Spartanburg Philharmonic - HearHere, Fall 2020

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Volume 92, Fall 2020 200 East Saint John St. Spartanburg, SC 29306 864.948.9020

Contributing Authors: Susana Lalama Courtney Oliver Daniel Bernard Roumain Stefan Sanders Laura Clare Thevenet Chris Vaneman

Information 4 6 8 9 10 12 14 28

Zimmerli Series Goes Online Your Virtual Visit Board of Directors Orchestra Committee Philharmonic Staff Corporate Partnerships Spartanburg Philharmonic Annual Fund Spartanburg Philharmonic Musicians

Photographers: Anna Bandy Kavin Bradner Jimmy Gibson Wendy McCarty

Design: Peter B. Kay

Concerts 30

Ludwig: Heroes & Revolution

42

‘Burg Bound: A Stay-at-Home Holiday Concert

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Bluegrass Spartanburg

Articles 6 7 11 16 18 20 25 28 48 52 54 55

A Letter from the President A Letter from the Executive Director Meet Stefan Sanders Remembering Carol Dunn Chefin’ with Stefan Programming in a Pandemic Renovate & Rejuvenate Meet Callie Brennan Together SpARTanburg Spotlight: Helen Tipton Our Flexible Outdoor Youth Orchestra Spotlight: Johanna Wilson

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Zimmerli Series Goes Online

HOW TO WATCH: my.sphil.org/watch Go to to login in to your account from your Phone, Tablet, Computer or Smart TV. 4 4

DON’T HAVE A SMART TV?

NOT READY TO GO ONLINE?

Use Chromecast or Apple Airplay to broadcast videos to your device. You can also connect your computer to your TV using an HDMI cable.

Request a DVD at my.sphil.org/DVD

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A Letter from the President

Greetings, As I take the role of Chairman of the Spartanburg Philharmonic Board I am confident about our future. Yes, things are different now but those challenges open us up to change and development and innovation. We are all tied together with a common theme – finding joy in music. All of us know and feel what music can do for us as well as our community. I have no doubts that we will evolve and continue to deliver that music. I am blessed with the benefit of following many strong leaders and members of this Board, as well as a wonderful staff, orchestra and conductor. We truly appreciate our donors, sponsors and ticket holders, without which none of this would be possible. It is both an honor and privilege to lead and I know that we will continue on and come out ever stronger on the other side!

Chip McLeod, President of the Board of Directors Spartanburg Philharmonic

Your Virtual Visit To View our Fall Concerts, visit us online at:

www.spartanburgphilharmonic.org/watch

Seating: General Admission in most cases, though

your home may have Reserved Seating (that recliner may be for dad only). No matter the scenerio, feel free to watch these digital concerts in relaxed comfort anywhere you’d like!

Late seating: For the listening pleasure of our

audiences, concerts should not be paused for late arriving patrons. Latecomers will be seated at the first appropriate break in the program (typically between pieces/movements) and must bring popcorn and/or wine. Additionally, we ask that patrons who must leave prior to the end of the concert return to view the rest of the video online at any time. 6

Food/Beverage: Food or drink, including bottled water, is encouraged. Visit us online to view suggested meal and beverage pairings for these concerts! Restrooms: Restrooms are conveniently located in your home for easy access. Hand washing is strongly encouraged. Cameras, cell phones, recording devices, watch alarms, and similar devices: Patrons are encouraged to turn off, put down, and/or mute all additional personal electronic devices prior to the performance and to enjoy some time with family and/or friends while watching the symphony online.

A Letter from the Executive Director

Dear friends, On March 11th, our full orchestra came together for three daytime performances held for close to 4,000 4th graders from Spartanburg County for our annual Link Up concert. The Link Up concerts are an absolute joy and one of the highlights for me each year. I love seeing the awe and excitement on the kids’ faces when they are performing with the orchestra in the grand Twichell Auditorium. This particular Link Up concert day was quite special for me since two of my children were performing - my son Kaese as a 4th grader participating with his recorder and my daughter Lily as part of the Spartanburg High School Drum Line that performed with our orchestra for the concerts. Looking back, that day is particularly special right now since that is the last time our full orchestra performed together before the pandemic spread across the world. Like all performing arts across the country, we chose to cancel our remaining concerts for the season in an abundance of caution. Like for all of you, the past 6 months have been tough. Our organization has spent countless hours constructing our new season, dreaming up new ways to create music together and learning from our peers. I believe orchestras exist to reflect our time, our place, and our local communities, which feels especially important in this moment. Personally, I have spent a considerable amount of time reflecting on the role of music in our society. I have never believed with more conviction that music holds a vital presence in our lives. Music heals, soothes, comforts, and it ignites ideas and broadens our imagination. The arts enable us to communicate in the most remarkable of ways. As we imagine what the future looks like for the Spartanburg Philharmonic, there are some important questions that I’m asking myself: In what ways can music uniquely interpret our experience of the past year and help us heal and memorialize this time? What intersections between art and technology will bring music and joy to our community? While our last in person concert together holds sweet memories for me and my family, I believe that our upcoming season of digital and in person concerts will share important stories of heroism and reflection. Bravo to the team of incredible staff, musicians and Board that developed the concept and details of this season. You all are some of the most creative and talented people in the industry and I could not be more grateful for the opportunity to be part of this organization. All the best,

Kathryn Boucher, Executive Director Spartanburg Philharmonic 7

Board of Directors 2020-2021 Officers

Chip McLeod President

Laura Allen

Past President

Karen Parrott

President Elect

Samantha Larkins Treasurer

Chris Strickland Secretary

Directors Dr. Meisha Adderley Karen Bjelland James Cheek Ray Dunleavy Jimmy Gibson Peter Grzan Laura Henthorn Dr. Ohmar Land Francie Little Dr. Cabe Loring Judy McCravy Dr. Melinda Moretz Alex Hunt North Dr. Rick Orr Bert Shuler Helen Tipton Kate White William (Bill) Wilkinson

Lifetime Director Dr. J. Sidney Fulmer

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From the top: Chip McLeod with Music Director, Stefan Sanders; Laura Allen with her family and Mary Helen Wade; Samantha Larkins pours wine at an Espresso concert; Chris Strickland with his family at a Bluegrass concert; Karen Parrott, her family, and Chip McLeod at a Bluegrass concert.

The Mission of the Spartanburg Philharmonic is to enrich, inspire

Orchestra Committee 2020-2021 Representatives

Diana Maley Berti, Viola

Committee Chair

Ian Bracchitta, Bass

Patrick Lowery, Timpani Michele Cockram, Violin Frank Watson, Bassoon

From the top: Diana Maley Berti Ian Bracchitta Patrick Lowery Frank Watson Michele Cockram

Members of the Spartanburg Philharmonic elect six to eight colleagues to serve as an Orchestra Committee. This committee performs the duties in the Orchestra Manual, which outlines the responsibilities of both the orchestra members and the Philharmonic’s staff in preparing for and presenting outstanding concerts. This committee represent the interests of the musicians on the Artistic Committee, and a member serves as a nonvoting member of the Board of Directors.

e, and educate through live performances of high-quality music.

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Philharmonic Staff

Stefan Sanders Music Director

Kathryn Boucher Executive Director

2020-2021

Susana M. Lalama

Youth Orchestra Conductor

Peter B. Kay

General Manager & Composer in Residence

Johanna Wilson

Junior Youth Orchestra Conductor

Courtney Oliver

Marketing & Special Events Manager

Connect with the Spartanburg Philharmonic!

Robert Borden

See photos and video of the symphony on stage, backstage, and behind the scenes. Learn more about music and musical life, and stay up-to-date about our upcoming events. Like, Follow, and Watch

Orchestra Librarian

Volunteers:

Marianne Fortin Karen Czuba Gibson Marsha Moore Interns:

Adriana Stamile Grace Hammond Tristan Willcox 10

facebook.com/SpartanburgPhil instagram.com/SpartanburgPhilharmonic youtube.com/SpartanburgPhilharmonic

Meet Stefan Sanders

Music Director

This season Stefan begins his third year as Music Director of the Spartanburg Philharmonic, fourth year as Music Director of the Fayetteville Symphony Orchestra in North Carolina and eighth year as Music Director of the Central Texas Philharmonic in his hometown of Austin, TX. Prior to the pandemic, Stefan was scheduled to make debuts this season with the Filharmonia Kaliska in Kalisz, Poland, the Symphony Orchestra of the Yucatán in Mérida, México, and the University of Costa Rica Symphony Orchestra, as well as return engagements to the National Orchestra of Cuba in Havana and several weeks as assistant conductor for the New York Philharmonic. Stefan has collaborated with many distinguished orchestras. Recent guest conducting appearances include the Naples Philharmonic, Sarasota Orchestra, Rochester Philharmonic, Virginia Symphony, Stockton Symphony, San Antonio Symphony, Buffalo Philharmonic, Austin Symphony Orchestra, Austin Opera, Corpus Christi Opera, Bozeman Symphony, Orquesta Sinfónica de Guayaquil (Ecuador), Filharmonia Warminsko-Mazurska (Poland), Filharmonia Padkarpacka (Poland), Symphoria (Syracuse, NY), and the Round Top International Festival Institute. Stefan has collaborated with an array of guest artists, such as renowned violinist Gil Shaham, electric bass virtuoso Victor Wooten, banjo virtuoso, Béla Fleck, pianist and pedagogue Anton Nel, Broadway performer and Seinfeld co-star Jason Alexander, The B-52s, Pink Martini, Vanessa Williams, and many more.

In 2018 Stefan concluded a four year tenure with the Buffalo Philharmonic Orchestra. Appointed Associate Conductor in 2014, Stefan was promoted to Resident Conductor in 2016. While with the BPO, Stefan lead over 200 performances on all of the orchestra’s series. Of note, Stefan began his professional career as a member of the BPO’s trombone section where he played from 1999-2007 before pursuing conducting full time. He also recently concluded a one year appointment as Principal Conductor for the Hot Springs Music Festival in Hot Springs Arkansas. Stefan was also featured conductor for the League of American Orchestras “Bruno Walter National Conductor Preview.” The prestigious conductor showcase is designed to feature talented young conductors poised for music directorships with American Orchestras and was hosted by Giancarlo Guerrero and the Nashville Symphony in May of 2016. Prior to a career as a conductor, Stefan was an internationally renowned trombonist, having performed as a soloist in North America, Asia, and Europe. His performance of Eric Ewazen’s Concerto for Bass Trombone and Orchestra, with the Czech Philharmonic, can be heard on the Albany Records label. As a trombonist, Stefan performed with several orchestras including the New York Philharmonic, Seattle Symphony Orchestra, the Florida Orchestra, and the Seattle Opera’s 2001 production of Wagner’s Ring Cycle. Stefan was a fellow at the American Academy of Conducting at Aspen under the tutelage of maestros, Robert Spano, Larry Rachleff and Hugh Wolff. He is a graduate of the Juilliard School, the University of Texas at Austin, and the Interlochen Arts Academy.

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Corporate Partners

Funders Carlos Moseley TRUST

Corporate Partnerships

F O U N D A T I O N

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 12

Merrill supports the Spartanburg Philharmonic. McLeod & Associates V.C. “Chip” McLeod, CFP®, CPFA, CRPC® Resident Director – Wealth Management Advisor 864.596.5474 chip_mcleod@ml.com

Merrill Lynch Wealth Management 295 East Main Street Spartanburg, SC 29302 864.596.5473 fa.ml.com/mcleod

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

Are Not FDIC Insured

Are Not Bank Guaranteed

May Lose Value

The Bull Symbol is a registered trademark of Bank of America Corporation. Certified Financial Planner Board of Standards Inc. owns the certification marks CFP® and CERTIFIED FINANCIAL PLANNER™ in the U.S. CRPC® is a registered service mark of The College for Financial Planning. © 2020 Bank of America Corporation. All rights reserved. MAP2955741 | AD-05-20-0346 | 470944PM-0320 | 05/2020

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S. REEL ROBERTSON

Certified Public Accountant 721 E. Main Street Spartanburg, SC 29302

(864) 583-2450

Fax: (864) 582-7332 reel@sreelrobertsoncpa.com 13

Spartanburg Philharmonic Annual Fund We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic. This list reflects gifts received July 2019 through June 2020

Benefactor ($15,000+) Maestro ($10,000-$14,999)

Mr. & Mrs. William Barnet III Mr. & Mrs. George Dean Johnson Dr. Joella Utley Mr. & Mrs. Kurt Zimmerli

The Alfred Moore Foundation The Estate of Jack Steinberg

Virtuoso & Podium ($5,000-$9,999) Dr. Barry Bodie and Ms. Laurel D. Johnson

Dr. Karen Czuba Gibson and Mr. Jimmy Gibson The Carlos Moseley Trust

Baton ($2,500-$4,999) Arkwright Foundation Mr. James Cheek Ms. Joan B. Gibson Mrs. Patricia Hudgens Mr. and Mrs. Michael Kohler, Jr.

Mr. and Mrs. Paul Lehner Mr. and Mrs. Peter Weisman Mr. William Wilkinson and Mr. Robert K. Bellinger Mr. and Mrs. Geoffrey Wilson

Principal ($1,000-$2,499) Laura Allen and Roger Sullivan Mr. and Mrs. Stanley Baker Mrs. Susan H. Baker Ms. Karen E. Bjelland Ms. Kathryn H. Boucher Dr. and Mrs. James Bradof Ms. JoAnn Bristow Mrs. Elizabeth S. Chapman Mr. and Mrs. Jerry Cogan Mr. and Mrs. Allen Daryl Doyle Mr. and Mrs. Ken Deems Mrs. Helen E. Dunleavy Mr. and Mrs. Ray Dunleavy

Mr. Peter Grzan Mr. and Mrs. Roger Habisreutinger Dr. Leslie W. Howard, Jr. Mr. and Mrs. Bob Ireland In Memory of Charles R. Ireland, M.D.

Dr. and Mrs. Julian C. Josey, Jr. Dr. and Mrs. Louis Knoepp, Jr. Samantha & Clint Larkins Mr. and Mrs. Lindsay Little Mr. and Mrs. John S. McBride, Jr. Mr. and Mrs. Hearon McCravy Mr. E.T. McLean Mr. and Mrs. V. C. McLeod, III

Mr. and Mrs. John R. Murphy Mr. and Mrs. Thomas P. Nederostek Mr. and Mrs. Wiley North Dr. and Mrs. Rick Orr Mr. and Mrs. Stephen P. Parrott Ms. Thelma A. Powell Betsy Neely Sikma & Jason Sikma Mr. and Mrs. H. Peter Theiler Mr. and Mrs. Joseph B. Traywick, II Mr. and Mrs. Robert Troup Mr. and Mrs. John F. Verreault, III Mr. and Mrs. Donald Wildman

for more information about donor levels or supporting the Philharmonic, visit us online at: 14

SpartanburgPhilharmonic.org/GiveNow

Fellow Musician ($500-$999) Anonymous Mr. Bud Aiken Mr. Robert Borden Mr. Mark Carlson Mr. and Mrs. Jerome R. Cogdell Mr. and Mrs. Lawrence Flynn, Jr. Dr. and Mrs. Charles M. Fogarty Dr. and Mrs. J. Sidney Fulmer Dr. and Mrs. David A. Holt

Ms. Wallace Eppes Johnson Mr. and Mrs. Chris Kennedy Dr. and Dr. Scott Klosterman Dr. and Mrs. Caleb Loring, IV Col. and Mrs. Robert N. Maddox Mr. William C. Mayrose Ms. Lori Simonelli Mckee Ms. Cabell Mitchell Ms. Deborah McAbee and Mr. James Morris

Mrs. PJ Morrow Mr. and Mrs. Mortimer R. Sams, III Dr. and Mrs. Peter Sereque Mr. and Mrs. Garrett Snipes MG(R) and Mrs. Edwin Spain, III Mr. and Mrs. John Tipton Ms. Melanie Vick Mr. and Mrs. Glen Warner Mr. and Mrs. Taylor White

Patron ($150-$499) Anonymous Drs. Cedric and Meisha Adderley Dr. and Mrs. Mitchell Hurst Allen Mrs. Margaret Baughman Mr. and Mrs. Charles Baxter Mr. and Mrs. John Bennett Mr. and Mrs. Thomas Blexrud Mr. Markus Bolliger and Mr. Stephan Bolliger Mr. and Mrs. Grier Bomar Mr. and Mrs. Tim Brannon Mary and Wayne Britsch Dr. John Burchfield Dr. and Mrs. William W. Burns Mr. and Mrs. Jan Caldwell Mr. Bill and Mr. Martin Cooper-Meek Mr. and Mrs. Joe Correll Mr. and Mrs. Paul Cote Mr. James Curry and Ms. Brenda Lytle Mr. and Mrs. Rick Dent, Jr. Mrs. Angelina Eschauzier Ms. Elaine T. Freeman Ms. Martha Gerschefski

Gerald and Hanh-Trang Ginocchio Mr. Scott Girouard Mr. and Mrs. James Glenn Mr. and Mrs. Brandt Goodwin Ms. Laura Henthorn Mr. and Mrs. Robert Houston Mrs. Lucy Hummers Mr. and Mrs. Robert E. Hyatt Dr. and Mrs. Williams A. James Mr. and Mrs. Chip Johnson Rear Admiral and Mrs. Stephen Johnson Dr. Peter B. Kay and Jennifer Bonner Mr. and Mrs. Thomas N. King Mr. Vincent J. Krydynski, Jr. Dr. Susana Lalama Dr. and Mrs. Cecil Lanford Mr. and Mrs. George Loudon, Jr Mr. Harold Luhrsen Mr. and Mrs. Kingsley Martin Ms. Eileen McGonagle Mr. and Mrs. Frank Mezger Dr. and Mrs. Mark Monson

Dr. Melinda Moretz Mr. and Mrs. Walter S. Oliver, IV Mr. and Mrs. Ronald O’Neill Mr. Diane Pickens Jr. Dr. and Mrs. Jan Postma Mrs. Gail Downer Rodgers Mr. John A. Schwartz Ms. Joy Shackelford Mr. and Mrs. David Earl Shelley Mr. and Mrs. Hubert Shuler Dr. and Mrs. Bertram C. Sippola Mr. and Mrs. Chris Strickland Mr. and Mrs. William Tolstedt Mr. Arnold Tuttle Mr. and Mrs. Gregory Wade Mr. and Mrs. William Walsh Mr. and Mrs. Paul D. Weaver Douglas and Rita Weeks Ms. Ruth Cate and Mr. Chuck White Dr. & Mrs. Auburn Woods Mr. and Mrs. John Worthen Mr. and Mrs. Bob Wynn

Members ($50-$149) Mr. and Mrs. Fred Adams Ms. Barbara Albert Mr. and Mrs. Ralph Anderson Mr. and Mrs. Jim Badger Ms. Ellen Bagwell Mr. and Mrs. Michael Baier Ms. Anna Ballard Ms. Nancy Bane Ms. Margaret Barnes Mr. and Mrs. Tom Barnet Mrs. Beth Bartel Ms. Kathryn Bartholomew Dr. and Mrs. James M. Bell Mr. Stephen Blake Mr. and Mrs. Louie W. Blanton Ms. Harriet Bolen Ms. Kara Bui Ms. Nancy Bush Dr. and Mrs. Henry Butehorn Ms. Julia Campbell Mr. and Mrs. Jeffrey Cantrell Mr. Matthew Cathey Ms. Virginia Chibbaro Mr. and Mrs. Kevin Chrestman Mr. and Mrs. John Claggett Mr. and Mrs. Halsey Cook Mr. and Mrs. Gordon Cooper Mr. and Mrs. Reese Coulter Mr. and Mrs. Dick Crenshaw Mr. and Mrs. William Cummings Mr. Michael Dangelewicz Mr. GR Davis, Jr Ms. Lynda Davis Dr. Luther Diehl

Mr. and Mrs. Andrew Donnan Mr. and Mrs. Claude Dube Ms. Jean Dunbar Mrs. Carol Dunn Mrs. Alice M. Eberhardt Mr. and Mrs. David Ellis Ms. Jennifer C. Evins Mr. and Mrs. Steve Fowler Mr. and Mrs. Don Frank Mr. William Galarneau, Jr. Mr. and Mrs. Ryan Gaylord Col. (Ret.) and Mrs. James D. George, Sr Mr. and Mrs. Jack Gowan Ms. Karen Greene Dr. Lee Hagglund Mr. and Mrs. Lamar Hammett Mr. Henry Hampton Mr. and Mrs. Richard Harter Mr. and Mrs. Peyton Harvey Mr. and Mrs. David Hayden Ms. Francis Hazel Mr. and Mrs. David Hershberger Mrs. Patricia Garst Hevener Ms. Mary Ann Hipp Rev. and Mrs. Richard Hopper Ms. Robin Hunsinger Mr. and Mrs. Max Jent Mr. & Mrs. Lewis Johnson Dr. Wilton Kanode Ms. Ann H Karegeannes Mr. and Mrs. Ray Kenney Mr. Gerald L Keown Ms. Kaori Klatte Mr. and Mrs. Craig Kocisko

Mr. and Mrs. Walter Kucaba Mr. and Mrs. Norman Lassiter Mr. and Mrs. John Lefebvre Ms. Shirley D. Llewelyn Ms. Donna Lohr Dr. Allen H. Mackenzie Ms. Cynthia Howe and Mr. Daniel McBride Mr. and Mrs. Paul McChesney Dr. Cavert K. McCorkle Mr. and Mrs. Paul McGraw Mr. and Mrs. Foster McLane Mr. and Mrs. John N. McNamara Mr. and Mrs. Don Miles Mr. and Mrs. Scott Miller Mr. David Mitchell Ms. Bonnie-Lee Mizzell Mr. and Mrs. Clinton Montgomery Mr. and Mrs. John Moody Kelly Moore Dr. and Mrs. Tom Moore Mr. and Mrs. Wilton P. Myers Mr. Kunigunde Nestlen Ms. Pamela Nienhuis Ms. Jean W Ogden Mr. Walter T. Oliver Mrs. Jean Jones Park Mr. and Mrs. Lynn Parker Mr. Dwight F. Patterson, Jr. Ms. Beate Pirchmoser Dr. Terry O. Pruitt Mr. Wilbur H. Reames, Jr. Mr. and Mrs. Richard H. Rhodes Ms. Angela Riesterer

Mr. John Rungo Mr. Stefan Sanders and Ms. Kela Walton Mr. and Mrs. Richard Savoie Mr. Mark Schubert Mr. and Mrs. Mack Secord Mr. and Mrs. Roger Soderberg Ms. Johanna Lewis and Mr. Richard Spiers Ms. Diane Vecchio and Mr. John C Stockwell Mr. and Mrs. James Story Mr. and Mrs. Richard Strasburger Mr. and Mrs. Smiley Sturgis Ms. Jackie Taylor Mr. Akira Terawaki Dr. and Mrs. Ralph Tesseneer Ms. Leanne Thurmond Mrs. Martha I. Tiller Mr. and Mrs. Chip Johnson Malinda & Charles Tulloh Mr. and Mrs. Burnham Uhler, II Dr. Melissa Walker and Mr. Charles Reback Mr. and Mrs. Marshall T. Walsh Maryela and Frank Weihrauch Ms. Nancy Welch Mr. and Mrs. Clyde Wells Ms. Linda Sangster West Mr. and Mrs. David Whisnant Mr. and Mrs. Roger Wildfeuer Ms. Libbo Wise Dr. and Mrs. Robert M Wood Mr. and Mrs. Jon Zoole

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Remembering Carol Dunn Laura Clare Thevenet

Contributing Author

Longtime Spartanburg Philharmonic patron, Kathy Dunleavy, compared Carol Dunn’s presence at concerts to “the mayor walking in.” Mother-daughter duo, Carol Dunn and Mary Helen Dunn Wade, have been monumental figures in the Spartanburg Philharmonic community for years. When Carol passed away in February of this year, her family decided that memorials in her remembrance were to be dedicated to her two great passions, First Presbyterian Church and the Spartanburg Philharmonic. Carol’s goal was to encourage anyone and everyone to love her Spartanburg community as much as she did, and the life she lived reflected it wholly. Carol was born in 1932 in Decatur, Georgia and graduated Phi Beta Kappa from Agnes Scott College. Soon after, she met her husband George Dunn, Jr. in Atlanta at a square dance, and that spark lit the flame that turned into a loving 62 year marriage. George’s work with Milliken & Company landed them in several different cities before they planted roots permanently in Spartanburg in 1972. The Dunns quickly made their impact on the city, building a life for their three children, whom they loved dearly. Carol enjoyed a successful career as a top real estate agent in Spartanburg while George dedicated 44 years to Milliken. George was immensely committed to his church, First Presbyterian, where he sang in the choir for 45 years. Although neither of them played an instrument, Carol and George made sure they ingrained a love and appreciation for music in their children. Their daughter, Mary Helen, recalls her and her two siblings’ upbringing with fondness. “All three of us took piano lessons growing up, and though my own musical education ended early, we 16

have instilled in our children the same love of music my parents instilled in us. Our three daughters played cello in the District 7 Orchestra program from 5th through 12th grades. I am grateful for the musical influence my parents had on their children and twelve grandchildren.” After attending UNC Chapel Hill, Mary Helen moved to New York City where she began her 25 year career in executive search. It was there that she was drawn back to music and subscribed to the New York Philharmonic every season. After 15 years in New York City, Mary Helen moved back to Spartanburg in 1996 when she married her husband, Gregg Wade. For Spartanburg High School alum Mary Helen, it was coming home. Eventually, Mary Helen and Gregg became subscribers to the Spartanburg Philharmonic, and Carol and George soon followed suit. The family’s patronage to the Philharmonic started out as a double date night and turned into a tradition. Carol’s passion was to help people love Spartanburg, so the Philharmonic concerts became a place of fellowship where she would often congregate with dear friends such as Kathy and Ray Dunleavy, Janice and George Holbrook, Nancy Carlisle, and the entire Spartanburg community. Carol’s kind-natured presence was palpable at concerts. Her joy and love for her community was infectious and widespread. Sadly, George passed away in 2017, but this did not deter Carol from attending Philharmonic concerts. In a way, it became a tribute to George to keep some sense of normalcy in the wake of his passing. She kept her two-seat subscription, attending with Mary Helen and Gregg and often inviting a friend. Mary Helen always cherished the continuation of these outings.

“After dad passed, I believe attending the Philharmonic concerts offered my mom comfort. The beautiful music enveloped her and lifted her spirits.” Carol and Mary Helen remained involved in the Philharmonic in any way they could. When it came time to form a search committee to find a new Music Director after Sarah Ioannides stepped down, former Spartanburg Philharmonic Board Chair Ray Dunleavy knew that Mary Helen’s extensive experience in executive search would serve them well on the search committee, so she joined the three year search that led to the hiring of Music Director Stefan Sanders. Mary Helen recalls that Stefan’s hiring particularly delighted her mother. “Mom was always so proud of Stefan. She felt very maternal towards him, partially because I was on the search committee, but more importantly, she loved the fact that Stefan and his wife Kela chose to live in her beloved Spartanburg.” Carol was always eager to show off her city and welcomed anyone that shared her sentiments. In addition to spending time with her parents at concerts, one of Mary Helen’s fondest Philharmonic memories was being invited with her mother, Kathy Dunleavy, and a few others to visit Joella Utley in Campobello, SC, and tour the Utley’s extensive trumpet collection. Carol had the utmost respect and admiration for music and was thrilled to see such an amazing collection and tribute to the Utleys’ lifelong dedication to their passion. Carol’s friendship with Kathy Dunleavy stretched over 30 years. When Kathy first moved to Spartanburg, she worked at First Federal Bank as a mortgage banker, and that is where she met Carol through the real estate world. The move to Spartanburg had moved Kathy away from her family in Florida, so Carol and George quickly took her under their wing, and they became her “surrogate” family. To honor Carol’s passing, Kathy and Ray had planned to sponsor 25 students from Meeting Street Academy to attend a Philharmonic concert for free in April, but the event was unfortunately canceled due to COVID-19. “Carol just loved children and always fostered a love for music in her own children and grandchildren, so we thought it was the perfect homage to her life and contributions,” Kathy said. Kathy and Ray plan to proceed with this tribute as soon as the current public health situation allows it. Carol’s generous spirit, infectious enthusiasm, and passion for her community will be passed on through the lives that she impacted while she was here. She was truly the best spokesperson and advocate for Spartanburg. Her warm presence at Spartanburg Philharmonic concerts will be greatly missed. Top to bottom: Gregg and Mary Helen Wade with George and Carol Dunn; George and Carol with their granddaughter; Carol and George with Kathy Dunleavy.

Chefin’ with Stefan @ Home with the Maestro

Stefan Sanders Music Director

On Thursday, March 12th, an hour after their dress rehearsal, the New York Philharmonic (NYP) announced the cancellation of that evening’s performance as well as the remainder of their performances through the rest of the month. Kela, my awesome wife, and I were so excited to be in New York together that week, where I was working as the assistant conductor for the NYP and guest conductor Valery Gergiev. With reports of the virus beginning to surge in the New York area, we left the next day and, barring a couple of road trips to Fayetteville, NC, where I also serve as music director, we have been home in Spartanburg ever since. This time at home has been a revelatory experience; mandating a period of sacrifice, reflection, and creativity for us. Accustomed to a busy travel schedule and the circuit of energy that flows around rehearsing and performing regularly, the abrupt halt was difficult. Here we were, suddenly isolating at home, learning about this virus, taking precautions to keep ourselves and others healthy, and beginning to figure out what the next steps would be for our Philharmonic. Throughout the last several months our thoughts kept returning to the concept of health. From personal to public to that of an organization, health has revealed its value in every way to us. Personally, this time has inspired an even deeper affection for nutritious food and a craving for daily physical activity. As you can 18

see from many of these photos, I love food. I love to cook it, I love to learn about it, and I love to eat it. Food, like music, has long been a form of self expression for me, and, in the absence of all of the music making, I’ve been reminded of how similar they are. Both crafts fuel a quest to better understand our shared humanity and it is the greatest joy sharing these passions for food and music with people. Both crafts require practice in order to develop enough technique to allow for genuine self expression. During this time at home I have really enjoyed practicing… bread. Requiring intermittent attention over long periods of time, bread, in particular sourdough bread, is the perfect pandemic activity. With just three ingredients: flour, water, and salt, sourdough bread is fascinating, delicious, and, because of the process of fermentation, nutritious. We went all the way down the rabbit hole of nutritious bread making and even purchased a grain mill for making our own flour from whole wheat berries. I know…I know. Many of these photos are of the bread we’ve made over the past few months. They certainly didn’t start out looking this way. But, with passion and practice, the loaves started looking and tasting better and better. Some of the other photos here are of homemade pastas, curries and stir fry from the wok, and more sourdough baked goods: english muffins, crackers, and croissants. Another source of inspiration during this time has been Spartanburg herself. Prior to the pandemic, the longest stretch of time I’ve spent in Spartanburg since moving here was just four weeks. Being present for the entirety of Spring’s breathtaking awakening and evolution into summer has renewed my awareness of and connection to nature. I am grateful to have been present for these glorious seasonal changes. Spartanburg is the most beautiful place we have ever lived. However, it is the people of Spartanburg that have provided that most precious commodity in challenging times — hope. When our intrepid administrative team of Kathryn Boucher, Executive Director; Courtney Oliver, Marketing and Special Events Manager; Peter B. Kay, General Manager and Composer in Residence and I started having daily meetings via Zoom in late March, the future seemed uncertain at best. One plan gave way to the next and ultimately we have arrived here, the digital concert hall experience, for now. But, it is your belief in the Philharmonic’s mission, your love of music, your support and flexibility as we maneuver through this uncharted terrain that imbues us with the hope, keeps our organization healthy, and inspires visionary strategies towards a brighter future. As for Kela and I, we have never felt more at home. 19

Programming in a Pandemic from Original Concept to Variations Courtney Oliver

Marketing & Special Events Manager

Hello! In case we haven’t formally met yet, allow me to introduce myself: I am Courtney Oliver, Marketing and Special Events Manager for the Spartanburg Philharmonic. You may have seen me behind our marketing table at concerts or chatted with me on the phone when you purchased your subscription. When I joined the organization in July of last year the 20192020 concerts were already planned and announced and I excitedly dove in to telling the story of our “Locally Sourced” season. However, part of me was already excited to help plan the next. Trust me, there was plenty of excitement to be had in our 2019-2020 concerts, something I thoroughly enjoyed telling people about. However, a professional orchestra can never just concentrate on the season at hand. We are constantly thinking and planning for the next, and the season after that, and the season after that. It is a constant cycle that is as exhilarating as it is challenging to every member of the organization, because it truly does take the talents of the entire Philharmonic staff to create a season. While the music itself will always be the driver of each concert, it’s my job to tell the story of the season. I find the common theme woven through each concert’s 20

program to find new ways to add new interest to familiar and beloved symphonies, to engage new audiences, and quite frankly, convince all of you that it is a season worth spending with us. My work however, doesn’t truly begin until at least the core pieces or overall theme of a concert has been chosen, and that’s where we rely on the leadership of our Music Director, Stefan Sanders. His specific challenge each season is to select pieces from a vast catalogue of beloved classics and vibrant contemporary selections that work in harmony to make a must-see concert experience. It’s also a delicate balance of the mundane necessity (budget vs our “wishlist”) and creative inspiration. It is truly a team effort, as we alternate between collegially and passionately debating each other’s ideas and perspectives on everything from music selections to concert theme and everything in between. It is challenging, but ultimately rewarding work, as we build a season that we are incredibly proud to present to our family of classical music lovers. What happened after that is by now a familiar refrain. We launched our 2020/21 Season within weeks of the first coronavirus surge in the United States, and by midMarch performing arts organizations and businesses

alike were shutting their offices and figuring out what it meant to stay and work at home. During April and May the entire Philharmonic staff optimistically pushed forward with our season subscriptions and sought to be a source of continued inspiration with Together SpARTanburg (page 48). But in my experience, optimism should always be tempered with realism, and as we watched the infection rates climb in our community, we all started to envision new ways forward and to contemplate what changes must be made if we were going to realistically present concerts this fall.

We’ve learned that the digital platform provides our audiences and musicians a way to interact in the most intimate settings. Our concerts will feature programs directly related to our community and celebrate composers from diverse backgrounds. One of our most essential roles as an organization is to connect people to music. We are all finding our way through this new normal, and I’m certain that we can still make that connection. The manner might change, but the essence does not.

As we shared with our “Variations on a Season” announcement, we have embraced a new story. One where our music temporarily lives on the digital stage, one where we are still connected by a love of music, and a desire to see and hear it play. This story is not mine alone though. As I said, it takes the talents of the entire staff to put together a concert program and we each have our own perspectives on how we created our Variations.

Courtney: Stefan, we joke in the office that

Courtney: Kathryn,

First and foremost, safety. Necessary limitations to our in-person audience capacity as well as the on-stage musician capacity, both due to social distancing requirements, have guided our online program directions. As you mentioned previously, it is important to know that our entire 2020/2021 season was announced just a couple of weeks before the pandemic hit and subscriptions were selling quite well. That being said, we wanted to keep what we could intact with the online programs. Hence the first program, Ludwig: Heroes & Revolution (page 30).

we’re on “plan ZZ.25” for our Fall 2020 concerts, but in reality we’ve gone back and forth a lot on what we could and could not present. As Music Director, what factors lead you to choose the pieces you did, and how much did the smaller scale and the shift to online affect your decisions?

Stefan:

as Executive Director, you’ve stayed on top of the news as orchestras and arts organizations across the country are canceling concerts and closing their doors. In the midst of all this, can you share what guided the Philharmonic in our decision to hold our fall concerts online?

Kathryn: Music is essential. This year has

seen the cancellation of countless concerts around the world. We want to shift the narrative from despair to hope, from loneliness to connection, and from artistic void to vitality. As we crafted this season, we asked ourselves: How can we show up for our community to create experiences that will bring us together in ways that keep our artists and community safe? That was how our fall season came together. The safety and well-being of our staff, musicians, and audience is - and has been - at the center of our decisions. We knew we had to make a change due to the restrictions on social distancing, and yet we were intent to not cancel concerts. Instead, we chose to transform the experience for our audience while providing an opportunity for our musicians to come together and perform. In connecting with peers across the country, our staff learned of many resources, technology platforms and opportunities for our season to become a hybrid of digital and in person. Like so many industries, orchestras are relatively new to the field of creating digital content, and we’ve exploded on to the scene in a short amount of time.

Originally Ludwig was meant to be the Philharmonic’s celebration of Beethoven’s 250th anniversary including his Violin Concerto and the Third Symphony “Eroica”, a work that explores the concepts and ideals of heroism. When the decision to go online was made we knew this program wouldn’t work for a couple of reasons. Firstly, the issue of time. Beethoven’s Violin Concerto is forty minutes long and the “Eroica” approximately 45 minutes long. Without the customary intermission and built in socializing that our live performance atmosphere offers, we felt this was too much music for the online format we wanted to achieve. Secondly, and more importantly, in the midst of a global acceleration towards racial equality, we wanted to expound upon the concepts of heroism that Beethoven dealt with in his Third Symphony by including the music of two black composers: the first a contemporary of Beethoven, Joseph Bologne, Chevalier de Saint Georges and the living composer Daniel Bernard Roumain, and his piece “Klap Ur Handz”, which is the second movement from his string quartet No. 5 entitled “Rosa Parks.” Our theme shifted from celebrating one

my.sphil.org/Variations

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musical hero, Beethoven, to the reality of heroism having many faces. The cancellation of our Nutcracker collaboration with Ballet Spartanburg compelled us to put together a family friendly holiday program entitled ‘Burg Bound: A Stay-at-Home Holiday Concert (page 42) with the goal being to bring people together for a sort of “showcase” that featured local artists and partners in our community. Along with spirited holiday music and wonderful arrangements by Composer in Residence, Peter B. Kay, the program features our partnerships with the Hub City Bookshop, Ballet Spartanburg, Spartanburg Little Theater, renowned banjo artist Kristin Scott Benson, and of course, our fabulous Philharmonic musicians. Top-Down Schematic for Ludwig

Courtney: You heard it hear first, Spartanburg

Little Theatre, Ballet Spartanburg, Hub City Bookshop, and our own Bluegrass musician in residence - Kristin Scott Benson, all in one concert! This is a story, I can’t wait to tell you more about as we finalize all the details. Now Peter, as General Manager you’ve been given the somewhat herculean task of figuring out how to make the concert experience safe for our musicians. Can you share how we’ve approached the new idea of a “socially distanced” orchestra for this fall and how the Philharmonic is preparing to leap into presenting concerts digitally?

Peter:

In rethinking our fall line-up, there were two very important, health-related, factors that we had to consider on stage. First, as Covid-19 is transmitted primarily through the air, is it safe to have woodwinds and brass instruments? Not only are these breathpowered instruments, but it is exceedingly difficult to play them while wearing a mask. Second, how many musicians can we fit on the stage while observing the recommended 6-foot minimum distance between players?

3-D Mockup for Ludwig

8 feet between winds and brass players

Symphonies around the world have been concerned about the use of wind and brass instruments, and several European orchestras began internal studies early in the spring. Preliminary results suggested that there was “no increased risk” (Vienna Philharmonic) when wind and brass instruments are present as long as masks are worn and social distancing is observed. More in-depth research, like the International Coalition of Performing Arts Aerosol Study that has brought together scores of specialists, organizations, and colleges from around the world, seem to corroborate Vienna’s initial findings but with several additional conditions (visit NHFS.org for

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6.5-foot radius circles

Social Distancing for Ludwig

more information). For example, because of the reach of the instrument, it is recommended that trombones have an additional 3-6 feet of space. These studies are still on-going, and we are watching the science develop in real-time. We will remain flexible and try to adhere to updated recommendations as they are released. In a way, we were truly fortunate this fall. For stylistic and logistical reasons, the original programs for Ludwig and The Nutcracker already called for smaller orchestras, so we didn’t have to start from scratch on these concerts. We had planned to perform Beethoven’s “Eroica” with about 50 musicians on stage, and the Nutcracker is scored for an even smaller ensemble so that it can fit into the pit. Neither concert required trombones or tubas, and the number of woodwinds for each was minimal. When looking at our spring concerts, this was already a very lopsided season, so to speak. Gustav Holst’s “The Planets” (March 2021) and the music of John Williams (May, 2021) call for at almost 80 musicians each. Working from Twichell’s 1988 renovation blueprints – which have hung as merely a decoration on my office wall for the last three years – and working with Technical Director Mayes Hopkins and Assistant Technical Director E.J. George at Converse College, I created a more detailed, computer-generated version of the stage, chairs, music stands, etc. than I’ve used in the past (accuracy being far more important now). In this 3D digital space, we were able to get a good sense of possible concert layouts, which informed us of the number of musicians that could safely fit on Twichell’s stage. From the front of the apron all the way to the organ in the back, we found that we could safely fit about forty musicians with about 6-8 feet between each. There are many more logistical aspects to creating a healthy environment for our staff and musicians during rehearsals and recording sessions. Everyone will be required to wear masks. To reduce exposure, we are holding fewer rehearsals which will be reconfigured

to include more breaks, allowing the room to “air out.” Several of the new pieces are scored for strings only, so the winds and brass need not be present for the rehearsals/recording of these works. Without an audience, musicians are afforded the ability to spread out, using the hall and the front lobby to unpack their instruments and warm-up as well as backstage. Since the end of May, we have been meeting and discussing with orchestra members ways in which we can safely come together to make music. The response has been exceedingly positive, and we are heartened by so many musicians excited to return to Twichell Auditorium.

Courtney:

What I also find incredibly energizing about creating the season is that our work is only part of the story. Our audience, most notably all of you, are inevitably part of the story, because you are the reason we do what we do. The Spartanburg Philharmonic is incredibly lucky to have an audience that comes out in support of us season after season, but keeping you excited and engaged in the music we are presenting is a challenge that we do not take lightly. The 2020/21 Season is definitely one that be remembered as a most challenging one in terms of planning and of balancing precaution and our ability to connect with all of you. While we must momentarily forgo the live concert experience, the online version will be rich with close-up views of the orchestra and of Stefan, an experience unlike any that you can have from your seat at Twichell. We continue to envision ways to enrich our “behind the shell” experience, giving you access to our musicians and connecting you with the Spartanburg Philharmonic like never before. From all of us; thank you for your grace, patience, and most of all, your continued support. We strongly believe that music is what will give us the inspiration required to get through the rest of this pandemic.

Below: Excerpts from recent results from the International Coalition of Performing Arts Aerosol Study. More information can be found online at: NHFS.org

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Renovate & Rejuvenate Variations on a New Home

The Spartanburg Philharmonic welcomes Chip McLeod as the new President of the Board of Directors. As a means of introduction, we asked him to share something about himself with our patrons. His first thought was to share a bit about the Converse Heights home he and his wife, Stone, spent three years lovingly restoring. “We originally came to Spartanburg with the thought of building a home. After not being able to find a suitable lot, an insightful Realtor made us aware of a home that would be listed in the future. We looked at it and immediately knew we wanted to purchase it and restore it our way. There was enough property to build a carriage house which was especially important to us. The home was built in 1908 and had only had two previous owners.

Much of the home was original, but we had to replace the heating, air, plumbing and electrical. It was extremely important during the restoration that we keep the original look and character. We did this through windows sourced from the early 1900’s, to reclaimed flooring close to the original and period correct door hardware. A trip to one of our favorite places, the Greenbrier, and an opportune meeting with their designer, Carleton Varney, gave inspiration for their colors and wallpaper. Our favorite things about the home are: the back stairs, the restored pantry, original hardware, five fireplaces and a kelly-green workshop with the bench made from an old bowling alley. We are able to walk and cycle to the office, our church, and restaurants. We love our time on our back porch and patio surrounded by sounds of trains, owls, ducks and frogs. Restoration completed to perfection!”

Below (left to right): Chip and wife Stone; Concertmaster Callie Brennan and Principal Viola Alvoy Bryan performing at a Donor Appreciation Event in 2019; members of the Spartanburg Philharmonic Youth Orchestra also performing at the Donor Event.

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CONVERSE.EDU/MOSELEYSERIES 2.22 VOCES8 | 3.15 SPEKTRAL QUARTET | 4.26 CANADIAN BRASS 5.10 PETRIE AT THE PIEDMONT

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Spartanburg Philharmonic Orchestra Members & Chair Sponsors as of August 2020

Flute & Piccolo

Horn

Timpani

Rhea Jacobus, Principal

Anneka Zuehlke-King, Principal

Patrick Lowery**, Principal

Caroline Ulrich

Chris George

Jessica Sherer Chris Vaneman*

Andrew Merideth, Assistant Principal

Mr. & Mrs. Peter Ellis Weisman Mrs. Susan H. Baker

Oboe & English Horn

Mr. & Mrs. Donald Wildman Ms. Karen E. Bjelland Mr. & Mrs. John R. Murphy

Jeanette Schlimgen Darian Washington*

Ginny Metzger, Principal

Trumpet

Kelly Vaneman, Associate Principal

Tyler Jones, Principal

Rachel & Ken Deems

Mr. William Wilkinson & Mr. Robert K. Bellinger

Mary AllyeB Purtle

Clarinet

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

Dr. Joella Utley

Piano

Mr. and Mrs. Robert Troup

Meisha Adderly*, Principal

Kenneth Frick Bruce Cox

Mr. & Mrs. Thomas P. Nederostek

Mr. & Mrs. William Barnet III

Organ

Karen Hill, Principal

Trombone

Brennan Szafron, Principal

Harry Hill‚ Jr.

Mark Britt, Principal

Harp

Rienette Davis

Emily Waggoner, Principal

Dr. & Mrs. Louis Knoepp, Jr. Mrs. Patricia Hudgens

Bassoon Frank Watson**, Principal

Samantha & Clint Larkins

Mr. James Cheek

Mr. and Mrs. V. C. McLeod, III

Mr. & Mrs. Lindsay Little

Ms. Thelma A. Powell

Eric Henson

Mr. & Mrs. H. Peter Theiler

Rosalind Buda

Tuba

Stephanie Lipka Rhyne

John Holloway, Principal

Mr. & Mrs. Hearon McCravy Mrs. Elizabeth S. Chapman

Mr. and Mrs. John F. Verreault, III

Meet Callie Brennan

Interim Concertmaster

Callie Brennan hails from the sunny state of Maine, which is where she first held a violin at the tender age of four. As an adolescent she studied with Ronald Lantz of the Portland String Quartet, and received regular coachings in chamber music from the PSQ. While pursuing her Bachelor’s degree at The University of Colorado, Callie studied with Lina Bahn and Harumi Rhodes. During this time she studied abroad in Sydney, Australia, studying with Ole Bohn at the Sydney Conservatorium. This travel prompted her to look abroad for postgraduate study, and led her to The Guildhall School of Music and Drama. In 2016 she moved to London, England, where she completed two Masters Degrees in Music and Violin performance. During her studies at Guildhall, Callie studied with Stephanie Gonley and Ofer Falk, and had numerous opportunities to receive coachings from other internationally 28

Violin I

Viola

Callie Brennan, Interim Concertmaster

Alvoy Bryan, Principal

Mr. & Mrs. George Dean Johnson

Ashely Horvat*, Associate Concertmaster

Endowed by friends and family in honor of Wallace Eppes Johnson

Dr. Barry Bodie & Ms. Laurel D. Johnson

Arthur Ross*, Assistant Principal

Mr. & Mrs. Geoffrey Wilson

Diana Maley Berti**

Betsy Neely Sikma & Jason Sikma

Audrey Harris*

Ms. JoAnn Bristow

Amber Holden

Robin Hague Els Mary Irwin

Abigail Chetta

Catherine Hazan* Mariya Potapova Kathleen Robinson* Xiaoli Saliny*

Violin II Halee Joo, Principal Violin II

Mr. James Cheek Mr. Peter Grzan

Mr. & Mrs. Joseph B. Traywick, II Dr. & Mrs. Julian C. Josey, Jr.

Katy Martin

Karen & Stephen Parrott

Emma Smoker

Ms. Joan B. Gibson

Michael Weaver

Mr. & Mrs. John S. McBride

Cello

Bass

Dr. & Mrs. James Bradof

Brianna Tam, Principal

Ian Bracchitta**, Principal

Mr. & Mrs. Bob Ireland

Kathy Foster, Assistant Principal

Matthew Waid, Assistant Principal

Laura Allen & Roger Sullivan

Cherylonda Fitzgerald*

Tim Easter*, Assistant Principal

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

Franklin Keel Meredith Keen Christine Lee Eric Scheider Benjamin Smith

J. Bret Alford Brian Gencarelli Jeff Stinson

Mr. and Mrs. Roger Habisreutinger

Debra Anthony*, Assistant Principal Violin II Simone Beach Ann Buttimer

Michele Tate Cockram** Theresa Jenkins-Russ

Mr. and Mrs. Wiley North

March Moody Emily Wait

Mr. & Mrs. Stanley Baker Lib & Rick Orr

Mr. and Mrs. Ray Dunleavy

Mr. and Mrs. Allen Daryl Doyle

renowned musicians. She performed twice under the baton of Sir Simon Rattle, playing alongside the London Symphony Orchestra, and also collaborated with the Australian Chamber Orchestra during their residency at Guildhall. Callie has an extensive background in chamber music, having been coached by ensembles such as the Portland String Quartet, the Takacs Quartet, the Heath Quartet, Endellion Quartet, and the Zodiac Trio. As a member of the Ember String Quartet, she traveled to Spain in July 2017, attending the Fringe Festival in Torroella di Montgri. Callie was also a member of The Orchid Trio, which was awarded the St. James Chamber Music prize and a recital opportunity in Piccadilly Circus, London. In February 2018 Callie was named the Ernest Read Symphony Orchestra’s Soloist of the year, which led to her first solo performance with an orchestra; She performed the Walton Violin Concerto under the direction of Peter Stark at St. John’s Church, Waterloo. Callie has had the pleasure of performing on The Barbican Stage and in Royal Festival Hall, the Sydney

Mr. & Mrs. Jerry Cogan

Mr. & Mrs. Paul Lehner Mrs. Helen E. Dunleavy

*denotes substitute musician in the fall of 2020 **2020-2021 Orchestra Committee Member

Opera House, and Boettcher Hall in Denver. Other global performance experience includes a quartet residency for the National Youth Orchestra of Scotland’s summer strings courses, and attending the “Renaissance in the XXI Century” summer course in Florence, Italy. Other music festivals include the Zodiac Music Festival (France), The Bowdoin International Music Festival (USA), and The Colorado Music Festival (USA). Moving to Asheville, NC, in 2018, Callie enjoyed regular performance opportunities with the Asheville Symphony Orchestra, Brevard Philharmonic, and served as principal second of the Spartanburg Philharmonic in the spring of 2019. She now lives in Denver, CO, and is currently principal second violin of the West Virginia Symphony, principal first violin of the Fort Collins Symphony, and has the pleasure of serving as interim concertmaster for your Spartanburg Philharmonic. When she’s not practicing or in rehearsal, she is most likely hiking, traveling, and eating alarming amounts of chocolate.

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Zimmerli Concert Series

S AT U R D AY

October 3

2020

Online Premiere @ 7:00 pm

| my.sphil.org/watch

Symphony no. 1 in G Major, op.11. . . . . . . . . . . . . . .Joseph Bologne, Chevalier de Saint-Georges II. Andante 4 min

String Quartet no. 5, Parks . . . . . . . . . . . . . . Daniel Bernard Roumain arranged for string orchestra by the composer II.

Klap Ur Handz

b

7 min

Symphony no. 3 in E Major, op. 55, Eroica. . . . . . Ludwig van Beethoven

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I.

Allegro con brio

II.

Marcia funebre. Adagio assai

III.

Scherzo. Allegro vivace – Trio

IV.

Finale. Allegro molto – Poco Andante – Presto

Programs subject to change | Timings are approximate

45 min

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Program Notes

It is a sad but undeniable fact that musicians nowadays are way more boring than they used to be. Oh, sure — Stefan Sanders, just for instance, is an accomplished chef (see page 18) and a witty and genial conversationalist. But trust me, folks: he’s no Chevalier de Saint-Georges. The Chevalier was born Joseph Bologne on the French Caribbean island of Guadeloupe in 1745. His father, Georges Bologne, was a minor French nobleman and plantation owner there; his mother, Anne, was a young enslaved Black woman of Senegalese descent. Most children born in such circumstances were, of course, studiously ignored by their fathers; by contrast, young Joseph was packed away to boarding school in Paris at the age of seven, and two years later his both his parents followed him to Paris, where they set up house in a spacious apartment on the left bank. France’s “Black Laws” forbade his parents to marry and prevented Joseph from inheriting his father’s title, but the young man was raised as a gentleman and mastered the arts of swordsmanship and horsemanship. He gained his first fame as a fencer, defeating some of France’s most celebrated swordsmen while still just a teenager and becoming a hero to Paris’ nascent antislavery movement by casually conquering powerful opponents who peppered him with racist insults. Louis XV became such an admirer that in 1766 he made the young man an officer of the Royal Bodyguard and bestowed on him the honorific “Chevalier de Saint-Georges,” after the estate on which he was born. His grace and charm made him a favorite of the ladies of Versailles, but the Black Laws prevented him from ever marrying a woman of his own social station.

Symphony no. 1 in G Major Joseph Bologne Chevalier de Saint-Georges (1745-1799)

Remarkably — and evidently in his spare time at military school — Joseph managed to become a virtuoso violinist. The eminent Parisian composer Gossec dedicated a set of string trios to him in 1766, and in 1769 Parisian high society was amazed when, in Gossec’s new orchestra, the Concert des Amateurs, they saw in the first violin section the celebrated swordsman St.-Georges. He created a sensation three years later when he first appeared as a soloist with the orchestra, “enrapturing particularly the feminine members of the audience” in concertos of his own composition. The next year he assumed leadership of the orchestra, and when in 1776 a new director of the Paris Opera was needed, St.-Georges was the obvious choice. Three of the Opera’s leading ladies, however, begged to differ. They petitioned Queen Marie Antoinette to the effect that their sensibilities would prevent them from receiving direction from a “mere mulatto,” and St.-Georges withdrew his name to avoid involving the queen in a scandal. He returned to the Concert des Amateurs, honing that group until they were recognized as one of Europe’s

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Program Notes

best ensembles, until it went bankrupt in 1781 (in that year St. George’s friend Beaumarchais, playwright of both The Marriage of Figaro and The Barber of Seville, persuaded the orchestra’s backers to fill fifty ships with armaments and send them to the American revolutionaries). Beaumarchais was under the impression that the grateful Americans would refill the ships with rice and grain to be sold in Europe, but our Founding Fathers sent the ships back empty, a number of liberal-minded and previously-wealthy Parisians were ruined, and the Concert lost its funding. Like his contemporary, Mozart, St. Georges had joined the Freemasons in the 1770’s, and it was wealthy Masons who saw to it that he landed on his feet with a new orchestra of his own. He commissioned and premiered Haydn’s six “Paris” symphonies in 1785 — only to see his career take another sudden turn.

His old military-school chum Philippe of Orléans was by that time a duke, the second-most powerful man in France, and the leader of what was then the political opposition to Louis XVI’s absolute monarchy. Louis, sensing his own vulnerability, sought to triangulate by sending St.Georges on a diplomatic mission to London, where the Prince of Wales had long expressed desire to meet and learn from the celebrated swordsman and virtuoso. Not one to be outmaneuvered by a mere king, St.-Georges became a great friend of the Prince, courted him as a supporter of Philippe’s plan for a constitutional monarchy, and built relations between France’s small but vocal antislavery lobby and England’s more-developed Abolitionist movement . When in 1789 the Revolution came, St.-Georges found himself sufficiently marginalized by his time in London that

Below: a fencing match between Saint-Georges and renowned spy Mademoiselle Charles le Chevalièr D’Eon on April 9, 1787

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Program Notes

he was unable to propel the politically moderate Phillippe into a position of power. And while St.-Georges may have had misgivings about the revolutionaries’ increasing radicalism, he could not but have been delighted when they rescinded the Black Laws and he finally had the full rights of a French citizen. So, when Austria massed troops for an invasion a year later, he was happy to assume command of a newly-created regiment of Black soldiers, the Légion St.-Georges. St.-Georges’ regiment served bravely, but as the longtime confidante of the hated Philippe of Orléans he was viewed with suspicion by the increasingly bloodthirsty revolutionaries. Betrayed by his lieutenant ThomasAlexandre Dumas (father of the Three Musketeers author), St.-Georges found himself imprisoned during the worst of Robespierre’s reign of terror, but in 1794, before the composer could be executed, Robespierre himself was led to the guillotine, the revolutionary fever broke, and St.Georges was released. He immediately led a delegation to Haiti, in an unsuccessful attempt to mediate the bloody slave rebellion there, ultimately wound up back in Paris at the head of another orchestra in 1796, and finally died of

bladder cancer in 1799. It’s unarguably the stuff of movies, and in fact Disney subsidiary Searchlight Pictures will release a biopic sometime in 2021. In the meantime we have St.-Georges’ music. Not a lot of it, mind you: given the exhaustingly eventful life he lived, it’s not surprising that he left only a handful of instrumental pieces and a few fragments of operas. Like that of many of his colleagues, it’s long been obscured by that of his acquaintances Haydn and Mozart. But whereas their music’s relative complexity foreshadows Beethoven and the Romantics — a big part of the reason it was so venerated by 19th Century audience — St.-Georges’ music epitomizes the gentlemanly virtue of bonne grace. Understated and deceptively simple, it piques the interest not with the emotionality of Mozart or the rhythmic gamesmanship of Haydn but with smaller, subtler virtues: a surprising melodic leap here, an unexpected turn of phrase there. This Andante, the central movement of one of two short symphonies the composer premiered in 1777, is scored for strings alone and set in the noble key of D Major and in a limpidly clear two-part form. Here, as he did in all those duels, St.-Georges makes it look easy.

Chris Vaneman

Contributing Author

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Program Notes

proud sponsor of the

Spartanburg Philharmonic 2020-2021

35

Program Notes

“People always say that I didn’t give up my seat because I was tired, but that isn’t true. I was not tired physically, or no more tired than I usually was at the end of a working day. I was not old, although some people have an image of me as being old then. I was 42. No, the only tired I was, was tired of giving in. I knew someone had to take the first step and I made up my mind not to move. Our mistreatment was just not right, and I was tired of it.” — Rosa Parks “As a Haitian-American composer, I was raised by Haitian immigrant parents who experienced American life both before, and after, the Civil Rights Act of 1964,” Daniel Bernard Roumain (DBR) said about his 2005 “Parks” quartet in program notes for the contemporary music collective 45th Parallel Universe, which sponsored his music in a 2019 Old Church concert in Portland. “Their views were informed by life on a free island nation in Port-au-Prince, Haiti; life in the suburbs of Chicago; and life in the complex diversity of Pompano Beach, Florida. They identified with Malcolm and Martin, Maya and Rosa, and the great Haitian warriors, Makandal and Toussaint. Civil rights, for our household, was global, local, and part of the very fabric of our lives and culture. I created `Rosa Parks Quartet’ as a musical portrait of Rosa Parks’ struggle, survival and legacy.”

String Quartet no. 5

PARKS Daniel Bernard Roumain

(1970-)

45th Parallel Universe also described the quartet saying, “the first movement, I Made Up My Mind Not to Move, suggests Parks’ act of defiance not with ponderous dignity but with a strong ostinato that denotes grit, strength and confrontation. The second movement... Klap Ur Handz asks the players to actually clap, a feature DBR says was inspired by hip-hop rhythms but dates back to the [communal] music of Cro-Magnon man.” DBR goes on to say, “The music is a direct reflection of a dignified resistance. It’s telling that this work may, in fact, be performed on stages that didn’t allow the presence of so many, so often. I often refer to the stage as the last bastion of democracy, where all voices can and should be heard, where we are all equal, important, and necessary. However, as a Black, Haitian-American composer, so much of my work continues to suffer within a field that is not inclusive or compassionate. Classical music remains racist. Classical music organizations continue to disenfranchise BIPOC people, and not only BIPOC audiences, but their families and our audiences and our communities. Not nearly enough progress has been made.”

Daniel Bernard Roumain 36

Composer

Program Notes

LOCAL HEROES

Above left: Rosa Parks and journalist Nicholas Chriss sitting at the front of a city bus after court ordered integration, Montgomery, AL, December 21, 1956

Thomas “Fox” Abrams

Wynona Douglas

1951 • U.S. Navy Veteran who became the first black police officer in the Spartanburg Police Department

1964 • daughter of Dr. J. Marion Douglas and Gladys Kirkland Douglas, who enrolled Wynona in Spartanburg High School where she became the first black student to attend a white public school in Spartanburg

George “Tee” Foster & William “Big Boy” Campbell 1960 • led the historic Spartanburg Woolworth’s Sit-In that inspired dozens more demonstrations throughout the city

Hon. Matthew J. Perry 1963 • led the successful court case to integrate Clemson University 1979 • became the first black US. District Judge in South Carolina

Albert Gray 1964 • first black student to attend Wofford College

Freida Rogers & Margaret Jones 1968 • first black students to attend Converse College

Rebecca Shell 1970 • first Miss Black South Carolina

“In 1963, one year before the Civil Rights Act outlawed segregation in public places, negotiations between black and white local leaders quietly integrated lunch counters in Spartanburg.” excerpt from South of Main by Beatrice Hill & Brenda Lee

Louvenia Black-Perkins 1979 • designed the first “Black Barbie,” the first doll of color from Mattel to have the name Barbie.

to learn more about these and many more Local Heroes, visit us online at:

SpartanburgPhilharmonic.org/LocalHeroes

37

Statement on Racial Discrimination The

Spartanburg Philharmonic is a proud member of the League of American Orchestras, and we support the following Statement.

Through listening to underrepresented voices in our

The staff and Board of Directors of the League have

field; centering equity, diversity, and inclusion (EDI) in

failed to sufficiently understand that systemic anti-

our programs and convenings; and researching our

Black racism and its resulting discrimination are rooted

shared history and heritage, the League of American

in a belief system, white supremacy, into which all of us,

Orchestras is developing an understanding of the

and the field itself, were born. Consequently, the League

breadth and depth of systemic racial inequities that

has not been sufficiently engaged in challenging this

exist in the orchestra field.

racism within the broader field and the exclusion of this

The current pandemic and the growing recognition of

community as full participants.

disproportionate police violence against Black people

The impacts of our actions have included the loss of

shine a light on America’s long history of systemic

valuable musical and other creative contributions by

inequities for the Black community in particular. This

generations of Black people, the disenfranchisement

history includes chattel slavery, Black Code and

of fellow Americans, and redirected career trajectories,

Jim Crow laws, redlining, school segregation, voter

all resulting in fewer people engaging with the musical

suppression, and the prison-industrial complex. This

culture we all share and love. This ultimately diminishes

challenging history and the current environment make

the vibrancy of the art form and, therefore, undermines

it essential for us to assert our deepening commitment

the orchestral experience for everyone.

to be an advocate for and a credible partner with Black people and associated organizations as we seek a more equitable and diverse future for America’s orchestras.

The League recognizes the existence of many forms of discrimination in America that hurt our fellow human beings. In additional to race, these include discrimination based on ethnicity, age, sex, sexual orientation, gender

The League of American Orchestras acknowledges, accepts responsibility for, and apologizes for the role it has played in perpetuating, excusing, and participating in systemic discrimination based on race within the orchestral field.

identity, disability, religion, and socio-economic status. The orchestra field must continue its fight against all forms of discrimination to help heal our society and allow all people to be fully seen and heard. In America, the symphony orchestra field includes youth,

community,

academic,

and

professional

orchestras; conductors; administrators; musicians; volunteers; board members; and unions. The field has allowed injurious practices and tropes to persist, such as the unfounded and disrespectful belief that diversity

38

SpartanburgPhilharmonic.org/RacialInjustice

of personnel and/or programming can only be achieved at the expense of quality. The field has also played an active role in excluding Black musicians, composers, administrative staff, community members, and audience members

from

auditioning,

creating,

performing,

managing, governing, and even listening to orchestral

Officers Chair | Douglas M. Hagerman, Milwaukee, WI Co-Vice Chair | Melanie Clarke, Princeton, NJ Co-Vice Chair | Steven C. Parrish, Westport, CT Secretary | Aaron A. Flagg, Easton, CT Treasurer | Burton Alter, Woodbridge, CT

music. These actions stem from our country’s history of racism, which results in racial and ethnic discrimination. These actions are also counter to our belief in the shared value of all music to, by, and for all people.

Board of Directors Alberta Arthurs, New York, NY

Kathryn Boucher, Spartanburg, SC

We hold ourselves accountable and invite our members

Lorenzo Candelaria, Nashville, TN Rosina Cannizzaro, Colchester, VT Gloria dePasquale, Narbeth, PA Charles Dickerson III, Los Angeles, CA Marisa Eisemann, MD, Dorset, VT Gary Ginstling, Washington D.C. Marian Godfrey, Philadelphia, PA Mary Louise Gorno, Chicago, IL. Jim Hasler, Oakland, CA Mark Jung, Wellesley, MA Cindy Kidwell, Tyler, TX Jennifer Koh, New York, NY Hugh W. Long, New Orleans, LA Kjristine Lund, Seattle, WA Mason Alan Mason, Healdsburg, CA Anthony McGill, New York, NY David Alan Miller, Albany, NY Jennifer Mondie, Washington DC Alfred P. Moore, Minneapolis, MN Catherine C. Moye, Spokane, WA Lowell J. Noteboom, Minneapolis, MN Howard Palefsky, Atlanta, GA Mary Patton, New York, NY Mark Peacock, MD, Nashville, TN Henry Peyrebrune, Cleveland, OH Alan Pierson, New York, NY Patricia A. Richards, Salt Lake City, UT Jesse Rosen, New York, NY David M. Roth, Hartford, CT

to do the same.

Daniel Bernard Roumain, Harlem, NY

We believe we must respond with meaningful action to the entrenched reality of systemic discrimination toward Black people in American orchestras that has led to their significant underrepresentation in all roles in our field. All orchestras, each in and with their own communities, must discover their unique paths to greater inclusion and equity, which will allow them to better see, understand, and engage all of their diverse stakeholders. We understand racism is structural and can be practiced by people of all races. It is not the primary responsibility of people of color to explain where whitedominant institutions have fallen short, or to educate those institutions on how to become more equitable in practice. We must bravely face our past failures and acknowledge the generational harm caused by them.

Therefore, we declare our commitment to inclusion and reconciliation. We choose to move fully and without delay toward absolute diversity and equity within our field; and henceforth to respect the value and boundless creative capacity of every human being.

This statement was adopted by the Board of Directors of the League of American Orchestras at its June 25, 2020 meeting.

Helen Shaffer, Houston, TX Pratichi Shah, Chevy Chase, MD Daniel Song, Los Angeles, CA Trine Sorensen, Palo Alto, CA Isaac Thompson, New York, NY Alan D. Valentine, Nashville, TN Penny Van Horn, Chicago, IL Robert J. Wagner, Boonton, NJ David Whitehill, Asheville, NC Sheila J. Williams, Newport, KY Edward Yim, New York, NY 39

Program Notes

It is difficult almost to the point of impossibility to find a portrait of either Haydn or Mozart in which the composer wears no periwig, the elaborately powdered and pigtailed wig that was a sartorial requirement among Europe’s politer classes in the later part of the 18th Century. By contrast, the striking feature in most portraits of Beethoven is the untamed, leonine mane of brown hair that leaps wildly from the composer’s head. This seemingly trivial coincidence is actually pregnant with significance, for it was Beethoven who freed Western music from the constraints of propriety and moved it into the realm of free an direct emotional expression — where, to most of us, it still lives. And this change didn’t happen gradually over the course of Beethoven’s career: it came all at once, with only a little foreshadowing in his earlier works, in the Eroica Symphony. Beethoven’s music and life had reached a crisis in late 1802, in the Austrian spa village of Heiligenstadt. There the composer gave up at last on the treatments he had been seeking with increasing desperation, and acknowledged, in a confessional letter to his brothers, the inevitability of his encroaching deafness: What misery when anyone beside me hears a flute in the distance, and I heard nothing, or when others heard a shepherd far singing, and still I heard nothing! Such things brought me to the edge of desperation, and well-nigh caused me to end my life. Art! Art alone deterred me. How could I possibly quit the world before bringing forth all that I felt it was my vocation to produce!

Symphony no. 3 in E b Major

EROICA Ludwig van Beethoven (1770-1827)

40

Before this so-called Heiligenstadt Testament, Beethoven seemed to be making a continual effort to direct his unruly Muse into the channels established by Mozart and Haydn, using their comparatively restrained harmonic language and attention to orderly rules of musical construction. But in Heiligenstadt, Beethoven resolved that he would live to express himself with little regard for the accepted rules of composition or for his audience’s expectations. The Eroica was the first of Beethoven’s major works to fired entirely in the forge of personal expression. In it Beethoven’s hair had well and truly been let down; it is the first Romantic piece of music. The Eroica originally bore the subtitle “Bonaparte,” Napoleon being its planned dedicatee. Beethoven was passionately dedicated to the ideals of democracy, and imagined that he saw in Napoleon one who would establish France as a republic. When the Little General had himself proclaimed Emperor, Beethoven was bitterly disappointed, and scratched the Frenchman’s name off the title page with a knife and replaced it with Eroica, “Heroic.”

Program Notes

But regardless of the symphony’s nominal dedicatee, there can be little doubt that Beethoven’s true topic is Beethoven himself. The symphony begins not with the slow introduction audiences of the day would have expected but with two violent, percussive E-flat chords that strike blows to the gut. At the 1804, premiere most of the audience wasn’t even aware that Beethoven was battling deafness, so they couldn’t possibly have known that the incessant and ever-worsening ringing in the composer’s ears was in fact a screamingly high E-flat. But we know it, and knowing it, we can’t help seeing the Eroica as a representation of his struggle with the fate that buffeted him so cruelly. Neither could they have known of his serious contemplation of suicide in the not-too-distant past. But we know that, too, and knowing it, we can’t help being moved and a little unnerved by the second movement funeral march. And neither could they have foreseen the extent of Beethoven’s eventual triumph, composing the Ninth Symphony in a state of total deafness. But we know that, as well, and we can’t help being inspired by the Eroica’s finale. The piece is undeniably complex. From the wildlyfluctuating moods of the 16-minute opening movement to the startling and poignant slow episode that interrupts

its finale, it’s almost twice as long as most symphonies of its day. And whereas most music of its day worked to capture a single mood or emotion in a given movement, the Eroica veers rapidly between joy and sorrow, buoyancy and foreboding, just like real life does. Beethoven “takes at times the majestic flight of an eagle, and then creeps in rocky pathways,” according to a French critic in 1810. “He first fills the soul with sweet melancholy, and then shatters it with a mass of barbarous chords. He seems to harbor together doves and crocodiles.” His biographer Fernand Ries tells of an early performance wherein the composer himself was conducting, actually got lost in his his own first movement, and had to stop the orchestra and regroup. And it’s long. To a few of the periwigged voices of musical propriety at its premiere, it was too long and too wild: “The Heroic Symphony contains much to admire,” wrote the Harmonicon of London, “ but it is difficult to keep up the kind of admiration. If this symphony is not by some means abridged, it will soon fall into disuse.” Needless to say, the Eroica did not fall into disuse, but rewrote our very idea of what music is for. As of that night, music was free to express unfettered emotion, and it would never again be the same.

Chris Vaneman

Contributing Author

41

Zimmerli Concert Series

S AT U R D AY

November 28 Online Premiere @ 7:00 pm

2020

| my.sphil.org/watch

Jingle Bells. . . . . . . . . . . . . . . . . . . . . . James L. Pierpont (arr. Kay) 3 min

O Christmas Tree . . . . . . . . . . . . Melchior Franck/Ernst AnshĂźtz (arr. Kay) 2 min

Fantasia on Greensleeves . . . . . . . . . . . . . . . Ralph Vaughan Williams 4 min

The Nutcracker, Act 2: no. 14, Pas de duex . . . Pyotr Ilyich Tchaikovsky (arr. Ceo) featuring Ballet Spartanburg 4 min Silent Night . . . . . . . . . . . . Franz Xaver Gruber & Joseph Mohr (arr. Kay) featuring Simone Mack-Orr, vocals 4 min Ashokan Farewell . . . . . . . . . . . . . . . . . . . . . Jay Ungar (arr. Custer) featuring Kristin Scott Benson, banjo & Callie Brennan, violin 4 min GesĂš Bambino . . . . . . . . . . . . . . . . . . . . . . . Pietro Alessandro Yon featuring Mark Coolidge, vocals & Brennan Szafron, organ 3 min Frosty the Snowman . . . . . . . . . Steve Nelson & Jack Rollins (arr. Mauldin) featuring Mark Coolidge, vocals 2 min Twas the Night Before Christmas . . . . . . . . . . . . . . . . Bill Holcombe featuring a Special Guest Narrator 8 min and the Spartanburg Little Theatre Christmas Day . . . . . . . . . . . . . . . . . . . Gustav Holst (arr. Kay/Willcox) 7 min

Twelve Days of Christmas . . . . . . . . . . . . . . . . . . Traditional (arr. Kay) 6 min

We Wish You a Merry Christmas. . . . . . . . . . . . Arthur Warrell (arr. Kay) 2 min 42

Programs subject to change | Timings are approximate

43

Program Notes

“Ballet Spartanburg is very excited to be a part of this holiday concert, featuring the beauty and talent of Spartanburg’s musicians, dancers, actors, and artists. We are pleased to present a scene from our beloved Nutcracker, and we look forward to next year, when we can come together in the concert hall for a live production of the full ballet. I know audiences will be totally captivated by the experience of hearing Tchaikovsky’s memorable score live as the story unfolds on the stage.” Carlos Agudelo

Ballet Spartanburg, Artistic Director

Simone Mack-Orr Simone is a native of Spartanburg and has always had a love for music starting with singing then on to playing the violin. Her performance in the Spartanburg Little Theatre’s presentation of The Civil War demonstrated her extraordinary talent and musical abilities in a new way. She went on to perform as a part of Ballet Spartanburg’s Dance Energy series and continues to sing and perform with both organizations as well as sitting on the board for the Little Theatre. Simone is currently the General Manager of CycleBar in downtown Spartanburg. A career FIT-thusiast, Simone has been a dedicated professional for nearly 17 years. If you’ve seen it; she’s taught it. In her free time, she enjoys spending time with her wife, Ebony & their sons, Simeon and Emory.

Mark Coolidge Mark Coolidge is 12 years old and in 8th grade. Mark has been in several productions at Spartanburg Youth Theatre including singing and dancing as an Oompa Loompa and a Who. Mark has been in many productions at USC Upstate. His characters have been Winnie the Pooh, The Velveteen Rabbit, Benjamin in “The Yellow Boat”, and David in “It Can’t Happen Here”. Mark enjoys singing, drama, science, math and riding his bike.

44

Program Notes

Kristin Scott Benson Kristin Scott Benson is the five-time, reigning, International Bluegrass Music Association’s Banjo Player of the Year and recipient of the 2018 Steve Martin Prize for Excellence in Banjo and Bluegrass. Since 2008, she has been a member of Grammy-nominated and two-time IBMA Entertainers of the Year, The Grascals. Kristin is one of the nation’s top bluegrass banjo players, exhibiting impeccable taste, timing, and tone. With an attentive ear to back-up, she is known and respected as a true team player among her peers, and many consider her to be one of the first females to successfully be a sidemusician in a top-tiered bluegrass band. After living 13 years in Nashville, she moved back to her original home in the Carolinas, where she lives with her husband and son.

In partnership with the Hub City Bookshop we will be providing a copy of Twas The Night Before Christmas to first grade students at several Spartanburg area schools.

“We are thrilled to again be partnering with the Spartanburg Philharmonic to distribute books to Spartanburg children. All of our arts organizations enrich our community immeasurably and our support of one another is more important now than ever.” Anne Waters

Hub City Writers Project, Executive Director

“We at the Spartanburg Little Theatre and Spartanburg Youth Theatre could not think of a better way to celebrate our 75th anniversary season than to join our talented friends in the Spartanburg creative community for this unexpected and unique holiday collaboration. We are so grateful for the opportunity to bring some laughter and levity to the season and to help shine a spotlight on the many dynamic, vibrant and resilient arts organizations and artists that make Spartanburg home.” Jay Coffman

Spartanburg Little Theatre, Executive Artistic Director

45

Chris Strickland, Committee Chair Kristin Scott Benson Walker Copley Ray Dunleavy Ben Burke Howell Chris Kennedy

Saturday

Oct. 10, 2020 6:00 @ Piedmont Interstate Fairgrounds Just one season after banjo virtuoso Béla Fleck played Spartanburg, we bring you a mandolin prodigy whose third album was produced by Fleck himself. By the tender age of 12, Tennessee-bred singer/songwriter/multi-instrumentalist Sierra Hull had already played the Grand Ole Opry and Carnegie Hall, and has been delighting audiences ever since with her rich voice and mastery of the mandolin. Now, husband Justin Moses joins Sierra for a exclusive one-nightonly duet of Bluegrass standards along with Hull’s own songs. As a premiere picker on the bluegrass scene, Justin has played with Ricky Skaggs, Dan Tyminski, Blue Highway, and The Gibson Brothers. You’ll be captivated as he changes between guitar, mandolin, banjo, fiddle, and dobro while Sierra alternates between guitar and mandolin. Join us for an unforgettable night of bluegrass music under the stars! 46

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

Saturday

Dec. 12, 2020 3:00 @ Piedmont Interstate Fairgrounds Fireside Collective has been on a roll since emerging five years ago from the fertile music scene of Asheville, North Carolina. In quick order, the progressive bluegrass group released its debut album, won the 2016 Band Contest at MerleFest, and earned an International Bluegrass Music Association Momentum Band of the Year nomination. Blending the characteristic interplay of bluegrass instrumentation and harmonies with strong original material and exuberant energy, Fireside Collective has drawn on folk, blues, funk and a wide variety of bluegrass sounds to create a distinctive body of work that’s all their own.

for more information or to purchase tickets, visit us online

Tick

ets

SpartanburgPhilharmonic.org/Bluegrass

47

Providing Inspiration from Home In March, amid government recommended closures and the mandated cancellation of all public events due to the coronavirus pandemic, performing arts organizations in Spartanburg were forced to cancel concerts and shows, effectively limiting our community’s access to quality, live arts. Seeing the need for continued inspiration while our friends and patrons were staying at home, the Spartanburg Philharmonic, Ballet Spartanburg, and Spartanburg Little Theatre, and later, the Spartanburg Art Museum, came together to form a new partnership – Together SpARTanburg. What followed was a digital performing arts series that engaged and entertained viewers of all ages in fun and meaningful arts experiences. Though difficult, each organization’s choice to cancel was a necessary one, driven primarily by each group’s commitment to doing their part to keep Spartanburg safe. However necessary, the results of these decisions are also felt by the artists and larger Spartanburg community. Even this fall, it is a reality that continues to linger as, “Across the world, we are seeing arts organizations and artists making impossible decisions about their concerts, work and livelihoods while prioritizing the health and wellness of our communities,” says Kathryn Boucher, Spartanburg Philharmonic Executive Director. “Together SpARTanburg aimed continued on page 50

48

“The Video Introduction was the hardest part of the filming process. I thought it would be neat for the camera to pan around my studio while I was playing an improvisation on my cello. I completely underestimated the amount of time that it was going to take for the camera to move around. Every time I thought the camera was done moving, I would start to wrap up the piece, only to find out that it was not done yet. By the time the camera and I would finally meet up, I would forget my opening lines!” - Ben Smith Cello

watch Ben’s video online:

my.sphil.org/TS4

“I was so, so happy to be asked to perform for Together SpARTanburg. Quarantine had just started that week, and with so much uncertainty floating about, it was truly wonderful to have a project to work on and keep my mind occupied. Over the next few months our whole family found ourselves doing many other videos for different situations, but this was the first one. You can tell that we hadn’t quite worked our process out yet! The sun kept moving around and getting into my eyes, my cameraman and helper Tally (my daughter) was never fully in the picture, and the dog wanders through at one point—and then, later, you can hear her in the background at her water bowl. Still, it was great to have the chance to reach out to friends far and near—both with the Facebook questions and later trying to get folks to snap along.” - Kelly Vaneman Oboe

watch Kelly’s video online:

my.sphil.org/TS1

“I am a lifelong performer, but have never been the ‘on camera’ type, so this was new for me! In the absence of my regular performing opportunities, it was great to have a reason to play through lots of repertoire to try to decide what would be the best fit, and since I thought it would be nice to represent the piccolo, I ended up discovering that the Piazzolla Tango Etudes actually work really well for that instrument! I never would have figured that out if the Philharmonic hadn’t asked me to step a little outside my comfort zone. My two year old, Emerson, enjoyed making his cameo, and loves to watch the whole video over and over. We had fun learning about the other instruments through the other videos as well.” - Jessica Sherer Piccolo

“Making the video for the Philharmonic was a great deal of fun despite the fact that I must have had 6,000 takes. OK, I exaggerate... but seriously, you think you can talk to a camera until you try it!!! I know now that I have no future as an actor. Fortunately, the playing came easily as did deciding what to show in my studio. I love where I work at home.” - Caroline Ulrich Flute

watch Jessica and Caroline’s video online:

my.sphil.org/TS32

“I love the banjo and always look forward to an opportunity to share it with people, so I was delighted to be a part of Together SpARTanburg. Banjo is one of those instruments that flies under the radar, but it’s worth everyone’s attention! It’s unique in many ways and the world of banjo is much more diverse than many people realize. So, it was fun to hit record on my cell phone and talk a little about the instrument that captured my heart, as a child. Sharing it with my fellow Upstaters was a privilege!” - Kristin Scott Benson Banjo

watch Kristin’s video online:

my.sphil.org/TS44

49

continued from page 48

to bring local performing artists into the homes of our community still providing them an opportunity to be creative and our patrons an opportunity to stay connected to the artists and arts organizations that they love.” From it’s premiere on Wednesday, March 25th at 10am, Together SpARTanburg sought to give our community access to the performing arts with regularly scheduled programs available online through social media, and each organizations websites. In the very first episode, followers of the Spartanburg Philharmonic, Ballet Spartanburg, Spartanburg Little Theatre, and the Spartanburg Art Museum were greeted by an uplifting performance by SPhil Associate Principal Oboist, Kelly Vaneman. What followed after was a blend of beloved ballet performances, home-bound actors belting out show tunes, and gallery tours that put art and artist center stage. And for 10 weeks, viewers were transported away from the monotony of ‘shelter in place,’ and brought back to the halls of the arts they treasure in almost 50 episodes of Together SpARTanburg.

THANK YOU,

Spartanb

We’ve always been honored to| be a part of Sparta hodgefloors.com 864.573.9288 offices, buildings and homes, but it means ev

more that you took time to vote us the Best We will work hard to continue to earn your tr

While the coronavirus continues to plague our community even now, the words of Teresa Hough, Executive Director of Ballet Spartanburg still ring true. “We are so happy to work together to try to uplift our community. Together SpARTanburg may be an idea to let our patrons and those who love the arts to know we are still here and that we will all get through this Together!” Jay Coffman, Executive Director of Spartanburg Little Theatre, also stresses the importance of continued access to the arts. “One of the many important functions of the performing arts is to provide a temporary escape from the rigors, stresses, and challenges of our daily lives. This is especially important to our talented and creative community of artists and the very generous and giving audiences who support them. In these unprecedented times, we hope that Together SpARTanburg will show that the arts can continue to inspire, educate, and connect us beyond our conventional theaters and concert halls, when we need it the most.

STAGE • PHOTOGRAPH • PRICE • MARKET

While the curtain may have closed on Together SpARTanburg, we invite you to visit our website or YouTube channel to watch (or re-watch!) as times like these continue make demands on our need for inspiration. We look forward to new opportunities to connect with you online as we launch or new digital channel for Ludwig (page 30) and ‘Burg Bound (page 42). Most of all, we thank you for all the kind words of praise and we support you have given us as we look for new ways to enrich your lives with music.

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watch online:

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SpartanburgPhilharmonic.org/Together 50

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51

Spotlight: Helen Tipton Tipton’s Three T’s

Educator. Volunteer. Leader. These are the first words that come to mind when describing Spartanburg Philharmonic Board member Helen Tipton. At the same time though, they only barely begin to cover the tremendous contributions Helen makes to our organization. In fact, she fully embraces what’s at the very heart of philanthropy, generously giving her time, talent and treasure with seemingly boundless enthusiasm. From August to June you can find Helen in a classroom, leading the Freshman Orchestra at Spartanburg High School, and teaching beginning strings at Jesse Boyd and Pine Street Elementary Schools. Somehow though, in between coordinating curriculum and giving her students individual attention, she finds time to chair the Education Committee of the Spartanburg Philharmonic Board of Directors. Helen is also a seemingly tireless advocate for arts education, devoting much of her time to the South Carolina Music Educators Association in a variety of capacities. Helen’s passion for arts education was also a major force behind the formation of the Spartanburg Philharmonic Youth Orchestra (SPYO) as well as the group’s continued success. As a co-manager for SPYO she provides crucial support and leadership to the small, yet mighty team, as well as sharing her vibrant love of music with the student musicians. As a teacher in our own Spartanburg community, she is also an invaluable resource in connecting with other community educators across all the area school districts to promote SPYO as an 52

enhancement to their music education programs and a enriching experience for their students. Outside of the classroom, Helen is also a gifted musician in her own right. She first contributed her talent as a member of The Greater Spartanburg Philharmonic over 20 years ago, shortly after she first moved to Spartanburg. While a member of the orchestra, Helen was also on staff as the Music Librarian and Ensemble Coordinator during Music Director Sarah Ioannides’s tenure. In that time Helen has seen the orchestra evolve to become first the Spartanburg Philharmonic Orchestra and now the Spartanburg Philharmonic. And while she has since transitioned to occasionally playing as a substitute for the orchestra, you can still enjoy the graceful sounds of Helen’s violin in SPYO concerts, and most recently for the 2020 Link Up youth concert this past March. Last, but certainly not least, Helen is a regular donor to the Spartanburg Philharmonic Annual Fund. However her treasure is not limited to her yearly pledge. So big is her love for the organization, particularly its mission to enrich and educate our community, that she regularly makes additional donations to support SPYO students as well as the program itself. Ever humble, Helen would never describe herself as a paragon of philanthropy, yet her generous heart and giving spirit is undeniable. Her contributions go beyond valuable. Her tireless dedication of her time, talent, and treasure are an integral part of the continued strength and vibrancy of the Spartanburg Philharmonic.

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

in such genres as country, gospel, soul, rock ‘n’ roll and more. Ultimately the trail will circle the downtown as new inductees are added. As publisher of the book Hub City Music Makers: One Southern Town’s Popular Music Legacy, the nonprofit Hub City Writers Project took the lead in organizing the Spartanburg Music Trail. The initial honorees were chosen because they represent a wide variety of music styles, a broad demographic of our county, and almost 200 years of music-making history. The Spartanburg Convention & Visitors Bureau has partnered with Hub City Writers Project, the City of Spartanburg, and the Spartanburg Philharmonic to produce the tour.

SpartanburgMusicTrail.com

For the last 24 years, the Spartanburg Philharmonic and the Spartanburg County Public Library have been proud to offer this fun, lunchtime music series to the public. For health and safety reasons, we have decided to postpone MSI until further notice. Thank you for your support, and for updates, please visit us online:

SpartanburgPhilharmonic.org/MSI

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 2020-2021 season of the Spartanburg Philharmonic.

Member FDIC. © 2020 United Community Bank | ucbi.com

Our Flexible Outdoor Youth Orchestra The Spartanburg Philharmonic Youth Orchestra in 2020

Susana Lalama

Youth Orchestra Conductor

After an electrifying start to the inaugural season of the Spartanburg Philharmonic Youth Orchestra, the momentum shifted in March 2020. Like everything else during the coronavirus pandemic shutdown, our remaining rehearsals and final performance were cancelled for the season. Facing the new challenges of social distancing, learning online, and other unknowns, the SPYO team knew that the students, families, and community needed music in their lives, now more than ever. In response, the SPYO team met several times throughout the spring and summer and devised a flexible and responsible plan for the Youth Orchestra to continue its mission, “…to provide a rewarding musical experience for the talented young musicians in the greater Spartanburg area.”

a popsicle, and meet the conductors and the Youth Orchestra staff. This event took place outdoors at the Converse College music building loop and it was a great opportunity to see one another and interact while socially distant.

Auditions were held in late May 2020 via video submission. After several hours of video auditions, we are thrilled to announce the formation of two youth orchestras. The Senior Youth Orchestra is a 63-member, full orchestra comprised of students grades 9-12 and winds, brass, and percussion students grades 8-12. The Junior Youth Orchestra is our newest expansion of a string orchestra comprised of over 30 middle school string students.

When the group is ready to rehearse together, the entire Youth Orchestra will rehearse outdoors on the Converse quad. Our performance(s) will also be held outdoors, picnic-style. The dates or times may shift due to weather, but we will let all families and patrons know as soon as possible. We would love your support!

Students and families have been receiving SPYO communication via email and social media pages. Our summer event, held on Sunday August 9, 2020, was the Music Meet-Up. Students were assigned times based on their instruments to pick up their music folder, enjoy 54

The Youth Orchestra’s first rehearsal is scheduled for August 30th. The ongoing pandemic has the group rehearsing in smaller sections, socially distant, and outdoors whenever possible. All students are asked to do personal wellness checks prior to coming to each rehearsal to help ensure the safety of all involved. If anyone had any symptoms of illness, the students are asked to stay at home, and they can participate in the section rehearsal via technology.

The Spartanburg Philharmonic Youth Orchestra is committed to bringing music to the students in a safe and responsible manner. We will continue to follow the guidelines of the CDC and SCDHEC as well as the protocols of Converse College to help ensure the wellness of the entire Youth Orchestra. We are all in this together!

Spotlight: Johanna Wilson Welcome to the Podium!

Susana Lalama

Youth Orchestra Conductor

When the Spartanburg Philharmonic Youth Orchestra announced the addition of the Junior Youth Orchestra, middle school string students, parents, and teachers were eager to find out who was going to lead these talented young musicians. We received several excellent quality music conductor applications, but there could only be one conductor to lead the Junior Strings, that is Johanna Wilson. I had a chance to get to know Johanna over the summer and she is a delightful, experienced, energetic string teacher. She is originally from Spartanburg and is excited to be moving back to her hometown. Johanna has spent the past 44-years teaching orchestra in the greater Columbia, SC area. Under her baton, her groups were consistently recognized for outstanding musicianship and performances. With her retirement from public school teaching approaching, she knew she wanted to stay active teaching strings, and SPYO was a perfect fit. Johanna says, “I grew up working with wonderful violin teachers and orchestra conductors. I had such an awesome orchestral experience. I want to give back to the community that gave me that experience and has supported me all these years.” Ms. Wilson is no stranger to youth orchestras. She has over ten years of experience working with the Columbia Philharmonic Youth String Orchestra in Columbia, SC.

She was also a Master Teacher for the USC String Project for nineteen years. With so much teaching experience, and at all levels, I asked her what is her favorite part about teaching? Johanna states, “I love working with students! Students are so vivacious, refreshing, humorous and eager to learn and explore new things. They keep me on my toes and young!” Her passion for teaching is palpable and her excitement increased as the conversation shifted toward the newly formed Junior String Orchestra of SPYO. When asked what the students can expect from her during rehearsals, without hesitation she said, “they can expect complete respect, kindness, compassion and communication from me as their conductor. I will give each student as much help as they need to succeed in playing the music.” Johanna went on to discuss her goal of creating positive learning and musical experiences for each student. Her philosophy is powerful, and student driven. “I think students should be unfolded rather than molded. I want to inspire each one of them and encourage them to become the best young musician and person possible.” We definitely have a master teacher working with the Junior Youth Orchestra and I am honored to call her my colleague and friend. Welcome to the podium, Johanna Wilson!

to support the Youth Orchestra or for more information about concerts, visit us online at:

SpartanburgPhilharmonic.org/YouthOrchestra

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