Spartanburg Philharmonic - HearHere, Spring 2025

SPARTANBURG PHILHARMONIC

Music Director, John Young Shik Concklin

ARTICLES

Authors

Diana Maley Berti

Chandler Crawford

Molly Cribb

Peter B. Kay

Photographers

Chandler Crawford

Jimmy Gibson

Peter B. Kay

Design

Peter B. Kay

Cabe Loring

Adena & Matt McDaniel

Katherine Poss

Chris Vaneman

Mark Olencki

Katherine Poss

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January

Urizar Quartet

Zimmerli Series (page 39)

Espresso Series (page 25)

Bluegrass Spartanburg (page 29)

Youth Orchestra (page 58)

Music Sandwiched In (page 21)

Event

Wed 1/22 Spartanburg Cyrill-Westside Library

Espresso no. 3: Go for Baroque Fri 1/31 Chapman Cultural Center

February

Clay Johnson

Blues dell'arte

SPYO: Winter Concert

Cellosmith

Wed 2/5 Spartanburg Cyrill-Westside Library

Sat 2/15 Twichell Auditorium

Sun 2/16 Twichell Auditorium

Wed 2/19 Spartanburg Cyrill-Westside Library

Della Mae Fri 2/28 Chapman Cultural Center

march

Ensemble Radieus

Finn Again

Espresso no. 4: Art of Rhythm

April

Rosalind Buda

Edgewise

Blue Highway

The Planets

SPYO: Spring Concert

CoCo FluteCo

Wed 3/5 Spartanburg Cyrill-Westside Library

Wed 3/19 Spartanburg Cyrill-Westside Library

Fri 3/28 Chapman Cultural Center

Wed 4/2 Spartanburg Cyrill-Westside Library

Wed 4/16 Spartanburg Cyrill-Westside Library

Thurs 4/24 Chapman Cultural Center

Sat 4/26 Twichell Auditorium

Sun 4/27 Twichell Auditorium

Wed 4/30 Spartanburg Cyrill-Westside Library

SpartanburgPhilharmonic.org/ Events

SpartanburgPhilharmonic.org/ box-office-venues

Twichell Auditorium at Converse University

Box Office Hours

10:00 AM - 2:00 PM, M-Th

10:00 AM - 1:00 PM, F

(864) 596-9018

580 East Main Street Spartanburg, SC 29302

Zimmerli Series & Youth Orchestra

Individual Tickets

Chapman Cultural Center

Box Office Hours

10:00 AM - 5:00 PM, T-Th

10:00 AM - 2:00 PM, F Closed Mon

(864) 583-2776

200 East Saint John St. Spartanburg, SC 29306

Espresso & Bluegrass Series

Individual Tickets

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

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

Late seating: For the listening pleasure of our audiences, late arriving patrons will not be seated while music is being performed. Latecomers will be seated at the first appropriate pause in the program (typically during applause). Additionally, we ask that patrons who must leave prior to the end of a performance exit only between selections if at all possible.

Ticket donation: We are unable to issue refunds for unused tickets. However, if you are unable to attend a concert, we encourage you to donate your tickets back or give them to a friend. When you donate your tickets to the Spartanburg Philharmonic, you not only receive a donation tax receipt, but you also share your seat with another music lover. If you would like to give in this way, please notify our ticket office at least 24 hours prior to the performance.

If a concert is canceled or rescheduled due to inclement weather, a tax letter will be provided for any ticket returned within 24 hours after the original concert date.

Spartanburg Philharmonic Administrative Offices

9:00 AM - 5:00 PM, M-F

(864) 948-9020

200 East Saint John St. Spartanburg, SC 29306

Season Tickets

YOUR VISIT TO THE PHIL

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

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

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

Cameras, cell phones, recording devices, watch alarms, and similar devices: To ensure a quality experience for everyone, the use of flash-photography or video/audio recording equipment is strictly prohibited. Patrons are asked to turn off or mute (not just turn to vibrate) all personal electronic devices prior to the performance.

In Case of Emergency:

Prior to the performance, we request that you familiarize yourself with the locations of all exits in case of an emergency. If the power to the building should be interrupted for any reason, generators will begin within 10 seconds for lighting.

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

It’s hard to believe we are already halfway through the 96th season for the Spartanburg Philharmonic. The fall finished on so many high notes including the return of our "Hub City Holiday Concert," The Nutcracker collaboration with Ballet Spartanburg, and Town Mountain’s sold-out bluegrass concert. We are on a roll, and we appreciate our stakeholders, donors, and season subscribers for their continued support as we cruise towards our 100th season. The Spartanburg Philharmonic is the oldest of its kind in South Carolina, and the artistic planning for our centennial anniversary is already well underway with our Music Director, John Young Shik Concklin, at the helm. Rest assured that the staff and board are hard at work ensuring that our 100th, and the years leading up to it, are filled with musical performances living up to our best standards.

Our journey continues this spring with our Zimmerli Series concerts including “Blues dell’arte” on February 15th featuring the world-renowned Jens Lindemann on the trumpet, and “The Planets,” on April 26th. “The Planets” concert will be a musical celebration of Spartanburg County Libraries’ Planetarium and featuring a new piece of music from our Composer-In-Residence, Dr. Peter B. Kay.

opulent sounds of the Baroque era, where composers like Bach, Purcell, and Corelli reign supreme. We will end this season of our Espresso series with a bang on March 28th with “The Art of Rhythm.” This will be a captivating percussion concert that promises to shake, rattle and roll your soul.

The upcoming Bluegrass Spartanburg concerts include Della Mae on February 28th. Della Mae is a GRAMMY-nominated all-woman string band. Their mission as a band is to showcase top female musicians, and to improve opportunities for women and girls through advocacy, mentorship, programming, and performance. Blue Highway will be performing our last Bluegrass Spartanburg concert on April 24th. Blue Highway is celebrating 30 years of touring, with four of the original members still intact. Its single “Lonesome State of Mind” was named the most played song in bluegrass music of 2023 by Bluegrass Today.

If you get the chance, please also check out our, “Music Sandwiched In,” concerts that have been temporarily relocated to Cyrill-Westside Library as construction work continues on the Planetarium at the Downtown Library location.

Our two upcoming Youth Orchestra concerts on February 16th and April 27th at Twichell Auditorium are not to missed. You are guaranteed to be inspired by the musical talent of the students across our community. The musical future of Spartanburg is bright, especially under the leadership of Susan Wines and Dr. Joshua Miller.

And finally, if you like what you hear during one of our many performances, please spread the word about our organization and diverse programming. Or better yet, bring a friend along. With our Zimmerli, Espresso, and Bluegrass series we strive to have a little “something for everyone” who appreciates live musical performances. Spartanburg is growing at an unprecedented rate, and we want to be sure our newest citizens are aware of all the musical offerings available through the Spartanburg Philharmonic.

Our Espresso series kicks off with “Go for Baroque” on January 31st at the Chapman Cultural Center featuring our Concertmaster, Joanna Mulfinger. “Go For Baroque” will shine a spotlight on the remarkable talent of our musicians as we are transported to the Kathryn H. Boucher Executive Director Dr. Cabe Loring President of the Board of Directors

Karen Parrott Past President

Dr. Barry Bodie

Dr. Curt Laird

Bob Ireland

John Cribb

Rachel Chalmers

Sharon Doyle

Kay Maddox Greg Murphy

Amy Oakes

Myrella Samuels Dr. Bill Scott

Diana Maley Berti Orchestra Committee Chair

Switi Thakkar

Dr. Sidney Fulmer Lifetime Board Member

Sarah Tignor Kathy Zimmerli Wofford

Francisca Yanez

Perrin Dent Patterson

Peter Grzan

Sadé Henderson

Alex Hunt North

Ross Hammond

Dr. Rick Orr

David Smart Treasurer Chris Strickland Secretary

Dr. Chandra Hopkins Vice President

Dr. Mark Ferguson Vice President

Samantha Larkins Vice President

John Young Shik Concklin

MUSIC DIRECTOR, SPARTANBURG PHILHARMONIC

John Young Shik Concklin, conductor, is the tenth Music Director of the Spartanburg Philharmonic. He began as a violist in the Philharmonic, made his conducting debut in 2018 to wide acclaim with two John Williams concerts, returned as a Music Director Finalist in 2022, and came in at the last moment as a substitute conductor later that year. He is praised for his clear beat, strong sense of rhythm, inviting gravitas, and innovative mind.

Concurrently, John serves as Music Director of the Hendersonville Symphony Orchestra and Conductor with the Atlanta Music Project and Piedmont Chamber Orchestra. For the 2023/24 season, he is also a Music Director Finalist with the Walla Walla Symphony in Washington State. John was National Finalist for the 2019-2020 American Prize in Conducting, has competed internationally at the Almaty Conducting Competition, the Nino Rota Conducting Competition, and as the only American in the Città di Brescia Conducting Competition, and has appeared numerous times to cover conduct the Atlanta, Nashville, and Kansas City Symphony Orchestras.

Previous positions include Associate Conductor of the Georgia Symphony, Assistant Conductor of the Cleveland Pops Orchestra, and faculty appointments at Vanderbilt, Clemson, Furman and Converse Universities He has been a fellowship conductor at the Aspen Music Festival, a teaching assistant at the Brevard Music Center, and a finalist at the New World Symphony and Debut Orchestras.

A flexible musician, John has also performed at the Super Bowl Halftime Show and has collaborated with Monica, a Grammy-winning R&B artist.

John studied at Vanderbilt and Yale Universities and the Cleveland Institute of Music. His mentors include David Zinman, Carl Topilow, Shinik Hahm, and Robin Fountain. He received further training from Lorin Maazel and Michael Tilson-Thomas.

John and his wife, Lauren Maxwell, co-founded Mozart for a Cause, an annual fundraising event for local causes.

www.JohnConcklin.com

Katherine Henderson Poss Development Manager

Hannah Simpson Education & Community Engagement Manager

Robert G. Borden Orchestra Librarian & Youth Orchestra Operations Manager

Susan Wines Music Director, Youth Orchestra & Symphony Conductor

Dr. Joshua Miller Youth Orchestra Prelude Conductor

Jordan Owen Conducting Fellow & Youth Orchestra Site Coordinator

Kathryn H. Boucher Executive Director

Dr. Peter B. Kay General Manager & Composer in Residence

Chandler Crawford Marketing & Audience Experience Manager

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

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

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

Ian Bracchitta Principal Bass

Alvoy Bryan Jr. Principal Viola

Andrew Merideth Associate Principal Horn

Theresa Jenkins Russ Violin Section Kelly Vaneman Associate Principal Oboe

Diana Maley Berti Orchestra Committee Chair, Viola Section

Diana Maley Berti Committee Chair

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

For full details regarding our Corporate Partnership packages, please contact: Kathryn Boucher, Executive Director kathryn@spartanburgphilharmonic.org

Donations given to Chapman Cultural Center’s Annual United Arts Fund supports Spartanburg Philharmonic through a General Operating Support Grant.

Chapman Cultural Center is a proud supporter of Spartanburg Philharmonic and their mission.

We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic. This list reflects gifts received July 2023 through June 2024.

Benefactor ($25,000+)

The Balmer Foundation

Mr. and Mrs. William Barnet III

Mr. and Mrs. George Dean Johnson, Jr.

Mrs. Nelly Zimmerli

Maestro ($10,000-$24,999)

Dr. Barry Bodie and Ms. Laurel D. Johnson

The Alfred Moore Foundation

Mr. and Mrs. Stephen P. Parrott

Virtuoso & Podium ($5,000-$9,999)

Mr. and Mrs. Andrew Babb

Mrs. Joan B. Gibson

Mr. and Mrs. Roger Habisreutinger In Memory of CRI, M.D.

Ms. Beth Lee

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

Dr. and Mrs. Rick Orr

Mr. and Mrs. Glen Warner

Mr. and Mrs. Peter Weisman

Baton ($2,500-$4,999)

Anonymous

Mrs. Mac Cates, Jr.

Mr. and Mrs. John Cribb

Dr. Curt Laird

Mr. and Mrs. Paul Lehner

Dr. and Mrs. Caleb Loring IV

Mr. and Mrs. V. C. McLeod III

Don and Mary Miles

Mr. and Mrs. Thomas P. Nederostek

Mr. and Mrs. Wiley North

Ms. Switi Thakkar and Mr. Ravi Vuppala

Mr. and Mrs. H. Peter Theiler

Mr. and Mrs. Geoffrey Wilson

Principal ($1,000-$2,499)

Anonymous

Dr. Joel Atance and Ms. Kara Bui

Mr. and Mrs. Stanley Baker

Mrs. Susan H. Baker

Ms. Kathryn H. Boucher

Ms. JoAnn Bristow

Mr. Jason Bynum

Mr. Mark Carlson

Mr. James Cheek

Mr. and Mrs. Leland Close

Mr. and Mrs. Jerry Cogan

Mrs. Celia Cogdell

Mr. and Mrs. Halsey Cook

Mr. Reed Cunningham

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

Allen and Sharon Doyle

Mr. and Mrs. Ray Dunleavy

Mr. and Mrs. David Ellis

Ms. Wallace Eppes Johnson

Dr. and Mrs. Mark Ferguson

Phyllis and Robert Frank

Mr. Peter Grzan

Mrs. Libby Hammond

Ms. Laura Henthorn

Drs. Chandra and Boone Hopkins

Dr. Leslie W. Howard Jr.

Mr. and Mrs. Chip Johnson

Mr. Kim Keith

"Keith-Evans Real Estate, LLC”

Cindy and Keith Kelly

Dr. and Mrs. Louis Knoepp, Jr.

Clint and Samantha Larkins

Mr. and Mrs. Lindsay Little

Col. and Mrs. Robert N. Maddox

Mr. and Mrs. William C. Mayrose

Ms. Judy McCravy

Mr. and Mrs. Mack McKeithan

Mr. E.T. McLean

Mr. and Mrs. Walter S. Montgomery

Mrs. Paula Morgan

Mrs. PJ Morrow

Mrs. Corry W. Oakes III

Ms. Mary Ann Claud and Dr. Olin Sansbury, Jr.

Cathy and Garrett Scott

Dr. and Mrs. Peter Sereque

David and Jennifer Smart

MG(R) Edwin E. Spain III and Mary B. Spain

Michele and Eliot Stone

Mr. and Mrs. E. Donald Stevens

Mr. and Mrs. Chris Strickland

Mr. and Mrs. Walter Sunderlin

Mr. and Mrs. Marshall T. Walsh

Mr. and Mrs. Taylor White

Mr. and Mrs. Donald Wildman

Suzanne and Jon Zoole

Fellow Musician ($500-$999)

Laura Allen and Roger Sullivan

Mrs. Ruta Allen

Mr. and Mrs. Tom Barnet

Ms. Karen E. Bjelland

Mr. Robert Borden

Mr. and Mrs. Walter Reed Brown

Mr. and Mrs. James Burchfield

Dr. and Mrs. Ernest Camp III

Mr. and Mrs. Joe Cheatham

Dr and Mrs. Robert Cochran

Mr. and Mrs. Wiley Cooper

Mr. and Mrs. Paul Cote

Mrs. Angelina Eschauzier

Mr. and Mrs. Bill Fitch

Mr. Lawrence Flynn III

Mr. Randy Foster

Mrs. Elaine T. Freeman

Dr. J. Sidney Fulmer

Mr. and Mrs. James Glenn

Mr. and Mrs. Brandt Goodwin

Mr. and Mrs. Ross Hammond

Mr. and Mrs. Gaston C Harris, Jr.

Mr. J. Mark Hayes II

Dr. and Mrs. David A. Holt

Harriet and David Ike

Mr. and Mrs. David Johnson

Steve and Lori Josefski

Mrs. Dorothy C. Josey

Dr. and Mrs. Charles D. Kay

Mrs. Nancy Zoole Kenney

Michael & Claire Klatchak

Dr. Ohmar Land

Dr. and Mrs. Gene Lassiter

Ms. Betty M. Luce

Mr. and Mrs. Donald H. McClure

Bob and Karen Mitchell

Mrs. Walter Montgomery, Jr.

Mr. and Mrs. John R. Murphy

Mr. Jeffrey Nye

Mr. and Mrs. Walter Oates

Ms. Erin Ouzts

Ms. Joy Shackelford

Ms. Johanna Lewis and Mr. Richard Spiers

Helen and John Tipton

Mr. and Mrs. Joseph B. Traywick II

Mr. and Mrs. Robert Troup

Mr. and Mrs. Mark Van Geison

Patron ($250-$499)

Mrs. Dianne Bagnal

Mr. and Mrs. James Bagwell

Mr. and Mrs. Bert Barre

Diana and Alden Berti

Martha and Clarke Blackman

Mr. and Mrs. Thomas Blexrud

Ms. Harriet Bolen and Mr. Jim Brown

Mr. and Mrs. Jan Caldwell

Dr. Andrew Taber and Ms. Alyson Campbell

Mr. and Mrs. William V. Cummings

Dr. Jean Dunbar

W.R. & E.H. Floyd Foundation

Members

( $100-$149)

Ms. Kathy J. Allen

Dr. and Mrs. Mitchell Hurst Allen

Patty and C. Mack Amick

Mr. David Anderson

Ms. Pat Wilks Battle

Mr. and Mrs. Charles Baxter

Beth and Orin Beach

Cyndi and David Beacham

Mr. and Mrs. Louie W. Blanton

Mr. and Mrs. Tim Brannon

Mrs. Susan Britanisky

Mr. Jack Bucher

Dr. John Burchfield

Dr. and Mrs. William W. Burns

Mr. and Mrs. W. Waller Caldwell, Jr.

Mr. and Mrs. John Thomas Claggett

Mr. Charles Clementson and Dr. Blair Clementson

Mr. and Mrs. Dexter Cleveland

Ms. Barbara Colvin

Mr. Bill and Mr. Martin Cooper-Meek

Mr. and Mrs. James C. Curry

Mr. and Mrs. Michael Dangelewicz

Ms. Susan Dempsey

Mr. and Mrs. Bruce Greenberg

Ms. Mary Ann Hipp

Mr. and Mrs. Robert Houston

Mrs. Lucy Hummers

Ms. Jane Johnson

Rear Admiral and Mrs. Stephen Johnson

Dr. Peter B. Kay and Ms. Jennifer Bonner

Mr. and Mrs. Thomas N. King

Mr. and Mrs. Horace C. Littlejohn, Jr.

Mr. and Mrs. Robert Lyle

Mr. and Mrs. Boyce Miller

Ms. Cabell Mitchell

Ms. Alice M. Eberhardt

Dr. and Dr. Daniel Falcon

Ms. Elizabeth B Fleming

Dr. and Mrs. Charles M. Fogarty

Mrs. Abby Fowler

Mrs. Sharon Free

Mr. Heiner Gallmann

Col. (Ret.) James D. and Jackie George

Gerald and Hanh-Trang Ginocchio

Mr. and Mrs. Jack Gowan

Ms. Linda Hays

Nancy and John Holmes

Mr. and Mrs. Robert E. Hyatt

Dr. and Mrs. William A. James

Warren Jenkins & Theresa and Leon Russ

Ms. Kathleen Jones

Dr. Wilton Kanode

Ms. Robin Krajnik

Mr. and Mrs. George Loudon, Jr.

Mr. and Mrs. Kingsley Martin

Thorne and Harrison Martin

Dr. Cavert K. McCorkle and Mr. Charlie Burns

Kam and Emily Neely

Mr. and Mrs. Daniel O’Connell

Jan Parmenter

Ms. Katherine Poss

Dr. and Mrs. Jan H. Postma, Jr.

Dr. Bill Scott

Mr. and Mrs. Richard Strasburger

Mr. and Mrs. William Walsh

Mr. and Mrs. Paul D. Weaver

Douglas and Rita Weeks

Ms. Libbo Wise

Dr. and Mrs. Auburn Woods

Mr. and Mrs. Paul McKee

Mr. and Mrs. Clinton Montgomery

Dr. and Mrs. Tom Moore

Ms. Pamela Nienhuis

Dr. and Mrs. W. Harold Nixon

Ms. Jean W Ogden

Mr. Gerald Palmer

Mr. Dwight F. Patterson, Jr.

Dr. Terry O. Pruitt

Ms. Naomi Richardson

Betsy Neely Sikma and Jason Sikma

Mr. and Mrs. Warwick Spencer

Mr. and Mrs. Frederick Stoll

Mr. and Mrs. Ray Sturm

Dr. and Mrs. Ralph Tesseneer

Ms. Sarah Tignor and Dr. Kevin DeLapp

Mrs. Sarah Todd

Ms. Sandra G. Turner

Mr. and Mrs. Gregory Wade

Mrs. Margit Wagner

Dr. and Mrs. Lawrence N. Warren, Jr.

Ms. Linda Sangster West

Mr. and Mrs. Bob Wynn

LEGACY SOCIETY FUNDS

Many donors feel strongly about preserving the legacy of classical music in the community. They are able to do so by remembering the Spartanburg Philharmonic in their wills, or by creating a planned gift to benefit the Philharmonic. These gifts can be un-restricted, or designated for a special purpose such as the endowment of the Philharmonic.

The array of giving options and the ways you can incorporate them into your planning are as varied as the circumstances they serve. We are always available to provide you with further information and suggestions on gifts that fit your lifestyle and philanthropic goals.

THE UTLEY LEGACY SOCIETY

We have created the Utley Legacy Society to provide a fund through which friends can make bequests in a number of different ways. The easiest method is an instruction in a Will to leave a specific dollar amount to Spartanburg Philharmonic. It is a simple matter to add a codicil to an existing Will, giving the direction to make a gift from your estate to the Society. Gifts may also be made by giving appreciated securities or other assets, by way of charitable trust, through gift of life insurance, or by gifts of retirement account assets.

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

THE JERRIE LUCKTENBERG CONCERTMASTER CHAIR ENDOWMENT

Dr. Jerrie Lucktenberg - former Concertmaster of the Greater Spartanburg Philharmonic (now the Spartanburg Philharmonic), artist, pedagogue, and author - retired from her position during the Philharmonic’s 2002-2003 season. To help ensure the presentation of Spartanburg’s professional orchestra in our community, Dr. Lucktenberg made a generous gift of $50,000 towards the endowment of the Concertmaster Chair. With your help, the Philharmonic has matched this gift, fully endowing the chair as the Jerrie Lucktenberg Concertmaster Chair. We hope you will be inspired to follow Dr. Lucktenberg’s generous lead.

For information about supporting a Legacy Society Fund, contact Kathryn Boucher, Executive Director: kathryn@spartanburgphilharmonic.org | 864.948.9020

Dr. Joe Roy Utley & Dr. Joella Utley

Spotlight: Myrella Samuels

Local Educator & New Board Member

Myrella Samuels grew up in Lexington (South Carolina not Kentucky) and graduated from Lexington High School. While there, she participated in band, chorus and orchestras while also performing with the South Carolina Youth Philharmonic. When she was 22 years old, Myrella moved to Spartanburg started teaching in School District 7.

Q. Where did your love of music come from?

A. I come from quite a musical family. My grandmother and her sister learned to play the piano as children and both continued to play as adults in churches and as accompanists for school productions. My mother and her older sister both completed 30+ years as music educators here in South Carolina.

I started playing piano when I was four and have considered myself a musician since I began. I added the trombone when I was ten and the rest is history! I received my Bachelor of Music from Furman University

Katherine Poss Development Manager

and my Master of Music from Converse University. It is my fourteenth year in the classroom (band and elementary general music) and I’ve taught many Spartanburgers music lessons on everything from the trombone to drum set to the ukulele.

Q. Why did you choose to join the Spartanburg Philharmonic Board of Directors?

A. I chose to join the Board simply because I was asked!

I have been attending Spartanburg Philharmonic events for years….many of my colleagues (and even former teachers) play in the ensembles so attending concerts started mostly as a means of supporting my people and the support for local live music came along as an added bonus.

I’ve grown to love all of the individual series and attend regularly. When I was asked to be on the Board, it seemed like the next logical step: serving.

The Spartanburg Philharmonic is proud to announce the establishment of the Music Educator of the Year Award, which is dedicated to honoring outstanding music educators in Spartanburg County. This prestigious award celebrates the exceptional dedication, creativity, and passion of local music teachers who inspire and cultivate a love of music in their students.

Nomination Deadline [Extended]: January 31, 2025

SpartanburgPhilharmonic.org/Educators

Announcement: March 2025

Hit the Right Note at AC Hotel Spartanburg

Experience a symphony of comfort and elegance at AC Hotel Spartanburg. With our modern accommodations and sophisticated amenities, your stay will be perfectly orchestrated for relaxation and rejuvenation. Whether you're in town for the Philharmonic or exploring the local scene, let us provide the perfect backdrop for your stay. Reserve your suite today and compose a memorable stay with us!

CYRILL-WESTSIDE

Spartanburg County Library

525 Oak Grove Rd

WEDNESDAYS

12:15 - 1:00 PM

Note: Due to construction at the downtown library, MSI will be held in the Westside location throughout the Spring.

Music Sandwiched In

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

Jan. 22

Feb. 5

Feb. 19

Mar. 5

Mar. 19

In Partnership with:

Read more online:

Presented by Spartanburg Philharmonic

NOMINATE a MUSICIAN

The Spartanburg Philharmonic is the custodian of the Spartanburg Music Trail, and we welcome nominations for future inductees. The Music Trail honors people from the Spartanburg area who have made a national or international impact in the world of music. We generally induct new members every two to three years.

Please use our online form (link below) to nominate honorees. We are grateful for all suggestions and will consider every nominee. The Music Trail Committee of the Spartanburg Philharmonic makes the final selections of Music Trail inductees.

SpartanburgMusicTrail.com/Nominate

Guidelines:

• They may be alive or deceased.

• Nominees must be people who have made a national or international impact in the world of music.

• They must have been born, or spent significant time, in the Spartanburg area.

• Nominees may be singers or other people known for playing an instrument, composers or songwriters, or people whose careers have directly impacted music on the national or international stage.

• Nominees may be an individual or a group, such as a band.

• Self-nominations are not permitted, though you may nominate a family member or friend.

• You may nominate more than one person, but you may not nominate the same person more than once.

Espresso Series

Rev up your weekend with our Espresso Series – your ultimate live music fix paired with complimentary hors d'oeuvres, wine, and craft brews, all in a chill and laid back setting. Dive into a relaxed "happy hour" experience before a short concert that spans eclectic genres, from music's legendary composers to lesser-known hidden gems that promise delightful surprises. Kickstart your weekend in style with a musical adventure that's both cool and delicious.

Go for Baroque

FRIDAY

Jan. 31, 2025

5:30 PM Happy Hour

6:30 PM One-hour Concert @ the Chapman Cultural Center

Curated by our Concertmaster, Joanna Mulfinger, ‘Go For Baroque’ will shine a spotlight on the remarkable talent of our musicians. Step into a musical time capsule as our ensemble transports you to opulent sounds of the Baroque era, where composers like Bach, Purcell, and Corelli reign supreme. The concert promises a rich tapestry of melodies and harmonies that will transport you to a time when the world of classical music was the height of luxury.

Art of Rhythm

FRIDAY

Mar. 28, 2025

5:30 PM Happy Hour

6:30 PM One-hour Concert @ the Chapman Cultural Center

Back by popular demand, we present a captivating percussion concert that promises to shake, rattle and roll your soul. In the intimate ambiance of our Espresso Series, our talented percussionists will ignite the stage with their mesmerizing rhythms, creating an electrifying fusion of beats and melodies that will leave you spellbound.

Spotlight: The Percussion Section

Percussion instruments are items you can strike, shake, or scrape, producing both pitched and unpitched sounds. As percussionists, we focus on traditional symphonic instruments like the snare drum, xylophone, timpani, and tambourine. However, modern composers, seeking to express the sounds around us, often require us to perform on unconventional items not typically considered instruments. For instance, in 2011 Matt performed on a typewriter during the Spartanburg Philharmonic’s performance of Dario Marianelli’s Atonement Suite

Between the standard instruments, world percussion from various cultures, and new instruments being created, there are seemingly endless things to discover, explore… and invest in.

Adena & Matt McDaniel Co-Principal Percussionists

There are numerous concerts that we must find, borrow, manufacture or purchase random instruments required for a piece. Although seemingly a curse, as a couple we long ago turned this into a blessing, never running out of percussion instruments to buy as gifts for each other’s birthday, our wedding anniversary or Christmas. As a result, we have acquired quite a collection of instruments over our 20+ years of performing with the orchestra. Our collection includes dozens of cymbals, 19 woodblocks, 13 snare drums, 12 cowbells, 9 triangles, 4 tambourines and numerous world percussion instruments of all shapes and sizes; housed in Matt’s private teaching studio.

Aside from performing with the Spartanburg Philharmonic, we are both lifelong educators. Matt is the Director of

Top: Matt plays the chimes and Adena plays the tambourine in the "Hub City Holiday" concert last December. Below: Adena swings the Mahler Hammer in the finale of the October "Game Knight" concert .

the Percussion Ensemble at Spartanburg High School and teaches 5th grade Band at Boyd, Drayton Mills and Pine Street Elementaries, aiding at McCracken Middle School. Formerly a music teacher for 25 years, Adena has started a new role as Assistant Principal at Drayton Mills Elementary School and continues to serve as the percussion instructor at Converse University. Most importantly, we balance our careers with famiy life, proudly raising two teenage sons and creating family memories. Both our sons play piano and dabble in percussion; they specialize in bassoon and French horn.

Something that may not always be readily apparent is that most percussion instruments are played without the performer actually touching the instrument itself. Whereas wind and string instruments are tactile, percussionists most commonly strike each instrument with a stick or mallet removing the physical contact from the player. Because of this physical seperation, percussion is akin to golf in sports – making both notoriously tough to master.

Percussionists are often at the back, actively engaged in counting rests and waiting for our cues. It is not unusual for a piece from the Romantic Era to have hundreds of measures where percussionists play nothing at all (our personal record is 784 measures, if you were curious) before performing a few notes and then counting even more rests. As each part we play is technically a solo, the mental game of not missing the relatively few notes we do perform can sometimes be our greatest challenge. In 20th century music, composers increasingly utilized the percussion section’s versatility, offering a wide range of instruments and sounds for new musical challenges.

At the Pops Concert “Game Knight” earlier this season, attendees saw a unique instrument, the “Mahler Hammer”, in action during the final piece Star Wars: Jedi Survivor Concert Suite. This instrument which was imagined by Gustav Mahler for his Sixth Symphony should sound “brief and mighty.” Mahler described the sound to be, “dull in resonance and with a non-metallic character – like the fall of an axe.” Adena had the privliege of swinging the hammer and it was certainly a highlight of her season. In a quirk of fate, as she prepared for the “Art of Rhythm” concert (see page 25), Adena found that one a piece will require her to use the Mahler Hammer once more! We hope you join us on March 28 for the Espresso Series Concert, where you will have another chance to see and hear this unusual instrument.

The Evolution and Essence of Bluegrass

Chandler Crawford Marketing & Audience Experience Manager

Strings are to the genre of Bluegrass what woodwinds and brass are to Jazz. Bluegrass, like jazz, with its unmistakable sound and rich history, has long been considered one of the most uniquely American genres. Its roots stretch back to the 17th century, blending the musical traditions of early settlers from Scotland, England, and Ireland with the cultural contributions of African Americans, particularly through the introduction of the banjo.

For many, the banjo and fiddle are the stars of bluegrass, brought to prominence by legends Earl Scruggs and Lester Flatt. But a closer look at Earl and Lester’s band, The Foggy Mountain Boys, reveals a broader instrumental lineup: the acoustic guitar, standup bass, mandolin, and dobro all play crucial roles in shaping the genre’s signature sound.

At its core, bluegrass is a masterful mix of energy, rhythm, and storytelling. Its syncopated rhythms, harmonic layers, and seamless shifts of melody between instruments create

a sound that is as intricate as it is engaging. The bass provides the rhythmic backbone, while other instruments take turns carrying the melody. Every song, meanwhile, tells a story, adding a narrative dimension to the musical experience.

Each instrument contributes its own flavor to bluegrass music:

Banjo: best known for Earl Scruggs’ three-finger picking style, the banjo’s origins trace to West Africa, where a similar instrument of the same name was played.

Bass Fiddle: often plucked rather than bowed, the string bass anchors the rhythm and harmonies. Modern bands sometimes opt for a portable electric bass.

Dobro: this resonator guitar, with its aluminum cone and amplified acoustic sound, adds a warm, distinct tone. Originally a Hawaiian-style instrument, the dobro has become a bluegrass staple.

Fiddle: a violin whose unique playing style sets it apart from its classical counterpart, making it a versatile and prominent feature of bluegrass.

Guitar: always acoustic in traditional bluegrass, it relies on precise strumming to achieve the desired volume and resonance.

Mandolin: its sharp, percussive chords, played on the offbeat, provide a lively rhythmic counterpoint.

Bluegrass has evolved significantly since its early days. The 1940s ballads often leaned toward gospel themes, while modern progressive bluegrass experiments with broader influences. Innovations like electric basses and resonatorenhanced mandolins reflect the genre’s adaptability, while its growing popularity has expanded its reach beyond the South to places like Brooklyn and Berkeley.

The genre’s modern resurgence may also be tied to broader social and political shifts. Once steeped in traditional values, bluegrass has become more inclusive, with openly gay musicians finding a place within its ranks. Its adaptability and resonance with contemporary audiences have helped cement its status as a truly American art form.

Bluegrass represents more than just music—it’s a reflection of history, a fusion of cultures, and a testament to reinvention. Its instruments and traditions are rooted in the past but continue to evolve, ensuring its relevance and appeal for generations to come.

Bluegrass Spartanburg

Bluegrass Spartanburg welcomes a variety of bluegrass bands that span from traditional to contemporary, bringing their downhome roots mixed with rock-infused jams for all to enjoy. Hear award winning talent and the hottest bands in the industry right here in your own backyard!

Info & Tickets Online:

Info & Tickets Online:

Della Mae

FRIDAY Feb. 28, 2025

8:00 PM @ the Chapman Cultural Center

Della Mae is a GRAMMY-nominated all-woman string band founded by lead vocalist/guitarist Celia Woodsmith and 2-time Grand National champion fiddle player Kimber Ludiker. Rounding out the current touring lineup are guitarist Avril Smith, and IBMA Bass Player of the Year Vickie Vaughn.

Hailing from across North America, and reared in diverse musical styles, Della Mae is one of the most charismatic and engaging roots bands touring today. They have traveled to over 30 countries spreading peace and understanding through music. Their mission as a band is to showcase top female musicians, and to improve opportunities for women and girls through advocacy, mentorship, programming, and performance.

Blue Highway

THURSDAY Apr. 24, 2025

8:00 PM @ the Chapman Cultural Center

In 2023, the highly-esteemed bluegrass band Blue Highway celebrates 29 years of touring, with four of the original members still intact. The band has earned a collective 33 IBMA Awards, 6 SPBGMA Awards, one Dove Award, plus three Grammy nominations. Most recently, the band was nominated for IBMA’s 2022, 2021 and 2020 Vocal Group of the Year and Song of the Year Awards.

Bluegrass Spartanburg is proudly supported by:

Andrew and Kitsy Babb

Jason Bynum

Mr. and Mrs. Gaston C. Harris, Jr.

Laura and Scott Montgomery

Cathy and Garrett Scott

Michele and Eliot Stone

Kim and Aaron Toler

DID YOU KNOW?

• Hearing loss is the third most common chronic physical condition in the U.S.1

• Untreated hearing loss increases the risk of dementia.2

• 89% of hearing device users report improvements in their quality of life.3

For more information or to schedule an appointment, give us a call today!

1 CDC. (2018). Loud noise can cause hearing loss. https://www.cdc.gov/nceh/hearing_loss/public_health_scientific_info.html

“Best Allergy Clinic,” “Best Audiology Clinic” and “Best Hearing Aid/Hearing Specialist Center” in Spartanburg for eight years running!

2 Johns Hopkins. (2023). New study links hearing loss with dementia in older adults. https://publichealth.jhu.edu/2023/new-study-links-hearing-loss-with-dementia-in-older-adults#:~:

3 Picou, E. (2022). Hearing aid benefit and satisfaction results from the MarkeTrak 2022 survey: Importance of features and hearing care professionals. Seminars in Hearing. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9715311/#:~:text=

Spotlight: Marilyn Sunderlin

Katherine Poss Development Manager

Q. How long have you been involved with music? And, which instruments do you play?

A. I have been involved with music for over 40 years, but not consistently. I learned to play the piano as an adult, beginning in my 30s… a long time ago! I started by taking an elective course in piano while I was in nursing school. Some years later, I was able to take private lessons. I have found that I’ve really become more serious about it in the last 20 years. The flexibility and freedom retirement has brought me has been a real gift, allowing me the privilege of continued learning. I still enjoy piano lessons and find they keep me accountable and give me something to prepare and practice for.

On occasion, I’ve gathered a group of friends who come to play in my home. We have afternoon tea and play music for each other. It’s a fun, informal way of playing for others without pressure.

Last summer, I was able to attend a week-long piano school for adults in England. I was sure that I would be the oldest person there, but there were many much older than I. One lady was 90 and had been attending the school for 40 years. What an inspiration! Recently, I took a semester of piano, music theory, and began playing the flute at Converse. Now in my 70s, I still enjoy the piano and the challenge of learning a new instrument, the flute.

Q. How did you come to know about the Spartanburg Philharmonic? Do you remember your first concert?

A. I first became aware of the Philharmonic when taking young grandchildren to see the Nutcracker. I don’t remember my first Philharmonic concert, but those grandchildren are now grown with children of their own!

Q. What is your favorite part about coming to concerts?

A. I have met several new friends at the Music Lover’s Luncheon. I don’t often attend those (usually because I am too late booking), but I try to research a little about the pieces before the concert. I especially like to do that if it’s something I am familiar with. I enjoy the anticipation in the crowd before the concerts begin, but I love watching the energy of the conductor and the connection he makes with the orchestra. I have several favorite instruments I watch, the piano of course, but it’s always interesting to watch the percussionists. I marvel at the way one person can move from one thing to another so seamlessly at any given concert.

Q. When is the first time you met Music Director, John Young Shik Concklin?

A. It was my pleasure to meet our Music Director, John Young Shik Conklin! We attended the celebration revvealing the new Music Director and got a lucky Golden Ticket offering a chance to dine with John. We were thrilled! It was a lovely opportunity to chat with John and learn more about his interesting career, as well as meet two other couples and get to know Katherine Poss.

Q. What does your family think about the Philharmonic? Have they attended any concerts? Does anyone in your family play an instrument?

A. My mom, who is 95 years old, though not a musician herself, has enjoyed attending concerts on occasion. Two of my three children played the piano growing up and I have one great grandson, Bryson Olmstead who is first chair trombone in the Boiling Springs High School band and recently joined the Spartanburg Philharmonic Youth Orchestra. He has attended several concerts with us!

Q. What’s been the most surprising thing to you about the Spartanburg Philharmonic?

A. It’s amazing that a city the size of Spartanburg has such a wonderful orchestra and the rich, long history that comes with it. We are very blessed to have dedicated and talented musicians in our community.

Music Lovers' Luncheon

Hosted by The Piedmont Club of Spartanburg

Did you know that during the week preceding a Zimmerli Concert, the Spartanburg Philharmonic hosts a delicious lunch at the Piedmont Club? You are invited to join us for a delectable meal and learn more about the fantastic pieces you will hear at Saturday evening’s performance.

The icing on the cake (and yes, you do get to visit the fan-favorite Piedmont Club dessert bar), is hearing directly from Music Director John Young Shik Concklin about the pieces which will be performed on Saturday night at the Zimmerli Series Concert. In addition to having lunch, this event is a wonderful way to become educated about and familiar with the pieces being performed at the upcoming concert.

“Learning about the composers’ lives and what they were experiencing at the time they wrote the pieces is so interesting. I find when I attend the Zimmerli Concert after attending a Music Lovers’ Luncheon, I gain much more from my experience at Twichell. I find myself listening to hear certain themes and messages from the composers while the pieces are performed,” said Charlene Lyle, a Music Lovers’ Luncheon regular. “I like meeting

the conductor and getting to know him personally. After chatting with him, I feel like I’m watching a friend on stage and feel so proud to see him delivering a wonderful concert!”

Oftentimes, in addition to our Music Director John Young Shik Concklin attending Music Lovers’ Luncheon, the featured soloists will also attend and offer an excerpt of their performance. The intimate size of this audience offers attendees an opportunity to ask questions of the conductor and of the soloists. It’s a truly special offering, and one we urge you to attend.

Spring Dates:

• Friday, Feb. 14

• Friday, Apr. 25

Piedmont Club members should RSVP to the Club. Non-Piedmont Club members should RSVP to:

chandler@spartanburgphilharmonic.org (864) 278-9671

FLUTES & PICCOLOS

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

HORNS

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

VIOLINS

OBOES & ENGLISH HORNS

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

TRUMPETS

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

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

CLARINETS

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

TROMBONES

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

TIMPANI & PERCUSSION

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

VIOLAS

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

BASSOONS

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

TUBA

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

CELLOS

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

HARP

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

BASSES

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

Joanna Mulfinger Concertmaster

Joanna Mulfinger is a native of Greenville, SC. She graduated from Bob Jones University and continued her education at the Peabody Conservatory in Baltimore, MD, receiving a Masters Degree under the tutelage of renowned Russian pedagogue Victor Danchenko. While at Peabody, she was awarded the J.C. van Hulsteyn Prize for Outstanding Musical and Academic Contributions. She has pursued additional summer music studies at the Juilliard School in New York, the Hanns Eisler Hochschule Fur Musik in Berlin, Germany, and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and has been on the faculty of several local universities.

Joanna appreciates learning about all kinds of music. In 2016 she learned and performed a new work for erhu, a stringed instrument of Chinese origin. And, in 2017, as a result of her interest in Baroque violin playing, she started a Baroque String Ensemble at Anderson University, which she led for four years. Professionally, she has performed with Baroque ensembles, including The Sebastians in New York and New Jersey, and is currently a member of Early Music New York.

Joanna is active at the Peace Center in Greenville, where she enjoys playing with National Tours of Broadway shows

such as Disney’s Lion King, Chicago, Phantom of the Opera, My Fair Lady, White Christmas, Something Rotten, Motown, Newsies, Porgy and Bess, The Producers, Young Frankenstein, Evita, West Side Story, and Wizard of Oz, among others. She is also in demand to accompany local performances of popular touring artists such as Smokey Robinson, Celtic Woman, Trans-Siberian Orchestra, Josh Groban, Mannheim Steamroller, Anne Murray, Wayne Newton, and Johnny Mathis.

As a chamber musician, Joanna is a member of several local ensembles including the Mulfinger String Quartet, Trio Tapestry (guitar, cello, violin), Tryptich Musica (piano, horn, violin), and Steve Eager and Friends, a band that covers pop and Broadway tunes.

She is an active orchestral musician. From 2007-2019 she was Assistant Concertmaster and then Concertmaster of the Spartanburg Philharmonic and returned in 2022, first as Interim Concertmaster and then on a permanent basis after the new Music Director was announced in 2023. She has been Principal Second Violin of the Greenville Symphony Orchestra since 2003.

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

Spartanburg Philarhmonic

Orchestra Members & Chair Sponsors as of August 2024

Violin I

Joanna Mulfinger, Concertmaster

Endowed by the Dr. Jerrie Lucktenberg

Concertmaster Endowment

Courtney LeBauer, Associate Concertmaster

Mr. and Mrs. George Dean Johnson, Jr.

Mary Irwin

Dr. Barry Bodie and Ms. Laurel D. Johnson

Robin Hague Els

Ms. JoAnn Bristow

Debra Anthony

Mr. and Mrs. Geoffrey Wilson

Carla Bilger

Mr. and Mrs. Ray Dunleavy

Randolyn Emerson

Mr. and Mrs. John Cribb

Abigail Inafuku

Mr. and Mrs. Chris Strickland

Nyamka Odsuren

Mr. and Mrs. Peter Weisman

Kathleen Robinson

Mr. and Mrs. David Ellis

Jonathan Urizar

Mr. and Mrs. Halsey Cook

Cello

Ismail Akbar, Principal

Mr. and Mrs. Stanley Baker

Kathy Foster, Assistant Principal

Dr. and Mrs. Rick Orr

Jordan Bartow

Phyllis and Robert Frank

Violin II

Julia Jacobsen, Principal

Mr. and Mrs. Roger Habisreutinger

Simone Beach, Co-Assistant Principal

Ms. Laura Henthorn

Mariya Potapova, Co-Assistant Principal

Mr. and Mrs. Leland Close

Ann Buttimer

Allen and Sharon Doyle

Michele Tate Cockram

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

Theresa Jenkins-Russ*

Mr. and Mrs. Wiley North

Allison Key

Ms. Kathryn H. Boucher

Jeanette Kuhn

Cindy and Keith Kelly

Jessica Martin

In Memory of CRI, M.D.

March Moody

Col. and Mrs. Robert N. Maddox

Emily Riesser

Mr. and Mrs. Walter Sunderlin

Stacey Wiley

Meredith Keen

MG(R) Edwin E. Spain III and Mary B. Spain

Eric Scheider

Dr. and Mrs. Peter Sereque

Benjamin Smith

Viola

Alvoy Bryan Jr.*, Principal Endowed by friends and family in honor of Wallace Eppes Johnson

Arthur Ross, Assistant Principal

Mr. James Cheek

Daphne Bickley

Mr. and Mrs. Chip Johnson

Amber Autry

Mr. and Mrs. William C. Mayrose

Scott Garrett

Mr. and Mrs. Marshall T. Walsh

Diana Maley Berti*

Mr. Peter Grzan

Katy Martin

Mr. and Mrs. Taylor White

Emily Poole

Drs. Chandra and Boone Hopkins ,

Ms. Switi Thakkar and Mr. Ravi Vuppala

Emma Smoker

Don and Mary Miles

Michael Weaver

Mr. Kim Keith

Keith-Evans Real Estate, LLC

Bass

Ian Bracchitta*, Principal

Mr. and Mrs. Jerry Cogan

Matthew Waid, Assistant Principal

Mr. and Mrs. Paul Lehner

Brian Gencarelli

Clint and Samantha Larkins

Rich Harbison

Ms. Mary Ann Claud and Dr. Olin Sansbury, Jr.

Flute & Piccolo

Rhea Jacobus, Principal

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

Caroline Ulrich

Mrs. Susan H. Baker

Jessica Sherer

Mr. Lawrence Butka and Mr. Greg Murphy

Jennifer Dior

Dr. Curt Laird

Oboe & English Horn

Ginny Metzger, Principal

Mrs. Mac Cates, Jr.

Kelly Vaneman*, Associate Principal

David and Jennifer Smart

Mary AllyeB Purtle

Suzanne and Jon Zoole

Chelsea Russell

Clarinet

Karen Hill, Principal

Dr. and Mrs. Louis Knoepp Jr.

Harry Hill‚ Jr.

Mrs. Libby Hammond

Kyra Zhang

Mr. and Mrs. Frederick B. Dent Jr.

Anastasia Christofakis

Mr. and Mrs. Walter S. Montgomery

Bassoon

Frank Watson, Principal

Dr. & Mrs. Caleb Loring IV

Rosalind Buda

Ms. Judy McCravy

Stephanie Lipka Rhyne

Mr. Mark Carlson

Horn

Andrew Merideth*, Principal

Mr. and Mrs. Donald Wildman

Chris George

Mr. and Mrs. Mack McKeithan

Darian Washington

Dr. and Mrs. Mark Ferguson

Jordan Chase

Mr. Jason Bynum

Ericka Grodrian

Mrs. Paula Morgan

Jeanette Schlimgen

Dr. Joel Atance and Ms. Kara Bui

Trumpet

Tyler Jones, Principal

Karen & Stephen Parrott

Kenneth Frick

Mr. and Mrs. Mack McKeithan

Bruce Cox

Mr. and Mrs. Thomas P. Nederostek

Buddy Deshler

Mr. and Mrs. G. Garrett Scott

Trombone

Mark Britt, Principal

Mr. and Mrs. V. C. McLeod III

Rienette Davis

Mr. and Mrs. H. Peter Theiler

Eric Henson

Mr. and Mrs. Glen Warner

SpartanburgPhilharmonic.org/our-musicians

Tuba

John Holloway, Principal

Mr. and Mrs. William Barnet III

Mike Taylor

Mrs. Joan B. Gibson

Timpani

Patrick Lowery, Principal

Mr. and Mrs. E. Donald Stevens

Percussion

Adena McDaniel, Co-principal

Mr. Reed Cunningham

Matt McDaniel, Co-principal

Dr. Leslie W. Howard Jr.

Del Burton

Mrs. Celia Cogdell

Piano/Organ

Brennan Szafron, Principal

Mr. and Mrs. Lindsay Little

Harp

Emily Waggoner, Principal

Mrs. Nelly Zimmerli

John Wickey

Mrs. Corry W. Oakes III

Jessica Schaeffer

Mr. and Mrs. Andrew Babb

February 15, 2025

7:00 PM

Program Online:

Clarice Assad

Baião ‘N’ Blues 9 min

Igor Stravinsky

Pulcinella: Suite 24 min

I. Sinfonia

II. Serenata

III. Scherzino

IV. Tarantella

V. Toccata

VI. Gavotta con due variazioni

VII. Vivo

VIII. Minuetto

IX. Finale

INTERMISSION

Winton Marsalis

Concerto for Trumpet 35 min Jens Lindemann, trumpet

• Movement 1

• Movement 2

• Movement 3

• Movement 4

• Movement 5

Programs subject to change. All timings are approximate.

Blues dell'arte

Baião ‘N’ Blues

Clarice Assad (1978-)

COMPOSED 2023

INSTRUMENTATION

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

APPROXIMATE DURATION 9 minutes

Commissioned by KMFA, Classical 89.5 in Austin, Texas, for its 2023 Draylen Mason Composer-in-Residence initiative. Premiered September 24, 2023, by the University of Texas Symphony Orchestra, conducted by Douglas Kinney Frost. Dedicated to Lou Ann and Bill Lasher, and the memory of Draylen Mason (2000-2018).

Baião ‘N’ Blues is an orchestral composition celebrating the vibrant fusion of two diverse musical worlds. Inspired by Brazilian music’s lively rhythms and infused with American blues’ soulful essence, the piece explores cross-cultural musical influences. Juxtaposing Brazilian themes with bluesy inflections, the composition presents a seamless and delightful blend of harmonious colors. Throughout the orchestral journey, a sense of lightness and humor permeates the musical landscape, inviting the audience to engage in a spirited dialogue. Baião ‘N’ Blues showcases the power of music to transcend cultural boundaries and connect people through the art of listening.

A powerful communicator renowned for her musical scope and versatility, BrazilianAmerican Clarice Assad is a significant artistic voice in the classical, world music, pop, and jazz genres and is acclaimed for her evocative colors, rich textures, and diverse stylistic

range. A prolific Grammy Award–nominated composer with more than 70 works to her credit, she has been commissioned by internationally renowned organizations, festivals, and artists and is published in France (Editions Lemoine), Germany (Trekel), Brazil (Criadores do Brasil), and the U.S. (Virtual Artists Collective Publishing). An in-demand performer, she is a celebrated pianist and inventive vocalist who inspires and encourages audiences’ imaginations to break free of often self-imposed constraints. Assad has released seven solo albums and appeared on or had her works performed on another 34. Her music is represented on Cedille Records, SONY Masterworks, Nonesuch, Adventure Music, Edge, Telarc, NSS Music, GHA, and CHANDOS. Her innovative, accessible, and award-winning VOXploration series on music education, creation, songwriting, and improvisation has been presented throughout the world. Soughtafter by artists and organizations worldwide, the multi-talented musician continues to attract new audiences both onstage and off.

“[Clarice] energetically bends music to her will and reshapes it with fascinating results.”

- Jazz Improv Magazine

Igor Stravinsky loomed so large on the musical landscape during much of the 20th Century that he even came to overshadow himself, a curious problem if ever there was one. The son of a singer in the Russian National Opera, Stravinsky moved to Paris in his twenties and quickly gained international celebrity (and international notoriety) from three ballets composed between 1909 and 1912 for Sergei Diaghilev’s company, the Ballets Russes. The last of these, The Rite of Spring, featured such massive and colorful orchestration and such a uniquely powerful approach to rhythm (to the performer its rhythms are almost incalculably complex; to the listener they feel overpoweringly primitive and propulsive) that its 1913 premiere caused an actual, literal riot.

So for nearly five decades thereafter Stravinsky was known as the man whose music caused a riot, and music from those three huge and colorful ballets was and of course still is enormously popular on stages all over the world. But the 1919 composition of Pulcinella marked a decisive turn away from that style and approach and towards the clearheaded and cool-hearted consideration of musical styles from centuries before. Stravinsky worked in this “Neoclassical” style for over three decades before swapping it out for the even-morecerebral approach known as Serialism – yet despite fifty years’ worth of masterpieces, he remains known for the three fiery ballets of his youth.

We are all continually changing and (one hopes) growing, driven by forces external to us as well as internal; it might be impossible to imagine just how different the composer of Pulcinella was from the composer of The Rite of Spring. Certainly it’s near-impossible to imagine just how much Europe had changed during those six years: World War I killed 16 million people and led to the breakup of the Ottoman and Austrian empires that had dominated Central and Eastern Europe; literally dozens of new countries tasted independence, and many

others like France and Germany saw their borders redrawn; and the Russian Revolution ended centuries of Czarist rule and swept Lenin and his Bolsheviks into power. So Europe was utterly remade, was nearly destroyed, and was beginning to rebuild, and Stravinsky and artists like him had clear reasons to turn away from art that inspired powerful passions and nationalist feelings.

Pulcinella – as music, as ballet – could hardly be more different from The Rite. The idea to use music from the past as inspiration came from the impresario Diaghilev, who had spent some of the war years haunting libraries, and had discovered 175-year-old scores then attributed to the 18th Century Italian Pergolesi. (Pergolesi had been enormously popular in his short lifetime, and after he died in 1736 unscrupulous publishers across Europe commissioned music in his style and published it as his, in hopes that his familiar name would sell copies.) Diaghilev’s was the idea to use old Italian melodies with a story and characters taken from the commedia dell’ arte, the stereotyped comedies that had spread from Italy across Europe in the 17th and 18th Centuries -- “Pulcinella,” for instance, was the original Italian name of the character who became known in British puppet shows as “Mr. Punch.” And Diaghilev engaged Pablo Picasso to design sets and costumes, making the production deliberately cosmopolitan: a Spanish artist, French choreographer, and Russian composer were using Italian melodies to tell a light, untroubled story using characters familiar all across Europe.

The ballet as a whole lasted around 45 minutes; within a year of its premiere, Stravinsky pulled out the most tuneful bits to create an orchestral suite about half as long, and that suite is what’s familiar today. In it Stravinsky achieves something very remarkable: he takes old and familiar musical materials and makes them feel new, by refracting them through the prism of modernity. Here a surprising note is added to a traditional chord, there

Pulcinella: Suite Igor Stravinsky (1882-1971)

COMPOSED 1920

INSTRUMENTATION

2 flutes/piccolo, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, trombone, and strings (featuring solo quintet)

APPROXIMATE DURATION 24 minutes

a dance rhythm is extended by a single beat or a phrase is interrupted just before it can resolve, and throughout Stravinsky’s unparalleled understanding of instrumental color makes each moment glitter like a strange and multifaceted jewel. Stravinsky alternates brilliant solo violin and teetering double bass with the dancing lilt of the full ensemble, and

Concerto for Trumpet

Wynton

Marsalis (1961-)

COMPOSED 2023

INSTRUMENTATION

2 flutes/piccolo, 2 oboes, english horn, 2 clarinets/bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, and strings

APPROXIMATE DURATION

35 minutes

When Michael Sachs approached me with the idea of writing a trumpet concerto for him and The Cleveland Orchestra, I was honored. We are of the same generation and share many common experiences. At 26, he became principal of this revered Orchestra. His appointment was inspirational for all of us, showing that it was possible for an important new voice to emerge and extend the legacy of American orchestral trumpet playing at the highest level.

Through the process writing this piece, Michael and I have gone off subject to converse for hours with unforced enthusiasm about the great teachers we’ve had, the august masters we love, the fantastic younger players we encounter, and ultimately, about what we continue to learn from our instrument. I want this concerto to enable Michael to convey the broad depth of feeling and the joy of defying technical limitations that defines our legacy as trumpeters.

The first movement begins with the blaring trumpeting of an elephant and a couple of big footsteps in response. A brash heroic fanfare and its echo ride the tension between triple and duple rhythms and loud and soft tones. The trumpet is partnered with timpani as it is in so many classical symphonies. A lyrical minor 7th phrase and its repeated triplet response provides a contrasting counter theme. We are soon introduced to some magical elements, like alternate fingerings and flutters and growls that give added flavor to our palette of expression.

each member of the small woodwind and brass sections shows its color in solos and unusual pairings. In Pulcinella what was old is made new, and the pain of war and revolution is salved with the eternal spirit of laughter.

Chris Vaneman

These elements go on to be developed throughout the piece.

The second movement is about a love feeling. In this ballad, trumpet is partnered with oboe. The arpeggiated minor 7th lyrical phrase from the first movement is expanded into a fully developed strain and the fanfare triplets are transformed through higher registration and intention to evoke the youthful romanticism of doo-wop. We continue in an unabashed, openly romantic style of instrumental singing gifted to the world by Louis Armstrong and subsequently developed by many great trumpeters of all styles.

The solitary yet razor-sharp attack of the Spanish-inflected trumpet is a definitive aspect of the international trumpet sound. Movement three addresses the music of the Afro-Hispanic diaspora and begins with a recasting of the first movement’s main theme. It is developed through many different virtuosic variations in an alternating 2-3 feel. We proceed into a Spanish Bolero with plucked, bowed, and bounced strings over and under which trumpet and bassoon converse. Woodwind call-and-responses lead us into a modern Habanera in 5/4, and the trumpet sings with an accompanying retinue of French horn counterlines. In the end, those horns chant “Aum” as the trumpet incants a prayer-cadenza that connects us to our ceremonial role as ambassadors to the afterlife (still signified by buglers’ solemn playing of “Taps” at the passing of soldiers).

Pulcinella continued

The fourth movement is blues. Call-andresponse is the principal mode of blues communication as it is also the very definition of concerto. We begin with the introspection of a single note drone and woodwinds weaving pentatonic-based melodies through the various registers. The subject is once again that lyrical, minor 7th secondary theme of the first movement split between trumpet, clarinet, and bass clarinet, soon to be trumpet and english horn. A middle section features church evocations and the tension between secular and sacred that the blues always brings. In this iteration, the trombones and French horns preach a serious sermon, while the trumpet is that jokester always playing around during service. Trumpet answers the stern preaching of trombones, and French horns are countered with playful vocalisms over the two-beat dance groove of a country string band. The sermonizing becomes more and more pious while the trumpeter triples down on irreverence. In the end, the transcendence of contemplation is acknowledged with an open brass chorale. We return to the lonesome blues with an impassive introspection that walks the pentatonic road connecting East to West, and ends with a solitary violin drone over and through which woodwinds and muted trombone weave dispassionate colors.

The fifth movement is a brief lyrical waltz inspired by the legacy of French trumpet playing. Our generation of American trumpet players was heavily influenced by the great Maurice André and beloved Pierre Thibaud.

We grew up practicing out of the Arban and Charlier books, we played characteristic French concert pieces by Tomasi and Jolivet and all types of test pieces from the Paris Conservatory library. This is a quirky, rubato three-way conversation with contrapuntal voices weaving in and out of tempo, register, timbre, and key to create an impressionistic tapestry.

The sixth movement focuses in on the magical, “joker/trickster” element that has been an undertone of the entire piece. Virtuosity itself has the conjuring power of making the impossible seem easy. Rule-defying characters with cunning insights such as Master Juba, Br’er Rabbit, Pulcinella, and the Coyote inhabit international myth. Trumpet players defy authority and like to play games and pranks. This movement opens the percussion toolbox to create mayhem and barely controlled chaos whilst the trumpet dances through it all. It develops themes from the other movements and is rooted in a circle dance groove from Jewish traditions of Eastern Europe. Things build up and break down again and again, but when all is said and done, we end up back in the jungle where a whole herd of elephants breaks loose. There they go, making all kinds of noise. With that final fanfare, a single elephant saunters away, and we realize that it all began when she first broke loose.

Wynton Marsalis

Jens Lindemann

GUEST ARTIST, TRUMPET

As the first classical brass soloist to ever receive the Order of Canada, Jens Lindemann is hailed as one of the most celebrated artists in his instrument’s history and was recently named “International Brass Personality of the Year” (Brass Herald). Jens has played both jazz and classical in every major concert venue in the world: from the Philharmonics of New York, Los Angeles, London, Berlin, Moscow and Tokyo to Carnegie Hall and even the Great Wall of China. His career has ranged from appearing internationally as an orchestral soloist, being featured at the 2010 Olympics for an audience of 2 billion people, national anthems at the Rose Bowl and for the San Francisco Giants on Memorial Day, performing at London’s ‘Last Night of the Proms’, recording with the Mormon Tabernacle Choir to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for Her Majesty Queen Elizabeth II. Jens has

also won major awards ranging from Grammy and Juno nominations to winning the prestigious Echo Klassik in Germany and British Bandsman 2011 Solo CD of the year as well as receiving several honorary doctorates.

Classically trained at the renowned Juilliard School in New York and McGill University in Montreal, Jens’ proven ability to perform as a diverse artist places him at the front of a new generation of musicians. He has performed as soloist and recording artist with classical stars such as Sir Neville Marriner, Sir Angel Romero, Pinchas Zukerman, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Eiji Oue, Bramwell Tovey, Kent Nagano, Lior Shambadal, Boris Brott and Jukka Pekka Saraste. Having recorded for BMG, EMI, CBC and the BBC, Jens is helping to redefine the idea of the concert artist by transcending stylistic genres and the very stereotype of his instrument by performing with “impeccable attacks, agility and amazing smoothness” (The Clarin, Buenos Aires).

A prodigious talent, Jens Lindemann performed as a soloist with orchestras and won accolades at numerous festivals while still in his teens. A prizewinner at numerous jazz and classical competitions including the prestigious ARD in Munich, Jens also placed first, by unanimous juries, at both the Prague and Ellsworth Smith (Florida) International Trumpet Competitions in 1992. Since then, he has performed solos with orchestras including, the London Symphony, Berlin, Philadelphia, Moscow, St. Petersburg, Beijing, Bayersicher Rundfunk, Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit, Houston, Montreal, Toronto, National Arts Centre, Vancouver, Warsaw, Mexico City, Costa Rica, Bogota, Welsh Chamber, I Musici de Montreal, St. Louis, and Mostly Mozart at Lincoln Center.

Heralded internationally as an outstanding artist, critics have stated: “He played with golden timbre and virtuosic flair” (New York Times)“, “a world-class talent” (Los Angeles Times), “it was one of the most memorable recitals in International Trumpet Guild history” (ITG), “performed brilliantly in the North American premiere of Bernd Alois Zimmermann’s Concerto with the Toronto Symphony” (Toronto Star), and “he gave the virtuoso highlight of the evening with the Montreal Symphony”.

Based in Los Angeles as Professor with High Distinction at UCLA, Jens is also director of the summer brass program at the Banff Centre in Canada. Jens Lindemann is an international Yamaha artist playing exclusively on 24K gold plated instruments.

TrumpetSolo.com

The Planets

April 26, 2025

7:00 PM

Program

Lili Boulanger

D’un matin de printemps 5 min

Peter B. Kay

The Moons 25 min

I. Triton, the Herald

II. Io, the Scarred Maiden

III. Metis, the Quick

IV. Titan, the Powerful

V. Phobos & Diemos, the Children of War

VI. Selene, the Pale

INTERMISSION

Gustav Holst The Planets

I. Mars, the Bringer of War

II. Venus, the Bringer of Peace

III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity

V. Saturn, the Bringer of Old Age

VI. Uranus, the Magician

VII. Neptune, the Mystic

D’un matin de printemps

Lili Boulanger (1893-1918)

COMPOSED 1918

INSTRUMENTATION

3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, celeste, and strings

APPROXIMATE DURATION

5 minutes

Every art form has its great what-ifs: what if Buddy Holly hadn’t gotten on that plane in 1959? What if James Dean hadn’t wrecked his Porsche, and what if John Keats had lived in an era of antibiotics? Well, Lili Boulanger is surely one of classical music’s biggest what-ifs. Lili Boulanger endured ill health throughout her short life, and died, of complications from tuberculosis, at just 24. But in the handful of works she left behind we encounter some of the most colorful and evocative works of the French early 20th Century – a time and place when colorful and evocative music was hardly lacking. Had she been healthy, had she lived to old age… what masterpieces we’d have!

Lili was the younger of two brilliantly talented sisters. Nadia, her elder by six years, passed the entrance exams for the Paris Conservatory at the age of nine, and in spite of the unsurprising resistance of other students and some faculty, enrolled there shortly after. (It surely helped that the girls’ father, Ernest, was himself a professor of voice at the Conservatory.) Lili quickly mastered the skill of unobtrusively following her sister everywhere, so in a sense she was exposed to the highest levels of musical training well before she would have begun kindergarten.

Nadia won several premiers prix at the Conservatory (the equivalent of graduating with highest honors in a subject area) by the time she was 16, but she – like the rest of her family and much of the Parisian artistic world –recognized that the most extraordinary talent in the Boulanger family was Lili’s. The only trouble was that Lili, who had first contracted bronchial

pneumonia at the age of two, struggled with that and related illnesses throughout her childhood, periods of relative health interrupting months of debilitating sickness.

At 16, Lili was finally healthy enough to begin studying composition at the Conservatory, and was an odds-on favorite to win the Prix de Rome, France’s greatest composition prize, at the end of her first year, a virtually unheard-of achievement. But in a moment of high public drama, she passed out during her performance in the competition’s final and had to withdraw, gaining in sympathy and notoriety among the musical public what she had lost in the competition. Her win the following year was hailed as a triumph, and only the contraction of the tuberculosis that would take her life several years later prevented her from leaping to the forefront of French music while still a teenager.

D’un matin de printemps was Lili’s last orchestral piece, completed as she was dying in 1918. Brief, brilliant, colorful, and tuneful, it captures perfectly its composer’s all-too-brief life. A recollection of a spring day, painted in music, the work begins brisk, breezy, and playful, with a solo flute in its lower register accompanied by playful strings. Instruments enter and drama builds, but before it can bubble over a cloud passes before the sun and mysterious shades predominate. A sudden gust blows the clouds away, and the piece ends as it began, playful, full of light, life, and color – but cut short all too quickly.

Celebrating the opening of the new planetarium being constructed downtown as well as the growth of our artistic community, the Spartanburg Philharmonic commissioned me to compose a work inspired both by Gustav Holst’s The Planets and by specific written works by students from Spartanburg County.

In the Fall of 2024, the Philharmonic held a creative writing contest open to all K-12 students in our area.

Students were encouraged to prepare a narrative, poem, or short story that was meant to introduce one of the moons of our Solar System - and/or its Greek mythological namesake - to the audience in a creative way. Moreover, the winning selections were chosen to inspire and help me craft the music you will hear on stage.

So, as I compose these program notes (in December 2024), I find myself in a peculiar situation: there is, at this time, very little music actually written. The contest was held in the last few months, and the winners were selected just before Thanksgiving. With that in mind, I’ve had only a few weeks to begin developing a large-scale orchestral work meant to accompany Holst’s pivotal masterpiece while encapsulating the written work of five talented young authors. In other words, it is difficult to describe to you what you will hear in April since

so little of it exists to date. But I will share what has inspired me and the direction I plan to take, based on each selected works.

First, it was such a pleasure reading the hundred+ submissions we received in the contest. What a wealth of artistic voices in Spartanburg! I was heartened by the extent of talent and creative ideas that were shared with me and the judges during this process. It was not easy to select the winners, but ultimately it came down to what works sparked the most creative ideas that aligned with our overall vision for the project. Each winner receives a $200 cash prize, their works read from the stage during the premiere - for which they are given 2 tickets, inclusion in this publication, and more.

Below we are including both the description of the moons that were given to the students (the prompts) as well as the winning works.

As I said earlier, the music is not yet composed, so… there is a lot of room for development. In other words - and as ever - “Programs are Subject to Change.” Although I do not expect to deviate from the artistic vision much, it is still too early to say anything is truly concrete. Such is the way when creating art, and I thank you in advance for accepting my vagueness here.

Peter B. Kay

THE MOONS

A Creative Writing Competition

I. Triton, the Herald

Description: Triton, Neptune’s largest moon, is a frigid and mysterious world, dominated by extremely cold temperatures that plunge close to absolute zero. Its vast icy surface is marked by cryovolcanoes and frozen plains, making it one of the coldest places in our solar system. Beneath its frozen crust lies a liquid water mantle, hinting at the potential for a dynamic interior beneath its icy exterior. What sets Triton apart is its unusual retrograde orbit - unlike most moons, Triton orbits Neptune in the opposite direction of the planet’s rotation - that suggests a dramatic history, possibly as a captured object from the Kuiper Belt.

The Moons

Peter B. Kay (1980-)

COMPOSED 2025

INSTRUMENTATION

2 piccolos, 4 flutes, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, euphonium, tuba, timpani & percussion, 2 harps, celesta, organ, strings, and offstage chorus

APPROXIMATE DURATION 25 minutes

Name: Derham Cole

Current Grade: 4th

Current School: Pine Street Elementary School

This backward orbit and icy demeanor echo the traits of its mythological namesake, Triton, the Herald and son of Poseidon (the Ancient Greek equivalent of the Roman god Neptune). Triton, the sea god, wielded a conch shell like a trumpet to calm or stir the oceans while navigating the deepest depths of the sea. Just as the god Triton is depicted as a formidable figure, the moon Triton embodies a complex and powerful presence in Neptune’s system, with its icy shell and hidden, potentially active mysterious inner world.

Triton blows his icy conch, frosty slush erupts! Then swirls as flakes of snow to frozen lifeless ground. The stone cold stubborn child spins away from father’s grasp.

II. Io, the Scarred Maiden

Description: Io, one of Jupiter’s largest moons, is a world of intense volcanic activity and a surface constantly in turmoil. Its landscape is a tumult of molten lava, sulfur plains, and towering plumes, making it the most geologically active body in the solar system. This chaotic landscape mirrors the tumultuous story of its namesake, Io, the priestess of Hera in Greek mythology. Like the moon, Io’s life was marked by upheaval; she was caught in a stormy relationship with Zeus (the Ancient Greek equivalent of the Roman god Jupiter), who pursued her relentlessly, inciting Hera’s jealousy and wrath. Just as the mortal Io was caught between Zeus and Hera, the moon Io endures constant upheaval due to the intense gravitational interactions with Jupiter and its neighboring moons, Europa and Ganymede. Io’s restless, ever-changing surface reflects the turmoil and trials faced by the mythological character in her dealings with the divine.

In depths profound, where silence weaves its veil,

Underneath the gaze of Jupiter’s reign, Hides Io, where turmoil and melancholy wail, And a torrid heart in solitude’s domain.

Whispers echo in the gothic expanse, A maiden wanders beneath the star’s cruel decree

Her beauty caught by deity’s trance, Yet fate entwined her in a relentless plea.

With her soul laid bare, The volcanos lament pierces the delicate air, A tortured spirit, forever confined, In a suffering grip, where solace is blind.

Her soul forlorn, her heart is torn. A tragic tale where the outrageous blows.

WINNER

Name: Sarah Moua

Current Grade: 11th

Current School: Spartanburg High School

WINNER

Name: Paul Isak Jackson

Current Grade: 12th

Current School: Spartanburg High School

III. Metis, the Quick

Description: Metis, Jupiter’s innermost moon, is a tiny, fast-moving celestial body that orbits closer to the gas giant than any other of its moons. It zips around Jupiter at breakneck speeds, completing an orbit in just under 7 hours—faster than the planet’s own rotation. This swiftness is reminiscent of the moon’s namesake, the Oceanid nymph Metis, a daughter of the Titans, and who in Greek mythology was known for her cunning and agility. Just as the nymph Metis was the first wife of Zeus (the Ancient Greek equivalent of the Roman god Jupiter), the moon Metis remains in a close, almost inseparable dance with the giant planet, reflecting the nymph’s quickwitted nature through its rapid orbit

Metis, silent, solemn, breathless, hastens lightly, Dashing sprightly, brightly, tightly, daily, nightly, Every seven hours wheels In gravity’s embrace.

Quiet, placid, speeding, stable, red and sable Pocked with craters, endless wait, her pace unable To slip that tidal cable

And move from out of place

Whirling, twirling, ballroom orbits, dancing stepless Sphere’s own music, tripping lightly, keeping timeless, Waltzing, watching Jupiter, With her unturning face

Noiseless, voiceless, hiding, winding, planet ringing, Speeding tangent, never touching, downwards sinking Always together making Their spinning way through space

Until millions of years have been, And then she’s swallowed once again

IV. Titan, the Powerful

Description: Titan, Saturn’s largest moon, is a colossal and intriguing world, second only to Ganymede in size among the moons of the solar system. Its dense atmosphere, rich in nitrogen, is remarkably similar to Earth’s, creating a thick orange haze that blankets its surface. Titan’s landscape features rivers and lakes of liquid methane and ethane, along with vast, sand-covered plains, echoing the diverse geography of our own planet. Beneath its icy crust lies a vast subsurface ocean, possibly harboring the conditions for life, making Titan a world of profound mystery and possibilities.

Titan is named after the Titans—the pre-Olympian gods of great power and primordial force. Just as the Titans were the formidable forebears of the Greek pantheon, shaping the world in their image, Saturn’s Titan looms as a world of immense power and potential, echoing the raw and ancient forces that shaped the early Earth.

I land on the fields of Saturn’s moon, Titan. Stars paint the sky over my head as the light of the far away sun gives the galaxy a bright tint. The colors of the milky way dance in the sky with the clouds, while Saturn’s large body holds close to Titan as a mother would her child. Metallic rivers roar around me as I take in the beauty of Cronus’s moon, the only noise heard is the gurgles and waves of hydrocarbon rivers and oceans that paint the surface of the moon. Saturn can be seen from where I stand, his beautiful rings illuminating the planet.

I walk over the icy fields, the cold nips at my bare cheeks making me pull up my scarf. My eyes scan the terrain for life, small patches of grass peak up from under the thick ice, wheat sways in the cold wind that blows under the stars. Saturn’s nebula shines rays of yellowish greens onto the snowy fields before me. It’s gorgeous halo giving a sense of ecstasy to everything.

Time seems different here in fields of Titan, she takes 29 long years to orbit the sun, but it feels as though it is but a blink. Whispers fill my dreams, of voices long forgotten, children yearning to be let free from their father, and to see the beauty of worlds. I lay on the icy field watching the asteroids plummeting through the solar system and I begin to wonder what it would feel like to just let go for even just a moment, to truly touch the stars.

I look up, that is when I see the droplets of rain falling from the sky, though they are so slow you can reach out and touch one before it even comes close to the ground. I reach out, my hand running against the cold, metallic liquid. I sigh taking in the beauty of the moon I stand on. The whispers tell me I’m home, tell me I’ve finally touched the stars.

WINNER

Name: Raven LeBon

Current Grade: Eighth grade

Current School: McCracken

Middle School

WINNER

Name: Aubrey Moore

Current Grade: 10th

Current School: Dorman High School

V. Phobos & Deimos, the Children of War

Description: Phobos and Deimos, the two moons of Mars, are dark, battered worlds, their surfaces marked by deep scars from prehistoric impacts. These moons, with their irregular shapes and pitted surfaces, are believed to be captured asteroids, pulled into Mars’ orbit long ago, now forever bound to the planet. Their shadowy, scarred appearance reflects the fear and dread embodied by their namesakes, Phobos and Deimos, the Greek gods of fear and terror, who accompanied their father Ares (the Ancient Greek equivalent to the Roman god Mars) into battle.

The moons’ origins as wandering bodies, later captured and held close by Mars, evoke themes of displacement and a journey from freedom to captivity. Etched with the scars of a turbulent past, their faces suggest a history that resonates with broader human experiences of struggle and survival, where deep, enduring marks are left by forces beyond one’s control.

Two shadows drift in Mars’ red glow, Sons of Ares, bound below.

Phobos races, fierce and near, A scarred face of gripping fear.

Deimos lingers, pale and slight, A distant echo, soft as night.

In silence they circle, dark and deep, Fear and flight that Mars must keep.

Bound as twins in endless skies, Eternal shades in a god’s cold eyes.

HONORABLE MENTIONS

Chioma Igollo-Ogele, Triton 12th Grade, Dorman High School

Nate Wagner, Wishes of Io 11th Grade, Spartanburg High School

Meredith Dacus, Metis 11th Grade, Boiling Springs High School

E.G. Trittenwein, Titan 11th Grade, Homeschool

Amelia Gregory, The Twins of Fear 10th Grade, Dorman High School

VI. Selene, the Pale

Description: The Moon, with its pale, luminous features and scarred surface, has been a constant presence in the night sky, standing as a timeless witness to the ancient history of our solar system. Beyond its soft glow, the Moon exerts a powerful influence on the Earth, driving the tides, stabilizing our planet's axis, and inspiring lore across cultures and eras. The Greek goddess Selene, who personified the Moon, was said to glide across the night sky in her silver chariot, illuminating the darkness and casting a soft, steady light over the world.

In the 15th Century, one of the biggest names in music was the French composer Guillaume Du Fay. Writing hundreds of sacred and secular pieces, from masses and motets to ballades and hymns, Du Fay’s work influenced generations and laid the groundwork for all Western music that followed. In the 1430s, Du Fay wrote a motet (a piece for three voices) in honor of Anne de Lusignan, Duchess of Savoy, that started with the text “Se la face ay pale.” A few decades later, Du Fay used the tenor line from the motet as the basis for an entire Mass - aptly named, Missa se la face ay pale - which is still included in today's music history curriculum.

While preparing to write The Moons, I found myself thumbing through old scores I keep on my bookshelf, searching for ideas or inspiration.

French:

Se la face ay pale, la cause est amer c’est la principale et tant m’est amer amer qu’en la mer me voudroye voir or scet bien de voir la belle a qui suis que nul bien avoir sans elle ne puis.

That’s when I (re)discovered Du Fay’s mass in an old textbook I had from college. Not only is the music beautiful, but the text seems to connect with this project directly (although the English translation isn’t as flowing as the original French).

When Du Fay reused the tenor line from his motet, he buried it somewhat in the mass. But there are a few moments when listening that it becomes more distinct. Similarly, I am using the opening to Se la face ay pale as the basis for the final movement of The Moons, and it may or may not be clearly heard, but there will be references and snippets of the melody throughout the entire piece that will more subtly tie the work together.

English:

If my face is pale, the cause is loving. That is the principal one, And for me so bitter is loving that into the sea I want to send myself. Now she can well see, the lovely one I belong to, that to have any well-being, without her I cannot.

Peter B. Kay

- Guillaume Du Fay (1397-1474)

Gregory H. Revera, CC BY-SA 3.0

The Planets

Gustav Holst (1874-1934)

COMPOSED

1916

INSTRUMENTATION

2 piccolos, 4 flutes, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, euphonium, tuba, timpani & percussion, 2 harps, celesta, organ, strings, and offstage chorus

APPROXIMATE DURATION

51 minutes

Question for discussion: does the Internet encourage hobbies, or discourage them? And why should we care?

On the one hand, we’ve all seen evidence of the former: enthusiasts for purebred Guinea pigs, for instance, or collecting antique souvenir bourbon bottles, can now find each other easily and swap advice or bottles online. On the other hand, at any given moment a lot of us are doing nothing in particular but staring, glassy-eyed, at our phones, and doomscrolling doesn’t count as a hobby.

Why should we care? Well, here are two reasons: 1) sustained immersion and quest for mastery in pretty much anything, be it a hobby or a profession, tends to produce long-term psychological benefits; and 2) without hobbies, The Planets would never have been written.

The Planets, in fact, may be unique in classical music, in that it’s an undeniable masterpiece written by a hobbyist about his hobby.

The son of a church organist, Holst was drawn to composition early, but decided while a student at the Royal College of Music not to pursue the field professionally. Instead, Holst became a music teacher and orchestral trombonist, composing on nights and weekends when he wasn’t pursuing his other hobbies, which included translating ancient Indian mystical poetry from the Sanskrit. By his mid30’s Holst was teaching in London at both Morley College (a socialist redoubt offering continuing education courses to working men and women) and the St. Paul’s School (one of the most prestigious girls’ schools in Britain, whose students were the daughters of the country’s crispiest members of the upper crust).

At the same time, he was involving his students in truly significant composition and performance projects (they were responsible for the first British performance of several Bach cantatas and the first performance in 230 years of Purcell’s The Faerie Queen), and his fondness for mystic poetry led him through theosophy to astrology. Holst became a committed amateur

astrologer, studying the history and intricacies of the practice and casting enormously detailed horoscopes of his friends and loved ones.

The Planets germinated in Holst’s mind as he studied astrology, and he composed the piece during evenings and weekends during most of World War I. The composer suffered from a variety of physical ailments and had been unable to join the military, but in 1918 he was sent abroad for a year as the director of an effort – administrated jointly by the British military and the YMCA – to use music both as celebration and therapeutic treatment for demobilizing soldiers. Before he left, highlyplaced patrons arranged, as a sort of personal favor, to place the Queen’s Hall and its resident orchestra at his disposal for a day, and The Planets received its premiere, after a single two-hour rehearsal and with Holst’s students singing the choral parts, for an invited audience of 250 shortly before Armistice Day. This massive work, by a hobbyist-composer inspired by his other hobby, was almost instantly hailed as a masterpiece, and its composer was in high demand as soon as he returned from his year of service. But Holst was deeply uncomfortable in the public eye, and returned to his teaching positions for the rest of his life.

Holst placed Mars first among his seven movements not because of any scientific or astrological principle but just because he thought it sounded cool, and indeed anyone who has seen “Star Wars” or pretty much any movie made in the last 45 years knows how influential on pop culture it has been and can confirm his judgement. From that point we move towards the sun, as Venus and Mercury precede Jupiter, the massive and infectiously melodious hinge on which the piece is poised. Saturn, the composer’s favorite, depicts the inevitable approach of old age; Uranus leads to the icy, ethereal beauty of Neptune, devoid of rhythm and melody, whose offstage girls’ and women’s chorus seems to float into the infinity of empty space as it eternally oscillates between chords – beauty without word, direction, or end.

Chris Vaneman

Carlos Agudelo & Lona Gomez ARTISTIC DIRECTORS

Jeremy Woolstenhulme

Susan

Winter Concert

Feb. 16, 2025

3:00 PM

Conductors

Susan Wines & Joshua Miller

Teiichi Okano, arr. Yukiko Nishimura Furusato

Brian Balmages

Soon Hee Newbold

Gustav Holst, arr.Vernon Leidig Jupiter-Bringer of Jollity from "The Planets"

Wolfgang Amadeus Mozart

Clarinet Concerto K. 622

min II. Adagio

Gabriela Tilley, clarinet

Reinhold Gliere

Russian Sailor’s Dance from the ballet "The Red Poppy"

Program Online:

Susan Wines

MUSIC DIRECTOR OF SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA AND SYMPHONY CONDUCTOR

As a native of Spartanburg, Susan Wines’ enthusiasm for music and teaching began as a double bass player at Boiling Springs Middle School. Her eagerness and excitement for music continued to develop through teacher encouragement as well as participation in several honor orchestra opportunities throughout the state.

With nearly two decades of youth orchestra experience, it is with excitement that she joins the Spartanburg Philharmonic Youth Orchestra community as the Symphony Conductor at her alma mater - Converse University. Susan Wines holds a Bachelor of Music in Instrumental Music Education from Converse University, two Master of Education degrees from the American College of Education, and is pursuing a Doctorate of Music Education from Liberty University.

In addition to being the Director of Orchestras at Byrnes Freshman Academy and the Music Director and Symphony Conductor for Spartanburg Philharmonic Youth Orchestra, she is the master teacher for the North Greenville University String Project. She was instrumental in creating many student-centered music activities such as Greenville County’s All-County Honor Orchestras, SC ASTA Double Bass Workshop, as well as the annual SC ASTA Orchestra. Ms. Wines serves as the Executive Director of the SCMEA Orchestra Division and past president of the South Carolina Chapter of SC ASTA.

She has been recognized as a WYFF Golden Apple Teacher Award Recipient, Teacher of the Year, Music Club of Greenville’s Golden Note Award Recipient, South Carolina High School League’s “Heart of the Arts Award,” and most recently, the recipient of the Yamaha “40 under 40” national music educator recognition.

Joshua Miller

PRELUDE CONDUCTOR

Although he didn’t originally set out to become a teacher, he received his Bachelor of Music degree in Music Education from Furman University. While in college, his plan was to become a dentist until he finally listened to the encouragement of those around him to consider teaching. The choice to become an orchestra teacher turned out to be one of the greatest decisions of his life. After graduation, Dr. Miller began his career in Anderson School District One teaching orchestra for grades 5-12.

In 2016, he moved back to his hometown and joined the faculty at Spartanburg School District Two. As a music educator, he holds two main philosophies: kids who trust you can learn anything, and fundamentals are key to musical success. He currently teaches at Boiling Springs Middle School where his program, his students, and his teaching have continued to grow each year.

In 2021, he was selected by his peers and administration to serve as Teacher of the Year. And this past year, he received the honor of being the WYFF News 4 Teacher of the Year. During his years as an orchestra teacher, his performance groups have earned numerous awards. Dr. Miller and his wife (Raven) currently reside in Inman, SC, with their son (Asher) and daughter (Ayla). He enjoys watching as much Netflix as possible and spending time with his family.

Gabriela Jacqueline Tilley

CONCERTO WINNER, CLARINET

Gabi Tilley, a senior at Chesnee High School, excels in academics, balancing honors, and dual enrollment courses through Spartanburg Community College. A passionate musician, Gabi plays both the clarinet and piano. She studies clarinet under Tim Bivins at Roper Music. Her dedication has earned her placements in the Limestone Honor Band, Region Band, and callbacks for the All-State Band. She has also performed with her school’s orchestra at the esteemed SCMEA conference. Gabi aspires to attend Brigham Young University in Utah, where she plans to pursue a career in music. She hopes you enjoy the performance!

Ryan Campbell

CONCERTO WINNER, VIOLIN

Ryan Campbell has lived in Boiling Springs, SC all his life. He picked up the violin in fourth grade and has been playing ever since. Ryan has participated in region Orchestra every year since eighth grade, and has been playing with SPYO for five years. He is currently a senior at Boiling Springs High School. He plans on majoring in music education, and aims to be a middle school orchestra teacher. Though violin is his main instrument, Ryan also plays piano and cello. He enjoys reading, rock climbing, and swimming in the lake.

SPYO: Recent Grads

The Spartanburg Philharmonic Youth Orchestra is one of the best opportunities in Spartanburg County for high school music students. Founded in 2019, qualified students receive the chance to expand their orchestral experience beyond the classroom with high-quality performances led by enthusiastic, dedicated instructors.

Many of SPYO’s recently graduated members are now furthering their music studies in college while remaining active in the music scene. They are all grateful for their experience with SPYO, and are finding ways to remain involved with orchestral music.

For Foster Neely, that involvement allows him the flexibility to dip his toes into different areas of music while remaining loyal to his first instrument, viola. Foster is a freshman at Furman University, where he is pursuing a degree in music education, although he is considering switching to music

Molly Cribb Contributing Author

performance. One of his favorite things about the Furman music program is its wide range of opportunity, including his participation in the Furman Symphony Orchestra, the Furman String Quartet, and the pit orchestra for the Furman Opera. “I also play jazz guitar, and I’m thinking about joining a jazz ensemble next semester,” Foster adds.

Foster joined SPYO on viola in ninth grade while also enrolling in orchestra class at Spartanburg High School. He became the section leader for viola in tenth grade. Foster remembers SPYO fondly, and is grateful for the program’s lessons on music and life. “Probably one of the coolest things the youth orchestra does is the concerto competition. I auditioned three years and never got it, but it was a really good for me to experience that failure, and see my friends perform. It was inspiring to see my peers be able to do that, even though I didn’t get it.”

From Left: Eza Anderson (graduated 2023), Ella Johnson (graduated 2024), and Foster Neely (graduated 2024).

Ella Johnson, now a freshman at University of South Carolina, is one of Foster’s friends who performed a concerto with SPYO on bass. “The concerto helped me overcome my nerves onstage,” Ella says, “and the audition process of SPYO definitely helped me with the college audition aspect.” Ella’s experience performing with SPYO prepared her for her first orchestral excerpt class, which holds intense mock auditions each semester. “It is definitely a big deal with different rounds, and you can get cut. The Youth Orchestra helped me become less nervous performing in front of my peers, which is scarier than performing in front of an audience.”

Ella began playing bass with SPYO during her freshman year at Boiling Springs High School, but she is also a percussionist who specializes in steelpan. She plays with the Palmetto Pans at USC, and is planning to specialize in both strings and band education. She’ll be especially busy during her senior year of college, when she will studentteach one semester of each discipline while continuing her college courses. Some students are maintaining their connection with music while also exploring completely different areas of study. Ezra Anderson, a sophomore at University of Kentucky, is pursuing both a minor in wildlife management and a major in music performance. Ezra’s love for nature manifests in long, exploratory walks. When he is not outside, Ezra is playing violin in his university’s symphony orchestra and opera pit orchestra. So far, he has played in three operas, and he recently joined a contemporary music ensemble.

Ezra began his career in SPYO as the principle second violinist, and eventually moved his way up to concertmaster. He is grateful for SPYO’s exposure to a wide repertoire of classical music: “We were exposed to pieces like Aaron Copeland’s Appalachian Spring, Antonin Dvorak’s Ninth Symphony, and Jean Sibelius’ Finlandia. It was great to have a strong background in a lot of these pieces going into college. I don’t think that would be possible without the enthusiastic leadership we have.”

All three students credit their success to SPYO’s incredible instructors, including former symphony conductor Dr. Susana Lalama. “Dr. Lalama does such a great job putting all of her passion into educating us about the background of the pieces, and I feel like that has been reflected in my college experience,” says Ezra. “You get exposed to passionate staff who’ve been doing this forever, yet they still get up every day and find new ways to be excited about music.”

The Spartanburg Philharmonic Youth Orchestra certainly is the kind of organization that will inspire generations of students to get up every day and be excited about music.

CHURCH STREET LOFTS

Starting at

WE ARE WUSIC EDUCATION

SpartanburgPhilharmonic.org/msi

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

(see page 21 for more details)

SpartanburgMusicTrail.com

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

The Spartanburg Music Trail honors musicians from Spartanburg who have made a national or international impact in the world of music. The stops highlight artists in such genres as country, gospel, soul, rock ‘n’ roll and more. Ultimately, the trail will circle the downtown as new inductees are added.

SpartanburgPhilharmonic.org/linkup

For more than 15 years, the Spartanburg Philharmonic has partnered with Carnegie Hall's Weil Institute to present Link Up, a program that works with local communities to explore orchestral repertoire and fundamental musical skills, including creative work and composition, through a hands-on music curriculum.

Link Up addresses the urgent need for music instruction and resources by providing a free, high-quality, yearlong curriculum that teachers can implement, along with classroom materials, online video and audio resources, and the professional development and support necessary to make the program an engaging experience for youth.

The Spartanburg Philharmonic utilizes Link Up to provide a music curriculum to all 4th graders in Spartanburg County. This means over 4,000 youth join the Philharmonic in Twichell Auditorium each Spring for a participatory concert like no other!

SpartanburgYouthOrchestra.org

The Spartanburg Philharmonic Youth Orchestra was founded in 2019 to bring together the best young players from across the Upstate as a core education program of the Spartanburg Philharmonic. Now composed of two high performing ensembles, the SPYO serves over 150 students in grades 6th - 12th each year.

The Youth Orchestra provides a place where musicallyinclined students learn to master their instruments and collaborate with others to produce three highquality performances each year. Working with the SPYO challenges talented young musicians to grasp difficult repertoires and perform at a higher level than what is possible in their school orchestras.

(see page 58 for more details)

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Since 1911, students have composed their success stories here.

First-time freshmen and returning adult students may choose from on-campus or online two-year and four-year degree programs in a small, highly supportive environment. Our unique career-focused approach to a liberal arts education blends general professional development skills with specialized academic skills to maximize success after graduation.

THE CARLOS MOSELEY CHAMBER MUSIC SERIES

the Symphon y in the Ci t y

Bank of America recognizes the Spartanburg Philharmonic for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience.

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