Spartanburg Philharmonic - HearHere, Spring 2022

Spartanburg Philharmonic

Volume 93, Spring 2022

Be Inspired

by Live Music

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Volume 93, Spring 2022 200 East Saint John St. Spartanburg, SC 29306 864.948.9020

Contributing Authors: Peter B. Kay Courtney Oliver Laura-Clare Thevenet Chris Vaneman

Photographers: Anna Bandy Kavin Bradner Jimmy Gibson Peter B. Kay Brian Smith Kordell Hemphill

Information 4 5 6 7 8 12 31 42 61 66

Calendar of Events A Letter from the Philharmonic Board of Directors Orchestra Committee Philharmonic Staff Spartanburg Philharmonic Annual Fund Spartanburg Philharmonic Musicians Music Director Finalists Spartanburg Music Trail Subscriptions

Concerts 24

Espresso Series

32

Zimmerli Series: Carefree

38

Zimmerli Series: Epic

48

Bluegrass Spartanburg

56

Spartanburg Philharmonic Youth Orchestra

61

Music Sandwiched In

Articles 5 7 14 16 20 29 35 37 41

A Letter from the Philharmonic The Orchestra Committee Spotlight: Ohmar Land Habisreutinger Stradivari Foundation Get to know our Guest Conductors!

Spotlight: Ian Bracchitta Callie Brennan Kelly Corcoran John Concklin

44 46 50 52 54 58 62 62 63

The Search for a New Music Director Beyond Music Appreciation Bluegrass in the Burg The Art of Music Librarianship Spotlight: Bob Borden What is a Concerto?

Link Up: Annual Youth Concert Stronger Everyday A Teacher’s view

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Calendar of Events

Spring 2022

Zimmerli Series (page 32)

Youth Orchestra (page 56)

Espresso Series (page 22)

Music Sandwiched In (page 61)

Bluegrass Spartanburg (page 52)

Event

Date

Venue

January Tom Wright’s Cat & Mouse Trio

Wed 1/12

Spartanburg County Library

Nathan Shirley

Wed 1/26

Spartanburg County Library

Rob Ickes & Trey Hensley

Sat 2/5

Chapman Cultural Center

Tenacious: Boellman, Variations Symphoniques

Sun 2/6

Twichell Auditorium

Gladius

Wed 2/9

Spartanburg County Library

Awakened: Classical Music Influencers

Fri 2/18

Chapman Cultural Center

TBA

Wed 2/23

Spartanburg County Library

Carefree: Mozart, Violin Concerto no. 3

Sat 3/5

Twichell Auditorium

The Reel Sisters

Wed 3/16

Spartanburg County Library

Nostalgic: TV Classics

Fri 3/18

Chapman Cultural Center

The Jazz Antagonists

Wed 3/23

Spartanburg County Library

TBA

Wed 4/6

Spartanburg County Library

Arbor Wind Trio

Wed 4/20

Spartanburg County Library

Epic: Mahler Symphony no. 1

Sat 4/23

Twichell Auditorium

Accomplished: Mozart, Concerto for Horn

Sun 4/24

Twichell Auditorium

Darin & Brooke Aldridge

Thurs 4/28

Chapman Cultural Center

TBA

Wed 5/4

Spartanburg County Library

Spook Handy

Wed 5/18

Spartanburg County Library

February

March

April

May

additional information is available online at:

SpartanburgPhilharmonic.org/Events

Programs and Performances subject to change or cancellation due to the pandemic.

Please visit us online for the most up-to-date information regarding variations to our upcoming concerts and any restrictions due to the corona virus.

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A Letter from the Philharmonic

Dear Friends of the Phil, Can you remember the last time you came to a Spartanburg Philharmonic concert? Had your ticket scanned and found your seat? The last time you watched as the lights went down, listened to the orchestra tune, and were filled with anticipation for that first note? So many of you joined us last Fall for our in-person concerts and some of you were more comfortable with the livestream from your homes. Either way, we hope you shared the experience with others and embraced taking part in a live performance. It’s a feeling that can’t be replicated!

Attending a concert isn’t a passive experience – its an engaging and participatory event. The concert is where you hear and feel and experience and cherish what makes live music so special.

You are joining us at a momentous time in the Spartanburg Philharmonic history – in the middle of a search for our 10th Music Director. We have two finalists for the position joining us this Spring and another five finalists coming in our 2022-2023 Season. Please read more about the Search on page 42 and always feel free to chat with a staff or Board member. Your feedback is always welcome!

We are committed to making our music accessible to all and we are thrilled to bring back one of our most beloved programs – Music Sandwiched In. You can join us every other Wednesday for free concerts at the Spartanburg Downtown Library starting in January. Each concert brings a diverse genre to the Barrett Room and fills the 105,000 square foot library with music, laughter, and applause.

As we continue through our 93rd season to meet the challenges and celebrate the triumphs that we are sure to encounter, the Spartanburg Philharmonic will remember who we are and look ahead to what we can become as Spartanburg’s orchestra. We will continue to focus on our unique ability to be a place where everyone can gather together.

Thank you for being a part of our journey,

Kathryn Boucher, Executive Director Spartanburg Philharmonic

Chip McLeod, President of the Board of Directors Spartanburg Philharmonic 5

Board of Directors

Executive Committee From left to right: Chris Strickland, Karen Parrott, Samantha Larkins, Chip McLeod; Not pictured: Laura Allen

2021-2022 Officers

Directors

Chip McLeod

Karen Bjelland James Cheek Ray Dunleavy Peter Grzan Laura Henthorn Dr. Ohmar Land Francie Little Dr. Cabe Loring

President

Laura Allen

Past President

Karen Parrott

President Elect

Samantha Larkins Treasurer

Chris Strickland Secretary

Lifetime Director Judy McCravy Dr. Melinda Moretz Alex Hunt North Dr. Rick Orr Bert Shuler Helen Tipton Kate White Dr. Meisha Whitlock

Dr. J. Sidney Fulmer

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

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The Orchestra Committee Diana Maley Berti Committee Co-Chair

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 percussion 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 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.

Representatives

Diana Maley Berti, Viola

Ian Bracchitta, Bass

Patrick Lowery, Timpani

Michele Cockram, Violin

Alvoy Bryan, Jr., Viola

Andrew Merideth, Horn

Committee Co-Chair Committee Co-Chair

7

Philharmonic Staff

Kathryn Boucher Executive Director

Robert Borden

Orchestra Librarian

Peter B. Kay

General Manager & Composer in Residence

Kordell Hemphill

Community Engagement Coordinator

Courtney Oliver

Marketing & Special Events Manager

Susana M. Lalama

Youth Orchestra Conductor

Johanna Wilson

Junior Youth Orchestra Conductor

Volunteers: Marianne Fortin & Tristan Willcox

Connect with the Spartanburg Philharmonic!

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

facebook.com/SpartanburgPhil instagram.com/SpartanburgPhilharmonic youtube.com/SpartanburgPhilharmonic 8

T

S. REEL ROBERTSON

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

(864) 583-2450

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

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CORPORATE PARTNERS 10

Corporate Partners

F O U N D A T I O N

Funders Carlos Moseley TRUST

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

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

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 We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic.

This list reflects gifts received July 2020 through June 2021

ANNUAL FUND

Benefactor ($15,000+) Balmer Foundation Mr. and Mrs. William Barnet III Mr. and Mrs. George Dean Johnson, Jr. Alfred Moore Foundation Carlos Moseley Trust Mrs. Nelly Zimmerli Virtuoso & Podium ($5,000-$9,999)

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

Dr. Barry Bodie and Ms. Laurel D. Johnson Mrs. Patricia Hudgens

Mrs. Mac Cates, Jr. Mr. James Cheek Mr. and Mrs. Michael Kohler, Jr. Mr. and Mrs. Paul Lehner Mr. and Mrs. V. C. McLeod, III Mr. and Mrs. Peter Weisman Mr. and Mrs. Donald Wildman Mr. and Mrs. Geoffrey Wilson

Principal ($1,000-$2,499) Laura Allen and Roger Sullivan Mr. and Mrs. Stanley Baker Mrs. Susan H. Baker Ms. Karen E. Bjelland Ms. Kathryn H. Boucher Mr. and Mrs. Jerry Cogan Mr. and Mrs. Halsey Cook Mr. and Mrs. Ken Deems Mr. and Mrs. Ray Dunleavy Mr. and Mrs. Ken Frick Mr. Peter Grzan Mr. and Mrs. Roger Habisreutinger Ms. Laura Henthorn Dr. Leslie W. Howard, Jr. In Memory of Charles R. Ireland, M.D. Dr. and Mrs. Louis Knoepp, Jr. Mr. and Mrs. Lindsay Little Dr. and Mrs. Caleb Loring, IV

Dr. Dennis E. Mayer and Mr. Dean Rutherford Mayer Mr. and Mrs. John S. McBride, Jr. Mrs. Judy McCravy Mr. E.T. McLean Mr. and Mrs. Walter S. Montgomery Dr. Melinda Moretz Mr. John R. Murphy Mr. and Mrs. Thomas P. Nederostek Mr. and Mrs. Wiley North Dr. and Mrs. Rick Orr Mr. and Mrs. Stephen P. Parrott Ms. Thelma A. Powell Mr. Stefan Sanders and Ms. Kela Walton Ms. Johanna Lewis and Mr. Richard Spiers Mr. and Mrs. Walter Sunderlin Mr. and Mrs. H. Peter Theiler Mr. and Mrs. Marshall T. Walsh Dr. Meisha Whitlock Mr. Robert K. Bellinger

for more information about donor levels or supporting the Philharmonic, visit us online at: 12

SpartanburgPhilharmonic.org/GiveNow

Fellow Musician ($500-$999) Mr. Robert Borden Mr. and Mrs. George Brandt, III Mr. Mark Carlson Mrs. Celia Cogdell Mr. and Mrs. David Ellis Mr. and Mrs. Lawrence Flynn, Jr.

Mr. and Mrs. Daniel Holloway Dr. and Mrs. David A. Holt Rear Admiral and Mrs. Stephen Johnson Clint & Samantha Larkins Mr. and Mrs. Don Miles Dr. and Mrs. Peter Sereque

MG(R) and Mrs. Edwin Spain, III Mr. and Mrs. Eliot Stone Mr. & Mrs. John Tipton Mr. and Mrs. Joseph B. Traywick, II Mr. and Mrs. Glen Warner Mr. and Mrs. Taylor White

Mr. and Mrs. Brandt Goodwin Todd and Ginger Greer Dr. and Mrs. Robert J. Haas Mr. & Mrs. Gaston C Harris Jr Mr. J. Mark Hayes, II Mr. and Mrs. Robert Houston Mr. and Mrs. Robert E. Hyatt Harriet and David Ike Dr. and Mrs. William A. James Cat and Mike Judice Mr. and Mrs. Thomas N. King Ms. Beverly Knight Mr. Vincent J. Krydynski, Jr. Dr. Susana Lalama Dr. Ohmar Land Mr. and Mrs. Horace C. Littlejohn, Jr. Dr. Allen H. Mackenzie Mr. and Mrs. Kingsley Martin Ms. Carol B McCulloch Ms. Cabell Mitchell

Mrs. PJ Morrow Kam and Emily Neely Mr. Jeffrey Nye Mr. & Mrs. Daniel O’Connell Ruth and Walter S. Oliver, IV Dr. and Mrs. Jan Postma Dr. Douglas A. Rayner Ms. Joy Shackelford Mr. and Mrs. Hubert Shuler Mr. and Mrs. John Supra Mr. Frank R. Thies, III Mr. and Mrs. Jack Turner Mr. Arnold Tuttle Ms. Melanie Vick Mr. and Mrs. Gregory Wade Mr. and Mrs. Mark Ward Douglas and Rita Weeks Ms. Linda Sangster West Ms. Johanna Wilson

Ms. Barbara Colvin Ms. Patricia Cook Dr. C. Edward Davidson Isaac and Darlene Dickson Dr. and Mrs. Stephen Garrell Gerty Gonzales Mr. and Mrs. David L. Gowing Dr. Lee Hagglund Mr. and Mrs. Peyton Harvey Mr. Christopher Herrell Anna Hough Mrs. Ava Hughes Mr. and Mrs. Michael Humeniuk Mr. and Mrs. Jeremiah Miller Dr. and Mrs. Larry Kibler Dr. Lizabeth McLeod and Mr. David Kushubar Mr. and Mrs. George Loudon, Jr Thorne and Harrison Martin Mr. Gaines H. Mason, Jr. Mr. and Mrs. Foster McLane

Dr. and Mrs. Tom Moore Mr. and Mrs. Wilton P. Myers Dr. Kelly Neil Mr. Robin C. New Mr. Dwight F. Patterson, Jr. Ms. April Preston and Mr. Kyran Dowling Ms. Betty C. Pryor Mrs. Pat Quantz Ms. Naomi Richardson Mr. and Mrs. Jason Sikma Christine Stephenson Mr. and Mrs. Frederick Stoll Mr. and Mrs. Richard Strasburger Mrs. Martha I. Tiller Mr. and Mrs. Robert Troup Mr. and Mrs. James Trout Mrs. Sandra G. Turner Drs. Edward and Petra Warren Mr. and Mrs. Bob Wynn

Patron ($150-$499) Dr. and Mrs. Mitchell Hurst Allen Mr. and Mrs. Charles Baxter Mr. and Mrs. Thomas Blexrud Mr. and Mrs. Tim Brannon Mary and Wayne Britsch Mr. Jack Bucher Dr. and Mrs. William W. Burns Mr. and Mrs. Jan Caldwell Dr. and Mrs. Ernest Camp III Dr. Andrew Taber and Ms. Alyson Campbell Mr. Bill and Mr. Martin Cooper-Meek Mr. and Mrs. Paul Cote Ms. Brenda Lytle and Mr. James C. Curry Mr. and Mrs. Allen Darryl Doyle Ms. Jean Dunbar Mrs. Angelina Eschauzier Mr. and Mrs. Bill Fitch Ms. Elaine T. Freeman Col. (Ret.) and Mrs. James D. George, Sr Gerald and Hanh-Trang Ginocchio

Members ( $50-$149) Ms. Kathy J. Allen C. Mack and Patty Amick Ms. Frances J. Bagwell Ms. Margaret Barnes Patricia Battle Dr. and Mrs. Howard C. Bean, Jr. Diana and Alden Berti Mr. and Mrs. Victor Bilanchone Mr. Alton Bishop Martha and Clarke Blackman Mr. and Mrs. Louie W. Blanton Mr. Markus Bolliger and Mr. Stephan Bolliger Mr. and Mrs. Ken Boucher Mr. Dexter Brown Bridges Mr. and Mrs. Christopher Brough Mr. and Mrs. Robert Burnette Mr. and Mrs. W. Waller Caldwell, Jr. Mr. and Mrs. John Claggett Kelly and Gwen Clary Ms. Susan Coffman

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Spotlight: Ohmar Land Laura-Clare Thevenet

Contributing Author

A humanitarian is defined as a person promoting human welfare and social reform. Spartanburg Philharmonic Board Member, Dr. Ohmar Land, truly embodies these characteristics by championing those in the Spartanburg community and the surrounding areas every day.

Prior to moving to Spartanburg in 2018, Dr. Land’s career, spanning over 15 years in fundraising, consulting, and leadership for higher education institutions, non-profit organizations, national and regional healthcare organizations, and community foundations, took him all over the East Coast, from Charlotte, NC, to Washington D.C. In 2001, he earned a BSBA in Healthcare Management from Appalachian State University. A few years later, in 2004, he decided to further his education at Pfeiffer University and earned a Master’s in Business Administration. Soon after, Dr. Land attended the University of Phoenix and obtained a Doctorate in Management in Organizational Leadership. He is also a graduate of the Leadership Spartanburg program.

Among his several honors and achievements, Dr. Land most notably served as the first Executive Director for the Charlotte Housing Authority Scholarship Fund (CHASF) from 2006-2009.

The mission of the CHASF is “To make certain that every child living in our public housing community has both the opportunity for and an expectation of a college education.” Dr. Land fervently believed in this mission statement and was able to guide it to realization.

Under his direction and leadership, Dr. Land helped raise more than $3 million to ensure that 100 students could attend college in perpetuity. To honor his years of dedicated patronage, the CHASF awarded Dr. Land the prestigious Founder’s Award in 2019.

In addition to his work with CHASF, Dr. Land draws upon several years of work experience in teaching, scholarship management, partnership development, institutional advancement, public relations, and philanthropy for many higher education institutions

and non-profit organizations, including the Thurgood Marshall College Fund, Prince George’s Community College, Bowie State University, and most recently, Sherman College of Chiropractic. He also served for 10 years as a Founding Member of the New Generation of African American Philanthropists.

Presently, Dr. Land works at Land Leadership Counseling, which he founded, and is the Senior Director at CCS Fundraising. When it comes to serving his community, Dr. Land’s benevolence extends past his career. It is his passion.

Unsurprisingly, he is an avid volunteer in Spartanburg in his spare time. He currently serves as a Member of the Advocacy Committee for the United Way of the Piedmont, an Executive Board Member on the Palmetto Council for the Boy Scouts of America, a Board Member for the Spartanburg Philharmonic, and a Board Member, Governance Committee Chair, and a Big Brother for the Big Brothers Big Sisters of the Upstate Inc. Dr. Land’s passion for mentoring and giving back to his community was inspired by his own experience as a “Little” in Big Brothers Big Sisters of America while living in Charlotte, NC. Now, he is actively involved in Big Brothers Big Sisters of the Upstate and is a Big Brother to Hollis Hones Jr. of Spartanburg County.

Since the start of the pandemic, many community centers, and public spaces have been closed, and programs like Big Brothers Big Sisters of America have been heavily affected. Dr. Land has been a strong advocate for continuing virtual mentoring and creating a safe place for the children in the program.

In an article from the Post and Courier Spartanburg, he stated, “Just because a global pandemic is happening does not mean mentoring is not needed. It’s just the opposite. Children need more. There are a lot of mental health issues on the rise with everyone stuck in the house. This (program) is still an option for kids that want to be in mentoring.”

Since joining the Spartanburg Philharmonic Board last season, Dr. Land has positively impacted the organization with his humanitarian nature and many years of expertise. The mission of the Spartanburg Philharmonic is to enrich, inspire, and educate through live performances of high-quality music and efforts like the Spartanburg Philharmonic Youth Orchestra and Link Up strive to enhance and give back to the community. The Spartanburg Philharmonic is honored to work in partnership with Dr. Land to support the arts in Spartanburg.

Keep us in mind for all your HOLIDAY needs – 15 we would love to help!

The Philharmoniisches Stradivari Sextett Berlin performs on instruments pictured above loaned from the Habisreutinger Stradivari Foundation

The

Habisreutinger Stradivari Foundation

Sustaining the legacy of the 17th century Italian luthier

Laura-Clare Thevenet

Contributing Author

The Habisreutinger Stradivari Foundation was founded

by Swiss cellist and entrepreneur Rolf Habisreutinger in 1964 and shared an unexpected connection to Spartanburg. Today, Rolf’s legacy is upheld by five foundation council members and his son, Roger, who currently resides in Spartanburg with his wife, Marianna Black Habisreutinger. As central figures in the Spartanburg community, Roger and Marianna have proven to be strong advocates for classical music and community well-being by working with the foundation, leading efforts to enhance the city, and being longtime donors and friends of the Spartanburg Philharmonic.

Roger credits his father for his love of classical music and his passion for making the arts accessible to everyone.

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Rolf was raised in Switzerland and spent most of his life preparing to work in the textile industry— the Habisreutinger family business. His family was adamant that he should stay in the business, but Rolf had many other interests. He was an avid collector of stamps, wine, automobiles, and most importantly, stringed instruments.

Rolf was quite the accomplished cellist and had dreams of becoming a musician. He developed a fascination with the famed Stradivari instruments, crafted by Italian master luthier Antonio Stradivari. By many experts, they are considered to have the best sound quality of any stringed instrument. Rolf always strove for excellence and made it his life’s passion to accumulate his own collection.

He purchased his first cello, named De KermadecBläss, and started holding concerts for his friends in the Habisreutinger family home nearly every week.

Roger recalls his father’s excitement to show his friends.

“They were all a little jealous at first, in awe of such a beautiful instrument, until my father suggested that he’d just buy more, so everyone could play!” Thus, he started the Habisreutinger collection.

Rolf’s original collection contained more than 10 Stradivari. Presently, the foundation owns six: two violins, two violas, and two cellos. It is estimated that Antonio Stradivari crafted over 1,100 instruments during his lifetime, but only about 650 of the original instruments remain today.

To conserve Antonio Stradivari’s incredible life’s work, the Habisreutinger Stradivari Foundation and others like it strive to preserve the integrity of the instruments by keeping them in use. Roger stressed that his father firmly believed that the instruments should be played rather than lie dormant behind museum glass.

“My father didn’t want them to sit. He wanted them to be available to talented musicians who might not have a chance to play a Stradivarius otherwise. He believed that instruments are like our bodies. They need exercise to stay healthy.”

Rolf inevitably passed on his love of music to his children. Roger played violin for five years, and his brother developed into a skilled pianist. Music was a constant aspect of Roger’s childhood.

His father wanted to know everything about music, so he frequently entertained accomplished musicians in the area and formed close friendships with them.

“It was completely normal to us,” Roger recalled, “Where I was raised in the German-speaking part of Switzerland, you could walk out of your door and see some of the most renowned musicians in the world.”

The family was once invited to a recital at the home of cellist Pablo Casals. Young Roger, who, because of his father, had been exposed to world-class performances since a young age, was absolutely baffled when the ladies from the audience rushed to grab the cherry pits Casals had disposed of in a bucket next to him during the recital.

“The recital at his home (Casals) was the first time I realized what it meant to be famous,” Roger explained.

When Roger moved to Spartanburg in 1967 to work in the textile industry like his family before him, he

Roger & Marianna Black Habisreutinger

wanted to bring those same experiences to his new home in the United States. As can be expected, he experienced quite the culture shock. Rural Spartanburg, South Carolina, proved different from the historic Swiss cathedrals with thousands gathered to watch famous, virtuoso musicians.

However, during this time, the arrival of the European industry brought more diversity, arts, and culture.

With the persistence of community members like the Habisreutingers, arts organizations, and higher education institutions, Spartanburg today is known as a “hub” for the arts in the Upstate South Carolina area. The community has flourished into a nourishing environment for creativity and live performances of high-quality music.

In addition to his work with the foundation, Roger has worked with Champion Investment Corporation since Marianna’s father, who founded the company, passed away in 1975. Marianna also serves as an officer in the company. Champion Investment Corporation works to improve the quality of life for Spartanburg residents with their expertise in real estate, farming, and development. continued on page 18

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Habisreutinger continued

st udio series

In Collaboration with Spartanburg Philharmonic

FRI., OCTOBER 22 7:00 PM SAT., OCTOBER 23 11:00 AM, 3:00 & 7:00 PM SUN., OCTOBER 24 3:00 PM

TICKETS: 864-542-2787 BALLETSPARTANBURG.ORG CHAPMAN CULTURAL CENTER STUDENT $20 | SENIOR $23 | ADULT $25

FRI., DEC. 10 SAT., DEC. 11 SUN., DEC. 12

7:00 PM 3:00 & 7:00 PM 3:00 PM

TICKETS: 864-596-9724 BALLETSPARTANBURG.ORG TWICHELL AUDITORIUM STUDENT $20 | SENIOR $28 | ADULT $35

FRI., FEB. 11 SAT., FEB. 12

6:00 & 8:00 PM 6:00 & 8:00 PM

TICKETS: 864-583-0339 BALLETSPARTANBURG.ORG BALLET SPARTANBURG STUDIOS NOT PART OF BALLET SPARTANBURG SEASON|SPECIAL EVENT

STUDENT $20 | ADULT $30

an evening with

Carlos Agudelo in coll abor ation with hub cit y writer s projec t

THURS., MARCH 24TH 7:30 PM SAT., MARCH 26TH 7:30 PM

TICKETS: 864-542-2787 BALLETSPARTANBURG.ORG

FRI., APRIL 22 7:30 PM SAT., APRIL 23 7:30 PM

CHAPMAN CULTURAL CENTER STUDENT $20 | ADULT $25 | SENIOR $23

TICKETS: 864-542-2787 BALLETSPARTANBURG.ORG CHAPMAN CULTURAL CENTER STUDENT $20 | SENIOR $23 | ADULT $25

21/22 PRESENTING SPONSOR

INDIVIDUAL TICKETS balletspartanburg.org or 864.542.2787

SEASON MEMBERSHIPS balletspartanburg.org/memberships 864.583.0339

A native of Spartanburg, Marianna Black Habisreutinger has several years of experience in education, healthcare, and the arts. She is a former Spartanburg county school teacher and holds leadership roles with several non-profit organizations in the Upstate area. Her long list of accolades include, but are not limited to; serving on the Upstate Forever Board of Directors, Charles Lea Foundation (founder), Mary Black School of Nursing Advisory Board of USC Upstate, Executive Guild of the Hope Center for Children (founder), Cancer Association of Spartanburg and Cherokee Counties, Inc., Spartanburg Methodist College, Storm Eye Institute of the Medical University of South Carolina, Friends of the Arts (founder), the Artist Guild, the Art Association, and the Symphony Guild. Additionally, she was named South Carolina’s Mother of the Year in 2011.

Roger and Marianna Habisreutinger have a true passion and talent for community outreach, and their impact has enriched countless lives throughout Spartanburg and the surrounding areas. According to an interview in 2011 with the Digital Commons at Winthrop University, Marianna “considers her family’s proudest legacy to be many years of kindness and generosity to both family and neighbors.”

The last time the foundation’s generosity brought Stradivari instruments to Spartanburg was in 2012. The Habisreutinger Stradivari Foundation collaborated with the Carlos Moseley Chamber Music Series at Converse College (now Converse University) to host the Stradivari Quartet. Roger says that the most challenging part about running the foundation is choosing who receives the instruments.

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“It is very rare that a chamber music formation of any size plays on all genuine Stradivari instruments,” said Roger. “In fact, the only other chamber music group that does so is the Tokyo String Quartet. But the instruments are only one part of the equation.

The greatness of the musicians is the other. The members of the Stradivari Quartet are phenomenal artists in their own right. All have achieved enormous success on the world stage and have won numerous international competitions on the highest level. The five trustees on the board of the Habisreutinger Stradivarius Foundation are charged, among other things, with the task of deciding who is worthy of playing these instruments and where they are to be played. Needless to say, with Spartanburg being my new home for nearly 45 years, I lobbied hard for the instruments to come here.”

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.

TheJohnsonGroup.com

! s r o t c u d n o C t s e u G r u o w o

Get to kn

1

What do you like to do on a weekend off?

I love to spend time with my family, run, and catch up on things around the house. I have a ten-year-old daughter and a Sheltie pup so it’s fun to play with them both. I also love downtime when I can just relax, watch some good movies and write in my journal.

2 Ke

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4

Co

n, March 5

3

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

I like sleep! But, if I had extra time, I’d spend it with my family and friends.

I spend a lot of time working, so, I would love to have more time for social connection! I would also like more time for writing and creative ideation.

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5

What is your guilty pleasure or current “obsession”?

I love dark chocolate and Yogi tea! I also love a new pair of Nike running shoes.

What inspires you most about music?

As we search for connection and ways to understand the diverse experiences of each other, music can speak in ways that words cannot. I also love how music is heterogeneous – with so many different styles, voices, influences and expressions.

What is one piece of advice you would give to your younger self?

I would say cherish each moment and be yourself.

What is the first concert or event you attended that inspired you to become a musician/conductor?

It is so hard to pinpoint one event! When I was an undergraduate at The Boston Conservatory studying vocal performance, I sang in the Tanglewood Festival Chorus which is the symphony chorus for the Boston Symphony. I had the opportunity to perform under the baton of amazing conductors ranging from Seiji Ozawa to Bernard Haitkink to John Williams. I vividly remember looking out into Symphony Hall in Boston, taking in everything and being mesmerized by the dynamics between the conductor and the orchestra. It was during this time that I became inspired to study conducting!

Some of the most memorable performances were of Seiji Ozawa conducting The Saint Matthew Passion at Carnegie Hall and Bernard Haitink conducting Mahler 3.

1

What is your ultimate comfort food?

Korean food. There’s just something comforting about food from my heritage. The spicier, the better. It must be genetic.

l2

3

2

John Conc

4

6

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I’m a podcast enthusiast. But if you were to open my streaming services, it would definitely show Bach’s Well Tempered Clavier as it’s what we play for our dog when we leave the house. Aside from that, my wife Lauren introduced me to Dolly Parton, Joni Mitchell, John Prine, Gillian Welch, and other singer songwriters, which we both enjoy. Speaking of my wife, she seems to find my lifelong persuasion towards Top 40 Hits from 1994-2006 amusing.

3

If you were not a conductor, what would you have pursued as a career?

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

Hitchhiking in the remote Italian countryside. I was there for a conducting competition. It was my wife’s idea to stick her thumb in the air, and shockingly, it worked.

5

If you could spend a day with a famous composer or musician (living or dead) who would it be and why?

That’s a tough one. I would ask Dvorák more about his thoughts on race and American music. I would like to ask John Adams some questions I have about his Harmonielehre. I would like to write a song with LinManuel Miranda, take a piano lesson from Ray Charles, or play chamber music with Yo-Yo Ma.

Can you share something about your concert repertoire that audiences should either listen for or think about in advance of attending the concert?

Listening to a piece beforehand always creates familiarity that is fun to experience at a concert––like you are running into an old friend.

For Mahler 1 specifically, I would encourage the audience to let themselves go to the places Mahler wants them to go. At the beginning of the first movement, he wants you standing in the forest, just before dawn, on the first day of spring. You are surrounded by darkness, but as the movement progresses, the birds call, the animals yawn and stretch, the sun rises, and spring appears. In the second movement, you find yourself in the town square at a community function where there will be dancing. In the third, you witness a macabre, ironic funeral where the tables have turned: The animals mourn the hunter. In the finale, you will experience pure feeling––deep despair, indescribable love, anxiety, and finally, triumph and transcendance. There’s nothing like it.

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Espresso Series

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Awakened inspired by

Classical Music’s Original Influencers Friday

Feb. 18, 2022 5:30 PM Social Hour 6:30 PM One-hour Concert

@ the Chapman Cultural Center

Influencers aren’t just on social media telling people what to buy. In classical music, the original influencers were named Bach, Mozart, and Beethoven and their mastery continues to inspire composers even today. Join us for a musical exploration of new and familiar composers, and the spark that ignited their creativity. Who knows, maybe one piece will inspire your own muse.

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Nostalgic inspired by

Popular TV Theme Songs Friday

Mar 18, 2022 5:30 PM Social Hour 6:30 PM One-hour Concert

@ the Chapman Cultural Center

From the first tinkling piano notes of a classic 80’s sitcom, to the sweeping strings of Netflix’s most recent hit - classical music is at the center of many of television’s most memorable themes.

Brought to life by your Spartanburg Philharmonic chamber ensemble, each piece pulled from the smallscreen will have you feeling lighthearted and a bit nostalgic.

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SEPT. 17-26, 2021

NOV. 5-14, 2021

JAN. 14-23, 2022

MARCH 4-13, 2022

MAY 6-15, 2022

OCT. 8-9, 2021

DEC. 3-5, 2021

FEB. 11-13, 2022

APRIL 15-16, 2022

JULY 15-24, 2022 the musical

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Your ticket purchase includes intimate receptions with champagne, hors d’oeuvres, and post-concert conversations where you can meet the performers.

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2021-2022 Concert Season

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2.28.22

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Spotlight: Ian Bracchitta Principal Double Bass

A native of Westchester County in New York, Ian Bracchitta is a versatile double bassist equally at home in the classical, jazz, and popular genres. Ian is Principal Bassist of the Spartanburg Philharmonic, Assistant Principal Bass in the Greenville Symphony Orchestra, and is a freelance bassist with the Charlotte and Charleston Symphony Orchestras. In March 2021, we were proud to feature Ian alongside Principal Violist Alvoy Bryan, Jr. on our Glorious Fanfare concert.

The duo performed a movement from the Sinfonia Concertante by Dittersdorf on the all-concerto* program.

Ian is dedicated to the Philharmonic and has been a longstanding member of the Spartanburg Philharmonic Orchestra Committee, representing his colleagues to the Board of Directors (see page 7). In 2021, Ian joined Alvoy and fellow orchestra members Kelly Vaneman (Oboe) and John Holloway (Tuba) on the Music Director Search Committee (see page 42).

As a jazz bassist Ian performs extensively in the area and has appeared with The Tommy Dorsey, Nelson Riddle and Cab Calloway Orchestras, among many others. Additionally, he has performed with the orchestras for the national tours of countless Broadway shows such as Phantom of the Opera, Wicked, Beautiful, West Side Story, Porgy and Bess, Evita, and My Fair Lady. He has also been heard on regional TV/ radio commercials and industrial soundtracks.

A devoted teacher, Ian currently teaches at the South Carolina Governor’s School for the Arts and Humanities, Furman and Clemson Universities, and maintains a private studio.

Keep an ear out this spring as Ian will also be featured on our Epic concert in April (see page 38). The third movement of Mahler’s “Titan” symphony opens with a solo double bass accompanied by a quietly beating timpani. Ian will play the famous “Frère Jacques” melody (albeit in minor) that lays the groundwork for the entire movement.

* What is a concerto? See page 58 for more!

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P H O T O S F R O M FA L L 2 0 2 1

Spartanburg Philharmonic Orchestra Members & Chair Sponsors as of January 2022

Violin I

Cello

Horn

Callie Brennan, Concertmaster

Ismail Akbar, Principal

Anneka Zuehlke-King, Principal

Courtney LeBauer, Associate Concertmaster

Kathy Foster, Assistant Principal

Chris George

Debra Anthony*

Meredith Keen Christine Lee Lance Eric Scheider Benjamin Smith

Andrew Merideth**, Assistant Principal

Mr. & Mrs. George Dean Johnson Dr. Barry Bodie & Ms. Laurel D. Johnson Ms. JoAnn Bristow

Abigail Chetta

Mr. & Mrs. Geoffrey Wilson

JulieAnne Bennet* Amanda Gentile* Christine Hallett-Penney* Nyamka Odsuren* Mariya Potapova

Mr. and Mrs. Ray Dunleavy

Kathleen Robinson*

Violin II Ashley Horvat, Principal Violin II

Mr. & Mrs. Stanley Baker Lib & Rick Orr

Bass Ian Bracchitta**, Principal

Mr. & Mrs. Jerry Cogan

Matthew Waid, Assistant Principal

Mr. & Mrs. Paul Lehner

Brian Gencarelli Jeff Stinson

Flute & Piccolo Caroline Ulrich

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

Trumpet Tyler Jones, Principal

Dr. Joella Utley

Kenneth Frick

Mr. & Mrs. Thomas P. Nederostek

Mr. & Mrs. Bob Ireland

Michele Tate Cockram**

Mr. & Mrs. John R. Murphy

Jeanette Schlimgen Christopher Griffin Darian Washington

Mr. and Mrs. Robert Troup

Rhea Jacobus, Principal

Ann Buttimer

Ms. Karen E. Bjelland

Bruce Cox

Mr. and Mrs. Roger Habisreutinger

Simone Beach

Mr. & Mrs. Donald Wildman

Trombone

Mr. & Mrs. Peter Ellis Weisman

Mark Britt, Principal

Mrs. Susan H. Baker

Rienette Davis

Jessica Sherer

Mr. and Mrs. V. C. McLeod, III Ms. Thelma A. Powell

Eric Henson

Mr. & Mrs. H. Peter Theiler

Theresa Jenkins-Russ

Oboe & English Horn

March Moody

Ginny Metzger, Principal

Tuba

Emily Wait

Kelly Vaneman, Associate Principal

John Holloway, Principal

Mr. and Mrs. Wiley North Mrs. Helen E. Dunleavy Dr. & Mrs. James Bradof

Viola Alvoy Bryan Jr., Principal

Endowed by friends and family in honor of Wallace Eppes Johnson

Arthur Ross*, Assistant Principal

Mr. James Cheek

Rachel & Ken Deems

Mr. Robert K. Bellinger

Mary AllyeB Purtle

Timpani

Clarinet Karen Hill, Principal

Audrey Harris* Amber Holden Katy Martin

Karen & Stephen Parrott

Emma Smoker Michael Weaver

Mr. & Mrs. John S. McBride

Patrick Lowery**, Principal

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

Dr. & Mrs. Louis Knoepp, Jr.

Harry Hill‚ Jr.

Mrs. Patricia Hudgens

Diana Maley Berti**

Mr. Peter Grzan

Mr. & Mrs. William Barnet III

Percussion

Bassoon

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

Frank Watson**, Principal

Del Burton

Rosalind Buda

Organ

Stephanie Lipka Rhyne

Brennan Szafron, Principal

Samantha & Clint Larkins Mrs. Hearon McCravy

Dr. Leslie W. Howard, Jr.

Mr. & Mrs. Lindsay Little

Harp Emily Waggoner, Principal

Mr. & Mrs. Ken Frick

*denotes substitute musicians playing two or more concerts in 2021-2022 **2021-2022 Orchestra Committee Member

31

Zimmerli Concert Series

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Carefree S AT U R D AY

March 5

2022

7:00 pm @ Twichell Auditorium, Zimmerli Performance Center

Overture to L’amant anonyme. . . . . . . . . . . . . . . . . . . Joseph Bologne, Chevalier de Saint-Geroges 8 min I. Allegro presto II. Andante III. Presto Violin Concerto no. 3 in G Major, K. 216 . . . . . . . . . . . . . . . W. A. Mozart 24 min I. Allegro II. Adagio III. Rondo: Allegro

Callie Brennan, violin

Intermission Symphony no. 2 in D Major, Op. 35. . . . . . . . . . . . . . . . . Louise Farrenc 35 min I. Andante – Allegro II. Andante III. Scherzo: Vivace IV. Andante – Allegro

Programs subject to change | All timings are approximate.

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Program Notes

Avid readers of HearHere (as if there could be any other kind!) will remember, in Fall of 2020, encountering the man with possibly the most fascinating life story in all of classical music, the Chevalier de St.-Georges. Just as St.-Georges’ music undoubtedly merits repeated performance, his story merits a full recapitulation.

TThe Chevalier was born Joseph Bologne on the French Caribbean island of Guadeloupe in 1745. His father, Georges Bologne, was a minor French nobleman and plantation owner there; his mother, Anne, was a young enslaved Black woman of Senegalese descent. Most children born in such circumstances were, of course, studiously ignored by their fathers; by contrast, young Joseph was packed away to boarding school in Paris at the age of seven, and two years later his both his parents followed him to Paris, where they set up house in a spacious apartment on the left bank. France’s “Black Laws” forbade his parents to marry and prevented Joseph from inheriting his father’s title, but the young man was raised as a gentleman and mastered the arts of swordsmanship and horsemanship.

Young Joseph gained his first fame as a fencer, moving King Louis XV in 1766 to bestow the title “Chevalier de SaintGeorges” on the young man. As his fame in Paris and the court at Versailles waxed, the young Chevalier pursued a very different career, appearing first as a violinist and then as an orchestra leader on the stages of Paris. In 1776 St.Georges was tapped to be the new music director of the Paris Opera, but three of the opera’s most celebrated leading ladies objected to Marie Antoinette that they could not possibly accept the direction of a mere “mulatto, and St.-Georges withdrew from the appointment.

St.-Georges remained active in Paris’ musical life even as he grew in stature as a public figure, supporting the causes of

slavery’s abolition and the upstart colonials in the War of American Independence.

In 1785 he commissioned and premiered Haydn’s “Paris” symphonies, only to see his career take a sudden turn when the politically vulnerable King Louis XVI dispatched him to London on a diplomatic mission that also, conveniently, removed the independent St.-Georges from France’s political scene. St.-Georges became both fencing tutor and a close friend of the Prince of Wales, but when the French Revolution finally came in 1789 St-Georges had been marginalized in London for so long that – ironically – his relative political moderation was unhelpful to the King, who shortly thereafter made his way to the guillotine.

When in 1790 Austria massed troops for an invasion of France, St.-Georges convinced the revolutionary government to allow him to recruit a regiment of Black soldiers. Under his command they fought heroically, but by 1794 the revolutionaries were turning on one another, and as part of Robespierre’s bloody Reign of Terror St.-Georges was sentenced to death. But Robespierre himself was led to the gallows before St. Georges could be executed; on gaining his freedom St.-Georges led a delegation to Haiti, in an unsuccessful attempt to mediate the bloody slave rebellion there, ultimately wound up back in Paris at the head of another orchestra in 1796, and finally died of bladder cancer in 1799. It’s unarguably the stuff of movies, and in fact Disney subsidiary Searchlight Pictures will release a biopic sometime in 2022.

Overture to L’amant anonyme Joseph Bologne Chevalier de SaintGeorges (1745-1799)

While we wait for the movie to come out (evidently it’s currently held up in production somehow), we have the music. St.-Georges’ music epitomizes the gentlemanly virtue of bonne grace.

Understated and deceptively simple, it piques the interest not with the emotionality of Mozart or the rhythmic gamesmanship of Haydn but with smaller, subtler virtues: a surprising melodic leap

Program Notes

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(Overture continued)

Violin Concerto No. 3 Wolfgang Amadeus Mozart (1756-1791)

here, an unexpected turn of phrase there.

L’amant anonyme, a comic opera with ballet, premiered in 1780; it’s the only one of his six operas which survives in its entirety. Its three-part, fast-slow-fast overture reflects the love triangle at the

center of its plot; its oscillation between major and minor mode reflects the story’s secret-admirer ambiguities. Here, as he did in all those duels, St.-Georges makes it look easy.

It has become almost a truism that a child prodigy’s life is a stressful and demanding one, but Mozart, probably the most prodigious prodigy of them all, had no such experience. Despite his extensive tours from city to city and country to country, despite his frequent performances for Europe’s most powerful nobility, despite his near-total lack of playmates his own age, Mozart’s childhood was, by all accounts, generally a happy one. For him, the trouble came later – but that’s a story for another program note.

to new heights of expressivity and formal inventiveness. He had spent many an hour in the Salzburg of his youth writing and performing serenades, the looselystructured, melodious instrumental pieces that served as background music for the Prince-Archbishop’s many outdoor soirées.

And on his travels he was never happier than backstage in the opera houses of Italy.

At least some small portion of his childhood contentment – and some large portion of his musical development – must be credited to the city that was his home. As oppressive and confining as Salzburg seemed to the adult Mozart, and as contentious as his relations with the Prince-Archbishop who employed him, they in many ways provided a perfect situation during the composer’s childhood. Salzburg was big enough and sophisticated enough to offer a variety of opportunities, yet small enough to be supportive and unthreatening. He performed on violin and viola as well as the keyboard instruments, and heard his music as soon as it was written (a privilege today’s young composers can only dream of). By the time he was 18, Mozart had written two dozen symphonies, concertos for several instruments, and choral and chamber works of all kinds.

So when, in 1775, Mozart turned his hand to the violin concerto, he was already mature enough both to sum up the recent advances of his compositional contemporaries and to push beyond them

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Both opera and serenade shape the third violin concerto, the one on tonight’s program. The first movement’s opening theme is nothing less than an extended quote of one of the arias in his own opera Il re pastore; the songlike secondmovement Adagio would have been equally at home played outdoors, in a serenade, or sung on the stage of an opera house, in an aria. (In the second movement Mozart instructs his oboists to swap that instrument for the softer sounds of the flute, a trick Salzburg’s oboists were often called on to do.) Even more serenade-y (to coin a word) is the piece’s finale, where lively but remarkably unrelated dance episodes sandwich another borrowed melody, this one by Dittersdorf (whom keen-eyed readers will surely recall from his appearance on a Spartanburg Philharmonic program last Spring!).

What all this adds up to a masterwork written by a 19-year-old. It already bears the ultimate mark of the mature composer’s genius: an effortless ability to extract what is useful from the music of his contemporaries and predecessors without ever being hemmed in by their conventions.

Program Notes

Callie Brennan

Concertmaster & Featured Soloist Callie Brennan hails from the sunny state of Maine, which is where she first held a violin at the tender age of four.

As an adolescent she studied with Ronald Lantz of the Portland String Quartet, and received regular coachings in chamber music from the PSQ. While pursuing her Bachelor’s degree at The University of Colorado, Callie studied with Lina Bahn and Harumi Rhodes. During this time she studied abroad in Sydney, Australia, studying with Ole Bohn at the Sydney Conservatorium. This travel prompted her to look abroad for postgraduate study, and led her to The Guildhall School of Music and Drama. In 2016 she moved to London, England, where she completed two Master’s Degrees in Music and Violin performance. During her time at Guildhall Callie studied with Stephanie Gonley and Ofer Falk, and had numerous opportunities to receive coachings from other internationally renowned musicians.

She performed twice under the baton of Sir Simon Rattle, playing alongside the London Symphony Orchestra, and

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also collaborated with the Australian Chamber Orchestra during their residency at Guildhall. Additionally, she has performed in Scotland, Spain, Italy, and France, in venues such as The Barbican. Royal Festival Hall, and the Sydney Opera House; more recently, Red Rocks Amphitheater and Boettcher Hall in Denver.

Callie currently resides in Denver, where she enjoys regular performance opportunities with the Colorado Symphony Orchestra, the Colorado Opera, and the Colorado Ballet.

She is also principal 2nd of the West Virginia Symphony Orchestra and principal 1st of the Fort Collins Symphony Orchestra, as well as Concertmaster of the Spartanburg Philharmonic.

When she’s not practicing or in rehearsal, she is most likely hiking, traveling, and eating alarming amounts of chocolate. Callie plays on a 2005 Christopher Edel violin, made in Boston, MA.

Program Notes

35

On September 25, 1875, readers of the New York Times opened their papers to find, in the “foreign notes” section, that “Mme. Jeanne Louise Farrenc, a musician and composer of considerable distinction… died at Paris yesterday, in her seventy-second year. She was born in Paris May 31, 1804, and gave early indication of rare musical talent… Her early promises of excellence in the musical profession were richly fulfilled… She frequently appeared at concerts, and in 1842 became the teacher of the piano at the Conservatory….” The obituary concluded with details of her publications and career – and then Farrenc disappeared from the pages of the ‘paper of record’ just as she largely did from the world’s stages for over a century.

Symphony no. 2 Louise Farrenc (1922-2018)

The music world’s neglect of Louise Farrenc’s music is surprising inasmuch as her music itself is, to our ears, absolutely first-rate, inspired and accomplished.

But it’s unsurprising inasmuch as the music world held a bias against female composers that was virulent, virtually unanimous – and, to 21st Century eyes, utterly inexplicable. The assumption that only a male mind could possibly be a composer went almost publicly unchallenged even by most women.

“A woman must not desire to compose - there has never yet been one able to do it. Should I expect to be the one?” asked Clara Schumann in her diary. And it was an open secret that some of the music published by Felix Mendelssohn was actually written by his sister, Fanny (to the point that, when Queen Victoria complimented Felix on her very favorite among “his” pieces, he was forced to confess abashedly that the piece in question had in fact been composed by his sister.

Which makes the success Farrenc did attain in her lifetime all the more remarkable. The only daughter of the Dumonts, a family luminous in Paris’ artistic and intellectual salons, Louise studied piano and composition with Anton Reicha, a friend of Beethoven’s who also taught Liszt and Berlioz, among others. In 1821 she married Aristide Farrenc, a flutist and music publisher, and for decades the two of them maintained a domestic life that at the time was almost unique: they shared interests and child-raising duties, and each supported the other in building successful careers in related fields (a marriage that, in 2021, sounds somewhere between “ideal” and “normal”). By 1842 she had reached such a level of eminence that the Paris Conservatoire, which had refused to consider her application as a student because of her sex, welcomed her to its faculty, and by 1850 she had even successfully demanded pay equal to that of her male counterparts.

The appearance of an English-language biography in 1980 stimulated some interest in Farrenc’s music among performers and scholars, and the conscious effort made by many musicians in recent years to look beyond the Usual Suspects when programming concerts has birthed a vigorous Farrenc revival. This symphony, the second of Farrenc’s three, was composed in 1845, and listeners will note parallels to the music Felix (and Fanny!) Mendelssohn were writing around the same time. Farrenc, like both Mendelssohns, has assimilated the influences of Mozart and Beethoven into a rich and powerfully Romantic musical language that is all her own. So it might have taken 150 years or so, but American audiences are finally getting to hear some pretty great music that is finally getting the attention it deserves.

Chris Vaneman

Contributing Author

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Program Notes

Kelly Corcoran

KellyCorcoran.net

Guest Conductor & Music Director Finalist 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.

She conducted the Nashville Symphony for nine seasons, both as Associate Conductor and Director of the Symphony Chorus, where she conducted the orchestra in hundreds of performances and was the primary conductor for the education and community engagement concerts. Corcoran founded the Nashville Philharmonic Orchestra fifteen years ago and continues to serve on the board.

Corcoran has appeared as a guest conductor with many major orchestras including The Cleveland Orchestra as well as the Atlanta, Colorado, Charleston, Charlotte, Dallas, Detroit, Houston, National, and Utah Symphonies. Abroad, Corcoran has conducted the Orquesta Sinfónica UNCuyo in Mendoza, Argentina, the Bournemouth (UK) Symphony, orchestras in Chile, Germany, Mexico and the Czech Republic and competed in the VIII Cadaqués Orchestra International Conducting Competition in Spain. Interested in many musical styles, Corcoran has worked with a range of artists such as Bela Fleck, Leslie Odom Jr, Brad Paisley, Amy Grant and Chris

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Botti, and has conducted the film scores to many movies including Psycho and Casablanca in concert. She also serves as a regular conductor with The Legend of Zelda: Symphony of the Goddesses tour and National Geographic: Symphony for our World.

Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory and her Master of Music in instrumental conducting from Indiana University. She made her professional conducting debut in 2004, conducting the National Symphony Orchestra where she studied with her primary mentor, Leonard Slatkin.

“Corcoran made a habit of producing dramatic buildups... This was just one way in which her lively conducting made for a fresh encounter with otherwise familiar repertoire.”

— Tyler Zimmer, The Tennessean

Program Notes

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Zimmerli Concert Series

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Epic S AT U R D AY

April 23

2022

7:00 pm @ Twichell Auditorium, Zimmerli Performance Center

Petite suite de concert, op. 77 . . . . . . . . . . . . . . Samuel Coleridge-Taylor 8 min I. Le caprice de Nannette IV. Le tarantelle frétillante Symphony no. 1 in D Major, “Titan” . . . . . . . . . . . . . . . . Gustav Mahler 53 min I. Langsam schleppend II. Kräftig bewegt III. Feierlich und gemessen IV. Stürmisch bewegt Programs subject to change | All timings are approximate.

Program Notes

Petite Suite Samuel ColeridgeTaylor (1875-1912)

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If – as is at least arguable – the Chevalier de St. Georges (page 33) has the most cinematic biography in all of classical music, then surely Samuel ColeridgeTaylor’s story is among its most novelistic.

Coleridge-Taylor was the son of Alice Martin, a suburban farrier’s daughter, and

Daniel Taylor, a Krio man from the West African nation of Sierra Leone who had been studying medicine in London. Daniel being unaware of Alice’s pregnancy when he returned to Africa, Alice, a free-spirited 19-year-old lover of literature, named her baby for the poet Samuel TaylorColeridge; young Coleridge, as he was

called, grew up in a working-class suburb with his mother, grandfather, and stepgrandmother.

The family recognized and supported the boy’s musical gifts, and by age 15 he was a scholarship student at the Royal College of Music, where he studied with the noted composer of Anglican church music Sir Charles Villiers Stanford. Though he numbered among his classmates and pals Holst and Vaughan Williams, ColeridgeTaylor stood out among them, and by 1898 Stanford had introduced him to Edward Elgar and Elgar’s influential friend, the critic and publisher August Jaeger (the “Nimrod” of the Enigma Variations).

The three men arranged for a highprofile performance of Coleridge-Taylor’s Hiawatha’s Wedding Feast, which set a portion of Longfellow’s poem inspired by the legendary founder of the Native American Iroquois nation.

This piece – a cantata by a Black Englishman setting a poem by a white American about a Native – was not just an unlikely success but an epochal hit: the printed score sold over 150,000 copies before the beginning of WW I, and the Feast, along with its two follow-up works setting other portions of Longfellow’s poem, became the focus of the Hiawatha Season, wherein for 10 days each summer 900 performers took over London’s Royal Albert Hall for massive, sold-out performances of Coleridge-Taylor’s trilogy.

In 1899, Coleridge-Taylor married an RCM classmate, Jessie Walmisley, and a year later she bore a son, christened Hiawatha; both Hiawatha and his younger sister, Avril, grew to be noted musicians themselves. In that same year ColeridgeTaylor was invited to be the youngest delegate in the first Pan-African Congress, which brought hundreds of Black intellectuals and leaders to London. There he befriended W.E.B. Dubois and P.L. Dunbar, among others, and developed

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an interest in the culture of the African diaspora. By this time he had developed a relationship with his father, whom Queen Victoria had in the meantime appointed Coroner for the Empire in the African province of Senegambia, and he began incorporating musical ideas from African, African-American, and Afro-British sources into his music.

Within the next decade three hugely successful American tours followed, Theodore Roosevelt inviting ColeridgeTaylor to the White House in 1904. Yet for all his success, Coleridge-Taylor was always obliged to work hard to support his young family; in an arrangement not uncommon to impecunious young composers, he had sold all rights to Hiawatha’s Wedding Feast to its publisher upon completing it. When the composer died of pneumonia in 1912, King George VI was sufficiently moved at the Coleridge-Taylor family’s plight to bestow a lifetime pension on them, and British composers and songwriters were inspired to form the Performing Rights Society, the group that guarantees royalty payments in Great Britain and now has 140,000 active members.

Samuel Coleridge-Taylor

While the Hiawatha pieces eventually faded in popularity, Coleridge-Taylor’s Petite Suite has never left the repertoire, especially in Britain. Originally written in 1911 for solo piano, its high-spirited, melodious music falls somewhere between that of Elgar and the operettas of Gilbert & Sullivan. Tonight’s performance features two of the Suite’s four movements, the first (“Nanette’s Caprice”) and last (“The Frisky Tarantella”). In 2022, 110 years after Taylor’s death and 83 years after the last Hiawatha Season in London, Coleridge-Taylor’s star is once again ascendant, and a new generation of audiences is coming to know the power and joy of his music.

Program Notes

39

“On what dark subsoil our life is built!”

Mahler once exclaimed in a letter to a friend. “Where do we come from?

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

Symphony no. 1 “Titan” Gustav Mahler (1860-1911)

To these questions Mahler sought answers both psychological and spiritual.

He consulted for treatment no less a personage than Sigmund Freud – who, unsurprisingly, told the composer that the roots of his angst lay in his early childhood. And he searched in religion, converting from the largelysecular Judaism in which he was raised to Catholicism, and finally drifting into an unorthodox, transdenominational Christianity. And he sought to work out the answers for himself in his nine monumental symphonies, every one of them shot through with its composer’s quest for spiritual and metaphysical truth.

Mahler’s training, and the better part of his fame during his life, was in conducting more than in composition. In less than two decades he worked his way from opera houses in provincial backwaters of the Austrian empire to the directorship of the Vienna State Opera – then the world’s most prestigious position for an opera conductor – and in 1898 added to his responsibilities command (such as it was) of the fractious Vienna Philharmonic.

In 1907, disenchanted with the continual squabbles and the anti-Semitism he was subject to in Vienna, he moved to New York, where he directed the New York Philharmonic and the Metropolitan Opera.

A heart attack, brought on by a longrunning bacterial infection, ended his life in 1911.

“My music is lived,” wrote Mahler in another letter. What attitude should those people take to it who do not themselves truly live, who feel no breath of the rushing gale of our great epoch?” Mahler’s conducting was famed for its obsessive attention to detail, and his compositions unquestionably show the same quality.

He composed painstakingly during his summer breaks from conducting, which he spent in the Austrian Alps. His symphonies employ (literally! Most orchestras that program Mahler do so knowing that their instrumentalists’ payroll that week will be the largest all season) vast numbers of players and in several cases add to them a chorus and vocal soloists, but he orchestrated with the delicacy and intimacy of a chamber musician.

The First Symphony was composed over the course of five summers, finally reaching completed form in 1888. Like most of his works it bore a program – that is, it told a specific story – and, like most of his works, that story was largely autobiographical. Its first and third movements call on music Mahler had written earlier for settings of German folk poetry, but those melodies, catchy thought they may be, are nowhere near the most familiar in the piece. That would surely be “Frère Jacques,” which is first stated by the double bass (in what is among the biggest bass solos in all orchestral music!) to begin the third movement and becomes the basis of a mordant, ironic funeral march. The piece’s soul (and, it’s safe to imagine, the composer’s soul) is most clearly revealed in its climactic finale, where Mahler takes the mysterious descending intervals that began the symphony and transforms them into a triumphant and joyous celebration of life.

Chris Vaneman

Contributing Author

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Program Notes

John Concklin

JohnConcklin.com

Guest Conductor & Music Director Finalist John Young Shik Concklin studied at Vanderbilt University, Yale University, and the Cleveland Institute of Music. In addition, Concklin has been a fellowship conductor at the Aspen Music Festival, a teaching assistant at the Brevard Music Center, and a finalist at the New World Symphony and Debut Orchestras.

Concklin has also served as conducting faculty at the Blair School of Music at Vanderbilt University, Furman University, Clemson University, and Converse College.

Previous positions include Associate Conductor of the Georgia Symphony, Assistant Conductor of the Cleveland Pops Orchestra, and Music Director of the Hendersonville Symphony Youth Orchestras. Concklin has appeared as an adjudicator at Oberlin Conservatory, Kent State University, the South Carolina Governor’s School, and numerous AllState Festivals. In addition, he continues his project from the Yale School of Music entitled “Music and Art,” through which students utilize music and art as catalysts for creative writing.

As a Conductor, Concklin has received praise for his clear beat, strong sense of rhythm, inviting gravitas, and innovative mind.

Concklin currently serves as Conductor with the Atlanta Music

Project and Piedmont Chamber Orchestra. For the 2021/22 season, he is a Music Director Finalist with the Hendersonville Symphony Orchestra and Aiken Symphony Orchestra and returns to the Spartanburg Philharmonic after an acclaimed debut in 2018.

A flexible musician, John has also performed as concertmaster of the Superbowl Halftime Show, was engaged to conduct the national anthem at the 2020 NCAA Men’s Basketball Championship (canceled due to COVID-19), and collaborated with Monica, the Grammy-winning artist. John is an active violist and together with his wife, Lauren Maxwell, co-founded Mozart for a Cause, an annual benefit concert that highlights chamber music.

“Concklin’s beat is clear, his sense of rhythm strong...Copland’s masterpiece emerged freshly scrubbed, as vital as ever.”

- Pierre Ruhe, ArtsATL.Com

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Above: members of the Search Committee during an all-day, marathon session of Zoom interviews with 11 potential finalists, discussions, and votes.

The Search for a New Music Director Kelly Vaneman “Hi Kelly—this is Karen Parrott. I’m on the board of the Spartanburg Philharmonic and am heading up the search for our new Music Director, and I’d love to talk to you about joining the search committee!”

to use by winnowing that number down to a workable amount. Though the committee had access to all the applications, we quickly focused in on the 46 that Henry green-lighted. And thus the “big lift” of the search process began—we each had to got to look through 46 files of letters, resumes, video clips, and websites and rank them before the first big meeting in late September, where we’d winnow the list down to 10-15 semifinalists.

I could not have been more pleased to receive that voice mail from Karen Parrott back in July. I actually really enjoy being on search committees—at their best, searches become broad learning opportunities—and the group that Karen outlined seemed perfect: four Philharmonic musicians, four board members, and two staff members, to be joined by Arts Consultant Henry Fogel. It’s a diverse group of folks from different backgrounds and skills and different musical experiences, but all share a love of music and the Spartanburg Philharmonic. We had our first meeting on Zoom in late August to get to know each other and lay out some procedures, and then we were off and running.

Music searches, in my experience, are usually more time-consuming than other sorts of searches, for the simple reason that music happens in time. You can figure out how to read through letters and resumes pretty quickly, but a video of the first movement of Brahms’ Symphony no. 1 is going to take as long as it takes—you can’t speed up the tempo. And each of those 46 applicants had sent us at least three different video links. Even if you don’t watch the entire Brahms symphony, that’s still about as many minutes of watching as the entire first season of Only Murders in the Building (but with less murder and more bassoons).

To make the time line even more challenging for me, my September is always chock-full of college freshmen,

Over the next couple of months, the Philharmonic office received over 150 applications! Kathryn Boucher proved to be a master Dropbox organizer, and Henry Fogel put his formidable musical management skills 42

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The Search Committee is made up of individuals representing the Orchestra, the Board of Directors, the Staff, and the community of Spartanburg.

Committee Members: (listed alphabetically) • Karen Parrott, Chair • Kathryn Boucher • Ian Bracchitta • Alvoy Bryan, Jr. • Ray Dunleavy • John Holloway • Peter B. Kay • Ohmar Land • Samantha Larkins • Helen Tipton • Kelly Vaneman • Henry Fogel, Consultant and I kept putting off watching all those videos until the week before our September meeting. Truth be told, I finally just put up a mental “Do Not Disturb” sign and spent about four days binge-watching conductors for hours and hours and hours.

of them had a story of how their current institution had dealt with the near-universal Covid-shutdown, and all of them were impressed with the growth of the Spartanburg Philharmonic offerings over the past several years.

I was amazed at how many opinions I suddenly had about the art of conducting.

Our dinner meeting to go through the list of 46 was really quite fun, and it highlighted the advantages of a diverse search committee. Everyone had gone through the same material, but different members of the committee noticed different things—this conductor’s orchestra seemed to be enjoying themselves, that conductor had really creative outreach ideas, another conductor was a really engaging speaker, and yet another conductor had thought-provoking programs.

By the end of the process, we’d found some real points of consensus: we had eleven candidates to interview via Zoom, in addition to the interviews we’d do with those candidates that are guest conductors for the current season.

After our Zooming (and a fair amount of chocolate) we narrowed our list down to the nine finalists that are conducting our orchestra both this and next season. But our work wasn’t done—oh no! Each of the finalists conducting next year was asked to send in three possible programs to conduct, and they were encouraged to think outside the standard repertoire with their programming. What interesting programs we received! The committee spent an evening going through the programs, selecting the ones they thought our audiences would enjoy the most, and making occasional substitutions. Special challenge: four of the five conductors included Stravinsky’s Firebird Suite on one of their programs, and, while Firebird is a beautifully exquisite piece, we didn’t think our audience would necessarily want to hear it four times in one season…

Less than two weeks later, we were back at it, meeting downtown for a full day of Zoom interviews. It was so exciting to actually “meet” those eleven semi-finalists and hear not only about their own experiences, but also their visions for how the Spartanburg Philharmonic might develop and move into the future. What I found especially interesting is that almost every one

So we have our finalists, and finishing touches are being put on next year’s programs, which will be just as varied and brilliant as the conductors themselves.

We’ve already had two of our finalists in to conduct the orchestra and interact with the Spartanburg community. It’s an exciting ride! I may, however, need some more chocolate to make it to the finish line.

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9Finalists

The

The Search for a new Music Director is on, and the field has been narrowed from over 150 applicants to our top 9 candidates. Learn more online and stay tuned for info about next season’s programs!

KAYOKO DAN

September 18, 2021

Chattanooga Symphony & Opera

Music Director and Conductor

2011 – present

Sam Houston State University

Director of Orchestral Activities, Assistant Professor of Music

2021 – present

Central Kentucky Youth Orchestras

2009 – 2011

The Phoenix Symphony

Assistant Conductor

2005 – 2008

Phoenix Youth Symphony

Assistant Conductor

2005 – 2006

GENEVIÈVE LECLAIR

December 10-12, 2021

Parkway Concert Orchestra

Music Director

2013 – 2019

Boston Ballet

Assistant Conductor Cover Conductor

2010 – 2016 2009 – 2010

National Academy Orchestra of Canada

Apprentice Conductor

2009 – 2010

KELLY CORCORAN

March 5, 2022

Lexington Philharmonic

Interim Artistic Advisor and Conductor

2021 – present

Legend of Zelda Symphonic Tour

Guest Conductor

2015 – 2019

Amy Grant Symphonic Shows

Guest Conductor

2013 – 2018

Nashville Symphony

Assistant Conductor Associate Conductor Choral Director

2007 – 2010 2010 – 2013 2012 – 2016

JOHN SHIK YOUNG CONCKLIN

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April 23, 2022

Hendersonville Symphony Orchestra

Interim Conductor Music Director Finalist 21/22 Season

Aiken Symphony Orchestra

Music Director Finalist 21/22 Season

Atlanta Music Project

Conductor

2021 – present

Mozart for a Cause

Co-Founder

2018 – present

Furman University

Visiting Faculty-Conductor

Fall 2019

Vanderbilt University

Associate Professor of Conducting

2018 – 2019

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2019 – 2020

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ANTOINE T. CLARK

September 24, 2022

Wheeling Symphony Orchestra

Assistant Conductor

2021 – present

Chicago Sinfonietta

Assistant Conductor

2020 – 2021

Ohio Wesleyan University Chamber Orchestra

Music Director

2019 – present

Philharmonia Orchestra Northern Ohio Youth Orchestras

Music Director

2019 – present

Gateways Music Festival Eastman School of Music

Assistant Conductor

2017 – present

McConnell Arts Center Chamber Orchestra

Artistic and Music Director

2013 – present

TROY QUINN

November 5, 2022

Rhode Island Philharmonic

Pops Conductor

2021 – present

The Venice Symphony

Music Director

2018 – present

Owensboro Symphony Orchestra

Music Director

2017 – present

Juneau Symphony

Music Director

2015 – 2018

NADÈGE FOOFAT

February 11, 2023

Hamburg State Opera and Symphony Orchestra

Assistant Conductor

2017 – 2018

Esopus Chamber Orchestra

Founder and Music Director

2009 – 2014

Orchestre de Chambre de Paris

Assistant/Cover Conductor

Jan. 2014

LEE MILLS

March 25, 2023

Seattle Symphony

Associate Conductor

2019 – present

Orquestra Sinfônica Brasileira

Resident Conductor

2014 – 2019

Towson University Symphony Orchestra

Music Director

2011 – 2014

Baltimore Symphony Orchestra

Peabody Conducting Fellow

2011 – 2012

Peabody Concert Orchestra & Peabody Choruses

Conducting Assistant

2009 – 2011

JACOB JOYCE

April 22, 2023

Indianapolis Symphony Orchestra

Resident Conductor Associate Conductor

2021 – present 2018 – 2021

Fort Worth Symphony Orchestra

Conducting Fellow

2017 – 2018

Handel and Haydn Society

Cover Conductor

2015 – 2017

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Left: Henry Fogel (photo by Layne Dixon); Right: Henry with his extensive record collection circa 1963 (photo by Steffan Aletti)

Beyond Music Appreciation Classical Music Is Henry Fogel’s Life Work

Courtney Oliver

Market & Special Events Manager

In the orchestra world, the name Henry Fogel is well known and carries a lot of weight. His current titles include Director of Performing Arts Administration and Dean Emeritus of the Chicago College of Performing Arts at Roosevelt University, as well as a leading arts executive and consultant. His bio includes President and Executive Director positions at the League of American Orchestras and the Chicago Symphony Orchestra, and he has led numerous high-profile boards. He has lent his experience and connections to multiple orchestras and arts organizations. That list now includes the Spartanburg Philharmonic. His prominence and expertise may be evident, but his pure love of classical music and the arts drives his decades-long commitment to the industry.

for 26 different orchestras across the US and Canada, raising millions of dollars along the way.

While continued his involvement with radio throughout his career, Henry Fogel and his friends sold WONO in 1978, after which Fogel turned his eyes and passion firmly to the symphony world. His first position was as the orchestra manager of the New York Philharmonic.

From there, he moved to the Chicago Symphony, where he held the position of Executive Director, then President and CEO from 1985-2003. From there on to the American Symphony Orchestra League, now the League of American Orchestras.

Henry Fogel is quoted by the Chicago Tribune saying, “I’ve been fortunate to make a living in something that’s a hobby and a passion.” Spending his career in music administration has allowed him “to work in the field of music without having to be good enough to perform in it. It combines [his] love and knowledge of music with the process of management, leading people, directing people”.

Henry studied music history and piano at Syracuse University. In 1963, he and fellow students took over a failing FM radio station and turned it into a fulltime classical music station - WONO. For 15 years, Fogel and his friends ran the station, with Fogel doing much of the programming himself. Along the way, he pioneered the idea of a charity “radiothon” benefiting an orchestra and in 1968 raised $8,000 for the Syracuse Symphony. Throughout the 1970s and 1980s, Fogel continued to help produce similar programs

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next Music Director. “For an organization like the Spartanburg Philharmonic, the Music Director plays such an integral and pivotal role,” says Board President, Chip McLeod. “In thinking strategically about the future of the orchestra, we knew that having the additional expertise of someone like Henry Fogel would be crucial. His guidance and leadership will help us continue to build a strong legacy in our community.”

Having served in the orchestra world for so long, he is familiar with most of the applicants and readily able to assist the Search Committee in determining which candidates would best fit the organization. “What Henry Fogel has brought to our Music Director Search at Spartanburg Philharmonic is a depth of knowledge that is unparalleled in the classical music world,” shares Committee Chair and Board of Directors President-elect, Karen Parrott. “With top-tier orchestra experience, Henry deeply appreciates the integral role that local orchestras play in their communities and the impact it makes in the lives of our citizens. In that spirit, he has assisted us in identifying the diverse spectrum of both seasoned candidates as well as emerging talents that are capable of inspiring, attracting, and educating audiences, musicians, and students up to our 100th Season and beyond. We could not be more grateful for Henry’s vast expertise and endearing presence in our Music Director Search.”

The search for the next Spartanburg Philharmonic Music Director will continue into the 2022/23 Season, with five more candidates taking the podium. Henry Fogel will continue to provide valuable insight and guidance to the Search Committee as they evaluate each candidate. Executive Director, Kathryn Boucher echos the sentiments of McLeod and Parrott, adding, “Henry has challenged us to think even more critically and strategically about the search. His expertise, knowledge, and deep love for classical music have also inspired a renewed excitement for the orchestra’s future in the entire Search Committee and staff. We look forward to announcing our 2022/23 Season schedule and concert programs in March.”

Want to know how deep Henry Fogel’s appreciation for classical music runs? His impressive record collection is the stuff of legend. In the 1980s, his son Karl began a database cataloging the collection and is updated as Henry continues to add to his library. While the recordings themselves are not available, the database provides a wealth of knowledge for even the most casual classical music enthusiast. Check it out for yourself at www.henrysrecords.org.

Calendrier Moonphase

864-582-3028 TUE-FRI 9:00 TO 6:00 HILLCREST SPECIALITY ROW | 1040 FERNWOOD GLENDALE RD, SUITE 48 | SPARTANBURG

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

Rob Ickes & Trey Hensley Saturday

Feb 5, 2022 8:00 PM @ Chapman Cultural Center Take a 15-time IBMA (International Bluegrass Music Association) Dobro Player of the Year and a Tennessee-born guitar prodigy who made his Grand Ole Opry debut at the age of 11, and you have Rob Ickes and Trey Hensley. A full-on, powerhouse acoustic duo that has electrified the bluegrass music scene. This duo is known for their white-hot picking, killer vocals, and world-class performances, all of which promise to light up the Bluegrass Spartanburg stage.

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Bluegrass Spartanburg presents both international and local award-winning bluegrass bands in its four-show series. In 2015, a small group of bluegrass fans living in Spartanburg partnered with the Chapman Cultural Center to bring world-class bands to our hometown. The pilot season was such a success that they sought to expand with the help, experience, and leadership of the Spartanburg Philharmonic.

In the fall of 2017, in partnership with the Philharmonic, the series relaunched as“Bluegrass Spartanburg” and has seen enormous success ever since.

Bluegrass Spartanburg hopes to continually offer its fans the opportunity to enjoy outstanding bluegrass music in the Upstate.

Darin & Brooke Aldridge Thursday

Apr 28, 2022 8:00 PM @ Chapman Cultural Center Husband and wife Darin and Brooke Aldridge are the darlings of the acoustic music scene. Both are highly acclaimed vocalists in their own right, with Brooke being the 4-time reigning IBMA Female Vocalist of the Year. This sweetheart duo combines rich harmonies with impeccable musicianship, creating an unmistakable sound that has made them one of the hottest acts around. Throw in an equally fantastic band of pickers, and you’ve got one can’t miss concert.

for more information or to purchase tickets, visit us online

Tick

ets

SpartanburgPhilharmonic.org/Bluegrass

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Twichell Auditorium: Rhonda Vincent & The Rage in April 2021 (top left) and Sam Bush Band (top right) in October 2021 Piedmont Interstate Fairgrounds: Sierra Hull & Justin Moses in October 2020 (bottom left) and Fireside Collective in December 2020 (bottom right)

Bluegrass in the Burg How It Started and How It’s Going

Bluegrass Spartanburg was started by a bunch of Bluegrass fans who just wanted to share the best of their favorite music with their community. Now six seasons later, that’s still what drives much of what we do. Fans sharing music with other fans in the most meaningful way possible - live.

At the height of the pandemic, this meant postponing a few shows, moving to a few new venues, wearing masks, and practicing social distancing. We are immensely proud that we never canceled a single concert - giving Bluegrass artists a place to perform when opportunity was scarce. Through it all, we are beyond grateful to our friends, fellow fans, and all who 50

have supported us this last year and a half. On behalf of the Bluegrass Spartanburg Committee: thank you.

This spring, we look forward to returning to the Chapman Cultural Center - where the series began.

We finish out our 2021/22 Season with Rob Ickes & Trey Hensley, followed by Darin & Brooke Aldridge - two stellar duos we know will absolutely shine on the Chapman stage. Experiencing these incredible instrumentalists and vocalists, live and up close in a comfortable, acoustically warm performance space is what sets Bluegrass Spartanburg apart. We can’t wait to have fun sharing our favorite music with you.

proud sponsor of the

Spartanburg Philharmonic 2021-2022

Top left: bowed sheet music; Bottom Left: Music Librarian Bob Borden preparing parts; Right: backstage Bob and Brenda Leonard (former Music Librarian and Principal Cello)

The Art of Music Librarianship Preparing Sheet Music For Performance Throughout our 93 years as an orchestra, the Spartanburg Philharmonic has amassed quite a music library. Our current Music Librarian Bob Borden keeps the collection organized and in good repair. However, this is only one aspect of the job. The librarian is also in charge of all the music passing through our musicians’ hands. Depending on the size of the orchestra for a given performance, this can be quite a feat. Unlike the conductor, who gets the full score for any music to be performed, each musician only sees their individual part. It often makes for a flurry of sheet music - one that Bob deftly manages well in advance of each concert.

Making sure each musician receives their music is only one part of a Music Librarian’s job, though. The work begins with acquiring the scores and parts if the piece is not already a part of the Philharmonic library, which means researching sources. Occasionally a piece in the public domain can be found online - many out of print scores and parts can be downloaded from the International Music Score Library Project (IMSLP) database - but frequently it must be purchased or rented from a publisher. Before finding the music, though, librarians work closely with the Music Director 52

“Orchestra Librarian is kind of an invisible job, but it’s quite detailed. Of course, some concerts were easy - an overture, concerto, and a symphony to rent, borrow, or buy and you’re all set. Get bowings from the concertmaster and the principal players, put them in the parts, and send out the music to the players.

On the other hand, if it’s concert with a lot of short pieces, it can be challenging to track them all down from various sources. I was librarian during Maestro Ioannides’s tenure and we did a lot of premieres. So, I was sometimes working with composers or publishers where the music wasn’t even finished yet!

Occasionally, Maestro wanted a piece that she had heard another orchestra play but wasn’t sure of the publisher. That could take some sleuthing to locate! On one memorable occasion, I ended up calling the principal librarian of the New York Philharmonic

and other artistic staff to determine which version, edition, or arrangement will be used. For example, for the Nutcracker - which we performed with Ballet Spartanburg this past December - there are dozens of versions of Tchaikovsky’s famous ballet. What you heard was the Golan Reduction, a version arranged for a smaller, pit-sized orchestra that stays true to the composer’s vision for the music.

trying to track down their arrangement of a pops tune! He was very nice — really, in my experience, most orchestra librarians are nice.

It’s a very small community and people try to help each other.”

Brenda Leonard

Former Music Librarian

for the Spartanburg Philharmonic

Once the score is received, Bob can begin preparing the part for each musician. However, this is rarely a simple job as the sheet music is seldom ready for use “as is.” Being a music librarian is more than passing out and collecting folders. They also play a vital role in ensuring each rehearsal and performance’s seamless, smooth flow. This means adjusting the sheet music to accommodate each musician or soloist’s needs.

Preparing the music often includes fixing ill-timed page turns, clarifying illegible notations (sometimes original from the composer), adjusting tempos, or even the entire key. Each part for strings also must be marked with bowings. Principal musicians (leader of an instrument section) decide the bowings for each instrument and are the first to receive the string parts from the librarian. From there, the principals make marks to indicate when the bow is to be moved up or down across the strings. Writing in bowings also helps ensure that a string section moves in unison. After receiving the marked parts from the principals, the music librarian hand copies the markings into the the rest of the string sections’ parts.

Typically a single orchestra concert features at least 4-5 pieces for a 90-minute program. However, more music is required when the pieces are shorter, which means much more preparation for the music librarian.

For our Magical concert featuring the music of John Williams, there were 14. That’s a lot of sheet music!

Because so much is involved in preparing the music for a single concert, Bob begins his work just as soon as the programs are decided. So this March, when we officially announce our 2022/23 Season - Bob will have already started sourcing the sheet music for each piece featured in the concerts.

On a final note, historically, both for the Spartanburg Philharmonic and similarly sized orchestras, the Music Librarian is frequently also an ensemble member.

Interestingly, string players have also primarily held the position, already familiar with marking bowings.

Up until Bob Borden, this was also true for the Philharmonic. We have been fortunate to have several incredible Music Librarians over the organization’s history — each one playing a vital role in making performances happen for each of you to enjoy.

“My career with the Spartanburg Philharmonic began as a violin apprentice in the orchestra when I was a senior at Converse University.

Through my work as an apprentice in the orchestra I got to know the conductor at the time, Sarah Ioannides. Sarah approached me in the spring of 2010 and asked if I would be interested in working as the Music Librarian for the Orchestra. Sarah and I met at her house one afternoon and she explained to me the importance of this role in the orchestra. I began working immediately knowing that this position needed to be filled mid-season.

My first concert as a librarian, I decided not to perform in the concert. I remember sneaking up to the balcony in Twichell Auditorium watching the Orchestra perform a Mozart Symphony. It’s interesting to think that one person, the music librarian, is behind every piece of music on each stand on the stage. Each piece is carefully marked with bowings, measure numbers, cuts, etc. Then each musician receives a special envelope including the music for the concert.

This happens weeks to months in advance of the concert.

The amount of planning and execution behind the scenes often goes unnoticed and the librarian is rarely in the spotlight. Always working to make sure each musician has the correct parts and if an emergency arises, such as an impossible page turn, the librarian is there to save the day. I am always reminded of this important role in the symphony when my music arrives for the concert.”

Michele Tate Cockram

Former Music Librarian

for the Spartanburg Philharmonic

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Left to Right: Bob performing at the One Spartanburg Launch; conducting in the pit at Wofford College; backstage at Twichell during rehearsal; performing with the SPYO

Spotlight: Bob Borden Performer, Educator, Music Maker

You may have seen him playing the bass or keyboards on stage or spotted him at a donor event. You may have also watched him on the podium for a performance you enjoyed. And if you were to wander backstage at a Philharmonic concert, you would find him waiting to assist with one of the many unseen tasks that happen behind the scenes. Mr. Bob Borden is by all accounts a renaissance man. Musician, educator, music librarian, administrator. His quiet exterior hides a deep appreciation for performance and classical music and dedication to making it all happen.

While a Tuba major at the University of Kentucky, he also studied Music Education and took double bass lessons throughout. He then earned his Master’s from Miami University in Ohio. And for thirty-seven years, Bob taught strings students not just to play instruments but also to develop an appreciation of music.

Throughout his career, his dedication to music education also led him to act as a sectional coach for various schools, youth orchestras, and orchestra events and contests. Bob retired to Spartanburg in 2015 to be closer to family, and he regularly subs at District Five, Six, and Seven schools - continuing to educate students as he has his entire career.

As a bass player, Bob was also a member of several orchestras throughout his career. His longest tenure of 35 years was with the Hamilton-Fairfield Symphony Orchestra in Ohio while also acting as the music librarian for 16 years. Classical is not the only type of music Bob performs and has played both bass and keyboard for over 50 musicals, conducting another 28.

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Officially, Bob is the part-time Music Librarian for the Spartanburg Philharmonic, but his service to the community does not end there. Along with Mrs. Helen Tipton, he donates time each week to act as Co-Manager for the Spartanburg Philharmonic Youth Orchestra (SPYO). In addition, he prepares all of the music for the entire four-week Masterworks Festival at Converse University each year.

Most Sunday afternoons, Bob can be found in Blackman Music Building at Converse University, welcoming SPYO students and assisting with rehearsals. As a bass player by training, Bob frequently works closely with the bass students in both the Senior and Junior ensembles - leading sectional rehearsals at least once per concert cycle. As Co-Manager, Bob also provides valuable administrative support to the SPYO Team and lending his skills as a Music Librarian.

While he may not regularly perform as a musician nor spend every day in a classroom, Bob Borden’s retirement is still filled with the work of making music. As Music Librarian, he is an integral part of the Spartanburg Philharmonic team. His experience as a performing musician is a vital part of his job, as he understands firsthand how ill-prepared sheet music can cause problems in rehearsals and concerts. And while most of Bob’s work takes place behind the scenes, it is crucial, detailed work that contributes to the production of the exceptional concerts you experience each time you join the Spartanburg Philharmonic audience.

free admission. small museum. big art. .org/membership

image: Sunflower, Cheryl Prisco

George “Buck” Brandt, III SERVING SPARTANBURG SINCE 1974

Attorneys At Law

Office (864) 583-5144 FAX (864) 582-2927 Cell (864) 497-0447 360 East Henry Street . Spartanburg, SC 29302

gbrandt@hbvlaw.com

SPYO Concert Series

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February 6

2022

3:00 pm @ Twichell Auditorium, Zimmerli Performance Center

senior

Junior

Themes from “Scheherazade”. . . . Risksy-Korsakov arr. Richard Meyer

Lullaby to the Moon. . . . . . . . . Brian Balmages

Variations Symphoniques. . . . . . . . . Leon Boellman

Divya Srijay, cello

She will Hang the Night With Stars. . . . . . . . . . . . William Hofeldt

Nessun Dorma. . . . . . . . . . . . . . . . . . . . . . G. Puccini arr. Jordan Grigg The Barber of Seville. . . . . . . . . . . . . . . . . G. Rossini arr. Merle Isaac

Across the Wind. . . . . . . . . . . . . . . Doug Spata

Programs subject to change | All timings are approximate.

Divya Srijay, cello

Divya Srijay is a junior at Dorman High School and the USC Upstate Scholars Academy. She began learning the cello in 5th grade and started studying privately under Kathleen Foster in 9th grade. With her teacher’s guidance, she was the principal cellist in the 2020 9-10 All State Orchestra and has also participated in the Region I Orchestra since 7th grade.

Divya is also a member of the Dorman High School Symphony, the Piedmont Chamber Orchestra, and the Spartanburg Youth Orchestra. She hopes to double major in biopsychology and cello performance in college.

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now feeling

Accomplished S U N D AY

April 24

2022

3:00 pm @ Twichell Auditorium, Zimmerli Performance Center

senior

Junior

Ballet Parisien . . . . . . . . . . . . . . Jacques Offenbach arr. Merle Isaac

Granny, Does Your Dog Bite?. . . . . . Traditional arr. Gary Gackstatter

Concerto for Horn in E-flat . . . . . . . . W. A. Mozart I. Allegro Moderato

Ashoken Farewell. . . . . . . . . . . . . . . . Jay Ungar arr. Calvin Custer

Shelby Arnold, horn An American in Paris . . . . . . . George Gershwin arr. John Whitney

Bluegrass Country . . . . . . . . . . . Carold Numez Git’er Done. . . . . . . . . . . . . . . . . . . Larry Moore

Programs subject to change | All timings are approximate.

Shelby Arnold, horn

Shelby Arnold is a senior at Spartanburg High School. She began playing the horn in the 5th grade. She currently studies private horn with Darian Washington, Spartanburg Philharmonic member and horn professor at North Greenville University. After high school, Shelby plans to pursue a degree in music education.

SpartanburgYouthOrchestra.org

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What is a Concerto?

Ah, the Concerto! You see one on nearly every classical masterworks program. In fact, it is one of the highlights of our Carefree concert on March 5, 2022 (page 32).

But, what exactly does the word tell you about the music you’ll hear?

First, a little history; originally, the Italian word simply meant “concert”: the act of doing something together; or musically speaking: the act of playing as a group.

Early composers used “Concerto” as a name for all their pieces. Over the long history of western music, this term evolved to describe a specific type of piece.

Today, the word applies to a music composition for a solo instrument accompanied by an orchestra.

If you read our blog online (see link below), you might be a bit familiar with what a “Symphony” is as a composition. (Spoiler alert: it’s a long, large orchestral piece, generally with three, four, or even five movements). Similarly, the most-performed type of concerto is three movements or sections. It stands out from a symphony because it always features a part for a soloist. A concerto is also a musical study in contrast. Popularized in the Baroque era and refined

by Mozart, Haydn, and Classical period composers, the concerto is essentially a conversation between soloist and orchestra in three movements. Different textures, themes, and emotions are explored, and in a way, it’s much like a good play or movie plot.

Act 1: First Movement (I. Allegro) The longest, most complex of all the parts and establishes two melodies that develop throughout the movement. Like any good drama, the first movement introduces the characters, exposes the conflict, and sets up the entire story. You know you’re nearing Act 2 when the soloist reaches the “cadenza” (read: soliloquy) - an extended solo performed without the orchestra. It’s the hero’s time to shine.

Act 2: Second Movement (II. Adagio) The second movement is where the romance happens - lush, lyrical, and frequently swoon-worthy.

The characters in our story become even more real, and it’s our soloist’s/hero’s opportunity to show their true potential. Under the pressure of the passage’s complexity, their skill and grace can be utterly beautiful and inspiring to all.

Act 3: Second Movement (III. Allegro) The third movement is the action sequence - it’s fast, loud, and an emotional high. Plus, it wouldn’t be a proper finale if the hero didn’t get one more moment in the solo spotlight.

Concertos are typically very technically challenging and require extra expression. For this reason, most

“My teacher, Ms. Foster, introduced me to this piece. She fell in love with it after she played it with a soloist in her youth orchestra. The piece and this composer aren’t very well known, so I wanted to share it with our orchestra, especially since being exposed to new music is one of my favorite parts of SPYO.” Divya Srijay

2022 SPYO Concerto Competition Winner

“One of my best friends was a finalist last year, and he encouraged me to audition. I wanted to challenge myself to be the best musician I can be.

So, I picked Mozart’s 4th Horn Concerto, movement 1, because I felt that it challenged me as a musician, and it would make me stand out. Plus, I love the timbre of the piece.”

Shelby Arnold

2022 SPYO Concerto Competition Winner

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SpartanburgPhilharmonic.org/guide

musicians’ repertoires are packed with concertos as they allow them to show off their superb skills. Soloists also get the prime spot on the stage. Front and center to be seen and heard most clearly - and near the podium so the conductor and soloist can be in direct communication and the conductor can lead the accompanying orchestra based on the soloist’s cues.

Sometimes, as with our 2021 Glorious Fanfare concert, principal or lead, orchestra members will perform the solo. This March 2022, we look forward to welcoming our superbly talented Concertmaster, Callie Brennan,

back to the spotlight playing Mozart’s Violin Concerto No 3. It is a piece she is exceptionally familiar with, as her mesmerizing audition performance is what won her the Concertmaster position.

Concertos allow the Philharmonic to present a worldclass musician in Spartanburg. We’ve been fortunate to welcome performers such as: clarinetist Anthony McGill; guitarist Pepe Romero; trumpet player Jens Lindemann; percussionist Dame Evelyn Glennie, and many more throughout our 90+ year history.

“Leading up to the competition, I consistently listened to professionals play the Haydn solo. Using a metronome, I was easily able to identify the tempo at which I can play it at with very few to little mistakes. I heavily focused on note accuracy, then applied dynamics and expression, practiced memorization, and finally constructed my own cadenza. I finished this process at about a week before auditions took place. In my head, I imaged the audition to be maybe just one or two people judging, however I think there were five judges, so I did grow a bit nervous! Having a live pianist assigned to me helped a lot as well. I was able to stay on tempo and set that boundary to help ensure my chances at success. I utilized the rests to breathe so that the stress and tension wouldn’t continue to build up. After the audition, I received great commentary from all of the judges that I later applied to my performance.

Because we practiced this in almost every single rehearsal, there were no nerves aching during my performance!

The atmosphere of parents and staff motivated me to play to my full potential, and for that I’ll always be grateful! I throughly enjoyed not only the performance, but the season as a whole!

Marqual Littlejohn

2021 SPYO Concerto Competition Winner

“Even though many years have passed, I still remember getting to perform with the Spartanburg Philharmonic as the Concerto Competition winner. The week of the performance we had bad winter weather that threatened to cancel a rehearsal or two. That uncertainty added to the excitement of the concert week!

The concert experience itself was so thrilling that the first couple of minutes of the concerto went by in the blink of an eye. A Concerto is a dialogue between the solo instrument and the orchestra and our conversation got off to a rocket start! I was so appreciative of the Spartanburg Philharmonic to allow me that awesome music making opportunity as a youth soloist.

Benjamin Smith

1996 Concerto Competition Winner & Cellist in the Spartanburg Philharmonic

SpartanburgPhilharmonic.org/guide

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

The Spartanburg Music Trail honors musicians from Spartanburg who have made a national or international impact in the world of music. The stops highlight artists

in such genres as country, gospel, soul, rock ‘n’ roll and more. Ultimately the trail will circle the downtown as new inductees are added.

As publisher of the book Hub City Music Makers: One Southern Town’s Popular Music Legacy, the nonprofit Hub City Writers Project took the lead in organizing the Spartanburg Music Trail. The initial honorees were chosen because they represent a wide variety of music styles, a broad demographic of our county, and almost 200 years of music-making history. The Spartanburg Convention & Visitors Bureau has partnered with Hub City Writers Project, the City of Spartanburg, and the Spartanburg Philharmonic to produce the tour.

SpartanburgMusicTrail.com

presented by Spartanburg Philharmonic

Celebrating 25 years of Music Sandwiched In, the Spartanburg Philharmonic is proud to present an exciting line up of performers for its popular series at the Spartanburg Downtown Public Library Headquarters. Lunch is available for purchase, or you can bring your own. MSI is held every other Wednesday throughout our season.

Concerts are FREE and Open to the Public. All are welcome!

Please visit us online for the most current schedule, list of performers, and updates regarding the Library’s COVID-19 policies and restrictions:

SpartanburgPhilharmonic.org/MSI

WEDNESDAYS 12:15 - 1:00 pm

151 South Church St

Barrett Room

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Link Up: Annual Youth Concert Since 2011, every 4th grade student attending Spartanburg County Schools has been given the opportunity to join the Spartanburg Philharmonic in the highly engaging, participatory program Link Up. In an effort to reach as many young people as possible, the Philharmonic offers the Link Up program at no cost to the students.

For many students and their families, Link Up provides their first exposure to live classical music performance, providing an experience that influences these young minds and thus the community, for a lifetime. The Philharmonic’s Link Up program is the ultimate educational opportunity for music teachers, students and their families. For the orchestra, this provides important collaboration and partnership with schools, students, teachers and community fulfilling a fundamental component of our mission.

Link Up is a music education program created by Carnegie Hall’s Weill Music Institute to unite the classroom with the concert hall, giving students the opportunity to explore music through a yearlong curriculum of classroom activities and a culminating concert in which students perform with a professional orchestra.

F O U N D A T I O N 62

Through the 2021-2022 season’s curriculum, The Orchestra Sings, students will explore orchestral repertoire through a hands-on music curriculum. The yearlong program of skills-based and creative work in the classroom will culminate in a lively interactive concert at Twichell Auditorium at Converse College, giving students the chance to demonstrate what they have learned by singing and playing recorder or singing with the Spartanburg Philharmonic from their seats in the audience. Guided by guest conductor Kelly Corcoran the hour long program of music making and “listening challenges” will also incorporate lighting and visual effects.

— To make a contribution to support Link Up and for more information about the Spartanburg Philharmonic’s education initiatives please visit our website: spartanburgphilharmonic.org or contact Kathryn Boucher: kboucher@spartanarts.org

The J M Smith Foundation is generously supporting the 2022 Link Up concerts.

These funds allow the Spartanburg Philharmonic and the Schools to move forward with confidence in the early planning and implementation of the classroom program.

A Teacher’s view Dr. Sharon T. Doyle

Woodland Heights Elementary School

A parent of a second grader recently stopped me in the hall and relayed an interesting story to me about her son’s musical education. It went something like this – She and her husband had bought tickets to a rock concert and simply told her two boys they would have a sitter on Friday night because they were attending a concert. Her son in turn inquired, “Orchestra or opera?” When she mentioned it was a rock concert, he replied, “Oh.” Her comment to me was that she was amazed and a little proud (I think) that in second grade, her son’s musical experience had led him to ask about more classical concerts as the concerts his parents of course should be attending.

This story reminds me of the strong influence that opportunities to hear and experience live music in all forms opens a world of possibilities to our children.

The fact is that students in elementary school are as accepting of traditional classical music, as they are hip-hop and R&B. The distinction that must be made is that we take for granted that they know about all types equally. To many of my fourth grade students, attending the Link Up performance is their first live orchestra experience and for some their first live concert of any type. The students are mesmerized by the entire experience: the concert hall, the musicians, the screen, the conductor, and even the trip across town to an area some have never ventured. Too often, those of us living in a musical world are unaware that without these opportunities, too many never get this experience. Since being involved in the program, more of my students are continuing in music at the middle school level. We have an increase of students joining band and strings in fifth grade and more are continuing with their studies into the middle school.

My students work on parts of the program throughout the year learning about the music, composers, instruments, and becoming performers as partners with

Sharon Doyle leading the students during the February 2016 Link Up concert at Twichell Auditorium.

the orchestra. Excitement leads up to the day of the concert and upon returning back to school, students add Beethoven to their rock star list. On the last day of school, one student shared, that he only wished he could know more about Mozart before the year was over. While other teachers were packing boxes and taking out trash, our last day was spent doing one more internet search and listening to one last piece written by their new favorite composer. Music touches our students in very real and lasting ways and gives students a new conversation with parents and adults outside of school. The Link Up program provides the catalyst for continued study and allows students to realize that there is no substitute for the live performance.

“Due to exposure by programs like Link Up, District 7 numbers continue to grow in terms of students joining orchestra and band. This is wonderful for D7 because students involved in orchestra and band have higher SAT scores than students who are not in arts education.”

Dr. Terry Pruitt

Chief Academic Officer Spartanburg County School District 7 63

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2022 – 2023

Subscribe 2022-2023 Season Coming to you in March 2022: your chance to renew your subscription for the 2022-2023 season.

Perks of a Subscription 1. Best Seats: As a subscriber, you get to pick the best seats in Twichell Auditorium before tickets go on sale to the general public.

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