Spartanburg Philharmonic - HearHere, Fall 2022

Spartanburg Philharmonic

Volume 94, Fall 2022

We are Music

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Volume 94, Fall 2022

200 East Saint John Street Spartanburg, SC 29306 864.948.9020

INFORMATION Calendar of Events . . . . . . . . . . . . . . . . . . . . . . . . 4 Ticket Information . . . . . . . . . . . . . . . . . . . . . . . . 5 Your Visit to the Philharmonic . . . . . . . . . . . . . . . . . 5 Spartanburg Philharmonic Board of Directors . . . . . . . . 7 Spartanburg Philharmonic Staff . . . . . . . . . . . . . . . . 8 Spartanburg Philharmonic Orchestra Committee . . . . . . 9 Corporate Partners & Funders . . . . . . . . . . . . . . . . 10 Spartanburg Phiharmonic Annual Fund . . . . . . . . . . . 12 Legacy Society Funds . . . . . . . . . . . . . . . . . . . . . . 15 Music Director Search Timeline . . . . . . . . . . . . . . . 28 Spartanburg Philharmonic: Our Story . . . . . . . . . . . . 30 Instruments of the Orchestra . . . . . . . . . . . . . . . . . 32 Spartanburg Philharmonic Musicians . . . . . . . . . . . . 35 Link Up: A Performer's Perspective . . . . . . . . . . . . . 79 Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . 82 Compose Your Own Subscription . . . . . . . . . . . . . . 82 Up Next... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

CONCERTS Zimmerli Series: Scheherazade & Other Tales . . . . . . . 37 Espresso Series: Chai Cello . . . . . . . . . . . . . . . . . . 45 Bluegrass Spartanburg: Frank Solivan & Dirty Kitchen . . 47 An Evening of Divertimentos & Dressage . . . . . . . . . . 49 Youth Orchestra: Fall Fever . . . . . . . . . . . . . . . . . . 51 Zimmerli Series: Fantasy & Firebird . . . . . . . . . . . . . . 57 Espresso Series: Jazz Java . . . . . . . . . . . . . . . . . . . 65 Zimmerli Series: The Nutcracker . . . . . . . . . . . . . . . 67 Bluegrass Spartanburg: Appalachian Roadshow . . . . . . 75

ARTICLES From the Board President & Executive Director . . . . . . . 6 Spotlight: Barry Bodie . . . . . . . . . . . . . . . . . . . . . 16 5 Questions for our Guest Conductors . . . . . . . . . . . 26 Meet: Joanna Mulfinger, Interim Concertmaster . . . . . 34 Spotlight: Fayssoux McLean . . . . . . . . . . . . . . . . . . 46 The Magic of Tradition and Community . . . . . . . . . . . 72 Spotlight: Cabe Loring . . . . . . . . . . . . . . . . . . . . . 77 Spotlight: Intern Julia Smart . . . . . . . . . . . . . . . . . . 81

BEYOND THE SYMPHONY The Espresso Series . . . . . . . . . . . . . . . . . . . . . . . 18 Bluegrass Spartanburg . . . . . . . . . . . . . . . . . . . . . 19 Music Sandwiched In . . . . . . . . . . . . . . . . . . . . . . 20 Spartanburg Music Trail . . . . . . . . . . . . . . . . . . . . 22

Authors Diana Maley Berti Melanie Coblentz Sally Frick Kordell Hemphill

Photographers Courtney Oliver Julia Smart Laura-Clare Thevenet Chris Vaneman

Anna Bandy Kavin Bradner Jimmy Gibson Kordell Hemphill

Peter B. Kay Mark Olencki Brian Smith

Design Peter B. Kay Larry Williams

Connect with the Spartanburg Philharmonic!

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

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CALENDAR OF EVENTS

FALL 2022

Zimmerli Series (page 37)

Youth Orchestra (page 51)

Espresso Series (page 18)

Music Sandwiched In (page 20)

Bluegrass Spartanburg (page 19)

Special Events (page 49)

Event

Date

Venue

August Carolina Players Band

Wed 8/24

Spartanburg County Library

Songs of the Folk

Wed 9/7

Spartanburg County Library

Ensemble Radieus

Wed 9/21

Spartanburg County Library

Scheherazade & Other Tales

Sat 9/24

Twichell Auditorium

Chai Cello

Fri 9/30

Chapman Cultural Center

Cellosmith

Wed 10/5

Spartanburg County Library

Frank Solivan & Dirty Kitchen

Fri 10/14

Chapman Cultural Center

Converse Chorale

Wed 10/19

Spartanburg County Library

An Evening of Divertimentos & Dressage

Wed 10/20

Tryon International Equestrian Center

Fall Fever

Sun 10/23

Twichell Auditorium

Arbor Wind Trio

Wed 11/2

Spartanburg County Library

Fantasy & Firebird

Sat 11/5

Twichell Auditorium

Fayssoux McLean

Wed 11/16

Spartanburg County Library

Jazz Java

Fri 11/18

Chapman Cultural Center

Emily Waggoner, Harp

Wed 11/30

Spartanburg County Library

The Nutcracker

Fri 12/9

Twichell Auditorium

The Nutcracker

Sat 12/10

Twichell Auditorium

Appalachian Roadshow

Sat 12/10

Chapman Cultural Center

The Nutcracker

Sun 12/11

Twichell Auditorium

Philharmonic Brass

Wed 12/14

Spartanburg County Library

September

October

November

December

SpartanburgPhilharmonic.org/Events 4

TICKET INFORMATION SpartanburgPhilharmonic.org/box-office-venues

Twichell Auditorium

Chapman Cultural Center

Spartanburg Philharmonic

Box Office Hours 10:00 AM - 2:00 PM, M-F

Box Office Hours 10:00 AM - 5:00 PM, T-Th 10:00 AM - 2:00 PM, F

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

(864) 596-9724

(864) 583-2776

(864) 278-9671

580 East Main Street Spartanburg, SC 29302

200 East Saint John St. Spartanburg, SC 29306

200 East Saint John St. Spartanburg, SC 29306

Call for: Zimmerli Series & Youth Orchestra Individual Tickets

Call for: Espresso & Bluegrass Series Individual Tickets

Call for: Season Tickets

YOUR VISIT TO THE PHIL Restrooms: Restrooms in Twichell Auditorium are

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

Seating: Twichell Auditorium uses a reserved seating

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

Ticket donation: We are unable to issue refunds for

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

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

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.

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

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A NOTE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR talented young musicians expand their symphonic knowledge and participate in high-quality performances with dynamic conductors. We are just beginning to measure the educational and vocational impact on their lives. SPYO is our future.

We are 4 Espresso Concerts – a social hour with complimentary drinks and hors d’oeuvres - followed by a one-hour concert so you can jump into downtown for dinner. A perfect date night.

We are 4 grass-roots Bluegrass Spartanburg Concerts, offering our famous Spartanburg hospitality at our toetapping concerts at Chapman Cultural Center and lobby concerts by local bluegrass artists.

We are music.

We are excited about our bright future ahead.

We are celebrating our 94th Season and Spartanburg Philharmonic continues to serve audiences and our community through meaningful musical experiences like the recent EPIC Zimmerli concert performing Mahler’s 1st Symphony. Under the baton of Music Director Finalist John Concklin, that concert will be remembered as one of the most moving and inspiring performances in our history.

We are in the process of choosing the next Music Director/Conductor. We eagerly anticipate a new artistic voice in our organization and community who will enrich our lives through memorable performances, bringing fresh perspectives on familiar classics while exploring new, relevant sounds.

We are the co-beneficiary of once-a-year world class equestrian event called Divertimentos & Dressage in Tryon, NC – combining live orchestral music with dressage- and we will receive half of the proceeds earned from the efforts of Sally Frick, our beloved flutist, who dreamed of combining her two passions to support them both.

We are 2 thriving Youth Orchestras (SPYO) that are an integral educational investment of the Spartanburg Philharmonic organization. The SPYO is where 125+

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We are 18 free Music Sandwiched In Concerts to an intergenerational audience eating picnic lunches at our Downtown Library offering a wide range of musical genres from local musicians.

We are 150+ professional musicians and educators, whose life’s work is to transport audiences with the grace and passion of every note played. Our musicians juggle complex calendars, travel our interstates, spend nights away from home, teach, give back and give forward to produce this universal language that we love so dearly.

We are hundreds of local 4th graders arriving at Twichell Auditorium in a parade of school buses, who engage in wiggly, giggly concerts of beloved classical pieces performed by our full Spartanburg Philharmonic orchestra at our nationally acclaimed Link Up Concerts.

We are untold numbers of past and present board members, staff, community volunteers, professional leaders, teachers, audience, subscribers, donors, and sponsors - all combining diverse backgrounds and resources to create a powerful sense of place through music.

We are warmly welcoming you to join in the excitement.

We are music.

Karen Parrott

President of the Board of Directors

Kathryn H. Boucher Executive Director

BOARD OF DIRECTORS

Karen Parrott President

Dr. Cabe Loring President Elect

Karen Bjelland Treasurer

Chris Strickland Secretary

Chip McLeod Past President

Dr. Barry Bodie

James Cheek

John Cribb

Dr. Mark Ferguson

Peter Grzan

Laura Henthorn

Dr. Chandra Hopkins

Dr. Ohmar Land

Samantha Larkins

Francie Little

Judy McCravy

Alex Hunt North

Dr. Rick Orr

Bert Shuler

Tamela Spann

Helen Tipton

Kate White

Dr. Meisha Whitlock

Kelsey Wilkes

Dr. Sidney Fulmer Lifetime Board Member

HearHere: Fall 2022

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PHILHARMONIC STAFF

Kathryn H. Boucher Executive Director

Peter B. Kay General Manager & Composer in Residence

Robert G. Borden Orchestra Librarian

Courtney Oliver Marketing & Special Events Manager

Kordell Hemphill Community Engagement Coordinator

YOUTH ORCHESTRA

Susana M. Lalama Symphony Conductor

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Spartanburg Philharmonic

Johanna Wilson Prelude Conductor

SpartanburgPhilharmonic.org/staff

ORCHESTRA COMMITTEE

Ian Bracchitta Principal Bass

Diana Maley Berti Alvoy Bryan Jr. Orchestra Committee Principal Viola Chair, Viola Section

The goal of the Spartanburg Philharmonic’s Orchestra Committee is to amplify our musicians’ voices throughout the organization and ensure that communication runs smoothly among musicians, staff, and board. Committee members provide a musician’s insights on operational issues like COVID-19 policies as well as artistic policies like outlining a new process for how to select the next concertmaster. We also mediate complaints and conflicts among musicians and staff. Some members serve on multiple committees – we have two members serving on the Music Director search committee – to facilitate communication among groups. At least one member of the orchestra committee attends each board meeting to convey the considerations and concerns that are unique to the world of working musicians. This participation ensures that musicians are a part of the decision making at the highest level of the organization.

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

Andrew Merideth Associate Principal Horn

Theresa Jenkins Russ Kelly Vaneman Violin Section Associate Principal Oboe

have won their spot in the orchestra through audition.

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

Diana Maley Berti Committee Chair

HearHere: Fall 2022

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

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

F O U N D A T I O N

FUNDERS Carlos Moseley TRUST

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Spartanburg Philharmonic

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

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

SPARTANBURG PHILHARMONIC ANNUAL FUND We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic.

This list reflects gifts received July 2021 through June 2022.

Benefactor ($15,000+) Mr. and Mrs. William Barnet III An Evening of Divertimentos & Dressage Mr. and Mrs. George Dean Johnson, Jr. Alfred Moore Foundation Carlos Moseley Trust Mrs. Nelly Zimmerli

Virtuoso & Podium ($5,000-$9,999) Mr. and Mrs. Andrew Babb Dr. Barry Bodie and Ms. Laurel D. Johnson Mr. and Mrs. John S. McBride, Jr. Baton ($2,500-$4,999) The Arkwright Foundation Mr. and Mrs. Roger Habisreutinger Ms. Laura Henthorn Mrs. Michael Kohler, Jr. Mr. and Mrs. Paul Lehner

Mr. and Mrs. V. C. McLeod, III Mr. and Mrs. Thomas P. Nederostek Mr. and Mrs. Wiley North Dr. and Mrs. Rick Orr Mr. and Mrs. Stephen P. Parrott Mr. and Mrs. Geoffrey Wilson

Principal ($1,000-$2,499) Laura Allen and Roger Sullivan Mr. and Mrs. Stanley Baker Mrs. Susan H. Baker Ms. Karen E. Bjelland Ms. Kathryn H. Boucher Ms. JoAnn Bristow Mr. James Cheek Mr. and Mrs. Jerry Cogan Mr. and Mrs. Halsey Cook Mr. and Mrs. Ken Deems Mr. and Mrs. Ray Dunleavy Mr. and Mrs. David Ellis

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Spartanburg Philharmonic

Ms. Wallace Eppes Johnson Mrs. Angelina Eschauzier Mr. and Mrs. Kenneth R. Frick Mr. Peter Grzan Dr. Leslie W. Howard, Jr. Dr. and Mrs. Louis Knoepp, Jr. Dr. Ohmar Land Mr. and Mrs. Lindsay Little Dr. and Mrs. Caleb Loring, IV Col. and Mrs. Robert N. Maddox Ms. Judy McCravy Mr. E.T. McLean

SpartanburgPhilharmonic.org/GiveNow

Mr. and Mrs. Don Miles Bob and Karen Mitchell Dr. Melinda Moretz Mr. John R. Murphy MG(R) Edwin E. Spain, III & Mary B. Spain Mrs. Jack Steinberg Mr. and Mrs. Walter Sunderlin Mr. and Mrs. H. Peter Theiler Mr. and Mrs. Marshall T. Walsh Dr. Meisha Whitlock Mr. and Mrs. Donald Wildman

Fellow Musician ($500-$999) Mr. and Mrs. Tom Barnet Mr. Robert Borden Dr. and Mrs. James Bradof Mr. Mark Carlson Mrs. Jerome R. Cogdell Mr. and Mrs. Paul Cote Allen and Sharon Doyle Ms. Alice M. Eberhardt Mr. and Mrs. Lawrence Flynn, Jr. Ms. Elizabeth Glenn

Mr. and Mrs. Brandt Goodwin Mr. and Mrs. Gaston C Harris Jr Dr. and Mrs. David A. Holt Mrs. Patricia Hudgens Cathryn and Michael Judice Dr. Peter B. Kay & Ms. Jennifer Bonner Clint and Samantha Larkins Mr. and Mrs. William C. Mayrose Mrs. PJ Morrow Mr. and Mrs. Walter Oliver, IV

David and Jennifer Smart Mr. and Mrs. Garrett Snipes Ms. Johanna Lewis and Mr. Richard Spiers Mr. and Mrs. Eliot Stone Mr. and Mrs. Robert Troup Mr. and Mrs. John F. Verreault, III Mr. and Mrs. Glen Warner Mr. and Mrs. Taylor White

Mr. J. Mark Hayes, II Mr. and Mrs. Robert Houston Mrs. Lucy Hummers Mr. and Mrs. Robert E. Hyatt Dr. and Mrs. William A. James Mr. and Mrs. Chip Johnson Rear Admiral and Mrs. Stephen Johnson Mr. Stephen Josefski Mrs. Nancy Zoole Kenney Mr. and Mrs. Thomas N. King Mr. Vincent J. Krydynski, Jr. Mr. and Mrs. George Loudon, Jr Mr. Harold Luhrsen Mr. and Mrs. Kingsley Martin Mr. Boyce Miller Ms. Cabell Mitchell Mr. Jeffrey Nye Mr. and Mrs. Daniel O’Connell Mr. Dwight F. Patterson, Jr.

Dr. and Mrs. Jan Postma Dr. and Mrs. Nayef H. Samhat Ms. Joy Shackelford Mr. and Mrs. Hubert Shuler Mr. and Mrs. Richard Strasburger Mr. and Mrs. Chris Strickland Mr. and Mrs. John Tipton Mr. and Mrs. Gregory Wade Mrs. Margit Wagner Drs. Edward and Petra Warren Mr. and Mrs. Paul D. Weaver Douglas and Rita Weeks Maryela and Frank Weihrauch Ms. Linda Sangster West Ms. Johanna Wilson Ms. Libbo Wise Dr. and Mrs. Auburn Woods

Mrs. Sharon Free Dr. and Mrs. Stephen L. Garrell Col. (Ret.) and Mrs. James D. George, Sr Todd and Ginger Greer Mr. and Mrs. Richard Hamrick Mr. and Mrs. Peyton Harvey Mrs. Ava Hughes Ms. Nancy Hughes Harriet and David Ike Ms. Mary Jenkins Mrs. Julian C. Josey, Jr. Ms. Robin Krajnik Dr. Susana Lalama Ms. Cornelia Linder

Thorne and Harrison Martin Mr. Daniel Mayer Ms. Carol B McCulloch Mr. and Mrs. John P. Moore Dr. Terry O. Pruitt Ms. Elizabeth Refshauge Ms. Naomi Richardson Mr. and Mrs. Marshall Rogers, Jr Dr. and Mrs. Bertram C. Sippola Mr. and Mrs. Nalin Srivastava Mr. and Mrs. Frederick Stoll Mrs. Martha I. Tiller Roger and Kathleen Wildfeuer Mr. and Mrs. Bob Wynn

Patron ($150-$499) Dr. and Mrs. Mitchell Hurst Allen C. Mack and Patty Amick Mr. Walker Barnes Mr. and Mrs. Charles Baxter Martha and Clarke Blackman Mr. and Mrs. Thomas Blexrud Mr. and Mrs. Tim Brannon Dr. John Burchfield Dr. Andrew Taber and Ms. Alyson Campbell Mr. Bill and Mr. Martin Cooper-Meek Mr. James C. Curry Ms. Lynda Davis Mr. and Mrs. Frederick B. Dent, Jr. Isaac and Darlene Dickson Dr. Jean Dunbar Ms. Elaine T. Freeman Mr. Heiner Gallmann Gerald and Hanh-Trang Ginocchio Mr. and Mrs. James Glenn

Members ( $50-$149) Ms. Kathy J. Allen Mr. David Anderson Ms. Patricia Battle Mrs. Margaret Baughman Diana and Alden Berti Christopher and Rachel Brough Mr. and Mrs. Robert W. Burnette Dr. and Mrs. William W. Burns Mr. and Mrs. W. Waller Caldwell, Jr. Mr. and Mrs. David Cecil Mr. and Mrs. John Thomas Claggett Ms. Barbara Colvin Ms. Patricia Cook Ms. April Preston and Mr. Kyran Dowling

SpartanburgPhilharmonic.org/GiveNow

HearHere: Fall 2022

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Proud to support the arts in our community with a standing ovation.

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At The Johnson Group, we believe in the power of partnership and the transformative energy of the arts.

That’s why we’re proud to support the Spartanburg Philharmonic.

TheJohnsonGroup.com

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

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

THE

UTLEY LEGACY SOCIETY

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

Dr. Joe Roy Utley & Dr. Joella Utley

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

JERRIE LUCKTENBERG CONCERTMASTER CHAIR ENDOWMENT THE

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

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

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864.948.9020 15

SPOTLIGHT

Spotlight: Barry Bodie Laura-Clare Thevenet

Contributing Author

This spring, longtime Spartanburg Philharmonic patron, donor and new addition to the Spartanburg Philharmonic Board of Directors, Dr. Barry Bodie generously offered to match any gift given to the Philharmonic until June 30 up to $7,500. Due to his recent altruism, the Spartanburg Philharmonic would like to recognize his incredible contributions to his community.

A highly qualified and certified member of the American Board of Urology, Dr. Barry Bodie completed pre-med at Wofford College and received his medical degree from the Medical University of South Carolina. Following medical school, Dr. Bodie completed his residencies in general surgery and urology at the Cleveland Clinic in Ohio. He has also received several accolades as an educator during his stints as a Professor of Urology at University of South Carolina School of Medicine, Tulane University, Louisiana State University, and Southern Illinois University.

Previously, he treated patients at Mary Black Physicians Group Urology and served as the medical director of urology with Spartanburg Regional Healthcare System. Dr. Bodie currently practices full-time with St. Luke’s Urology Associates at St. Luke’s Hospital in Polk County, NC. Dr. Bodie’s expertise has had a significant impact in Polk County as he brings a unique, advanced level of care that is anticipated from a large academic medical center closer to home for his patients. In addition to his service on the Board of Trustees for Transylvania Regional Hospital and Mary Black Hospitals, Dr. Bodie is a member of the American Medical Association, American Urological Association, Southern Medical Association, and Southeastern Section of the American Urological Association.

As a former member of the Board of Trustees for the Brevard Philharmonic and current patron and donor of the Spartanburg Philharmonic, Dr. Bodie enjoys classical music and funding initiatives to enhance the arts and culture in his local community. He and his wife, Laurel Johnson, a nurse anesthetist, have supported and funded the Spartanburg Philharmonic in several different ways

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Spartanburg Philharmonic

throughout the years, including being a Chair Sponsor for previous Concertmaster and violinist, Callie Brennan.

He and his wife reside in Inman, and they have seven children and four grandchildren. Their youngest daughter, Diana, is currently studying voice with Jane Randolph in San Francisco.

You step up when it matters most We are proud to support the Spartanburg Philharmonic.

V.C. “Chip” McLeod, CFP® Senior Resident Director 864.596.5474 chip_mcleod@ml.com Merrill Lynch Wealth Management 295 East Main Street Spartanburg, SC 29302 fa.ml.com/mcleod

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

Investment products:

Are Not FDIC Insured

Are Not Bank Guaranteed

May Lose Value

The Bull Symbol and Merrill are registered trademarks of Bank of America Corporation.

CFP Board owns the marks CFP®, CERTIFIED FINANCIAL PLANNER™, and CFP® (with plaque design) in the U.S. © 2022 Bank of America Corporation. All rights reserved.

MAP3559256 | AD-06-22-0025 | 470974PM-1021 | 06/2022

BEYOND THE SYMPHONY

Espresso Series Kick-start your weekend with a short shot of music! Join us for complimentary light appetizers, wine, and craft brews during our pre-concert social-hour. Then enjoy our Friday evening, one-hour Espresso concerts with programs that span genres and a world of sounds. From the beautiful and enduring music of the past to popular hits from today—there is something for everyone!

Fall

CHAPMAN CULTURAL CENTER 5:30 PM: Happy Hour 6:30 PM: Concert

Chai Cello

featuring Mike Block & Sandeep Das

September 30, 2022

see page 45

Jazz Java

featuring the Konrad Paszkudzki Trio

November 18, 2022

see page 65

Spring Oolong Notes

featuring Jennifer Chang

February 17, 2023 The exotic East immediately envelopes the audience when Jennifer Chang and her guzheng, the 21-string Chinese zither, take the stage. A master of her craft, Jennifer will mesmerize and delight with a blend of eastern and western classical pieces.

Info & Tickets:

Fiddle Frappé

featuring Danish, Irish, and Scottish Tunes

March 17, 2023 Explore the old-world sounds of Scandanavia and the Emerald Isle with a rollicking concert highlighting the folksy, dulcet tones of the violin. Mystical, evocative, and a heck of a lot of fun with our string quartet and special guests.

Programs subject to change. All timings are approximate.

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Spartanburg Philharmonic

SpartanburgPhilharmonic.org/Espresso

BEYOND THE SYMPHONY

Bluegrass Spartanburg Award-winning professional pickers and harmony singers. GRAMMY Award winning groups and Bluegrass virtuosos. These are just a few of the phenomenal musicians that make up our Bluegrass Spartanburg series. Each must-see performance pays homage to bluegrass music’s deep roots with a

modern flair.

Fall

CHAPMAN CULTURAL CENTER 8:00 PM

Frank Solivan & Dirty Kitchen F R I DAY

October 14, 2022

see page 47

Appalachian Roadshow S AT U R D AY

December 10, 2022

see page 75

Spring The SteelDrivers S AT U R D AY

February 4, 2023 Few bands are as aptly named as the GRAMMY Award winning SteelDrivers: steel is known for its remarkable strength, but also for its resilience, and the same is certainly true of the SteelDrivers, as they have proven time and again.

Sister Sadie T H U R S DAY

Info & Tickets:

April 27, 2023 In 2019, they became the first all-female group to win the IBMA Vocal Group of the Year award. Thier amazing harmonies and rollicking instrumentals also made them the 2020 IBMA Entertainer of the Year. If this is sisterhood - we want in!

Programs subject to change. All timings are approximate.

SpartanburgPhilharmonic.org/Bluegrass

HearHere: Fall 2022

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BEYOND THE SYMPHONY

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

Presented by Spartanburg Philharmonic

Fall

BARRET ROOM

Spartanburg County Public Library, Headquarters 151 South Church Street

Aug. 24 . . . . . . . . . . . . . . . Carolina Players Band

W ED N E S DAY S

Sept. 7 . . . . . . . . . . . . . . . . . . Songs of the Folk

12:15 - 1:00 PM

Sept. 21 . . . . . . . . . . . . . . . . Ensemble Radieuse Oct. 5 . . . . . . . . . . . . . . . . . . . . . . Cellosmith Oct. 19 . . . . . . . . . . . . . . . . . . Converse Chorale Nov. 2 . . . . . . . . . . . . . . . . . . . Arbor Wind Trio In Partnership with:

Nov. 16 . . . . . . . . . . . . . . . . . Fayssoux McLean Nov. 30 . . . . . . . . . . . . . . Emily Waggoner, Harp Dec. 14 . . . . . . . . . . . . . . . . .Philharmonic Brass Read more online:

Programs subject to change. All timings are approximate.

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Spartanburg Philharmonic

SpartanburgPhilharmonic.org/MSI

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BEYOND THE SYMPHONY

The Spartanburg Music Trail Some cities celebrate their war heroes, others their sports stars, but in Spartanburg, it's all about our musicians. Head out on the Spartanburg Music Trail, presented by the Spartanburg Philharmonic: a 30-minute outdoor walking tour of the city's incredibly robust music history.

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

Below are three fun facts about 19 of the inductees:

Ira Tucker (active 1938 - 2008) • Grew up singing at local tea parties in Spartanburg and knocked door-to-door to sing for spare change.

• So eager to audition for the Dixie Hummingbirds that he said he would walk the 29 miles back home from Greenville to Spartanburg if he failed the audition.

• Known for his eager, dynamic performance style; would rip his coat off, run down aisles, and dance on stage.

Arthur Prysock (active 1944 - 1990) • Born in Spartanburg and returned every summer to help his grandfather on his farm.

• His former girlfriend didn’t believe he was singing with Buddy Johnson’s band until they came back to perform in Spartanburg.

• His children told the press that they didn’t listen to his music because it wasn’t disco, so Prysock released “When Love is New.”

Billy Walker (active 1820s - 1875) • A member of First Baptist Church in Spartanburg.

• His bookstore was located near his Music Trail sign!

• Took part in the cornerstone laying ceremony for Spartanburg’s Wofford College.

Clara Smith (active 1910-1935) • Introduced to singing from the traveling tent shows that often stopped in Spartanburg.

• Lived on Simms Street near the intersection of Henry Street and Daniel Morgan Avenue.

• Even performed on the West coast, which was rare for a blues singer.

Pink Anderson (active 1930s - 1960s) • Met and learned guitar from Simmie Dooley, a blind singer from Georgia who settled in Spartanburg and learned to read at Spartanburg’s School for the Deaf and Blind.

• Performed with the Spartanburg String Band, as well as at local parties, dances, and picnics.

• Wrote a song called “South Forest Boogie” when he lived on Forest St., and wrote another song about a barber that he used to go to on Wofford Street.

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SpartanburgMusicTrail.com

BEYOND THE SYMPHONY

Marshall Tucker Band (active 1972 - present) • Toy Caldwell, lead guitarist of the band, went to Dorman High School.

• The Gladstone Hotel once stood on Spring Street, where the Marshall Tucker Band originally rehearsed.

• The Ruins, the downtown night spot where the band would perform, used to stand in the lot across from The Spartanburg Herald-Journal.

Johnny Blowers (active 1930s - 1970s) • Grew up on a house on Brown Avenue, but he also lived on Maple, Poplar, and Hydrick streets.

• Went to Frank Evans High School here in Spartanburg.

• Started playing the drums in his school days, and played in local jazz clubs around Spartanburg.

Hank Garland (active 1946 - 1961) • Inspired by the guitarist Arthur Smith, who would often play on the WSBA radio station in Spartanburg.

• A part of Shorty Painter’s band, a local band in Spartanburg, which gave Garland his first experience performing.

• Discovered by accident; he had gone to the local music store to buy a guitar string and met Grand Ole Opry member Paul Howard.

Walter Hyatt (active 1970s - 1990s) • Attended kindergarten at Spartanburg’s First Presbyterian Church.

• Performances drew in huge crowds, including to a Spartanburg club called Hooley’s at the old Franklin Hotel on Main Street and in the Wofford College Coffeehouse.

• His mother, Emma Hyatt, studied music at Converse College and taught Walter to play the piano.

Champ Hood (active 1970s - 2001) • Hood, as well as his fellow band members, Hyatt and Ball, is a Spartanburg High School graduate.

• Grew up in Spartanburg’s Duncan Park.

• Started playing guitar around the age of eleven, took lessons for only 3 months before saying, “that’s all I need.”

Blue Ridge Quartet (active 1946 - 1985) • Kenny Gates said, “Very few people [in Spartanburg] knew how big we were… Wherever we went, though, we were always sure to mention Spartanburg, South Carolina.”

• Every Tuesday, they followed the CBS news on live television, introducing many new people to gospel music.

• Performed not only in churches but also at fairs and amusement parks, locations that gospel groups usually didn’t play.

Don Reno (active 1939 - 1984) • Built his first banjo at the age of five, using white oak, dogwood, cat’s skin, and screen door wires.

• Father traded a hog on their Spartanburg farm for a guitar for Don. • Taught the guitar by Hank Garland, another Spartanburg musician.

SpartanburgMusicTrail.com

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BEYOND THE SYMPHONY

Sparkletones (active 1956 - 1961) • Formed in 1956 at Cowpens High School in Spartanburg.

• Group member Joe Bennet grew up here in Spartanburg’s Cannons Campground community.

• One of the first acts to perform live on “The Ed Sullivan Show” but they had to change their sparkly jackets because they were too bright.

Marshall Chapman (active 1970s to present) • Played her piano recital at Twichell auditorium in 1956 and then returned there to perform April 2022.

• Seeing Elvis at Spartanburg’s Carolina Theater inspired Chapman and changed her view of music.

• Her song, Why Can’t I Be Like Other Girls, refers to Chapman’s “rebellious” nature; she wanted to become a singer rather than carry on the mill-owning legacy of her father.

Buck Trent (active 1948 - present) • His newest album, which was released in 2018, is called “Spartanburg Blues.”

• Lived in the Acadia mill village west of town, and the mill facility where his mother once worked has now been converted into the Mayfair Mill Lofts.

• Played the signature guitar lick in the original recording of Dolly Parton’s “Jolene.”

David Ball (active 1988 - present) • Attended Pine Street Elementary School in the early ‘60s.

• Father was the pastor of Fernwood Baptist Church.

• Wrote his first song in seventh grade and played it at the school talent show with his band, the Strangers.

Carlos Moseley (active 1930s - 2012) • Graduated from Spartanburg High School, and entered Duke University, where he majored in English.

• Founded a “little dance band” with another Spartanburg native, Sandy Meyerson, which got them a job playing tea dances on an ocean liner to and from Europe.

• Lived in his family home on Otis Boulevard.

Rev Julius Cheeks (active 1940s - 1960s) • Left school to support his widowed mother and twelve siblings, but kept singing in a local Spartanburg gospel group.

• His baritone voice was so strong that it distorted the microphones, creating a new style which was imitated by later R&B and soul singers.

• Daughter Judy Cheeks also became a singer, and she worked with artists like Tina Turner and Stevie Wonder.

Gianna Rolandi (active 1970s - 1990s) • Sang in her first opera at age 7, in the children’s chorus of a Charlotte production of “La Boheme.”

• Originally studied the violin, and began taking voice lessons while at the Brevard Music Center.

• Performed on Converse College’s Twichell Auditorium stage in 1982, 1985 and 1995.

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5 QUESTIONS FOR OUR GUEST CONDUCTORS

Antoine Clark Who do you spend the most time with when you are not on the podium?

(Someone outside of the music world?)

I spend the most time with my spouse,who works as a jazz pianist and teacher, when I am not on the podium.

South Carolina is home to both the beach and the mountains. If you had to pick one, what would you choose?

I would choose the mountains, as I love hiking, walking and appreciating nature.

There is something breathtaking in nature’s symphony–the wind rustling through the leaves, the sun reflecting on the rocks and ground, a babbling brook, and just the sheer beauty of all that greenery. It’s energizing and relaxing both at once.

What words or phrases do you use too often?

When teaching, I habitually use several phrases: “Let’s try that one more time,” “What is the character?” and “How did you practice this?” I find these questions to be very positive in helping each student develop the arch of the storyline that their performance will give.

When you were a kid, you dreamed of __________, and how does that shape who you are today?

I dreamed of attending college and studying music when I was a kid. As the only person in my family to attend college, I understood that having a successful life meant receiving a good education. For this reason, I am also an educator. The more you learn, the bigger your world becomes–and it’s the same for music.

The headquarters of Denny’s is in Spartanburg, and it stays open 24/7. What is your go-to midnight snack?

My go-to midnight snack is milk and fudge striped cookies. It harkens back to my childhood–and those Keebler cookie commercials on tv.

Geneviève Leclair Take us through a regular day in your life.

Get up, shower (I don’t drink coffee, so it’s my shower that whips me into shape in the morning!). And then, in no particular order, depending on that day’s schedule, eat, exercise, practice, score study, program, teach, cook, listen to music, practice languages, do corrections (for my students), do a bit of cleaning, take care of the admin side of things. And in the evening, likely read, watch TV, self care and have a good night’s sleep (the most important part of the day if I want to remain sharp and productive).

If we took you out for karaoke, what would be your go-to song?

Summer of ‘69

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Spartanburg Philharmonic

5 QUESTIONS FOR OUR GUEST CONDUCTORS

Troy Quinn The Spartanburg Music Trail celebrates great music makers from our community. If you could make a “Music Trail” for your current city, who would be the top two musicians on your list?

I think John Williams and Gustavo Dudamel, both have defined what it means to be a musician in Hollywood in their own respects, and they are both humble down to earth gentlemen that utilize their genius skills to bring joy and peace to humanity and not for any ulterior motive.

Which experience was better, Glee or Indiana Jones?

Indiana Jones only because I had the opportunity to ride a motorcycle with Harrison Ford, but that’s another story!

When you were a kid you dreamed of __________, and how does that shape who you are today?

I dreamed of being a meteorologist actually and was going to major in communications in college. I think it’s ironic because conductors are in the business of communicating through gestures, without saying a word, so it is sort of a similar vein.

Take us through a regular day in your life.

It usually starts with emails, phone calls, interviews, etc. If I am not traveling on a plane to a rehearsal, I am teaching at USC’sThornton School of Music and then taking at least 3-4 hours of score study a day. Enjoying the evening with a nice meal and a tropical drink.

One piece of music you can’t live without is: Elgar’s Nimrod, and one piece of music you could be fine with never hearing again is: Stars and Stripes.

What piece of classical music would be the “theme song” to your life right now? Why? Right this minute, I’m trying to enjoy some time off, relax, recharge and reconnect with my “zen” so I’d say Satie’s Gymnopédie No. 1.

The headquarters of Denny’s is in Spartanburg, and it stays open 24/7. What is your go-to midnight snack?

My go-to midnight snack is to bake a batch of cookies.

The kind depends on what I have handy in the kitchen.

If you could go back and give yourself a pep talk for the first time you performed in front of an audience, what would you say?

I heard Sir Simon Rattle once say that Maestro Haitink had told him when he was younger: “How good do you want it to be? Just be as good as you are and accept that”.

That’s the piece of advice I would give my young self.

Fretting about it doesn’t make you better; for better or for worse, you are only as good as you are right now. Just accept that and keep practicing so you keep getting better.

HearHere: Fall 2022

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MUSIC DIRECTOR SEARCH: TIMELINE

Sept. 18, 2021

Mar. 5, 2022

Sept. 24, 2022

Kayoko Dan

Kelly Corcoran

Antoine Clark

Dan currently serves as the Music Director of the Chattanooga Symphony & Opera, a position she's held since 2011. A versatile conductor, Kayoko Dan is active in the fields of orchestra, ballet, and opera. The Spartanburg Philharmonic was excited to open the MD Search with such an auspicious candidate, welcoming her to the podium for our first concert of the 2021/22 Season.

Named “Best Classical Conductor” in 2015 by the Nashville Scene, Kelly Corcoran is a passionate advocate for the robust place of classical music in our lives and the lives of future generations. Corcoran is Artistic Director of Intersection, a contemporary music ensemble dedicated to challenging the traditional concert experience with concerts for all ages.

Award-winning conductor, Antoine T. Clark, has been praised for his engaging stage presence and advocacy for arts education. He has been the assistant conductor at the Gateways Music Festival with the Eastman School of Music since 2017. A supporter of new music, Mr. Clark regularly commissions new works and engages artists to create dynamic programming that inspires, fosters music education, and establishes relationships between artists and communities. (read more on page 43)

Dec. 10-12, 2021 & Dec. 9-11, 2022

Geneviève Leclair Geneviève Leclair is an Assistant Professor at Berklee College of Music who holds a Doctor of Musical Arts degree in Orchestral Conducting from Boston University.

Leclair also received her Bachelor’s and Master’s degrees in flute performance at Université de Montréal. She has been teaching at Berklee since 2016 and acts as an active guest conductor with organizations across Canada, the U.S., and the UK. (read more on page 71) 28

Spartanburg Philharmonic

Apr. 23, 2022

John Young Shik Concklin As a conductor, Concklin is praised for his clear beat, strong sense of rhythm, inviting gravitas, and innovative mind. John currently serves as Conductor with the Atlanta Music Project and Piedmont Chamber Orchestra. He was recently appointed Music Director of the Hendersonville Symphony Orchestra (beginning fall 2022), and made his return to the Spartanburg Philharmonic after an acclaimed debut in 2018.

MUSIC DIRECTOR SEARCH: TIMELINE

Feb. 11, 2023

Apr. 22, 2023

Nadège Foofat

Jacob Joyce

Conductor, violinist, and violist; Nadège Foofat is an advocate of innovation. Foofat was honored by the League of American Orchestras in 2018 for her experience, talent, leadership potential, and commitment. She earned her Master of Music degree from the Yale University School of Music, and also a Bachelor of Music degree from The Juilliard School in viola performance.

Jacob Joyce is a young conductor who’s quickly gained recognition as a dynamic and innovative presence on the podium. Joyce studied Orchestral Conducting with Hugh Wolff at the New England Conservatory. He has also received instruction at the Tanglewood Music Center and the American Academy of Conducting at Aspen.

?

Nov. 5, 2022

Mar. 25, 2023

May 2023

Troy Quinn

Lee Mills

Stay Tuned!

Troy Quinn is a highly acclaimed musician and conductor who has been applauded for his energetic and riveting, yet sensitive conducting. An advocate for education, Quinn has participated in numerous masterclasses as a conducting fellow, attending conducting institutes at the Royal Academy of Music, Eastman School of Music, and Bard Conservatory of Music.

Lee Mills is internationally recognized as a passionate, multifaceted, and energetic conductor. Mills received his Graduate Performance Diploma and Artist’s Diploma in Orchestral Conducting at the Peabody Institute. An avid advocate for the arts, Mills has brought classical music to thousands of new listeners through performances in contrarian settings.

In May of next year, the Spartanburg Philharmonic will host an event to announce the NEW MUSIC DIRECTOR. Stay tuned for more details...

Learn more:

(read more on page 63)

HearHere: Fall 2022

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OUR STORY

Our Story

History & Mission of the Spartanburg Philharmonic Recognized as a pillar of creativity, inspiration, and entertainment, the Spartanburg Philharmonic is a modern orchestra with roots in the 1895 May Festival, the precursor of the South Atlantic States Music Festival founded in 1898, one of only four such festivals featuring orchestras in the United States at that time. Almost a century old, Spartanburg Philharmonic is a jewel in the crown of South Carolina’s arts scene, presenting popular masterworks, contemporary pieces, chamber music, bluegrass, and rarely performed works. Concerts attract music lovers throughout the Greater Spartanburg area and from around the region.

A 65-member professional orchestra, the Philharmonic’s original name at its founding in 1928 was the Spartanburg Symphony Orchestra. The organization has gone through several incarnations since, and took on its current name, Spartanburg Philharmonic, in 2018. The Spartanburg Philharmonic offers three music series: Zimmerli (full symphony concerts), Espresso (chamber music), and Bluegrass. Performances are held in Spartanburg’s historic 1489-seat Twichell Auditorium in Zimmerli Performance Center at Converse University, and at the Chapman Cultural Center’s 476-seat Theater, the premier arts venue in the Greater Spartanburg area.

Acclaimed memorable performances over the years include world premieres by composers Kati Agócs, Stewart Goodyear, and Ayes Ioannides, and commissions

by Kenneth Fuchs, Christopher Theofanides, and Sean O’Boyle, and local composers Peter B. Kay, John Moody,

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Spartanburg Philharmonic

Carrie Leigh Page, Scott Robbins, Nolan Stolz, and Tom Wright, as well as a Beethoven Symphony No. 9 featuring a 100-member community chorus and Mussorgsky’s Pictures at an Exhibition with visual artist Julyan Davis live painting on stage. Among the notable guest artists that have graced the orchestra’s stage are: banjo player Béla Fleck; clarinetist Anthony McGill; guitarist Pepe Romero; trumpet player Jens Lindemann, violinists Isaac Stern, Lara St. John, Timothy Fain, Vadim Gluzman, and Mark O’Connor; conductors Yehudi Menuhin and Marvin Hamlisch; cellists Zuill Bailey and Lynn Harrell; pianists Gina Bachauer, Olga Kern, Van Cliburn, Richard Goode, Joseph Lehvinne, Awadagin Pratt, Ignace Jan Paderewski, and Rudolph Serkin; percussionist Dame Evelyn Glennie, baritone Robert Merrill; bass singers Jerome Hines and Cesare Siepi; tenor Richard Tucker; sopranos Marilyn Horne, Birgit Nelsson, and Beverly Sills; Benny Goodman; Empire Brass; Ray Charles; Summit Brass; Smothers Brothers; and the Westminster Choir.

Well versed in the genre of bluegrass, Spartanburg Philharmonic has presented its popular 5-year-old Bluegrass Series with such distinguished artists as Béla Fleck and Abigail Washburn, Rhonda Vincent & The Rage, The Steep Canyon Rangers, The SteelDrivers, Doyle Lawson & Quicksilver, Sierra Hull, Travelin’ McCourys, and the Krüger Brothers. This series continues to bring in GRAMMY Award and multi-IBMA award-winning groups that have drawn the recognition of their peers, industry, and fans alike.

OUR STORY

Left to right: the Spartanburg Symphony with conductor Pedro Sanjuan (1949), then Henry Janiec (c. 1990), and the Spartanburg Philharmonic Orchestra with Sarah Ioannides (2017)

Over its 10 decades, Spartanburg Philharmonic has been led by nine Music Directors: Guy Hutchins (1928-1938); Lionel Nowak and Ernst Bacon (1942-1945; the two shared the role); Pedro Sanjuan (19451952); Henry Janiec (1952-1994); Bill Scott (1995-2003); Paul Davis (2003-2004; interim conductor during a Music Director search year); Sarah Ioannides (2005-2017); and Stefan Sanders (2018-2021).

As part of its community engagement, for the past 25 years, Spartanburg Philharmonic has presented Music Sandwiched In, a free and open to the public lunch hour series every other Wednesday throughout the concert season, offering an exciting line up of performers and programs at the Spartanburg County Public Library Headquarters. The Spartanburg Philharmonic partners with a variety of community, health, and education organizations to provide opportunities for all ages and abilities to enjoy. Multiple programs have been recognized by the National Endowment for the Arts, SouthArts, South Carolina Humanities, and the South Carolina Arts Commission.

Committed to engaging and educating local youth of the Spartanburg community through music, the Spartanburg Philharmonic has developed educational opportunities and promotes an appreciation for music of the classical, bluegrass, and jazz genres. It has been a partner with Carnegie Hall’s Weill Institute Link Up program since 2012, providing a music curriculum to 4th graders in Spartanburg County. Each spring, following a school year of music

lessons, over 4,000 elementary students join Spartanburg Philharmonic in Twichell Auditorium for a culminating participatory concert.

Launched in April 2019, The Spartanburg Philharmonic Youth Orchestra (SPYO) represents 16 different schools across three counties. The SPYO originally served instrumental music students from eighth through twelfth grades and in May 2020 expanded into two sections, providing instrumental music education opportunities for 6th through 9th grades (Prelude ensemble) and 8th through 12th grades (Symphony ensemble).

The Philharmonic celebrates the rich musical history of Spartanburg through the Spartanburg Music Trail.

This walking music history trail throughout downtown Spartanburg, features famous musicians who have a connection to Spartanburg. Two musicians are featured on each sign along the trail, which includes a wide variety of musical genres such as Marshall Tucker Band, Pink Anderson, Carlos Moseley, Gianna Rolandi, and Don Reno.

Dedicated to creating innovative and exhilarating experiences through memorable performances for all members of the Spartanburg community and beyond, the Spartanburg Philharmonic is a passionate champion of diversity and inclusion. An arts organization whose mission is to enrich, inspire, and educate through live performances of high-quality music, it proudly presents, alongside traditional works, lesser-known and rarely played works by female composers, composers of color, and established and contemporary composers.

HearHere: Fall 2022

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INSTRUMENT ROADMAP

FLUTES & PICCOLOS

OBOES & ENGLISH HORNS

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

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

CLARINETS

BASSOONS

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

They sit behind the flutes in the middle of the stage.

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

HORNS

TRUMPETS

TROMBONES

TUBA

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

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

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

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

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TIMPANI & PERCUSSION

HARP

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

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

VIOLINS

VIOLAS

CELLOS

BASSES

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

The violas are slightly larger and deeper sounding than the violins. They sit in the middle of the stage in front of the flutes or to the conductor's immediate right.

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

The largest and lowest instrument in the string family, the basses are so big that musicians typically stand to play them.

They are usually positioned behind the cellos and near the tuba.

Spartanburg Philharmonic

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OUR MUSICIANS

Meet Joanna Mulfinger Interim Concertmaster

Joanna Mulfinger is a native of Greenville, SC. She graduated from Bob Jones University and continued her education at the Peabody Conservatory in Baltimore, MD, receiving a Masters Degree under the tutelage of renowned Russian pedagogue Victor Danchenko. While at Peabody, she was awarded the J.C. van Hulsteyn Prize for Outstanding Musical and Academic Contributions.

She has pursued additional summer music studies at the Juilliard School in New York, the Hanns Eisler Hochschule Fur Musik in Berlin, Germany, and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and has been on the faculty of several local universities.

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

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Spartanburg Philharmonic

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

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

She is an active orchestral musician. From 2007-2019 she was Assistant Concertmaster and then Concertmaster of the Spartanburg Philharmonic and returns in 2022 as Interim Concertmaster. She has been Principal Second Violin of the Greenville Symphony Orchestra since 2003.

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

OUR MUSICIANS

Spartanburg Philarhmonic Orchestra Members & Chair Sponsors as of August 2022

Violin I

Cello

Joanna Mulfinger, Concertmaster

Endowed by the Dr. Jerrie Lucktenberg Concertmaster Endowment

Ismail Akbar, Principal

Mr. & Mrs. Stanley Baker

Horn

Anneka Zuehlke-King, Principal

Mr. & Mrs. Donald Wildman

Kathy Foster, Assistant Principal

Chris George

Mr. & Mrs. George Dean Johnson

Meredith Keen

Andrew Merideth*, Assistant Principal

Dr. Barry Bodie & Ms. Laurel D. Johnson

Eric Scheider

Ms. JoAnn Bristow

Benjamin Smith

Jeanette Schlimgen Christopher Griffin Darian Washington

Courtney LeBauer, Associate Concertmaster Mary Irwin

Lib & Rick Orr

MG(R) Edwin E. Spain, III & Mary B. Spain

Robin Hague Els

Mr. & Mrs. Marshall T. Walsh

Amanda Gentile

Dr. Meisha Whitlock

Mr. & Mrs. Geoffrey Wilson

Christine Hallett-Penney

Bass

Mr. & Mrs. Ray Dunleavy

Kathleen Robinson

Ian Bracchitta*, Principal

Mr. & Mrs. David Ellis

Mr. & Mrs. Jerry Cogan

Ivana Carlson** Allana Farmer**

Flute & Piccolo

Ms. Laura Henthorn

Rhea Jacobus, Principal

Laura Allen & Roger Sullivan Mr. E.T. McLean, in memory of Henry Janiec

Col. & Mrs. Robert N. Maddox

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

Mrs. Susan H. Baker

Eric Henson

Jennifer Dior

Oboe & English Horn Kelly Vaneman*, Principal

Mr. & Mrs. Walter Sunderlin

Mary AllyeB Purtle

Adriana Stamile**

Mark Britt, Principal

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

Caroline Ulrich

Dr. Melinda Moretz

Emily Riesser

Mr. & Mrs. Thomas P. Nederostek

John Grodrian, Substitute Principal Rienette Davis

March Moody Helen Tipton

Dr. Ohmar Land

Trombone

Ann Buttimer

Mr. & Mrs. Wiley North

Karen & Stephen Parrott

Bruce Cox

Mr. & Mrs. Roger Habisreutinger

Theresa Jenkins-Russ*

Cody Beard, Substitute Principal

Brian Gencarelli

Bob & Karen Mitchell

Simone Beach, Assistant Principal

Michele Tate Cockram

Trumpet

Matthew Waid, Assistant Principal

Rich Harbison Jeff Stinson

Ashley Horvat, Principal

Mr. John R. Murphy

Chris Imhoff, Substitute Principal Kenneth Frick

Mr. & Mrs. Paul Lehner

Violin II

Ms. Karen E. Bjelland

Rachel & Ken Deems

Mr. & Mrs. Halsey Cook

Mr. & Mrs. H. Peter Theiler

Tuba

John Holloway, Principal

Mr. & Mrs. William Barnet III

Timpani

Patrick Lowery, Principal

Viola

Alvoy Bryan Jr.*, Principal

Clarinet

Karen Hill, Principal

Dr. & Mrs. Louis Knoepp, Jr.

Endowed by friends and family in honor of Wallace Eppes Johnson

Harry Hill‚ Jr.

Mr. James Cheek

Kyra Zhang

Arthur Ross, Assistant Principal

Mrs. Angelina Eschauzier

Diana Maley Berti*

Mr. Peter Grzan

Emma Smoker

Mr. & Mrs. Don Miles

Michael Weaver

Mrs. Jack Steinberg

Mrs. J. Michael Kohler, Jr.

Percussion

Adena McDaniel, Co-principal Matt McDaniel, Co-principal

Dr. Leslie W. Howard, Jr.

Del Burton

Bassoon

Frank Watson, Principal

Dr. & Mrs. Caleb Loring, IV

Rosalind Buda

Ms. Judy McCravy

Piano

Brennan Szafron, Principal

Mr. & Mrs. Lindsay Little

Stephanie Lipka Rhyne

Harp

Emily Waggoner, Principal

* Orchestra Committee Member ** Apprentice Musician

Mr. & Mrs. Kenneth Frick

SpartanburgPhilharmonic.org/our-musicians

HearHere: Fall 2022

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ZIMMERLI SERIES

TWICHELL ABOUT AUDITORIUM THE MUSIC

Anna Clyne

This Midnight Hour

12 min

Gustav Mahler

Lieder eines fahrenden Gesellen

16 min

(Songs of a Wayfarer)

Kenneth Overton, baritone

Scheherazade & Other Tales

I. II. III. IV.

When my darling has her wedding-day I walked across the fields this morning I have a red-hot knife The two blue eyes of my darling

INTERMISSION

September 24, 2022 7:00 PM

Guest Conductor

Antoine T. Clark

Nikolai Rimsky-Korsakov Scheherazade, op. 35 I. II. III. IV.

42 min

The Sea and Sinbad’s Ship The Tale of Prince Kalendar The Young Prince and the Princess The Festival at Bagdad; The Ship Goes to Pieces on a Rock

Program Online:

Programs subject to change. All timings are approximate.

HearHere: Fall 2022

37

ABOUT THE MUSIC

FROM THE CONDUCTOR Music’s raconteurial ability is fascinating!

We celebrate the wonderful tradition of oral storytelling and the numerous images it presents in tonight’s program with three incredible, dramatic, energetic, and intriguing works. Join us in an aural journey beginning with the inviting, colorful music of Anna Clyne’s This Midnight Hour that welcomes one on a journey of discovery. The composer wrote of the piece, “Whilst it is not intended to depict a specific narrative, my intention is that it will evoke a visual journey for the listener.” Next is Mahler’s Lieder eines

fahrenden Gessellen, inspired by the then 24-year-old composer’s lost love. In 1883, Mahler became the second conductor and choirmaster of the opera in Kassel, Germany.

He fell in love with Johanna Richter, a soprano. Unfortunately, the love affair ended and he transformed his feelings through to pen and paper to the rich, emotion-laden music of a young man’s journey to find himself and heal his broken heart.

Nikolai Rimsky-Korsakov’s beloved and well-known Scheherazade is the only way to

end this trip. Based on the ultimate fairytale, this work offers rich, dramatic sounds painted with a touch of the exotic. His brief statement, meant for the premier concert reads: “The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, … for a thousand and one nights. The Sultan … finally repudiated….”

- Antoine T. Clark

ABOUT THE MUSIC

This Midnight Hour Anna Clyne (1980-)

COMPOSED

2015

INSTRUMENTATION

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

APPROXIMATE DURATION

12 minutes

The Philharmonic begins this season of adventure and discovery with a new work, Anna Clyne’s propulsive and appealing “This Midnight Hour.” Born and raised in London, Clyne studied in Edinburgh and at the Manhattan School of Music, and had been named composer-inresidence by the Chicago Symphony by the time she turned 30. “This Midnight Hour” dates to 2015, the year Clyne completed her five-year tenure in Chicago and began the same role with the Orchestre National de L’île de France.

“This Midnight Hour” takes its inspiration from two poems, one by Juan Ramòn Jimenez and one by Charles Baudelaire. Jimenez’s deft and tiny dab of a poem is so short that it can be quoted in its entirety: “Music:/ a naked woman/ running madly through the pure night,” and the work’s propulsive opening, driven by basses, cellos, bassoons, and even tuba perfectly evoke a sense of running through the darkness.

Baudelaire’s poem, the well-known Harmonie de Soir, has inspired music by Liszt, Debussy, and many others; it takes the form of a pantoum, where the same lines recur at different places in succeeding stanzas, giving a dreamlike effect more incantatory than narrative.

With repeating lines like “The violin quivers like a tormented heart…” and “Melancholy waltz and languid dizziness!” Baudelaire’s

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Spartanburg Philharmonic

poem is obviously the inspiration for the second part of the 12-minute work. Episodic and even free-associative in feel, the piece alternates between moments of effusive drama, melodies one might have encountered in an old Parisian café (at one moment the orchestra is even instructed to play without vibrato and deliberately out of tune, to evoke the sound of an accordion!), and passages of spooky abstraction. Orchestras love to play “This Midnight Hour,” because everyone, from piccolo all the way down to tuba, gets something good to play, and audiences are delighted to encounter a new piece by a young composer with the kind of direct emotional appeal they associate with the Romantic mainstream of the repertoire.

ABOUT THE MUSIC

to Vienna and then New York). The Songs of a Wayfarer were completed in their original, voice-and-piano instrumentation in 1885, and Mahler spent the next several years tinkering with their orchestration in his spare time before offering the orchestral version in 1891.

In 2016, BBC Music magazine polled 151 conductors to determine, as the headline put it, “the 10 Greatest Symphonies of All Time!”

Three of the top 10 were by Gustav Mahler, and Mahler’s nine entries in the symphonic canon are often seen as the apotheosis of the huge late-Romantic symphony. But in his lifetime Mahler was better-known as an opera conductor than a composer, and he got his compositional start writing songs rather than orchestral pieces.

Bits of those songs often found their way into Mahler’s later symphonies, and astute listeners will find in his Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) two melodies that featured prominently in his Symphony No. 1, which of course the Philharmonic played to close the 21-22 season. Mahler worked on the Songs on and off through the 1880’s while he climbed laboriously up the ranks of Central European opera houses, ascending from a tiny wooden theatre in a Moravian vacation town to the wealthy German manufacturing city of Leipzig (from which he’d eventually move on

The Songs set poetry Mahler wrote himself, and their themes are familiar to readers of German poetry (and fans of Franz Schubert, who set many similar texts). In them we meet a young male narrator suffering from romantic heartbreak and wandering the countryside more or less aimlessly; the beauty and innocence of the natural world contrast piercingly with the narrator’s aching loneliness, and that contrast whipsaws his emotions from elation to despair.

In the first song, Wenn mein Schatz…, our narrator contemplates his darling’s upcoming wedding day – in which, of course, he can play no part. In Ging heut morgen… the simple joy of a summer saunter through a mountain field is interrupted, at last, by the inevitable pang of solitary despair, and in Ich hab ein glühend Messer the narrator offers a nightmarish vision of a glowing knife plunged into his chest. In Die zwei blauen Augen we end at last with Nature offering some relief, as our narrator finds peace sleeping under the falling blossoms of a linden tree. But wait: is our narrator merely snoozing, or is he in fact sleeping the final sleep of death?

The ambiguity that ends the Songs captures the central question – what is death, and what can it tell us about the meaning of life? – that will animate Mahler’s compositions for the rest of his career.

Songs of a Wayfarer Gustav Mahler (1860-1911) COMPOSED

1885

INSTRUMENTATION

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

APPROXIMATE DURATION

16 minutes

I. When my darling has her wedding-day Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag! Geh’ ich in mein Kämmerlein, Dunkles Kämmerlein, Weine, wein’ um meinen Schatz, Um meinen lieben Schatz!

When my darling has her wedding-day, her joyous wedding-day, I will have my day of mourning!

I will go to my little room, my dark little room, and weep, weep for my darling, for my dear darling!

HearHere: Fall 2022

39

ABOUT THE MUSIC

Songs of a Wayfarer continued

...

Blümlein blau! Verdorre nicht!

Vöglein süß! Du singst auf grüner Heide.

Ach, wie ist die Welt so schön!

Ziküth! Ziküth!

Singet nicht! Blühet nicht!

Lenz ist ja vorbei!

Alles Singen ist nun aus.

Des Abends, wenn ich schlafen geh’, Denk’ ich an mein Leide.

An mein Leide!

Blue flower! Do not wither!

Sweet little bird - you sing on the green heath!

Alas, how can the world be so fair?

Chirp! Chirp!

Do not sing; do not bloom!

Spring is over.

All singing must now be done.

At night when I go to sleep, I think of my sorrow, of my sorrow!

II. I walked across the fields this morning

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Spartanburg Philharmonic

Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink: “Ei du! Gelt? Guten Morgen! Ei gelt?

Du! Wird’s nicht eine schöne Welt?

Zink! Zink! Schön und flink!

Wie mir doch die Welt gefällt!”

I walked across the fields this morning; dew still hung on every blade of grass.

The merry finch spoke to me: “Hey! Isn’t it? Good morning! Isn’t it?

You! Isn’t it becoming a fine world?

Chirp! Chirp! Fair and sharp!

How the world delights me!”

Auch die Glockenblum’ am Feld Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, Ihren Morgengruß geschellt: “Wird’s nicht eine schöne Welt?

Kling, kling! Schönes Ding!

Wie mir doch die Welt gefällt! Heia!”

Also, the bluebells in the field merrily with good spirits tolled out to me with bells (ding, ding) their morning greeting: “Isn’t it becoming a fine world?

Ding, ding! Fair thing!

How the world delights me!”

Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein!

Blum’ und Vogel, groß und klein!

“Guten Tag, ist’s nicht eine schöne Welt?

Ei du, gelt? Schöne Welt?”

And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the sunshine!

Flower and bird, great and small!

“Good day, is it not a fine world?

Hey, isn’t it? A fair world?”

Nun fängt auch mein Glück wohl an?

Nein, nein, das ich mein’, Mir nimmer blühen kann!

Now will my happiness also begin?

No, no - the happiness I mean can never bloom!

ABOUT THE MUSIC

III. I have a red-hot knife Ich hab’ ein glühend Messer, Ein Messer in meiner Brust, O weh! Das schneid’t so tief In jede Freud’ und jede Lust.

Ach, was ist das für ein böser Gast!

Nimmer hält er Ruh’, nimmer hält er Rast, Nicht bei Tag, noch bei Nacht, wenn ich schlief.

O Weh!

I have a red-hot knife, a knife in my breast.

O woe! It cuts so deeply into every joy and delight.

Alas, what an evil guest it is!

Never does it rest or relax, not by day or by night, when I would sleep.

O woe!

Wenn ich in dem Himmel seh’, Seh’ ich zwei blaue Augen stehn.

O Weh! Wenn ich im gelben Felde geh’, Seh’ ich von fern das blonde Haar Im Winde wehn.

O Weh!

When I gaze up into the sky I see two blue eyes there.

O woe! When I walk in the yellow field, I see from afar her blond hair waving in the wind.

O woe!

Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern’ Lachen, O Weh!

When I start from a dream and hear the tinkle of her silvery laugh, O woe!

Ich wollt’, ich läg auf der schwarzen Bahr’, Könnt’ nimmer die Augen aufmachen!

Would that I lay on my black bier Would that I could never again open my eyes!

Songs of a Wayfarer continued

IV. The two blue eyes of my darling Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt.

Da mußt’ ich Abschied nehmen vom allerliebsten Platz!

O Augen blau, warum habt ihr mich angeblickt?

Nun hab’ ich ewig Leid und Grämen.

The two blue eyes of my darling they have sent me into the wide world.

I had to take my leave of this well-beloved place!

O blue eyes, why did you gaze on me?

Now I will have eternal sorrow and grief.

Ich bin ausgegangen in stiller Nacht Wohl über die dunkle Heide.

Hat mir niemand Ade gesagt.

Ade! Mein Gesell’ war Lieb’ und Leide!

I went out into the quiet night well across the dark heath.

To me no one bade farewell.

Farewell! My companions are love and sorrow!

Auf der Straße steht ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht!

Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wußt’ ich nicht, wie das Leben tut, War alles, alles wieder gut!

Alles! Alles, Lieb und Leid Und Welt und Traum!

On the road there stands a linden tree, and there for the first time I found rest in sleep!

Under the linden tree that snowed its blossoms onto me I did not know how life went on, and all was well again!

All! All, love and sorrow and world and dream!

HearHere: Fall 2022

41

ABOUT THE MUSIC

Scheherazade Nikolai RimskyKorsakov (1844-1908) COMPOSED

1888

INSTRUMENTATION

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

APPROXIMATE DURATION

42 minutes

How do you make a great composer? Do you immerse a child from birth in a musical household, marinating him in tones like a young Mozart? Do you put a young adult in the salt mines of Germanic opera houses, conducting day after day for years like Mahler? Or do you enlist him in the merchant marines with a harmonica, sending him to sea with nothing to do all day but play folktunes with a fiddleplaying fellow sailor?

Well, that unlikely last scenario is the one that worked for Nicolai Rimsky-Korsakov. Starting in the Black Sea, 18-year-old Rimsky-Korsakov sailed through the Mediterranean to England, where he picked up an American bunkmate named Thompson. Thompson and Rimsky formed a two-person jam band, travelling to New York, Washington, and even Niagara Falls together, thence down to Rio de Janiero and back to Russia.

Those experiences – seeing the countries of the world and meeting them through music – were inspiration enough to drive Rimsky to become a self-taught master of composition and orchestration (his textbook on the latter subject is still in print). Like that of many autodidacts, Rimsky’s mastery may well have exceeded what he’d have acquired in the academy, and before turning 30 he was teaching at the St. Petersburg Conservatory (in addition to serving in the Naval Reserve; he taught class in his full dress uniform).

Scheherazade is Rimsky-Korsakov’s most popular work, and as fine a piece of musical storytelling as you’ll ever encounter. A “Symphonic Suite,” its four movements depict tales from the 1,001 Nights, tales told by the ingenious Queen Scheherazade to her uxoricidal husband, Sultan Schariar, who puts his wives to death after their first night together; Scheherazade leaves her bloodthirsty husband in such suspense each night that he

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Spartanburg Philharmonic

forestalls her death by one more day to find out what happens; after 1,001 such evenings, the Sultan sees the error of his ways, reverses his death sentence, and the couple lives, presumably, happily ever after.

Rimsky links all of the four movements with a recurring violin solo, as the voice of Scheherazade introduces each tale before the full orchestra takes it up. “The Sea and Sinbad’s Ship” is followed by another maritime story, “The Tale of Prince Kalendar.” A gentle love story comes third, while Sinbad and his ship make a reappearance in the final movement, interrupting the great festival in the fabled city of Baghdad.

In Scheherazade Rimsky-Korsakov mines the music of the Arab world for colorful melodic turns and harmonies and engaging rhythms, painting a gleefully Orientalist picture of the Arab world as seen through Russian eyes.

Almost every instrument of the orchestra gets to show off, from roaring brass and percussion to delicate woodwind solo cadenzas, and of course those glorious violin solos. It’s no wonder the self-taught sailor became one of the most celebrated figures in Russian music.

Chris Vaneman

Contributing Author

ABOUT ABOUT THE THE MUSICIANS MUSIC

Antoine T. Clark

GUEST CONDUCTOR & MUSIC DIRECTOR FINALIST

Compelling interpretations, inventive performances and an energetic stage presence are the hallmarks of American conductor Antoine T. Clark. The founding Artistic and Music Director of the Worthington Chamber Orchestra in Ohio (formerly McConnell Arts Center Chamber Orchestra), now in its tenth season, Mr. Clark was named Assistant Conductor of West Virginia’s Wheeling Symphony Orchestra in fall 2021. A passionate advocate of arts education, he served as Cincinnati Symphony’s 2022 MAC Music Innovator. 2022-2023 season highlights include a collaboration with Hixon Dance in a performance of Peter and the Wolf with the Worthington Chamber Orchestra and guest engagements in the fall with Spartanburg Philharmonic and Dayton Philharmonic, and in the spring with Symphony

Tacoma. Guest appearances include engagements with Chicago Sinfonietta, Cincinnati Symphony Orchestra, Vermont Symphony Orchestra, Wheeling Symphony Orchestra, Opera Columbus, the Chamber Orchestra of New York, the Colour of Music Festival Chamber Orchestra, Richmond Symphony, and at the Gateways Music Festival. Among the composers with which he has worked are Mark Lomax III, Jacob Reed, Matthew Saunders, Michael Rene Torres, Christopher Weait, and Tony Zilincik. A winner in the 2017 International Conductor’s Workshop and Competition, he has participated in the Cabrillo Contemporary Festival of Music, the Monteux School and Music Festival, and as a Chicago Sinfonietta Project Inclusion Conducting Freeman Fellow. www.AntoineTClark.com

Kenneth Overton GUEST ARTIST, BARITONE

Kenneth Overton is lauded for blending his opulent baritone with magnetic, varied portrayals that seemingly “emanate from deep within body and soul.” Kenneth Overton’s symphonious baritone voice has sent him around the globe, making him one of the most sought-after opera singers of his generation.

Kenneth is a GRAMMY™ AWARD WINNER for Best Choral Performance in the title role of Richard Danielpour’s The Passion of Yeshua with the Buffalo Philharmonic Orchestra and Chorus, conducted by JoAnn Falletta, awarded at the 63rd Grammy Awards, Year 2020.

Kenneth recently made his Metropolitan Opera debut in the Fall of 2021 as Lawyer Frazier in Porgy and Bess.

Kenneth’s interpretation of the title role has been proclaimed as “breathtaking.”

He has performed the role over 100 times at international houses such as the Deutsche Oper Berlin in the criticallyacclaimed production from South Africa’s Cape Town Opera.

He is also set to reprise the role of Ralph Abernathy in I Dream with Opera Carolina and Charlottesville Opera, and will star as Germont in La Traviata for his stage debut with Fort Worth Opera. He will also appear in the World Premier of Adolphus Hailstork’s A Knee on the Neck, a solo recital at The Quick Center for the Arts at St. Bonaventure University, Fort Worth Opera’s Gala Concert, and will debut Damien Geter’s An African American Requiem with the Oregon Symphony/Resonance Ensemble. www.KennethOverton.com HearHere: Fall 2022

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173 E. Main Street Spartanburg, SC

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CHAPMAN CULTURAL CENTER

Chai Cello F R I DAY

Sept 30, 2022

5:30 PM Social Hour 6:30 PM One-hour Concert

@ Chapman Cultural Center

Info & Tickets:

A Breathless Half Dance, Half Dare The NY Times hails Mike Block and Sandeep Das’ sound as “Breathless... half dance, half dare,” and we dare you not to dance along in the aisles.

After meeting as members of YoYo Ma’s GRAMMY Award-winning Silkroad Ensemble, Mike (cello/ vocals) and Sandeep (tabla) joined together to form an energetic, dynamic cross-genre duo. Alone, they are musical innovators and masters of their craft. Together, they explore the uncharted musical space of cello and tabla, drawing on traditional Indian rhythmic compositions and classic American melodies. The result is a sound unlike any other. One that is absolutely mesmerizing to watch and as spirited as it is soulful, like a steaming cup of hot chai.

Sandeep is one of the few Indian classical musicians to actively explore new contexts for his instrument beyond the music of his home country. Since his debut concert with Ravi Shankar at the age of 17, Sandeep has gone on to perform with iconic artists such as Yo-Yo Ma and Paquito D’River.

Mike is a singer, composer, educator, and innovator who is among the first wave of cellists to adopt a strap in order to stand and move while playing. As a touring member of Yo-Yo Ma’s Silk Road Ensemble, Mike has been featured as cello and vocal soloist, contributed arrangements and compositions, and earned a GRAMMY Award in 2017 for their album, Sing Me Home.

As one of the leading Tabla virtuosos in the world today,

HearHere: Fall 2022

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SPOTLIGHT backgrounds, and these experiences expanded her musical horizons, giving her a new appreciation of classical music.

“Converse was a magnet for all sorts of classical performances, and it pulled some big names. There were some grand people that came to Spartanburg because it had its mark in music.”

Throughout her teenage years, Fayssoux continued learning about music and singing in her church choir. After graduating from the University of Virginia, she started teaching speech therapy in public schools, and she married John Starling, a founding member of the bluegrass band, Seldom Scene. After a time, Fayssoux started singing harmony with the band and soon crossed paths with stars such as Rodney Crowell, Linda Ronstadt, Dolly Parton, and several others. It was here that she formed a friendship with Emmylou Harris, and the two often sang together.

Fayssoux with guitarist Brandon Turner

Spotlight: Fayssoux McLean Furthering Spartanburg’s Mark

Kordell Hemphill Bluegrass and Country songstress, Fayssoux McLean has earned high regard with music-lovers around the United States, but Spartanburg holds a special place in her heart.

Being a third-generation “Spartanburger,” Fayssoux details just how deep her family’s roots go in our community: “My Grandfather was the mayor of Spartanburg for over 30 years. There are a lot of stories about Mayor Floyd and the Floyd Mortuary was his so that has a lot to do with my family… My father was a Dunbar, and Dunbar & Ellis Furniture company was his store. My mother was a Floyd, and there was just so much family in Spartanburg”

Fayssoux attributes her musicality to her parents and their eclectic record album collection. At a young age, Fayssoux recalls being surprised the first time she heard her mother and father singing in harmony around the house. She was unaware of just how musical her family really was, but because she was shy, Fayssoux herself rarely sang in public other than her church choir.

At the age of five, Fayssoux started taking piano lessons at Converse College (now Converse University), and while at the school, she began to recognize that Converse played host to a number of world-class performers. She heard musicians from all over the world and from different

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Spartanburg Philharmonic

“Emmylou used to fly me out to California to sing her records. She has a wonderful voice, and she’s such a sweet person. In fact, we still have a long-distance relationship.

She’s in Nashville and I’m in Spartanburg but I go every six weeks to see her and do stuff in Nashville to keep my hand in what’s going on.”

Fayssoux continued to work as a school speech therapist, and eventually moved back to Spartanburg in the early 1990s. There, she connected with Peter Cooper, author of Hub City Music Makers. The two hit it off, and he encouraged her to return to the music scene, this time singing lead.

In 2008, Fayssoux published her debut solo album ‘Early’ with the help of Cooper. It’s a star-studded album, featuring harmony from a number of acclaimed artists and friends of Fayssoux like Ricky Skaggs, David Ball, Lloyd Green, and (of course) Emmylou Harris. With this album under her belt, she started performing more and more in public, gaining fans wherever she sings.

As Emmylou Harris put it, “[Fayssoux] has this extraordinary voice and an amazing ability to harmonize.”

And because of that voice and Fayssoux’s knack for storytelling, audiences were both amazed and charmed by her wit and musicianship. Today, she performs and shares her stories all over the region, inspiring her listeners and furthering Spartanburg’s musical mark.

We at the Philharmonic are so very fortunate that Fayssoux is a regular part of our Music Sandwiched In series at the downtown Spartanburg County Public Library. Want to experience this legendary performer for yourself? Check out page 20 for more details!

BLUEGRASS SPARTANBURG

CHAPMAN CULTURAL CENTER

Frank Solivan & Dirty Kitchen F R I DAY

October 14, 2022 8:00 PM

@ Chapman Cultural Center

Driving rhythms and bold vocals Multi-GRAMMY Award nominated Frank Solivan and Dirty Kitchen is a torrent of mind-blowing bluegrass. Known for their meaty pile-driving rhythms and Frank’s dynamic and bold vocals, the band’s last two albums have both received a GRAMMY nomination for Best Bluegrass Album. They have twice been named IBMA Instrumental Group of the Year and earned numerous other IBMA noms including Male Vocalist of the Year, Mandolin Player of the Year, and in 2013, received Banjo Player of the Year. Their massive sound and show stealing performances command the most prestigious stages in the country and abroad;

from The Grand Ole Opry to the biggest international festivals across Europe, South America and Australia. The band has performed at the biggest bluegrass festivals including Telluride, MerleFest, Grey Fox, RockyGrass, Delfest, Strawberry Music Festival, Pickin’ in the Pines, ROMP, and countless more. Frank Solivan and Dirty Kitchen is among the most respected and soughtafter bands in the business. FS&DK’s respect and deep understanding of the bluegrass tradition collides, live on stage, with rock-tinged fiery virtuosity that pushes the boundaries of the genre to include a taste of country, jazz, blues, southern rock, and soul.

Info & Tickets:

HearHere: Fall 2022

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SPECIAL EVENT

We are all very lucky to have a rich culture of both music and horses in our Foothills. It’s just a good fit for our area to combine classical music and classical riding. Although the concept of Divertimentos and Dressage was born out of my shared passion for orchestral music and beautiful horses, it has grown up to be an essential fundraising concept for the two organizations it seeks to support: The Spartanburg Philharmonic and Brooke USA Foundation. Philharmonic enriches,

BENEFITTING:

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Spartanburg Philharmonic

inspires and educates the public through live performances of high-quality music.

Brooke USA Foundation strives to alleviate the suffering of working horses, donkeys and mules, and the people they serve in the developing world. Together, these two organizations help to make a better world both here and around the globe.

With growth comes necessary and exciting change. With that, we are moving Divertimentos and Dressage to Tryon International Equestrian Center’s new indoor arena. But the concept will remain the same: elegant and masterfully performed classical music accompanied by stunning horses and talented riders.

We have added more opportunities to support this event with ringside tables, a silent auction, signature cocktails, and an after-party to meet the riders and musicians. We are offering multiple levels of giving with substantial recognition of the donors. We also have a surprise! In addition to our incredible dressage riders, 2020 Olympian Doug Payne will dazzle us with Grand Prix show jumping!

Beautiful music and incredible athletes (both the two legged and the four legged) will make this an unforgettable performance. I hope you will join us!

Sally Frick

Contributing Author

TRYON INTERNATIONAL EQUESTRIAN CENTER

Antonín Dvořák

Carnival Overture, op. 92 (preview)

6 min

Frederich Handel

Entrance of the Queen of Sheba & Water Music: Hornpipe

6 min

Wolfgang Amadeus Mozart

An Evening of Divertimentos & Dressage

Marriage of Figaro, Overture

Piotr Ilyich Tchaikovsky, arr. Golan Nutcracker: Pas de deux

4 min

Gioachino Rossini

October 20, 2022 6:00 PM: reception with cocktails and hors d’oeuvres

Barber of Seville, Overture

7:00 PM: one-hour concert

Hungarian Dances, no. 5 & 6

Guest Conductor

5 min

6 min

Johannes Brahms, arr. Parlow

Susana Lalama

Johann Strauss II

New Location in 2022

Samuel Coleridge-Tayor

6 min

The Blue Danube Waltz

6 min

Petite Suite Concert I. IV. II.

7 min

Le caprice de Nannette Le tarantelle frétillante

Leonard Bernstein, arr. Peress

West Side Story Overture

Tickets Online:

7 min

Bruno Mars, arr. Lopez Uptown Funk

3 min

Programs subject to change. All timings are approximate.

HearHere: Fall 2022

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SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

TWICHELL ABOUT AUDITORIUM THE MUSIC

Doug Spata Gargoyles

2 min

Richard Meyer

Rosin Eating Zombies from Outer Space

Fall Fever October 23, 2022 3:00 PM

4 min

Chris Thomas Rustic Dance

2 min

Katie O’Hara LaBrie Skeleton Waltz

2 min

Conductors

Susana Lalama & Johanna Wilson Isaac Albéniz, arr. Victor López

Asturias (Leyenda) from Suite Española, Op. 47

6 min

David R. Holsinger

On a Hymnsong of Philip Bliss

5 min

Piotr Ilych Tchaikovsky, arr. Sandra Dackow Cossack Dance from Mazeppa

4 min

Camille Saint-Saëns Dance Macabre

8 min

Program Online:

Programs subject to change. All timings are approximate.

HearHere: Fall 2022

51

FROM THE CONDUCTORS P r e l u de In keeping with the Symphony ensemble’s theme, Danse Macabre, and the season, the music for the Prelude ensemble was chosen to spin a tale of mayhem and mischief as rosin eating zombies take over the stage with glissandos, ponticello, and more. The

tension builds with the gargoyles’ fiery ostinato pattern in a minor mode setting a dark-sounding musical adventure. Melodic fragments pass from one section to another as the tension builds. Moving next to the dances with a range of articulations, double-

stops and energetic rhythms. As the tempo increases for a challenge the skeletons incorporate chromatic harmony and special effects to create a fun and spooky setting that is reminiscent of the orchestrations of Berlioz and Saint-Saëns.

- Johanna Wilson Symphony This program was selected around the Saint-Saëns, Danse Macabre. Not only is this challenging masterpiece fitting for this orchestra, Danse Macabre allows the Symphony to feature one of its very talented violinists. The enchanting energy of this piece set the template for the rest of

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Spartanburg Philharmonic

the program. The well-known guitar piece Asturias has a similar vibe, but now arranged for orchestra places a different sound to the known work. Changing the mood and style of music, On a Hymnsong of Philip Bliss was selected to reflect the beauty of life.

Finally, the last piece selected to complete the program is a celebratory Ukrainian dance from Tchaikovsky’s opera Mazeppa, Cossack Dance. This program is filled with electrifying and emotional music that the students and audience will enjoy.

- Susana Lalama

ABOUT THE SPYO CONDUCTORS

Susana Lalama SYMPHONY CONDUCTOR

Susana M. Lalama, Ph.D., is Associate Professor of Music Education and Director of the Petrie School of Music at Converse University. Dr. Lalama teaches undergraduate and graduate courses in instrumental music education and conducting, and supervises student teachers in instrumental music.

She also advises graduate music education master’s theses and projects. Prior to her appointment as Director of the Petrie School of Music, she served as the Conductor of the Converse Wind Ensemble.

Dr. Lalama grew up in Miami, Florida, and went on to pursue her music education degrees from the University of Miami.

Prior to her graduate degrees, she served Susana Lalama and Johanna Wilson at an SPYO concert in April 2021 as Director of Bands at Barbara Goleman High School in Miami Lakes, where under her direction, the wind ensemble, jazz band, and marching band consistently received superior ratings at district and state music performance assessments.

When not teaching in the classroom, Dr. Lalama serves as the adviser of the Collegiate NAfME Converse Chapter. She also serves on the South Carolina Music Educators Association executive board as Past-President of the Higher Education Division and is the Editor of the South Carolina Musician, the official publication of SCMEA. Dr. Lalama is an active scholar, presenter, and researcher in music education. She has presented music education workshops on topics such as strategies for teaching intonation, classroom management for large ensembles, the student teaching experience, and artistry in conducting. Her research interests are centered on caring climates, student social behaviors, and music teacher education.

Johanna Wilson PRELUDE CONDUCTOR

A native of Spartanburg, South Carolina, Johanna Wilson has taught strings in elementary, intermediate, middle and high school programs for the past 42 years in Richland School District One and Lexington School District One. Before retiring in the spring of 2020, she was the Director of Orchestras at Lexington High School and as well as teaching beginning string classes at Pleasant Hill Elementary School.

Active in local, state, and national teaching and string organizations, she is Past-President of the South Carolina Music Educators Association Orchestra Division and the South Carolina String Teachers Association with NSOA. Her professional affiliations include ASTA, SCASTA, NAfME, SCMEA and Phil Kappa Lambda. Ms. Wilson was a conductor with the South Carolina Youth Orchestra Program from 1983-1990. For twelve years she was the Master Teacher with Robert Jesselson at the USC String Project. She has served as a judge, adjudicator, or guest conductor for contests, SCMEA Region Orchestras, The Southeastern Honors Orchestras at The University of Tennessee, and other festivals throughout the southeast.

Her experience, as a performer, includes twelve years with the South Carolina Philharmonic Orchestra and three years with the Lake Murray Symphony Orchestra. Ms. Wilson received her BA and Masters of Music Education degrees from the University of South Carolina in Columbia. In 2005, she was named the SCASTA Conductor of the Year. She has a daughter, Katherine, who is the orchestra director at Crayton Middle School in Columbia, South Carolina.

HearHere: Fall 2022

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SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

New Names & New Directions The Youth Orchestra is Growing

Melanie Coblentz

Contributing Author

The Spartanburg Philharmonic Youth Orchestra will usher in its fourth season this fall. Showcasing the talents of over 100 young musicians, this collection of talent consists of two separate groups of students from local school music programs and residents of Spartanburg County and surrounding communities.

The community has been a huge source of support and shown a great interest since the orchestra program for 9th-12th graders was created in 2019. In 2020 an expansion was made to include a junior ensemble for 6th-8th grade string students, to fulfill the needs of the community.

With the interest in membership growing annually, SYPO has decided to introduce a new, flexible model for the ensembles that will offer more young musicians an opportunity for membership. As of July 1st, the two new ensembles of SPYO will be known as Prelude and Symphony.

For the older students, grades 8-12, the Symphony (formerly Senior SPYO) is the full orchestra for talented musicians working on refining their skills through advanced orchestral repertoire. Previously the group was broken up

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Spartanburg Philharmonic

by grades with the inclusion of string students grades 9-12, and woodwind, brass, percussion grades 8-12. Beginning this season, Symphony is open to all student musicians grades 8-12 who are ready to challenge themselves to perform at a higher level.

Younger students, grades 6-9 who play string instruments can join Prelude (formerly Junior SPYO), a string orchestra for talented musicians working on refining their skills through challenging string literature.

In a change from previous years, string instrument students in grades 8 & 9 now have the option of auditioning for not just Prelude but for the Symphony as well. Students will be able to audition for both of the ensembles; allowing the younger musicians to challenge themselves to rise to the talent level of the Symphony students. Allowing older students to participate in Prelude will allow the ensemble to perform a more challenging repertoire. This change in structure will also allow students the opportunity to move up if a seat becomes available in the Symphony, giving opportunities for growth to more students.

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA

Prelude is the youngest group of the two ensembles.

Participants as young as ten audition for the ensemble the spring prior to the season, for the approximately forty five seats available.

Patrons will have three opportunities to see Jonathan and the rest of the SPYO string ensemble Prelude perform during the 2022-2023 season.

Among the talent in Prelude is three year veteran violinist, Jonathan Steadman. The rising eighth grader learned of the program through his violin teacher, and his grandfather, Dan Steadman.

Although The Spartanburg Philharmonic’s Youth Orchestra program is still relatively new, it has already inspired students to seek out careers in the arts. Of the musicians that graduate from Symphony, 30%-40% of them chose to further their musical studies in college.

The elder Steadman is no stranger to music, he shares a love of the arts locally as a school band director. He had this to say about the Spartanburg Philharmonic Youth program and the role it’s played in his family’s life, “My grandson started violin lesson when he was six years old.

There were no programs in school for him to play in a group setting, and he was at the point of giving up violin.

He was in the first Junior SPYO group and was excited to be around other kids his age that played well, and he really enjoyed playing ‘serious’ music in an ensemble”.

One of the Youth Orchestra’s recent graduates, Hayden Green is a glowing example of the way it benefits students.

During his time with Symphony, he was able to experience things like playing in NYC’s Carnegie Hall, and sharing his talents with other ensembles. He was even invited to perform with the Spartanburg Philharmonic as a guest soloist in the spring 2021 concert, Soulful Serenade.

You can read more about Hayden, his experience in the program and his future aspirations in the SPYO Spotlight blog at:

The Philharmonic’s youth program works with local school’s orchestra directors to encourage students who show an interest in nurturing their talent, to audition for the youth program. Jonathan Steadman credits the program with helping him meet talented people his age.

His conductor, Johanna Wilson, brings 42 years of experience in musical education to Prelude. Keeping children excited and focused is no small task. Dan Steadman said that Ms. Wilson has a skill of drawing out talent in kids, and the program keeps Jonathan excited about music.

www.SpartanburgYouthOrchestra.org/Blog Auditions for the Youth Orchestra are only held in May, but if your child or grandchild has shown an interest in music, bringing them to experience the Spartanburg Philharmonic’s Youth Orchestra and other performances from the audience is a great way to prepare them for what will be expected as a member.

A complete list of the 2022-23 season performances can be found on the Spartanburg Philharmonic Youth Orchestra or Spartanburg Philharmonic website.

HearHere: Fall 2022

55

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Spartanburg Philharmonic

ZIMMERLI SERIES

TWICHELL ABOUT AUDITORIUM THE MUSIC

Antonín Dvořák

Carnival Overture, op. 92

10 min

John Powell, arr. Sean O’Laughlin How to Train Your Dragon

8 min

William Walton, arr. Muir Mathieson

Henry V: Suite

Fantasy & Firebird November 5, 2022 7:00 PM

I. II. III. IV. V.

16 min

Overture: The Globe Playhouse Passacaglia: The Death of Falstaff Charge and Battle “Touch her soft lips and part” Agincourt Song

Georges Bizet

Farandole from L’Arlesienne no. 2

5 min

Guest Conductor

Troy Quinn

INTERMISSION

Ralph Vaughan Williams The Lark Ascending

13 min

Fabiola Kim, violin

Igor Stravinsky The Firebird: Suite

Program Online:

VI. VII. VIII. IX. X. XI.

23 min

Introduction L’Oiseau de feu et sa danse & Variation de l’oiseau de feu Ronde des princesses Danse infernale du roi Kastcheï Berceuse Final

Programs subject to change. All timings are approximate.

HearHere: Fall 2022

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ABOUT THE MUSIC

FROM THE CONDUCTOR The musical works on the program tonight represent the power of music and its ability to transport us to a world of fantasy and take us on a soaring adventure. I programmed the concert opening Carnival Overture by Dvorak as it is one of my favorite pieces and there is no better display of a high flying, spirited piece than this overture. In my career in Hollywood, I’ve been lucky enough to record with John Powell on a couple of his films, and the Oscar nominated score to How To Train Your Dragon is a fast paced, soaring favorite

of mine. We then move to another work for the cinema by a film and classical composer named William Walton, performing his Suite from the film Henry V. Much of my academic research delves into the choral, orchestral, and film music of Walton, this is also the first piece I ever conducted professionally and remains a rare gem in the repertoire. To begin the second half, you will hear Fabiola Kim’s serene and ethereal interpretation of my favorite Vaughan Williams’ work, The Lark Ascending. I have performed this work

with Fabiola at least four times and there is no better interpreter of this work where the dulcet tones of the Lark are intoned by the violin, leading us to the final work on the program The Firebird Suite by Stravinsky.

This Russian fairytale leads us perfectly to the epic climax of the concert where fantasy and flight meet in an extravagant and bombastic ending!

- Troy Quinn

ABOUT THE MUSIC

Carnival Overture Antonín Dvořák (1841-1904) COMPOSED

1891

INSTRUMENTATION

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

APPROXIMATE DURATION

10 minutes

The Big Break. Every young artist or performer yearns for it: the moment when Someone Important notices you, recognizes your genius, and introduces you to the audience that will do likewise. From that moment, you imagine, your life will never be the same.

That’s the story as we imagine it, of course – and it happens just often enough that generation after generation returns to it. In 1877 it happened to Antonin Dvorak, the son of a Bohemian butcher and tavernkeeper, only after he’d toiled in poverty and obscurity for a decade, scraping out a living as a violist in theatre orchestras in Prague. Dvorak sent in a pile of unpublished and unperformed manuscripts to a composition contest, not knowing when he did so who its judges were and hoping vaguely for a financial prize.

Well, the judges were Johannes Brahms and his friend, the eminent music critic Eduard Hanslick, and Brahms recognized Dvorak’s genius at once. Brahms arranged with his publisher to issue many of the younger composer’s written works and saw to it that they were performed in Germany and Austria; Dvorak never wanted for an audience (or for money) again.

The Carnival Overture was written in 1891, by which time Dvorak was among central Europe’s most respected composers and the year before he began a two-year sojourn in America

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as Director of the National Conservatory. It was the second of a three-overture cycle, “Nature, Life, and Love.” Life (Carnival), as it was originally called, portrayed life – as its title suggests – as a vast carnival, replete with noisy crowds, vendors, barkers, and even “a pair of straying lovers,” as the composer put it. The three overtures were premiered together in Prague in Spring of 1892, and Carnival was played again six months later in Carnegie Hall, when Dvorak introduced himself to American audiences in a huge concert commemorating the 400th anniversary of Columbus’ “discovery” of America. So it was with this piece that America discovered Dvorak, and vice versa, and it was with this piece that a beautiful friendship between Dvorak and his new world began.

ABOUT THE MUSIC

Thus far, at least, the best you can say for the 21st Century is that it’s been kind of a mixed bag. It’s brought us some great things (medical technology, decent-quality produce in supermarkets all year long, the internet) – and some terrible things (Covid, those flimsy plastic bags they give you at the supermarket, the internet). On the plus side of the ledger, though, we have to add the elimination of the unstated barrier that used to separate concert music from film music.

For many decades “serious” orchestras refused

If Powell’s “How to Train Your Dragon” score is an especially unlikely candidate for concert-hall popularity (composed, as it was, by a theretofore unknown composer for an animated children’s film), Walton’s music for Henry V had a few points obviously in its favor. While of course it was still just “movie music,” at least that movie was made by a recognized filmic genius (Lawrence Olivier),

to touch film music, with the exception of summertime “pops” concerts, usually outside, often culminating in fireworks, and usually requiring the orchestra’s personnel manager to dip way down into the substitute list because most full-time orchestra members picked that week to go on vacation. But over the last two decades, music from scores by Hans Zimmer, Danny Elfman, and John Williams has been embraced by conductors and orchestras for its undeniable musical value.

How to Train Your Dragon John Powell

John Powell’s score for “How to Train Your Dragon” has been among the mostprogrammed of the last decade, and has been arranged for almost every imaginable combination of instruments. The Londonborn-and-bred Powell was for some years Hans Zimmer’s assistant, and it was Zimmer who helped to set up Powell with the film’s producers. Powell’s score was nominated for an Oscar, and GRAMMY Award, and a BAFTA Award, and its tuneful and evocative music – those could only be the sounds of dragons swooping through the tufted clouds of a summer sky – has gained legions of admirers all over the world.

COMPOSED

was a filmed version of a respected play by an unimpeachable playwright (Shakespeare’s most popular history), and its composer was at the time the most celebrated living British composer.

Henry V: Suite William Walton

While Walton is thought of today as a pillar of the conservative English establishment, he was a child of the working class who was rejected in the first part of his career as a wild-eyed radical. His mother recognized his musical talent early and managed to get him enrolled in an Oxford choir school at the age of nine (she had to borrow the money for the train ticket to the lad’s entrance examination from her greengrocer, as his father had drunk away the money she’d saved for the trip at a pub the previous night). He won a scholarship to Oxford University with ease, but was so uninterested in any subject other than music that he flunked his Greek and Math exams and was unable to actually graduate. At Oxford he fell in with the literary avant-garde, and while most audiences continued

(1963-) 2010

INSTRUMENTATION

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

APPROXIMATE DURATION

8 minutes

(1902-1983) COMPOSED

1944

INSTRUMENTATION

2 flutes/piccolos, 2 oboes/engligh horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani & percussion, harp, and strings

APPROXIMATE DURATION

16 minutes

. . . Fall 2022 HearHere:

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ABOUT THE MUSIC

Henry V: Suite continued

...

and conservative critics detested such works as Façade, the beauty and power of his Viola Concerto and First Symphony could not be denied.

Walton spent the WWII years working for the British War Office, writing music for patrioticthemed films. The greatest of these was Olivier’s 1944 Henry V, and Walton’s music, which incorporates melodies from the Tudor period (the drinking song Watkin’s Ale supplies the repeating bass line for the death of Falstaff,

Farandole Georges Bizet (1838-1875) COMPOSED

1872

INSTRUMENTATION

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

APPROXIMATE DURATION

5 minutes

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and the French folk song Baïlero is played by the oboe amidst the hurly-burly of the Charge and Battle) was immediately purposed for the concert stage. The British conductor Sir Malcolm Sargent adapted a suite the following year, and the bestselling recorded LP – featuring the voice of Olivier reciting excerpts from Shakespeare’s text between movements – established the popularity that the suite has never relinquished.

If you’ve been to see an opera in the last decade or so, chances are pretty decent that it was Georges Bizet’s Carmen, which – along with a couple by Verdi and Puccini – is perennially among the most-staged in the world. But Bizet himself never got to reap the fruits of that glory, though, as it was his untimely death at the age of 37, three months after Carmen’s unsuccessful premiere, that spurred a second look at that work and guaranteed his immortality.

In life, Bizet’s career was a curious one.

Admitted to the Paris Conservatory at the ripe old age of nine, Bizet shot like a comet through the halls of that institution, winning more accolades as a student than almost anyone before or since. A Prix de Rome victory – which came with five years’ worth of generous financial support – seemed to launch him into the professional world before age 20, and he even managed to wed his composition professor’s lovely daughter. But the composer and the musical world could never quite seem to get on the same page, and Bizet spent 15 years as a sort of musical odd-jobs man, with opera projects falling through at the last moment and accompanying and arranging jobs paying the bills.

Among those musical odd jobs was the composition of incidental music for a new play, a tragicomedy called L’Arlesienne, in 1872. The play was something of a flop, but Bizet was able to extract some of his music and convert it into suites for performance on the concert stage, and the Farandole on tonight’s program closes the Second Suite. The Farandole borrows its main theme from a medieval French Christmas carol, and has long been a favorite at Holidayseason pops concerts for decades.

ABOUT THE MUSIC

this most English of composers responds with music of equal immediacy and gorgeousness.

He rises and begins to round, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake.

For singing till his heaven fills, ’Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup And he the wine which overflows to lift us with him as he goes.

Till lost on his aërial rings In light, and then the fancy sings.

Thus George Meredith’s poem, The Lark Ascending, which inspired Ralph Vaughan Williams’ piece of the same name and appears at the front of the composer’s score.

And indeed, how could the poem have failed to inspire the composer? Its mellifluous language so vividly sets this most English of scenes, and

For Vaughan Williams was the most English of composers. Son of a prosperous clergyman, great-nephew of Charles Darwin, family friend of Lord Bernard Russell, Vaughan Williams possessed in full the British love of nature and propensity for long rambles from village to village. He spent years collecting English folksong that way, ambling from hamlet to hamlet with music paper and a pencil in hand, standing rounds at the local pubs and taking dictation of any local who could sing a song he didn’t already know.

The rhythms and cadences of British folksong infused Vaughan Williams’ music, and they appear in the orchestral accompaniment to this, his most beloved work. Britain – its people and its countryside – are depicted by the orchestra, while the solo violin’s “silver chain of sound” exquisitely captures the lark.

The Lark Ascending Ralph Vaughan Williams (1872-1958) COMPOSED

1914

INSTRUMENTATION

2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns, triangle, and strings

APPROXIMATE DURATION

13 minutes

The Lark Ascending was sketched out in 1914, before the composer began his military service, and was finally completed in 1920. While the composer was actually arrested during its composition (he’d taken his pencil and music notebook to the cliffs near Margate by the English Channel to gaze at the skylarks there and was briefly mistaken for a German spy), the British public and authorities have since softened their judgement: in 25 annual polls of BBC “Classic FM” subscribers, The Lark Ascending has proved Britain’s favorite piece of classical music no less than 10 times.

HearHere: Fall 2022

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ABOUT THE MUSIC

The Firebird: Suite Igor Stravinsky (1882-1971) COMPOSED

1919

INSTRUMENTATION

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

APPROXIMATE DURATION

23 minutes

“Impresario” isn’t a word you hear thrown around very much anymore. On balance, that’s probably a good thing: as the performing arts world has grown more professionalized and more stable, impresarios have been replaced by staffs who divide labor manageably and, crucially, see to it that everyone from musicians to stage managers actually gets paid at the end of the week. So, the impresario – a single, visionary figure who conceives of a work, hires the artists who will make it and the performers and personnel who will stage it, and sells the tickets – has largely fallen into extinction.

But the greatest of the impresarios were significant figures in the history of the arts, and among impresarios few could claim to be the equal of Sergei Diaghilev.

In the first decades of the 20th Century Diaghilev ran the Ballets Russes, a company of Russian dancers and musicians that performed all over Europe except in their politically and economically unstable native country. The Ballets Russes brought together musicians like Debussy and Prokofiev, artists like Picasso and Matisse, dancers like Nijinsky, and costumers like Coco Chanel to create new works that pushed the edge of ballet’s possibilities. Based on and off in Paris, the Ballets Russes swung wildly from spectacular artistic and popular success to crashing financial failure and back, and over the course of two decades utterly remade the performing arts in Europe.

The Firebird was perhaps the first of Diaghilev’s truly great achievements. After a successful first season in Paris in 1909, Diaghilev decided to produce a grand ballet on the Russian folktale of noble Prince Ivan, the wicked magicianking Kashchei, and the magical Firebird that helps Ivan defeat the king. You can’t have a ballet without music, and Diaghilev set out to find a composer with the orchestrational brilliance of Rimsky-Korsakov and the rhythmic inventiveness of the avant-garde who was still young and unknown enough that he’d work for cheap. He settled on Igor Stravinsky, one of Rimsky’s last students and the son of a noted Russian opera singer. Stravinsky was brilliant,

ambitious, and – knowing an opportunity when he saw it – was willing to work for cheap.

On May 28, 1910, Stravinsky supplied Diaghilev with almost 60 minutes’ worth of ballet music, and on June 25 The Firebird premiered in Paris and was a sensational success. The pair followed up with Petrushka in 1911 and The Rite of Spring in 1913, and while WWI interrupted the work of the Ballets Russes, Stravinsky’s international reputation was well and truly made.

After the war Stravinsky returned to his music for the The Firebird, extracting several chunks for concert performance. The 1919 Firebird Suite has ever since been among the most popular 20th Century orchestral pieces, its intricate orchestrational details challenging orchestras as the same time that its rhythmic vitality and melodic color thrill audiences.

The 1919 Suite sets the mood with a spooky, nocturnal introduction, before the Firebird bursts onto the stage with a scintillating dance. The serene Round of the Princesses is contrasted by the syncopated, terrifying vigor of Kashchei’s Infernal Dance. In the Berceuse a slinky, hypnotic bassoon solo charms the evil king to sleep, and finally a memorable, noble tune in the horn provides the work a glorious Finale. Like its composer, The Firebird is musically immortal – and none of it could have happened without Diaghilev, the man behind the scenes who made it all happen.

Chris Vaneman

Contributing Author

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ABOUT ABOUT THE THE MUSICIANS MUSIC

Troy Quinn

GUEST CONDUCTOR & MUSIC DIRECTOR FINALIST

American conductor Troy Quinn is quickly establishing himself as one of his generation’s most versatile young artists.

Lauded for his energetic and riveting, yet sensitive conducting, Quinn is in his sixth season as Music Director of the Owensboro Symphony Orchestra in Kentucky. He is also the Music Director of the Venice Symphony in Florida where he conducts both the classical and pops concert series, and he serves as the Summer Pops conductor with the Rhode Island Philharmonic.

Equally at home in the pops and commercial world, Quinn has performed and recorded with some of the most popular artists of our time, including The Rolling Stones, Barry Manilow, Lee Greenwood, and Jennifer Hudson. In addition to his concert work, Quinn

has worked extensively in the television and recording industry, having made appearances on such hit TV shows as Fox’s GLEE, NBC’s The Voice, and The Tonight Show with Jay Leno.

A native of Connecticut, Quinn pursued a bachelor of arts degree from Providence College where he was the recipient of the Leo S. Cannon award for superior achievement in the music field.

He went on to earn his masters degree with honors from the Manhattan School of Music, studying conducting with David Gilbert and voice with highly acclaimed Metropolitan Opera singer Mark Oswald. He completed his doctorate in conducting at the University of Southern California’s Thornton School of Music and was awarded the outstanding doctoral graduate of his class.

www.TroyQuinn.com

Fabiola Kim GUEST ARTIST, VIOLIN

Hailed by the New York Times as “a brilliant soloist,” who “played with extraordinary precision and luminosity,” violinist Fabiola Kim enjoys a dynamic and versatile career as a soloist, chamber musician, recording artist, and pedagogue. Her recent album, “1939,” with the Munich Symphony and Kevin John Edusei, has received international acclaim from BBC magazine, The Strad Magazine, Gramophone, American Record Guide and many others. Ms. Kim made her concerto debut with the Seoul Philharmonic Orchestra at the age of seven, just three years after beginning to play the violin. Ms. Kim is the winner of various awards and competitions, including being the youngest in history to win the Seoul Philharmonic Orchestra’s Concerto Competition.

Other competition wins include the

Aspen Music Festival Violin Concerto Competition, The Juilliard Concerto Competition, the Kumho Prodigy Music Award, an award given to the most promising young musicians in Korea, and also was a prize winner at Corpus Christi International Competition and the Irving M. Klein International Competition for Strings.

Ms. Kim was recently appointed Assistant Professor of violin at the University of Michigan School of Music, Theatre and Dance and continues to serve as faculty at the Colburn School.

Ms. Kim received her Artist Diploma at the Colburn School under the guidance of Robert Lipsett, and she received her Bachelor and Master of Music at the Juilliard School under the tutelage of Sylvia Rosenberg and Ronald Copes. www.Fabiola.Kim HearHere: Fall 2022

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ESPRESSO SERIES

CHAPMAN CULTURAL CENTER

Jazz Java F R I DAY

NOV 18, 2022

5:30 PM Social Hour 6:30 PM One-hour Concert

@ Chapman Cultural Center

Info & Tickets:

Classic, Timeless, Captivating Jazz The Konrad Paszkudzki Trio can be summed up in three words: mood, sizzle, and swing. Their sound is classic yet timeless in its mode of expression, captivating ardent lovers of the jazz idiom and Tin Pan Alley tradition alike. Their repertoire is filled with standards - tunes collectively known as The Great American Song Book. Instantly recognizable songs that bring fond memories of date nights, holding hands, and lingering gazes. The trio plays with a skilled passion for the art of jazz in its truest form - with melodic elegance and verve. A swinging, sophisticated sound that will put a pep in your step, much like a good cup of java.

Raised in Australia, Konrad’s affinity and passion for American jazz revealed itself early. At 14, he was named the “Young West Australian

Instrumentalist of the Year.” Shortly after turning 19, he finished his undergraduate degree in jazz piano from the West Australian Academy of Performing Arts. From there, Konrad swiftly established himself as a leading jazzman in Australia, touring and playing with his mentor, trumpeter James Morrison.

In 2009, Konrad relocated to the US to earn his Masters at the University of Miami. From 2011-2012 he was based in LA, playing with the Clayton/Hamilton Jazz Orchestra and The Jeff Hamilton Trio before being offered a position leading the house trio at famed NYC club 54 Below (beneath the iconic Studio 54). In 2013, the Konrad Paszkudzki Trio was featured with Wynton Marsalis at events for Jazz At Lincoln Center.

HearHere: Fall 2022

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proud sponsor of the

Spartanburg Philharmonic 2022 - 2023

ZIMMERLI SERIES

TWICHELL ABOUT AUDITORIUM THE MUSIC

Piotr Ilyich Tchaikovsky, arr. Golan Nutcracker, op. 71

86 min

Overture

The Nutcracker December 9-11, 2022 3:00 PM & 7:00 PM

Guest Conductor

Geneviéve Leclair

In Partnership with:

Program Online:

ACT 1 Tableau I: I. Lighting and Decorating the Christmas Tree II. March of the Toy Soldiers III. Little Gallop of the Children & Entrance of the Parents IV. Dance Scene (Arrival of Drosselmeyer) V. Grandfather’s Dance VI. Clara and the Nutcracker VII. The Battle Tableau II: VIII. A Pine Forest in Winter IX. Waltz of the Snowflakes

INTERMISSION ACT 2 Tableau III: X. The Magic Castle in the Land of Sweets XI. Clara and the Nutcracker Prince XII. Divertissment a. Chocolate b. Coffee c. Trepak d. Dance of the Reed-Pipes e. Tea f. Neapolitan Dance g. Mother Ginger and the Polichinelles XIII. Dance of the Flowers XIV. Pas de deux a. Sugar Plum Fairy and Her Cavalier b. Variation I: Tarantella c. Variation II: Dance of the Sugar Plum Fairy d. Coda XV. Final Waltz and Apotheosis

Programs subject to change. All timings are approximate.

HearHere: Fall 2022

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ABOUT THE MUSIC

FROM THE CONDUCTOR The great thing about the Nutcracker is that there is no down time, no boring moment.

Tchaikovsky was a wonderful melodist and orchestrator, so the tunes are memorable and the orchestral rendition is enveloping.

Therefore, we get caught up in it, and we

don’t feel the time passing by. It feels like we become a part of the story. From the party scene with the shenanigans between Clara and her brother, to the dream scene with the rats and then the battle scene with the toys becoming alive, and then the trip through

the snow land towards the Sugar Plum Fairy’s kingdom with all the character and candy dances, time just flies. By the end of the ballet, we feel a little bit like Clara: “Did this really happen, or was it all just a dream?”.

- Geneviève Leclair

ABOUT THE MUSIC

The Nutcracker Piotr Ilyich Tchaikovsky (1840-1893) COMPOSED

1892

INSTRUMENTATION

(Golan Reduction) 2 flutes/piccolo, 2 oboes/ engligh horn, 2 clarinets/bass clarinet, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, tuba, timpani & percussion, harp, keyboard, and strings

APPROXIMATE DURATION

86 minutes

HISTORICAL CONTEXT It has been 130 years since the first premiere of The Nutcracker, and Tchaikovsky’s iconic music has remained a staple for every holiday season across the globe. However, surprisingly, when the ballet was originally conceived, the reviews were lackluster. Based on E.T.A. Hoffmann’s 1816 fairy tale, The Nutcracker and the Mouse King, the story was adapted for the ballet by Marius Petipa and Ivan Vsecolozhsky in St. Petersburg.

Tchaikovsky and Petipa had seen great success from their previous ballet, The Sleeping Beauty, and hoped their luck would continue.

Unfortunately, however, Petipa fell ill and much of the choreography had to be completed by his assistant. Although the audience loved Tchaikovsky’s music, some of which he had premiered earlier in the year (The Nutcracker Suite), critics were annoyed by the prominence of children in the ballet and the lack of plot in the second half. It wasn’t until George Balanchine choreographed The Nutcracker for the New York City Ballet in 1954 that it really gained popularity. Since then, choreographers across the world have interpreted Tchaikovsky’s music to create a spectacular collaboration between the visual and the audial. This production features the beautiful choreography of Artistic Director Carlos Aguedelo, who says: After thirty years of working on our Nutcracker productions, I continue to be inspired to improve my choreography every time I listen to Tchaikovsky’s amazing score.

I discover musical nuances I never noticed before and I naturally want to echo those subtleties in the movement that carry the

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story forward. I am a traditionalist, and passionate about maintaining the purity of the story line. However, I also enjoy the process of fleshing out the mystery, the darker and scariest parts of the narrative that evolve into a passionate and romantic resolution in Act I. I do not strive to reimagine the ballet in order to be different. I am more interested in making the dancing more brilliant and as nuanced as the musical score. I follow the lead of the music, moving performers and the audience from reality, the Christmas Eve party, to the fantasy, giant mice and toy soldiers coming to life, after which the story finally transitions into the sweeping and enchanting Land of Snow. In the end we all surrender to the magic spell of The Nutcracker!

Together, with a long history of choreographic innovation and Tchaikovsky’s enduring music, The Nutcracker really is a quintessentially Christmassy success.

ABOUT THE MUSIC

MUSIC LISTENING GUIDE While you’re watching, here are just a few wonderful moments to listen for. The magical combination of Tchaikovsky’s music and the visuals on stage contributes to The Nutcracker’s holiday wonder.

ACT I Overture: Listen for the high and light instruments playing their fast and bouncy rhythm. You can imagine these as the scurrying feet of excited children–the pitter-patter of eager holiday anticipation. The harp arpeggios and tremolo in the strings mimics the tree’s illumination with Christmas magic.

March of the Toy Soldiers: The horns play a fanfare, signaling that it is time to dance! Listen for the children’s instruments you might remember receiving as a Christmas present like toy trumpets, toy drums, cuckoos, and cymbals!

Arrival of Drosselmeyer: “Who is this mysterious man?” the tubas, trombones, horns, and violas ask. The key shifts from B-flat to E to echo the ambiguity of Herr Drosselmeyer. (This key change foreshadows a larger, thematic key change, from B-flat in Act I to E major in Act II. The entrance of Drosselmeyer, and thus, his magical presents, are the first glimpse into this magical world!) Drosselmeyer’s ominous entrance is short-lived, however, and the mood lightens as he unboxes his toys; his melody turns into a waltz!

Clara and the Nutcracker: The guests leave and the children are sent to bed, but Clara wishes to see her broken nutcracker once more. Listen for the

emerging horns, forewarning something sinister will occur. The sound of the triangle is a chiming clock: it is midnight. Soon after, the bass clarinet, bassoon, and piccolo “squeak” to indicate the soon-arriving mice.

The strings play an ascending motif, going up and up, and the orchestration becomes louder and fuller, like the rising, growing Christmas tree.

The Battle: A battle occuring onstage is mirrored in the orchestra. The toy soldiers are characterized by high-pitched brass fanfares and drum rolls, whilst the woodwinds, especially the piccolo “squeak” to highlight the ominous mice.

Waltz of the Snowflakes: As Clara and the Prince enter the wintry forest, the music suggests the swirling blizzard – perhaps the end of a storm and the beginning of a beautiful winter wonderland.

Harp arpeggios cascade like the falling snow, and then the waltz begins. The rhythm is slightly modified, by spreading each “oompah-pah” across two bars of music instead of one. A few minutes in, a new color is introduced, made to sound like a children’s chorus. The ending horns declare not only triumph, but the ultimate feeling of holiday hope!

ACT II The Magic Castle: As we enter the second act, a barcarole is played. This traditional folk song, originally sung by Venetian gondoliers, often indicates a transition between worlds in ballet. In this case, Clara is transported to the fantastical Kingdom of Sweets. The flutes’ use frullato, a flutter-tonguing technique, swirling sweetly up and down with the harp, like a cascading chocolate waterfall.

continued HearHere: Fall 2022

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ABOUT THE MUSIC

The Nutcracker continued

Clara and the Nutcracker Prince: The Prince recounts his battle with the Mouse King, and musical themes from Act I reemerge. The bass strings play a low battle rhythm while the piccolo squeaks its mousy music.

Chocolate: Sweet treats from all around the world now arrive! This dance features a trumpeting solo and castanets, trying to replicate the sounds of flamenco music.

Coffee: Aiming to sound “oriental,” the Arabian Dance is actually based on a Georgian lullaby.

The clarinets and strings play smooth, low and simple harmonies, and the higher violins play their modal, snake-like melody.

Trepak: BAM! Here come the Russians! The entire orchestra is now in use, growing in intensity, and the turbulent tambourine accelerates until culminating in a raucous final chord!

Dance of the Reed-Pipes: The Dance of the Reed Flutes is graceful, light, and playful! The flutes replicate the sound of a mirliton, which is both a reedy musical instrument and a sweet French cake.

Tea: The flutes and piccolos twirl melodically in the Chinese Dance, while the bassoon bounces in the base and the strings use pizzicato for a complementary color.

Later, the clarinets begin their arpeggiated accompaniment while some jingling bells chime, like the twinkling of Christmas tree lights.

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Mother Ginger and the Polichinelles: This fan favorite is based on a French folk song. Listen for the festive and fun tambourine.

Dance of the Flowers: Nearing the end, the graceful melody of the waltz begins with a mystical and enchanting harp cadenza. The french horns and clarinet enter, leading the “oom-pah-pah” rhythm of the waltz. Finally, the strings play their iconic, luscious and sweeping melody! Watch the flowers “grow” on stage as the orchestra becomes fuller in the pit.

Dance of the Sugar Plum Fairy: Now enters the Sugar-Plum Fairy, accompanied by the iconic celesta, which Tchaikovsky specifically ordered for this ballet. He described it as “something between a small piano and a Glockenspiel.” Listen to its delicate, colorful, and lyrical ringing which perfectly mirrors the sweetness of the dancer herself. Both the music and dance bring twinkly fairy-dust to life.

The Final Waltz and Apotheosis: This is the celebratory ending to the most magical night! Listen for that same bararolle as we are escorted from the Kingdom of Sweets back into reality. Luckily, however, the magic of the Kingdom of Sweets endures; it is rediscovered through the joy of a beautiful Christmas morning.

Julia Smart

Philharmonic Intern

ABOUT THE CONDUCTOR

Geneviève Leclair

GUEST CONDUCTOR & MUSIC DIRECTOR FINALIST

Geneviève Leclair is an Assistant Professor at Berklee College of Music who holds a Doctor of Musical Arts degree in Orchestral Conducting from Boston University. Leclair also received her Bachelor’s and Master’s degrees in flute performance at Université de Montréal. She has been teaching at Berklee since 2016 and acts as an active guest conductor with organizations across Canada, the United States, and the United Kingdom.

Equally at home in symphony, ballet, and opera, she was a recurring guest conductor with The National Ballet of Canada and Northern Ballet (UK), Music Director of Parkway Concert Orchestra from 2013 to 2019, as well as Assistant Conductor and Guest Conductor of the Boston Ballet Orchestra from 2010-2017.

In 2010, Leclair received the Sir Ernest MacMillan Memorial Foundation Award in orchestral conducting. Leclair was also awarded the 2017 American Prize in orchestral conducting, college/university division, and took 2nd place in the professional orchestra division.

Leclair’s conducting style has been praised for its stamina and precision as she utilizes confident dynamics and tempos, crisp rhythms, and clear phrasing to create powerful forward momentum. In addition to her career as a performer, conductor, and teacher Ms. Leclair is also a published author of theory exercise books and music literature. www.GenevieveLeclair.com

BUCK-ING FOR BALLET SPARTANBURG AND SPARTANBURG PHILHARMONIC

George “Buck” Brandt, III

Attorneys At Law

Office (864) 583-5144 Fax (864) 582-2927 Cell (864) 497-0447 gbrandt@hbvlaw.com 360 E. Henry Street Spartanburg, SC 29302

The Magic Of Tradition and Community Courtney Oliver Last season, the Spartanburg Philharmonic and Ballet Spartanburg came together for the first time in 20 years to produce one of the holiday season’s most treasured experiences - the Nutcracker. If you were in the audience for even a single performance last year, you know firsthand how truly magical the experience was. From the exceptional performance of the score by the Philharmonic to the exquisite choreography brought to life by the Ballet Spartanburg corps, each performance wrought a special joy and enduring impression on everyone in the audience. If you didn’t have a chance to join us last season, consider this your personal invitation for this December’s performances.

The 2022 performances will be truly special, as together, we mark 130 years since the first performance of the Nutcracker. Pyotr Ilyich Tchaikovsky completed the musical score in 1892 after being commissioned by Russian Imperial Theatres to compose a ballet based on Alexandre Dumas’s adaptation of E.T.A Hoffman’s 1816 story “The Nutcracker and the Mouse King.” The ballet is a simplified version of the original tale, and all three open with a familiar scene.

A family prepares to open their home to a bevy of holiday guests. Family, friends, neighbors, and perhaps even a coworker or two will soon eat, drink, and dance the evening away. It is a scene that is familiar to us despite being first brought to life so long ago.

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It is familiar because it is still very much a part of our Christmas traditions. So many of you reading this have seen the Nutcracker at least once, perhaps even multiple times. But much like the tradition of pulling your wellloved decorations out of storage each holiday season, the Nutcracker story is partly beloved because of its familiarity.

Each scene unwraps a little bit more holiday magic while lifting our spirits and readying us for the excitement of the celebrations to follow.

Perhaps one of the reasons the Nutcracker continues to be such a beloved part of the holiday season is because of that familiar opening scene. We can envision ourselves on the stage, dressed in our party clothes, enjoying our favorite seasonal food and drink and the joyful company of our nearest and dearest. Really, it is a scene that could take place in any living room in Spartanburg, but the familiar faces make it particularly vivid. Like a party in your home, the Ballet Spartanburg version of the Nutcracker party scene includes people from your community, people you may already call a friend.

Behind the period clothing and smiles on stage, you’ll find guidance counselors and dance teachers who work in our community’s schools. You may even spot a familiar face from your morning news show. Those talented and precocious children onstage? They’re possibly your

neighbor’s grandchildren, members of your church congregation, or even the children of the President of Converse University. Who knows, now that a certain writer’s daughter is old enough to audition, another member of the extended Philharmonic family may be on the stage this December. And last, but never least, is the lively music they are all waltzing and carousing to, respectively. Each note leaps from the pit to the stage from the instruments of longtime members of the Philharmonic.

Members who live and work in around Spartanburg, who, when not performing together, can be found teaching a new generation of musicians.

Our community’s support for the production extends backstage as well. Behind the curtains are an army of parents, assisting with hair, makeup, and costumes; corralling the student ballerinas; and quelling their excitement to a frantic whisper. Further backstage are more volunteers from Ballet Spartanburg and the Spartanburg Philharmonic, helping provide lunch for dancers and musicians on the double-show day and intermission snacks to keep energy high. You’ll also find them in the lobby, giving out programs, helping you find your seat, and selling Nutcracker-themed treats and memorabilia. To them, we say thank you - your generosity of time is invaluable.

And last, but certainly never least, is you - our audience.

It is genuinely gratifying to welcome friends together whose lives may never intersect outside of attending a performance. Gaity and laughter abound as friends and acquaintances in the lobby and aisles chat and bond over the shared event bringing them together. It is also a special treat to watch the awe and wonder on the faces of the children and grandchildren many of our regular patrons bring with them to these performances.

Much has been said about how music and art enrich a community. It brings people together for a singular, valuable, affirming experience. Nowhere is this more obvious than with the Nutcracker. It is Spartanburg’s most beloved holiday tradition because it is part of this community’s vibrant performing arts fabric. It is created by, starred in, supported by, and for Spartanburg. It is magic, tradition, beautiful dance, and enchanting music in one lovingly wrapped present. It is an experience and a community event that we hope you join us for this December.

HearHere: Fall 2022

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All the best for a successful 2021-2022 season!

2022-2023

Francie Little, REALTOR® & Spartanburg Philharmonic Board Member

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CHAPMAN CULTURAL CENTER

Appalachian Roadshow S AT U R D AY

Dec 10, 2022 8:00 PM

@ Chapman Cultural Center

Info & Tickets:

A Visionary Acoustic Ensemble Appalachian Road Show is a visionary acoustic ensemble, bringing new-generation interpretations of traditional Americana, bluegrass and folk songs, as well as offering innovative original music, all presented with a common thread tied directly to the heart of the Appalachian regions of the United States. GRAMMY-nominated banjoist Barry Abernathy, joins forces with GRAMMY-winning fiddler Jim VanCleve, fresh off of his recent stint touring with multi-platinum country artist Josh Turner, as well as esteemed vocalist and mandolinist Darrell Webb, who has recorded and toured with Dolly Parton and Rhonda Vincent, among many others. The group also includes 26-year-old “old soul” guitarist Zeb Snyder, whose fierce and versatile playing recalls Doc Watson and Norman Blake as readily as it does Duane Allman and Stevie Ray Vaughn.

“With this group, we want to bring to light the culture and lifestyle of the Appalachian music we grew up in,” says Abernathy.

“We immersed ourselves in our native culture by way of sound and further educated ourselves to our own roots, those which are found all throughout the Appalachian music we grew up with,” says VanCleve.

Ready to share its authentic and fresh approach with the public, the band went into the studio in the summer of 2018 and recorded its debut album, Appalachian Road Show. The project landed three multi-week number one songs on Bluegrass Today Weekly Airplay charts and garnered the band a New Artist of the Year nomination and Song of the Year nomination (“Dance Dance Dance”) at the 2019 International Bluegrass Music Association (IBMA) Awards.

HearHere: Fall 2022

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T

S. REEL ROBERTSON

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

(864) 583-2450

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

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SPOTLIGHT

Dr. Loring’s highly skilled qualifications as a psychologist include a Masters and Doctorate of Psychology, Clinical Psychology from Georgia School of Professional Psychology, a Master of Arts in General Psychology from Boston University, and a Bachelor of Arts in Psychology from Davidson College. He has also served on the executive board of the South Carolina Psychological Association.

The majority of the services offered at Dr. Loring’s practice includes individual or family counseling, psychological assessments, behavioral management, management for learning disabilities and ADHD, parenting techniques, and more for children, adolescents, and some adults.

In conjunction with working at his private practice, he currently serves as the Interim School Counselor at Spartanburg Day School where his three daughters also attend. During his free time, Dr. Loring enjoys fly fishing, spending time with his family outdoors, and cheering on the Spartanburg Day School Griffins!

Cabe with his wife and three daughters

Spotlight: Cabe Loring Laura-Clare Thevenet

Contributing Author

Dr. Caleb (Cabe) Loring is a fierce friend of the Philharmonic and a fundamental figurehead in Spartanburg as an advocate for mental health and community outreach. As he prepares to assume leadership as the Board President Elect for the 22-23 term, the Spartanburg Philharmonic would like to pay special tribute to acknowledge his countless contributions to the organization, as well as his individual professional achievements that support the betterment of the Spartanburg community.

Prior to becoming a central member of the Spartanburg community for over the last decade, Dr. Loring spent six years in Gainesville, GA, as a clinical psychologist partnered at a private practice, before making the decision to relocate to Spartanburg, SC, to be closer to family.

He then started his own private practice in Spartanburg, coincidentally near Chapman Cultural Center.

Dr. Loring has extensive experience working with nonprofit organizations to spearhead community outreach and fundraising initiatives. From 2014 until recently, he served as an Advisory Board Member of the Salvation Army in the Spartanburg Division, as well as the Advisory Board Chairman from 2015-2018. He is also an avid supporter of the Spartanburg Regional Foundation by serving on the Cancer Division Advisory Board, which provides financial assistance to patients and funds technological upgrades and capital improvements for the division.

The Spartanburg Philharmonic has been fortunate enough to have Dr. Loring’s expertise as an active patron and a member of the Board of Directors on the Audience Development Committee for several years. His initiatives serving on the Audience Development Committee of the Board included tracking concert attendance and providing advice and support to the Philharmonic’s Administrative staff on how to increase attendance through various marketing and outreach strategies.

Dr. Loring’s years of experience as a mental health professional, philanthropist, business development professional, and community advocate more than qualify him to step into his new role as the Board President Elect, and it has created the necessary groundwork for a successful 22-23 Board Term. The Spartanburg Philharmonic looks forward to the positive impact that Dr. Loring’s leadership will continue to have on the organization and his fellow Spartanburg community!

HearHere: Fall 2022

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22/23

season

For more information, and to book tickets: SpartanburgLittleTheatre.com | SpartanburgYouthTheatre.com Box Office: 864-542-2787

Dr. Caleb Loring IV Licensed Psychologist www.DrCalebLoring.com

Phone: 864.641.6979 Fax: 864.278.0136

324 East St. John Street Spartanburg, SC 29302

LINK UP

Link Up: A Performer’s Perspective Our orchestra is no stranger to Carnegie Hall’s Link Up program and through the years we’ve presented this special concert to fourth-grade classes around the area as an introduction to music on a grand scale. Students get the chance to partake in the music, singing and playing their recorders along with the symphony. For many students, this is the first time they experience orchestral music, and I was honored to join this performance last March (2022).

I was asked to be one of the featured vocalists this past spring, and I could not wait to meet our audience.

Hundreds of students filled Twichell Auditorium, and the excitement was contagious as they sat in anticipation of an amazing performance. I looked out in the crowd and was surprised to see some familiar faces from Pacolet Elementary in the concert hall. Once the show began, the faces in the audience lit up as Stravinsky’s Firebird Suite, Beethoven’s Ode to Joy, Dvořák’s New World Symphony, and several other pieces were brought to life. Amazed and delighted, the students expressed their appreciation: “I really, really enjoyed it. I’m so happy I got to experience this concert. I decided I want to do strings. I think I want to play the cello. Thank you again for making this concert happen. I loved it”

I thoroughly enjoyed singing, dancing, and running around the auditorium hyping the kids up. It was truly a sweet moment being a ‘super star’ in the student’s eyes for the day. Link Up allowed me to reminisce about being in elementary school, going on field trips, and learning about the arts. This annual event, sharing our dedication to

Kordell Hemphill music and all the possibilities our orchestra has to offer the community, really makes me happy to be a part of the Spartanburg Philharmonic team. Hopefully, we're inspiring the next generation of musicians and music-lovers, offering a glimpse at a possible future, and I think that’s really beautiful!

Following Link Up, I was also able to revisit Pacolet Elementary and interview the students who attended the concert along with their music teacher, Amanda Lee. While there, I asked the kids what they enjoyed the most about the concert, received an amazing recorder recital from some of them, and was pleased to hear the teacher’s perspective on the event. Lee spoke of the importance of events like Link Up saying: “Nowadays the orchestra is viewed as boring, especially by kids. I think it’s important to change that because orchestral music is some of the most exciting music there is. Immediately after the concert, I was getting all types of questions about the different instruments that they saw and it definitely opened up a lot of conversations…

It really helps them realize you have to put in the work ahead of time to be able to fully enjoy it and participate with everybody. I think that’s a skill that will help them throughout their whole life… My favorite part of the program was seeing my kids have so much fun with the Orchestra.”

I appreciate everything that this program stands for, and I look forward to the influence it will have on the young audience as they grow and continue their musical education. Who knows, you may see some of them playing in their school orchestra one day soon!

HearHere: Fall 2022

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PETRIE SCHOOL OF MUSIC PRESENTS The Carlos Moseley Chamber Music Series 2022-2023

09.26.22 Wael Farouk

11.21.22 Ying Quartet

02.27.23 Chanticleer

04.17.23 REBEL Baroque Ensemble

DISCOVER MORE! converse.edu/CarlosMoseley

SPOTLIGHT

educators, innovators, and overall creatives who are doing amazing things in music! This internship has taught me so much about working at an organization and marketing for the arts, and I learn something everyday that I know will be valuable for any future job or project I may do!

A FEW FUN QUESTIONS What is your theme song?

“Honky Cat” by Elton John or anything by Sufjan Stevens.

Why is music so important to you?

Music is the best way for me to communicate my experiences, emotions, and feelings. I love how personal yet universal music is. The incorporeality of music allows it to transcend other forms of expression, and whether I am dancing to it, playing it, or just listening to it, I feel at peace.

What do you do in your free time?

Intern Spotlight: Julia Smart Kordell Hemphill Julia Smart is a sophomore at Bowdoin College in Brunswick, Maine, and plans to double major in Music Performance in Viola and Art History with a minor in English. She was born in London, England, and has also lived in California, Australia, and Iowa. Her family now resides in Spartanburg.

In school, Julia plays the viola in the Bowdoin Orchestra, chamber music groups, and individual lessons. She is also in Bowdoin’s ballet and contemporary dance clubs and the Mail Art Collective. Julia is an RA at the college and works as a Student Ambassador at the Bowdoin Museum of Art. Julia has loved working as an intern at the Spartanburg Philharmonic: This amazing experience has allowed me to learn more about the wonderful community of Spartanburg as well as all the aspects of what goes into creating a successful music organization. I have loved working on social media projects that educate members of the Spartanburg Philharmonic Youth Orchestra, doing research projects on the musical history of Spartanburg, advertising for the upcoming season events, and so much more! One of my favorite projects has been “Creatives Que’d Up,” a social media campaign for the SPYO that highlights composers,

I love to read, practice my viola, go on walks with my dogs (a Havanese and a Goldendoodle), bike, hike, garden, and cook vegan recipes. I am also an avid “room redecorator,” so I am often reorganizing, doing DIY projects, or watching Architectural Digest on YouTube for bedroom inspiration.

Any funny performance stories?

I remember for one of my very first orchestra concerts (I was probably about 12 years old), my teacher told me to loosen up my bow hold, and it was so loose that I let go of it on an upbow. Of course, in my memory, the bow went flying in slow motion up in the air and landed with a deafening clank on the stage.

Who inspires you the most?

My mom is my number one supporter and inspires me every day. She is truly the most selfless person I know.

She went to every dance competition and every concert, took me to every early morning lesson or late-night dance practice, and she supports and assists my constantly changing dreams. She has affected my life so positively, and if I had to have only one goal in my life, it would be to impact someone as much as she has impacted me.

Where do you see yourself in 10 years?

I have so many future dreams! I would love to live abroad and maybe work at an art museum or run my own bookstore while playing my viola in the community orchestra. I would love to have a small apartment with a rooftop garden.

read more online SpartanburgPhilharmonic.org/Julia-Smart

HearHere: Fall 2022

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SISTER SADIE

Did you know you can Compose Your Own Subscription?

Curate your season by selecting a minimum of three concerts across our Zimmerli, Espresso, and Bluegrass concerts. Learn more at: SpartanburgPhilharmonic.org/CYO

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