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http://spartanburgphilharmonic.org 200 East Saint John St. | Spartanburg, SC 29306
864.948.9020
Volume 69, 2017-2018
C O N C E R T S
36 Stefan Sanders Saturday, Sept. 16
52 Scott Seaton Saturday, Jan. 20
44 Patrick Dupré Quigley Saturday, Nov. 4
60 The Music of John Williams Saturday, Apr. 14
16
Link Up Annual Youth Concert
28
Espresso Series Full Schedule
25
Music Sandwiched In Full Schedule
31
Bluegrass Spartanburg New Concert Series!
A R T I C L E S
S P O T L I G H T
5
A Letter from Rachel Deems SPO Board President
15
Ysal Dulken by Morgan Jordan
5
A Letter from Kathryn Boucher Executive Director
19
Ray Dunleavy by Morgran Jordan
7 About the Spartanburg Philharmonic Orchestra
22
The Tuba by John Holloway
17
A Parent’s Perspective by Jonathan Bright
26
Vince Krydynski by Morgan Jordan
30
Classical Conversations Pre-Concert Chat
27
Manya & Chris Jennings Espresso Series Patrons
58
The Percussion Section by Adena & Matt McDaniel
32 Orchestra Members 2017-2018 34
Project Maestro The Search for a New Conductor
66
Patron Information GRAPHIC DESIGN
CONTRIBUTING AUTHORS
Dr. Peter B. Kay
Jonathan Bright John Holloway Morgan Jordan
PHOTOGRAPHERS
Jimmy Gibson Kavin Bradner
©
2017 Music Foundation of Spartanburg. All Rights Reserved. No portion of these Programs may be reproduced in any form without expressed written permission of The Music Foundation of Spartanburg. All programs and artists subject to change. All performance times are approximate.
Adena & Matt McDaniel Dr. Joella Utley
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from the President Rachel S. Deems Dear Friends of the Orchestra, Welcome to the 2017-2018 season, Project Maestro, and to a full menu of musical offerings for music lovers of all ages! We promise a feast for the senses as the season unfolds with four compelling Classics Series concerts, an inventive Espresso Series, the tradition of Music Sandwiched In… and a brand new series for Bluegrass Music lovers. The love of music is something to be shared. Be certain to purchase your tickets early and invite friends to share these wonderful performances with you. This fall and winter we welcome three national finalists to the stage of Twichell as they vie to become the next musical leader and artistic visionary for our community. Your board of trustees,
the music director search committee, our dedicated staff and our talented musicians are hard at work to provide an experience for each candidate and for their audiences that will lead to the selection of the next director and the next era of music leadership in Spartanburg. On behalf of your board of trustees, I invite you to participate fully in this season, share the news of these not-to-be missed events and to continue your support of the organization. Your generous support as season ticket holders and patrons makes possible these many opportunities. Thank you for your continued support. I look forward to sharing the season and the music with you.
Rachel S. Deems
BOARD PRESIDENT
from the Executive Director Kathryn H. Boucher Dear Friends of the SPO, This season the Spartanburg community has a rare opportunity to participate in the selection of the next Music Director of the Spartanburg Philharmonic. Since 1949, only four conductors have held this intriguing position. We will be asking our audience to participate through surveys and online forms about your perceptions of the candidates. With these three unique and talented finalists, the decision will be extremely tough. The SPO’s Music Director plays multiple vital roles – on stage, behind the scenes, and in our community. He or she shapes the artistic growth of the organization through regular work with the SPO’s wonderful musicians, and by designing compelling concert programs and helping bring artists from around the nation to Spartanburg to join the
symphony in the shared power of live music. The Music Director position is a key artistic role in the City, and the ability to make and maintain strong connections with musicians, educators, audiences, and supporters is crucial. When each finalist joins us in Spartanburg, we will have an opportunity to see them partake in the full experience of being our music director: rehearsing and performing with the musicians, meeting with supporters, collaborating with staff, just to name a few. Please join us before each concert for the finalists’ Q & A onstage and again after the concert in Wilson Hall for a reception. We hope you take advantage of these opportunities to become familiar with the finalists. We value your participation in this important and historic decision.
Kathryn H. Boucher EXECUTIVE DIRECTOR
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For Individual Tickets: Twichell Auditorium
864.596.9724
Chapman Cultural Center
864.542.2787
All tickets are also available online through the SPO website.
http://spartanburgphilharmonic.org
864.948.9020 Music Foundation of Spartanburg 200 East Saint John St. Spartanburg, SC 29306
proudly supports
THE SPARTANBURG PHILHARMONIC ORCHESTRA. foundersfcu.com • 1-800-845-1614
Not a Founders Member?
Visit RelaxJoinFounders.com to see if you qualify for membership.
6 Federally insured by NCUA. HearHERE
These programs are funded in part by The Arts Partnership of Greater Spartanburg, its donors, the County and City of Spartanburg and the South Carolina Arts Commission which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of SC.
BOARD of DIRECTORS OFFICERS:
President Past President President Elect
Rachel Deems Ray Dunleavy Laura Allen
Dr. Tom Moore Francie Little
Treasurer Secretary
DIRECTORS: Karen Bjelland James Cheek Peter Grzan Rosalyn Henderson Myers Ben Burke Howell
Chip McLeod Dr. Melinda Moretz Karen Parrott Dr. Terry Pruitt Dr. Justin Schutrumpf
Travis Sutton Jeff Tillerson John Verreault Geoff Wilson
LIFETIME DIRECTORS: Dr. J. Sidney Fulmer
Dr. Joella Utley
STAFF Kathryn Boucher
Executive Director
Peter B. Kay
General Manager | Graphic Designer | Composer in Residence
Rachel Hansen
Director of Marketing & Special Events
Robert Borden
Orchestra Librarian
The Music Foundation of Spartanburg Chartered in 1948 - but with roots dating back to 1885 - the Music Foundation of Spartanburg serves as the presenting organization for the Spartanburg Philharmonic Orchestra. The Music Foundation presents over 30 events annually, reaching over 15,000 people in the Spartanburg community and surrounding counties.
Our mission is to enrich, inspire, and educate the Spartanburg community through live performance of high-quality music. HearHERE
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CORPORATE & FOUNDATION PARTNERS The Spartanburg Philharmonic Orchestra presents a unique opportunity to do business. 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 your employees. In turn, by supporting SPO you ensure Spartanburg remains a vibrant cultural community which research has proven is instrumental in attracting and retaining top business professionals. When arts and businesses partner, everyone profits! For full details on our Corporate Partnership packages, contact: Kathryn Boucher, Executive Director kboucher@spartanarts.org
P R I N C I P A L
P A R T N E R S
F O U N D A T I O N S U P P O R T I N G
P A R T N E R S
“We are delighted to stand beside SPO and encourage you to do the same!”
– Allen C. Smith, President/CEO Spartanburg Chamber of Commerce
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SYMPHONY ANNUAL FUND We gratefully acknowledge the following donors who made generous commitments to the Spartanburg Philharmonic Orchestra. This list reflects gifts received July 2016 through August 2017.
Benefactor
Maestro
$15,000+
$10,000 - $14,999
Dr. Karen Czuba Gibson and Mr. Jimmy Gibson Mr. & Mrs. George Dean Johnson The Alfred Moore Foundation
Mr. & Mrs. William Barnet Dr. Joella Utley Mr. & Mrs. Kurt Zimmerli Virtuoso & Podium
Baton
$5,000 - $9,999
$2,500 - $4,999
The Arkwright Foundation Mr. & Mrs. Roger Habisreutinger
Ken and Rachel Deems Mr. & Mrs. Michael Kohler, Jr. Mr. and Mrs. Geoffrey Wilson
Principal
$1,000 - $2,499 Ms. Laura Allen & Mr. Roger Sullivan Mr. & Mrs. Stanley Baker Mrs. Susan H. Baker Dr. Barry Bodie & Ms. Laurel D. Johnson Kathryn & Jeff Boucher Dr. & Mrs. James E. Bradof Mrs. Donna R. Cart Mrs. Elizabeth S. Chapman Mr. James Cheek Mr. & Mrs. Jerry Cogan Mr. & Mrs. Dick Crenshaw Mrs. Betty Dunleavy Mr. & Mrs. Ray Dunleavy Ms. Patricia Fagan Mr. & Mrs. Lawrence Flynn, Jr. 12
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Mr. & Mrs. Ken Frick Dr. Lois Ann Hesser & Mr. John Rungo Dr. & Mrs. David A. Holt Dr. Leslie W. Howard, Jr. Ms. Elizabeth Crews & Mr. Ben Burke Howell Mr. & Mrs. James Hudgens Dr. Wilton Kanode Dr. & Mrs. Louis Knoepp, Jr. Mr. & Mrs. Paul Lehner Francie & Lindsay Little Mr. E.T. McLean Mr. & Mrs. Joe Molfenter Dr. & Mrs. Tom Moore Dr. Melinda Moretz
The Carlos Moseley Trust Mr. & Mrs. John R. Murphy Mr. & Mrs. Thomas P. Nederostek Lib & Rick Orr Mr. Jim Pangel Karen & Stephen Parrott Ms. Thelma A. Powell Dr. Terry O. Pruitt Mr. & Mrs. S. Reel Robertson Travis & Allison Sutton Mr. & Mrs. John F. Verreault, III Mr. & Mrs. Donald Wildman Mr. William Wilkinson & Mr. Robert K. Bellinger
Fellow Musician $500 - $999
Dr. & Mrs. Mitchell Hurst Allen Mr. W. D. Bain, Jr. Ms. Karen E. Bjelland Mr. Robert Borden Mr. & Mrs. Jerome R. Cogdell Mr. & Mrs. Allen Daryl Doyle
Mr. & Mrs. David Ellis Dr. & Mrs. J. Sidney Fulmer Mr. Peter Grzan Mr. & Mrs. Stewart H. Johnson Ms. Wallace Eppes Johnson Ms. Ann Karegeannes
Mr. & Mrs. Bob Maddox Mr. & Mrs. V. C. McLeod, III Mr. & Mrs. Don Miles Dr. & Mrs. Peter Sereque
Ms. Joann Hoffmeyer Mr. & Mrs. Max Hyde, Jr. Mr. & Mrs. Williams A. James Mr. & Mrs. Stephen Johnson Mr. Gaines H. Mason, Jr. Mr. John N. McNamara Mr. & Mrs. Fritz Mezger Mr. & Mrs. Boyce Miller Mr. & Mrs. Robert Mitchell Ms. Bonnie H. Monson Mr. & Mrs. Charles Morgan Mr. & Mrs. Ronald O’Neill
Mr. & Mrs. Mortimer R. Sams, III Mr. & Mrs. John A. Schwartz Mr. & Mrs. Mack Secord Mr. & Mrs. Mark Simpson Mr. Akira Terawaki Mr. & Mrs. Gregory Wade Mrs. Ted Wagner Mr. & Mrs. William Walsh Mr. & Mrs. Paul D. Weaver Mr. & Mrs. Andy Wright
Ms. Jennifer Evins Mr. & Mrs. Brent Fenderson Ms. Elaine T. Freeman Mr. & Mrs. Vincent Garrett Mr. & Mrs. Dean Garritson Mr. & Mrs. Dean Gaskins Ms. Angela Geter Mr. & Mrs. Chad Graham Dr. & Mrs. Robert J. Haas Stuart & Rachel Hansen Mr. & Mrs. Jay R. Harding Ms. Rosalyn Henderson Myers Mr. & Mrs. Marvin Hevener Mr. & Mrs. Robert Houston Mrs. Lucy Hummers Mr. & Mrs. Robert E. Hyatt Mr. & Mrs. Max Jent Dr. Peter B. Kay Ms. Sally Kay Ms. Grace Law Mr. & Mrs. George Loudon, Jr Ms. Brenda Lytle
Mr. & Mrs. Foster B. McLane, III Mr. & Mrs. Thomas Miller, Jr. Dr. & Mrs. Mark Monson Mr. & Mrs. Wilton P. Myers Ms. Jean B. Nelson Ms. Pamela Nienhuis Mr. Charles Palmer Mr. & Mrs. Dwight F. Patterson, Jr. Ms. Becky Pennell Ms. Tomeka Pierce Ms. Elizabeth Poole Ms. April Preston Mr. Wilbur H. Reames, Jr. Dr. & Mrs. Justin Schutrumpf Mr. & Mrs. Chris Strickland Mrs. Martha I. Tiller Mr. Jeff Tillerson Mr. & Mrs. Marshall T. Walsh Dr. & Mrs. Douglas Weeks Ms. Linda Sangster West Mr. Steven Zides
Patron
$150 - $499 Mr. and Mrs. Charles Baxter Mr. & Mrs. Ken Boucher Dr. John M. Bullard Dr. & Mrs. William W. Burns Dr. & Mrs. Ernest Camp III Mr. Michael J Crichlow Mr. & Mrs. Rick Dent, Jr. Tim & Robyn Hussa Farrell Dr. & Mrs. Charles M. Fogarty Ms. Nancy Freeman Rainey Mr. and Mrs. Ryan Gaylord Mr. Gerald Ginocchio
Member $50 - $149
Mr. & Mrs. Tom C. Atwood Mr. & Mrs. Andrew Babb Ms. Eileen Baird Dr. & Mrs. Jeff Barker Ms. Barbara Barnes Ms. Cissy Barnes Mr. & Mrs. Tom Barnet Mr. Stephen David Blake Mr. & Mrs. Thomas Blexrud Mr. Stephan Bolliger Dr. John Burchfield Ms. Alyson Campbell Mr. Mark Carlson Mr. & Mrs. John Claggett Mr. Jay Coffman Mr. & Mrs. J. Derham Cole Mr. William Cooper Mr. & Mrs. Joe Correll Mr. Billy Cribb Dr. C. Edward Davidson Ms. Susan Ebert Mrs. Stewart Elliott
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SPO LEGACY SOCIETY The JERRIE LUCKTENBERG CONCERTMASTER CHAIR ENDOWMENT
Dr. Jerrie Lucktenberg - former Concertmaster of the Greater Spartanburg Philharmonic, artist, pedagogue, and author - retired from her position during The Music Foundation’s 2002-2003 season. To help ensure the presentation of Spartanburg’s professional orchestra in our community, Dr. Lucktenberg made a generous gift of $50,000 towards the endowment of the Concertmaster Chair. With your help, The Music Foundation has matched this gift, fully endowing the chair as the Jerrie Lucktenberg Concertmaster Chair. We hope you will be inspired to follow Dr. Lucktenberg’s generous lead.
The JOE ROY UTLEY LEGACY SOCIETY We have created the Joe Roy Utley Legacy Society to provide a fund through which friends can make bequests in a number of different ways. The easiest method is an instruction in a Will to leave a specific dollar amount to The Music Foundation of Spartanburg. It is a simple matter to add a codicil to an existing Will, giving the direction to make a gift from your estate to the Society. Gifts may also be made by giving appreciated securities or other assets, by way of charitable trust, through gift of life insurance, or by gifts of retirement account assets.
The HENRY JANIEC SOCIETY The Henry Janiec Society was established in 2001 to honor the distinguished Dr. Henry Janiec - conductor, educator, and pianist. Dr. Janiec conducted the Spartanburg Symphony Orchestra from 1952 to 1995 and served as Dean of the Converse College School of Music from 1967 to 1994. He also served as Director of the Brevard Music Center from 1964 to 1996. Members of the Henry Janiec Society have established permanently endowed chairs in the Spartanburg Philharmonic Orchestra with a gift of $25,000 or more. These chairs and funds help guarantee the future of the Philharmonic.
For information about supporting a SPO Legacy Society Fund, contact Kathryn Boucher, Executive Director: kboucher@spartanarts.org | 864-948-9020 14
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Ysal Dulken BY MORG AN A . JORDAN
Ysal Dulken may not have been a native of Spartanburg, but after 55 years of living and serving in the Spartanburg community, one would find it a difficult task to find an organization that wasn’t familiar with her high level of commitment and service. Mrs. Dulken passed away in July of 2016, one day past her 90th birthday. A few months later, the Spartanburg Philharmonic Orchestra received a generous planned gift from her estate. “It was a complete surprise,” said Executive Director, Kathryn Boucher. “Ysal and her husband, John, were longtime supporters of our organization and passionately interested in our mission.” “Ysal’s main interest was others,”, said her friend and Lifetime SPO Board member, Dr. Joella Utley. “She took an interest in her community, and she was very active in many community projects. She was incredibly passionate about the arts.”
Depression, the Spartanburg community brought in outside artists to perform alongside the local musicians.” Music offers a respite for the body and soul when it is most needed. It can benefit an entire community in turmoil, as in the unsteady years of the Great Depression, or it can offer enormous comfort and joy to a single listener.
Boucher. “I think Ysal knew that, and provided a way to offer us the chance to gain strong footing as we move forward. We plan to continue growing our endowment with Ysal’s gift. The Spartanburg Philharmonic Orchestra is very grateful to Ysal not only for the support she gave to us during her lifetime, but also in how she chose to support us after she passed on.”
“Even with the mobility challenges she faced in her last years, she made it a priority to attend SPO’s concerts”, said Dr. Fulmer.
Spartanburg Philharmonic Orchestra has been honored by the Dulken’s support and consideration over the years, and, just like the final note of a symphony reverberating through the concert hall, Ysal leaves a lasting musical legacy in Spartanburg.
“Long-term stability is an element that all organizations need,” said Kathryn
From left to right: Ysal Dalkins with Carol and Jim Bradof
Born in Wilmington, Delaware, Ysal and John moved to Spartanburg for his career in 1961 with their three children. “Ysal had always cultivated a love for music, but it was magnified when she married John,” said Dr. Sidney Fulmer, who served with Ysal for a number of years on the Board of the Spartanburg Philharmonic Orchestra (then the Music Foundation of Spartanburg). “John grew up in Germany and had been attending concerts and operas since he was five years old. When they married and started their own family, they made sure music was a priority in their household.” “It’s extremely important to cultivate the arts in our community-especially among our young people. She greatly supported that view, and was very involved in making sure many young people had the opportunity to enjoy music,” said Dr. Fulmer. “Ysal understood that any community that doesn’t have music suffers greatly. Because of supporters like Ysal, we have always had music in Spartanburg.” Dr. Utley echoes the sentiment. “The history of music in Spartanburg is very significant largely because of the music programs over the years within the community. Even going back to the years during the Great
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Since the first Link Up program in 2011, Duke Energy has been a sustaining corporate partner. We are grateful for the support in our early years and their ongoing belief in the importance of arts education. Thank you, Duke Energy, we couldn't do it without you!
The J M Smith Foundation is generously supporting the 2018 Link Up concert through a matching gifts initiative! These funds allow the SPO and the Schools to move forward with confidence in the early planning and implementation of the classroom program.
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 Deputy Superintendent, Spartanburg County School District 7
Link Up | Annual Youth Concert MA R C H 2 0 1 8
S
ince 2011, every 4th grade student ..attending Spartanburg County Schools has been given the opportunity to join the Spartanburg Philharmonic Orchestra (SPO) in the highly engaging, participatory program Link Up. In an effort to reach as many young people as possible, the SPO 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 SPO’s Link Up program is the ultimate educational opportunity for music teachers, students 16
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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 our professional orchestra. Through the 2017–2018 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 violin with the Spartanburg Philharmonic from their seats in the audience. Guided by guest conductor Morihiko Nakahara (SC Phil) the hour long program of music making and “listening challenges” will also incorporate lighting and visual effects.
A Parent’s Perspective Jonathan Bright f you are a parent, you probably remember a time when your child came home from Ischool with a little brown flute thing (a recorder) that they had received in music class. They excitedly spread out their music on the kitchen table so they could play a song for you. As they tapped their toes and struggled to cover the holes with their fingers, you began to hear something that would one day be a recognizable tune. When they finished, their face was filled with the unmistakeable look of pride and accomplishment. After hearing your glowing review, they bounded off to their room to practice the song again…and again…and again. In recalling this memory with my daughter, I had no idea that I was unknowingly being introduced to the Link Up program, and that one day this program would become an amazing experience for our family. I am a life-long lover of music, and have always made the effort to keep music in my life. As a trumpet player, I have enjoyed playing for an occasional wedding or church service, and have played in the pit orchestra for several Spartanburg Little Theater Productions. I was even fortunate enough to share the stage with my daughter in an acting role during recent SLT productions of Annie (Bert Healey) and The Music Man (Professor Harold Hill a.k.a. “The Music Man”). In spite of these efforts, I was surprised to get a call a few years ago from Kathryn Boucher, Executive Director of the SPO, asking me if I would be interested in doing a small acting role in the Link Up music education program. I honestly knew nothing about Link Up, but could tell from her description that it was a wonderful educational
opportunity for kids in our community, and that it would be too fun to pass up. One evening while trying to learn one of the Link Up songs, my younger daughter Abby walked through the room and excitedly began to sing along. She instantly recognized the song as one she had learned a few years earlier in her music class. She recalled the day her class had gone to Twitchell auditorium to play with the SPO. It was obviously a fond memory for her.
fun, but as a father, being able to share this experience with my daughter definitely did it. I watched as her uneasiness and nerves gave way to the fun of interacting with the kids. Here is what Elise had to say about participating in the Link Up program: I am a fifteen year old student at Spartan High. I was shocked and surprised when I was asked to perform with the SPO in the Link Up program. It was a wonderful opportunity to be able to share such a fun and unique experience with my dad, and to be accompanied by such a wonderful orchestra. It was also fun performing for children whose shoes I was in not too long ago. I was reminded of all the great teachers who invested in my life at Jesse Boyd Elementary, McCracken Middle, and now at Spartan High. I am grateful for those who have given me a love of music, and I was honored to share that love with others.
The day finally came for the Link Up program, and it was an absolutely wonderful experience. Of course it was great to share the stage with the talented musicians of the SPO, but the real treat was interacting with the kids. They arrived with their music books, recorders, and most importantly their excitement. As they participated in the program, it was obvious that their music teachers had tirelessly prepared them for this special day. It was thrilling to see kids from all over the county having fun learning about the joy of music. Jonathan and Elise Bright on stage before the start of the 2017 Link Up concert. I was honored to have a small part in such a worthy endeavor. I was honored to be invited back for the Link Up program in 2017, and was thrilled when my older daughter Elise was also invited to participate. It was hard to imagine how the Link Up program could be any more
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SPOTLIGHT
Ray Dunleavy BY MORG AN A . JORDAN
“The Spartanburg Philharmonic Orchestra will soon welcome three guest conductors for its 2017-2018 season titled Project Maestro,” executive director Kathryn Boucher states. “However, before all of the excitement begins, we want to recognize the fact that we owe so much of our success up to this point to one of our most dedicated volunteers, Ray Dunleavy.” “We want to thank Ray for his dedication and service to the Spartanburg Philharmonic Orchestra, especially as this year will mark his sixth and final year on the SPO Board,” Kathryn says. “We are indebted to him. He spent almost three years as the Chair of our Board and he continues to play a large role in our Executive Committee as Past President and a member of our Bluegrass Committee.
His dedication to the people and mission of SPO has been incredibly strong and focusedeven when he was still working a full-time job and traveling all over the world.” Kathryn is in good company with her appreciation and praise of Ray. His wife, Kathy Dunleavy, and SPO Board president elect Laura S. Allen both share Kathryn’s view. Ray recently retired after a 38-year career with the same company, now Fitesa, Inc., located in Simpsonville. His wife, Kathy, says, “It’s nice to see him enjoying himself during retirement.” After traveling the world during his career and helping to raise 6 children, Ray is celebrating his retirement by learning to play the banjo, going to what Kathy has dubbed “Banjo Camp” in Nashville, and playing the rhythm guitar in the local rock ‘n’ roll band, Missing Monday. “Ray has been playing the banjo for two years, and is very excited about the addition of the upcoming Bluegrass Program at the Spartanburg Philharmonic Orchestra,” Kathy adds. “My father played the banjo and ukulele, so the sounds are very familiar to me!” “We were married almost 23 years ago,” Kathy says. “With our blended family of 6 teenagers between the ages of 12 and 18, some people called us ‘The Brady Bunch’only I reminded them that we didn’t have Alice!” Ray and Kathy’s grandchildren share Ray’s love of music. Three of them are very interested in the musical world, and two of them take piano and ukulele lessons. “Ray loves being a part of the Spartanburg community, and sharing his passions with others,” Kathy says. “He is a mentor at both Meeting Street Academy and in the entrepreneur program being held in the Northside. Spartanburg is evolving in an exciting way, and Ray takes his role in our community very seriously. He is very focused.” Laura S. Allen, President Elect of the Board,
would agree. “Ray is what I would call a ‘Quiet Giant’,” Laura says. “He has a subtlety about his leadership that brings people together. He is collaborative – yet daring – and brings a level of foresight to the Board that is highly valued. He has a musician’s lens that can lend itself well when talking about the arts, as well as the business side of things.” “One of the elements about Ray that makes him so special, though, is his sense of love and community,” Laura adds. “He is always introducing himself to others as ‘Kathy’s husband’, because he adores his wife and is very proud of her accomplishments. Even with all of his other commitments in our community, his dedication to SPO remains a priority. Ray understands that a thriving arts scene is synonymous with a vibrant, healthy community. There is a strong relationship between music and people’s health and overall sense of well-being. Ray knows that, and generously dedicates his time and talents to all of us.” The entire Philharmonic family thanks Ray for his commitment and service to them during the past six years. We are deeply grateful.
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Supporting The Arts Through Dance 864-583-0339 www.balletspartanburg.org the great
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Can't repeat the past?…Why of course you can! — F. Scott Fitzgerald, The Great Gatsby
The Curse. The Kiss. The Magic.
Spartanburg's Most Beloved Holiday Tradition
Década classic and contemporary ballet
Fri., October 20 7 PM Sat., October 21 3 PM Sun., October 22 3 PM
Chapman Cultural Center Tickets: 542-2787 ChapmanCulturalCenter.org
Student $15 | Senior $20 | Adult $25
Fri., March 23 8 PM Sat., March 24 8 PM
Fri., December 8 7 PM Sat., December 9 3 PM Sun., December 10 3 PM
Twichell Auditorium Tickets: 596-9724 BalletSpartanburg.org
Student $18 | Senior $25 | Adult $32
Fri., April 20 8 PM Sat., April 21 8 PM
Student $15 | Senior $20 | Adult $25
Chapman Cultural Center Tickets: 542-2787 ChapmanCulturalCenter.org
SUSU & GEORGE DEAN JOHNSON, JR
NELLY & KURT ZIMMERLI
CYNTHIA MOSELEY in memory of Carlos Mosely
Student $15 | Senior $20 | Adult $25
Chapman Cultural Center Tickets: 542-2787 ChapmanCulturalCenter.org
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The Tuba BY JOH N HOLLOWAY, PRI NC I PAL
Did an inebriated tuba player cause a major composer to stop writing orchestral parts for the instrument? Possibly; but first I should address why this would mean so much to the tuba community. The tuba, subwoofer of the brass family, is the last member admitted to the standard instrumentation of the modern symphony orchestra. In 1835, instrument maker Johann Moritz and bandleader Wilhelm Weiprecht were granted a Prussian patent for what is considered the first modern tuba. This instrument was in the key of F with 5 Berliner-pumpen valves. Some degree of technological improvement and the emergence of competent players were necessary before the tuba was accepted by orchestral composers. The serpent and ophicleide are forerunners of the tuba that also use the cupped mouthpiece that defines them as members of the brass family. Mendelssohn continued to use the serpent in Elijah and ophicleide in A Midsummer Night’s Dream. Berlioz, however, happily replaced his original ophicleide parts in Symphonie Fantastique with tubas. If you’ve ever heard either of these instruments you might be thankful that the tuba usually covers these parts. Given the late arrival of the tuba on the
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orchestral scene, our repertoire is more limited in quantity and, sadly, in quality. We cherish well-written parts in the hands of skillful composers who respect the instrument. If you ask any orchestral tuba player for a list of favorite parts, chances are that somewhere high on that list will be two of the pieces we will be performing this year: Tchaikowsky’s Fourth (p.52) and Sibelius’s Second (p.44). Tchaikowsky’s use of the tuba in his Symphony No. 4 was typical, with the instrument often used as the bass of the brass section in big, blocky chords and rhythmically driving passages. The raw emotion and sheer exuberance of the brass writing is even more exciting when you consider that most of the indicated dynamics of the low brass parts are at the double and triple forte level. There is a stereotype that brass players in general, and low brass in particular, like to play loudly. Once in a while we do, and this piece is a great vehicle for that. Sibelius was a bit subtler in his writing for tuba. He also used the tuba as the bass in brass passages, but in his Symphony No. 2 the tuba often doubles the low strings and woodwinds in dark sonorities. This has the effect of bringing the tuba sound more to
the foreground. Entrances are exposed and usually lack the security of a full low brass section. The writing is more melodic and subtle in mood and expression. For example, the ostinato figures in the beginning, middle, and end of the finale are not challenging technically, but they absolutely require a thorough understanding of the context. This tuba part requires more finesse and musical maturity and it is a joy to perform. However, after the prominent role of the tuba in such pieces as Finlandia and his first two symphonies, Sibelius did not include the instrument in his last five symphonies and only used it sparingly in other pieces. This brings us to an oft-told tale (at least among tuba players) as to why he would abandon our favorite instrument. The story has several forms, but they all involve a tuba player who showed up hammered for a performance and ruined it with wrong entrances, improvised passages, and generally bad playing. In some versions, the wasted villain was the tuba player in the Helsinki Philharmonic Society at the premiere of the 2nd Symphony. In others, it is the premiere of the Cantata for the Coronation of Nicholas II; Sibelius himself is quoted as blaming the failure of the premiere of that piece on the intoxicated tubist. However, there is no existing tuba part for this piece, so either Sibelius mistakenly attributed the behavior of another musician, he was misquoted, or he later rewrote the part excluding the offending instrument.
Did an inebriated low brass player really have such a profound effect on the orchestral tuba repertoire? There is enough confusion among sources and retellings that cast doubt on the myth. The real answer probably has more to do with Sibelius adjusting his preferences for a slightly brighter sonority in his orchestrations. Regardless, the myth persists. Tuba players, for their part, cannot imagine why a composer would abandon such a wonderful instrument. For others, it may not be too much of a stretch to believe that a low brass player would toss back a few to get themselves through a long night of counting rests. I’ll conclude with one final note, slightly off the topic of orchestral music but relevant to local history. Among the many configurations of the tuba, one of the most enduring is the one we see in American marching bands: The Sousaphone. This instrument was designed by none other than John Philip Sousa as an improvement on the earlier helicon design, although his original instrument had the bell pointing upwards instead of forward. Sousa performed frequently in Twichell Auditorium on his national tours. The eight documented performances are commemorated by a bronze plaque placed by the Spartanburg County members of the American School Band Directors Association. As you exit the auditorium, you can see it at the bottom of the stairwell on the right.
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Music Sandwiched In is a lunchtime concert series in downtown Spartanburg, featuring local, regional, and even national talent! All events are FREE and open to the public. Lunch is available for purchase, prepared by one of Spartanburg's finest, Chef Bill McClellan!
Spartanburg County Public Library Headquarters, Barrett Room 151 South Church Street Spartanburg, SC
Sept. 13
Petrie Wind Quartet
Sept. 27
Sara Beam & Stephen Hawkey
Oct. 11
Paul Bowman, Classical Guitar
Oct. 25
Foothills Oompah Band
Nov. 1
Arbor Wind Trio
Nov. 15
USC Upstate Vocal Ensemble
Nov. 29
Converse Opera Theatre
Dec. 13
SPO Brass Quintet
S C H E D U L E
Windjammers
Jan. 17
Mulfinger Quartet
Jan. 31
Scotch & Soda with a Twist
Feb. 14
Cello Times Two
Feb. 28
Gladius
Mar. 7
Laurel & the Lads
2 0 1 8
Aug. 30
Mar. 21
Wofford Gold Tones
Apr. 4
Rosalind Buda: Scottish Bagpipes
Apr. 18
Wirewood
May 2
Philharmonic Flutes
May 16
School District 7 Musical Preview
May 30
The Carolina Players Band
S P R I N G
F A L L
2 0 1 7
S C H E D U L E
Wednesdays 12:15-1:00pm
https://spartanburgphilharmonic.com/concerts/music-sandwiched-in Programs subject to change.
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P
A
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N
SPOTLIGHT
Vince Krydynski BY MORG AN A . JORDAN
One doesn’t have to spend a long time with Vince to know he’s got stories to tell. After moving back to Spartanburg in March of 2016, Vince has done more than share his number of stories; he’s also shared his passion for music in an extraordinary way. “I grew up with music,” Vince says. “Chicago was the place to be, as far as blues was concerned. My friends and I would go down to Rush Street to hear all the great musicians of the time. Ella Fitzgerald, Ramsey Lewis, Dave Brubeck-I heard them all.” Vince laughs and shakes his head as he adds, “Sometimes, we all would go out to drink beer and watch hockey before going to listen to music on Rush Street. There were a few times when all of us wondered how we would get home!” After his early years of adulthood, Vince shared a love of music with his wife, Mary Ellen. They married young-she was twenty, and he was twenty-five. They spent many happy years together nurturing their own passions for art, music, and each other.
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On top of being a nurse practitioner here in Spartanburg, Mary Ellen had a number of passions and talents. “She loved art,” Vince says of his wife. “She was a wonderful artist, and took a special interest in stained glass windows. Some of the designs at Our Risen Savior (Catholic Church of Jesus Our Risen Savior in Spartanburg), are ones she created.”
Vince particularly remembers taking his grandchildren to different concerts throughout the season. His 10-year-old granddaughter, Brice, enjoyed the Hub City Holiday concert in December. “Brice was interested because she knew some of the musicians on stage from her church and school. She really enjoyed the music.”
Art and music has a special way of bringing people together, and after his wife passed away, Vince’s children, purchased an adjacent SPO season ticket for Father’s Day so that Vince could bring a guest to each concert.
Vince brought his grandson, Jack Krydynski, to the “Espresso: Percussive Percolator” concert in February of 2017. “Jack is twelve and likes anything loud, so this was a perfect choice for him.”
With the extra season ticket in hand, Vince sent a letter to all of his family members with the dates for the Classics and Espresso Series. He asked them to pick a time that would suit their schedules to join him for a concert.
“It’s important to give children the opportunity to enjoy all kinds of music. When they are introduced to music at a young age, it gives them the chance to share the experience with a loved one and may spark a lifelong interest.”
“I know they’re all busy, so this provided a time for us to get together”, Vince says. Over the past season, Vince and his family members have created special memories together over a shared love of music.
“I would like to see them take an interest in music,” Vince says of his grandchildren. “Music is not only for adults-it’s not stiffcollared or stuffy. Music is incredibly fun at any age, and it always has a story to tell-if you learn to listen.”
P
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SPOTLIGHT
Manya & Chris
Jennings
“The Espresso series is one of our favorite events in Spartanburg. Amazing music in a relaxed atmosphere, yet some surprises always await us. We love the format and bring friends to experience it together.” Manya is a Registered Nurse with Greenville Midwifery Care, and Chris is the Executive Vice President of the Spartanburg Convention & Visitors Bureau. They have been married for 23 years, and have three daughters -- all attending South Carolina colleges. They enjoy exploring hiking, biking and traveling around Georgia, North Carolina, Virginia and South Carolina to find great food, wineries and craft beer.
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THE
ESPRESSO SERIES
October 6, 2017: Chaplin au lait
November 17, 2017: French Press
Join us for a special presentation of Charlie Chaplin’s 1921 silent film “The Kid” with live musical accompaniment! A mixed ensemble of strings, woodwinds, piano, and percussion will perform a score composed of music by great composers like Tchaikovsky, Dvořák, Scott Joplin, and more.
The SPO is pleased to offer an eclectic blend of French music for woodwinds and brass. The program will range from Françaix’s bluesy L’heure du Berger, “Pin-up Girls” to Debussy’s ragtime Golliwog’s Cakewalk to Stravinsky’s masterpiece Octet for Wind Instruments. Special Feature: premiere performance of a new work by Spartanburg-based composer Nolan Stolz
Special Thanks to concert series sponsors Marriott of Spartanburg, Ciclops Cyderi & Brewery, Select Restaurant, and Mōzza Roasters from Bella Latte: Food, coffee, and adult beverages are included with the price of admission, so kick off your weekend with this special social event and a short shot of live, classical!
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February 16, 2018: Café d’amour
May 18, 2018: Saxoccino
Start your Valentine’s Day celebrations with a short shot of romantic and lighthearted music. Enjoy the SPO String Quartet and pianist Kuo-Pei Cheng-Lin performing favorites from classical and pop genres including the music of Debussy, The Beatles, SaintSaëns, Queen, Dvořák, Daft Punk, and many more!
The SPO is pleased to present the renowned Assembly Saxophone Quartet! Joined by Spartanburg’s Tom Wright, the ensemble will perform traditional and new classical works for saxophone demonstrating the fantastic versatility of the instrument. This is a not-to-be-missed show!
Special Feature: premiere performance of a new work by SPO’s Composer in Residence Peter B. Kay
Special Feature: premiere performance of a new work by Spartanburg’s own Tom Wright
All concerts are held at the Chapman Cultural Center 200 East Saint John St. Spartanburg, SC
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Join us before the concert!
Cl a ssic al Co nver s atio ns 6:15-6:45pm in the Auditorium Before each concert, join host Chris Vaneman along with WSPA’s Jamarcus Gaston (Sept. 16), WYFF’s Myra Ruiz (Nov. 4 & Jan. 20), and our guest conductors for a fun and informative pre-concert chat and preview of the nights’ performances. Learn more about each program and find out about the candidates’ personal and musical backgrounds and why they chose the music you’re about to hear.
During Classical Conversations, please enter the auditorium and find your seats as quietly as possible so as not to disrupt patrons who are enjoying the interviews. 30
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Joanna Mulfinger Lebo Concertmaster Joanna Mulfinger Lebo is a native of Greenville, SC and the youngest of eleven children. She graduated from Bob Jones University and continued her education at the Peabody Conservatory in Baltimore, MD, receiving a Masters Degree under the tutelage of renowned Russian pedagogue Victor Danchenko. While at Peabody, she was awarded the J.C. van Hulsteyn Prize for Outstanding Musical and Academic Contributions. She has pursued additional summer music studies at the Juilliard School in New York, the Hanns Eisler Hochschule Fur Musik in Berlin, Germany, and other festivals in France, Italy, Germany, Switzerland, and Canada. Since returning to Greenville she has developed a large studio of private students, and is currently on Adjunct Faculty at Anderson University where she teaches private violin and viola lessons, coaches student chamber ensembles, and conducts the String Ensemble. Her private students have gone on to win jobs in regional orchestras in the Southeast, including Sara Beam, Assistant Principal Second Violin of the Spartanburg Philharmonic. Joanna appreciates learning about all kinds of music. In 2016 she learned and performed a new work for erhu, a stringed instrument of Chinese origin. And, in 2017, as a result of her interest in Baroque violin playing, she started a Baroque String Ensemble at Anderson University. Joanna is active at the Peace Center in Greenville, where she enjoys playing with National Tours of Broadway shows such as Disney’s Lion King (twice), Chicago (twice), Phantom of the Opera, My Fair Lady, White Christmas, Something Rotten, Motown, Newsies, Porgy and Bess, The Producers, Young Frankenstein, Evita, West Side Story, and The Wizard of Oz, among others. She is also in demand to accompany local performances of popular touring artists such as Smokey Robinson, Celtic Woman, Trans-Siberian Orchestra, Josh Groban, Mannheim Steamroller (twice), Anne Murray, and Johnny Mathis. As a chamber musician, Joanna is a member of several local ensembles including the Mulfinger String Quartet, Trio Tapestry (guitar, cello, violin) and Tryptich Musica (piano, horn, violin). She is an active orchestral musician. Since 2003 she has been the Principal Second Violin of the Greenville Symphony Orchestra. In 2007 she won the job of Assistant Concertmaster of the Spartanburg Philharmonic, and in 2017 was named Concertmaster. Joanna performs on a 1653 Nicolo Amati violin, a violin she inherited from her mother. 32
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The
Spartanburg Philharmonic Orchestra Orchestra Members & Chair Sponsors as of August 2017
Violin I Joanna Mulfinger Lebo, Concertmaster
Cello Brenda Leonard, Principal
Horn Anneka Zuehlke-King, Principal
Deirdre Hutton, Assistant Concertmaster
Kathy Foster, Assistant Principal
Christopher George Andrew Merideth, Assistant Principal
Mr. & Mrs. George Dean Johnson
Mr. & Mrs. Stanley Baker Dr. Wilton Kanode
Mrs. Donna R. Cart
Jean Anderson
Ms. Thelma A. Powell
Christine Lee Jack Rose Eric Scheider Benjamin Smith
Allison Chetta Robin Els Michelle Guthrie Mary Irwin
Adam Kapfhammer Sharon Kerr-Lawrence John Malloy Tania Moldovan Rachelle Whitcomb
Lib & Rick Orr
Bass Ian Bracchitta, Principal
Tracy Ensley, Principal
Mr. & Mrs. Ken Deems
Sara Beam, Assistant Principal
Laura Allen & Roger Sullivan
Theresa Jenkins-Russ Allison Key Jessica Martin Doug Merritt March Moody Michele Tate
Mr. E.T. McLean in memory of Henry Janiec
Emily Wait
Viola John Concklin, Principal
Endowed by friends and family in honor of Wallace Eppes Johnson
Michael Weaver, Assistant Principal
Dr. and Mrs. James E. Bradof
Dan Kirsop, Associate Principal Mr. & Mrs. John R. Murphy
Mr. & Mrs. Paul Lehner
Bruce Cox Cody Beard
J. Bret Alford
Mrs. Betty Dunleavy
Brian Gencarelli Jeff Stinson
Flute & Piccolo Rhea Jacobus, Principal
Mr. & Mrs. Kenneth Frick
Caroline Ulrich
Mr. & Mrs. Dick Crenshaw
Trombone Mark Britt, Principal
Dr. Barry Bodie & Ms. Laurel D. Johnson
Rienette Davis Eric Henson
Jessica Sherer
Tuba John Holloway, Principal
Oboe & English Horn Ginny Metzger, Principal
Timpani Patrick Lowery, Principal
Mrs. Susan H. Baker Mr. & Mrs. Joe Molfenter
Mr. & Mrs. Roger Habisreutinger
Dr. & Mrs. David A. Holt
Mr. & Mrs. J. Michael Kohler, Jr.
Kelly Vaneman, Associate Principal
Mr. William Wilkinson & Mr. Robert K. Bellinger Andrew Parker Mary AllyeB Purtle, Principal Eng Hn
Mr. & Mrs. Ray Dunleavy
Diana Maley Berti Shelby Dickey Amber Holden Katy Martin Eleonore Shults
Trumpet Brian Roberts, Principal
Mr. & Mrs. Jerry Cogan
Mr. & Mrs. Geoffrey Wilson
Simone Beach Ann Buttimer
Dr. & Mrs. Tom Moore
Christina Cornell Jeanette Schlimgen
Kenneth Frick
Matthew Waid, Assistant Principal Violin II
Mr. Jim Pangel
Clarinet Karen Hill, Principal
Percussion Adena McDaniel, Co-Principal Dr. Karen Czuba Gibson & Mr. Jimmy Gibson
Matt McDaniel, Co-Principal Dr. Leslie W. Howard, Jr
Del Burton
Dr. & Mrs. Louis Knoepp, Jr.
Harry Hill, Jr.
Mr. & Mrs. James Hudgens
Harp Emily Waggoner, Principal
Mr. & Mrs. Lindsay Little
Bassoon Frank Watson, Principal Dr. Lois Ann Hesser and Mr. John Rungo
Piano & Organ Kuo-Pei Cheng-Lin, Principal
Mr. & Mrs. Lawrence Flynn, Jr.
Brennan Szafron, Principal
Rosalind Buda
Stephanie Lipka Rhyne
Mrs. Elizabeth S. Chapman Mr. James Cheek
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ProjectM
S
ince the formation of the Music Foundation of Spartanburg in 1948, the symphony has had only four conductors: Pedro Sanjuan (until 1952), Henry Janiec, (19521994), Bill Scott (1994-2003), and Sarah Ioannides (2005-2017). Now, we are embarking on a new and exciting phase, beginning with the search for a new Music Director of the Spartanburg Philharmonic Orchestra.
These three finalists will audition as part of ProjectMaestro, each conducting one full concert in our Classics Series at Twichell Auditorium. And now, the Music Foundation is counting on you – our audience and our community – to offer crucial feedback. Remember, ProjectMaestro is more than just a conducting competition. It’s about finding the right person to help shape the future of music in Spartanburg. Our mission is to enrich, inspire, and educate our community through live performance of high-quality music. Please take a moment to help us choose Spartanburg’s next musical leader... our next “Maestro.” 34
In Person:
VOTE
A three-year process, the international search began in August of 2015 when Sarah Ioannides announced that she would be stepping down from the podium. A special committee was formed made up of Music Foundation board members, SPO musicians, and individuals from the community. After carefully reviewing resumes, watching hours of conducting videos, holding dozens of phone and Skype interviews, and months of deliberation, the committee narrowed the field from 127 applicants to just three candidates: Stefan Sanders (p.40), Patrick Dupré Quigley (p.48), and Scott Seaton (p.56).
The Search
Survey Cards will be available to concert-goers at each performance. You may fill out one of these cards for each conductor at each of the three concerts and drop them off before leaving Twichell.
You may also deliver Surveys to the SPO administrative offices on or before January 22, 2018: Chapman Cultural Center 200 East Saint John St. Spartanburg, SC 29306
Maestro
What to look for: Is the conductor able to motivate and elicit the best performance from the musicians?
ch for a New Conductor
The conductor’s gestures and baton technique will give you some basic information about how effectively the conductor is communicating with the orchestra musicians.
Does the conductor’s podium presence enhance the quality of music-making?
Online:
Missed the show? Don’t worry! Full-length videos of each performance will become available online three days after each concert.
VOTE
Starting on Sept. 16, you can visit our website to share feedback about your concert experiences. Take a moment and let us know what you think about each of the three Music Director candidates!
If you are seeing and hearing a fine performance, don’t be too concerned about conducting style. Some highly effective conductors throughout history have been known for their “eccentric” styles. But ask yourself if the conductor brings more to the performance.
How does the music affect you? Is it alive with character, emotion, and feeling? Are you fully engaged with the performance? The most important thing is to trust your instincts about what you are hearing. Listen for orchestral intonation, timing, and balance. It’s important to note how effectively the conductor is communicating with you, the listener, through his realization of the music.
http://spartanburgphilharmonic.org 35
ProjectMaestro The Search for a New Conductor
STEFAN SANDERS
Stefan Sanders conducts
Saturday, September 16, 2017
|
7:00pm
|
T wichell Auditorium
Symphony no. 39 in E b Major, K. 543 . . . . . . . . . . . . . . . Wolfgang A. Mozart I. II. III. IV.
Adagio — Allegro Andante con moto Menuetto & Trio Allegro
25 min
Variations on a Rococo Theme, op. 33 . . . . . . . Pyotr Ilyich Tchaikovsky 20 min featuring Claire Bryant, cello Intermission
Symphony no. 5 in c minor, op. 67 . . . . . . . . . . . . . Ludwig van Beethoven I. II. III. IV.
Allegro con brio Andante con moto Scherzo. Allegro Allegro
30 min
Programs subject to change Timings are approximate
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he last ten years of Mozart’s life were spent in Vienna where, at first, he T enjoyed great popularity and success.
it may be that writing such flowing and beautiful melodies helped pull him out of his miseries.
The E-Flat Symphony expresses such cheerfulness and warmth that one can hardly imagine the composer’s unhappy circumstances. Despite hardships, Mozart showed that he could rise above his suffering and express great joy in his music. In fact,
In the first movement, Allegro, two gracious themes develop: the first a dainty waltz and the second another light-hearted melody. This gives way to a more pensive and restrained second movement, Andante con moto, which modulates into the keys of F Minor and E-flat minor. The third, Minuetto: Allegretto, begins with a dance, followed by a light-hearted trio. In this section a woodwind melody is echoed by the clarinet and flute, which Hermann Kretzchmar described as “one of the loveliest ever to have been created in music.” The ending of the Symphony, Allegro assai, contains high-spirited, vigorous rhythms, which seem to show a self-confidence one could not imagine, considering Mozart’s worldly woes. He expresses such happiness, sweetness and light that one can only be assured of an underlying optimism in its creator. With these last three symphonies Mozart brought the art of symphony writing to the highest level seen in the Classical era. He paved the way for the style that was to follow, namely that of Beethoven’s great symphonic works.
However, in his last years his favor with the fickle Viennese audiences waned. Despite being appointed as the Imperial and Royal Court Composer, a position he had long wanted, Mozart found his small salary insufficient to live on. As his income lessened and his debts increased he and his wife Constanze found it necessary to move to less expensive lodging. Constanze was not in good health and their six-month old daughter, Theresa, had recently died. But, even as Mozart wrote pleading letters to his friends seeking financial help he composed his three greatest symphonies, No. 39 in E-Flat Major, No. 40 in G Minor, and No 41 in C Major (‘Jupiter’). This trilogy of Mozart’s most mature symphonies along with several other works was written in the span of two months in the summer of 1788.
chaikovsky is most noted for his works of melodic richness and orchestration, T which are heard in his classical ballet music,
the music and bring a “stormy applause” from audiences.
The underlying theme contains Tchaikovsky’s gracious melodic style. The challenge of altering the theme in each variation is met with great craftsmanship. Tchaikovsky admired Mozart greatly and his intention in this music was to echo the style of the late Baroque/early Classical period, with its highly decorative elements.
It is said that in one of his occasional fits of insecurity about this work that Tchaikovsky allowed the changes to stand. When asked by one of Fitzenhagen’s students if he would restore his original idea to the piece. Tchaikovsky replied, “Oh the hell with it! Let it stay the way it is.”
symphonies, suites and serenades. The Rococo Variations was his only full concerto for cello and orchestra. Written between December 1876 and March 1877 with the help of German cellist and fellow professor at the Moscow Conservatory, Wilhelm Fitzenhagen, this work is composed of a theme and seven variations. (Tchaikovsky’s original version contained eight variations.)
Tchaikovsky asked Fitzenhagen to go through the variations and make suggestions. The cellist apparently was very energetic in doing that. He enhanced the cello role greatly, rearranged the order of the variations, and even deleted the composer’s eighth variation. He did this to “cello-ize”
Symphony no. 39 in E f Major, K. 543
Wolfgang A. Mozart (1756-1791)
Following the introductory theme, which is repeated six times in the opening, we hear a lively, graceful Variation I. This is followed by a conversation between orchestra and soloist in Var. II. A change of key and tempo in Var. III returns to the original key in Var. IV. The fifth variation ends with a first and second cadenza. Number VI is melancholy and, after a brief pause, the soloist flies into the most difficult Var. VII.
Variations on a Rococo Theme Pyotr Ilyich Tchaikovsky (1840-1893)
The original manuscript has since been subjected to X-ray experiments, revealing that Tchaikovsky’s hand-written text was inked over. Since then the original version was finally published and has since been recorded. However, even today the Fitzenhagen version is what audiences hear.
37
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38
lthough Beethoven is said to have chosen his third symphony, the “Eroica”, A as his favorite, (the Ninth was not yet in
existence) the Symphony No. 5 in c minor is unquestionably his most popular. The music may have been forming in his mind as early as 1800 as some of his papers would indicate. However the work was completed and had its first performance in December 1808 in Vienna with the composer conducting. Perhaps the famous four-note passage, tata-ta TA, which opens the symphony, is the most quoted theme in musical history. Of these opening notes Beethoven himself said, “Thus Fate knocks at the door”. At a later time in history (World War II) the short-shortshort-long rhythmic pattern corresponded in Morse code to the letter ’V’ for Victory. This Fate motif is used to build a complete opening theme with the pattern appearing no less than forty-five times. In the beginning the horns call the theme, which is later passed between strings and woodwinds. The second movement, in contrast to the excitement
of the opening, brings a gentle, beautiful melody sung by the violas and cellos. It goes through a series of variations followed by the flute and woodwinds into a coda. Strings and woodwinds open the third movement in a mysterious and ominous manner, but soon the whole orchestra is involved and again we hear the four-note phrase of Fate. The third movement ends with a long-sustained pianissimo, and then proceeds without a break into the final movement. This last movement opens with three great chords in C major and Beethoven then ends with a triumphal march. This glorious music was composed during the middle years of Beethoven’s growing deafness, which began shortly before his 28th birthday. By 1817 he was essentially stone deaf. Despite such a tragic problem he continued to compose some of the greatest music the world has known. His music has the power to uplift and ennoble the human spirit – this gift, from a man struggling against his own great adversities.
ew York City-based cellist Claire Bryant enjoys an active and diverse N career as a leading performer of chamber
music, contemporary music, and the solo cello repertoire in premiere venues such as
in c minor, op. 67
Ludwig van Beethoven (1770-1827)
~ Joella Utley
Carnegie Hall, Southbank Centre, Suntory Hall, Lincoln Center, and the Barbican Centre. Ms. Bryant is a founding member of the acclaimed chamber music collective, Decoda - an Affiliate Ensemble of Carnegie Hall, and is the Principal Cellist of Trinity Wall Street’s chamber orchestra, Novus NY. Ms. Bryant has collaborated closely with artists such as Daniel Hope, Anthony Marwood, Emanuel Ax, Sir Simon Rattle, Dawn Upshaw, and the Weilerstein Trio, Saint Lawrence String Quartet, and the Danish String Quartet. Ms. Bryant is a frequent guest artist with Orpheus Chamber Orchestra, the Orchestra of St. Lukes, Carnegie Hall’s Zankel Band and Ensemble ACJW, of which she is an alumna.
Claire Bryant, cello
Symphony no. 5
Ms. Bryant has appeared as a soloist with orchestras from South Carolina to California, and Honduras to Finland performing concertos of Haydn, Elgar, Shostakovich, Tchaikovsky, Saint-Saens and Vivaldi, among others. Recent festival appearances include the Barbican Weekender Festival (UK), Festspiele Mecklenburg - Vorpommern (DE), Danish String Quartet Musikfest (DK), Carnegie Kids at Suntory Hall (JA), Mainly Mozart Festival, Portland Chamber Music Festival, Bennington Chamber Music Conference, Lincoln Center Festival, and Carnegie Hall’s Making Music Series (USA).
Ms. Bryant is equally engaged as an educator and advocate for inclusive arts in our society. Her international body of work in these areas was recognized in 2010 with The Robert Sherman Award for outstanding innovation in community outreach and music education by the McGraw Hill Companies. In 2009, Ms. Bryant founded a community residency project through chamber music in her native South Carolina called “Claire Bryant and Friends.” This endeavor brings worldclass artists to communities for weeklong residencies which go beyond the concert hall - bringing engaging pedagogy and performances into the public schools, advocacy forums supporting arts education, and community concerts and creative projects in diverse and innovative venues including hospitals, homeless shelters, and correctional facilities. She is a graduate of The Juilliard School and the San Francisco Conservatory of Music, where her primary teachers were Bonnie Hampton and Joel Krosnick. She was in the pilot class of The Academy -- A Program of Carnegie Hall, The Juilliard School and Weill Music Institute and served as an Assistant Faculty for Professor Bonnie Hampton at The Juilliard School from 2007 – 2012.
39
ProjectMaestro The Search for a New Conductor
Stefan Sanders Stefan Sanders is an imaginative musician, devoted educator and ardent champion of many types of music. Mr. Sanders is the newly appointed music director of the Fayetteville Symphony Orchestra and is also the Resident Conductor of the Buffalo Philharmonic Orchestra and Music Director of the Round Rock Symphony in Central Texas. Mr. Sanders has collaborated with an array of distinguished orchestras and guest artists. Recent guest conducting appearances have included the Nashville Symphony Orchestra, Rochester Philharmonic Orchestra, Sarasota Orchestra, Virginia Symphony Orchestra, Naples Philharmonic, Orquesta Sinfónica de Guayaquil (Ecuador), Filharmonia Warminsko-Mazurska (Poland), San Antonio Symphony, Symphoria (Syracuse, NY), Austin Symphony Orchestra, Buffalo Philharmonic Orchestra, Austin Lyric Opera, Corpus Christi Opera, and the Round Top International Festival Institute. Recently, Mr. Sanders was a featured conductor in the League of American Orchestras “Bruno Walter National Conductor Preview.” The prestigious conductor showcase is designed to feature
talented young conductors poised for music directorships with major American Orchestras and was hosted by the Nashville Symphony in May of 2016. Prior to a career as a conductor, Mr. Sanders was an internationally renowned trombonist, having performed as a soloist in North America, Asia and Europe. His performance of Eric Ewazen’s Concerto for Bass Trombone and Orchestra, with the Czech Philharmonic, can be heard on the Albany Records label. Mr. Sanders was a member of the Buffalo Philharmonic’s trombone section for seven seasons and has performed with several orchestras including the New York Philharmonic, Seattle Symphony Orchestra, the Florida Orchestra, and the Seattle Opera’s 2001 production of Wagner’s Ring Cycle. Mr. Sanders was a fellow at the American Academy of Conducting at Aspen under the tutelage of maestros, Robert Spano, Larry Rachleff and Hugh Wolff. He is a graduate of the Juilliard School, the University of Texas at Austin, and the Interlochen Arts Academy.
LEARN MORE: https://spartanburgphilharmonic.com/stefansanders
SEVEN QUESTIONS WITH STEFAN
1. What is your favorite movie?
The Shawshank Redemption, Casablanca, The New World Does HBO’s Game of Thrones count as a movie?
3. Coffee or Tea? Coffee!!!
iPhone or Android? has been the greatest concert 4. 2. What that you’ve attended? iPhone
Going to see the 1992 Metropolitan Opera production of Der Rosenkavalier with my Dad. We sat in the first row behind the conductor (a young Christian Thielmann). It changed my life. Tony Randall was sitting in the row behind us that night!
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5.Do you have any pets? We love dogs and can’t wait to get another one!
Maestro Sarah Ioannides’s brilliant twelve year legacy of innovative programming and artistic excellence coupled with the steadfast
are your 6. What favorite pair of shoes?
This is a little sad but...my navy blue Crocs. As a friend so eloquently pointed out, “Shoes that ugly BETTER BE comfortable!”
leadership of the SPO Board of Directors and administration, motivates me to envision further sustained growth and continued service to the citizens of Spartanburg. As music director, I aspire to create experiences that will unite our community through meaningful collaborations, relevant new projects, personal engagement with the community, committed long range educational programming, and most importantly passionate music making. Together I hope we will continue to enrich, inspire, and educate Spartanburg for generations to come.
“
“
Warmest greetings to you and your family. It is my distinct honor to introduce myself as a finalist for Music Director of the Spartanburg Philharmonic Orchestra! The SPO’s commitment to the culture and quality of life in Spartanburg is extraordinarily inspiring to me. In fact, it is the primary reason my wife and I chose to apply for this position. Over the last few months we have come to know Spartanburg as a community of high spirited, welcoming folks who are optimistic and enthusiastic for what the future will bring.
- Stefan Sanders
7. What is your family like?
I am an only child of Spanish (via Cuba) decent on my Mother’s side, and English and German decent on my Father’s side. My wonderful parents lived in Rabat, Morocco when they were young and that is where I was born. We moved to Austin, TX when I was three and began music lessons on the violin. My lovely wife is also from Texas. She is a harp player and teacher. We love spending time with our wonderful families and treasured friends; creating new experiences and memories together. She is an amazing woman, with whom I am truly fortunate to share my life with. 41
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Academy of St. Martin in the Fields Chamber Ensemble
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FEB 12 Attacca Quartet
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43
ProjectMaestro The Search for a New Conductor
STEFAN SANDERS
Patrick Dupré Quigley conducts
Saturday, November 4, 2017
|
7:00pm
|
T wichell Auditorium
Le Nozze di Figaro, Overture . . . . . . . . . . . . . . . Wolfgang A. Mozart
5 min
Concerto for Coloratura Soprano, op. 82 . . . . . . . Reinhold Glière 14 min featuring Kathryn Mueller, soprano I. Andante II. Allegro
Intermission
Symphony no. 2 in DMajor, op. 43 . . . . . . . . . . . . . . . Jean Sibelius I. II. III. IV.
Allegretto Tempo andante, ma rubato — Poco allegro — Molto largamente Vivacissimo — Lento e soave — Finale: Allegro moderato — Molto largamente
42 min
Programs subject to change Timings are approximate
44
ood evening and welcome to this program with your Spartanburg G Philharmonic Orchestra. My name is Patrick Dupré Quigley, and I’ll be your guide this evening. While every night spent at the symphony is a special one, the three pieces on tonight’s program make for a particularly exciting combination. Mozart, Gliere and Sibelius may seem like quite disparate composers to be included on the same program. In the pieces selected tonight, however, their aims—if not their compositional style—are in lockstep. Concert audiences today identify Wolfgang Amadé Mozart as a composer at the core of the symphonic repertoire. But Mozart almost certainly thought of himself as primarily a composer of opera rather than concert music. Mozart’s effortless melodic and dramatic styles were particularly well suited for the genre, and his operas laid the
rom Mozart, we move to Glière: the last in the line of the Russian F Imperial court composers including
Tchaikovsky, Rachmaninoff, Ipolitoff-Ivanoff, and Glinka. His fame in the United States was snuffed out, however, when the Iron Curtain fell and the Cold War began. The Coloratura Concerto is, simply, astounding. It is quite literally an untexted concerto for the human voice in the tradition of Rachmaninoff ’s “Vocalise,” with that the vocal fireworks of a Mozartean coloratura. Like Figaro’s Susanna, Magic Flute’s Queen of the Night, or Don Giovani’s Xerlina at her most ebullient, Glière’s soprano communicates all the vocal brilliance of a Mozart heroine and removes the need to pronounce words, allowing the singer to take control of a fiery,
foundation for Mozart’s future fame— not fully realized until after his death. The first performance of Mozart’s Le Nozze di Figaro (The Marriage of Figaro) was a seminal moment in music history. The opera would influence every composer who heard it from the day it entered the repertoire—not only did the music feel “easy” and “light,” but it played with operatic, symphonic, and dramatic form in a way that had never been seen or heard before. From the first notes of the overture, we hear Mozart the tone-painter. The quiet, quick motives in the strings that begin the overture set the stage: The music evokes both servants and nobility scurrying, quietly and—hopefully—in secret. Even before the opera begins, these anxious, mysterious lines give way to explosions of orchestral color, setting the scene for this most memorable of Mozart’s Italian operas.
Le nozze di Figaro, Overture Wolfgang A. Mozart (1756-1791)
muscular—and gorgeous—showpiece. The concerto displays the human voice to its fullest. It is one of the most fantastical, thrilling works that no one has heard of. This is an opera without a libretto. Our soloist for tonight’s performance of the Glière is Kathryn Mueller, a shining star of the American Early Music scene known for her stunning performances of the coloratura repertoire. With numerous GRAMMY® nominations, Ms. Mueller is one of the few American singers who can carry the weight of the Glière Concerto—and can navigate its notes, which are well out of the reach of most soprani. A resident of the Carolinas, Ms. Mueller is also on the faculties of East Carolina State University and NC State University.
Concerto for Coloratura Soprano, op. 82 Reinhold Glière (1875-1956)
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46
ibelius’s Symphony No. 2 is the culmination of the musical and S dramatic tradition that Mozart
started with Nozze: in the same way that Mozart through-composed the second half of the second act of Nozze, Sibelius wrote a conceptual drama for instruments as a tribute to nature’s majesty and wonder. From the pastoral beginning of the first movement to the triumphant, brassy ending of the Finale, Sibelius takes the Mozartean ideal a conceptual
step further by doing away with voices. Instead, Sibelius’s orchestra is the primary communicator of raw, tempestuous, and evocative emotion. Sibelius 2 is, in essence, the instrumental version of the Glière. It is an opera without singers. Full of joy, sorrow, and eventual triumph, Sibelius’s Second ends in rousing triumph, bringing tonight’s opera masquerading as a symphony to a close.
~ Patrick Dupré Quigley
Symphony no. 2 in D Major, op. 43 Jean Sibelius (1865-1957)
Kathryn Mueller soprano
escribed as a singer ”who thoroughly captures the imagination” by the D Albuquerque Journal, soprano Kathryn Mueller has also been praised by San
Francisco Classical Voice for her “lovely tone and easy agility.” Her frequent solo concert engagements across the United States include appearances with the Los Angeles Chamber Orchestra, American Bach Soloists, Portland Baroque Orchestra, the Washington Bach Consort, Santa Fe Pro Musica, Phoenix Symphony, New Mexico Symphony Orchestra, Winston-Salem Symphony, Tucson Symphony Orchestra, Miami’s Firebird Orchestra, Atlanta’s New Trinity Baroque, and Chicago’s Ars Antigua. She collaborates as a guest artist with the award-winning early music group Wayward Sisters, and has also sung operatic roles with companies including Arizona Opera and Bach Collegium San Diego.
the Carmel Bach Festival. She was a finalist in the 2012 and 2013 Oratorio Society of New York’s Solo Competition, winning the Frances MacEachron Award in 2013. Kathryn’s soprano duo Les Sirènes was one of 6 finalist groups in Early Music America’s 2012 Baroque Performance Competition.
Kathryn received a 2015 GRAMMY® nomination for her solo work on True Concord’s album Far in the Heavens. She has also recorded two GRAMMY-nominated albums with Seraphic Fire, and is featured as a soloist on recordings by New Trinity Baroque, the Santa Fe Desert Chorale, Tucson Chamber Artists, and Seraphic Fire, including Seraphic Fire’s best-selling Monteverdi Vespers of 1610, which reached the top of the iTunes classical chart.
2017-2018 performances include Kathryn’s debuts with the Charlotte Symphony, Memphis Symphony, and Spartanburg Philharmonic, and a repeat performance for the Arizona Early Music Society.
In 2011 Kathryn was one of four fellows in the prestigious Adams Vocal Master Class at
Kathryn gave the world premiere of Ananda Sukarlan’s song cycle Love and Variations, commissioned for her vocalpiano ensemble, the Swara Sonora Trio. She made her international debut in 2009 on an Indonesian concert tour with the Swara Sonora Trio, closely followed by concerts in Central Mexico with the baroque ensemble Capella Guanajuatensis.
Kathryn holds undergraduate and master’s degrees in music from Brown University and The University of Arizona, respectively, and spent a summer in Salzburg studying Lieder at the Mozarteum. She is based in Raleigh, NC and is on the voice faculties at East Carolina University and North Carolina State University.
47
ProjectMaestro The Search for a New Conductor
Patrick Dupré Quigley Conductor Patrick Dupré Quigley is the founder and artistic director of the internationally-acclaimed ensemble, Seraphic Fire. He frequently collaborates with the Cleveland Orchestra, the San Francisco Symphony, and the New World Symphony. He was nominated for a GRAMMY® Award for his recording of Brahms’s Ein Deutsches Requiem. This season, Quigley takes the podium at The Cleveland Orchestra in Mozart, the Utah Symphony in Haydn, and Seraphic Fire in masterworks of Bach, Monteverdi, Pärt, and the Pulitzer-prize-winning David Lang. During the 16/17 season Quigley made his San Francisco Symphony subscription conducting debut in Handel’s Messiah. Other guest conducting engagements include New World Symphony (Reich: Desert Music, Ligeti: Aventures, Monteverdi: Beatus Vir); Grand Rapids Symphony (Stravinsky, Respighi, Handel, Gluck); the Naples Philharmonic (Haydn, Charpentier). Mr. Quigley has also served as cover conductor for three programs with the San Francisco Symphony (Schumann and Strauss; Brahms and Berlioz; Bernstein) and Handel’s Messiah and for Bach’s St. John Passion with The Cleveland Orchestra.
In addition to his busy guest conducting schedule, Quigley regularly leads Seraphic Fire on critically-acclaimed tours. His performances have been described by the press as “extraordinary” (Gramophone), “authoritative” (The Philadelphia Enquirer), “inspirational” (The Chicago Sun-Times), “vivid, sensitive” (The Washington Post), and displaying “transformative brilliance” (New York Lucid Culture). He is the recipient of the Robert Shaw Conducting Fellowship, the ASCAP Adventurous Programming Award, and the Louis Botto Award for his entrepreneurial leadership of Seraphic Fire. Over his fifteen seasons at the helm of Seraphic Fire, one of the country’s premiere professional choral-orchestral ensembles, Quigley grew the organization’s budget to $1.6 million, started the Seraphic Fire Youth Initiative, launched the Seraphic Fire Media label (with two GRAMMY® Nominations), established Seraphic Fire’s endowment, and released fourteen recordings on the SFM label. Quigley holds degrees from the Yale University School of Music and the University of Notre Dame. He lives with his husband in Washington, D.C. where they are restoring a turn-of-the century row home.
LEARN MORE: https://spartanburgphilharmonic.com/patrickduprequigley
SE V E N Q U E ST IONS W I T H PAT R ICK
1. What is your favorite movie?
3. Coffee or Tea?
has been your favorite 2. What piece to conduct?
4. iPhone or Android?
Dead Poets Society
Mozart’s Requiem Mass 48
Cold-brew coffee made daily by Rob.
iPhone
I am excited and honored to be leading the Spartanburg Philharmonic in November. This orchestra is not only musically excellent; the ensemble and its fabulous musicians are fearlessly working to make the Spartanburg Philharmonic an integral part of the surrounding community: I could only be so lucky as to partner with the SPO on that journey. Rob and I have a serious passion for historical preservation, be it in music, architecture, or art. When we moved into our 1910 row house in DC three years ago, it had not been touched on the
5. LPs or Digital?
Spotify and my much-too-large CD collection.
are your favorite 6. What pair of shoes?
inside since a mid-1970s reno that blanketed the house entirely in grey and pink (BRIGHT pink!) shag carpet. Over two and ½ years, Rob and I slowly brought the house back to its former glory, living through a basement to third floor renovation that uncovered some of the glorious original character of the house. I am also a fourth-generation gardener. DC has great soil, so often, to clear my mind when I’m working on a new piece, I go outside and spend an hour tending to the roses, herb garden, and a thriving collection of ferns and hostas. I find that often many of the musical issues that confound me while sitting at the piano often become clear as day when trimming back the jasmine. While my and my husband’s work and travels have taken us completely around the globe, I find we are always happiest when we’re at the lake sitting on the dock, the grill is heating up, Rob is making homemade ice cream, and nature is putting on a great sunset.
“
“
My name is Patrick Dupré Quigley and I live in Washington, D.C., with my husband, Rob, (a constitutional litigator) and Red, our wonderful Norwich Terrier who, for the most part, runs our lives. I grew up in New Orleans as the oldest kid in an Irish-Cajun household. My childhood in New Orleans and my Cajun mother gave me a real taste for Louisiana cooking, and food, particularly made on my own grill or in our smoker, is one of my passions when I’m not conducting or working at the piano.
- Patrick Dupré Quigley
else should we know 7. What about you? I’m not a “Maestro;” I’m a guy who likes to make great music with great people for a great community that loves music.
Always, always my Asics running shoes. 49
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ProjectMaestro The Search for a New Conductor
STEFAN SANDERS
Scott Seaton conducts
Saturday, January 20, 2018
|
7:00pm
|
T wichell Auditorium
Il Signor Bruschino, Overture . . . . . . . . . . . . . . . Gioachino Rossini
5 min
Concerto for Violin no. 5, “Turkish” K. 219 . . . . . . . Wolfgang A. Mozart 31 min featuring Andrew Sords, violin I. Allegro aperto — Adagio — Allegro aperto II. Adagio III. Rondeau — Tempo di minuetto
Intermission
Symphony no. 4 in f minor, op. 36 . . . . . . . . . . . Pyotr Ilyich Tchaikovsky I. II. III. IV.
Andante sostenuto — Moderato — Allegro vivo Andantino in modo di canzona Scherzo: Pizzicato ostinato — Allegro Finale: Allegro con fuoco
44 min
Programs subject to change Timings are approximate
52
he Italian composer Gioacchino Rossini was undoubtedly the most T famous and popular opera composer of his day. His style dominated Italian opera in the first half of the 19th century. “Audiences took to his music as if to an intoxicating drug, or to champagne, with which Rossini’s bubbly music was compared.” His career in music began as a young man. At a point, when he was the sole breadwinner for his parents, Rossini composed more than twodozen operas between the dates 1813-1817. Il Signor Bruschino was one of these hastily composed works. The plot is the typical comedy of his time – a farce involving frustrated lovers, a shunned suitor, a derelict son and an overbearing father. The
t age six Wolfgang Amadeus Mozart was given a half-sized A violin while on a trip to Vienna. The
young boy studied this instrument on his own. One would have thought that his father Leopold (1719-1778) taught him to play the instrument. Leopold was an excellent violinist, a composer and author of an esteemed manuscript on violin technique. However one year later, when seven-year-old Mozart joined a group of musicians in a sightreading session in his home, his father was amazed at his son’s ability to play the music from start to finish. At age 19, between April and December 1775, young Mozart composed five concertos for violin and orchestra. This was during his last years in Salzburg where he worked as the concertmaster for the Archbishop’s court orchestra. Each of the concertos is scored for 2 oboes, 2 horns and the traditional string choir, which would have been supported by a keyboard base. While his first four
first performance of the opera was January 27, 1813 in Venice. Although the opera itself was not a success and is seldom performed today, the Overture has remained popular and is frequently heard as the curtain raiser on concert stages. This lighthearted, energetic music includes a unique effect in which the second violins strike their bows rhythmically on the music stand, a pattern that repeats throughout the piece. This use of the strings produces a percussive effect that pleased audiences.
Il Signor Bruschino, Overture Gioachino Rossini (1792-1868)
violin concertos followed the pattern established by Vivaldi, the fifth in A Major departs from the strict threemovement fast-slow-fast form using many repeated melodies. Violin Concerto No. 5 was much longer than concertos before and required greater technical skill to perform. Mozart introduced more lyrical melodies and changes of mood than previous concertos utilized. An opening orchestral theme would later become an accompanying voice below the violin. The final movement in this work is in rondo form – a musical structure in which the repeating main theme is interrupted by episodes of music with differing mood, tempo or character. The main theme then closes the movement. The name “Turkish” applies to this Finale as it imitates a style association with the Turks. In it we hear the cellos and basses play by using the wooden part of their bows on the violin strings, thereby producing a percussive sound.
Concerto for Violin no. 5, K. 219 Wolfgang A. Mozart (1756-1791)
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o say that Tchaikovsky’s Symphony No. 4 was composed during a time of T considerable stress is an understatement.
Throughout his life he was a highly emotional individual whose music is noted for its sensitivity, melodic richness and romantic character. In fact, his music has been called his own emotional autobiography expressing his inmost feelings. He was born with a “fragile and hysterical temperament” … “a child of glass,” and in later years always afraid that his homosexuality (a capital crime in Czarist Russia) would be exposed. His one attempt at marriage lasted less than three months. It was during this tumultuous time that he was composing his Fourth Symphony. In December 1876 Tchaikovsky befriended Nadezhda von Meck who became his patroness. This wealthy woman would support Tchaikovsky through a generous monthly stipend for fourteen years. However, by her decree, they would avoid meeting in person. Indeed, they corresponded almost daily but never met face to face.
Of his Fourth Symphony Tchaikovsky wrote to von Meck, “The introduction is the seed of the whole symphony. This is Fate…” A strong declaration from the brasses and bassoons (the Fate motive) opens the symphony. We hear the Fate theme repeatedly during the first movement and again at the end of the final movement. It has been compared with the fate motive in Beethoven’s Fifth Symphony. The second movement, Andantino, with its lovely oboe solo and supporting strings precedes the Scherzo in a lighter vein with pizzicato strings. Tchaikovsky described this movement as a series of “capricious arabesques.” The Finale, Allegro con fuoco (with fire), is just that – fiery and fast, before the sudden repeat of the Fate theme and a triumphant and heroic ending. Symphony No. 4 premiered March 4, 1878 in Moscow with Nikolai Rubinstein conducting. It was dedicated to Nadezhda von Meck with her name concealed: To my best friend”.
Born in Newark, Delaware, Sords began piano lessons at 5, and shortly thereafter asked for a violin. After studying for seven years with Liza Grossman, Sords was a pupil of Linda Cerone, David Russell, and CheeYun Kim at both the Cleveland Institute of Music and Southern Methodist University.
ollowing a decade in the spotlight, American violinist Andrew Sords has F garnered accolades on 4 continents for his
performances combining visceral virtuosity and ravishing tone. Hailed in the press as “a fully formed artist” (Kalisz-Poland News), “utterly radiant” (Canada’s Arts Forum),
in f minor, op. 36
Pyotr Ilyich Tchaikovsky (1840-1893)
~ Joella Utley
and “exceptionally heartfelt and soulful” (St. Maarten’s Daily Herald), Sords has received numerous awards and distinctions reflecting his career trajectory, including the Pittsburgh Concert Society’s Career Grant, the National Shirley Valentin Award, and the NFMC Young Artist Award. A recent debut with the Boulder Chamber Orchestra (Arensky concerto) prompted Opus Colorado to declare: “[Sords’] remarkably flexible bow arm and relaxed left hand created the impression that he was having no difficulty whatsoever”.
Andrew Sords, violin
Symphony no. 4
As a prolific international recitalist and soloist, Sords has appeared in hundreds of engagments. From Melbourne to Motor City and from Flagstaff to Toronta, Swords has recieved critical acclaim around the world. Sords has appeared on the festival circuit including summer appearances in Fairbanks, Minneapolis, Pittsburgh, and the Republic of Georgia with Liana Isakadze’s World Virtuosi. In 2018, Sords will collaborate
with pianist Elyane Laussade at Australia’s Brunswick Beethoven Festival. After a successful debut at the Glenn Gould Theatre in 2015, Sords will return with the Elgar Violin Concerto celebrating 2018’s Canada Day. A man of diverse interests, Sords competed in the charity fundraiser “Pittsburgh’s Dancing With The Stars” as the first classical artist to do so. Sords has performed numerous times for LGBT outreach, including both the Tchaikovsky and Beethoven Violin Concerti in repeat collaborations with the Minnesota Philharmonic and Atlanta Philharmonic. Featured four times as a guest on Sirius XM’s Derek and Romaine Show and profiled by “OUT Magazine”, NPR’S Morning Edition, and hundreds of media outlets, Sords also performed the National Anthem for ESPN2’s WNBA Pride Game (2014). Sords’s recent collaboration with Sean Christopher on the New-Age album “Transcendence” has been a commercial and critical success, with reviews stating: “much of this is owed to the gorgeous and precise playing by Andrew Sords, whose violin adds a thrumming undercurrent of pure life throughout the album’s stainless steel structure.” This album is available on iTunes, Amazon.com, and CDBaby.
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ProjectMaestro The Search for a New Conductor
Scott Seaton Conductor Scott Seaton is in increasing demand on the international level after having won the INTERAKTION competition in Berlin and as a semifinalist in the 2012 Sir Georg Solti International Conducting Competition in Frankfurt, Germany. He has been praised as a conductor with “finesse, clarity, and precision” by the Luxembourg Times and has left audiences “breathless” according to Entertainment News Northwest. Seaton is entering his second season as Music Director of the North State Symphony and was recently named Principal Conductor of the Veridian Symphony Orchestra. From 2012-2015, he was the Music Director of the Minot Symphony Orchestra in North Dakota where he conducted classical, family, education, and pops concerts, and collaborated with internationally acclaimed guest artists. Additionally, he has served as Assistant Conductor of Festival Opera (Walnut Creek, California). Since his international debut in 2007 with the Orchestre Philharmonique du Luxembourg, Seaton has conducted orchestras spanning North America, South America, and Europe. In recent seasons he has performed with the South Jutland Symphony Orchestra (Denmark), Cabrillo Festival Orchestra, Toronto Philharmonia Orchestra, and the Mansfield Symphony
Orchestra. He has also worked with numerous other orchestras, including the Brandenburger Symphoniker, Fort Worth Symphony, Milwaukee Symphony, Charlotte Symphony, Memphis Symphony, National Symphony Orchestra, Bamberg Symphony, Orquesta Filarmónica de la Universidad Nacional Autónoma de México, Cincinnati Symphony, and Detroit Symphony Orchestra. In 2011, Seaton was invited to and won the INTERAKTION competition and was given the opportunity to conduct an orchestra composed of all of Germany’s top orchestras, including the Berlin Philharmonic, Konzerthaus Orchestra, German Symphony Orchestra, and the Radio Symphony Orchestra Berlin. He also served as Assistant Conductor at the 2011 Hot Springs Music Festival as well as having been invited by James Levine to study at the prestigious Tanglewood Music Center. Originally from Nashville, Tennessee, Seaton has earned degrees from the Université de Montréal, the New England Conservatory, and the Blair School of Music at Vanderbilt University. An avid cyclist and runner, Scott recently did a solo cross-country cycling trip from the Oregon Coast to Boston and also qualified for the Boston Marathon in the 2015 Twin Cities Marathon.
LEARN MORE: https://spartanburgphilharmonic.com/scottseaton
SEVEN QUESTIONS WITH SCOTT
1. What is your favorite movie? 3. Pancakes or Waffles? October Sky has always been a source of inspiration for me.
Can one really go wrong with ANY type of breakfast food??!
has been your favorite 2. What 4. iPhone or Android? piece to conduct? Stravinsky’s The Rite of Spring 56
I have generally preferred Android devices because of the battery life and picture quality, but I do have a MacBook.
you have any items that 5. Do are travel necessities?
Toothpaste and shampoo are pretty important!
are your favorite 6. What pair of shoes?
Symphonic concerts can be such exciting experiences, and I constantly strive for ways to connect timeless favorites to more recent music while creating meaningful collaborations within the community along the way. During my time in Spartanburg in the 2017-18 season, I look forward to talking to the orchestra and the community about what the SPO means to them and using this collaboration to formulate a cohesive plan about how to move forward if selected as the next Music Director. I am thrilled about the possibility of being the next Music Director of the SPO and if selected would work hard to make the SPO exciting and relevant to people of all ages in the region.
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Growing up in the South certainly had a huge impact on who I am today. Early days running around barefoot in country fields and learning how to whittle taught me the importance of a particular sense of rhythm and connection that is only found in the South. I am thrilled to be a candidate with the wonderful Spartanburg Philharmonic Orchestra, an orchestra that is not only filled to the brim with artistic possibility, but also that exists in a region rooted in the essence of who I am. I am ecstatic at the idea of being closer to family and being an ambassador for classical music and the arts in a community bursting at the seams with possibility!
- Scott Seaton
7. What is your family like?
My Mom is quite the craftswoman and gardener and my Dad just put in several years as a skydiving instructor. I’ve been fortunate that my family has been incredibly supportive of my passions during my formative years.
My running shoes are both very comfortable and they keep me sane. 57
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SPOTLIGHT
The Percussion Section BY ADENA & MAT T MC DAN I EL , C O-PRI NC I PAL S
When we are not performing with the Spartanburg Philharmonic, we stay busy in a variety of ways. We have two sons, who at ages 8 and 6 keep us hopping. Matt is the percussion director at Spartanburg High School and teaches 5th and 6th grade band classes at Boyd Elementary, Pine Street Elementary and McCracken Middle Schools. Adena is the music teacher at Houston Elementary School and is the percussion instructor at Converse College where she performs regularly with their Wind Ensemble and Orchestra. 58
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Percussion is defined as an instrument that you strike, shake, or scrape. Limited only by your imagination, the percussion family is a massive collection of instruments from all over the world. New percussion instruments are still being invented and include car parts, kitchen tools, hardware store finds, and sound effects. Percussion instruments can be melodic, like a xylophone or timpani, or unpitched, like a snare drum or cymbal. As with the other members of the orchestra, percussionists provide almost all of the instruments they play for each concert. As
a result, we have acquired quite a collection of instruments from large to small over our 13 or more years of performing with the SPO. A quick inventory yielded 25 cymbals, 12 snare drums, 12 hand drums, 10 gongs, 7 triangles, 3 tambourines, 3 drum sets and dozens of stands of all shapes and sizes. Our collection is housed in our bonus room which doubles as Matt’s private teaching studio. A percussion gem to look for this SPO season comes at the end of Tchaikovsky’s
Fourth Symphony (p.52). The cymbal part is both challenging and exciting to perform. With multiple techniques employed by the cymbal player including various lengths of crashes, quick chokes, and a passage with over 20 fast notes consecutively without a rest, this cymbal part ties together the excitement at the end of the symphony in a way unique to percussion. This particular cymbal passage serves as a staple in auditions across the world for orchestral percussion positions. As part of our co-principal percussion duties, we assign parts for each concert, and Matt has already “called” this cymbal part for his very own. A few things to consider about percussion instruments: all percussion parts are considered solos as only one person is performing each. Also, most percussion instruments are played without the performer actually touching the instrument. Whereas other instruments are tactile with the performer touching the instrument in multiple locations, percussionists most commonly strike their instruments with a stick or mallet removing the physical contact from the player. Compared to a sport, percussion would more closely resemble tennis or golf over basketball or football. Percussionist can often be spotted in the back of the orchestra counting rests. It is not unusual for a piece to have hundreds of measures of rest before the performer gets to play a few notes and count some more rests. It wasn’t until the twentieth century that composers began exploring more ways to keep the percussion section in the orchestra busy. Perhaps the best part about playing in the percussion section is the variety. Each concert uses different instruments, various combinations of sounds, and new challenges for the performer.
Striking the Right Note Greenville Health System (GHS) thanks the Spartanburg Philharmonic Orchestra for its role in making our community a great place to live, work and play. GHS serves as the Upstate’s premier healthcare resource, offering the right care at the right time in the right place. From the expertise of highly trained clinicians to advanced technology and compassionate care, we offer the services you and your family need to achieve and maintain a healthy lifestyle. To learn how we can help you be fit as a fiddle, visit ghs.org.
ghs.org 17-0785
Downtown Spartanburg 307 W Main St. 864-586-1289
Friendly service and amazing food!
Seafood (Australian sea bass, low country boil, flounder) Wild Game (Grilled quail, frog legs, gator bites) & More (Southern Cuisine, steaks, lamb, wings & burgers)!
Live music every weekend!
Comfortable setting with relaxing lounge areas Full Bar Private Party Room Available
Hours of Operation: Tuesday through Thursday 5 pm - 10 pm Friday & Saturday 5 pm - 12 am Plus Lunch Thursday, Friday, &Hear Saturday HERE11 - 259
Sat urday, April 14, 2018
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7:00pm
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T wichell Auditorium
The Music of
John Willia ms with guest conductor John Young Shik Concklin
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A Tribute to John Williams Adapted by Paul Lavendar
5min
The Mission Theme for NBC Nightly News
4min
Highlights from Jurassic Park arr. Calvin Custer
12min
Schindler’s List featuring Joanna Lebo, violin 1. Main Theme 2. Jewish Town
9min
Raiders March Theme for Indiana Jones
5min
Adventures on Earth Suite from E.T.
10min
INTERMISSION
Olymipic Fanfare Official Music for the 1984 Games
5min
Star Wars Suite
24min
Harry Potter Suite
17min
1. Main Title 2. Princess Leia’s Theme 3. The Imperial March Darth Vader’s Theme 4. Yoda’s Theme 5. Throne Room & End Title 1. Hedwig’s Theme 2. The Sorcerer’s Stone 3. Nimbus 2000 4. Harry’s Wondrous World
Programs subject to change Timings are approximate
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G U E S T
C O N D U C T O R
John Young Shik Concklin ohn Young Shik Concklin, conductor, is praised for his clear beat, strong sense of Jrhythm, inviting gravitas, and innovative
approach. At age four, he began his musical training with the aim of becoming a conductor, receiving his first opportunity to lead an orchestra as a young teenager. Recently, he completed his tenure as Music Director of the Hendersonville Symphony Youth Orchestras. He led the program to new artistic heights–growing participation and steadying fundraising efforts while doing so. Achievements included adding a youth chorus to the program, installing a concerto competition, and commissioning new works. Prior to his position with HSYO, Mr. Concklin held concurrent positions at the Cleveland Institute of Music and Cleveland Pops Orchestra as assistant conductor. Mr. Concklin’s career began as the Associate Conductor and Creative Director of the
Georgia Symphony Orchestra (GSO). Throughout his tenure, he showed great versatility, leading the orchestra in subscription, education, and pops concerts while also serving administratively. His duties included artistic and operational management of the 400-student youth orchestra program, educational program development, and community engagement. While in Atlanta, he also founded the strings program at Mount Paran Christian School and maintained a private violin and viola studio. Conducting and adjudication at the collegiate level have remained a priority throughout Concklin’s career. He has taught at many institutions across the US, including Oberlin Conservatory, Kent State University, Vanderbilt University, the Indiana All-State Festival, and Converse College, to name a few. In addition, he has continued his project from Yale School of Music entitiled
“Music and Art,” through which students utilize music and art as catalysts for creative writing. Mr. Concklin studied at Vanderbilt University, Yale University, and the Cleveland Institute of Music. He has been a fellowship conductor at Aspen Music Festival, a teaching assistant at the Brevard Music Center, and a finalist at the New World Symphony and Debut Orchestras. He regularly performs as a violist with the Greenville, Spartanburg, Asheville, and Hendersonville Symphony Orchestras. His mentors have included David Zinman, Carl Topilow, Shinik Hahm, and Robin Fountain. John lives in Greenville with his wife, Lauren, and dog, Herbie. When not conducting, John also serves as Principal Viola with the Spartanburg Philharmonic Orchestra.
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featuring Pierres LUNCH
Monday – Friday 11AM – 3PM DINNER
Wednesday – Friday 5pm – 10pm S U N DAY B R U N C H
11am-4pm for Dinner Reservations call:
(864) 707-5554
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T
S. REEL ROBERTSON
Certified Public Accountant 721 E. Main Street Spartanburg, SC 29302
(864) 583-2450
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Fax: (864) 582-7332 reel@sreelrobertsoncpa.com
United Arts Fund Donors July 1, 2016-June 30, 2017 When you support Chapman Cultural Center you are supporting our mission of providing cultural leadership for Greater Spartanburg by developing, strengthening, and promoting the scope, excellence and educational role of the arts, humanities and sciences, and to further their significance in the life of our community and all of its citizens. Corporate Donors
Public Grants National Endowment of the Arts City of Spartanburg County of Spartanburg South Carolina Arts Commission South Carolina Dept. of Education Corporate Visionary American Credit Acceptance, LLC Duke Energy Foundation Inman-Riverdale Foundation JM Smith Foundation Milliken Foundation Women Giving for Spartanburg Corporate Founders’ Circle Bank of America - Spartanburg BMW Manufacturing Company, LLC Denny’s Corp JM Smith Corporation Johnson Development Associates Mary Black Foundation OTO Development Spartanburg Regional Healthcare System The Gibbs Charitable Foundation Wells Fargo Foundation Corporate President’s Circle Alfred Moore Foundation Coca-Cola Bottling Company United, Inc. McAbee, Schwartz, Halliday and Co. Metromont Corporation SEW Eurodrive, Inc. Shurburtt Group, LLC Southern States Packaging Co. Southeastern Printing TD Charitable Foundation The Peterson Family Fund Tryon International Equestrian Center White Oak Management, Inc Corporate Pacesetter Advance America Blue Cross and Blue Shield of South Carolina Budweiser of Spartanburg Contec, Inc. Greenville-Spartanburg International Airport KapStone Paper and Packaging Corporation Kohler Company Marriott at Renaissance Park Michelin North America, Inc. Spartanburg Security Finance Corp. Spartanburg County Foundation SunTrust Foundation Tindall Corporation White’s Pine Street Exxon William Barnet & Son, LLC WSPA TV Corporate Leader Blackwood Associates Inc. Carolina Alliance Bank Duer/Carolina Coil, Inc. Dunbar Construction Company,Inc. First Citizens - Spartanburg Founders Federal Credit Union Jeff Haulbrook, Inc. Leigh Fibers Inc. Mary Black Foundation Inc. Molina Healthcare NAI Earle Furman National Bank of South Carolina
Parker, Poe, Adams & Bernstein, L.L.P. Parris Lawn Management Polydeck Screen Corp Publix Super Markets Charities Tate Metalworks, Inc. The Bain Foundation Waldrop Inc Walmart Supercenter #1035 Westside Young Office Zimmer America Corporation Corporate Patron George Johnson Insurance, Inc. Corporate Partner AFL Atchison Transportation Services Better Homes and Gardens Real Estate, Young & Company Colonial Trust Company CWS Insurance Agency Inc. Green Textile Associates, Inc. Hodge Floors IT Pros Jeff Horton Insurance, Inc. Johnson Smith Hibbard and Wildman McCutchen Engineering Assoc, PC Merit Distribution Group Pacolet Milliken Enterprises The Piedmont Club United Community Bank Walmart Supercenter #1281 Corporate Supporter Caroline’s Cakes ComFab Inc. Comfort Keepers Event Rentals J. W. Woodward Funeral Home Inc Mezger, Inc. Performance Payroll Stone Lighting Corporate Associate Action Instant Printing, Inc. Brock Realty & Construction Costco Hayssen Flexible Systems IBM Matching Grants Program Law Insurance Agency QCS, Inc. Riffenburg Insurance Services, LLC The Spartan Weekly, Inc. Corporate Friend Estes Enterprises and Interiors Nash Electric Supply Quality Cleaning Service LLC RCS Enterprises Thursday Study Club
Individual Donors
Visionary Circle Mrs. Earlene G. Cyrill Mr. and Mrs. George Dean Johnson, Jr. Founders’ Circle Mr. and Mrs. J. Michael Kohler, Jr. Mr. and Mrs. Thomas P. Nederostek Mr. and Mrs. Geoffrey Wilson President’s Circle Mr. and Mrs. Robert W. Allen Mr. and Mrs. William Barnet III Mrs. Elizabeth S. Chapman Mr. and Mrs. Walter S. Montgomery, Jr. Mr. and Mrs. Peter Weisman Pacesetter Mr. and Mrs. Charles J. Bradshaw
Mrs. Donna Cart Ms. Beth C. Cecil Mr. and Mrs. E. Dixon Crenshaw, Jr. Mr. Frederick B. Dent, Sr. Mr. Jimmy N. Gibson and Dr. Karen M. Czuba-Gibson Ms. Joan Gibson Mr. and Mrs. Barry B. McNaughton Mr. and Mrs. John D. Montgomery Mr. and Mrs. Corry W. Oakes III Mr. and Mrs. Eliot Stone Leader Dr. and Mrs. G. Ashley Allen Dr. and Mrs. Mitchell H. Allen Dr. Thomas Ashley and Dr. Juliette Saad Mr. and Mrs. Gregory J. Atkins Mr. and Mrs. Robert D. Atkins Mr. and Mrs. Andrew M. Babb Mr. and Mrs. Vollie C. Bailey III Mr. W. D. Bain, Jr. Mr. and Mrs. Stanley Baker Mr. and Mrs. John P. Barber Mr. and Mrs. Thomas G. Barnet Mr. and Mrs. Bert Dixon Barre Mr. and Mrs. H. Walter Barre II Mr. and Mrs. John E. Bauknight IV Mr. Kyle Riser and Ms. Virginia Benintende Mr. and Mrs. William D. Blackford Mr. and Mrs. Glen B Boggs II Mr. and Mrs. Pascal S. Boyd Dr. and Mrs. James E. Bradof Mr. and Mrs. George Brandt III Mr. and Mrs. Walter M. Brice II Mrs. Mellnee G. Buchheit Dr. John M. Bullard Mr. and Mrs. Ethan R. Burroughs Mr. and Mrs. William H. Burton III Dr. and Mrs. Henry Frederick Butehorn III Dr. and Mrs. Louis Buttino Dr. and Mrs. B. Brant Bynum Mr. and Mrs. Jason D. Bynum Mr. and Mrs. William A. Caldwell Dr. and Mrs. Ernest Camp III Mrs. Alyson Campbell and Mr. Andrew Tabor Mr. and Mrs. Christopher L. Cannon Mrs. Marjorie Cannon Mr. and Mrs. William Z. Cannon Ms. Kathleen M. Cates Mr. and Mrs. MacFarlane L. Cates, Jr. Mr. and Mrs. C. Cam Cecil Mr. and Mrs. Randall K. Chambers Mr. and Mrs. Norman H.Chapman Mr. and Mrs. Robert H. Chapman III Mr. and Mrs. William Cobb Mr. and Mrs. Jerry A. Cogan, Jr. Mr. and Mrs. Jerome R. Cogdell Mr. and Mrs. William M. Coker The Honorable and Mrs. J. Derham Cole, Sr. Mr. and Mrs. Justin Converse Mr. and Mrs. Martin S. Cornelson Mr. and Mrs. Paul J. Cote’ Mr. and Mrs. Kenneth R. Couch Mr. and Mrs. Julian Crawford Mr. T. Kenneth Cribb, Jr. Mr. and Mrs. Daniel E. Cromer Mr. and Mrs. Christopher M. Crowley Mr. and Mrs. Chris A. Dorrance
Mr. and Mrs. Raymond A. Dunleavy Mrs. Angelina Painter Eschauzier Mr. and Mrs. C. Sloan Evans Ms. Jennifer Evins Mr. and Mrs. Andrew J. Falatok Mr. and Mrs. John P. Faris, Jr. Mr. and Mrs. Gerhard H. Faulstich Mr. Michael Ferguson Dr. Elizabeth A. Fleming and Mr. Edward I. Weisiger Mr. and Mrs. A. Gordon Floyd Mr. and Mrs. W. Russel Floyd Mr. and Mrs. Lawrence E. Flynn,Jr. Ms. Cordelia L. Fort Ms. Elaine T. Freeman Mr. and Mrs. H. Laurence Fritz, Jr. Dr. and Mrs. J. Sidney Fulmer, Sr. Mr. and Mrs. James S. Fulmer, Jr. Mr. and Mrs. John W. Gandy Mr. and Mrs. Barney G. Gosnell Mr. James H. Grier Mr. and Mrs. John D. Groves Mr. and Mrs. Roger Habisreutinger Mr. Steven A. Hairfield Mr. and Mrs. Troy M. Hanna Mr. and Mrs. Thomas E. Hannah, Sr. Dr. and Mrs. John A. Harrill, Jr. Miss Elisabeth E. Hayes Mr. Gaetan Hemond and Ms. Lisa Hemond Mr. and Mrs. J. Howard Henderson Mr. William C. Hightower and Dr. Mary Lou S. Hightower Dr. and Mrs. Michael W. Holmes Dr. Leslie W. Howard, Jr. Mr. and Mrs. Michael Hrubala Mr. and Mrs. James W. Hudgens Mrs. Elsa P. Hudson Henry and Betty Jackson Ms. Sarah Chapman Jackson Dr. and Mrs. William A. James Louise and David Johnson Mr. and Mrs. George Johnson Mr. and Mrs. Stewart H. Johnson, Sr. Ms. Wallace Eppes Johnson Dr. Joseph Kavanagh and Dr. Julie Kavanagh Mr. Christopher D. Kennedy Mr. and Mrs. Thomas A. Killoren, Jr. Dr. and Mrs. Harry W. Kinard Dr. and Mrs. Sonny King Mr. and Mrs. Joseph Lauer Dr. and Mrs. Wood N. Lay Mr. and Mrs. Paul H. Lehner Mr. and Mrs. William Lowndes III Dr. and Mrs. W. Brownlee Lowry Mr. and Mrs. William Alan Lyles Mrs. Nancy T. Lyon Mr. and Mrs. Edward Mabry Mr. and Mrs. William Mayrose Mr. and Mrs. John S. McBride, Jr. Dr. and Mrs. Thomas R. McDaniel Mrs. Sonia B. McDuffie Mr. Thomas P. McMeekin Mr. and Mrs. Leslie L. McMillan,Jr. Mr. Stanford M. McMillan Mr. and Mrs. Michael L. Menard Don and Mary Miles Mr. Scott K. Mitchell Mr. and Mrs. William H. Mitchell Mr. and Mrs. Walter S. Montgomery IV
Mr. and Mrs. William James Montgomery Mr. John Kenneth Moore and Ms. Susan Bridges Mr. and Mrs. Thomas F. Moore Mr. and Mrs. King Mueller Mr. and Mrs. Douglas B. Nash Mr. and Mrs. George Nixon Mr. and Mrs. J. Patrick O’Shaughnessy Mrs. William W. Old III Mr. and Mrs. Stephen Parrott Mrs. Thomas P. Pennell Mrs. Anne P. Perrin Mr. and Mrs. Craig M. Phillips Mr. and Mrs. John S. Poole Dr. and Mrs. Jan H. Postma, Jr. Mr. and Mrs. L. Perrin Powell Ms. Thelma A. Powell Mr. and Mrs. Norman F. Pulliam, Sr. Ms. Nancy Freeman Rainey Mr. and Mrs. John F. Renfro, Jr. Mr. and Mrs. Robert P. Richardson V Dr. and Mrs. Regis H. Robe Mr. and Mrs. C. Leslie Roberson Mr. and Mrs. Randy Romberger Dr. and Mrs. Nayef Samhat Mr. and Mrs. G. Garrett Scott Mrs. Prudence S. Scott Dr. and Mrs. Peter A. Sereque Mr. and Mrs. Marvin Siegel Mr. and Mrs. John Simon Dr. and Mrs. Steven J. Smiley Mr. and Mrs. Ron G. Smith Mr. and Mrs. Warwick F. Spencer Mr. and Mrs. Roland A. Stebbins Paige and Kyle Stephenson Mr. George E. Stone Mr. and Mrs. Brian D. Tate Mr. and Mrs. David E. Tate Mr. and Mrs. George C. Todd, Jr. Dr. Joella F. Utley Mr. and Mrs. Manuel Vallarino Mr. and Mrs. Gregory H. Wade Mr. and Mrs. Benny E. Waldrop Mr. and Mrs. Benjamin R. Wall Mr. and Mrs. John T. Wardlaw Ms. Lindsay L. Webster Dr. Charles White and Ms. Ruth Cate Mr. and Mrs. John B. White, Jr. Mr. and Mrs. Donald B. Wildman Mr. William Wilkinson and Mr. Robert K. Bellinger Mr. and Mrs. Benjamin S. Willard Mr. and Mrs. William G. Willard III Mr. and Mrs. James C. Wilson, Jr. Mr. and Mrs. Donald P. Woodward Mr. and Mrs. James C. Wright Mr. and Mrs. Michael K. Young Mr. and Mrs. Thomas R. Young III Mr. and Mrs. Kurt Zimmerli Mr. and Mrs. Mark J. Zimmerli
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PATRON INFORMATION Restrooms are located off of the first floor lobby and next to the handicap accessible entrance in the auditorium.
We are unable to issue refunds for unused tickets. However, if you are unable to attend a concert, we encourage you to donate your tickets. When you donate your tickets to the SPO, you not only receive a donation tax receipt, but you also share your seat with another music lover. If you would like to give in this way, please notify our ticket office at least 24 hours prior to the performance. Ticket donation:
If a concert is canceled or rescheduled due to inclement weather, a tax letter will be provided for any ticket returned within 24
hours after the original concert date. Seating: Twichell Auditorium uses a
reserved seating system, so please keep your ticket with you at all times to verify section and seat specifics should there be any confusion. Chapman Cultural Center Theatre uses a general admission system and does not reserve seating.
Late seating: For the listening pleasure
of our audiences, late arriving patrons will not be seated while music is being performed. Latecomers will be seated at the first appropriate pause in the program. Additionally, those patrons who must leave prior to the end of the performance are asked to leave only between selections if at
all possible. In Case of Emergency: Prior to the performance, we request that you familiarize yourself with the locations of all exits in case of an emergency. If the power to the building should be interrupted for any reason, our generator will begin within 10 seconds for lighting. Food/Beverage: No food or drink,
other than bottled water, is allowed in Twichell Auditorium.
Cameras, cell phones, recorders, watch alarms, & similar devices:
To ensure a quality experience for everyone, the use of flash-photography or video/audio recording equipment is strictly prohibited. Patrons are asked to turn off or mute (not just turn to vibrate) all personal electronic devices prior to the performance.
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Continue THE JOURNEY.
Lifelong Learning at Wofford wofford.edu/lifelonglearning ¡ 864-597-4415
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In the Face of Uncertainty, We Give Them Hope, Love & Immediate Support.
Cancer imposes heavy burdens on all families. When a child is diagnosed those burdens are magnified.
Many families need help with paying for travel to cancer treatments and meals and lodging while they are there. In addition to financial help, many families need assistance with making travel arrangements and accessing other resources during their time of crisis. As each family’s unknown journey unfolds, The Children’s Security Blanket (CSB) steps up alongside them to offer comprehensive support and loving compassion. Won’t you join our efforts to lighten the burdens of these brave children and their families as they face the greatest challenge of their lives?
This message sponsored by a thoughtful CSB friend.
864-582-0673 | Laura@ChildrensSecurityBlanket.org | ChildrensSecurityBlanket.org | “Like Us” on facebook.com/TCSB.org HearHERE
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be more BRYCE, 9TH GRADER Junior Scholar, musician, aspiring novelist
EDUCATION FOR LIFE
3K through 12th grade 1701 Skylyn Drive, Spartanburg, SC 29307 864.582.7539 admissions@sdsgriffin.org spartanburgdayschool.org