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Volume 90, Spring 2019 200 East Saint John St. Spartanburg, SC 29306 864.948.9020
Information 4 Calendar of Events 5 Ticket Information 7 Your Visit to the Phil 15 Board of Directors 17 Orchestra Committee 31 Classical Conversations 33 Spartanburg Philharmonic Orchestra Members 45 Corporate Partnerships 46 Spartanburg Philharmonic Annual Fund 66 Subscribe
Staff:
Stefan Sanders Music Director
Kathryn Boucher Executive Director
Peter B. Kay General Manager & Composer in Residence
Concerts 19 21 25 34 40
Music Sandwiched In: Spring Schedule
Robert Borden
Bluegrass Spartanburg
Orchestra Librarian
The Espresso Series Romeo & Juliet Beethoven’s 9th
Articles 13 13 22 26 28 32 48 50 52 53 54 56
A Letter from the President of the Board
Volunteers:
Marianne Fortin Karen Czuba Gibson Marsha Moore
A Letter from the Executive Director Excitement Grows for Bluegrass Women in Music
Intern:
Kathryn Monroe
Stefan Sanders: Our New Music Director Meet Joanna Mulfinger
HEARHERE Contributors
Educate: Beethoven’s Genius Spotlight: Musicians of the Philharmonic Inspire: A Young Audience at Twichell Enrich: Jennings Cavin Educate: Link Up Enrich: Music Trail Unveiling
Authors:
Photographers:
Madison Cooksey Walker Copley Rachel Hansen Leigh Jenkins Carrie Leigh Page Meghan Blanton Smith Joella Utley Chris Vaneman
Kavin Bradner Mike Corbin Jimmy Gibson Design:
Peter B. Kay
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Calendar of Events Spring 2019
Classics (page 34) Espresso Series (page 25) Bluegrass Spartanburg (page 21) Music Sandwiched In (page 19)
Event
Date
Venue
January Fayssoux McLean & Brandon Turner
Wed 1/16
Spartanburg County Library
Piano Forte
Fri 1/25
Chapman Cultural Center
Scotch & Soda with a Twist
Wed 1/30
Spartanburg County Library
Rhonda Vincent & The Rage
Fri 2/8
Chapman Cultural Center
Kela Walton
Wed 2/13
Spartanburg County Library
Romeo & Juliet
Sat 2/16
Twichell Auditorium
Nathan Shirley
Wed 2/27
Spartanburg County Library
Laurel and the Lads
Wed 3/13
Spartanburg County Library
Peter Fletcher
Wed 3/27
Spartanburg County Library
Music She Wrote
Fri 3/29
Chapman Cultural Center
The Reel Sisters
Wed 4/10
Spartanburg County Library
Wofford College Goldtones
Wed 4/24
Spartanburg County Library
The KrĂźger Brothers
Thurs 4/25
Chapman Cultural Center
BARS Academy
Wed 5/8
Spartanburg County Library
Beethoven’s 9th
Sat 5/11
Twichell Auditorium
District 7 Presents
Wed 5/22
Spartanburg County Library
February
March
April
May
additional information is available online at:
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SpartanburgPhilharmonic.org/events
Ticket INFORMATION Twichell Auditorium Box Office Hours 9:30am - 5:30pm, M-Th 9:30am - 5:00pm, F
Chapman Cultural Center Box Office Hours 10:00am - 5:00pm, M-Th 12:00 - 4:00pm, F
Spartanburg Philharmonic Administrative Offices 9:00am - 5:00pm, M-F
864.596.9724
864.542.2787
864.948.9020
580 East Main St. Spartanburg, SC 29302
200 East Saint John St. Spartanburg, SC 29306
200 East Saint John St. Spartanburg, SC 29306
call for:
call for:
call for:
Classics & POPS!
Bluegrass & Espresso
Season Tickets
individual tickets
individual tickets
or you can purchase tickets online
SpartanburgPhilharmonic.org/tickets
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WITH MYCHART, YOU CAN: • View medications, allergies, health issues and recent visits • Schedule and/or request an appointment • Request prescription refills • Pay bills • Get immediate access to your electronic health record • And much more!
DOWNLOAD THE MYCHART APP TO REGISTER, OR VISIT US ONLINE AT MYCHART.SPARTANBURGREGIONAL.COM
Your VIsit to the Phil Restrooms: Restrooms at Twichell are located off of the first floor lobby and next to the handicap accessible entrance in the auditorium. Restrooms at Chapman are located to the left and right of the main entrance lobby.
Seating: Twichell Auditorium uses a reserved seating system for our Classics and POPS! concerts, so please keep your ticket with you at all times to verify section and seat specifics should there be any confusion. Chapman Cultural Center Theatre also uses a reserved ticket system for Bluegrass Spartanburg. For our Espresso Series, Chapman uses a General Admission system and does not reserve seating.
Ticket donation:
We are unable to issue refunds for unused tickets. However, if you are unable to attend a concert, we encourage you to donate your tickets. When you donate your tickets to the Spartanburg Philharmonic, you not only receive a donation tax receipt, but you also share your seat with another music lover. If you would like to give in this way, please notify our ticket office at least 24 hours prior to the performance. If a concert is canceled or rescheduled due to inclement weather, a tax letter will be provided for any ticket returned within 24 hours after the original concert date.
Late seating: For the listening pleasure of our
audiences, late arriving patrons will not be seated while music is being performed. Latecomers will be seated at the first appropriate pause in the program (typically during applause). Additionally, we ask that patrons who must leave prior to the end of a performance exit only between selections if at all possible.
Food/Beverage: No food or drink, other than bottled water, is allowed in Twichell Auditorium.
Cameras, cell phones, recording devices, watch alarms, and similar devices:
To ensure a quality experience for everyone, the use of flash-photography or video/audio recording equipment is strictly prohibited. Patrons are asked to turn off or mute (not just turn to vibrate) all personal electronic devices prior to the performance.
In Case of Emergency: Prior to the
performance, we request that you familiarize yourself with the locations of all exits in case of an emergency. If the power to the building should be interrupted for any reason, generators will begin within 10 seconds for lighting.
Full Scale Interior Design Services Furniture Showroom Designer Services 105 Southport Road, Spartanburg SC 29302 864-595-2681
7
Celebrating 90 years!
and the Maestros of the stage
Guy Hutchins Maestro from
1928-1937
Ernst Bacon Maestro from
1937-1945
Pedro Sanjuan Maestro from
1945-1952
Henry Janiec Maestro from
1952-1994
Bill Scott Maestro from
1994-2003
Sarah Ioannides Maestro from
2005-2017
Stefan Sanders Maestro from
2018-present
8
We applaud your ability to perform when it matters most
Our financial advisors recognize the talent, focus and determination that set you apart. Believe in your goals. We do.
McLeod & Associates V.C. “Chip” McLeod, CFP®, CRPC® Resident Director – Wealth Management Advisor 864.596.5474
Merrill Lynch congratulates Stefan Sanders.
chip_mcleod@ml.com Merrill Lynch 295 East Main Street Spartanburg, SC 29302 864.583.2855 fa.com/mcleod
Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and Member SIPC, and other subsidiaries of Bank of America Corporation. Investment products: Are Not FDIC Insured Are Not Bank Guaranteed May Lose Value The Bull Symbol and Merrill Lynch are trademarks of Bank of America Corporation. Certified Financial Planner Board of Standards Inc. owns the certification marks CFP® and CERTIFIED FINANCIAL PLANNER™ in the U.S. CRPC® is a registered service mark of The College for Financial Planning. © 2018 Bank of America Corporation. All rights reserved. AR5NDLDS | AD-05-18-0663 | 470975PM-1017 | 06/2018
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(864) 583-2450
Fax: (864) 582-7332 reel@sreelrobertsoncpa.com 9
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SERVING SPARTANBURG, GREENVILLE, TRYON, AND ALL SURRROUNDING AREAS
Let’s Celebrate! Welcome to the Spartanburg Philharmonic and to a season of musical events sure to capture your imagination and to deepen your appreciation for our organization’s musical legacy and its connection to our community. This season we celebrate 90 years of the Spartanburg Philharmonic. Our beginnings as a volunteer organization in 1928 were born out of a love and appreciation of classical music and a commitment to share musical artistry with the community. Because of the steadfast support of volunteers and donors who believe in its cause, today the Spartanburg Philharmonic is fulfilling its mission to enrich, inspire, and educate through live performances of high-quality music This season we welcome Maestro Stefan Sanders. He and our talented leadership have planned a season with a broad array of music opportunities including our Classics, Pops, and Espresso Series, Bluegrass Spartanburg, education for our youngest audience members, and community programs like Music Sandwiched In and Spartanburg’s Music Trail. Thank you for being a part of the rich history of the Spartanburg Philharmonic by your attendance at concerts and your financial support. The year ahead is sure to be one to remember as we celebrate the legacy of 90 years of music as the Spartanburg Philharmonic!
Rachel S. Deems
President, Board of Directors
Spartanburg Philharmonic
Dear friends, Thank you for being a part of our 90th Anniversary Season. We have had a fabulous start with record-breaking crowds for our opening concert in September and Stefan has been overwhelmed with the love and support for his first season. As we continue to celebrate this spring, I hope you will mark your calendars for a few special events and concerts. Our “Romeo & Juliet” concert on February 16th will be a fantastic night showcasing love in all its forms. With beautiful, romantic pieces like “Casablanca” and “West Side Story”, our concert will be the perfect opportunity for a different kind of Valentine’s gift for your loved ones. Additionally, we will join with Converse College to make a major announcement regarding Twichell Auditorium that you do not want to miss. In March, we will spotlight women composers during “Espresso: Music She Wrote”. The concert will feature many works by women who have made their mark in the classical music world. One piece in particular, “Five Folk Songs in Counterpoint” by Florence Price is an imaginative reframing from 1951 of old American spirituals for string quartet. Why is this piece so special? Florence Price was the first African-American woman to have her music performed by a major symphony orchestra – in 1933. Additionally, we will also be performing Entr’acte, by the youngest Pulitzer Prize for Music, Caroline Shaw. And finally, mark your calendars for May 11th as the Philharmonic takes on Beethoven’s monumental 9th symphony. Featuring a chorus of singers from the community, we cannot wait for you to experience this live performance in Spartanburg. We look forward to seeing you at many of our concerts and events this spring. In March, be on the lookout for season subscriber information for the 2019-2020 season. You will want to get tickets early to make sure you don’t miss your opportunity to see a 16-time Grammy winner perform in Spartanburg!
Kathryn H. Boucher Executive Director
Spartanburg Philharmonic
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Board of Directors 2018-2019 Officers Rachel Deems Ray Dunleavy Laura Allen
President Past President President Elect
Travis Sutton Treasurer Chip McLeod Secretary
Directors Dr. Meisha Adderley Karen Bjelland James Cheek Jimmy Gibson Peter Grzan Rep. Rosalyn Henderson Myers Dr. Cabe Loring
Judy McCravy Dr. Melinda Moretz Samantha Nicholson Karen Parrott Dr. Justin SchĂźtrumpf Bert Shuler Betsy Neely Sikma
Jeff Tillerson Helen Tipton John Verreault Kate White William (Bill) Wilkinson
Lifetime Directors Dr. J. Sidney Fulmer Dr. Joella Utley
The Mission of the Spartanburg Philharmonic is to enrich, inspire, and educate through live performances of high-quality music. 15
proud sponsor of the
Spartanburg Philharmonic 2018-2019
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left to right: Anneka Zuehlke-King, Frank Watson, Patrick Lowery, Diana Maley Berti, Ian Bracchitta, Michele Tate
Orchestra Committee 2018-2019
Representatives Diana Maley Berti, Viola, Committee Chair Ian Bracchitta, Bass Patrick Lowery, Timpani
Michele Tate, Violin Frank Watson, Bassoon Anneka Zuehlke-King, Horn
Members of the Spartanburg Philharmonic orchestra elect six to eight colleagues to serve as an Orchestra Committee. This committee performs the duties in the Orchestra Manual, which outlines the responsibilities of both the orchestra members and the Philharmonic’s staff in preparing for and presenting outstanding concerts. This committee represent the interests of the orchestra on the Artistic Committee, and a member serves as a non-voting member of the Board of Directors.
MAKING THE ORDINARY, EXTRAORDINARY. At United Community Bank, our mission is to provide extraordinary banking services, while caring deeply for the communities we serve. We are passionate about our neighbors and proud to support the 90th season of the Spartanburg Philharmonic. Member FDIC. Š 2018 United Community Bank | ucbi.com
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Celebrating 22 years of Music Sandwiched In, the Spartanburg Philharmonic is proud to present an exciting line up of performers for its popular series at the Spartanburg County Public Library Headquarters. Lunch is available for purchase, or you can bring your own. MSI is held every other Wednesday throughout our season.
Concerts are FREE and open to the public. All are welcome!
Spring SChedule Jan. 16 Jan. 30 Feb. 13 Feb. 27 Mar. 13
Fayssoux McLean & Brandon Turner Scotch & Soda with a Twist Kela Walton Nathan Shirley Laurel and the Lads
Mar. 27 Apr. 10 Apr. 24 May 8 May 22
Peter Fletcher The Reel Sisters Wofford College Goldtones BARS Academy District 7 Presents
SpartanburgPhilharmonic.org/msi
W ED N E S DAYS
12:15-1:00pm
151 South Church St
Barrett Room
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F R I D A Y
FEB. 8 2019
8:00pm at the Chapman Cultural Center 200 East Saint John St., Spartanburg, SC
words can give you but Written a glimpse of the artist known
as The Queen of Bluegrass, as deemed by the Wall Street Journal. But it’s only when you see this artist, that you can feel the energy and experience the excitement of her music, to truly know why she and her amazing band are the “Most Award Winning Band in Bluegrass Music History, with over 100 awards!” The Voice of Rhonda Vincent is the centerpiece, surrounded by the rhythms of each instrument; featuring the individual styles of the world class musicians that collectively make up The Rage. Their talent is unmatched. Each and every member can sing every part, and play every instrument. Their depth of skill sets the stage for the highest level of professionalism in every performance. World Class Musicians, and an Award Winning Voice seamlessly set the stage for a breath-taking, one-of-akind, must-see performance; that reaches beyond the boundaries of bluegrass music!
T H U R S D AY
APR. 25 2019
8:00pm at the Chapman Cultural Center 200 East Saint John St., Spartanburg, SC
their formal introduction Since to American audiences in
1997, The Krüger Brothers’ remarkable discipline, creativity and their ability to infuse classical music into folk music has resulted in a unique sound that has made them a fixture within the world of acoustic music. In their ever-expanding body of work – Jens Krüger (banjo and vocals), Uwe Krüger (guitar and lead vocals), and Joel Landsberg (bass and vocals) – The Krüger Brothers personify the spirit of exploration and innovation that forms the core of the American musical tradition. Their original music is crafted around their discerning taste, and the result is unpretentious, cultivated, and delightfully fresh.
SpartanburgPhilharmonic.org/bluegrass 21
left: Walker Copley plays banjo in his shop, The Watch Works; right: The Grascals kick-off the 2018-2019 season at the Chapman Cultural Center
Excitement grows
Bluegrass fans are eager for more
N
early 20 years ago, I first saw the Kruger Brothers perform at a festival in Anderson called “Rudy’s Bluegrass in the Woods.” I was so excited to go to the festival and see live music. I only remember two things about that show: one was a mandolin player that was so big his mandolin looked like a ping pong paddle, and the other was Jens Kruger’s banjo playing. I’ve played banjo since the early 70’s – a lot when I was younger, not so much when our kids came along, but got back to it again when life allowed. There are things I can’t play on the banjo, but I usually understand what the player is doing. I had no idea how Jens was getting that sound from his banjo. Often you’ll hear banjo playing described as amazing, but rarely described as beautiful. It was beautiful - and amazing - and joyful.
22
|
Walker Copley
Contributing Author
Years later, we went back to Rudy’s festival to see the Krugers again. We got there early so we could sit in the front row. I saw Jens before the show, and – always wanting to learn new stuff – I mustered my courage to ask if it would be okay to record the show. One of the wonderful things I’ve learned about bluegrass players is that they are happy to share their knowledge. I set up my video camera right in front of Jens and recorded the show. When I got home, I hooked it up to the TV to watch the whole thing over again. My wife was a little critical of my camera work: there was no Uwe, no Joel, and all I filmed of Jens were his hands. I wanted to try to decode his playing! We go to see the Kruger Bothers anytime we can. We’ve seen them play bluegrass, classical, and just about everything in between. Their latest album is German folk music including an accordion and clarinet. Who would even think of that! Last year we saw them with the Kontras String Quartet playing one of Jens’s original compositions. I can’t wait to see what they’ll do at the Chapman Center!
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From the Performers’ Perspectives:
“We had a wonderful time at the Chapman Cultural Center in Spartanburg. We could not have been treated any nicer, and as far as venues go, it’s about as pretty of a place as we ever get to play. The hospitality, the crew, the crowd, and the warm energy made a memorable night for sure.” — Darren Nicholson, Balsam Range “Spartanburg! We felt the love! We had a very fun, music-loving crowd. The venue supplied top-tier hospitality. We’d definitely recommend this bluegrass music series to any fan or artist!” — Della Mae 23
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5:30-6:30pm 6:30-7:30pm
Happy Hour Reception One-Hour Performance F R I D A Y
JAN. 25 2019
Piano Forte The Lomazov/Rackers Piano Duo takes the stage for this not-to-be-missed performance of two-piano favorites. Having garnered international acclaim for their magnetic performances, the Steinway Artists have performed in recitals and concerts all over the world. Husband and wife, Marina Lomazov (Winner of the 2006 SC Arts Commission Award) is Professor of Piano at the Eastman School of Music and Joseph Rackers is Professor of Piano at the University of South Carolina.
F R I D A Y
MAR. 29 2019
Music She Wrote From Fanny Mendelssohn (sister of famed composer Felix) to Florence Price (the first African American woman to have her music played by a major orchestra) to Caroline Shaw (youngest winner of the Pulitzer Prize), this program exclusively features the music of women composers. Join us in celebrating Women’s History Month with an inspirational and invigorating evening of music from the past to the present.
SpartanburgPhilharmonic.org/espresso 25
Women in Music
A Brave New World?
|
Carrie Leigh Page Contributing Author
“Unfortunately the work of a woman composer is preconceived by many to be light, froth, lacking in depth, logic and virility…” – Florence Price to Sergei Koussevitsky, 1943
“She plays like a man.” – Carl Zelert to Goethe, regarding Fanny Mendelssohn, 1831
T
wo women, over a hundred years apart, struggled to be heard and to be accepted as part of a canon that was unwaveringly old, white, and male. As Florence Price insinuates, the accidents of birth influence perception, judgment, and opportunity. Most of Fanny Mendelssohn’s compositions were published under the name of her famous brother, Felix. No critics noted a difference between the works of the good Hausfrau and her male sibling. How much of it would have been immediately discounted, though, if the real author had been known? When I first came to Spartanburg as a music student at Converse College, I had thought very little about women composers, or composition at all. My life took a significant turn in my freshman year, though: In the midst of a personal crisis, none of the music I was performing or studying seemed to say the things I wanted to say. I began to struggle with the muses of composition. Over
the years, I was privileged to have masterclasses with a few women composers and even study with a fellow female composer for a semester, but I rarely heard music by women performed live or even on the radio. There were no examples from music literature by women in my music theory textbooks, and there were only a handful of women composers mentioned in my music history texts. I felt rather like a member of an endangered species. In 2010, one of my works was selected for the annual concert of the International Alliance for Women in Music. I traveled to France for the concert and was enveloped for three days in the camaraderie of women composers. I suddenly realized I was not an endangered species. These were women from many countries, working in diverse schools of compositional thought as students, teachers, and freelancers, and they were but a small sample of the women composing all over the world. I returned home and perused
From left to right: Hildegard of Bingen, Fanny Mendelssohn, Florence Beatrice Price, Dosia McKay, Caroline Shaw
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my local symphony’s season and abruptly dropped back into reality. There were no works by women that year. Or the next year. Or the next. In a 1991 article for the New York Times, critic Edward Rothstein stated that “the lack of significant women composers is a historical fact that will not be changed by invoking percentage points.” He said this in response to a complaint by award-winning composer Joan Tower bemoaning this very lack of women composers in concert halls and textbooks. 27 years after Tower’s lament and Rothstein’s obtuse summation, there has been fundamentally little change in our concerts halls and classrooms. A Baltimore Symphony Orchestra report by Ricky O’Bannon showed the representation of women composers in major concert halls around the USA to be around 1.3% during the 2016-2017 season, and only 10% of the works by living composers were by women. My own survey of three of the most popular theory textbooks in 2016 showed that there were NO musical examples of female composers in the sections on music since 1900, and only scant references to female composers in other sections.
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Thousands of women across many hundreds of years still struggle to be heard. The fact is, women have been working in these musical canons alongside men all along. Suor Leonora D’Este’s madrigals and Francesca Caccini’s Ruggiero do not detract from the accomplishments of the Gesualdo or Monteverdi; they enrich our understanding of early Baroque. The records of the multi-talented Clora Bryant and Ginger Smock do not take anything from Dizzy or Bird. Julia Amanda Perry’s Stabat Mater more than holds up to those by Vivaldi, Poulenc, and Szymanowski and deserves regular programming in sacred concerts. Curators who commit to increasing gender parity in their musical programming find that there is a world of exciting “new” literature from every time period, in every genre, that can be found by including women. For those of you who think you have never heard music by women composers, I invite you to embrace a beautiful, brave, “new” world.
Carrie Leigh Page is the President of the International Alliance for Women in Music (IAWM), a composer, theorist, and educator. Born in Mississippi, she currently teaches K-12 music at the South Carolina School for the Deaf and the Blind. She lives in Spartanburg with her daughter and husband, fellow composer Nicholas Alexander Drake.
27
from top to bottom: Stefan visiting the Piedmont Club; Stefan with officers from the Spartanburg Police Department during filming of a public service announcement; the Philharmonic staff and guest conductor John Holloway at Ciclops Cyderi & Brewery preparing beer for the December Espresso concert.
Stefan Sanders
Our New Music Director
B
ugs Bunny was my first introduction to an orchestra conductor. You remember the cartoon. Bugs Bunny emerges in full tuxedo from backstage and his very presence demands a hushed whisper and a straight bowtie. His hyperbolic hand movements express impatience and even anger. He pushes his musicians to the point of exhaustion and appears to have no interest in humility or accessibility. He’s inflexibly unaware of the needs or feelings of the audience or musicians. Stefan Sanders is no Bugs Bunny. Stefan walked in the coffee shop dressed in jeans, a t-shirt, and a baseball hat. Over garlic cheddar biscuits and refills
28
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Meghan Blanton Smith Contributing Author
of coffee we discussed everything from Cuban food to the themes of the French Revolution; Spartanburg’s music history to taxidermy; barriers in accessing orchestra music to Teddy Roosevelt. The theme in each conversation was his passion for music and for people. It’s obvious that music is not Stefan’s job, it’s his soul. Anyone who has spent time with Stefan, even if just briefly in the hall after a performance or in passing somewhere downtown, knows that he is not an aloof caricature interested only in audience applause and reverence. On the contrary. He has the ability to connect personally with anyone that he meets. I observed this gift in full force at
the Nosferatu Espresso reception. He moved seamlessly through the lobby connecting with donors and lifelong symphony goers, fans dressed in full vampire costume, and kids who came out with a parent for a cultured evening. Stefan can make the music relatable because he himself is relatable. He knows that the days of the “vampire conductor” are over. And good riddance. Stefan sees himself as a conductor in its most basic definition: a conduit channeling electricity from one end to another. He’s an intermediary between the past and the present, helping “to interpret the composer’s intent and come up with the ‘why’ in order to inform the orchestra, help them to realize this meaning in the music, and ultimately turn them loose.” The music is a skeleton for the experience but the conductor, musicians, and audience work together to breathe life and meaning into the notes. At the root of Stefan’s approach and philosophy is trust. “It’s all about trust,” he says as he explains the unique trinitarian relationship between musician, conductor, and audience. That trust is founded on the music, developed through the rehearsal process, and maintained largely without words – a nonverbal gestural art-form, as he calls it. Not only does Stefan foster trust with the ensemble but he also seeks to develop it with the audience. He recognizes that each audience member is a unique individual and he trusts in their capacity to interpret the music in a way that is meaningful to them. One need not be proficient in Latin or have a music degree to appreciate the symphony. Instead, Stefan believes that “everyone is an expert on music because if you open your ears, eyes, mind, and heart and feel a piece of music then you’re an expert on that piece.” He sees his role as helping remove those barriers to make an otherwise complex experience relatable and personal. He is also a conduit between the Philharmonic’s past and its future. The organization’s wealth of historical significance attracted Stefan to his position. He spoke with reverence and wonder about Spartanburg as a regional cultural hub in the late 19th century as train routes created opportunities for cohorts of musicians and renown symphonies (including the NY Philharmonic and Boston Symphony) to come and play at Twichell. Stefan wants to bring greater awareness to this musical history. He looks forward to celebrating the Philharmonic’s history with programming that honors the rich past of the organization and region. To Stefan “the future of the Philharmonic depends on being able to make Spartanburg proud of that history.”
As the public face of the Philharmonic Stefan helps conduct the relationship between organization and the community. He strives to connect the orchestra to Spartanburg and vice versa, specifically focusing on making the experience and music accessible to all. One way he attempts to foster this relationship is through the Classical Conversations which take place directly before the Classics performances. Stefan believes the Philharmonic can and should be vehicle to connect the entire community to each other through a shared unifying experience. In Stefan’s mind the attempt at accessibility is routed in education, relatable programming, and creating opportunities for younger audiences to experience the symphony. The buzz and energy around the 90th season of the Philharmonic is palpable. Season subscriptions are up. The social media presence is strong. And the feedback has been positive. Although we are only in the opening movement of this new era, Stefan is already aware of the kind of legacy he wants to leave. He has cast a vision for the Philharmonic as a relatable organization that connects Spartanburg to its past music history and removes barriers to access for new audiences. He believes that “the success of this organization relies on how much we are able to make the story of the orchestra about this community.” Thriving orchestras seek to celebrate the strengths of a community as well as focus on areas that need to be highlighted. Stefan recognizes that he and Spartanburg are still getting to know each other. He has approached this new position with humility and the posture of a learner. But Stefan and Spartanburg favor each other. Both are relationally oriented and place a great deal of value on trust; both have a deep respect for history and use the past to inform a vision for the future; and both have a commitment to the arts and seek to find innovative ways to make them relatable to modern audiences. Stefan believes that Spartanburg is a fertile place to share his passion for music and for people. May it be the beginning of a long and fruitful relationship.
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Spartanburg Little Theatre 2018-19 Season
September 7-23, 2018
November 2-11, 2018
January 11-20, 2019
2018 ELIZABETH O’NEILL VERNER AWARD RECIPIENT
FRI., DECEMBER 7 7 PM SAT., DECEMBER 8 3 PM SUN., DECEMBER 9 3 PM
March 8-17, 2019
May 3-12, 2019
July 12-20, 2019 and the
Spartanburg youth Theatre 2018-19 Season
FRI., OCTOBER 19 7 PM SAT., OCTOBER 20 3 PM SUN., OCTOBER 21 3 PM
— T I C KET S: 8 6 4 - 5 9 6 - 9 7 2 4 ba l l et spa r ta nbu r g.o r g —
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Gen
era
l Ad
mis
Classical Conversations
sion
Sea
ting
6:00-6:30pm in the Auditorium Before each concert this season, join Music Director Stefan Sanders and Chris Vaneman for a fun and informative pre-concert chat and preview of the nights’ performances. Find out more about the music and how each piece fits together on the program. It’s a great way to start the evening and adds so much to the listening experience!
During Classical Conversations, please enter the auditorium and be seated as quietly as possible so as not to disrupt patrons who are enjoying the pre-concert chats.
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Joanna Mulfinger as Concertmaster in Sept. 2017 (top right); Music Sandwiched In, Mar. 2018 (bottom left); Heroes & Villains, Nov. 2018 (bottom right)
Meet Joanna Mulfinger
Concertmaster of the Spartanburg Philharmonic Joanna Mulfinger is a native of Greenville, SC. She graduated from Bob Jones University and continued her education at the Peabody Conservatory in Baltimore, MD, receiving a Masters Degree under the tutelage of renowned Russian pedagogue Victor Danchenko. While at Peabody, she was awarded the J.C. van Hulsteyn Prize for Outstanding Musical and Academic Contributions. She has pursued additional summer music studies at the Juilliard School in New York, the Hanns Eisler Hochschule Fur Musik in Berlin, Germany, and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and is currently on Adjunct Faculty at Anderson University where she teaches private violin and viola lessons, coaches student chamber ensembles, and conducts the String Ensemble. Joanna appreciates learning about all kinds of music. In 2016 she learned and performed a new work for erhu, a stringed instrument of Chinese origin. And, in 2017, as a result of her interest in Baroque violin playing, she started a Baroque String Ensemble at Anderson University. Joanna is an active musicians at the Peace Center in Greenville, where she enjoys playing with National Tours of Broadway
32
shows such as Disney’s Lion King, Chicago, Phantom of the Opera, My Fair Lady, White Christmas, Something Rotten, Motown, Newsies, Porgy and Bess, The Producers, Young Frankenstein, Evita, West Side Story, and Wizard of Oz, among others. She is also in demand to accompany local performances of popular touring artists such as Smokey Robinson, Celtic Woman, Trans-Siberian Orchestra, Josh Groban, Mannheim Steamroller, Anne Murray, Wayne Newton, and Johnny Mathis. As a chamber musician, Joanna is a member of several local ensembles including the Mulfinger String Quartet, Trio Tapestry (guitar, cello, violin) and Tryptich Musica (piano, horn, violin). She is an active orchestral musician. Since 2003 she has been the Principal Second Violin of the Greenville Symphony Orchestra. In 2007 she won the job of Assistant Concertmaster of the Spartanburg Philharmonic, and in 2017 was named (Interim) Concertmaster. Joanna performs on a 1653 Nicolo Amati violin, a violin she inherited from her mother.
Spartanburg Philharmonic
Orchestra Members & Chair Sponsors as of December, 2018
Violin I
Bass
Horn
Ian Bracchitta**, Principal
Anneka Zuehlke-King**, Principal
Matthew Waid, Assistant Principal
Chris George
Mrs. Donna Cart
J. Bret Alford
Andrew Merideth, Assistant Principal
Ms. Thelma A. Powell
Brian Gencarelli Jeff Stinson
Mark Frederick* Jeanette Schlimgen Darian Washington*
Joanna Mulfinger, Concertmaster
Mr. & Mrs. George Dean Johnson
Deirdre Hutton*, Assistant Concertmaster Mary Irwin
Robin Hague Els Amanda Gentile* Sharon Kerr-Lawrence Zoe Kushubar*
Mr. E.T. McLean, in memory of Henry Janiec
John Malloy Tania Moldovan Xiaoli Saliny* Alice Skaar*
Sarah Johnson, Concertmaster Emeritus
Violin II Callie Brennan*, Principal
Mr. & Mrs. Roger Habisreutinger
Michelle Guthrie*, Assistant Principal
Mr. & Mrs. John F. Verreault, III
Simone Beach Ann Buttimer
Laura Allen & Roger Sullivan
Melissa Dant* Theresa Jenkins-Russ Jessica Martin March Moody Michele Tate** Emily Wait
Viola Angie Jones*, Principal
Endowed by friends and family in honor of Wallace Eppes Johnson
Alvoy Bryan*, Assistant Principal
Mr. & Mrs. Ray Dunleavy
Diana Maley Berti** Matthew Darsey* Shelby Dickey* Amber Holden Katy Martin Michael Weaver
Mr. & Mrs. Jerry Cogan
Mr. & Mrs. Paul Lehner Mrs. Betty Dunleavy
Flute & Piccolo Rhea Jacobus, Principal
Mr. & Mrs. Peter Ellis Weisman
Caroline Ulrich
Mrs. Susan H. Baker
Jessica Sherer
Mr. & Mrs. Donald Wildman Mr. & Mrs. Joe Molfenter Dr. & Mrs. Tom Moore
Trumpet Tyler Jones, Principal
Mr. & Mrs. John R. Murphy
Kenneth Frick
Dr. John M. Bullard
Bruce Cox
Oboe & English Horn
Mr. & Mrs. Thomas P. Nederostek
Cody Beard
Ginny Metzger, Principal
Rachel & Ken Deems
Kelly Vaneman, Associate Principal
Mr. William Wilkinson & Mr. Robert K. Bellinger
Andrew Parker* Mary AllyeB Purtle
Ms. Joan B. Gibson
Trombone Mark Britt, Principal
Travis & Allison Sutton
Rienette Davis
Mr. & Mrs. Jerome R. Cogdell
Eric Henson
Clarinet
Tuba
Karen Hill, Principal
John Holloway, Principal
Dr. & Mrs. Louis Knoepp, Jr.
Harry Hill, Jr.
Mrs. Patricia Hudgens
Kyra Zhang
Mr. & Mrs. David Ellis
Bassoon Frank Watson**, Principal
Dr. Lois Ann Hesser and Mr. John Rungo
Rosalind Buda
Mr. & Mrs. Lawrence Flynn, Jr.
Dr. & Mrs. David Holt
Timpani Patrick Lowery**, Principal
Mr. & Mrs. J. Michael Kohler, Jr.
Percussion Adena McDaniel, Co-principal
Dr. Karen Czuba Gibson & Mr. Jimmy Gibson
Stephanie Lipka Rhyne
Matt McDaniel, Co-principal
Cello
Saxophone
Rick Blackwell* Del Burton Wesley Strasser*
Brenda Leonard, Principal
Tom Wright, Principal
Mr. & Mrs. Stanley Baker
Dr. Melinda Moretz
Mr. & Mrs. Bob Maddox
Kathy Foster, Assistant Principal
In Memory of Jean Kanode
Christine Lee
Lib & Rick Orr
Jean Anderson Chris Gratton* Lisa Hastings* Eric Scheider Benjamin Smith
Piano & Organ Brennan Szafron, Principal
Mr. James Cheek
Dr. Leslie W. Howard, Jr.
Harp Emily Waggoner, Principal
Mr. & Mrs. Lindsay Little
Kela Walton*
Karen & Stephen Parrott
*denotes substitute musician, playing 50% or more concerts in the 2018-2019 season **2018-2019 Orchestra Committee Member
33
Romeo & Juliet February 16, 2019 7:00 pm
| Twichell Auditorium
6:00−6:30pm : Classical Conversations with Stefan Sanders & Chris Vaneman
Casablanca Suite . . . . . . . . . . . . . . . . . Max Steiner
8 min
Don Juan . . . . . . . . . . . . . . . Richard Strauss 18 min
Intermission Selections from West Side Story . . . . . . . Leonard Bernstein
10 min
Romeo & Juliet Suite . . . . . . . . . . . . . Sergei Prokofiev
25 min
I. The Montagues and the Capulets II. Masks III. Romeo and Juliet IV. The Death of Tybalt V. Juliet’s Funeral and the Death of Juliet Programs subject to change
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|
Timings are approximate
A Note from the Music Director
“William Shakespeare’s Romeo and Juliet inspired many a composer to depict their tales of unrequited love. The Russian composer Sergei Prokofiev wrote the music for a ballet version of the play that instantly became so popular, the music alone was soon demanded in concert halls all over the world. We have crafted a suite of this ballet music that captures the entire story in Prokofiev’s incredibly descriptive musical language. Juxtaposed alongside Prokofiev’s Romeo and Juliet is Leonard Bernstein’s Selections from West Side Story, a short medley of tunes from the 1950’s retelling of Shakespeare, Richard Strauss’s Don Juan, the legendary story of the fictitious Spanish Casanova and his pursuit of true love, and music from one of the greatest romantic films of all time, Casablanca, by Max Steiner.”
Program Notes
Casablanca Suite Max Steiner (1888-1971)
Australian-born American composer Maximilian Steiner was a musical prodigy who studied with Johannes Brahms and Gustav Mahler. Between 1904 to 1914 he work in England, composing operettas and musical comedies. After the outbreak of World War I he moved to the USA where he arranged musical comedies on Broadway. Later he moved to Hollywood to work as an orchestrator and a composer of film music. His voluminous and highly praised works brought him the title, “father of film music.” Steiner was asked to produce the musical background for the movie Casablanca, which came out in 1942. Its star-filled cast included Humphrey Bogart and Ingrid Bergman along with others. The musical score illuminates and connects the political and romantic conflicts in the film.
The film was rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. The movie was a great success with the public and critics, bringing eight Academy Award nominations including Best Picture, Best Director, Best Screenplay, Best Actor Best Supporting Actor, Best cinematography, Best film Editing and Best Film Score. Much of the action of the movie is set in the American-owned nightclub located in the western Moroccan city of Casablanca. The customers vary widely from conspirators, refugees, Fascists, patriots to gamblers. This easygoing, nostalgic music is often interrupted by more dramatic and patriotic interludes.
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Program Notes
Don Juan Richard Strauss (1864-1949)
Born into a musical family (Richard Strauss’ father played principal horn in Wagner’s orchestra and his mother taught her four-year-old son at the piano) young Strauss began composing music when he was six and had his first piece published at age 12. By age 20 he had written a symphony, string quartet and violin concerto. Strauss’ first masterpiece came when the composer was just 24, with the writing of his tone poem Don Juan. The premiere performance on November 11, 1889 launched the young composer’s career as his name was heralded all across Europe. Strauss discovered his authentic voice in the symphonic/tone poem, a musical form that had been shaped largely by Franz Liszt. This style of musical composition evokes the image of a story or poem as the plot develops. Strauss chose his Don Juan character as the one created by the German poet Nikolaus Lenau (1802-1850).
Selections from
West Side Story Leonard Bernstein (1918-1990)
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The idea for the musical West Side Story originated with choreographer Jerome Robbins in 1949. He proposed setting a version of Shakespeare’s Romeo and Juliet in the slums of New York at the time of Easter-Passover celebrations. The original title was “East Side Story” and was to be a conflict between Jews and Catholics. However when it was realized that the tenements on the east side of Manhattan had all been razed, the setting was switched to the gang-dominated stretches of the Upper West Side.
As the Don is searching for the Ideal Woman he woos and then rejects numerous women. Finally, he is confronted by Don Pedro, a relative of one of his conquests, who challenges Don Juan to a duel. During the fight Don Juan sees the emptiness of his life and lowers his sword. He simply gives up. The sword of Don Pedro delivers a fatal thrust through heart and Don Juan dies. The music opens in a fiery flourish and rising pitch. Then we hear musical interludes that represent Don Juan’s sensuous love music, played as solos by violins, flute and oboe. When the end of the duel occurs there is a brief pause and the music ends softly in the minor mode with a few short notes plucked on the strings along with low winds and timpani.
Leonard Bernstein composed the musical West Side Story in 1957 portraying a modernized Romeo and Juliet, set in Manhattan’s Hell’s Kitchen neighborhood. Two rival gangs, the Sharks, made up of Puerto Ricans, and the Jets, referred to as “Americans” duked it out in song and dance. This story of ethnic rivalries, juvenile delinquency and doomed love, led Bernstein to use elements of jazz, rock and diverse national styles, honed through his training as a
Program Notes
West Side Story continued
classical musician. This music was overwhelmingly popular across the country and resulted in an enduring film version. In 1961 Bernstein selected a sequence of dance numbers from the musical score, which was orchestrated by Sid Ramin and Irwin Kostal as a suite. The dances are played without pause: Prologue, suggesting intense rivalry between the two gangs; Adagio, based on the song “Somewhere”; Scherzo, a joyful
Romeo & Juliet Suite Sergei Prokofiev (1891-1953)
Child prodigy Sergei Prokofiev was born into a well-to-do family in the Ukraine. By age six he was composing and playing the piano. At thirteen he became a student at the St. Petersburg Conservatory where his compositions, ranging from classical to experimental, earned him praise and criticism. He ventured to the United States in 1918 where his concerts drew considerable criticism. Then to Paris, where his modernistic works were more well accepted. Ultimately he decided that his homeland of Russia was where his soul should remain and he returned there in 1934. The political atmosphere in Russia was very restrictive to artists, forcing Prokofiev to ‘toe the line’. He abandoned his highly criticized modernism for his musical survival and restricted his compositions to a light or patriotic style.
dance between two adolescent boys; Mambo, re-ignites the smoldering rivalry between the two gangs; Cha Cha, the first conversation between the lovers Tony and Maria set to the music of “Maria”; Cool, a fugue which explodes into violence in the Rumble, in which the leaders of both the Jets and Sharks are killed. In the Finale, Tony dies in Maria’s arms and the music brings back memories of the dream music of “Somewhere.”
In 1934 the Leningrad Opera and Ballet Company commissioned Prokofiev to compose a ballet based on Romeo and Juliet. However because of the political atmosphere the premiere was not conducted in Russia, but rather in Brno, Czechoslovakia on December 30, 1938. In Shakespeare’s time-honored play, Romeo and Juliet, two warring families, the Montagues and the Capulets, find that Romeo, Montague’s son, and Juliet, a Capulet, have fallen in love. The drama concludes tragically with death of both lovers, bringing the ballet to a sad ending. Prokofiev composed individual movements to portray the action throughout the work.
continued on page 38
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Program Notes
SCENES
Romeo & Juliet continued
I. The Montagues and the Capulets
The Duke’s Command: The dramatic, dissident opening of Act I is followed by The Dance of the Knights: Here a military-style march of deep and dark nature is interrupted by a melodic, calm interlude. II. Masks
Masks: Romeo and his friend, Mercutio, arrive at the ball wearing disguises. Light airy music ensures while Juliet and her parents enter. Romeo falls in love with Juliet at first sight. Romantic longing music ensues. III. Romeo and Juliet
Balcony Scene and Love Dance: Romeo comes to Juliet’s balcony. The two declare their eternal love with a graceful dance in the courtyard. Interlude: This brass-filled march of short duration confirms the
Dukes Command. Juliet Alone: A quiet, pensive episode filled with questions and anticipations of love. IV. The Death of Tybalt
Mercutio: Romeo’s best friend is neither a Montague nor a Capulet. However he gets involved in the long-standing family feud on the side of the Montagues. Sadly, he is killed in a duel with Tybalt. V. Juliet’s Funeral and the Death of Juliet
Finale: This luscious romantic music speaks of the great sadness Romeo feels when he believes Juliet is dead. Juliet’s Funeral: Juliet is placed on a sarcophagus and carried to the burial tomb. Here she recovers from her own faked death. Juliet’s Death: After finding that Romeo has died by drinking poison, Juliet ends her own life by stabbing. Sad and dramatic music ends the ballet. by Dr. Joella Utley
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Beethoven’s 9
th
May 11, 2019 7:00 pm
| Twichell Auditorium
6:00−6:30pm : Classical Conversations with Stefan Sanders & Chris Vaneman
The Unanswered Question . . . . . . . . . . . . . Charles Ives 6 min
Symphony no. 9 in D minor, Op. 125 . . . . . . Ludwig van Beethoven
I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Finale Programs subject to change
|
15 min 12 min 16 min 24 min
Timings are approximate
Program Notes
The Unanswered Question Charles Ives (1874-1954)
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The music of American composer Charles Ives is hard to categorize. As stated by Jan Swafford, “[It] refuses to settle into any convenient slot in Western tradition.” Ives explored modernist music including polytonality, polyrhythms, dissonant counterpoint, atonality and more. With all of these technics he added recognizable marches, hymns, patriotic music and ragtime. Not
well recognized or appreciated in his early days, Ives was awarded the Pulitzer Prize in 1947 for his Symphony No. 3, written 43 years earlier. Today Charles Ives is regarded as one of the first to project a distinctly American voice to music. Charles’ father, George Ives, was a musician who encouraged his
A Note from the Music Director
“Ludwig van Beethoven’s monumental 9th Symphony and its setting of Friedrich Schiller’s poem Ode to Joy, has become synonymous with freedom around the world ever since it premiered in 1824. The symphony itself depicts in its four movements man’s search for enlightenment, a humane progression that Beethoven pioneered in his symphonic forms, further catapulting the man and his music to the forefront of the romantic movement. Attending a performance of Beethoven’s 9th symphony live is truly an unforgettable experience and we are thrilled to be able to present it to you this season. Perhaps searching for meaning and reflecting on one’s pursuit through their art is the definition of what it means to be an artist. The most poignant musical question ever asked was written in 1908 by the American composer, Charles Ives. His remarkable piece The Unanswered Question sets the stage for Beethoven’s affirming 9th Symphony.”
Program Notes
Unanswered Question continued
son in music. In his teens Charles became a professional church musician. Father George taught his son to be experimental in his music, while he also taught him to be practical – to continue composing but get a day job to support himself and his family. Thus, Charles Ives started and ran one of the most successful insurance agencies in the United States and composed music as a hobby. Always a shy man, Ives was somewhat withdrawn from society, but his loving and nurturing wife, Harmony Twichell, ever encouraged him. One of Ives’ most performed works, The Unanswered Question (1908, revised 1930-35) is a study in contrasts. The unanswerable question is: What is the meaning of existence? Three sections of instruments enter into a conversation. The strings, which Ives calls “the silence of the Druids,” give a
sense that the universe is unchanging, as they play in soft, serene, slowly changing tonal phrases. Then the trumpet asks “the perennial question of existence” with a five-note phrase (Bb-C#-E-E-Cb). The woodwinds try to answer the question, but cannot agree among themselves. So the trumpet poses the question again and again (seven times total). The woodwinds, which Ives calls “the fighting answers,” get more and more frustrated with each attempt to answer, and their music becomes more and more dissonant. After the seventh question the woodwinds simply remain silent while the strings slowly and softly drift away into nothingness. Aaron Copland, who often conducted this composition, considered it to be “among the finest works ever created by an American artist.”
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Program Notes
Symphony, no. 9
in D minor, op. 125
Ludwig van Beethoven (1770-1827)
Ludwig van Beethoven’s final symphony, Symphony No. 9, has been lauded by many: “The music has become the sound of the hopes and dreams of humankind,” and ”One of the supreme achievements in the history of western music.” Composed during the years 182224 Beethoven wove the themes of the Enlightenment into his work. The world at that time was going through several revolutions. The American colonists had won freedom from the British. The French Revolution had occurred. Napoleon was fighting in Vienna and declared himself Emperor, which infuriated Beethoven who saw all of humankind as equal. Beethoven had been toying with the idea of adding soloists and a choir along with the orchestra, something that had not been done in symphonic writings before. He had long wanted to write music for Schiller’s “Ode to Joy” for its humanistic message. The Ninth has the conventional four movements with the slow movement placed not second, but third. Each section is unusually large. The opening Allegro, brings a spirit of awe through its shimmering tremolo in the violins. The theme then grows to a spirit of passion and intensity
to the end of this first section. Next the Molto Vivace/Presto, a scherzo, expresses great joy with rapid rhythmic movement interrupted in its mid section with a hymn-like melody for oboes and clarinets. The Adagio has been called “one of the noblest movements in music,” showing human compassion and lofty thoughts. Then in the final movement the orchestra introduces the soloists and finally the entire chorus singing Schiller’s poem (see below). Beethoven who was almost totally deaf while composing this last symphony, stood before the orchestra and chorus at the premiere (May 7, 1824) as if he were conducting. In actuality, the musicians had been instructed to follow the lead of the choirmaster, Michael Umlauf, throughout the performance. When the music ended the Beethoven couldn’t hear the audience’s burst of applause. Only when the contralto soloist, Carolyn Under, tapped him on the shoulder and turned him around did he see his public applauding wildly. There were five standing ovations; handkerchiefs in the air, hats, raised hands so that Beethoven, who could not hear the applause, could at least see the ovations. by Dr. Joella Utley
Ode to Joy Friedrich Schiller (1759-1805)
O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen, und freudenvollere.
Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!
Freude! Freude!
Joy! Joy!
Ode to Joy continued
Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.
Joy, beautiful spark of divinity, Daughter from Elysium, We enter, burning with fervor, heavenly being, your sanctuary! Your magic brings together what custom has sternly divided. All men shall become brothers, wherever your gentle wings hover.
Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund!
Whoever has been lucky enough to become a friend to a friend, Whoever has found a beloved wife, let him join our songs of praise! Yes, and anyone who can call one soul his own on this earth! Any who cannot, let them slink away from this gathering in tears!
Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.
Every creature drinks in joy at nature’s breast; Good and Evil alike follow her trail of roses. She gives us kisses and wine, a true friend, even in death; Even the worm was given desire, and the cherub stands before God.
Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.
Gladly, just as His suns hurtle through the glorious universe, So you, brothers, should run your course, joyfully, like a conquering hero.
Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über’m Sternenzelt Muß ein lieber Vater wohnen.
Be embraced, you millions! This kiss is for the whole world! Brothers, above the canopy of stars must dwell a loving father.
Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.
Do you bow down before Him, you millions? Do you sense your Creator, O world? Seek Him above the canopy of stars! He must dwell beyond the stars.
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Corporate Partnerships When arts and businesses partner, everyone profits. With corporate partnerships, our concerts and events provide invaluable exposure to prospective and current clients, educate the public about your business initiatives, offer networking opportunities with clients, and provide benefits for employees. For full details regarding our Corporate Partnership packages, please contact: Kathryn Boucher, Executive Director kboucher@spartanarts.org
Corporate Partners
F O U N D A T I O N
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These programs are funded in part by the Chapman Cultural Center, its donors, the County of Spartanburg, and the South Carolina Arts Commission which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of SC.
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Spartanburg Philharmonic Annual Fund
We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic. This list reflects gifts received July 2017 through June 2018
Benefactor ($15,000+) Mr. & Mrs. William Barnet III Dr. Joella Utley Mr. & Mrs. Kurt Zimmerli Maestro ($10,000-$14,999) Dr. Karen Czuba Gibson & Mr. Jimmy Gibson Mr. & Mrs. George Dean Johnson The Alfred Moore Foundation Virtuoso & Podium ($5,000-$9,999) The Arkwright Foundation The Carlos Moseley Trust Mrs. Patricia Hudgens
Baton ($2,500-$4,999) Anonymous Ken & Rachel Deems Mr. & Mrs. Roger Habisreutinger Mr. & Mrs. J. Michael Kohler, Jr. Mr. & Mrs. Peter Ellis Weisman Mr. & Mrs. Donald Wildman
Principal ($1,000-$2,499) Ms. Laura Allen & Mr. Roger Sullivan Mr. & Mrs. Stanley Baker Mrs. Susan H. Baker Dr. Barry Bodie & Ms. Laurel D. Johnson Kathryn & Jeff Boucher Dr. John M. Bullard Mrs. Donna R. Cart Mrs. Elizabeth S. Chapman Mr. James Cheek Mr. & Mrs. Jerry Cogan Mr. & Mrs. Jerome R. Cogdell Mrs. Betty Dunleavy Mr. & Mrs. Ray Dunleavy
Mr. & Mrs. David Ellis Mr. & Mrs. Lawrence Flynn, Jr. Ms. Joan B. Gibson Dr. Lois Ann Hesser & Mr. John Rungo Dr. & Mrs. David A. Holt Dr. Leslie W. Howard, Jr. In Memory of Jean Kanode Dr. & Mrs. Louis Knoepp, Jr. Mr. & Mrs. Paul Lehner Mr. & Mrs. Lindsay Little Mr. & Mrs. Bob Maddox Mr. E.T. McLean Mr. & Mrs. Joe Molfenter
Dr. & Mrs. Tom Moore Dr. Melinda Moretz Mr. & Mrs. John R. Murphy Mr. & Mrs. Thomas P. Nederostek Lib & Rick Orr Karen & Stephen Parrott Ms. Thelma A. Powell Dr. Terry O. Pruitt Travis & Allison Sutton Mr. & Mrs. John F. Verreault, III Mr. William Wilkinson & Mr. Robert K. Bellinger
for more information about donor levels or supporting the Philharmonic, visit us online at:
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SpartanburgPhilharmonic.org/give-now
Fellow Musician ($500-$999) Anonymous Dr. & Mrs. Mitchell Hurst Allen Ms. Karen E. Bjelland Mr. & Mrs. Thomas Blexrud Mr. Robert Borden Dr. & Mrs. James E. Bradof Mr. & Mrs. Allen Daryl Doyle Mrs. Alice M. Eberhardt Ms. Elaine T. Freeman Mr. and Mrs. Steve Fowler
Dr. & Mrs. J. Sidney Fulmer Mr. Peter Grzan Ms. Elizabeth Crews and Mr. Ben Burke Howell Mr. & Mrs. Stewart H. Johnson Mr. & Mrs. Jack McBride Mr. & Mrs. V. C. McLeod, III Mr. & Mrs. Don Miles Dr. & Mrs. Peter Sereque Mr. & Mrs. Brand Stille Mr. & Mrs. Joseph B. Traywick, II
Patron ($150-$499) Mr. & Mrs. Michael Baird Mr. & Mrs. Charles Baxter Mr. Stephen Blake Mr. & Mrs. Ken Boucher Dr. John Burchfield Dr. & Mrs. William W. Burns Bill & Martin Cooper-Meek Mr. & Mrs. Dick Crenshaw Mr. & Mrs. Ken Deems Ms. Nancy Freeman Rainey Mr. & Mrs. Ryan Gaylord Mr. & Mrs. James D. George Mr. Gerald Ginocchio Dr. & Mrs. Robert J. Haas Ms. Laura Henthorn Ms. Joann Hoffmeyer Mr. & Mrs. Robert Houston
Mr. & Mrs. Robert E. Hyatt Mr. & Mrs. Williams James Mr. & Mrs. Max Jent Mr. & Mrs. Stephen Johnson Ms. Sally Kay Mr. & Mrs. Ray Kenney Mr. Vince J. Krydynski, Jr. Mr. & Mrs. Bruce Lueck Mr. & Mrs. Robert Lyle Ms. Brenda Lytle Mr. Gaines H. Mason, Jr. Mr. & Mrs. Hearon McCravy Mr. John N. McNamara Mr. & Mrs. Fritz Mezger Mr. & Mrs. Thomas Miller, Jr. Ms. Cabell Mitchell Mr. & Mrs. George Nixon
Mr. & Mrs. Ronald O’Neill Mr. & Mrs. Charles L. Powell Mr. & Mrs. Mortimer R. Sams, III Mr. & Mrs. John A. Schwartz Mr. & Mrs. Mack Secord Betsy Neely Sikma & Jason Sikma Mr. & Mrs. Garrett Snipes Mr. Tracy Theo Mrs. Martha I. Tiller Mr. Robert Troup Mr. & Mrs. Gregory Wade Mrs. Ted Wagner Mr. & Mrs. Marshall T. Walsh Mr. & Mrs. William Walsh Mr. & Mrs. Andy Wright Mr. & Mrs. Robert L. Wynn, III
Members ($50-$149) Ms. Carolyn Alexander Mr. & Mrs. Jim Badger Ms. Nancy Bane Ms. Barbara Barnes Ms. Cissy Barnes Mr. & Mrs. John Bennett Mr. Markus Bolliger & Mr. Stephan Bolliger Mr. & Mrs. Grier Bomar Dr. & Mrs. Mark Bound Ms. Alyson Campbell Mr. Mark Carlson Mr. & Mrs. George E. Case, Jr. Mr. & Mrs. Luciano Cont Ms. Patricia Cook Mr. & Mrs. Paul Cote Mr. Perrin Q Dargan, Jr Dr. C. Edward Davidson Mr. & Mrs. Jack Gowan
Mr. & Mrs. David L. Gowing Dr. & Mrs. Marvin Hevener Ms. Mary Ann Hipp Ms. Cindy Howe & Mr. Dan McBride Mr. & Mrs. Bob Ireland Ms. Ann Karegeannes Mr. & Mrs. Wood Lay Ms. Cornelia Linder Mr. & Mrs. George Loudon, Jr Mr. & Mrs. Kingsley Martin Mr. & Mrs. Paul McChesney Dr. Cavert K. McCorkle Ms. Carol B McCulloch Mr. & Mrs. Boyce Miller Ms. Bonnie-Lee Mizzell Ms. Bonnie H. Monson Dr. & Mrs. Mark Monson Ms. Pamela Nienhuis Ms. Jean Ogden
Mr. & Mrs. David Painter Mr. & Mrs. Gary T. Poole Mr. & Mrs. Jan Postma Mr. Wilbur H. Reames, Jr. Dr. & Mrs. Justin Schütrumpf Ms. Prudence S. Scott Dr. & Mrs. Bertram C. Sippola Mr. & Mrs. Chris Strickland Mr. & Mrs. Ray Sturm Mr. Akira Terawaki Mr. & Mrs. William Tolstedt Mr. & Mrs. Dean Turner Mr. Arnold Tuttle Dr. & Mrs. Robert Watson, Jr. Dr. & Mrs. Douglas Weeks Dr. & Mrs. Richard Weir Ms. Linda West Mr. & Mrs. John Worthen
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Educate: Beethoven’s Genius
One moment in the 9th that changed everything
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hat makes a piece of music great? And what do we mean, anyway, by “great?”
Great thinkers across the millennia have proposed answers — Plato in The Republic, Barry Manilow in “I Write the Songs,” innumerable others in between — but a definition has continued to elude us. All we can agree on, it seems, are characteristics, and one of those characteristics is that a great piece can be approached fruitfully in many different ways. Such, unquestionably, is true of Beethoven’s Ninth. I’d like here to approach the Ninth by examining a single moment, one of the most remarkable moments in all of Western music. This moment occurs 325 bars into the celebrated choral finale (around 50-55 minutes into the piece, for those of you who elect not to spend the performance counting downbeats on your fingers, toes, and arm hairs). By this point in the Finale, Beethoven has considered and rejected all his previous movements’ themes, introduced the beloved “Ode to Joy”, and built it out by layering soloists and chorus singing Schiller’s poetry.+ As they’ve spun out Schiller’s vision of joy as the gift of God that unites all living creatures, singers and orchestra have already transformed the symphony’s stated key, D minor (a key, incidentally, that musicians historically associated with weight and solemnity — “the saddest of all keys,” as Nigel Tufnall puts it), into its triumphant parallel, D major. Now, as Schiller’s text paints the climactic picture of God appearing in glory before worms and angels alike, Beethoven uses every harmonic trick at his disposal to whirl us to what surely must be a massive and triumphant climax in the new home key, D Major. It’s at this moment that something amazing begins to happen. Beethoven has spent the last 150 bars setting us up to anticipate that here, following almost 200 years of convention, the bass will leap up just as an upper voice will step down, and all our expectations will be met with a longawaited arrival on D. The choir repeats the words, “And the angels stand before God,” and, on its final statement of those last words, the floor drops out and the heavens open: the bass plunges down more than an octave to an F, of all things, the tenors leap up to a higher F. Just when the jaws of the harmony were set to close inexorably on the resolution we all were expecting, they’re flung open wide and embrace a wider range than any listener (especially in 1824) had imagined possible.
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Chris Vaneman
Contributing Author
And what happens now? That D would have been a sensible, predictable ending, a satisfying arrival at a wellearned harmonic home. The F, on the other hand — it opens up a vast, unexpected, and unexplored harmonic vista: evidently the host standing before God is going to prove bigger and more varied than we’d imagined. What happens is that, after a silence for which the phrase “pregnant pause” seems to have been created, the contrabassoon makes what etiquette handbooks would have euphemistically called a “Rude Noise.” As the listener is left to think, “No way! That can’t be right!” the noise is repeated, and reveals itself to be a B-flat pulsed rhythmically by the bassoons and the other winds. Cymbal, bass drum, and triangle chime in, and the piccolo enters
with what we recognize as the Ode to Joy tune, grotesquely transformed into what listeners in 1824 would have seen as the cheapest and most vulgar of musical formats — the Turkish march. Identifiable by its characteristic instrumentation (primitive percussion and the noisiest of wind instruments) and repetitive, galumphing rhythms, the Turkish march as a genre was familiar to Beethoven’s audiences in the same way that a polka or hillbilly tune might be familiar to us: we may not recognize the specific song, but we can identify the style within seconds. And the Turkish march wasn’t merely vulgar. It parodied the military music of the alien enemy, the Austrian Empire’s bête noire, the Muslim Ottoman Turks. For centuries the two empires had warred over their common borders in Eastern Europe, and the faiths each represented had been uncomfortable neighbors at best. Consider that for a moment. In Beethoven’s music as in Schiller’s text, the heavens open and we are standing, at last, before God. But, we find, it’s not just Us. Marching this way, joining the celebration, are our former enemies, in all their crude glory. Sharing our melody, a heroic tenor leads them into the most exalted of musical practices, counterpoint, and before long their Ode has been swept into ours. Everyone, no matter how vulgar or blasphemous we may have imagined him to be, has his place before Beethoven’s God. All this happens in a matter of seconds. And, to be sure, Beethoven isn’t done yet, as the Ode provides material for another 200 bars of exploration to follow. But its significance can’t be overstated: it is the grandest universalist statement in all of music, the grandest expression of the faith that animated Beethoven, and the grandest expression of a faith that continues to animate millions.
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Spotlight: Musicians of the Philharmonic Diana Maley Berti | viola originally from Spartanburg, SC
Now in her 10th year with the Spartanburg Philharmonic, Diana serves as the Chair of the Orchestra Committee. She holds degrees from Furman and Winthrop Universities. In addition to the Philharmonic, Diana also plays with the Hendersonville Symphony Orchestra.
Favorite Piece: Rimsky-Korsakov’s Scheherazade Favorite Movie: White Christmas Coffee or Tea: Coffee with cream, or even better, cappuccino!
“I like to read, cook, and travel. My husband is from Italy, so we try to visit once a year!”
Rienette Davis | Trombone originally from Cleveland, SC
Rienette has performed with Spartanburg since 1999. In addition to the Philharmonic, Rienette also plays with the several other ensembles in the region including the Asheville Symphony Orchestras, Biltmore Brass, and the Brevard Philharmonic.
Favorite Piece: Rachmaninoff’s Symphonic Dances Other Instruments: Euphonium, Tuba, French Horn Famous Artists with whom you have performed: Ray Charles, Tony Bennett, Clay Aiken, Kenny Rogers, Bobby Shew... and many others!
“As a hobby, I enjoy making art: painting, drawing, crafts, etc.”
Christine Lee | Cello
originally from Korea, raised in Toronto, Canada For over 13 years, Cris has been a member of the cello section of the Philharmonic. Also a conductor, she directed the ensemble for the wildly successful Espresso concert, “Chaplin au lait” in 2017. She holds degrees from the University of Cincinnati: CollegeConservatory of Music and Bob Jones University.
Other Instruments: Piano, Oboe, and Double Bass Favorite Movie: Lord of the Rings Trilogy Coffee or Tea: Green Tea
“In my spare time, I also play volleyball and badminton, and I love to cycle.” 50
Patrick Lowery | Timpani originally from Savannah, GA
Joining shortly after the arrival of Sarah Ioannides, Patrick has been with the orchestra for 12 years. He holds degrees from University of Georgia, University of Tennessee, and Converse College. In addition to the Philharmonic, Patrick is a full time music teacher at Woodland and Skyland Elementary Schools.
Other Instruments: Piano, Guitar, and the Ukulele Favorite Movie: Goodfellas Coffee or Tea: Coffee in the morning, tea in the afternoon
“My favorite hobby is spending time with my family and watching college football.”
Matt Waid | Bass
originally from New Orleans, LA
Matt has been with the orchestra for since 2009. He holds multiple performance degrees from the Cleveland Institute of Music. In addition to the Philharmonic, Matt currently plays with the Greenville, Asheville, Hendersonville, Charleston, Hilton Head, and Savannah symphony orchestras.
Other Instruments: Piano and Guitar (though I’m not really that good at either!) Favorite Music: Beethoven symphonies and Arvo Pärt Coffee or Tea: Coffee - with no sugar!
“I’ve been a message therapist in downtown Greenville for 10 years. I feel fortunate to have two jobs (music and massage) that I really love and am passionate about!”
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Inspire: A Young Audience at Twichell
Reflections on the 90th Season Celebration Concert |
T
he Spartanburg Philharmonic had a lively 90th birthday celebration. The event consisted of five pieces that were all written over ninety years ago. All of the pieces were enjoyed by the audience and left them wanting to hear more. The five pieces were not only beautiful but were played with a lot of passion. Along with the exceptional orchestra, the new conductor Stefan Sanders portrayed his love of music through his movements and emotions. For example, when the songs were quiet, he was crouched down exaggerating what he was trying to portray to the audience. Mr. Sanders was also very outgoing and cracking jokes as he was talking to the audience.
cool how the instruments were played in alternative ways. For example, the violins playing their instruments like a ukulele. I also enjoyed how as the song went on, it gradually got louder, and how the snare drum played the same rhythm over and over again throughout the whole piece.
The talented musicians were also very exaggerated in their movements, as you could tell they were ecstatic to be there performing. The orchestra members would sway back and forth so you could tell that they were enjoying the beautiful music that they were creating.
After the main concert everyone gathered for a 90th birthday celebration reception. We celebrated with cake and were able to meet Mr. Sanders along with the rest of the orchestra. I would like to thank them for this experience that was incredibly beautiful.
My favorite pieces from the show were Rhapsody in Blue and BolĂŠro. I enjoyed Rhapsody in Blue because I thought that the pianist was amazing. It was so neat to see that he had memorized a sixteen-minute song and had many different techniques like having his hands crossed over one another. I enjoyed BolĂŠro because I thought that it was
Below: the Philharmonic opens the season with the Star Spangled Banner (photo: Mike Corbin); Right: Madison Cooksey prior to the concert.
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Madison Cooksey Contributing Author
Enrich: Jennings Cavin Intern Spotlight
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Rachel Hansen Former Staff
It’s 9:00am on a Tuesday morning, and I eagerly await the arrival of Converse College sophomore, Jennings Cavin – or, as she is more affectionately known at the Philharmonic, Intern Jennings. With two last names, this young lady was born to do great things. Jennings joined the Spartanburg Philharmonic team as an intern after volunteering to usher for one of our Classics concerts in Twichell Auditorium. One of my favorite things to do is to be able to give the “hype” speech right before concert time. “Smile!” I say, “Thank you!” I say, and always “Contact me if you’d like to do an internship or volunteer with the Spartanburg Philharmonic.” Jennings contacted me right away, and her speedy responses via email tipped me off early that she would be an exceptional worker. Jennings spent her 2018 Spring semester working between 5-10 hours a week in the office. She did everything from calling Season Subscribers to remind them of our early-bird discounts to daily ins-and-outs of office work. She helped organize ushers for our Espresso and Classics events and played a huge part in getting our event posters downtown (so that whenever you’re stuck at a stoplight on Main and Church, you’d have a clear view of what concert you should be excited about next). In a recent heart-to-heart conversation with Jennings, she said that - thanks to her internship - she has gained more confidence and clarity on what she wants to do when she grows up. A Music Education major at the beginning of the year, Jennings has since switched her major to Flute Performance and picked up a minor in Arts Management. This job, she says, helped and inspired her to take on this new path as she saw how it fit more with her personality and what she enjoys doing. “Internships are such a good way to help you realize what you are really interested in. You can study and learn things in class, but you start seeing a bigger picture when you actually get into the work force. Interning with the Spartanburg Philharmonic has allowed me to understand how the Arts affect our community. On top of that, seeing what energy and effort goes into producing a concert is humbling. Every event has a different checklist and being able to see the accumulation of small day-to-day tasks come to fruition on Concert day is amazing. Everything falls into
place, and you feel a great sense of accomplishment; one of those ‘I-helped-with-the-success-of-this-concert-type feeling.” she adds. Jennings dreams of a day when the Spartanburg Philharmonic unites all people because of their love for music. In particular, she is excited that we offered another POPS concert this year. “I love that we are separating music from movies so that kids can enjoy the music for itself rather than hearing it in the context of a film. I know that lots of young people love Disney and superheroes, so giving them an opportunity to listen to the music alone, and appreciate the music for what it is, with all of its colors and nuances, without seeing a flying broomstick or a fantastical fight scene, is exciting.” As an accomplished musician herself, she encourages audience members to enjoy music whenever they get a chance. “Take every opportunity to listen to good music. Musicians have dedicated their whole lives to providing you with an exceptional experience. If you get a chance to see a concert, you should, and don’t limit yourself to attending concerts that perform music you know. Come to the Beethoven 9th concert next Spring or the Espresso concert ‘Music She Wrote’ featuring all women composers.” On whether or not she plans to continue interning her junior year, Jennings’s enthusiastic “YES!” says it all. Catch Jennings volunteering at our Espresso concerts this season or selling merchandise at the Spartanburg Philharmonic table. She’d love to say hello.
For more information on interning or volunteering, contact music@spartanarts.org or read more on our website: SpartanburgPhilharmonic.org/volunteers-interns
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Educate: Link Up
Student Spotlight: Will Burgess
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Rachel Hansen Former Staff
“Music makes me happy and I think the more you listen to it and learn to play it, the happier you will be.” – William Truman Burgess
T
hose are some wise words from Anderson Mill Elementary 5th grader, Will Burgess who happens to be one of my piano students. In March of 2018, Will and his friends made performed with the Spartanburg Philharmonic through the Link Up program. Link Up is the Philharmonic’s music education program in partnership with Carnegie Hall, providing every 4th grader in Spartanburg county with an instrument--the recorder. Music teachers are also provided with a free music curriculum that enables them to prepare their students for their big performance with the Philharmonic. Take a moment to imagine four thousand 4th graders with their recorders playing exciting music with the Orchestra. It’s pretty incredible (and loud). This year, Link Up was a particularly special one for me. It was not only my first Link Up experience, but I knew Will would be there participating with his school. When I heard, “Miss Rachel!” from the audience after the performance, I beamed with pride. Will walked down the center aisle of Twichell Auditorium and gave me a hug, which I hear from his mom, can be a pretty rare thing. Will had just played with the orchestra and he was grinning. He had to run back
to his school line, but I told him we’d catch up later. When the staff was thinking about a Link Up article for this magazine, I wondered what the whole experience would be like from a child’s perspective. I know for the Staff, it is one of the most rewarding days of our season, but what is it really like for a 4th grader to play with a professional orchestra? So, the idea of interviewing Will was born. I sent Will a few questions in preparation for this article and was really excited to read about his experience. What struck me the most is how the Link Up curriculum and his music teacher, Mrs. Vickie Bishop, have impacted his love for learning and surrounding himself with music.
“
Our teacher, Mrs. Vickie Bishop, is amazing! She spent a lot of time working with us and helping us practice in class. In Music Visions, we have the opportunity to perform at different events, like Dickens of a Christmas and with the Spartanburg Philharmonic. Mrs. Bishop helps us so that we are always prepared to play our best.
Will Burgess shows his recorder; the orchestra tunes as a part of the Link Up show; students eagerly await the concert.
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“1”
Music Visions is considered a Gifted Program at Will’s school. It allows the best and brightest musicians an opportunity to be more immersed in music. “I’ve learned more about playing notes and about preparing for a performance. I was already doing some of that in piano, but I get to learn in Music Visions with my friends, which always makes it more fun. I especially enjoy learning from Mrs. Bishop because she is fun!” Clearly, fun is key for learning in 4th grade. When I asked Will what he thought about Link Up, he said, “I really enjoyed our trip to Twichell. I had been there before for my sister’s dance recitals, but I had never been there for a music performance, so it was neat to see everyone performing in such a large concert hall.” I realized that I take Twichell for granted since I am there often but to a 10-yearold, it is truly something to behold. I think back to my first time performing in Twichell as part of Converse College’s Festival Chorus and remember the breathtaking sounds that I heard for the first time. Besides “Music Visions” and learning piano with me, Will is now in orchestra learning to play cello. “It was at [the Link Up] performance that I decided that I wanted to learn to play the cello. I was definitely interested in seeing all of the instruments. My older brother Ian plays the viola at the
Dorman Freshman Campus, so I thought I might want to play viola. Once I saw the cello, though, I knew that that was the instrument I wanted to learn.” Once Will got his cello from school, he was sure to bring it by his piano lesson. It was fun seeing him unzip his cello bag and try to figure out how to get the instrument out. Will named the different parts of the cello to me and we both worked on getting his bow rosined so he could bow a few notes. It was a really sweet moment for me. I have always known that Will was learning piano as a foundational instrument to learning the guitar, but I was excited that his musical journey was taking a turn toward the cello. It also made me think about all of the music teachers out there who inspire their students every day and work so hard to get them to play their instrument well. Equally as important is the experience of playing with other musicians and being able to enjoy a performance. In Will’s case, Link Up may very well have changed the trajectory of his musical journey but we will have to wait and see! One thing I do know for sure is that it truly is an honor and a joy to be a part of a young child’s discovery of music. So, I’ll end here with Will’s advice: Listen to music and/or learn to play it, because it will make you happy.
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Enrich: Music Trail Unveiling
Celebrating Spartanburg’s Musical History
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group of music lovers came together on a warm September morning to honor two more legends of Spartanburg’s rich music history. On Sept. 26, 2018 the Spartanburg Philharmonic officially unveiled the newest signpost after taking custody of the Spartanburg Music Trail in 2016. The Trail is a series of signs throughout downtown Spartanburg dedicated to the phenomenal musicians that have come from the Hub City. The Trail’s newest inductees are displayed on a double sign honoring Rev. Julius “June” Cheek and Gianna Rolandi. This is the first sign to be unveiled by the Spartanburg Philharmonic. Kathryn Boucher, Executive Director for the Philharmonic, is pleased to continue the trail and continue “celebrating Spartanburg’s musical heritage.” The Trail originated from Peter Cooper’s 1997 book “Hub City Music Makers,” and was created by the Hub City Writers Project. “(Cooper) discovered people our community had forgotten about,” Betsy Teter, founder of the Hub City Writers Project, said. A graduate of Wofford
Leigh Jenkins
Contributing Author
College, Cooper was surprised by the “staggering” number of musicians that claim Spartanburg origins. His interviews and eventual book were a chance to look at the musicians that “are made in this place.” Six signs were originally placed around downtown; the number has grown to ten. Twenty artists are now honored along the trail, which allows walkers to learn about the musicians’ histories and use their phones to listen to music. The Philharmonic became custodian of these markers at a remarkable time in its own history. The orchestra marks the beginning of its 90th season this year and has welcomed a new conductor. Stefan Sanders, the Philharmonic’s seventh music director, recently moved here from Buffalo, N.Y. saying “I am happy to be the newest member of this vibrant community’s strong musical heritage.” Sanders, Teter, and Boucher spoke at the unveiling about Spartanburg’s musical history and their joy in sharing it with others.
additional information is available online at:
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SpartanburgMusicTrail.com
from left: Mayor Junie White with Stefan Sanders; Betsy Teter and Chris Jennings speak to the crowd; Mayor White unveils the new sign; Hub City Music Makers, the book that inspired the Music Trail; Sanders with Lt. Lee Raines, who has attended every unveiling since the Trail began
The Spartanburg Philharmonic is honored to celebrate the work of gospel legend Rev. Julius “June” Cheeks (above left) and renowned soprano Lady Gianna Rolandi (above right) with a new stop along the Music Trail. The sign is located near the intersection of W. Saint John Street and N. Spring Street in downtown Spartanburg.
The Honorees
Connections
The Rev. Julius “June” Cheek was discovered in the 1940s by Rev. B.L. Parks of the Dixie Hummingbirds. He joined a group that became the Sensational Nightingales.
Sanders is pleased we are honoring Rolandi, whom he has met through a very good friend who is engaged to her niece.
As an adult he taught himself to read by listening to records of the Bible, eventually becoming a reverend. His music “put me in a fantastic mood,” Sanders said, and influenced such artists as James Brown and Wilson Pickett. He passed away in 1981 at the age of 51.
“What a small world,” Sanders said.
Gianna Rolandi is an opera soprano who spent most of her childhood here in Spartanburg. In the 1970s she performed with the New York City Opera, the Metropolitan Opera and the Lyrica Opera of Chicago. In the 1980s, she toured Europe and appeared in two TV productions of Live from Lincoln Center. Rolandi has returned to Spartanburg to give concerts three times during her career and is now retired with her husband, conductor Andrew Davis.
Rolandi is not just connected to the Philharmonic’s new Music Director. She is also the daughter of a former voice professor at Converse College — as is fellow opera singer David Daniels, whose own Music Trail sign is less than a block away. Cheeks is also associated with another Music Trail musician – Ira Tucker, who led the Dixie Hummingbirds. “Cheeks grew up idolizing Ira Tucker, who was only four years older,” Cooper said in his book. Together, Tucker and Cheeks can be credited with influencing dozens of musicians, from Paul Simon to B.B. King. Cheeks’ influence on James Brown is so profound that Cooper calls him the “Godfather to the Godfather of Soul.”
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CCC Annual Fund Donors July 1, 2017-June 30, 2018 Individual Donors Founders’ Circle Mr. Frederick B. Dent, Sr. Mr. & Mrs. Jimmy I Gibbs Mr. & Mrs. George Dean Johnson, Jr. Mr. & Mrs. J. Michael Kohler, Jr. Mr. & Mrs. Thomas P. Nederostek Mr. & Mrs. Geoffrey Wilson President’s Circle Mr. & Mrs. Robert W. Allen Mr. & Mrs. Willam Barnet III Mr. & Mrs. Bert Dixon Barre Mrs. Elizabeth S. Chapman Mr. & Mrs. Geordy Johnson Mr. & Mrs. Walter S. Montgomery, Jr. Mr. & Mrs. Peter Weisman Pacesetter Mrs. Darelyn Arduser Mr. & Mrs. Charles J. Bradshaw Mrs. Donna Cart Mr. & Mrs. MacFarlane L. Cates, Jr. Ms. Beth C. Cecil & Ms. Isabel Forbes Mr. & Mrs. E. Dixon Crenshaw, Jr. Mrs. Angelina P. Eschauzier Mr. & Mrs. C. Sloan Evans Ms. Jennifer Clark Evins Mr. James H. Grier Mrs. Linda Hannon Mr. & Mrs. L. Barry McNaughton Mr. & Mrs. Corry W. Oakes III Mr. & Mrs. Robert P. Richardson V Mr. & Mrs. Michael K. Young Leader Dr. & Mrs. G. Ashley Allen Dr. & Mrs. Mitchell H. Allen Mr. & Mrs. Andrew M. Babb Mr. & Mrs. Vic Bailey III Mr. W. D. Bain, Jr. Mr. & Mrs. Stanley W. Baker Mr. & Mrs. John P. Barber Mr. & Mrs. Thomas G. Barnet Mr. & Mrs. H. Walter Barre II Mr. Kyle Riser & Ms. Virginia Benintende Mr. & Mrs. William D. Blackford Dr. & Mrs. James E. Bradof Mr. & Mrs. George Brandt III Mr. & Mrs. Robert A. Brannon Mrs. Mellnee G. Buchheit Dr. John M. Bullard Mr. & Mrs. Ethan R. Burroughs Mr. & Mrs. William H. Burton III Dr. & Mrs. Fritz Butehorn Dr. & Mrs. B. Brant Bynum Mr. & Mrs. Bill A. Caldwell Dr. & Mrs. Ernest Camp III Mr. & Mrs. Christopher L. Cannon Mrs. Marjorie Cannon Mr. & Mrs. William Z. Cannon Ms. Kathleen M. Cates Mr. & Mrs. C. Cam Cecil Mr. Douglas M. Cecil & Dr. Julie J. Cecil Mr. & Mrs. Randall K. Chambers Mr. & Mrs. Norman H. Chapman Mr. & Mrs. William Cobb Mr. & Mrs. Jerry A. Cogan, Jr. Mr. & Mrs. Jerome R. Cogdell Mr. & Mrs. William M. Coker The Honorable & Mrs. J. Derham Cole, Sr. Mr. & Mrs. Justin Converse Mr. & Mrs. Martin S. Cornelson Mr. & Mrs. Paul J. Coté Mr. & Mrs. Kenneth R. Couch Mr. T. Kenneth Cribb, Jr. Mr. George Crow Mr. & Mrs. Christopher Crowley Mrs. Earlene G. Cyrill Mr. & Mrs. Frederick B. Dent, Jr. Mr. & Mrs. Chris A. Dorrance Mr. & Mrs. Raymond A. Dunleavy Mr. & Mrs. Andrew J. Falatok Mr. Willis B. Fitch Mr. & Mrs. A. Gordon Floyd Mr. & Mrs. W. Russel Floyd Mr. & Mrs. Lawrence E. Flynn, Jr. Ms. Cordelia L. Fort Ms. Elaine T. Freeman Mr. & Mrs. H. Laurence Fritz, Jr. Dr. & Mrs. J. Sidney Fulmer, Sr. Mr. & Mrs. Jamie S. Fulmer, Jr. Mr. & Mrs. John W. Gandy Mr. & Mrs. William P. Gee Ms. Joan Gibson Mr. & Mrs. Barney G. Gosnell Mr. & Mrs. Roger Habisreutinger Mr. Steven A. Hairfield Mr. & Mrs. Troy M. Hanna Mr. & Mrs. Thomas E. Hannah, Sr. Dr. & Mrs. John A. Harrill, Jr. Ms. Elisabeth E. Hayes Mr. Gaetan Hemond & Ms. Lisa Hemond Mr. & Mrs. J. Howard Henderson Mr. William C. Hightower & Dr. Mary Lou S. Hightower Dr. & Mrs. Michael W. Holmes Mr. & Mrs. Michael Hrubala Mrs. Patricia Hudgens Mrs. Elsa P. Hudson Ms. Sarah Chapman Jackson Louise & David Johnson Mr. & Mrs. Stewart H. Johnson, Sr. Ms. Wallace Eppes Johnson Dr. & Mrs. Julian C. Josey, Jr. Dr. Joseph Kavanagh & Dr. Julie Kavanagh Dr. & Mrs. Harry W. Kinard Dr. & Mrs. Sonny King Dr. & Mrs. Wood N. Lay Mr. & Mrs. Paul H. Lehner Mr. & Mrs. William Lowndes III Dr. & Mrs. W. Brownlee Lowry Mr. & Mrs. William Alan Lyles Mr. & Mrs. Jason C. Lynch Mrs. Nancy T. Lyon Mr. & Mrs. William Mayrose Mr. & Mrs. John S. McBride, Jr. Dr. & Mrs. Thomas R. McDaniel Mrs. Sonia B. McDuffie Mr. Thomas P. McMeekin Mr. & Mrs. Leslie L. McMillan, Jr. Mr. Stanford M. McMillan Mr. & Mrs. Michael L. Menard Don & Mary Miles Mr. & Mrs. D. Byrd Miller III Mr. Scott K. Mitchell Mr. & Mrs. William H. Mitchell Mr. & Mrs. John D. Montgomery Mr. & Mrs. Walter S. Montgomery IV Mr. & Mrs. William James Montgomery Mr. John K. Moore & Ms. Susan Bridges Mr. & Mrs. Thomas F. Moore Mr. & Mrs. King Mueller Mr. & Mrs. George Nixon Mr. & Mrs. J. Patrick O’Shaughnessy
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Price Albert Diaz Mr. & Mrs. Francis P. Quantz
Mr. Michael A. Rainey Mrs. Eileen N. Rampey Dr. Charles Reback & Dr. Melissa Walker Mr. & Mrs. John E. Reeves Mr. & Mrs. Timothy Remaley Mr. & Mrs. C. Eugene Rickell Mr. & Mrs. Andrew Rickis Mr. & Mrs. Harold Roberts Mrs. Joanne Rogers Ms. Kathryn P. Ruffle Mr. & Mrs. John P. Rutter, Jr. Ms. Kaye Savage Ms. Millie S. Schliske Mr. & Mrs. Wayne H. Scholtes Mr. & Mrs. John A. Schwartz Dr. & Mrs. John R. Scott Harold E. Shaw Mr. & Mrs. James W. Shaw Mr. Bertram Sippola Mr. & Mrs. Danny R. Smith Ms. Olivia Jean Smith Mr. & Mrs. Roland Smith Mr. & Mrs. Richard Snow Mrs. Myra G Soderlund Mrs. Jane B. Spann Mr. & Mrs. Eugene M. Spiess Mr. & Mrs. A. Clary Sprouse Ms. Montana Stambaugh Mr. & Mrs. Billy L. Stark Mrs. Millie Stirzaker Mr. & Mrs. Marshall C. Stone, Jr. Mr. & Mrs. Edwin H. Story Dr. & Mrs. James R. Story Mr. & Mrs. Richard Strasburger Mr. & Mrs. Ernest G. Stringer Mr. George Swearingen Ms. Joan E. Swenson Ms. Jean Sydnor Mr. & Mrs. Michael S. Tanner Mr. & Mrs. Preston J. Tassin Mrs. Catherine A. Terrell Ms. Melanie Terry Mrs. Elizabeth W. Teter Mr. Tracy Theo Mrs. Mary L. Thomas Mrs. Martha I. Tiller Mr. & Mrs. Marion E. Tisdale, Sr. Dr. Aaron M. Toler & Dr. Kimberly F. Toler Mr. & Mrs. Thomas A. Tucker Mrs. Marilyn M. Varner Mr. & Mrs. Richard Vieth Mr. & Mrs. Kenneth Voronin Mr. & Mrs. Marshall T. Walsh Mr. & Mrs. William E. Walsh Mr. & Mrs. Garth Warner Ms. Nancy Warner Dr. & Mrs. Thomas L. Warren Mr. & Mrs. Marshall P. Washburn Mr. & Mrs. Adair Watters III Mr. & Mrs. Thomas F. Webster Ms. Mary Ellen Wegrzyn Drs. Richard & Lisa Weir Mr. & Mrs. Clyde O. Wells, Jr. Dr. & Mrs. Friedrich V. Wenz Mr. & Mrs. Mark D. Wesson Mrs. Linda S. West Mr. & Mrs. Robert F. Whaley Dr. & Mrs. David M. Whisnant Mr. & Mrs. Charles H. White Mrs. Kaylene B. Wilber Mr. Jerry Willard Mrs. Angela Willes Dr. & Mrs. Norman R. Williamson Mr. Jeffrey R. Willis Mr. & Mrs. Winston Wingo Mr. & Mrs. David Wood Mr. Brad Wright Mr. & Mrs. Wesley P. Wright Friend Dr. & Mrs. Fred F. Adams III Ms. Janet Allison Mr. Shawn Amatriain Mrs. Anne S. Anderson Ms. Jeanette R. Anderson donor Anonymous Ms. Deborah Apoldo Mr. & Mrs. Adam Ashcraft Ms. Charlotte Babb Ms. Kelly Babusci Ms. Martha Badger Mr. & Mrs. J. P. Baehr Mr. Lamar Baehr Ms. Frances J. Bagwell Mr. & Mrs. William E. Bagwell Ms. Laurie Ballenger Ms. Rose Barrett Mr. & Mrs. Gilbert Bartell Mr. & Mrs. Samuel Bass Ms. Lucy Bennett Ms. Susan Bennett Mr. & Mrs. Sam F. Betsill Ms. Sherri Birch Mr. & Mrs. C. D. Bishop Mr. & Mrs. Louie W. Blanton Mr. Markus Bolliger Mrs. Holly Bomar Ms. Krystal Branham Mr. & Mrs. Dan C. Breeden, Jr. Ms. Elizabeth Brendle Mr. William Bridgeman Ms. Heaven Briggs Ms. Sarah Brown Mrs. Elizabeth Burrell Mr. Mark W. Buyck Mr. & Mrs. Macon E. Byce III Ms. Olivia Byers Mr. & Mrs. R. Henry Calhoun Ms. Steva Campbell Ms. Jacqualyn Canada Mr. & Mrs. Andrew H. Cannon Mr. & Mrs. Calvin Cannon Ms. Tina Cantrell Mr. Mark Carlson Ms. Lisa Carroll Sam G. Carros Mr. & Mrs. Harrold H. Carson Ms. Jean Case Ms. Bethany S. Cecil Jennifer Cetto Dr. Jeannie Chapman Ms. Emily Chester Ms. Dianne Chines Mrs. Marianne Clark Ms. Lora Clary Mr. & Mrs. Dale Clift Mr. & Mrs. William K. Coggins Ms. Shirley Coleman Mr. Ellison Coles Ms. Elizabeth Colson Mr. & Mrs. John R. Conlon Ms. Patricia Cook Mr. & Mrs. Walter B. Cope Mr. Michael Cox
Dr. Eugene N. Crabb Ms. Donna Creedon Mrs. Geraldine R. Crenshaw Mr. & Mrs. James W. Crocker, Jr. Ms. Elizabeth Crowe Mr. Raymond P. Crum Ms. Dodie Cubitt Mr. & Mrs. Frederick Cuneo Mr. & Mrs. David W. Damrel Ms. Victoria Darwin Mr. Todd Davidson Mr. James Davignon Mr. Zachary Davis Ms. Frankie W. Deal Ms. Linda Dedrick-Savoie William Delorm Ms. Nancy O. Demo Ms. Renee Denton Ms. Donna Depaol Ms. Kathy Deshields Mr. Chris Desoiza Mr. & Mrs. Arnie W. Diaz Mr. & Mrs. Dennis Dill Mrs. Julie Dillon Mr. & Mrs. Christian Doerholt Anonymous Donor Mr. & Mrs. David L. Drum Mr. & Mrs. David Dupré Mr. George W. Durham III Tracy Eggleton Mr. Frank Ellerbe Jr. Mr. & Mrs. Barry A. Ellison Mr. & Mrs. Stephen C. Emmerth Mr. Ronald English Mr. & Mrs. William English Ms. Rita Eubanks Dr. & Mrs. Henry J. Fagen, Jr. Ms. Jodale Fails Ms. Patricia Faulkner Ms. Kathleen Mary Fitzpatrick Mr. & Mrs. Richard D. Fleck Allen Folger Mr. & Mrs. Thomas A. Fortune Mr. & Mrs. Donald S. Frank Mr. & Mrs. Michael Free Ms. Teresa Freeman Ms. Gaetana Friedman Mr. Robert Frost Mr. & Mrs. Theodore W. Gage, Jr. Dr. & Mrs. Ron Garner Debbie Goodman Mr. David M. Graham Mr. & Mrs. D. Benjamin Graves Mr. Brian Gray Mr. & Mrs. Glenn W. Greer Mr. Robert Grubb Mrs. Ann B. Haar Mr. & Mrs. George Hairston Mr. & Mrs. Arlis S. Hall Mr. & Mrs. Edward Y. Hall Mr. & Mrs. Robert A. Harbison III Ms. Cindy Hardin Ms. Delphine Harding Ms. Valerie J. Hare Ms. Jan Harmon Ms. Fannita Harris Ms. Joyce Hawkins Ms. Regina Hawkins Ms. Lavonya Haywood Ms. Marilyn Hazel Ms. Debora Herman Mr. Diquan Herndon Jeffrey Herndon Ms. Dawn Hess Ms. Anne Hester Ms. Anne Ivy Hicklin Mr. Keaton Hinze Mr. & Mrs. Tyler Hoffman Mr. Charles Hopkins Mr. & Mrs. Jerry J. Howe Mr. Austin Hubbard Ms. Debra Huffman Ms. Jane Hughston Mr. & Mrs. William H. Hunsucker Mrs. Alice M. Hurst Ms. Tammy Hutcherson Dr. & Mrs. David G. Ike Ms. Carlie Ingle Ms. Michelle Ingram Ms. Rita Ivey Mr. & Mrs. Bobby D. Jackson Ms. Dianne Jackson Dr. & Mrs. William A. James Ms. Yolanda Jamison Mr. & Mrs. Michael J. Jank Ms. Linda Jeffries Mr. Joseph L. Jennings Mr. Leroy Jetet Mr. & Mrs. David N. Johnson Mr. Joseph Johnson Ms. Mary Anne Johnson Mr. Samuel E. Johnson III Mr. & Mrs. Jesse E. Johnston, Jr. Mr. & Mrs. Rick Jolley Mr. & Mrs. C. Roland Jones, Jr. Ms. Kelle Jones Ms. Cathryn Judice Mr. Wilton B. Kanode Ms. Ann H. Karegeannes Ms. Rachel Kearse Mr. & Mrs. Don R. King Mr. John King Mr. & Mrs. Josef Kislik Ms. Billie Klopfenstein Ms. Mary Knight Mr. & Mrs. Craig Kocisko Mr. & Mrs. Edward G. Kranz Mr. Seher Kul Ms. Amanda Kurtz Ms. Suzette Laney Ms. Donna Lanford Ms. Theresa Langford Ms. Lori Lee Mr. Mason Lee Ms. Lynn Levesque Mrs. Betty J. Lewis Mr. & Mrs. Herbert E. Lindsay Ms. Carolyn Littlejohn Mr. Gene E. Logan Ms. Judy L. Lowry Ms. Elizabeth Luthringer Mr. & Ms. Al Lynch Mr. & Mrs. C. Randolph Mahaffey, Jr. Ms. Hunter F. Mahon Mr. & Mrs. John V. Manatis Mr. & Mrs. Todd Manke Mr. Bobby Martin Mr. & Mrs. Charles A. Martin Mr. & Mrs. Kingsley R. Martin Ms. Mildred Martino Mr. & Mrs. John S. Mason Mr. Jesse Massingill Mr. & Mrs. Donald B. McAbee Mr. & Mrs. Rhett McCraw
Mr. Philip Mccreary Mr. & Ms. Will Mcgirt Mr. & Mrs. George P. McIntyre, Jr. Mr. & Mrs. Troy F. McKinney Mrs. Doris McLallen Mr. David M. Kushubar & Dr. Lizabeth McLeod Mr. & Mrs. Dan J. McPherson Mr. Fred Mead Mr. Raymond J. Merlock Ms. Jennifer Metts Anita Miller Ms. Kerry Mills Mr. Brandon Mimnaugh Mr. & Mrs. Michael Minsky Mrs. Kathryn Mitchell Ms. Bonnie Mizzell Mr. & Mrs. Robert T. Monaghan, Sr. Mr. & Mrs. Taylor Moody Ms. Karen Moore Mr. & Mrs. Larry E. Moore PJ Morrow Dr. & Mrs. Lisa J. Muehlenbein Mr. Carlton Mullinax Mr. Ronald Murray Ms. Madelyn Nettles Ms. Betty J. Newman Mr. & Mrs. H. Dean Norman Mr. & Mrs. Jim W. Norman Ms. Alexandra North Mr. Michael Norton Mrs. Jamie M. O’Connell Mr. Timothy Odell Ms. Melinda Oliva Ms. Leisa Omara Mr. Christopher Orr Mr. & Mrs. Bryan Pack Mr. & Mrs. Gilbert E. Parker Mr. & Mrs. Raymond Keith Patterson Mr. & Mrs. Stephen L. Patton Mr. Lance Paulman Mr. & Mrs. Marion B. Peavey Mr. Daniel Pedersen Mr. John Pederson Ms. Sara Peller Ms. Brooke Perry Mr. Tyrone Perry Mr. & Mrs. Licio S. Pesaro Mrs. Joan Petry Ms. Helen Christine Phillips Mr. & Mrs. John C. Phillips Ms. Tomeka Pierce Mr. Joseph Pinilla Mr. David Pittman Mr. Trevor Pittman Mr. David Pitts Mr. & Mrs. Rick Placak Ms. Sharon D. Porter Dr. & Mrs. Robert W. Powell, Jr. Ms. Abby Pretulak Ms. Katina Pruitt Mr. Garroll Purvis Ms. Lillian Quantz Ms. Mia Quesenbury Mrs. Nancy Rayner Ms. Patricia Repp Mrs. Sylvia Rex Mr. & Mrs. James R. Reynolds Ms. Naomi Richardson Mr. & Mrs. Mario Rivera Ms. Bridget Rogers Mr. & Mrs. Jefferson T. Rousey III Mr. & Mrs. D. Paul Rudisill, Jr. Ms. Jessica Russo Mr. Mortimer Sams Mr. Rex Schultz Ms. Vandy Scoates Mrs. Stephanie Seay Mr. & Mrs. Rogers & Clint Settle Mrs. Sara A. Setzer Mr. & Mrs. Matthew J. Shealy Ms. Kimberly M. Smith Ms. Margaret A. Smith Dr. & Mrs. Nalin K. Srivastava Mr. David Steading Mr. William Grady Stewart Mr. Frank Stone Mr. Robert Strait Mr. & Mrs. Robert William Stravolo Mr. & Mrs. Christopher S. Strickland Mr. & Mrs. William D. Strickland Mr. Frankie Suddeth Allison Sumerel Ms. Sharon Suydam Dr. Brennan Szafron Ms. Merike Tamm Ms. Brittany Taylor Mrs. Kimela Taylor Ms. Mary Taylor Mr. & Ms. George Thomason Mrs. Martha P. Thomason Mr. William Thomson Christopher Timmons Ms. Jacqueline M. Todor Ms. Trish Tolstedt Ms. Christina Touth Mr. & Mrs. Deno P. Trakas Mr. & Mrs. Michael D. Trammell Mr. David Trott Mr. & Mrs. James D. Trout, Jr. Mr. Charles A. Tulloh & Dr. Malinda M. Tulloh Ms. Katalin Tus Mrs. Jean S. Vaughn Mr. Sam Veremchuk Mr. & Mrs. Joseph Waddell Ms. Michelle Waldrup Mr. Joseph Walton & Elizabeth Steel-Walton Ms. Karen Warren Mr. & Mrs. Andrew Waters Mr. & Mrs. Herbert H. Welsch Mr. John Welter Mr. Barry West Mr. & Mrs. Jack L. West Mr. Jacob West Mr. & Mrs. Mike West Mr. & Mrs. Nigel P. West Ms. Kathleen Wildfeuer Mr. Joel Williams Ms. Mary Lou S. Williams Mr. Randolph Williams Dr. & Mrs. Michael H. Willmot Mr. Farrell Wilson Ms. Margaret Wilson Mr. Cooper Wolfe Dr. Robert Wood Mr. & Mrs. Clarence J. Wright Ms. Paula Wynn Mr. & Mrs. Paul E. Yoder Ms. Katherine Zemla
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