & Mrs. Allen Smith Mr. & Mrs. Carroll D. Solesbee Mr. & Mrs. Hank J. Steinberg Mr. & Mrs. Marshall Christman Stone III Drs. Robert & Christine Swager Dr. & Mrs. Robert H. Taylor Reverend & Mrs. Clay H. Turner Mr. & Mrs. Jack Turner Mr. & Mrs. William N. Turrentine, Jr. Mr. & Mrs. Halford G. Warlick, Jr. Dr. & Mrs. Lawrence N. Warren, Jr. Mr. & Mrs. Steven R. Werner Mr. & Mrs. L. Andrew Westbrook III Dr. & Mrs. Edwin F. Wilde Dr. & Mrs. Clifton L. Williams, Jr. Ms. Jane Woods Ms. Elsie Ruth Wright Mr. & Mrs. Robert L. Wynn III

Mr. & Mrs. Isaac B. Dickson, Jr. Mr. & Mrs. Wayne A. Diehl Mr. & Mrs. J. Richard Dillard, Jr. Ms. Kyran Dowling & Ms. April A. Preston Mr. & Mrs. Allen D. Doyle Ms. Melissa Earley Mrs. Ruth Earnhardt Mr. & Mrs. Gregory W. Easterlin Mr. & Mrs. John L. Easterling III Ms. Courtney Edwards Dr. & Dr. Jeffrey D. Edwards Mr. & Mrs. Edwin E. Elam, Jr. Dr. & Mrs. William C. Elston Mr. & Mrs. Raymond C. Eubanks, Jr. Mr. & Mrs. C. Robert Faucette Mr. & Mrs. Sam Feemster Ms. Sara Ferguson Mr. & Mrs. William B. Ferguson Mr. & Mrs. Dickie Fleming Mrs. Sally D. Foster Ms. Janet Francis Dr. & Mrs. Kenneth E. Frick Mr. & Mrs. Ed Frost Mr. & Mrs. Prafull Gajendragadkar Mr. & Mrs. William P. Galgon Mr. & Mrs. Heinrich Gallmann Col. & Mrs. James D. George, Sr. Mr. Jimmy N. Gibson & Dr. Karen M. Czuba-Gibson Mr. Ken Giles Mr. & Mrs. Ralph Gillespie Mr. & Mrs. Robert S. Gilmore, Jr. Mr. & Mrs. Gerald Ginocchio Mr. Charles E. Godfrey, Jr. Angela & Bruce Graham Mrs. Monica C. Greene Mr. & Mrs. Allan W. Hammerbeck Mrs. Barbara B. Hammett Ms. Patsy Hammett Mr. & Mrs. Mark Hammond Mr. & Mrs. R. Wesley Hammond Major & Mrs. James B. Hampton Mr. Tom Hanley Mr. & Mrs. Dennis D. Harton Mr. & Mrs. Peyton Harvey Mr. & Mrs. Edwin C. Haskell III Mr. Mark Hayes Dr. & Mrs. G. David Heatherly Mr. & Mrs. Joshua Heckel Mr. & Mrs. Don O. Hendrix Mr. & Mrs. Fred P. Herren Dr. & Mrs. Marvin G. Hevener Mr. & Mrs. James D. Hodge Mr. Edward L. Holcombe & Dr. LeAnne C. Thurmond Ms. Sarah A. Hollis Mr. & Mrs. John M. Holmes III Mrs. Gwendolyn T. Howell Mrs. Irene O. Howell Associate Mr. & Mrs. Douglas O. Hubbell Mr. & Mrs. Thomas E. Abbott Mrs. Lillian Hudson Ms. Adrienne Z. Ables Mr. & Mrs. W. Pinckney Irwin IV Mr. & Mrs. Gere Ablett Mrs. Paula Jakubchak Dr. & Dr. Wellesley Alexander Ms. Sylvia F. Jennings Mr. & Mrs. A. T. Allen Col. & Mrs. John R. Jeter Mr. & Mrs. Charles R Allen Mr. & Mrs. George L. Johnson, Jr. Mr. & Mrs. Ronald Allison Mr. & Mrs. Richard A. Johnson Mr. & Mrs. Patty & C. Mack Amick, Jr. Mr. & Mrs. Spencer Johnson III Ms. Nancy C. Anderson Rear Admiral & Mrs. Stephen I. Johnson Mr. Thomas M. Ariail Mrs. Ann J. Jones Mr. & Mrs. Page Ashby Mr. & Mrs. Marshall M. Jordan, Jr. Mr. D. Ashley Atkinson Mr. & Mrs. James F. Joyner III Mr. & Mrs. Brion Bahnmuller Mr. & Mrs. Greg Karpick Mr. & Mrs. Ronald G. Bailey Mr. Gregory D. Keesler Mr. & Mrs. Michael J. Baird Mr. & Mrs. Harold B. Kelly Ms. Nancy B. Bane Mrs. Peggy Kelly Dr. & Mrs. Jeffrey H. Barker Ms. Barbara J. Barnes & Mr. F. Terry Mitchell Dr. & Mrs. Kyle Kiesau Mr. & Mrs. Eugene T. Kilcawley Mr. & Mrs. L. Clarence Batts, Jr. Dr. & Mrs. Joseph H. Killian, Jr. Mr. & Mrs. Orin W. Beach, Jr. Mr. & Mrs. Carl H. King III Dr. & Mrs. Howard Carlisle Bean, Jr. Mr. & Mrs. Tom & Cesily King Mr. & Mrs. William S. Bean IV Ms. Kaori Fay Klatte Dr. & Mrs. Charles S. Bebko Dr. & Mrs. E. Bert Knight III Ms. Jada Bell Mr. Eric Kocher Mr. & Mrs. Christopher M. Bender Dr. & Mrs. Hans H. Kuhn Dr. Debra D. 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