Spartanburg Philharmonic - HearHere, Spring 2021

Spartanburg Philharmonic

Music Director, Stefan Sanders

Volume 92, Spring 2021

Stereo Philharmonic

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Volume 92, Spring 2021 200 East Saint John St. Spartanburg, SC 29306 864.948.9020

Contributing Authors: Peter B. Kay Susana Lalama Courtney Oliver Stefan Sanders Laura Clare Thevenet Chris Vaneman Rachel Lanik Whelan

Information 4 7 8 9 10 12 14 29 62

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

Photographers: Anna Bandy Kavin Bradner Jimmy Gibson

Concerts 30

Zimmerli Series: Soulful Serenade

Design:

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Zimmerli Series: Glorious Fanfare

Peter B. Kay

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Bluegrass Spartanburg

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Spartanburg Philharmonic Youth Orchestra

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

A Letter from the President A Letter from the Executive Director Meet Stefan Sanders Spotlight: James Cheek Holiday Magic for District 7 Spotlight: Ian O’Donnell Belonging In All Places Music is Being Made Reflection: Adaptin to a Changing World Bluegrass and Classical Music Learning Together, Growing Stronger Spotlight: Hayden Green

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Zimmerli Series Online

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Subscribers check your email or mailbox for link information.

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Buy Your Online Pass at:

spartanburgphilharmonic.org/watch 5

A Letter from the President

Greetings, As I reflect back on the challenges of 2020, I am also amazed about the things we were able to do under the circumstances.

The two virtual concerts were incredible considering the challenges we faced. Not exactly like being in the audience but I applaud all involved on getting it so close!

None of us yet know what our Spring will bring but we can be assured the Spartanburg Philharmonic will continue to adapt - we especially look forward to our May 1 outdoor concert at Barnet Park.

Many thanks for your continuing support.

Chip McLeod, President of the Board of Directors Spartanburg Philharmonic

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A Letter from the Executive Director

Dear Philharmonic Friends, As the Philharmonic looks to the Spring of 2021, we want to first extend our sincere wishes that your family is safe and healthy and remain so throughout this pandemic. Our staff, Board and musicians are delighted to return to the stage as soon as is safe for our organization and audience.

As with every person and organization, COVID-19 has forced a significant shift to our work. Despite limitations on in-person events due to public health guidelines, the Philharmonic has responded to continued, strong demand for our high-quality performing arts experiences. With the understanding that many of our friends and audience members are not yet willing to return to a live music venue, we have made the decision to continue in our virtual format until May. At that time, we will return to an in-person concert – albeit in an outside venue at Barnet Park. We know this will be a wonderful, joyous evening with The Return of John Williams. We will be ready with all precautions taken so that you may safely enjoy a live musical experience.

Thank you again for your continued patience and steadfast support. You have successfully sustained the Philharmonic and have remained by our side in many generous ways during this unprecedented and stressful time.

With gratitude and great hope for a wonderful year,

Kathryn Boucher, Executive Director Spartanburg Philharmonic

Your Virtual Visit To View our February and March 2021 Concerts, visit us online at:

www.spartanburgphilharmonic.org/watch

Seating: General Admission in most cases, though your

Food/Beverage: Food or drink, including bottled water,

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!

is encouraged. Visit us online to view suggested meal and beverage pairings for these concerts!

Late seating: For the listening pleasure of our audiences,

home for easy access. Hand washing is strongly encouraged.

concerts should not be paused for late arriving patrons.

Latecomers For will be seated at the first appropriate break in the information about our February and 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.

Restrooms: Restrooms are conveniently located in your

Cameras, cell phones, March 2021 concerts, visit us recording online at: devices, watch alarms, and similar devices:

www.spartanburgphilharmonic.org/watch 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.

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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 Interns:

Ariel Leek Tristan Willcox

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

Meet Stefan Sanders

Music Director

Stefan Sanders is in his third year as Music Director of the Spartanburg Philharmonic. It is also his fourth season as Music Director of the Fayetteville Symphony Orchestra in North Carolina and his eighth as Music Director of the Central Texas Philharmonic. Prior to the pandemic, Stefan was scheduled to make debuts this season with the Symphony Orchestra of the Yucatán in Mérida, Mexico, the University of Costa Rica Symphony Orchestra and the Filharmonia Kaliska in Kalisz, Poland, as well as return engagements with the National Orchestra of Cuba and several weeks as the cover/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. 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.

Stefan was a 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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F O U N D A T I O N

Funders

Carlos Moseley TRUST

Corporate Partnerships

Corporate Partners

When arts and businesses partner, everyone profits. With corporate partnerships, our concerts and events provide invaluable exposure to prospective and current clients, educate the public about your business initiatives, offer networking opportunities with clients, and provide benefits for employees.

For full details regarding our Corporate Partnership packages, please contact: Kathryn Boucher, Executive Director 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

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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Spotlight: James Cheek A Dedicated Community Servant

Since joining the Spartanburg Philharmonic Board of Directors in 2017, Mr. Cheek has generously given of his time and talent in support of the Philharmonic’s imperative to be a more diverse and inclusive organization. Mr. Cheek is no stranger to this type of work, having long served his Spartanburg community for decades; first as a voice for civil rights amid segregation, now as a public defender. All in pursuit of one goal - to uplift his community and find ways to be stronger together.

Whether he is bringing flowers for each Youth Orchestra musician to celebrate their inaugural concert or recommending enhancements to our Ludwig concert program, Mr. Cheek’s contributions to the Spartanburg Philharmonic have been invaluable. We are truly grateful for his leadership and the personal time he invests in strengthening the organization. Now, we invite you to get to know more about this truly great man, in his own words.

Q: As a student, you were a member of the Wofford College Glee Club. Today, in addition to being a board member and donor, you subscribe to several of our series. As someone that clearly appreciates a variety of music, what do you most love about it?

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A: The emotive aspect of music and the wide range of

venues in which I can find relief and reassurance beyond distractive entertainment is my love affair with music.

So, whether secular or spiritual, gospel to hymnal, classical to country, bluegrass or urban, a moment of exposure to the right song at that moment aurally impacts my spirit; lifting and soaring or conversely lulling and comforting as the experience refines rather than defines my situation. The universality of music is what most listeners and I appreciate even without realizing that in every piece, there will be a message though the individual is at that time unaware of the import and impact.

Q: Of all the Spartanburg Philharmonic concerts you’ve attended, which has been the most memorable for you?

A: Ludwig: Heroes and Revolution because of the

music’s cultural demonstration of the timeless and seamless aspect and character of music spanning over generations and centuries stretching beyond geographical boundaries. As a child at Mary Wright School, we were taught of Beethoven’s racial identity and his contemporaries; that music reached beyond

race, color, and creed. I was glad to see our Philharmonic take leadership in leading our nation in featuring the classical works and our conductor to expand our base and engage in greater inclusion. The contemporary piece “Klap Ur Handz” composed and conducted by Daniel Bernard Roumain dedicated to Civil Rights icon Rosa Parks was particularly exhilarating because I was fortunate to have met the inspiring and humble lady who changed the world at a national political convention.

The piece captured the essence of an era and the religious worship expression of many of my people.

Q: Beyond giving your time to the Spartanburg

Philharmonic as a Board Member, you also choose to donate generously, which is not a required part of your position. What compels you to support the Philharmonic in this way?

A: Supporting the Philharmonic through donations

privileges me to honor and further my beloved brotherhood’s cardinal principles, Omega Psi Phi Fraternity: Manhood, Scholarship, Perseverance, and Uplift. For over a century, the Omega Psi Phi fraternity held stalwart those commitments to support endeavors to embrace humanity, promote intellectual enlightenment, sacrifice to maintain community and culture, and spirituality while connecting to others upwardly. The existence of an excellent performance venue that contemporaneously provides an avenue to those principles is astounding and worthy. More than entertaining, the Philharmonic performances nurture, strive for diversity and complete the soul. I denote as I donate.

Q: You’ve shared why you choose to donate to the Philharmonic, but what led you to join the Board of Directors?

A: State Representative Rosalyn Henderson-Myers,

a childhood neighbor and friend who shared many musical experiences engendered by our neighbors (a high school band director, the choral director at Carver, several church musicians, and a future national opera star), reminisced with me one day at the Courthouse.

She was inspiring and engaging, told me of our similar philosophies and manner of community development, then smiled and “suggested” that she wanted “permission” to expand my opportunity for civic and cultural engagement; that she had submitted my name for consideration as a board member. Rep. HendersonMeyers knew the role would offer me a similar experience as hers, so non-acceptance was never an option. I am here, and I am grateful to be part of this dynamic organization.

Q: Since joining the board, your leadership has

been invaluable as you’ve helped the Philharmonic be a part of meaningful conversations about diversity and access to music and music education. What do you envision as future opportunities for organizations like the Spartanburg Philharmonic?

A: Locally, incorporating a project “Feel Harmonic”

designed to expand the audience through a series of chamber concerts in various communities partnering with church choirs, choral groups, dance studios and companies to capture the attention of young people and minorities. I envision substantial growth in the audience attendance and increased financial support once others discover the jewel – The Spartanburg Philharmonic. Regionally, perhaps an Ambassadors Program in several neighboring states bringing collegiate interns to be spotlighted while introducing them to another jewel – Spartanburg.

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Holiday Magic for District 7 A Literacy and Arts Partnership

This holiday season, your Spartanburg Philharmonic and Hub City Writers Project teamed up once again to give the gift of music and literature to students across Spartanburg County School District 7. In 2019 the partnership gave out 100 copies of Raymond Brigg’s The Snowman to Cleveland Academy and Meeting Street students invited to a special holiday Music Sandwiched In. However, with the holidays looking a little less magical due to the coronavirus, both organizations wanted to build on last year’s efforts and impact even more students’ lives.

Through the generosity of like-minded donors, this year, all first-grade students across District 7 received a beautiful hardbound copy of Twas The Night Before

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Christmas as well as a special bookmark containing information on how to access the Philharmonic’s online performance of the classic tale at home. The performance, which was part of the program “Burg Bound: A Stay-At-Home Holiday Concert” featured beloved former District 7 Superintendent, Dr. Russell Booker, and included special appearances by the Spartanburg Little Theatre.

“When we decided to include Twas The Night Before Christmas in this season’s holiday concert, we immediately knew it gave us the opportunity to partner with Hub City Writers Project once again,” says Kathryn Boucher, Spartanburg Philharmonic Executive Director. “This book and accompanying performance

allowed both organizations to continue the artistic and literary enrichment of our youngest community members while also giving them a little extra holiday magic in what has been an extremely challenging year.”

Shortly before the holiday break, both the Philharmonic and Hub City Writers Project acted as elves, delivering the books to each elementary school in person. While all District 7 Elementary schools are closed to guests, which meant not getting to hand-deliver to each student, each class’s enthusiasm was palpable in every photo shared by teachers and school principals. Mr. Tom Webster, principal at Drayton Mills Elementary School, enthusiastically thanked the Philharmonic and

Hub City Writers Project, saying, “The DMES children loved these [books] - they’ve been a HUGE hit!”

Hub City Writers Project’s Executive Director, Anne Waters, exuded excitement and gratitude for the project. “We were glad to be able to spread a little cheer this holiday season by sharing Clement C. Moore’s quintessential classic Twas The Night Before Christmas,” Waters shared. “Because of Dr. Booker, Spartanburg Little Theater, and the Spartanburg Philharmonic, Spartanburg [has] a memorable celebration of the arts. And thanks to District Seven and some generous donors, 530 first grade students celebrated the [season] with their own “Big Read.”

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Spotlight: Ian O’Donnell

From Intern to Videographer & Audio Engineer In the past, you may have seen Ian O’Donnell moving chairs on the stage, handing out pint glasses at an Espresso concert, or in some other way working at one of the Spartanburg Philharmonic events, but you may not know that the former intern returned to the Philharmonic last fall as one of two talented young men “behind the camera,” beautifully capturing the essence of live performance and creating an amazingly intimate virtual experience for our viewers.

Along with former classmate Brian Smith, Ian was an instrumental part of the Philharmonic’s shift from inperson concerts to the digital stage. In one weekend, they were responsible for recording all of the audio and video for three, full digital concerts as well as a Behindthe-Scenes documentary. We are extremely proud of “Intern Ian,” who sat down with us recently to chat about his experiences with the Philharmonic. We can’t wait to see what’s in store for this young Spartanburg talent!

Q: Were you always interested in music and film?

A: As a kid, I was captivated by the guitar, and I started playing when I was about 9 years old. Shortly after that, I began classical guitar lessons with Michael Miller at the Lawson Academy of the Arts at Converse 20

College. I was always interested in both music and film, but I had always assumed I would be a classical guitar performance major while in college. After I broke my hand in an accident in my senior year of high school, I re-evaluated what I wanted to do in life. Rather than performance, I turned my focus to production, music tech, business, and composition, and I received my degree in Commercial Music with a minor in Film from USC Upstate. This was also part of why I sought out the internship with Spartanburg Philharmonic.

Q: So, tell us more – how did you come to join the Philharmonic team as an intern?

A: While

at Upstate, I saw my friends at other colleges gaining all these opportunities to work with their school’s orchestras. With Upstate being focused on commercial music combos only, I knew I needed to broaden my horizons. At the time I was a Sophomore, and I spoke to my theory teacher, Professor Robert Wells, who told me about students interning with the Spartanburg Philharmonic in years past. After that, I just started asking around until I was given Peter’s email then just reached out and ask to get involved!

Q:

What are some of your most memorable experiences as a Philharmonic intern?

A: Well, at first – because it was summer – the job was

primarily office work. I was tasked with cataloging the Philharmonic’s history all the way back to its founding in 1928. At first this seemed like a laborious task – and in a lot of ways, it really was! - but I came to truly enjoy learning about all the rich musical history of Spartanburg.

Top-tier Orchestras from all over used to tour here, Benny Goodman played with the Philharmonic, and even some of my classical guitar heroes like Christopher Parkening and Pepe Romero had been brought to town and featured by the Philharmonic in years past. Over the summer it became a project I was quite proud of.

By working with Spartanburg Philharmonic, I was able to greatly expand my education. Peter even went so far as to help me learn about instrumentation and walked-through musical scores with me. This real-world application of skills helped me develop as a budding professional. I learned a lot about the planning that occurs months in advance of a concert as well as practical skills such as stage management and marketing. And I truly appreciated that all of the staff treated me with respect: if I had an idea, everyone was always willing to listen and genuinely consider my thoughts and opinions, even though I was very young at the time. This positive feedback helped me improve a lot of professional skills early on.

Q: What have you been up to since your internship and since graduating Upstate?

A: Right after graduation I was offered a job as the

Technical Director & Stage Manager for the MasterWorks Festival here in Spartanburg. MasterWorks is a monthlong summer intensive that invites students from all over the world come to come together and study chamber and orchestral music. During these four weeks, I’m in charge of all operations, logistics and stage directions.

Sometimes we will put on up to 6 public performances a week. So, there’s a lot of running around!

Throughout the school year, I work as an independent contractor at Wofford, Furman, Upstate and Presbyterian college as well as running audio camera work for ESPN+ broadcasts. I also do freelance work – for example, I’m a residential piano tuner in my spare time. Similarly, I pick-up independent video and audio recording gigs.

As a direct result of our working with the Spartanburg Philharmonic to make the digital concerts last fall, the Spartanburg Little Theater reached out to Brian & me, and I worked with them on their “Wintery Mix” album.

Q: Other than music and film, what is something you are passionate about?

A: In addition to music and video, I really enjoy hiking

and traveling. I’ve spent a lot of time in the mountains of North Carolina as well as national parks all across America such as the Grand Canyon, Yellowstone, and several others. While visiting I always bring a camera with me – I really enjoy landscape photography just as a hobby.

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22

Program Notes

proud sponsor of the

Spartanburg Philharmonic 2020-2021

23

Rebecca Clarke

Ellen Taaffe Zwillich

Florence Beatrice Price

Libby Larsen

Nadia Boulanger

Angélica Negrón

Anna Amalie

Clara Schumann

Gabriela Lena Frank

Undine Smith Moore

Amy Beach

Jocelyn Chambers

Chen Yi

Marguerite Béclard d’Harcourt

Jennifer Higdon

Fang Man

Caroline Shaw

Kati Acócs

Dora Pejačević

Missy Mazzoli

Georgiana Cavendish

Jessie Montgomery

Julia Wolfe

Hildur Guðnadóttir

Ethel Smythe

Unsuk Chin

Lili Boulenger

Nkeiru Okoye

Meredith Monk

Fanny Mendelssohn

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Germaine Tailleferre

Margaret Bonds

Teresa Carreño

Tania León

Joan Tower

Hildegard von Bingen

Kaija Saariaho

Laurie Anderson

Alma Mahler

Rachel Lanik Whelan

Belonging In All Places Music is Being Made Evolution of equality in classical music

Rachel Lanik Whelan Contributing Author

A Little History and Context It seems too obvious to say aloud: women and nonwhite people have been creating, writing, and making music throughout history and today, yet most orchestral seasons focus on the music of dead White men. When I started composing music in high school, I began to notice how infrequently the names on concert programs looked like mine, how the dates next to these names indicated years of centuries past. As with most professions before the mid-20th century, women and people of color in Western society were not provided the opportunity to acquire skills that might allow them to have self-sustaining careers as composers. The disproportionate number of white male composers speaks more to the values of society throughout history than it does to the quality of music written by the women and composers of color.

We’re fortunate to live in an era where anyone can be encouraged to compose and perform music as a career, but programming efforts haven’t yet caught up with the wide range of contemporary music available.

In the last ten years there have been increased efforts to diversity programs to include works by historically underrepresented composers. The Institute for

Composer Diversity published an analysis of 120 orchestras and their concert programming of the 20192020 season. The data showed that 8% of the music programmed was by women composers and 11% of the music programmed was by composers from underrepresented racial, ethnic, and cultural heritages.

The study also found that the most performed composers of the 2019-2020 concert season are all white European men, most of whom have been dead for over a century. A similar statistic is true for programming at Spartanburg Philharmonic, with the most performed composers being Brahms, Mozart, John Williams, Tchaikovsky, and Beethoven.

The music of these composers is wonderful; we’re captivated by the power, drama, and emotion of these classic works. But doesn’t an audience in upstate South Carolina have more in common with living American composers, women composers, and Black composers than they do with dead German composers? Don’t we feel more connected to the music when the composers and performers are expressing ideas which relate to us more personally? continued on page 27

25

WOMEN COMPOSERS IN CONCERT PERFORMANCES

2018-2019

O R C H E S TRA L S EA S ON A survey of 15 of the most prestigious orchestras worldwide during the 2018-2019 season showed they performed more than 1400 concerts, presenting more than 3500 pieces, and only 82 were composed by a woman.

2.3%

Of the 3,524 total works presented, 3,442 works were by male composers, and

ONLY 82 were written by women.

CONCERTS INCLUDING WORKS

BY WOMEN COMPOSERS

5.3% Out of 1,445 concerts worldwide, ONLY 76 included at least one work by women.

94.7% of the concerts presented works by male composers alone, meaning ONLY 5.3% of concerts included works by women composers.

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Spartanburg Philharmonic History Because the Spartanburg Philharmonic was borne from the Converse College orchestra, an ensemble within an all-women’s school, the Philharmonic has always had relatively equal representation on the stage. Personnel rosters dating back to 1968 and archived programs indicate that the Spartanburg Philharmonic had about a 50/50 split of men and women performing, and they have always had a woman as concertmaster. Guest artists have similarly been equally invited male and female.

During her tenure as Music Director of the Spartanburg Philharmonic conductor Sarah Ioannides was a presence onstage and in her programming choices. Her commitment to creative and inclusive programming furthered the mission of the Spartanburg Philharmonic to educate, enrich, and inspire through music of today by composers of today. Under her leadership, award-winning Kati Agócs served as Composer in Residence for the 2009-2010 season.

MUSIC COMPOSITIONS

BY GENDER

97.7%

continued from page 25

The music of female composers has been incorporated into programming choices as early as 1935 with South Carolina-born Lily Strickland’s “Blue Ridge Idylls.” Florence Price and Fanny Mendelssohn are the most performed female composers by the Spartanburg Philharmonic, but music by local and regional composers Dosia McKay, Carrie Leigh Page, and Caroline Shaw have delighted Spartanburg Philharmonic audiences in recent years. Simple steps like seeing women on the podium, on the stage, and on the program allow young women to envision their future in these positions.

2020-21 Season Highlights The February 20, 2021 concert will feature Jesse Montgomery’s exuberant and energetic “Starburst” and a movement from Florence Price’s magnificent “String Quartet in G.” Montgomery’s “Starburst” shimmers with brightness, passing sparkling and sly melodies throughout down the ensemble.

Price’s Andante moderato from String Quartet in G alternates a nostalgic lyrical melody with a bluesy and chromatic one.

The March 20, 2021 concert features a work by composer-creative Jocelyn Chambers. This 24 year old Los Angeles-based composer is equally comfortable writing for film, television, and concert stages. Her work “Study in Grieg” evokes forms, melodies, and harmonies of the Romantic era.

On their February 7 concert, the Junior Youth Orchestra will be performing educational pieces

by Soon Hee Newbold and Debra Baker Monday, a composer whose music they performed in last fall’s outdoor concert as well.

Looking Forward Every orchestra in America can improve their programming to be more equitable and inclusive.

Creative programming does not need to rely on the same 20 masterworks, delightful as these pieces may be. More importantly, through diverse and inclusive music programming symphony orchestras can better relate to the communities they serve. In 2018, there were 1.07 times more Black or African American residents in Spartanburg, SC than any other race or ethnicity. Two poignant lines from Spartanburg Philharmonic’s June 5, 2020 statement against systemic racism highlight the ways in which the Spartanburg Philharmonic seeks to better understand, empathize with, and uplift the Black community through music stood out to me: • The Spartanburg Philharmonic continues to be committed to improving inclusivity and diversity by making persons of color an integral part of our leadership, our orchestra, as well as the music we play.

• We stand in support of the BIPOC artists and musicians of our community. We pledge to continue to seek meaningful ways to magnify their work and contributions to our community.

The inclusion of works this season by Black female composers Jesse Montgomery, Florence Price, and Jocelyn Chambers is a demonstration of this commitment. Continued efforts towards inclusion, accessibility, and amplification will further this commitment. Representation is one of the easiest ways an organization can demonstrate a commitment to connecting and empowering their community.

The Spartanburg Philharmonic’s commitment to diverse representation in programming and on the stage allows them to educate, empower, and amplify voices in Classical music which deserve to be heard.

The orchestras surveyed were the: Berliner Philharmoniker, Vienna Philharmoniker, London Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, Bavarian Radio Symphony Orchestra, Cleveland Orchestra, Dresden Staatskapelle, Boston Symphony Orchestra, New York Philharmonic, London Philharmonic Orchestra, Royal Concertgebouw, Vancouver Symphony Orchestra, Sydney Symphony Orchestra, and São Paulo Symphony Orchestra.

Statistical information provided by the Donne Foundation donne-uk.org

WOMEN COMPOSERS IN CONCERT PERFORMANCES

2019-2020 ORC HESTRAL SEASO N

A survey of 15 of the most prestigious orchestras worldwide during the 2019-2020 season showed they performed more than 1,500 concerts, presenting more than 4,000 pieces, and only 142 were composed by a woman.

MUSIC COMPOSITIONS

BY GENDER

96.4%

3.6%

Of the 3,997 total works presented, 3,855 works were by male composers, and

ONLY 142 were written by women.

CONCERTS INCLUDING WORKS

BY WOMEN COMPOSERS

8.2% Out of 1,505 concerts worldwide, ONLY 123 included at least one work by women.

91.8% of the concerts presented works by male composers alone, meaning ONLY 8.2% of concerts included works by women composers.

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Reflection Adapting to a Changing World Stefan Sanders Music Director

From canceled concerts to re-imagining our 2020/2021 season, the COVID era has been a time of organizational reflection and innovation at the Spartanburg Philharmonic. When business as usual all but ceased last March, it seemed as though new and unimaginable barriers arose out of nowhere; inhibiting our commitment to carry out our musical mission and our ability to reach you, our cherished audience of music lovers, dear friends and most loyal supporters. You are like a family to us; cheering us on, believing in us, validating our passions and feeding our musical souls. We have deeply missed being with you, in the same room, making magic together.

Sadly, to this day, there are too many musical organizations around the world that have not played a single note together since March 2020. However, our Philharmonic has pivoted, re-framed and re-imagined an entire season multiple times, all for you and the name of music. We are immensely proud of our first virtual series begun in April, Together SpARTanburg, a collaboration with Ballet Spartanburg, the Spartanburg Little Theater, and the Spartanburg Art Museum, as well as our digital concerts, Ludwig and ‘Burg Bound, produced for our first ever online symphonic concert series.

Creating our online content has taught us a great deal about who we are as an organization representing a vibrant and culturally diverse community with a distinguished tradition of great music and musicians.

And it is within this spirit of representation that the

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Philharmonic identifies our need for organizational refinement, intent upon reflecting our multicultural society. The keys to success for a twenty-first century American orchestral institution lie within a symbolic culture of relevance and engagement that truly reflects the community in which it serves. Case in point - can you imagine the New York Philharmonic starting a Bluegrass series? Me neither.

Myriad foundations and organizations have been created to provide guidance, scholarships and opportunities in the classical music industry for men and women from historically marginalized backgrounds. While the essential work of these organizations continues, and the face of the American orchestra evolves, the arena of composition and programming seems to be the most complicated and delicate tenet of the broader orchestral mission to enjoy change.

As a conductor on the front lines of the contest between art and business, I am intensely cognizant of our musical obligations to audiences and stakeholders, my duty to connect our community and music together, and the requisite relationship necessary between myself, our board, staff and orchestra to make our vision of a season resonate within our community. Every piece on a program is considered from several important angles: quality, budget, our audience, the occasion, the last time the piece was played, length of a piece, a pieces level of difficulty and how much rehearsal time we will have to put an entire program together. Going forward we will include one more important perspective in our programming process - representation. After all, diversity, equity, and inclusion are only words if one cannot clearly see or hear them reflected consistently on our stage and programs.

What can you expect? More great music.

Spartanburg Philharmonic Orchestra Members & Chair Sponsors as of January 2021

Violin I

Cello

Horn

Callie Brennan, Interim Concertmaster

Brianna Tam, Principal

Anneka Zuehlke-King, Principal

Robin Hague Els, Associate Concertmaster

Nathan Leyland*, Substitute Principal Kathy Foster, Assistant Principal

Chris George

Mr. & Mrs. George Dean Johnson

Dr. Barry Bodie & Ms. Laurel D. Johnson

Mary Irwin

Betsy Neely Sikma & Jason Sikma

Abigail Chetta

Mr. & Mrs. Stanley Baker

Andrew Merideth, Assistant Principal

Mr. and Mrs. Ray Dunleavy

Jeanette Schlimgen

Mr. & Mrs. William Barnet III

Trumpet

Franklin Keel

Meredith Keen

Mr. & Mrs. Geoffrey Wilson

Christine Lee Lance Eric Scheider Benjamin Smith

Christine Hallett-Penney* Haley Kovach* Anne Leyland* Nyamka Odsuren* Mariya Potapova

Violin II Halee Joo, Principal Violin II

Mr. and Mrs. Roger Habisreutinger

Ashley Horvat*, Assistant Principal Violin II

Dr. & Mrs. James Bradof

Simone Beach

Ms. Karen E. Bjelland

Lib & Rick Orr

Ms. JoAnn Bristow

JulieAnne Bennet* Amanda Gentile*

Mr. & Mrs. Donald Wildman

Mr. and Mrs. Allen Daryl Doyle

Bass Ian Bracchitta**, Principal

Mr. & Mrs. Jerry Cogan

Matthew Waid, Assistant Principal

Mr. & Mrs. Paul Lehner

J. Bret Alford Maurice Belle Brian Gencarelli Jeff Stinson

Mr. & Mrs. John R. Murphy

Tyler Jones, Principal

Dr. Joella Utley

Kenneth Frick

Mr. and Mrs. Robert Troup

Bruce Cox

Mr. & Mrs. Thomas P. Nederostek

Trombone Mark Britt, Principal

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

Rienette Davis

Ms. Thelma A. Powell

Eric Henson

Mr. & Mrs. H. Peter Theiler

Mr. & Mrs. Bob Ireland

Flute & Piccolo

Laura Allen & Roger Sullivan

Rhea Jacobus, Principal

Tuba

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

Caroline Ulrich

John Holloway, Principal

Mr. and Mrs. Wiley North

Jessica Sherer

Ann Buttimer

Michele Tate Cockram** Theresa Jenkins-Russ Kathleen Robinson* March Moody Emily Wait

Viola Alvoy Bryan, Principal

Endowed by friends and family in honor of Wallace Eppes Johnson

Arthur Ross*, Assistant Principal

Mr. James Cheek

Matthew Darsey*, Assistant Principal

Mrs. Helen E. Dunleavy

Carolyn Alford* Diana Maley Berti**

Mr. Peter Grzan

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

Oboe & English Horn Ginny Metzger, Principal

Rachel & Ken Deems

Kelly Vaneman, Associate Principal

Mr. William Wilkinson & Mr. Robert K. Bellinger

Amber Holden

Karen Hill, Principal

Del Burton

Harry Hill‚ Jr.

Organ

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

Mr. & Mrs. John S. McBride

Dr. Karen Czuba Gibson & Mr. Jimmy Gibson

Dr. Leslie W. Howard, Jr.

Brennan Szafron, Principal

Bassoon Rosalind Buda

Ms. Joan B. Gibson

Percussion

Matt McDaniel, Co-principal

Karen & Stephen Parrott

Michael Weaver

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

Clarinet

Frank Watson**, Principal

Emma Smoker

Patrick Lowery**, Principal

Adena McDaniel, Co-principal

Dr. & Mrs. Julian C. Josey, Jr.

Katy Martin

Timpani

Mary AllyeB Purtle

Audrey Harris*

Mr. & Mrs. Joseph B. Traywick, II

Mr. and Mrs. John F. Verreault, III

Samantha & Clint Larkins

Mr. James Cheek

Harp Emily Waggoner, Principal

Mr. & Mrs. Lindsay Little

Mr. & Mrs. Hearon McCravy

Stephanie Lipka Rhyne

Mrs. Elizabeth S. Chapman

Harpsichord David Kyser*

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

29

Zimmerli Concert Series

S AT U R D AY

February 20 Online Premiere @ 7:00 pm

2021

| my.sphil.org/watch

Starburst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessie Montgomery 4 min String Quartet in G Major. . . . . . . . . . . . . . . . . . .Florence Beatrice Price 7 min II. Andante

Méditation from Thaïs. . . . . . . . . . . . . . . . . . . . . . . . . Jules Massenet 4 min featuring Hayden Green, violin (see page 54) Adagietto from Symphony no. 5 in C# minor . . . . . . . . . . . Gustav Mahler 10 min Serenade for Strings in C Major, Op. 48. . . . . . . . . . Pytor Ilyich Tchaikovsky 30 min I. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato

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II.

Valse: Moderato — Tempo di valse

III.

Élégie: Larghetto elegiaco

IV.

Finale (Tema russo): Andante — Allegro con spirito

Programs subject to change | Timings are approximate

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Program Notes

Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post).

Starburst Jessie Montgomery (1981-)

Jessie was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history.

Artists gravitated to the hotbed of artistic experimentation and community development. Her parents – her father a musician, her mother a theater artist and storyteller – were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education, and advocacy.

Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African-American and Latinx string players. She currently serves as composer-in-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a two-time laureate of the annual Sphinx Competition and was awarded a generous MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization.

Jessie Montgomery has provided the following on Starburst: This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape.

A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premiered the work, the Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.

Get to Know Our Principals Learn a little something about our principal players who are featured on our March 20 concert Glorious Fanfare (see page 38).

Callie Brennan Concertmaster

Q. What is your favorite place you’ve ever performed and why?

A. I performed in the Sydney Opera House when I was in college, which was pretty incredible. To be able to perform there, and with my father in the audience, was immeasurably exciting.

Q. What is your ultimate comfort food?

A. Tomato soup, with a grilled cheese on sourdough.And a cuppa tea.

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Program Notes

It is, as I write this, one of the last grey and scrawny days of 2020, a year that surely ranks among our greyest and scrawniest. In times like these we need all the good news we can get, so here’s a piece of good, even great news for us all: the world is full of great music we don’t know yet. Just as the stars visible to the naked eye – lovely though they may be – are only a tiny fraction of those in the heavens, the music we know is only a fraction of the music already written.

Music can slide into obscurity for any number of reasons, and most of those reasons don’t reflect in the least the quality of the music itself; lots of terrific music is awaiting rediscovery.

England Conservatory, one of the few major music schools open to Black students, and after years spent teaching in her hometown and at Clark University in Atlanta, found herself in Chicago by the end of the 1920’s.

Just for example: in 2009 a couple in the small Chicago exurb of St. Anne, Illinois, bought and began renovating a longabandoned house. In one of the house’s few intact, dry rooms, they discovered boxes and boxes of music manuscripts, many of which bore the name “Florence Price.” Curious, they took to the internet, and discovered that Florence Price had, in the 1930’s and ‘40’s, been a composer of some repute – she had even been, very briefly, famous, the first Black woman to have a work performed by a major American orchestra. The small house had once been her summer home, and it had hidden for over half a century most of the musical output of someone who might have become one of the most celebrated American composers.

But the “two handicaps -- those of my sex and race,” as she put it in a letter to Serge Koussevitzky, proved enough to prevent her entering the mainstream in a time when racism and sexism were overt in the music world. Stock might have championed her, but as a German he was drummed out of Chicago as geopolitical tensions mounted. Later works were performed by the Women’s Symphonies of Chicago and Detroit, and she was a leader in the tightly-knit community of Black classical musicians in Chicago, but when she died in 1954 only Black newspapers saw fit to print an obituary.

Her reputation, like the moldering boxes of music in the St. Anne house, had been abandoned.

Florence Price had grown up in the relatively cosmopolitan Little Rock, Arkansas, of the turn of the 20th Century, where Jim Crow laws had not prevented the growth of a well-educated Black elite. She had attended the New

In 1932 she submitted two works to the Wannamaker Foundation’s competition; both won awards, with her First Symphony taking the top prize. The Symphony came to the attention of Friedrich Stock, the Chicago Symphony’s German-born Music Director, and he programmed the piece to general acclaim later that year. A star, it would have appeared, was born.

String Quartet Florence Beatrice Price

(1887-1953)

But thanks to the efforts of a few intrepid performers and musicologists like the pianist Karen Walwyn, she had not been entirely forgotten when those boxes of music were discovered. And so a Florence Price revival has been gaining steam in recent years, with works continued on page 34

Q. If you could live anywhere in the world where would it be?

A. Manly, in Sydney, Australia Q. What’s something you’re currently obsessed with?

A. The health and well-being of my basil plants. It’s

really touch and go these days with those little sprouts.

Q. If you could choose to be one age forever what would it be?

A.

I feel like 9 was pretty great. I don’t really remember, but I’m sure I didn’t have to pay rent back then.

33

Program Notes

continued from page 33

receiving premieres and acclaim 70 and 80 years after their composition and even a profile in The New Yorker.

The Andante on tonight’s program is an early work, dating to 1929. Formally and harmonically it shows the influence of Dvorak and other late Romantic

By the end of his long career, Jules Massenet was known somewhat pejoratively among trendy Parisian musical intelligentsia as “la fille de Gounod” – Gounod’s daughter – and this characterization, while undoubtedly unfair, isn’t entirely unreasonable either.

Massenet had been Gounod’s student at the Paris Conservatory, and, like his teacher, won the prestigious Rome Prize at 21. Both men were primarily composers of grand opera, and both were popular and prosperous for many years. Both also shared a finely-honed sensibility that struck audiences of the day as, somehow, characteristically feminine, and indeed both were especially popular among female audiences throughout their careers.

Méditation from Thaïs Jules Massenet (1842-1912)

Massenet wrote no fewer that 33 operas over the course of four and a half decades, and perhaps inevitably certain formulas crept into his work. Musically, Massenet incorporated a bit of Wagner – lengthy recitatives, less formal closure between the operas’ arias and ensemble numbers – into a French operatic style perfected by Gounod. Thematically, Massenet returned time and again to the character of the reformed courtesan, the beautiful prostitute who finds religion, perhaps becomes a nun, and dedicates her life to God. Massenet himself was not particularly religious (“I don’t believe

composers, but its melodies bear the distinct pentatonic stamp of the AfricanAmerican spiritual tradition. It is entirely beautiful, and it offers a powerful hint of the musical treasures still wrongfully neglected in the broken-down corridors of history, and therefore still to come to light.

in all that creeping-Jesus stuff,” he wrote to the composer Vincent D’Indy, “but the public likes it, and we must agree with the public.”), but he wasn’t foolish enough to throw away the recipe for the popular success he so enjoyed.

Thaïs was written in 1874, and is perhaps the finest of Massenet’s reformedcourtesan operas. Set in fourth-century Alexandria, it tells the story of Thaïs, the kingdom’s haughtiest, proudest courtesan, and Athanael, an ardent young monk. Athanael sets out to convert the worldly title character, and eventually does, but along the way develops carnal feelings for the beautiful Thaïs with predictably tragic results: this being an opera, everyone dies in the end.

The Meditation is taken from the opera’s second act, and immediately precedes the first appearance of the converted Thaïs in the rough habit of a repentant pilgrim. One of the most dramatic violin solos in all operatic literature, its soaring melodies and pulsating emotion have made it a favorite of violinists and a hugely popular standalone piece ever since. It is, in a word, gorgeous, and perfectly captures what Debussy called its composer’s “power of pleasing, which, strictly speaking, is a gift.”

Q. What is your absolutely favorite piece to play?

A. My favorite piece to perform is Introduction and Rondo Capriccioso by Saint-Saëns. I love French romantic music. It gives me nostalgia of my life in Paris.

Haelee Joo Principal Violin II 34

Q. What is something you are oddly competitive about?

A. Cleaning and organizing things at home.

Program Notes

“On what dark subsoil our life is built!”

Gustav Mahler once exclaimed in a letter. “Where do we come from? Where does the way out lead? Why do I believe myself free, and yet am wedged into my character as into a prison? What is the purpose of suffering? How can I understand cruelty and malice in the creation of a kindly God? Will the meaning of life finally be revealed in death?”

To those questions Mahler sought answers psychological and spiritual.

He consulted for treatment no less a personage than Sigmund Freud: unsurprisingly, Freud told him that the root of his angst lay in his early childhood.

And he sought the answers in religion, drifting from the secular Judaism in which he was raised to an unorthodox Christianity before finally converting officially to Catholicism in 1897.

And he sought to work out the answers himself in music. Mahler’s musical aspirations were as lofty as any: his nine monumental completed symphonies were among the grand total of just 16 pieces he finished, and every one of them is shot through with the composer’s quest for spiritual and metaphysical truth.

“My music is lived!” he exclaimed in another letter. “What attitude should those people take who do not ‘live,’ who feel no breath of the rushing gale of our great epoch?” Indeed Mahler was insistent that every note he set down was both an expression of his spiritual quest and a distillation of his life’s experiences. His training, in Vienna and Prague, was in conducting as much as composing, and it was as a conductor

that he was best known during his life. A rapid rise through the opera houses of the German-speaking world culminated in his assumption, in 1897, of the directorship of the Vienna State Opera – doubtless the opera world’s most prestigious position at the time – and one year later took command (such as it was) of the fractious Vienna Philharmonic. In 1907, disenchanted with the continual squabbles and the overt anti-Semitism he was subject to in Vienna, he moved to New York, where he directed the New York Philharmonic and the Metropolitan opera. A heart attack, brought on by a bacterial infection, took his life in 1911.

Mahler’s conducting was famed for his obsessive attention to detail, and his compositions share the same quality.

He composed painstakingly during summer vacations form conducting in his small cabin in the Austrian Alps. His symphonies demand huge orchestras and in several cases require them to share the stage with choir and vocal soloists, but he orchestrated with the delicacy and intimacy of a chamber musician. The five-movement Fifth was written over the summers of 1901 and 1902; it begins with a funeral march and ends in a triumphant blaze of glory. This fourth-movement Adagietto – which the composer authorized for use as a standalone piece, and which, conducted

by Leonard Bernstein, formed the centerpiece of Robert Kennedy’s 1968 funeral – exhibits all the considerable finesse of which its composer was capable. Scored for strings and a crucial harp, the Adagietto is nothing less than celestial in its ineffable tenderness, a sublime musical foretaste, perhaps, of heaven.

Q. What is your greatest accomplishment of which you are the most proud?

A.

I try hard to learn foreign languages, and now I am able to speak four different languages!

Adagietto from Symphony no. 5 Gustav Mahler (1860-1911)

Q. What is the most spontaneous thing you’ve ever done?

A. When I was living in Europe, I did not get off the train where I needed to. Instead, I stopped where I had never been. I walked around and spent an entire afternoon discovering a new place.

Q. If you didn’t have to sleep, what would you do with the extra time?

A. I would watch classic movies from the 1950s and 60s.

35

Program Notes

While musicologists have performed innumerable valuable services to the world, they’ve been known to get up to some mischief on occasion, as well.

Readers need look no further than the “Tchaikovsky” entry in the fifth edition of the New Grove Dictionary of Music and Musicians for proof.

New Grove is the most respected multi-volume reference work on musical subjects; every 25 years or so a brand-new, entirely updated edition is published. The fifth of these, which appeared in 1979, prints as fact a story about Tchaikovsky’s death, that – were it true – would be surely the most sensational demise of any composer.

Serenade for Strings Pyotr Ilyich Tchaikovsky (1840-1893)

Earlier in the decade a Russian émigré musicologist published a paper that, citing an overheard deathbed confession that in turn cited a second, decadesold deathbed confession, claimed that Tchaikovsky had not died of cholera as had previously been believed but had poisoned himself with arsenic. The story went that the composer had been caught in flagrante with a young nephew of the Romanoff family; before the liaison was made public, a secret “honor court” made up of Tchaikovsky’s former military school classmates gave the composer two options: a dignified suicide, or public scandal and exile to Siberia. Tchaikovsky, we are to believe, chose the former, and his physician, who was in on the conspiracy (as was his family), supplied him with the poison. That so wild a tale could be published as fact in the New Grove, despite the conspicuous lack of any shred of evidence other than a third-hand deathbed confession, tells us something about the preoccupations of the 1970’s, but even in its outlandishness it’s a testament to the composer’s tumultuous inner life.

Tchaikovsky was indeed gay, as his frank letters to his brother Modest make clear.

In fact he spent much of his adult life struggling with that aspect of his being, public acknowledgment of which would have crippled his career and maybe even jeopardized his life in Czarist Russia. He even went so far as to marry one his students, but their marriage remained unconsummated: on their wedding night the composer fled his young bride and, distraught, walked into the Moskva River.

And his eventual death was, in a certain sense, self-inflicted – he drank a glass of unboiled water during a raging cholera epidemic and contracted the disease that killed him.

Tchaikovsky was one of the most personal and emotionally direct of composers, and so his difficult inner life is indeed pretty directly relevant to his music. It is especially relevant to the Serenade, as the composer himself wrote in a letter: “The 1812 Overture [which was written at the same time as the Serenade] will be very showy and noisy, but will have no artistic merit because I wrote it without love. But the Serenade, on the contrary, I wrote from inner compulsion. This is a piece from the heart, and so I venture to say it does not lack artistic worth.”

The Serenade was born after an extended trip to Italy prescribed by the composer’s doctor to heal the trauma caused by his failed attempt at marriage.

And its four movements so seem to reflect both the warmth and sunshine of the Italian countryside and the emotional journey from exhaustion to elation familiar to anyone who has recovered from a serious illness. And in fact its finale is based on two Russian folksongs, as the Russian composer’s emotional homecoming reflects a gloriously literal homecoming as well.

Chris Vaneman

Contributing Author

36

Program Notes

MUSIC is the

UniversalLanguage

TheJohnsonGroup proud supporters of the

Spartanburg Philharmonic

37

Zimmerli Concert Series

S AT U R D AY

March 20

2021 Online Premiere @ 7:00 pm

| my.sphil.org/watch

Study in Grieg . . . . . . . . . . . . . . . . . . . . . . . . . . . Jocelyn Chambers 2 min Concerto for Two Violins in D minor, BWV 1043 . . . . . Johann Sebastian Bach 17 min Callie Brennan, violin

Haelee Joo, violin

I.

Vivace

II.

Largo ma non tanto

III.

Allegro

Sinfonia Concertante in D Major, Kr. 127 . . . . . . . Carl Ditters von Dittersdorf 8 min Alvoy Bryan, viola Ian Bracchitta, bass I. Allegro Dissent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter B. Kay 7 min Brianna Tam, cello

Concerto for organ, timpani and strings in G minor, FP 93. . . .Francis Poulenc 20 min Brennan Szafron, organ

38

Programs subject to change | Timings are approximate

39

Program Notes

Readers with friends or family members prone to muttering crankily that young people today have no sense of gumption, no get-up-and-go, no drive, would do well to arm themselves with the work of Jocelyn Chambers. At the ripe old age of 23 she has hosted a series of podcasts, written a book, and for 12 years run a small pop-up bakery currently based in Austin Texas. (It delivers locally but doesn’t ship, which is a shame because the Lemon Rosemary Cake looks killer.)

And those are, as they say nowadays, her side hustles. Her main gig is composing, and in the last two years she’s scored films and had her music performed by organizations all over the country. Of Study in Grieg she writes:

Study in Grieg Jocelyn Chambers (1997-)

Study in Grieg was written for my first course in UCLA’s film scoring certificate program: Scoring for Strings. We were given three assignments for the quarter — to write a string quartet, quintet, and sextet — and each piece would be written in a different style of classical music. This assignment called for the romantic style and we had to choose between Grieg and another composer (who I don’t remember

at the moment) to emulate. I chose Grieg because he’s responsible for my favorite piano concerto.

We only had one week to write the piece because each assignment was professionally recorded. I wrote it into my engraving software which came with preloaded mediocre instrument samples. The quality of the samples distracted me from creating, so I chose to mute my laptop altogether and trust myself to hear the music on my own. What you hear today is the finished result.

This is one of my favorite pieces for two reasons. One: It contains constant rhythmic motion and compelling melody. Two: It’s a manifestation of the truth that I can write good music on a deadline.

When I started UCLA’s program, I wasn’t sure I was cut out for the work. And this piece of music says that I am. I enjoy listening to Study in Grieg over two years later, and I hope you enjoy it, too.

Get to KnowMORE Our Principals Learn a little something about our principal players who are Get to Know Our Principals featured on our March 20 concert Glorious Fanfare (see page 38).

Alvoy Bryan Principal Viola

Q. What is your favorite place you’ve ever performed and why?

A. The Henry Purcell Room in the Queen’s Hall in London. It was the first time I performed outside the country.

Q. What is your most bizarre talent or skill?

A. I have a photographic memory.

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Program Notes

What makes a piece of music great?

Musicians, theorists, and philosophers from Plato (in The Republic) to Barry Manilow (In “I Write the Songs”) have offered their ideas on the subject, but we have yet to arrive at an answer.

Or, more to the point, we have yet to agree on an answer. Is it, as Plato proposed, the music’s value as an agent of moral uplift? Is it a piece’s originality of conception? Is it a piece’s power of its listeners’ emotions? Is it a product of something a little more nebulous, like the music’s seemingly inherent, organic unity? Or is it ultimately undefinable – something we simply know when we see it, to paraphrase Potter Stewart’s definition of another subject entirely?

Whatever the definition and whatever the standard, though, it’s almost impossible not to apply the term to the finest work of J. S. Bach.

And this concerto is surely among his finest work. Written around 1730, it would have received its first performance in – remarkably – a coffee house. Bach was at that time Music Director in the prosperous German city of Leipzig, and while the duties of his post would have stunned a lesser person (among other things, he was responsible for creating and seeing to the performance of a new cantata each Sunday at the city’s main church), he managed to find time to lead the city’s Collegium Musicum as well.

The Collegium Musicum was a group of proficient instrumentalists who gathered to perform secular music on a more or less weekly basis. In 1730 public concert halls were still a thing of the future, and the group chose the next best thing: the city’s biggest coffee house.

But notwithstanding the decidedly secular setting of its first performance, there can be little doubt that Bach – sincere Lutheran church musician that he was – intended the piece to be morally educative as well as engaging.

Bach repeatedly endorsed Johann Mattheson’s suggestion that even instrumental music must “represent virtue and evil… to arouse in the listener love for the former and hatred for the latter. For it is the true purpose of music to be, above all else, a moral lesson.”

These moral lessons were taught through the combination of key area, rhythm, and form. Each of those musical elements had extramusical associations, usually with emotional states: the key of D minor, for instance, was closely associated with religious devotion, while ritornello form invoked constancy.

So it’s likely no coincidence that Bach chooses D Minor as the concerto’s home key, nor that its first movement is a perfect example of ritornello form (wherein sections where the full orchestra states the main theme recur, like a refrain, alternating with contrasting sections where the soloists explore new melodic ground). In the concerto’s second movement the two violins unite in a soaring love duet in the key of F (one associated with pure love and the calm of heaven), and we can imagine that here Bach is telling a story of two faithful lovers – or perhaps a soul constant in loving faith – experiencing the bliss of heaven. In the exuberant closing movement the soloists dance together in close imitation, and we can be sure that we’ve found a work on whose greatness even Plato and Barry Manilow would agree.

Q. What’s something you’re currently obsessed with?

A. Learning how to record and edit videos.

Q. When driving or traveling, do you prefer

music or podcasts and what’s your go-to choice?

A. Podcasts: Questlove Supreme, Expeditiously, All The Smoke, and The David Banner Podcast

Concerto for Two Violins Johann Sebastian Bach (1685-1750)

Q. What would your perfect day look like?

A. Wake up and walk/jog for 3 miles. Have breakfast with my wife and children. Play video games with my children. Have lunch with my wife and kids. Watch a movie with my wife and kids. Have a nice dinner with my wife and kids. Smoke a nice cigar and have a beer with my wife to end the day.

41

Program Notes

“Canonicity.” If you were, for whatever reason, paying attention to the literary world in the 1990’s and 2000’s, you might remember that this word came up a lot in debates among academics.

You’d be forgiven for having forgotten it, though: after all, what reason would you have had to think that it would impact your life?

Well, it turns out that the question of canonicity rears its head in many places in the cultural world, and even a casual music lover is impacted by it. Canonicity is how we determine the answer to a central question in studying any kind of art: time being limited, how do we decide what to study? Or what to read, or what music to teach our students, or what art to show them?

Sinfonia Concertante Carl Ditters von Dittersdorf (1739-1764)

The works we decide to teach to our students are, after all, usually the ones our teachers decided were worth teaching us – which were usually the ones their teachers decided were worth teaching them, and so on and so on, back through the years. Those works are canonical. From the Classical era of music, for instance, Haydn, Mozart, and Beethoven have for over two centuries constituted a canon, their music being familiar, beloved, and performed consistently in concert halls around the world.

But we all have only so much time, of course. Musicians haven’t got the time to learn all the thousands of pieces written for their instrument during that era, and audiences don’t have time to listen to them all. This means that, if a composer isn’t quite good or lucky enough to enter

the canon soon after his or her death, it can get harder and harder to break into it as generations go by – and so a lot of really good composers are practically forgotten about.

Exhibit A: Carl Ditters von Dittersdorf.

Carl Ditters was a hugely successful composer in the Vienna of Haydn and Mozart, and in fact was a good friend and frequent chamber music partner of both. He acquired the second surname “von Dittersdorf” when Emperor Joseph II – among his many fans – elevated him to the nobility (an honor even Haydn and Mozart never attained). As prolific as both his contemporaries, he wrote over 120 symphonies and dozens of operas– most of which are now completely unknown, as there was just no room in the canon for them. Most have been catalogued and are awaiting revival.

One hopes they will be, and soon, for a couple reasons: 1) their titles are hugely intriguing – what could an opera called Die 25000 Gulden, oder im Dunkeln ist gut munkeln even be? And 2) what we know of Dittersdorf’s music is tremendously charming. The Concerto for Viola and Bass is less neglected than most of his music (probably because neither Mozart nor Haydn wrote for that combination), and its commitment to the charms of unbroken melody is more absolute than either Mozart or Haydn was willing to make. Its language is familiar but its voice is unique, and it offers rewards to all of us willing to broaden the range of our musical canons.

Chris Vaneman

Contributing Author

Brianna Tam Principal Cello

Q. If you could give student musicians one piece of advice, what would it be?

A. Ask what you can provide for the music,

rather than what the music can provide for you.

Q. What is your ultimate comfort food?

A. Oddly specific: buffalo cauliflower, avocado, sauerkraut, 42

and tahini-dijon dressing on sourdough bread

Program Notes

On the evening of September 18, 2020, the Spartanburg Philharmonic gave an extraordinary performance of Beethoven’s third symphony… to a completely empty hall. With a global pandemic still raging, the doors of Twichell Auditorium remained closed to the public. It was a new and strange feeling for all of us, on and off the stage, but one moment in particular left a lasting impression on me.

As I and other staff members sat backstage listening to the orchestra record an impassioned rendition of the second movement, the Marcia funebre, our phones began to light up with breaking news: Ruth Bader Ginsburg had succumbed to cancer.

There we were, less than six weeks away from a highly contentious national election, gripped in the midst of a pandemic with no end in sight, torn from any sense of “normal,” and with an ever-growing sense of uncertainty and even dread. And there we were, unwittingly performing a Funeral March from the Heroic symphony for this iconic Champion of Hope. It took time for me to appreciate the full emotional impact of that confluence of events, but it was this feeling that inspired Dissent.

Ruth Bader Ginsburg (RBG) was only the second woman on the U.S. Supreme Court in our nation’s history, serving from 1993-2020, and was well noted for her ardent dissenting opinions. A staunch advocate for Equal Rights, RBG fought tirelessly for fair treatment, regardless of gender, race, or income level. Though part of the court’s liberal wing, she enjoyed a close friendship with

conservative Justice Antonin Scalia, with whom she shared a passion for opera.

It is likely this side of RBG that made her passing so much more poignant to me.

In any other year, she just might have been sitting in the audience enjoying our concert. In fact – had music been her calling instead of law – she just might have attended Converse College, playing in the orchestra under the direction of Henry Janiec. As a young woman, RBG played the cello and the piano, and her passion for the arts never waned. Later in life, she even had honorary walk-on roles and speaking parts in productions by the Washington National Opera.

In writing Dissent, I returned again and again to Beethoven’s Marcia funebre.

Although Dissent is does not directly quote Beethoven’s work, I drew inspiration from several important elements. For example, in his piece, whenever a melody moves upward, some aspect of the harmony moves downward. Whenever a melody moves downward, the harmony moves upward.

This kind of counterpoint is not unique to Beethoven by any means, but the extent and effectiveness of his contrapuntal writing in this particular movement is breathtakingly brilliant. Furthermore, the sheer prevalence of contrasting motion makes the few moments of unity that much more emotionally striking.

As a final note, I also took a little, tongue-in-cheek inspiration from the legal scholar Cass Sunstein’s description of RBG as a “rational minimalist,” who sought to always build on precedent.

Peter B. Kay Composer

Q. What is your greatest accomplishment of which you are the most proud?

A.

I’m proud that I’ve been able to develop my music business, my way. Soon, I’ll be releasing my first solo album.

Dissent

Dedicated to Ruth Bader Ginsburg

Peter B. Kay (1980-)

Ginsburg reportedly took a liking to her nickname “Notorious RBG,” which she received after her dissent in a landmark case in 2013.

If you don’t know, the moniker was based on the stage name of the 90s rapper Christopher George Latore Wallace, who was known as “The Notorious B.I.G.” Both Ginsburg and Wallace were vocal opponents of oppressive systems, talented and witty writers, and Brooklyn natives. Now you know!

Q. What is your favorite place you’ve ever performed and why?

A. Busking on the streets of Asheville, NC. It was a great contrast to the usual concert stage in which there is already an audience that expects to hear music. While busking, I had to attract my own audience and then keep them interested.

Q. What’s something you’re currently obsessed with?

A. Peppermint & Cacao Black Tea

43

Program Notes

Concerto for Organ Francis Poulenc

(1899-1963)

The lot of the music critic can be an unhappy one. The critic is called upon, usually on an absurdly short deadline, to pass judgement on composers and pieces with which he sometimes has had little opportunity to become intimately familiar, and on performances which, by their nature, are fleeting and transitory.

While composers and conductors take good reviews for granted, the dangerously unstable nature of these artists frequently causes them to react to poor notices with irrational hostility, and the critic lives in fear of the vicious threats he all too often receives. And history is no kinder: generations after his death, a critic may be held up to ridicule for any article of his that fails to coincide with present opinion, as those critics unfortunate enough to have dismissed Beethoven’s Fifth and Ninth Symphonies after their premieres could readily testify.

Too frequently all this responsibility weighs heavily on the shoulders of the critic, and his life becomes a tortured Gehenna of drink, debauchery, and debasement.

The story of the Parisian critic Henri Collet is a happier one, though, for Collet brought people together.

Specifically, Collet brought together six French composers who have remained linked in textbooks ever since as Les Six. In a 1920 article depicted six young composers who at that time had relatively little in common as being a closely-linked, like-minded group of friends bent on reforming French music.

The six composers in question (Poulenc, Milhaud, Tailleferre, Auric, Honegger, and Durey), while understandably

surprised, grew curious about one another, and before long became close friends. They spent nearly every Saturday evening for over two years together, eating, drinking, and haunting Paris’ fairs and music halls.

Those Saturday evenings had a great impact on the music of Francis Poulenc, for Poulenc developed an affection for jazz and popular music that remained throughout his life. Claude Rostand wrote that “there is in Poulenc a bit of monk and a bit of hooligan,” and it was the hooligan side of his musical personality he developed on those evenings. The monk side came a little bit later, when – shocked by the tragically early death in 1936 of his friend, the brilliant young composer Pierre-Octave Ferroud – he made a pilgrimage to the Catholic shrine of Rocmandur and recommitted himself to that faith.

Monk and hooligan take turns on the stage in the seven alternating sections of Poulenc’s single-movement Organ Concerto. Written for the influential patron of the arts and leader on the Parisian social scene the Princesse Edmond de Polignac (or, as she had been known before she moved to France and married a nobleman, Winnaretta Singer, heir to the Singer sewing machine fortune), the piece was first performed at the Princesse’s salon in 1938. It begins and ends on a slow, somber, note, but its inner five sections are in turn playful and tender.

Chris Vaneman

Contributing Author

Ian Bracchitta Princpal Bass

Q. If you could give student musicians one piece of advice, what would it be?

A. Try not to be overly critical, and avoid people who insinuate what you can’t accomplish. But above all remember the “P”s: practice, patience and perseverance.

44

Q. What would the title of your autobiography be?

A. “When Things Get Heavy, Call Me Helium”

Program Notes

Callie Brennan, Concertmaster, 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 renowned musicians. She performed twice under the baton of Sir Simon Rattle, playing alongside the London Symphony Orchestra Moving to Asheville, NC, in 2018, Callie enjoyed regular performance opportunities with the Asheville Symphony Orchestra, Brevard Philharmonic, and Spartanburg Philharmonic.

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.

Haelee Joo Principal Violin II

Korean violinist , , began her musical education in Germany. She was accepted by Prof. Ingeborg Scheerer at Hochschule für Musik Köln at the age of 16 and graduated with honours from the jury.

After she finished her studies in Germany, she moved to Vancouver to study with Prof. Robert Rozek, a pupil of the greatest violinist of the 20th Century, Nathan Milstein. She continued to study the violin with Prof. Régis Pasquier at École Normale de musique de Paris in France where she earned the Diplôme d’Exécution and Diplôme d’Enseignement. She recently graduated from the University of North Carolina at Greensboro, pursuing Master of Music performance under the guidance of Dr. Fabián López.

Haelee gave performances as a soloist with the University Orchestra of Hochschule für Musik Köln standort Wuppertal, also at the Bergische Musikbiennale in Wuppertal, Germany. She was invited to the Duo Recital with a pianist Eri Uchino in Tokyo, Japan.

Haelee is also interested in Orchestra playing. She was accepted as a member of Junge Deutsche Philharmonie at the age of 17 where she toured the renowned halls in Europe such as Berliner Philharmonie, Lucerne Festival Hall, Kölner Philharmonie, Alte Oper Frankfurt, and Tonhalle in Zürich.

In 2010, she toured as concertmaster, and recorded violin solos of Transfigured Night by Schönberg in Frankfurt Alte Oper.

Q. What is something you are oddly competitive about?

A. Keeping my lawn looking good without dumping tons of water on it. Go ‘Emerald’ Zoysia grass!

Q. What is the most spontaneous thing you’ve ever done?

A.

As a teen, I hitchhiked to Rochester, NY from near NYC to see the Grateful Dead after someone gave me a free ticket. I don’t remember much after that.

Q. What is your worst travel experience?

A. Just in general (especially on I-85) - silly traffic jams from stupid fender benders.

45

Program Notes

Brianna Tam, Principal Cello, originally from Connecticut, is a professional classical and electric cellist, as well as an active composer. Brianna started her classical career at eight-years old, and then continued her studies through high school, partaking in the New York Youth Symphony, Asya Meshberg’s Chamber Music Institute, and Brevard Music Festival.

Brianna furthered her schooling at Oberlin Conservatory, pursuing a Bachelors in Music Performance.

However, she withdrew from the program during her second year and moved to Greensboro, North Carolina. Brianna then enrolled part-time at the University of North Carolina-Greensboro. The extra time allowed Brianna to explore professional opportunities in cello performance. Brianna became Assistant Principal of the Fayetteville Symphony, Principal Cellist of the Spartanburg Philharmonic, and joined Deans’ Duets, LLC as a trusted freelance cellist.

Throughout her music career, Brianna has held a great curiosity for many genres of music besides classical. Two years ago, she purchased a loop pedal and electric cello, drawn to their creative potentials by allowing her to independently create a full ensemble. This propelled her into areas of her career prior unknown. Currently, she is not only a classical cellist, but also an electric cellist, composer, arranger, and session musician. She has written a full album of originals (release date - TBD), has worked with local bands as both a full time member and as a session musician, and has been collaborating as a session musician online with composers and songwriters worldwide.

Alvoy Bryan Jr., Principal Viola, holds a B.M. in music performance from Indiana

University (Bloomington, IN), a M.M. in music performance from University of North Carolina at Greensboro, and a D.M.A. in music performance from the University of South Carolina. He is a native of Decatur, G.A. and began studying the violin at the age of ten, and the viola at the age of eighteen.

Some of his principal teachers have been Ronda Respess (Joseph Gingold student), Mimi Zweig, Dr. Scott Rawls, Frits De Jonge, and Ryan Kho (Dorothy Delay student).

Alvoy is a member of Spartanburg Philharmonic, Greenville Symphony Orchestra, Augusta Symphony, Aiken Symphony (Principal Viola), and has performed with orchestras such as South Carolina Philharmonic Orchestra, Charleston Symphony, Greensboro Symphony, Long Bay Symphony, Danville Symphony, and Charlotte Philharmonic Orchestra. Alvoy has also performed chamber music in Europe and South America with a few professional chamber music groups. He served as the violist in the Atlantis String Quartet, and he was the founding member of the Gervais String Quartet and the Bryan Chamber Ensemble.

Alvoy has maintained a private violin/viola studio for over fifteen years. He has also taught master classes for high school string students throughout the Southeast. Alvoy has served on the faculty at Allen University, Benedict College, Presbyterian College, South Carolina State University, Claflin University, and Webster University. Currently, Alvoy is the Orchestra Director at Cardinal Newman School in Columbia, SC. Dr. Bryan also serves as the CEO and Co-owner of Bryan Music Group L.L.C.

Q. What is your absolutely favorite piece to play, classical or otherwise?

A. Denis Bedard’s Festive Toccata. It’s the happiest piece of music on the planet!

Q. What is your most bizarre talent or skill?

46

Brennan Szafron Principal Organ

A. I can walk with both my feet in opposite directions.

Program Notes

Ian Bracchitta, Principal Double Bass, is a versatile double bassist equally at home in the classical, jazz and popular idioms. Ian is Principal Bassist of the Spartanburg Philharmonic, Assistant Principal Bassist of the Greenville Symphony and is a freelance bassist with the Charlotte and Charleston Symphony Orchestras.

As a jazz bassist he performs extensively in the area and has appeared with The Tommy Dorsey, Nelson Riddle and Cab Calloway Orchestras, Kate McGarry, Kevin Mahogany, Freddie Bryant and Dianne Schuur among many others.

Ian can be heard on his recent cd, Reflections. Additionally, he has performed with the orchestras for the national tours of countless Broadway shows such as Phantom of the Opera, Wicked, Beautiful, West Side Story, Porgy and Bess, Evita and My Fair Lady and has been heard on regional commercials and industrial soundtracks.

A dedicated teacher, Ian teaches at the South Carolina Governor’s School for the Arts and Humanities, Furman and Clemson Universities and has taught at the University of South Carolina’s School of Music and UNC-Asheville.

Brennan Szafron Principal Organ

A native of Regina, Saskatchewan, Canada, , , is the first full-time organist and choirmaster of the Episcopal Church of the Advent in Spartanburg, SC, a position he has held since August 2003. At this church, he is responsible for playing the organ for all services, directing two adult and three children’s choirs, and directing and arranging music for the instrumental and hand chime ensembles.

Brennan’s earliest training as an organist began in Ottawa, Ontario in 1990, when he took his first year of lessons with Danielle Dubé at St. Peter’s Lutheran Church. He finished high school in Regina where between 1991 and 1994 his teachers were Verleen Baerg, Gordon Wallis, and Harold Gallagher. While in Regina, he took on his first professional positions which were as organists of St. Peter’s Anglican Church and Christ Lutheran Church. He has had continued church employment since then.

Before coming to Spartanburg, Brennan was the assistant organist and choirmaster of Christ Episcopal Church, Grosse Pointe, MI, with whom he toured France and Switzerland in the summer of 2003. He was also a student at the University of Michigan, where he received a Doctor of Musical Arts degree in organ performance, studying with Robert Glasgow. Other degrees include a Master of Music degree from Yale University, where his teachers were Thomas Murray and Martin Jean, and a Bachelor of Music degree, with distinction, from the University of Alberta, where his teachers were Jacobus Kloppers and Marnie Giesbrecht.

Q. What is something you are oddly competitive about?

A.

Memorizing more hymn numbers than any other Episcopal church musician.

Q. What’s something you’re currently obsessed with?

A. The great outdoors. I just can’t spend enough time hiking.

Q. If you could give student musicians one piece of advice, what would it be?

A. Never be afraid to fail. There is no success without failure.

47

Bluegrass and Classical Music Finding Commonality in Contrast

Laura Clare Thevenet

Contributing Author

It’s easy to understand music’s evolution over time — the progression from blues to rock, rock to punk, or even classical music to bluegrass music. We know the differences between them and the group of qualifications that place them into different genres, but what about the similarities? Béla Bartók and Béla Fleck might just have more than a name in common.

If anyone understands this seemingly contradictory theory, it would be Spartanburg Philharmonic Board Member and Chair of the Bluegrass Committee Chris Strickland. His musical biography is the perfect merging of these two genres.

Chris was exposed to music at a young age. Growing up, his dad had an extensive record collection that was on constant rotation in the house, and his mother played piano. At age 10, he started playing the violin.

He recalled, “I had an older neighbor friend who I sort of looked up to, and he played the violin, so it started there. Along the way, I eventually picked up the guitar and mandolin too.”

48

As he got older, Chris continued to play violin in District 7’s orchestra program while attending Spartanburg High School. His classical training extended into undergrad at Wofford College, where he played in the string ensemble. It was then that he began making ties with the Spartanburg Philharmonic.

Bill Scott, who happened to direct District 7’s orchestra while Chris attended Spartanburg High School, was Music Director of the Spartanburg Philharmonic at the time and convinced Chris to play with the Philharmonic for two seasons.

In addition to his classical training, Chris started to explore bluegrass in college after seeing several live shows. However, this wasn’t his first encounter with bluegrass. He attributes his interest to his father.

“I discovered it listening to my dad’s records. The one that stood out to me was the Nitty Gritty Dirt Band’s album Will the Circle be Unbroken. That album introduced me to so many great bluegrass artists like Earl Scruggs and Doc Watson. I loved the proficiency and creativity in bluegrass.”

Their son Sam is following in his father’s footsteps by playing the violin. He plays piano and sings in the choir as well, and he’s even considering auditioning for the Spartanburg Philharmonic Youth Orchestra when he’s old enough. Their daughter Mary Scott is also taking piano, so music is well integrated into the Strickland family.

Erin works at SwaimBrown in Spartanburg as the Director of Audit. Despite not playing an instrument, Erin is still an avid music appreciator and enjoys attending concerts with her family.

“Erin’s a visual artist. She graduated from Converse College with her degree in Art History and Accounting, so she loves supporting the arts in Spartanburg. She’s always supportive of my musical endeavors,” Chris said.

Left to right: Chris and Eric attend an Espresso concert; The Strickland Family; Sam with his violin; Kathryn Boucher and Chris awarding a banjo to Bluegrass Spartanburg essay contest winner Kameron Montgomery

Chris already had the fundamentals that came with a classical education in violin, so dabbling in bluegrass with fiddle, guitar, and mandolin wasn’t a difficult stretch.

After completing his undergraduate degree, he went on to grad school at the University of South Carolina, where he maintained his connection to the Spartanburg Philharmonic. Coincidentally, current Spartanburg Philharmonic General Manager & Composer in Residence Peter B. Kay was also at USC obtaining his Masters and Doctorate of Musical Arts. Chris and Peter were fellow District 7 alumni, so Peter recruited Chris and another District 7 musician who was also in Columbia at the time to play a piece that he composed.

By the time Chris had returned to Spartanburg after grad school, the Bluegrass Series had been formed.

Because of his contribution and dedication to the Spartanburg Philharmonic, he was asked to be the Chair of the Bluegrass Committee as well as a Board Member.

His two musical interests were melding together.

In addition to being on the Board and chairing the Bluegrass Committee, Chris is an in-house attorney at American Credit Acceptance in Spartanburg, all while finding time to be a Philharmonic patron and donor. He often attends concerts with his wife, Erin, and their two children Sam (11) and Mary Scott (7). Chris remarked, “we frequent the Bluegrass and Espresso concerts.

The kids especially like the bite-sized, family-friendly format of the Espresso concerts and the variety of music they incorporate. Music and live performance are so important to our family.”

Having been Chair of the Bluegrass Committee for almost two years, Chris is looking forward to what the next year has in store for the Bluegrass Series and the Philharmonic. The Bluegrass Series will open 2021 with Joe Mullins and the Radio Ramblers on February 26th.

Chris believes that the string tying bluegrass and classical music together is evident now more than ever, with so many virtuoso artists crossing over genres.

He mused, “One of my favorite experiences with Bluegrass Spartanburg was having Béla Fleck and Abigail Washburn on our stage. It was such a special crossover that illustrated why having the Bluegrass Series be a part of the Philharmonic’s mission is so important.”

To Chris, the distinction between bluegrass and classical music is a fine line. He sees more similarities than differences. He urged, “think about how a minuet evolved throughout music history and turned into a Celtic Reel as it traveled through Appalachia.

Of course, there’s a distinction between genres with different instruments, but even the instruments used in bluegrass and classical music have a shared history. All good music is folk music because it comes from and impacts people.”

All music has one apparent commonality that is often hidden by our efforts as musicians to analyze, deconstruct, and find differences in music in order to understand it. Music is an instrument that we use to expand our understanding of the human experience and illuminate our common humanity. This spans across all genres, cultures, and languages. This common, collective goal is the invisible string that ties all music together.

49

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

Thursday

April 29, 2021 8:00 @ Twichell Auditorium After her 2019 sold-out concert with Bluegrass Spartanburg, powerhouse vocalist Rhonda Vincent returns! Along with her band, The Rage, the group is the most decorated band in bluegrass, with over 80 awards to their credit. Together they set the stage for a breath-taking, one-of-a-kind performance that reaches beyond the boundaries of bluegrass music.

50

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.

Friday

June 11, 2021 8:00 @ Twichell Auditorium Led by banjo veteran, Joe Mullins and the Radio Ramblers are bringing their popular and growing brand of traditional Bluegrass music to Spartanburg. As a group they are true industry and fan favorites, having won eight International Bluegrass Music Association awards, including 2019’s Entertainer of the Year. Definitely a must see concert!

for more information or to purchase tickets, visit us online

Tick

ets

SpartanburgPhilharmonic.org/Bluegrass

51

Learning Together, Growing Stronger The Spartanburg Philharmonic Youth Orchestra in 2020

Susana Lalama

Youth Orchestra Conductor

The Spartanburg Philharmonic Youth Orchestra opened its second season during Fall 2020 with two orchestras.

We welcomed back the Senior Youth Orchestra, a full orchestra comprised of woodwind, brass, percussion, and string high school students. We also debuted the Junior Youth Orchestra, a string orchestra comprised of middle school students. With pandemic restrictions guiding us, rehearsals launched in late August. Our rehearsal hall was moved outdoors so we could practice social distancing. Most orchestral instruments are very sensitive to weather conditions, so when it was too hot, too cold, or too humid, we had to move rehearsals indoors and practice in smaller sections. We have learned so much about making music in varying conditions this season, and as a result we are stronger than we have ever been.

Socially Distant Planning The SPYO team knew that we had to be creative in making music this season. Auditions were the first obstacle. Since we were not able to visit schools in person, we had to create an online campaign to capture the students’ attention. For the Senior Youth 52

Orchestra, this was not too difficult. The ensemble had already existed for a year and was well known within the community. However, this was the inaugural year for the Junior Youth Orchestra. Getting the word out to middle school students without being able to visit them in schools was tough. Middle school orchestra teachers stepped up, big-time! These unsung heroes notified their students and parents and helped our young musicians learn the audition music with the added difficulty of teaching in a virtual setting. Auditions were held by video submission and were a success! By June 2020, the Spartanburg Philharmonic Youth Orchestra Junior and Senior ensembles were formed.

Spring and summer communication was done mostly through email and social media. I found myself making several videos to connect with students about auditions and general youth orchestra plans. The Spartanburg Philharmonic office gave their support by setting up all youth orchestra online needs. From editing video content to creating forms online, they were working hard behind the scenes. It was a collaborative effort between the Spartanburg Philharmonic and the SPYO team to make this season possible for the students.

Rehearsing Outdoors The outdoor rehearsal experience was new to us. We have chased sheet music taken by the wind, watched rain clouds approach, and learned how temperature affects tuning. We have also learned to welcome the additional sounds of airplanes, birds, and the vehicles of downtown Spartanburg. In general, outdoor acoustics are not ideal for orchestras. The students had to work extra hard to focus their listening to achieve their performance goals. The students overcame all of these elements to give a great outdoor performance on November 1, 2020. Both the junior and senior orchestra concerts centered around the opera Carmen. The Senior Orchestra’s headline piece was Bizet’s Carmen Suite no.2, and the Junior Orchestra made their debut with a Spanish theme to compliment the story of Carmen. The SPYO instructional staff were delighted by the performances of both orchestras.

The students have been super flexible and mature about the fall rehearsal modifications. They understood that this year was not typical. They persevered for the love of music and performance and I am so proud of them as they continue to make great strides as artists and as people. It is a pleasure working with these talented young musicians.

Since the outdoor concert, I have received nothing but praise from parents, friends, and patrons of SPYO. The support from the community has been overwhelmingly positive. Being able to perform music together has been a giant undertaking during the COVID-era. For some students, the youth orchestra was the only ensemble in which they were able to make music because of their schools’ COVID restrictions. These students need music in their lives. Although conditions have not been ideal, we have striven to make that music together.

What’s Next for the SPYO? With Spring upon us, the Spartanburg Philharmonic Youth Orchestra continues to energize the community.

The students are eager to learn new music and grow as musicians together.

After the success of the Fall Concert, we anticipate another outdoor event in the future, but not in the winter. The unpredictable weather patterns of January and February have SPYO moving indoors. We have managed to squeeze in a few rehearsals outdoors in November, but the remaining time in January will mostly be in smaller, indoor groups. The Winter performance

is scheduled for Sunday, February 7, 2021, in Twichell Auditorium. Both orchestras are taking a musical “World Tour” as a concert theme, performing pieces inspired by cultures of the world (see program below). As of now, we have only one concert scheduled with limited seating, so get your tickets early!

Junior Youth Orchestra • African Adventure by Robert Sheldon • Calypso Sea by Soon Hee Newbold • Two Italian Dances by Deborah Baker Monday • Celtic Roots by Kenneth Baird • Fantasy on a Japanese Folk Song by Brian Balmages

Senior Youth Orchestra • English Folk Song Suite by Ralph Vaughn Williams • Arabian Dances by Brian Balmages • Finlandia by Jean Sibelius The final concert of the season will be in April on the Converse lawn. Both orchestras are planning on finishing the “World Tour” back in the United States, performing works of American composers and American-inspired themes. The junior and senior orchestras will also combine for a side-by-side grand finale performance.

You don’t want to miss it!

The April performance will also feature the winners of the Annual Concerto Competition. The Concerto Competition is open to Senior Youth Orchestra members and held in January 2021. Contestants perform a movement of a concerto for a panel of judges from the Spartanburg Philharmonic Orchestra. The winner(s) will have the opportunity to perform the concerto as soloists with the senior youth orchestra.

The future is bright for the Spartanburg Philharmonic Youth Orchestra! There are so many opportunities for the young musicians of the greater Spartanburg area to strengthen their musical skills with this dynamic organization. I encourage you to spread the word to the young musicians in your community. Auditions for the 2021-2022 Spartanburg Philharmonic Youth Orchestra season will take place in May 2021. Be sure to check the website and follow us on social media for details. SPYO is dedicated to enhancing the musical skills of schoolaged musicians. We are eager to continue performing great music with the immense talent of our area. I hope to see you at our next concert!

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

SpartanburgPhilharmonic.org/YouthOrchestra

53

Spotlight: Hayden Green

SPYO Concertmaster Has Goals Of Going Pro Helen Tipton

Youth Orchestra Co-Manager

Concertmaster of the Spartanburg Philharmonic Youth Orchestra, Hayden Green, is looking toward his future in violin performance. As a senior at Spartanburg High School, he has a growing list of achievements that not only make his parents and teachers proud but the community of Spartanburg as a whole. His humble and easy-going attitude makes him easy to teach, easy to work with, and easy to love.

Music is a large part of the Green family, with both Hayden’s father and grandfather playing the guitar and banjo, respectively, something he and several of his five siblings have carried on. Beyond his family’s natural appreciation for music, Hayden was also introduced to the violin very young.

While born in Boone, NC, the Green family moved to Spartanburg when Hayden was three. At the time, Spartanburg was home to a vibrant Suzuki violin studio lead by Mrs. Lyn Acosta. It was here Hayden first began his musical journey. As part of Acosta’s program, he enjoyed group classes and private instruction, which was the foundation of many things to come.

Early in high school, Hayden’s journey landed him at the doorstep of Spartanburg Philharmonic’s beloved violinist and teacher, Mary C. Irwin, who has nurtured 54

and guided Hayden for the past several years. Hayden himself credits Mary for much of his success as a student musician saying, “Mary wants the best for you and will go out of her way to push you and make you the player you want to be.”

With Mary’s continued guidance, Hayden has had some wonderful opportunities. Besides being a vibrant part of the District 7 Orchestra, All-State and Regional orchestras, he also played violin from 2017 to 2019 with the Carolina Youth Symphony. Hayden fondly remembers playing with that group on the stage of Carnegie Hall in New York City. Hayden has also played with the Piedmont Chamber Orchestra, the summer intensive Masterworks Festival. “Hayden has a natural musicianship and stage presence, Mary says. “He has all the potential to become a very successful violinist.”

As a senior in high school in the middle of a pandemic, it has been a challenge to find opportunities to perform, but even so, Hayden has been quite busy! Early last spring Hayden performed Wieniawski’s ScherzoTarantelle with his classmates in the Spartanburg High School Chamber Orchestra, directed by Mr. Jeff Kuntz.

Mr. Kuntz speaks of Hayden with pride. “To have a high school violinist in your orchestra that is as serious as

Hayden is about music, and his own personal growth as a musician is a real joy as a music educator. However, when you combine this with Hayden’s incredible sense of humor and laid-back personality, it is really fun to be around him as well.” As his high school years come to a close, Hayden looks forward to playing the Orange Blossom Special one last time with the SHS symphony before he graduates this spring.

Hayden continues to push himself as a musician, learning to play the mandolin as well as being a talented vocalist.

He continues to increase his own repertoire of music and is currently challenging himself to learn Introduction and Rondo Capriccioso by Saint-Saëns. And like most classical musicians, Hayden has an appreciation for the genre as well, his current favorite being Bruch’s Scottish Fantasy saying, “After hearing Stephen Tavani play it with the Masterworks Orchestra in 2019, I absolutely fell in love.”

Currently, Hayden is in his second year as the concertmaster for the Spartanburg Philharmonic Youth Orchestra. To Music Director Dr. Susana Lalama, having Hayden as a leading member has been a tremendous asset to the young organization. “Hayden consistently expects the best from himself musically, which transfers to the entire orchestra,” says Lalama. “He leads by example and we are all better because of his outstanding work ethic. “ The ever-busy young Mr. Green has had a variety of experiences growing up in Spartanburg.

He is an Eagle Scout, has been on stage several times with the Spartanburg Youth Theater, and enjoys weightlifting.

His music education is still paramount to the young musician, however. And currently, Hayden looks forward to furthering his musical studies at the university level next year and should soon be able to announce his decision.

While still considered a student musician, Hayden already echos the sentiments of many professional musicians in regards to how performing makes them feel. “When I perform and play violin I get overwhelmed with so many emotions I can’t put it into words.” Hayden shares. “I enjoy the feeling of being on stage and having control over the audience’s emotions as well as mine.”

When asked what inspires him, it becomes even more evident that Hayden has both talent and the innate understanding of what it takes to be a professional musician. According to him, “People who I meet that are great players who share my passion and drive for violin are the people who drive me. Not just the famous soloists that I look up to but my peers drive me just as much as anyone else.”

S U N D AY

February 7, 2021 TWICHELL AUDITORIUM

VIRTUAL PASSPORT EXPLORE THE WORLD THROUGH MUSIC

Senior

Junior

2:00 pm

4:30 pm

S U N D AY

April 25, 2021 TWICHELL AUDITORIUM

featuring

Concerto Competion Winners: HAYDEN GREEN & MARQUAL LITTLEJOHN

Senior

2:00 pm

Junior

4:30 pm 55

CONVERSE.EDU/MOSELEYSERIES 56

2.22 VOCES8 | 3.15 SPEKTRAL QUARTET | 4.26 CANADIAN BRASS 5.10 PETRIE AT THE PIEDMONT

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

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Spring 2021 Feb 7

Youth Orchestra

Virtual Passport

2:00 & 4:30 @ Twichell Auditorium

Feb 20

Zimmerli Series

Soulful Serenade 7:00 Online Premiere

Mar 20

Zimmerli Series

Glorious Fanfare 7:00 Online Premiere

Apr 25

Youth Orchestra

Concerto Winners

2:00 & 4:30 @ Twichell Auditorium

Apr 29

Bluegrass Spartanburg

Rhonda Vincent & the Rage 8:30 @ Twichell Auditorium

May 1

Zimmerli Series

The Return of John Williams 7:00 @ Barnet Park

Jun 11

Bluegrass Spartanburg

Joe Mullins & the Radio Ramblers 8:00 @ Twichell Auditorium

Stay tuned...

Don’t miss...

2021-2022 season anouncement 62

during the March 20 online concert!

Live @ Barnet Park Saturday, May 1, 2021

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