Spartanburg Philharmonic - HearHere, Fall 2022

We Musicare

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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

Volume 94, Fall 2022 200 East Saint John Street Spartanburg, SC 864.948.902029306 Calendar of Events 4 Ticket Information 5 Your Visit to the Philharmonic 5 Spar tanburg Philharmonic Board of Directors . . . . . . . . 7 Spar tanburg Philharmonic Staff 8 Spar tanburg Philharmonic Orchestra Committee . . . . . 9 Corporate Partners & Funders 10 Spartanburg Phiharmonic Annual Fund 12 Legacy Society Funds . . . . . . . . . . . . . . . . . . . . . . 15 Music Director Search Timeline 28 Spar tanburg 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 BEYOND THE SYMPHONY The Espresso Series 18 Bluegrass Spartanburg . . . . . . . . . . . . . . . . . . . . . 19 Music Sandwiched In 20 Spar tanburg Music Trail . . . . . . . . . . . . . . . . . . . . 22

Diana

Courtney Oliver Julia Laura-ClareSmart Thevenet Chris Vaneman Anna Bandy Kavin KordellJimmyBradnerGibsonHemphill Peter B. Kay Mark Olencki Brian Smith Design Peter B. Kay Larry Williams

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: Barr y 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 Authors Photographers Maley Berti KordellFrickHemphill

Melanie Coblentz Sally

Connect

INFORMATION

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

Jazz Java Fri 11/18 Chapman Cultural Center

The Nutcracker Sun 12/11 Twichell Auditorium

Event Date Venue August Carolina Players Band Wed 8/24 Spartanburg County Library

Fall Fever Sun 10/23 Twichell Auditorium

Appalachian Roadshow Sat 12/10 Chapman Cultural Center

Converse Chorale Wed 10/19 Spartanburg County Library

Fayssoux McLean Wed 11/16 Spartanburg County Library

Scheherazade & Other Tales Sat 9/24 Twichell Auditorium

Youth Orchestra (page 51) Music Sandwiched In (page 20) Special Events (page 49)

Emily Waggoner, Harp Wed 11/30 Spartanburg County Library

An Evening of Divertimentos & Dressage Wed 10/20 Tryon International Equestrian Center

SpartanburgPhilharmonic.org/ Events

Chai Cello Fri 9/30 Chapman Cultural Center October Cellosmith Wed 10/5 Spartanburg County Library

Zimmerli Series (page 37) Espresso Series (page 18) Bluegrass Spartanburg (page 19)

Ensemble Radieus Wed 9/21 Spartanburg County Library

Frank Solivan & Dirty Kitchen Fri 10/14 Chapman Cultural Center

November Arbor Wind Trio Wed 11/2 Spartanburg County Library Fantasy & Firebird Sat 11/5 Twichell Auditorium

December The Nutcracker Fri 12/9 Twichell Auditorium

CALENDAR OF EVENTS FALL 2022 4

The Nutcracker Sat 12/10 Twichell Auditorium

Philharmonic Brass Wed 12/14 Spartanburg County Library

September Songs of the Folk Wed 9/7 Spartanburg County Library

200 East Saint John St. Spartanburg, SC 29306 Call for: Espresso & Bluegrass Series Individual Tickets

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.

SpartanburgPhilharmonic.org/ box-office-venues

Twichell Auditorium Box Office Hours 10:00 AM - 2:00 PM, M-F (864) 596-9724 580 East Main Street Spartanburg, SC 29302 Call for: Zimmerli Series & Youth Orchestra Individual Tickets

Spartanburg Philharmonic Administrative Offices

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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.

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.

9:00 AM - 5:00 PM, M-F (864) 278-9671

YOUR VISIT TO THE PHIL

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

Chapman Cultural Center Box Office Hours 10:00 AM - 5:00 PM, T-Th 10:00 AM - 2:00 PM, F (864) 583-2776

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

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.

Additionally, we ask that patrons who must leave prior to the end of a performance exit only between selections if at all possible.

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).

TICKET INFORMATION

200 East Saint John St. Spartanburg, SC 29306 Call for: Season Tickets

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.

A NOTE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR

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 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 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+ 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.

Kathryn H. Boucher Executive Director Karen Parrott President of the Board of Directors 6 Spartanburg Philharmonic

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.

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 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

BOARD OF DIRECTORS Karen Parrott President Dr. Barry Bodie Dr. Chandra Hopkins Bert Shuler James Cheek Dr. Ohmar Land Tamela Spann John Cribb Samantha Larkins Helen Tipton Francie Little Kate White Dr. Mark Ferguson Judy McCravy Dr. Meisha Whitlock Peter Grzan Alex Hunt North Kelsey Wilkes Laura Henthorn Dr. Rick Orr Dr. Cabe Loring President Elect Karen Bjelland Treasurer Chris Strickland Secretary Chip McLeod Past President Dr. Sidney Fulmer Lifetime Board Member 7HearHere: Fall 2022

PHILHARMONIC STAFF Kathryn H. Boucher Executive Director Peter B. Kay General Manager & Composer in Residence Courtney Oliver Marketing & Special Events Manager Kordell Hemphill Community CoordinatorEngagement Robert G. Borden Orchestra Librarian Susana M. Lalama Symphony Conductor Johanna Wilson Prelude Conductor YOUTH ORCHESTRA SpartanburgPhilharmonic.org/staff8 Spartanburg Philharmonic

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 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.

Ian Bracchitta Principal Bass Alvoy Bryan Jr. Principal Viola Andrew Merideth Associate Principal Horn Theresa Jenkins Russ Violin Section Kelly Vaneman Associate Principal Oboe Diana Maley Berti Orchestra Committee Chair, Viola Section

ORCHESTRA COMMITTEE

Diana Maley CommitteeBertiChair 9HearHere: Fall 2022

FOUNDATION

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

CORPORATE PARTNERS FUNDERS 10 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

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

Benefactor ($15,000+)

Mr. and Mrs. William Barnet III

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 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

An Evening of Divertimentos & Dressage Mr. and Mrs. George Dean Johnson, Jr. Alfred Moore Foundation Carlos Moseley Trust

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 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

We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic. This list reflects gifts received July 2021 through June 2022. SpartanburgPhilharmonic.org/

GiveNow12 Spartanburg Philharmonic

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.

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 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

SpartanburgPhilharmonic.org/

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

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

GiveNow 13HearHere: Fall 2022

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

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.

TheJohnsonGroup.com

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

LEGACY SOCIETY FUNDS

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.

Dr. Joe Roy Utley & Dr. Joella Utley

CONCERTMASTERLUCKTENBERGCHAIRENDOWMENT

Dr. Jerrie Lucktenberg - former Concertmaster of the Greater Spartanburg Philharmonic (now the Spartanburg Philharmonic), artist, pedagogue, and author - retired from her position during the Philharmonic’s 2002-2003 season. To help ensure the presentation of Spartanburg’s professional orchestra in our community, Dr. Lucktenberg made a generous gift of $50,000 towards the endowment of the Concertmaster Chair. With your help, the Philharmonic has matched this gift, fully endowing the chair as the Jerrie Lucktenberg Concertmaster Chair. We hope you will be inspired to follow Dr. Lucktenberg’s generous lead. For information about supporting a Legacy Society Fund, contact Kathryn Boucher, Executive Director: kathryn@spartanburgphilharmonic.org | 864.948.9020

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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.

THE JERRIE

THE UTLEY LEGACY SOCIETY

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.

SPOTLIGHT

ContributingThevenetAuthor

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.

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 AsAssociation.aformer 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

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.

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Spotlight: Barry BodieLaura-Clare

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.

plaque design) in the U.S. © 2022 Bank of America Corporation. All rights reserved. MAP3559256 | AD-06-22-0025 | 470974PM-1021 | 06/2022 V.C. “Chip” McLeod, CFP® Senior Resident Director chip_mcleod@ml.com864.596.5474 Merrill Lynch Wealth Management 295 East Main Street Spartanburg, SC whenYoufa.ml.com/mcleod29302stepupitmatters most

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We are proud to support Spartanburg Philharmonic. Pierce, Fenner & (also referred to as “MLPF&S” or “Merrill”) available products affiliates of (“BofA Corp.”). is a registered broker-dealer, registered investment adviser, SIPC and a wholly owned subsidiary of BofA Corp. are of (with

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6:30 PM: Concert Info & Tickets: SpartanburgPhilharmonic.org/ Espresso

5:30 PM: Happy Hour

Programs subject to change. All timings are approximate. 18 Spartanburg Philharmonic

Espresso Series

Fall 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. Fiddle Frappé featuring Danish, Irish, and Scottish Tunes March 17, 2023

BEYOND THE SYMPHONY

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!

CHAPMAN CULTURAL CENTER

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.

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

FRIDAY October 14, 2022 see page 47 Appalachian Roadshow SATURDAY December 10, 2022 see page 75 Spring

Sister Sadie THURSDAY 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! SpartanburgPhilharmonic.org/ Bluegrass

Programs subject to change. All timings are approximate. 19HearHere: Fall 2022

BEYOND THE SYMPHONY

The SteelDrivers

SATURDAY 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.

Bluegrass Spartanburg

CHAPMAN CULTURAL CENTER 8:00 PM Info & Tickets: modern flair. Fall Frank Solivan & Dirty Kitchen

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! Fall Aug. 24 . . . . . . . . . . . . . . . Carolina Players Band Sept. 7 . . . . . . . . . . . . . . . . . . Songs of the Folk Sept. 21 . . . . . . . . . . . . . . . . Ensemble Radieuse Oct. 5 . . . . . . . . . . . . . . . . . . . . . . . Cellosmith Oct. 19 . . . . . . . . . . . . . . . . . Converse Chorale Nov. 2 . . . . . . . . . . . . . . . . . . . Arbor Wind Trio Nov. 16 . . . . . . . . . . . . . . . . . . Fayssoux McLean Nov. 30 . . . . . . . . . . . . . . . Emily Waggoner, Harp Dec. 14 . . . . . . . . . . . . . . . . . Philharmonic Brass BARRET ROOM Spartanburg County Public Library, Headquarters 151 South Church WEDNESDAYSStreet 12:15 - 1:00 PM Read more online: Presented by Spartanburg Philharmonic In Partnership with: SpartanburgPhilharmonic.org/ MSI Programs subject to change. All timings are approximate. 20 Spartanburg Philharmonic

Spartanburg’s Premier Retirement Community 110 Summit Hills Drive I Spartanburg, SC 29307 (864) 408-8850 I Summit-Hills.com Independent Living • Assisted Living Memory Care • Skilled Nursing • Rehab

• 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.

SpartanburgMusicTrail.com

Below are three fun facts about 19 of the inductees: Spartanburg Music Trail

The

• Born in Spar tanburg and returned every summer to help his grandfather on his farm.

• 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.

BEYOND THE SYMPHONY 22

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.

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

Billy Walker (active 1820s - 1875)

Clara Smith (active 1910-1935)

Ira Tucker (active 1938 - 2008)

• A member of First Baptist Church in Spartanburg.

• His bookstore was located near his Music Trail sign!

Arthur Prysock (active 1944 - 1990)

• 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.”

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

• Grew up singing at local tea parties in Spartanburg and knocked door-to-door to sing for spare change.

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

• Introduced to singing from the traveling tent shows that often stopped in Spartanburg.

• 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.

• 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)

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

Walter Hyatt (active 1970s - 1990s)

• 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)

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

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

Don Reno (active 1939 - 1984)

Marshall Tucker Band (active 1972 - present)

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

• Grew up on a house on Brown Avenue, but he also lived on Maple, Poplar, and Hydrick streets.

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

• 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.”

Champ Hood (active 1970s - 2001)

• Hood, as well as his fellow band members, Hyatt and Ball, is a Spartanburg High School graduate.

• Inspired by the guitarist Arthur Smith, who would often play on the WSBA radio station in Spartanburg.

• Toy Caldwell, lead guitarist of the band, went to Dorman High School.

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

• Went to Frank Evans High School here in Spartanburg.

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

• 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.

• Grew up in Spartanburg’s Duncan Park.

Hank Garland (active 1946 - 1961)

• Taught the guitar by Hank Garland, another Spartanburg musician.

Blue Ridge Quartet (active 1946 - 1985)

• Attended kindergarten at Spartanburg’s First Presbyterian Church.

BEYOND THE SYMPHONY 23

• 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.

SpartanburgMusicTrail.com

• A par t of Shorty Painter’s band, a local band in Spartanburg, which gave Garland his first experience performing.

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

Marshall Chapman (active 1970s to present)

Carlos Moseley (active 1930s - 2012)

• Graduated from Spartanburg High School, and entered Duke University, where he majored in English.

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

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

• 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.

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

• Attended Pine Street Elementary School in the early ‘60s.

• Sang in her first opera at age 7, in the children’s chorus of a Charlotte production of “La Boheme.”

• 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.

• Father was the pastor of Fernwood Baptist Church.

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

• 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.

BEYOND THE SYMPHONY 24

• Formed in 1956 at Cowpens High School in Spartanburg.

Sparkletones (active 1956 - 1961)

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

• 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.

David Ball (active 1988 - present)

Buck Trent (active 1948 - present)

• 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.

• Left school to support his widowed mother and twelve siblings, but kept singing in a local Spartanburg gospel group.

Gianna Rolandi (active 1970s - 1990s)

• Played her piano recital at Twichell auditorium in 1956 and then returned there to perform April 2022.

• Lived in his family home on Otis Boulevard. Rev Julius Cheeks (active 1940s - 1960s)

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

• His newest album, which was released in 2018, is called “Spartanburg Blues.”

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

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

(Someone outside of the music world?)

Geneviève Leclair

Antoine Clark

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. 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.

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

5 QUESTIONS FOR OUR GUEST CONDUCTORS

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.

26 Spartanburg Philharmonic

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

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

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. 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.

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?

What piece of classical music would be the “theme song” to your life right now? Why?

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.

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. 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?

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

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.

Troy Quinn

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.

27HearHere: Fall 2022

5 QUESTIONS FOR OUR GUEST CONDUCTORS

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!

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.

John Young Shik Concklin

Dec. 10-12, 2021 & Dec. 9-11, Geneviève2022Leclair

Antoine Clark 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.

Kayoko Dan 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.

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. (read more on page 71) (read more on page 43)

MUSIC DIRECTOR SEARCH: TIMELINE

Sept. 18, 2021

Kelly Corcoran 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.

Sept. 24, 2022

Apr. 23, 2022

28 Spartanburg Philharmonic

Mar. 5, 2022

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.

Nov. 5, 2022

In May of next year, the Spartanburg Philharmonic will host an event to announce the NEW MUSIC DIRECTOR. Stay tuned for more details... Mar. 25, 2023 Lee Mills 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.

Troy Quinn 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. (read more on page 63) Learn more: 29Fall 2022

HearHere:

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. Apr. 22, 2023

MUSIC DIRECTOR SEARCH: TIMELINE

Jacob Joyce 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.

Feb. 11, Nadège2023Foofat

? May 2023 Stay Tuned!

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,

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. 30 Spartanburg Philharmonic

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.

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)

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 CommittedCommission.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.

31HearHere: Fall 2022

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.

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).

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.

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).

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.

theclarinetssitrecognizable.veryTheynexttotheandbehindoboes.

The instrumentshighest 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.

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.

BASSOONS

INSTRUMENT ROADMAP FLUTES PICCOLOS& The thedirectlymiddlearefluteswoodwindinstrumentsclearesthighest,soundinginthefamily,theandpiccolosseatedintheofthestage,infrontofconductor.

The cellos have an enormous

BASSES

32 Spartanburg Philharmonic

CLARINETS

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.

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.

VIOLAS 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 immediateconductor'sright.

CELLOS

conductor'sseatedsectionthehighsometimesthesometimesrange,playingbasslineandthemelody.Likeviolas,thecelloisusuallytotheright.

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

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.

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

HARP

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

TIMPANI & PERCUSSION

OBOES ENGLISH&

The bass instrument of the woodwind family, the reedy, almost growling nature of the bassoon is

VIOLINS

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

TUBA

TROMBONES

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

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

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

OUR MUSICIANS 34 Spartanburg Philharmonic

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.

Meet Joanna Mulfinger Interim Concertmaster

Trombone Mark Britt, Principal Mr. & Mrs. V. C. McLeod, III John Grodrian, Substitute Principal Rienette Davis Mr. & Mrs. H. Peter Theiler Eric Henson

Mr. & Mrs. Halsey Cook Clarinet Karen Hill, Principal Dr. & Mrs. Louis Knoepp, Jr. Harry Hill‚ Jr. Mrs. Angelina Eschauzier Kyra Zhang Bassoon Frank Watson, Principal Dr. & Mrs. Caleb Loring, IV Rosalind Buda Ms. Judy McCravy Stephanie Lipka Rhyne Horn Anneka Zuehlke-King, Principal Mr. & Mrs. Donald Wildman Chris George Ms. Karen E. Bjelland Andrew Merideth*, Assistant Principal Mr. John R. Murphy Jeanette DarianChristopherSchlimgenGriffinWashington Trumpet Cody Beard, Substitute Principal Karen & Stephen Parrott Chris Imhoff, Substitute Principal Kenneth Frick Dr. Ohmar Land Bruce Cox Mr. & Mrs. Thomas P. Nederostek

Violin I Joanna Mulfinger, Concertmaster Endowed by the Dr. Jerrie Lucktenberg Concertmaster Endowment

OUR MUSICIANS *

Committee

Timpani Patrick Lowery, Principal Mrs. J. Michael Kohler, Jr.

** Apprentice Musician Spartanburg Philarhmonic Orchestra Members & Chair Sponsors as of August 2022 SpartanburgPhilharmonic.org/our-musicians 35HearHere: Fall 2022

Tuba John Holloway, Principal Mr. & Mrs. William Barnet III

Courtney LeBauer, Associate Concertmaster Mr. & Mrs. George Dean Johnson Mary Irwin Dr. Barry Bodie & Ms. Laurel D. Johnson Robin Hague Els Ms. JoAnn Bristow Amanda Gentile Mr. & Mrs. Geoffrey Wilson Christine Hallett-Penney Mr. & Mrs. Ray Dunleavy Kathleen Robinson Mr. & Mrs. David Ellis Ivana AllanaCarlson**Farmer** Violin II Ashley Horvat, Principal Mr. & Mrs. Roger Habisreutinger Simone Beach, Assistant Principal Ms. Laura Henthorn Ann Buttimer Laura Allen & Roger Sullivan Michele Tate Cockram Mr. E.T. McLean, in memory of Henry Janiec Theresa Jenkins-Russ* Mr. & Mrs. Wiley North March Moody Col. & Mrs. Robert N. Maddox Helen Tipton Dr. Melinda Moretz Emily Riesser Mr. & Mrs. Walter Sunderlin Adriana Stamile** Viola Alvoy Bryan Jr.*, Principal Endowed by friends and family in honor of Wallace Eppes Johnson Arthur Ross, Assistant Principal Mr. James Cheek Diana Maley Berti* Mr. Peter Grzan Emma Smoker Mr. & Mrs. Don Miles Michael Weaver Mrs. Jack Steinberg Cello Ismail Akbar, Principal Mr. & Mrs. Stanley Baker Kathy Foster, Assistant Principal Lib & Rick Orr Meredith Keen MG(R) Edwin E. Spain, III & Mary B. Spain Eric Scheider Mr. & Mrs. Marshall T. Walsh Benjamin Smith Dr. Meisha Whitlock Bass Ian Bracchitta*, Principal Mr. & Mrs. Jerry Cogan Matthew Waid, Assistant Principal Mr. & Mrs. Paul Lehner Brian Gencarelli Bob & Karen Mitchell Rich Harbison Jeff Stinson Flute & Piccolo Rhea Jacobus, Principal Mr. & Mrs. John S. McBride, Jr. Caroline Ulrich Mrs. Susan H. Baker Jennifer Dior Oboe & English Horn Kelly Vaneman*, Principal Rachel & Ken Deems Mary AllyeB Purtle

Percussion Adena McDaniel, Co-principal Matt McDaniel, Co-principal Dr. Leslie W. Howard, Jr. Del Burton Piano Brennan Szafron, Principal Mr. & Mrs. Lindsay Little Harp Emily Waggoner, Principal Mr. & Mrs. Kenneth FrickOrchestra Member

Stomach Bug/GI Issues Swimmer’s Ear Seasonal Allergies Head Lice Tick Bites Asthma Refills UTIs Birth Control Nail Condition Rashes & Sores Pink Eye Minor Burns Back Pain Whooping Cough Ringworm Tick Bites Cold er Blister Athlete’s piPen Refills Shingles Malaria Prevention Flu Shot Yeast Infection Stomach Bug/GI sues Swimmer’s Ear Seasonal Allergies Head Lice Tick Asthma Refills UTIs Birth Control Nail Condition Rashes Sores Pink Eye Minor Burns Back Pain Whooping Cough Ringworm Tick Bites Cold Fever Blister Diaper Rash Sickness Athlete’s Foot EpiPen Refills Canker Sores Reflux Shingles Malaria Prevention Flu Shot Yeast Infection Stomach Bug/GI Issues Swimmer’s Ear Seasonal Allergies Head Lice Tick Bites Asthma Refills UTIs Birth Control Nail Condition Rashes & Sores Pink Eye Minor Burns Back Pain Wooping Cough Ring Worm Tick Bites Cold Fever Blister Diaper Rash Motion Sickness Athlete’s EpiPen Refills Canker Sores Acid Reflux Shingles Malaria Prevention Flu Shot Yeast Infection Everyday health issues can ruin your day. Why wait for care? Connect online, chat, video or phone. Go to SpartanburgRegional.com/VirtualCare to start your visit now. Can’t wait to feel better? Connect to care now. Virtual Care as little as $19 36

This

Lieder

IV.

&ScheherazadeClarkOtherTales

37HearHere: Fall 2022

Programs

7:00 T.

I. When my darling has her wedding-day II. I w alked across the fields this morning III. I have a red-hot knife The two blue eyes of my darling Rimsky-Korsakov op. 35 42 min The Sea and Sinbad’s Ship II. 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: subject to change. All timings are approximate. Clyne Midnight Hour 12 min Mahler eines fahrenden Gesellen 16 min (Songs of a Wayfarer)

ABOUT THE MUSIC

IV.

INTERMISSION Nikolai

I.

Gustav

ZIMMERLI SERIES TWICHELL AUDITORIUM Anna

Kenneth Overton, baritone

September

GuestPMConductor Antoine

24, 2022

Scheherazade,

III.

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 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.

ClyneAnnaHourMidnightThis

FROM THE CONDUCTOR 38 Spartanburg Philharmonic

- Antoine T. Clark

ABOUT THE MUSIC ABOUT THE MUSIC 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….”

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.

(1980-) COMPOSED 2015 INSTRUMENTATION piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani & percussion, and strings DURATIONAPPROXIMATE

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!

(1860-1911)

I. When my darling has her wedding-day 39HearHere: Fall 2022

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 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.

MahlerGustavWayfarerofSongsa

ABOUT THE MUSIC

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 DURATIONAPPROXIMATE 16 minutes

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?

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!

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.

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.

40 Spartanburg Philharmonic

ABOUT THE MUSIC 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 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!” 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!” Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Blum’Sonnenschein!undVogel,groß und klein! “Guten Tag, ist’s nicht eine schöne Welt? Ei du, gelt? Schöne Welt?” Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein’, Mir nimmer blühen kann! 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!” 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!” And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the Flowersunshine!andbird, great and small! “Good day, is it not a fine world? Hey, isn’t it? A fair world?”

Now will my happiness also begin? No, no - the happiness I mean can never bloom! Songs of acontinuedWayfarer

O WennWeh!ich aus dem Traum auffahr’ Und höre klingen ihr silbern’ Lachen, O IchWeh!wollt’, ich läg auf der schwarzen Bahr’, Könnt’ nimmer die Augen aufmachen! I have a red-hot knife, a knife in my breast.

Ich bin ausgegangen in stiller Nacht Wohl über die dunkle Heide. Hat mir niemand Ade gesagt.

O WennWeh!ich in dem Himmel seh’, Seh’ ich zwei blaue Augen stehn.

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 meI did not know how life went on, and all was well again! All! All, love and sorrow and world and dream! of

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

Songs

Nun hab’ ich ewig Leid und Grämen.

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.

a Wayfarer continued 41HearHere: Fall 2022

O Whenwoe!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 Whenwoe!I start from a dream and hear the tinkle of her silvery laugh, O Wouldwoe! that I lay on my black bierWould that I could never again open my eyes!

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!

Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt.

Da mußt’ ich Abschied nehmen vom allerliebsten Platz!

III. I have a red-hot knife

The two blue eyes of my darlingthey 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. 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!

O Augen blau, warum habt ihr mich angeblickt?

Ade! Mein Gesell’ war Lieb’ und Leide!

IV. The two blue eyes of my darling

ABOUT THE MUSIC

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.

(1844-1908)

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 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.

42 Spartanburg Philharmonic

ABOUT THE MUSIC

KorsakovRimsky-NikolaiScheherazade

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

INSTRUMENTATION

Chris ContributingVanemanAuthor

COMPOSED 1888

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).

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?

Antoine T. Clark

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.

GUEST CONDUCTOR & MUSIC DIRECTOR FINALIST

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 Kennethgeneration.isa 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.

www.AntoineTClark.com

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.

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

Kenneth Overton GUEST ARTIST, BARITONE

43HearHere: Fall

www.KennethOverton.com 2022

ABOUT THE MUSICABOUT THE MUSICIANS

The Local Hikerwww.TheLocalHiker.com 173 E. Main Spartanburg,StreetSC (864)HOURS:746-1651 Mon. – Fri. 10am to 7pm Sat. 9am to 7pm Sunday Closed

@ Chapman Cultural Center

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

Info & Tickets: ESPRESSO SERIES CHAPMAN CULTURAL CENTER Chai Cello FRIDAY Sept 30, 2022 5:30 PM Social Hour 6:30 PM One-hour Concert

45HearHere: Fall 2022

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. “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.”

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!

“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.”

SPOTLIGHT

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

46 Spartanburg Philharmonic

Fayssoux with guitarist Brandon Turner

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.

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.

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.

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: BLUEGRASS SPARTANBURG CHAPMAN CULTURAL CENTER

Driving rhythms and bold vocals

47HearHere: Fall 2022

@ Chapman Cultural Center

Frank Solivan & Dirty Kitchen 14, 2022 8:00 PM

FRIDAY October

Contributing Author BENEFITTING: SPECIAL EVENT 48 Spartanburg Philharmonic

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, 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! Frick

Sally

Susana Lalama New Location in 2022 Evening

TRYON INTERNATIONAL EQUESTRIAN CENTER

Tickets Online: 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 Marriage of Figaro, Overture 5 min

Programs subject to change. All timings are approximate. IV. 49HearHere: Fall 2022

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

Leonard Bernstein, arr. Peress West Side Story Overture 7 min Bruno Mars, arr. Lopez Uptown Funk 3 min

&DivertimentosofDressage

7:00 PM: one-hour concert Guest Conductor

Piotr Ilyich Tchaikovsky, arr. Golan Nutcracker: Pas de deux 4 min Gioachino Rossini Barber of Seville, Overture 6 min Johannes Brahms, arr. Parlow Hungarian Dances, no. 5 & 6 6 min Johann Strauss II The Blue Danube Waltz 6 min Samuel Coleridge-Tayor Petite Suite Concert 7 min I. Le caprice de Nannette II. Le tarantelle frétillante

An

TO THEATRE, ART AND MUSIC! Where thought TheleadsRosalind Sallenger Richardson Center for the Arts WOFFORD.EDU/ARTS LAWSON ACADEMY OF THE ARTS Discover more! converse.edu/LawsonAcademy Instrumental Lessons Vocal ChildbloomDanceMusikgartenLessonsClasses©Guitar 50

ABOUT THE MUSIC October 23, 2022 3:00 PM Conductors Susana Lalama & Johanna Wilson Fall Fever Program Online: Doug Spata Gargoyles 2 min Richard Meyer Rosin Eating Zombies from Outer Space 4 min Chris Thomas Rustic Dance 2 min Katie O’Hara LaBrie Skeleton Waltz 2 min Programs subject to change. All timings are approximate. SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA TWICHELL AUDITORIUM 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 51HearHere: Fall 2022

P r e l u d e S y m p h o n y 52 Spartanburg Philharmonic

FROM THE CONDUCTORS

- Johanna Wilson - Susana Lalama

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 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. 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, doublestops 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 PRELUDE 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 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.

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.

53HearHere: Fall 2022

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.

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.

ABOUT THE SPYO CONDUCTORS

Susana Lalama and Johanna Wilson at an SPYO concert in April 2021

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.

Susana Lalama SYMPHONY CONDUCTOR

MelanieContributingCoblentzAuthor

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA 54 Spartanburg Philharmonic

New Names & New Directions

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 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.

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.

The Youth Orchestra is Growing 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

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.

Patrons will have three opportunities to see Jonathan and the rest of the SPYO string ensemble Prelude perform during the 2022-2023 season. 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. 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: www.SpartanburgYouthOrchestra.org/ Blog

Amongavailable.thetalent 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. 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”. 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.

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.

SPARTANBURG PHILHARMONIC YOUTH ORCHESTRA 55HearHere: Fall 2022

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

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ABOUT THE MUSIC November 5, 2022 7:00 PM Guest Conductor Troy &FantasyQuinnFirebird Program Online: 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 16 min I. Overture: The Globe Playhouse II. Passacaglia: The Death of Falstaff III. Charge and Battle IV. “Touch her soft lips and part” V. Agincourt Song Georges Bizet Farandole from L’Arlesienne no. 2 5 min INTERMISSION Ralph Vaughan Williams The Lark Ascending 13 min Fabiola Kim, violin Igor Stravinsky The Firebird: Suite 23 min VI. Introduction VII. L’Oiseau de feu et sa danse & Variation de l’oiseau de feu VIII. Ronde des princesses IX. Danse infernale du roi Kastcheï X. Berceuse XI. Final Programs subject to change. All timings are approximate. ZIMMERLI SERIES TWICHELL AUDITORIUM 57HearHere: Fall 2022

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 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.

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.

INSTRUMENTATION

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FROM THE CONDUCTOR 58 Spartanburg Philharmonic

ABOUT THE MUSIC 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!

ABOUT THE MUSIC - Troy Quinn

(1841-1904) COMPOSED

DvořákAntonínOvertureCarnival 1891 2 flutes, 2 oboes/english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani & percussion, harp, and strings 10 minutes

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.

DURATIONAPPROXIMATE 8 minutes

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), 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 Whilecomposer.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

PowellJohnDragonYourTrainto (1963-)

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.

DURATIONAPPROXIMATE 16 minutes

For many decades “serious” orchestras refused 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.

ABOUT THE MUSIC How

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

Henry V: WaltonWilliamSuite (1902-1983)

. . . 59HearHere: Fall 2022

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.

COMPOSED 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

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

Henry V: continuedSuite 60 Spartanburg Philharmonic

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

DURATIONAPPROXIMATE 5 minutes

BizetGeorgesFarandole (1838-1875)

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 Inimmortality.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.

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

COMPOSED 1914 INSTRUMENTATION 2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns, triangle, and strings DURATIONAPPROXIMATE 13 minutes

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.

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.

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.

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

ABOUT THE MUSIC The WilliamsVaughanRalphAscendingLark

(1872-1958)

61HearHere: Fall 2022

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.

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

Chris ContributingVanemanAuthor

StravinskyIgorSuiteFirebird:The

“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.

DURATIONAPPROXIMATE 23 minutes

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 Aftermade.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.

(1882-1971)

62 Spartanburg Philharmonic

ABOUT THE MUSIC

ABOUT THE MUSICABOUT THE MUSICIANS

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 EquallyPhilharmonic.athomeinthe 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.

www.Fabiola.Kim

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.

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.

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www.TroyQuinn.com

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 Ms.Strings.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.

Fabiola Kim GUEST ARTIST, VIOLIN

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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

Info & Tickets: ESPRESSO SERIES CHAPMAN CULTURAL CENTER Jazz Java FRIDAY NOV 18, 2022 5:30 PM Social Hour 6:30 PM One-hour Concert Classic, Timeless, Captivating Jazz@ Chapman Cultural Center

proud sponsor of the PhilharmonicSpartanburg 2022 - 2023

ABOUT THE MUSIC

In Partnership with: 672022

ZIMMERLI SERIES TWICHELL AUDITORIUM

Geneviéve Leclair

NutcrackerThe

Programs subject to change. All timings are approximate.

Program Online: Piotr Ilyich Tchaikovsky, arr. Golan Nutcracker, op. 71 86 min Overture 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

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December 9-11, 2022 3:00 PM & 7:00 PM Guest Conductor

68 Spartanburg Philharmonic

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

TchaikovskyIlyichPiotrNutcrackerThe (1840-1893)

ABOUT THE FROMMUSICTHE CONDUCTOR - Geneviève Leclair ABOUT THE MUSIC

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?”.

DURATIONAPPROXIMATE 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 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.

March of the Toy Soldiers:

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.

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:

ACT I

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.

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!

“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.

ABOUT THE MUSIC MUSIC LISTENING GUIDE

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 69HearHere: Fall 2022

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.

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.

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.

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.

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!

Mother Ginger and the Polichinelles:

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.

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.

Julia PhilharmonicSmartIntern

ABOUT THE MUSIC Clara and the Nutcracker Prince:

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.

The Nutcrackercontinued 70 Spartanburg Philharmonic

BUCK-ING FOR BALLET SPARTANBURG AND SPARTANBURG PHILHARMONIC George “Buck” Brandt, III Office (864) 583-5144 Fax (864) 582-2927 Cell (864) Spartanburg,gbrandt@hbvlaw.com497-0447360E.HenryStreetSC29302Attorneys At Law

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.

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.

www.GenevieveLeclair.com

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.

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.

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 Theperformances.2022performances 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.

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 Courtney Oliver

The Magic Of Tradition and Community

72 Spartanburg Philharmonic

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.

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p roud sponsor of the SPARTANBURG PHILHARMONIC eatatwades.com My plan to stage, photograph, price, and market your home will hit all the right notes. All the best for a successful 2021-2022 season! Francie Little, REALTOR® & Spartanburg Philharmonic Board Member 864.580.8448 STAGE • PHOTOGRAPH • PRICE • MARKET Calendrier Moonphase HILLCREST SPECIALITY ROW | 1040 FERNWOOD GLENDALE RD, SUITE 48 | SPARTANBURG TUE-FRI864-582-30289:00TO6:00 2022-2023 season!

Info & Tickets: BLUEGRASS SPARTANBURG CHAPMAN CULTURAL CENTER

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.

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A Visionary Acoustic Ensemble

SATURDAY Dec

RoadshowAppalachian 10, 2022

8:00 PM

@ Chapman Cultural Center

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.

Appalachian Road Show is a visionary acoustic ensemble, bringing Americana,interpretationsnew-generationoftraditionalbluegrassandfolk 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.

T S. REEL ROBERTSON 721 E. Main reel@sreelrobertsoncpa.comSpartanburg,StreetSC29302 Certified Public Accountant (864) 583-2450 Fax: (864) 582-7332 76

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!

SPOTLIGHT

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.

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’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!

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.

Cabe with his wife and three daughters

77HearHere: Fall 2022

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.

ContributingThevenetAuthor

Spotlight: Cabe LoringLaura-Clare

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 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.

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 season22/23 For more information, and to book tickets: SpartanburgLittleTheatre.com | SpartanburgYouthTheatre.com Box Office: 864-542-2787

LINK UP

79HearHere: Fall 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

Link Up: A Performer’s Perspective 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 Followingbeautiful!

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! 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).

The Carlos Moseley Chamber Music Series 2022-2023The Carlos Moseley Chamber Music Series 2022-2023 PETRIE SCHOOL OF MUSIC PRESENTS Wael09.26.22Farouk Ying11.21.22Quartet Chanticleer02.27.23 EnsembleREBEL04.17.23Baroque DISCOVER converse.edu/CarlosMoseleyMORE!

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.

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.

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.

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?

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,

SpartanburgPhilharmonic.org/Julia-Smart

read more online 81HearHere: Fall 2022

Where do you see yourself in 10 years?

SPOTLIGHT Intern Spotlight: Julia SmartKordell Hemphill

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!

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?

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?

A FEW FUN QUESTIONS

ADVERTISER INDEX Ballet Spartanburg 33 Bella Vision 64 Bernhardt House of Violins . . . . . . . . . . . . . . . . . . . . . . . . 52 Caleb Loring, Licensed Psychologist 78 Chapman Cultural Center 11 CWS Insurance Agency 56 Davis Orthodontics 25 DRB Homes 56 Francie Little, Coldwell Banker Caine . . . . . . . . . . . . . . . . . . . 74 George Johnson Insurance 2 Henderson, Brandt & Vieth, P.A., Attorneys at Law 71 Hodge Floors 78 Judy McCravy, Coldwell Banker Caine 44 Lawson Academy of the Arts 50 Milliken 66 Palmetto Palate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Reel Robertson, C.P.A. 76 Southern Palms Chiropractic & Wellness 55 Spartanburg | Greer ENT & Allergy 76 Spartanburg Art Museum 64 Spartanburg Day School 84 Spartanburg Little Theatre 78 Spartanburg Regional Healthcare System 36 St. Luke’s Urology Associates 83 Summit Hills 21 The Carlos Moseley Series 80 The Johnson Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Local Hiker | Hiker Hub 44 TNB Financial Services 82 United Community Bank . . . . . . . . . . . . . . . . . . . . . . . . . . 33 V.C. McLeod, CFP / Merrill Lynch Wealth Management 17 Vic Bailey Lincoln 25 Wade's Restaurant 74 Watchworks 74 Wofford College Arts 50 Young Office 61 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 Up Next... Feb. 5 Bluegrass Spartanburg THE STEELDRIVERS Feb. 5 Youth Orchestra WINTER WARMER Feb. 11 Zimmerli Series HEART, SOUL, & CELLO Feb. 17 Espresso Series OOLONG NOTES Mar. 17 Espresso Series FIDDLE FRAPPÉ Mar. 25 Zimmerli Series TAO OF PURITY & POWER Apr. 22 Zimmerli Series AMERICAN SONGSCAPE Apr. 23 Youth Orchestra CONCERTO COMPETITION Apr. 27 Bluegrass Spartanburg SISTER SADIE 82

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