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Marin Alsop, Music Director MArch – April 2016 A magazine for the patrons of the Baltimore Symphony Orchestra Cracking the Concert Hall New works ...

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Marin Alsop, Music Director

MArch – April 2016

A magazine for the patrons of the Baltimore Symphony Orchestra

Cracking the Concert Hall

New works by women composers counter inequality in the orchestral world.

Director Kwame Kwei -Armah holds forth on Porgy

Save the Date for John Waters’ Hairspray

Markus Stenz is back for a two -week residency

p

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contents Departments 2 ) Letter from the President & CEO 4 ) In Tempo: News Of Note

{

6 ) BSO Live: Calendar of Events 12) Orchestra Roster 38 ) Honor Roll

44 ) Impromptu: Lisa Steltenpohl, Principal Viola

Music makers Joan Tower’s piece is one of the BSO’s Centennial Celebration Commissions.

10



Program Notes 13) Brahms’ German Requiem March 4, 5 & 6

18) All-Beethoven

March 11, 12 & 13

4

23) Yuri Temirkanov Returns

8

March 17, 18 & 19

26) Broadway Divas

March 31, April 1, 2 & 3

28) Gershwin’s Porgy and Bess April 8, 9, 10

32) Mahler’s Symphony No. 5 April 14 & 15

35) Variations on a Rococo Theme April 29, 30 & May 1

Features 8)  Bowing

Down to Porgy

by Martha Thomas

Director Kwame Kwei-Armah holds the American classic in high esteem.

10) Cracking

the Concert Hall

by Christianna McCausland

New works by women composers counter inequality in the orchestral world.

On the Cover

Women conductors and composers are paving the way in a historically male-dominated orchestral world.

Be Green: Recycle Your Program! Please return your gently used program to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you’re through.



March– April 2016 |

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overture The Baltimore Symphony Orchestra 2015–2016 Season 410.783.8000 | 1.877.BSO.1444 BSOmusic.org The Baltimore SyMphony ORchestra Marin Alsop Music Director Barbara M. Bozzuto Chair Paul Meecham President & CEO Martha Thomas Publications Editor Janet E. Bedell Program Annotator

Baltimore magazine Design and Print Division Director Ken Iglehart [email protected] 443.873.3916 Art Director Vicki Dodson Senior Graphic Artist Michael Tranquillo Contributing Writers Laura Farmer Christianna McCausland Martha Thomas

{ from the president

Welcome

As part of our year-long Centennial celebration, the BSO has commissioned a series of 10 short original compositions from some of the most innovative composers working today. Supported generously in part by Classical Movements, Inc., the series features six women composers, including Kristin Kuster, whose piece Moxie was performed at the anniversary gala in February. Each work is inspired by a Baltimore motif— Diversity … ranging from David Simon to dancing blue crabs is an increasingly — suggested by a call to the public. Stay tuned for important strategic more surprise premieres through next season! Diversity — in the audiences we reach and initiative as the BSO in the programs we offer — is an increasingly looks forward to important strategic initiative as the BSO looks its second century. forward to its second century. In late January, we announced a generous $500,000 grant from the Eddie C. and C. Sylvia Brown Family Foundation to OrchKids. This is a matching challenge to inspire the African-American community to contribute an additional $500,000 to support a program for mostly African-American youth in City schools. In February, we welcomed Rhea Beckett, an Urban Arts Leadership Fellow for a five-month diversity internship working in administration. Rhea will help us with community outreach around our Porgy & Bess performances in April and a community concert scheduled for May 6. A classically trained vocalist who sings opera in four languages, Rhea is pursuing an MFA at MICA in curatorial practices. Looking further ahead to June, the BSO will host the League of American Orchestra’s annual conference. This year’s theme, “the richness of difference,” is focused on diversity. Our cover story in this issue is about the BSO’s leadership in promoting female musicians and composers (our groundbreaking appointment of Marin Alsop, may be the strongest evidence of our commitment to female leadership in the symphonic realm). Here in Baltimore, and indeed throughout the U.S., as we have challenging discussions about race, the BSO is committed to a concert hall that is for everyone, of every background. Enjoy the concert!

Advertising Account Representatives Lynn Talbert [email protected] 443.974.6892 Baltimore magazine Design and Print Division 1000 Lancaster Street, Suite 400 Baltimore, MD 21202 410. 873. 3900

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Paul Meecham President and CEO, Baltimore Symphony Orchestra

Baltimore Symphony Orchestra and 89.7 WTMD present

A New Concert Experience

Experience Pulse. Expand your musical horizons with Pulse, a new concert series that brings together the classical world and the indie rock scene on one stage! Made possible through a generous grant from The Wallace Foundation

To view a full schedule of bands performing in the Pulse Series, please visit BSOpulse.org www. bsomusic .org

D e an Ale x an d er

Research Rebecca Kirkman

S I G N he I t R t a P S P RA T S U E H G HONY ORC N I T A P HE E SYM OR M I T L A B

EROR P M E S ’ OVEN erhoff H T E E B ey AY 12 m thmore M , U TH 15 stra Y A M , SUN R E CUFF’S EMPERO H T F F O OVEN hmore H T E E B 13 strat off Y A M , I h FR meyer 4 1 Y A SAT, M BOX R MUSIC THE WATE civic building LIFE IN 7 silver spring AY SAT, M 14 meyerhoff AY SAT, M hoff TS E meyer N 2 A 2 L THE P AY 20 & M , N U e FRI & S 21 strathmor AY S SAT, M R MAS O N I re ’S B M BACH Y 26 strathmo eyerhoff A 8m THU, M , MAY 27 & 2 AT CERT FRI & S N O C AY: IN ore R P S R m HAI 2 strath eyerhoff E N U J m THU, NE 3–5 U J , N G FRI–SU SPRIN erhoff N A I ACH 0 mey APPAL I, JUNE 9 & 1 FR re athmo THU & r t s 1 NE 1 SAT, JU M EQUIE e R S ’ I off VERD 7 strathmor eyerh m 1 9 1 FRI, JUN N, JUNE 18 & U SAT & S

W! O N S KET C I T R U GET YO 000 3.8 8 7 . 0 1 4 44 4 1 . O S B 1.877. ic.org us BSOm

{ IN tempo The Baltimore Symphony Orchestra

NEWS OF NOTE

Choral Arts Society of Washington

Steph en Elli ot t

Dr. Dog (Pulse Series)

{I n Pa rt n e r sh ip}

A Tale of Two Cities The Baltimore Symphony Orchestra {I n Vogu e}

Mingle at the Meyerhoff Forget clubbing, the BSO post-concert scene is the hottest ticket in town. This new series of concert after-parties treats select guests to drink specials, complimentary hors d’oeuvres and the chance to mix with musicians in the Meyerhoff’s Second Space. Mingle events are one of the many ways that the BSO is reaching out to engage its younger patrons, and the season’s remaining get-togethers follow Gershwin’s Porgy and Bess on April 8 and Holst’s The Planets on May 20. Passport members and patrons who have attended Pulse concerts are invited, as well as members from select young professional groups and from Baltimore’s music and art scene. The Second Space lounge is spruced up with artwork and décor loaned to the BSO by Nouveau Home & Interior Design. Are you a young patron looking to Mingle with other young music-lovers? We’d love to meet you.

has reached across the beltway and will join forces with two choral tours de force this spring: on March 4-6, the University of Maryland Concert Choir, directed by Edward Maclary, joins the BSO to perform Brahms’ German Requiem with Markus Stenz at the podium. On June 17–19, the BSO collaborates with The Choral Arts Society of Washington for the season finale performance of Verdi’s Requiem. “When we became the first American orchestra to perform year-round in two venues, we committed to engaging the region surrounding Strathmore,” says BSO President Paul Meecham. “There are so many phenomenal ensembles based in the D.C. area. Our partnerships with them enrich both the BSO and our audiences.”

{I n Th e C it y}

BSO Returns to Carnegie

co u rtesy Maryl an d State Arch ive

(…for the 39th time!)

The City. Bartolomeo (right).

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www. bsomusic .org

On April 16th, the BSO makes its 39th appearance at New York City’s Carnegie Hall, which is celebrating its own 125th anniversary. The BSO and Carnegie marked their anniversaries by jointly commissioning The City (Symphony No. 5), a new multimedia work by Pulitzer Prize winner Kevin Puts. This dynamic piece celebrates the vibrancy of cities, and Baltimore in particular, and will be paired with a film created by Baltimore-native multimedia artist James Bartolomeo. Also part of the Carnegie concert is another Symphony No. 5—Gustav Mahler’s propulsive Fifth Symphony. Marin Alsop launched her tenure in September 2007 with this seminal work and has likened Mahler’s Fifth to “climbing Mt. Everest for conductors.”

{I n H om e com i ng}

Temirkanov pays a call

Sash

The BSO’s beloved Music Director Emeritus Yuri Temirkanov—who served as music director from 2000 –2006 —makes his anticipated return on March 17–19. Among the world’s preeminent interpreters of works from the Russian repertoire, Maestro Temirkanov will lead Rachmaninoff’s passionate Third Piano Concerto, featuring Denis Matsuev, and Tchaikovsky’s Fourth Symphony, which culminates in a glorious, exultant finale.

a G u s ov

{I n K i dst u f f}

Peter and Puppetry

{I n S e a son} 2016 –2017 Season:

Centennial Spectacular!

For generations, the BSO has introduced children to the thrill of live, orchestral performances. One of the perennial children’s concert favorites is Prokofiev’s winsome Peter and the Wolf. This March and April, the BSO led by Nicholas Hersh brings this gem to life with help from the lively antics of the Bob Brown Puppets. Also on the program is Aaron Copland’s I Bought Me A Cat, sung by Robert Cantrell. This delightful Rheda Becker concert is narrated by Rheda Becker, who marks her 42nd year as narrator for the BSO on March 12 at 11a.m. and 1p.m. at Strathmore, and the Meyerhoff on April 2 at 11a.m. “We absolutely knew that Peter and the Wolf had to be part of the Centennial season!” says BSO Vice President of Education Carol Bogash. “This piece has been a favorite of our more than 80 years of youth and family concerts. Also, it is one of the signature pieces of our beloved narrator Rheda Becker.”

The first season of the BSO’s second century focuses on two musical giants: Beethoven from the 19th century and Stravinsky from the 20th. We welcome guest artists Gil Shaham and Hélène Grimaud , new works by Anna Clyne and John Adams, a SuperPops concert featuring Doc Severinsen, longtime bandleader for the Tonight show, and a performance of Bartók’s Bluebeard’s Castle. Subscriptions for the 2016–2017 season are on sale now.

Peter and the Wolf is made possible by the support of the Sylvan/Laureate Foundation, Geico, Transamerica and Macys.

{I n H i story}

Did you know that the BSO was the nation’s first orchestra to offer a concert series for kids? Did you know that a BSO music director was married to one of Old Hollywood’s glamorous leading ladies? Did you know that the BSO once toured the Southern states under the moniker “Boston Pops Tour Orchestra”? Discover tidbits, milestones and more at the BSO’s recently

Comissiona Becomes Director

Revival

More Change

1916

launched Centennial Timeline, found at BSOmusic.org/100-years-of-music. For a more in-depth look at this 100-year-old orchestra, pick up a copy of A Century of Sound by BSO oboist Michael Lisicky. This compelling history traces the orchestra’s roots from its founding as the first civic orchestra in the U.S. Available at the BSO bookstore and online at BSOmusic.org.

BSO hits the road

Breaking Ground

Alsop named Music Director

Doc Severinsen Se an Tu ri

Kr isten B ecker man (B ECKER); Se an Tu ri (SEVER I Nsen).

100 Years of WOW!

2016

March– April 2016 |

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{ BSOlive

upcoming key events

MaY/June Events at The Music Center at Strathmore [S] and at the Joseph Meyerhoff Symphony Hall [M]

Off the Cuff

SAT, MAY 7, 8 pm [M] SUN, May 8, 3 pm [S]

FRI, MAY 13, 8:15pm [S] SAT, MAY 14, 7pm [M]

Marin Alsop, conductor Alexandra Soumm, violin (BSO debut)

John Adams, conductor Jeremy Denk, piano

Joan Tower: Sixth Fanfare for the Uncommon Woman (BSO Centennial Commission, World Premiere) Lalo: Symphonie espagnole, Op. 21 Anna Clyne: New Work (BSO Commission, World Premiere) Bizet: Selections from “Carmen” Marin Alsop conducts the world premieres of BSO commissions by two extraordinary women. Legendary composer Joan Tower’s Sixth Fanfare for Uncommon Women celebrates the BSO’s Centennial season. Anna Clyne will use contemporary works from the Baltimore Museum of Art as inspiration. Violinist Alexandra Soumm, in her BSO debut, will perform Lalo’s virtuosic Symphonie espagnole.

Beethoven’s Emperor

Beethoven: Piano Concerto No. 5, “Emperor” John Adams directs renowned and award-winning pianist Jeremy Denk in Beethoven’s “Emperor” Concerto. Written while Beethoven was riding out the French siege of Vienna in a friend’s cellar, the fifth piano concerto affirms heroic spirit in the midst of what Beethoven called “Nothing but drums, cannons, human misery of every sort!”

The Planets FRI, MAY 20, 8 pm [M] SUN, MAY 22, 3 pm [M] SAT, MAY 21, 8 pm [S]

THURS, MAY 12, 8pm [M] SUN, MAY 15, 3pm [S]

John Storgårds, conductor (BSO debut) Christopher Lamb, percussion Women of the Baltimore Choral Arts Society, Tom Hall, director

John Adams, conductor Jeremy Denk, piano

Tan Dun: Water Concerto Holst: The Planets

Beethoven: Piano Concerto No. 5, “Emperor” John Adams: Harmonielehre

The natural world — on this planet and beyond — is on full musical display with Tan Dun’s Water Concerto and Gustav Holst’s The Planets. ChineseAmerican composer Tan Dun uses the elemental force of water as both subject matter and instrument in this strikingly original concerto.

Beethoven’s Emperor

Post-minimalist conductor-composer John Adams returns to the BSO to conduct Beethoven’s grandiose Emperor concerto and his own intensely expressive symphonic essay Harmonielehre. Strathmore pre-concert lecture: Sun, May 15, 1:30 pm

Yulia Van Doren

6 O v ertur e |

Bach’s B Minor Mass THURS, MAY 26, 8 pm [S] FRI, MAY 27, 8 pm [M] SAT, MAY 28, 8 pm [M] Nicholas McGegan, conductor Yulia Van Doren, soprano Christopher Ainslie, countertenor Thomas Cooley, tenor Dashon Burton, bass Baltimore Choral Arts Society Tom Hall, director

www. bsomusic .org

J.S.Bach: Mass in B Minor Nicholas McGegan brings his mastery and affection for early music to Bach’s great Mass in B Minor. These first BSO performances in 50 years are a fitting Centennial season showcase for the BSO and Baltimore Choral Arts Society.

Premium Concert BSO SuperPops

Hairspray: In Concert Featuring John Waters THURS, JUNE 2, 8pm [S] FRI, JUNE 3, 8pm [M] SAT, JUNE 4, 3pm & 8pm [M] SUN, JUNE 5, 3pm [M] Jack Everly, conductor John Waters, narrator A Full Broadway cast “You can’t stop the beat” in this encore performance of a semi-staged concert production featuring Baltimore’s own John Waters as narrator. Relive 2013’s sold-out performances of this quirky classic through your favorite songs from the musical that follows a young girl’s dream to star in a dance show as she ends up changing the world.

Appalachian Spring THURS, JUNE 9, 8 pm [M] FRI, JUNE 10, 8 pm [M] SAT, JUNE 11, 8 pm [S] Marin Alsop, conductor Baltimore School for the Arts Dancers Copland: Appalachian Spring Thomas Adès: Polaris (BSO Premiere) Ravel: Daphnis and Chloe Suite No. 2 Performed with its original Martha Graham choreography, Aaron Copland’s Appalachian Spring evokes the wide-open landscape and inherent optimism of American possibility. Ravel’s luxurious, flamboyant orchestral showpiece follows a work by one of the most original and compelling voices of our time, Thomas Adès.

Yo-Yo Ma

Premium Concert

Yo-Yo Ma

WED, JUNE 15, 8 pm [M] Marin Alsop, conductor Yo-Yo Ma, cello  Dvorˇák: Symphony No. 9 “From the New World” Dvorˇák: Cello Concerto The ever-adventurous cellist Yo-Yo Ma — who earned two Grammy Awards with the BSO in 1995— performs Dvorˇák’s sublime and sensuous concerto. The lyricism and elation of Dvorˇák’s show-piece is paired with the composer’s beloved musical trip to America through his “New World” symphony.

Verdi’s Requiem FRI, JUNE 17, 8 pm [S] SAT, JUNE 18, 8 pm [M] SUN, JUNE 19, 3 pm [M] Marin Alsop, conductor Tamara Wilson, soprano Elizabeth Bishop, mezzo-soprano Dimitri Pittas, tenor Morris Robinson, bass The Choral Arts Society of Washington Scott Tucker, director Verdi: Messa da Requiem Marin Alsop calls Verdi’s Messa da Requiem a “conductor’s dream come true” that combines the theatrical flair of opera with the symphonic weight of the orchestra. The dramatic journey of world-weary grief and full-throated terror display virtuoso singers and orchestra in an exhilarating season finale.

Steph en Dan elian (MA); An d r e w Schaff (D OREN).

A Celebration of Uncommon Women

JOI N US F OR A SOU N D L I K E NO O T H E R . tavener

R EQUIE M FR AGM E NTS < a mer ican

pr emier e

>

handel

M E S SI A H PA RT III Sunday, April 10, 2016

| 4:30 pm

National Presbyterian Church, Washington, D.C.

shafer

A SET T I NG OF PSA L M 121 duruflé

R EQUIE M Sunday, June 5, 2016 | 4:30 pm Saint Luke Catholic Church, McLean, Virginia

Tickets: $15-$50. Student and group discounts available.

VISIT CITYCHOIR.ORG OR CALL 571-206-8525

One onOne { Porgy and Bess bridges theatrical and operatic genres. What does the piece mean to you? I’m not sure how eloquent I can be about this because I feel so emotional about it. I don’t think there’s anyone in musical theater or opera who doesn’t bow to Porgy and Bess. Not everybody in opera bows to many things that come out of musical theater. The Gershwins and DuBose Heyward found a way for Porgy to sit in the canon in a unique place. That’s why I was so overjoyed when Marin and the BSO asked me to come and play with this. The music in Porgy gets under your skin. There probably isn’t anyone, from the moment “Summertime” begins, who can’t react to that.

Bowing down to

Porgy

Director Kwame Kwei-Armah holds the American classic in high esteem by Martha Thomas

K

wame Kwei-Armah, a British-born playwright, director, actor and broadcaster, is artistic director of Center Stage, where he made his directing debut with Naomi Wallace’s  Things of Dry Hours. Mr. Kwei-Armah became the first black Briton to have a play produced in London’s West End with Elmina’s Kitchen, which subsequently had its American debut at Center Stage. Mr. Kwei-Armah will direct the BSO production of Porgy and Bess in April. 

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www. bsomusic .org

Have you worked on it before? I auditioned for the ensemble of Simon Rattle’s Glyndebourne production, but I didn’t get it. However, I went to the performance and it was glorious and I’ve been in love with it ever since. Now it’s come back to me. I didn’t realize you sing. Yes, but evidently not well enough. I actually started my career as a singer and musician, and graduated into acting and then writing and directing. I had just finished understudying Don Jose in Carmen, my second job out of college. Then I auditioned for the Porgy ensemble. I think rather correctly they didn’t give me the role. Is there a part you would have been suited for? Sportin’ Life is the character. That’s the one. Although then, I was just hoping I’d get a cover. Do you think directing on stage with an orchestra will be a challenge? I saw Candide at the BSO. I so loved this hybrid. If you do Porgy as a theatrical production, the orchestra is in the pit. But

to have the orchestra be in a starring role with the piece and the performers is inspiring. Porgy is a uniquely American story. How to you relate to it as a non-American? One of the very interesting things about being European is that one grew up being almost bombarded — bombarded is too strong a word — by American culture. Certainly, the African-American experience aligned with the black British story, the Caribbean story, the African story. We saw ourselves more through the lens of the American experience than we did with any other. I don’t feel like a foreigner at all as I delve into Porgy’s themes. It feels very specific to a culture I’ve been reared in all of my life. It would be different for me if I were, say, working in China. I have not been reared on the cultural product of China. Many of us feel that we are an extended member of the family, if not one that sits around the immediate dinner table. Porgy and Bess has not always been praised as a flattering depiction of African-Americans. How do you feel about that? That’s a very good question. In the world we live in now, there is such diversity of storytelling from the African-American perspective — from Barack Obama to Scandal on television to plays by Dominique Morisseau and Katori Hall. Today, Porgy doesn’t live as the only depiction of the African-American community. Therein lies its freedom and its truth. An interpreter can see the truth when Porgy says, “Bess, you is my woman now.” One can access the story of deep love and of societal manipulation. It’s a historical document as well as an investigation into love. It sounds like you might not be behind taking down statues of Confederate war heroes and renaming college dormitories? I’m very aware of those debates and I

think each one should be investigated for what it is. When it comes to art, I have a relatively liberal attitude about these things. That is, I think there should never be any censorship to art at all. Art should be placed in a context, warts and all. Let’s look at who controls narratives, who wishes to see narratives. Once we contextualize it, I think there should be no censoring. When it comes to writing or retelling history, it’s a much bigger debate, one where I can see both sides of it. For example, so much of history sidelines or maligns the contributions of women to civilization. Those are things that should be included. Don’t you think that art and history should challenge us to examine how we ourselves fit into the story? The reason I love history is because it challenges me to look at today, and to always ask: How will I be looked at in 100 years? How will my generation be assessed, how will our actions be recorded? What sins will I commit and my generation commit, that will have devastating effects on generations to come? Center Stage, like the BSO, does a lot of outreach with young people. We have young people’s playwrights and other programs. We are here to serve the community, and to leave the community slightly more enriched in a permanent way. The BSO’s OrchKids does just that. It will be here long after Marin has left. My sense is, the BSO and Center Stage couldn’t be picked up and put in another city wholesale. You can’t say that about every institution in every city. What Marin and Paul Meecham have done is to make sure the BSO is relevant to this specific environment. I remember after the uprisings happened last spring when the BSO went out into the park next door and performed a free concert. That was inspiring.

Spring forward. Call the Johns Hopkins Vein Center Today! 410-550-VEIN (8346) hopkinsmedicine.org/veincenters



March– April 2016 |

O v ertur e

9

Cracking the Concert Hall

N ew works by women composers Counter  inequality in the orchestral world. By Christianna McCausland

W

hen Kristin Kuster was asked to write a themed piece of music for the BSO’s “Centennial Commissions” series, she chose the theme of Marin Alsop. The BSO music director, says Kuster, a 42-year-old composer and associate professor of composition at the University of Michigan, “is such an important figure for female musicians, not only in orchestral music but in art music.” Kuster’s Alsop-inspired piece, entitled Moxie, which the orchestra played at the BSO Centennial Gala on

Kuster describes her work, Moxie, as a “fun, five-minute party in honor of Marin.”



February 11, is one of 10 new works by contemporary composers inspired by more than 100 ideas submitted by the public in response to the BSO’s call for ideas from the Baltimore community. The composer describes the work as a “fun, fiveminute party in honor of Marin.” “It honors her verve and her drive to just do it and to do it at such a high level,” Kuster adds. Six of the ten commissions are by female composers, making the Centennial Commissions an important milestone not only for the BSO, but for women in orchestral music, seemingly one of the last places Frederick Huber where females remain BSO Music Director underrepresented. 1937 The commissions are made possible by generous support from Classical Movements, a music touring company founded by female entrepreneur Neeta Helms. In addition to Kuster, the other women composers are Joan Tower, Libby Larsen, Caroline Shaw, TJ Cole, and Lori Laitman. Kuster also premiered a work in 2015 with the Cincinnati Symphony’s “One City, One Symphony” program, with commissioned pieces set to poetry by Maya Angelou, and will debut her original opera, Old Presque Isle, at the Virginia Arts Festival in 2017. She says that Alsop, a champion of new music, has been an important role model for her and her contemporaries, as has Larsen, Jennifer Higdon, Joan Tower, Ellen Taaffe Zwilich, and Betsy Jolas. “There are many more women composers featured now than ever before, but the numbers are still really bad and do not represent the number of female composers who exist and who are awesome and who are willing and able to write for orchestra,” says Kuster. “It seems to me that the people in charge of making programming decisions are choosing not to program women, and that’s a problem.”

Limitations placed on women musicians are largely a matter of tradition and have no more foundation in logic than withholding the vote franchise from them.



Women musicians in classical music are ‘...too often judged for their appearances, rather than their talent’ and they face pressure ‘...to look sexy onstage and in photos.’

Meet the Composers Six of the 10 composers contributing to the Centennial Celebration Commissions are women.

The BSO became the first major orchestra to have a female music director when it hired Marin Alsop in 2007.

Ad r ian e-Wh ite

The Baltimore Symphony Orchestra has, for the last two seasons, analyzed the repertoires of U.S. orchestras. Of the composers performed by 89 orchestras this season, only 1.7 percent are women, not too surprising considering women were excluded from much of classical music’s history. When the net is cast to include compositions by living composers only, the number jumps to a still paltry 14 percent. The orchestra itself shows a more equitable mix of men and women. The League of American Orchestras reports that 47.37 percent of musicians in its approximately 800-member organization are female. Much of that success could be attributed to the rise in recent decades of blind auditions. At the BSO, for example, musicians perform behind a screen and enter and exit the stage on a carpet to mask the telltale sounds of footfalls. It isn’t until the final rounds that the musician’s gender is revealed. Despite the number of women in orchestras, only 18 percent of concertmasters in the top 20 U.S. orchestras are women. (BSO associate concertmaster Madeline Adkins recently won the position of concertmaster of the Utah Symphony.) The BSO has been proactive in advancing women, hiring its first female musicians in 1937 despite a union bid to bar them, and becoming the first major orchestra to have a female music director when it hired Marin Alsop in 2007. Madeline Adkins became associate concertmaster in 2005, and four of the BSO’s principal chairs are occupied by women. Yet there are many corners of the classical world that hold out against change. Consider the Vienna Philharmonic, which only began accepting women as full members in 1997. Kuster says she’s become an advocate for increasing the number of women in professional music only in the last five years. “This was something we simply didn’t talk about when I was in school,” she explains. “Now, with the Internet, Jessica Duchen we’re better able to report Britain’s “The Independent”

TJ Cole

these numbers. … It’s important we keep talking about it, but also that we take steps to improve the situation through programmatic decisions.” She adds, “No one knows that better than Marin.” Nowhere is the glass ceiling so high as that which hovers over the conductor’s podium. Alsop is diplomatic in her characterization of the symphonic world’s attitudes toward women, calling it “conservative.” Highlighting contemporary female artists through events like the Centennial Commissions may contribute to changing attitudes about women in music, while showcasing their talents and diverse voices. “Women are powerful, they’re vulnerable, they’re leaders, they’re followers,” says Alsop. “We’ve been relegated to certain roles, being these quiet nurturing types. Of course, that’s part of who we are, but it’s not the whole, at all.” Alsop, who has broken plenty of ground when it comes to first-ever accomplishments, has said that it’s time to celebrate the seconds, thirds, and tenths that will indicate real progress. In her closing speech at London’s “Last Night of the BBC Proms” performance in fall 2015 (where in 2013 she was the first-ever female conductor), Alsop said, “We have to work towards a more just and equal playing field for women. I think it’s clear that inequality is one of the greatest challenges facing us today—whether it’s gender, racial, economic, or ethnic inequality. Now, music is not going to solve these issues, but music has the power to change the hearts and minds of even the most hardened dissenter.”

The Centennial Celebration Commissions are commissioned for the Baltimore Symphony Orchestra and Music Director Marin Alsop by Classical Movements, Inc. as part of the Eric Daniel Helms New Music Program. Also made possible by generous support from New Music USA through a generous contribution from Thomas Brener and Inbal Segev, and additionally supported by the Francis Goelet Charitable Lead Trusts, the Aaron Copland Fund for Music, and the Randolph S. and Amalie R. Rothschild Endowed Fund for New Music. March– April 2016

Kristin Kuster

Lori Laitman

Libby Larsen

Caroline Shaw

Joan Tower ABOVE: Ch r istian Stei n er (l aitman); An n Marsd en (L arsen); ale x lee (Shaw ); B er n i e Mi n di ch ( Tower).

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{ orchestra roster

2015–2016 Season

Marin Alsop — Music Director, Harvey M. and Lyn P. Meyerhoff Chair

Jack Everly: Principal Pops Conductor, Markus Stenz: Principal Guest Conductor

{ M usic D i r e ctor}

Marin Alsop

Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. As Music Director of the Baltimore Symphony Orchestra since 2007, Maestra Alsop’s bold initiatives contribute to the wider community and reach new audiences. Shortly after her arrival in Baltimore, she and the orchestra launched “OrchKids,” a revolutionary program that provides music education, instruments, mentorship and inspiration to some of the city’s neediest young people. Under her leadership, the orchestra also offers adult amateur musicians the opportunity to play side-by-side with professional musicians through the BSO Academy and Rusty Musicians programs. Marin Alsop is the only conductor to receive the prestigious MacArthur Fellowship, and was inducted into the American Classical Music Hall of Fame in 2010. In 2013, she became the first woman to conduct the BBC’s Last Night of the Proms. Alsop became music director of the São Paulo Symphony Orchestra in July 2013. She is also music director of California’s Cabrillo Festival of Contemporary Music, and was appointed director of the graduate conducting program at the Peabody Conservatory of the Johns Hopkins University in September 2015.

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Jonathan Carney ∫ Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins † Associate Concertmaster, Wilhelmina Hahn Waidner Chair Wyatt Underhill Assistant Concertmaster Rui Du* Kenneth Goldstein Boram Kang Wonju Kim Gregory Kuperstein Mari Matsumoto Gregory Mulligan Rebecca Nichols* E. Craig Richmond Kevin Smith Ellen Pendleton Troyer Andrew Wasyluszko

Second Violins

Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic´ † Associate Principal Angela Lee ∫ Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood

Violas

Lisa Steltenpohl ∫ Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Assistant Principal Richard Field Viola Principal Emeritus Peter Minkler Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr

Cellos

Dariusz Skoraczewski † ∫ Principal, Joseph and Rebecca Meyerhoff Chair Chang Woo Lee Associate Principal Bo Li ∫ Acting Assistant Principal Seth Low Susan Evans Esther Mellon Kristin Ostling

Basses

Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Mark Huang Jonathan Jensen David Sheets Eric Stahl

Flutes

Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Chelsea Knox** Acting Assistant Principal Marcia Kämper

Piccolo

Laurie Sokoloff

Oboes

Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Melissa Hooper Assistant Principal Michael Lisicky

English Horn

Bassoons Fei Xie Principal

Julie Green Gregorian Assistant Principal Schuyler Jackson**

Jinny Kim Director of Orchestra Personnel

Horns

Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Lisa Bergman Mary C. Bisson Jeanne Getz**

Trumpets

Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair René Hernandez Assistant Principal Nathaniel Hepler

Trombones

Aaron LaVere Principal, Alex Brown & Sons Chair James Olin* Co-Principal John Vance

Bass Trombone Randall S. Campora

Timpani

Yuri Temirkanov: Music Director Emeritus Ken Lam: Artistic Director of BSYO & Associate Conductor for Education

ORCHESTRA PERSONNEL

David P. Coombs

Clarinets

Lin Ma

KeyBoard

Contrabassoon

TUBA

E-flat Clarinet

Sarah Fuller** Lura Johnson** Sidney M. and Miriam Friedberg Chair

Jane Marvine Kenneth S. Battye and Legg Mason Chair Rob Patterson** Acting Principal, Anne Adalman Goodwin Chair Lin Ma Assistant Principal William Jenken

Harp

Seth Horner** Acting Principal

Librarians

Michael Ferraguto Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate

Stage Personnel Ennis Seibert Stage Manager Todd Price Assistant Stage Manager Charles Lamar Audio Engineer Mario Serruto Electrician Michael Marquis Jacob Sturgis * On leave ** Guest Musician Performing with an instrument (†) or a bow ( ∫ ) on loan to the BSO from the private collection of the family of Marin Alsop. The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

James Wyman Principal Christopher Williams Assistant Principal

Percussion

Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

Nicholas Hersh: Assistant Conductor Michael Repper: BSO-Peabody Conducting Fellow

D e an Ale x an d er (Al so p)

First Violins

J osef M o li na

{

{ program notes Brahms’ German Requiem Joseph Meyerhoff Symphony Hall

Friday, March 4, 2016— 8 p.m. Sunday, March 6, 2016— 3 p.m. Music Center At Strathmore

Saturday, March 5, 2016— 8 p.m. Presenting Sponsor: Markus Stenz, Conductor Lisette Oropesa, Soprano Eric Owens, Bass-Baritone University of Maryland Concert Choir Edward Maclary, Director Johann Sebastian Bach Suite No. 3 in D Major, BWV 1068 Ouverture Air Gavotte I – Gavotte II Bourrée Gigue

INTERMISSION Johannes Brahms A German Requiem, opus 45, “Ein deutsches Requiem” “Selig sind die da Leid tragen” “Denn alles Fleisch es ist wie Gras” “Herr, lehre doch mich” “Wie lieblich sind deine Wohnungen” “Ihr habt nun Traurigkeit” “Denn wir haben hie” “Selig sind die Toten” LISETTE OROPESA ERIC OWENS UNIVERSITY OF MARYLAND CONCERT CHOIR

Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:55 p.m. on Friday, and 4:55 p.m. on Sunday. Music Center At Strathmore The concert will end at approximately 10 p.m.

Supporting Sponsor:

Markus Stenz

Markus Stenz is Principal Conductor of the Netherlands Radio Philharmonic Orchestra and Principal Guest Conductor of the Baltimore Symphony Orchestra. He has appeared at many of the world’s major opera houses and festivals. His previous positions have included Artistic Director and Chief Conductor of the Melbourne Symphony. Until the summer of 2014 he was General Music Director of the City of Cologne and Gürzenich-Kapellmeister and Principal Guest Conductor of the Hallé. Recent guest engagements include concerts with Bamberg Symphony Orchestra, the Konzerthausorchester Berlin, London Philharmonic, Seoul Philharmonic, Sao Paolo Symphony Orchestra, Royal Concertgebouw Orchestra, and the BBC Scottish Symphony Orchestra at the 2014 BBC Proms. He continues a regular relationship with the Hallé. His extensive discography was recently enlarged by the addition of the Dutch première of K. A. Hartmann’s Simplicius Simplicissimus (Challenge Classics), the complete Mahler Symphonies (Oehms Classics) and Schönberg’s Gurrelieder. Markus Stenz last appeared with the BSO in October 2015, conducting an all-Mozart program.

Lisette Oropesa

Lisette Oropesa is a first generation Cuban American operatic soprano who makes regular appearances on concert and opera stages throughout Europe and North America. Ms. Oropesa has appeared in more than 100 performances at the Metropolitan Opera and has sung many major roles there, including Susanna and

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Your Images Matter.

{ program notes Gilda in Michael Mayer’s production of Rigoletto. She has appeared in eight of the Met’s Live in HD productions. Ms. Oropesa’s upcoming concert engagements include Mahler’s Symphony No. 8 with the Philadelphia Orchestra, St. Matthew Passion with the Strasbourg Phiharmonic, Mozart’s Mass in C Minor with the Baton Rouge Symphony Orchestra and Cincinnati Symphony. A native of New Orleans, Ms. Oropesa is a 2008 graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, and was a 2005 winner of the Metropolitan Opera National Council Auditions.

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Eric Owens

Bass-baritone Eric Owens has a unique reputation as an interpreter of classic works and a champion of new music. Mr. Owens’ 2015–2016 season includes several collaborations with the New York Philharmonic as the Mary and James G. Wallach Artist-in-Residence, including a tribute to legendary African-American singers titled In Their Footsteps, a concert of Strauss selections conducted by Alan Gilbert. Mr. Owens’ operatic highlights include Alberich in the Metropolitan Opera’s Ring Cycle directed by Robert Lepage, in Otello with San Francisco Opera, Norma with Royal Opera, the title role in Handel’s Hercules with the Canadian Opera Company, Aida at Houston Grand Opera, Rigoletto, Il Trovatore, and La bohème at Los Angeles Opera, Die Zauberflöte with Paris Opera, and Ariodante and L’incoronazione di Poppea  at the English National Opera. Mr. Owens has created an uncommon niche for himself in the ever-growing body of contemporary opera works. Mr. Owens has been recognized with multiple honors, including the 2003 Marian Anderson Award, a 1999 ARIA award, second prize in the Placido

Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition. A native of Philadelphia, Mr. Owens studied voice at the Curtis Institute of Music. Eric Owens last appeared with the BSO in June 2014, performing Beethoven's Ninth Symphony, with Marin Alsop conducting.

University of Maryland Concert Choir

Over the past decade the University of Maryland Concert Choir has established itself as one of the premier symphonic choruses in the United States. Regular collaborations with the BSO and the National Symphony Orchestra performances of such works as the Mozart Requiem, Britten’s War Requiem, Bach’s St. Matthew Passion and Mass in B Minor, and Mendelssohn’s Elijah have earned the ensemble acclaim from audiences and critics alike. The UMD Concert Choir has worked under Marin Alsop, Christoph Eschenbach, Iván Fischer, Matthew Halls, and Helmuth Rilling. Performances at the University’s College Park campus have included the Verdi Requiem, the Brahms Requiem, Beethoven’s Symphony No. 9 and Bach’s Christmas Oratorio. The UMD Chamber Singers have toured throughout the world and are one of America’s most highly honored collegiate ensembles. The singers have won multiple top prizes in European competitions and were invited to appear at the 10th World Symposium on Choral Music, held in Seoul, Korea in 2014.

University of Maryland Concert Choir

About the concert: Orchestral Suite No. 3, BWV 1068

Johann Sebastian Bach

Born in Eisenach, Thuringia (now Germany), March 21, 1685; died in Leipzig, July 28, 1750

In the intellectual rigor of his fugues and the spiritual depth of his passions and cantatas, J. S. Bach seems to represent the loftiest state to which music can aspire. But this formidable German had his lighter side as well, and his four orchestral suites show him as a master entertainer, wielding the courtly dance forms of his day with wit and panache. Scholars are still not sure when and where the suites were written. Their secular nature and courtly style would seem to place them in the period of 1717 to 1723, when Bach served as kapellmeister at the princely court of Cöthen and primarily created secular instrumental works, notably the six Brandenburg Concertos. But Prince Leopold’s orchestra was of modest size and presumably unable to provide the exceptionally sumptuous complement of three trumpets required by Suites 3 and 4. Therefore, most likely the work we hear tonight was created in the late 1720s or early 1730s, during his long service in Leipzig. In addition to his primary duties providing music for the services of St. Thomas Church, from 1729 to 1737, Bach directed that city’s Collegium Musicum, a voluntary association of professional musicians and university students. Here Bach could put aside sacred texts and exercise his secular genius. Like its three siblings, the Suite No. 3 in D Major is an amalgamation of two forms very popular in this period: the French overture and the dance suite, based on traditional French courtly dances. Taking up more than half the work, the opening movement follows the traditional French-overture form with slow

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University of Maryland Concert Choir last appeared with the BSO in March 2015, performing Mozart's Mass in C Minor, with Maasaki Suzuki conducting.

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{ program notes outer sections emphasizing stately dotted rhythms enclosing a faster, fugal middle section. Here the music is very grand indeed, with its majestic rising phrases italicized by the brilliance of the trumpets and the roll of the kettledrum. This is followed by an Air, a pair of Gavottes, a Bourrée, and a buoyantly bounding Gigue to finish. The Air is one of Bach’s most famous and loveliest creations. Adapted for solo violin by A. Wilhelmj in 1871, it has become almost too familiar as the “Air on the G String.” But listen to how much more beautiful it sounds in Bach’s original setting, with the two violin parts and the violas weaving in rich counterpoint above the walking bass-line. Instrumentation: Two oboes, bassoon, three trumpets, timpani, harpsichord, and strings.

A German Requiem, opus 45

Johannes Brahms

Born in Hamburg, Germany, May 7, 1833; died in Vienna, Austria, April 3, 1897

HONY P E A B O DY SY M P ORCHE STR A nductor Leon Fleisher,

guest co

Symphony adeus Mozart: Wolfgang Am upiter” “J 1, 55 or, K. No. 41 in C maj y No. 2 on ph m aninoff: Sy Sergei Rachm . 27 in E minor, Op

Saturday, April 30 at 8:00 pm Miriam A. Friedberg Concert Hall $15 Adults, $10 Seniors, $5 Students For tickets, call 410-234-4800 or visit peabody.jhu.edu/events.

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In early February 1865, Johannes Brahms received a telegram from his brother, Fritz, in Hamburg: “If you want to see our mother again, come at once.” The composer traveled as fast as he could from Vienna, but arrived too late; Christiane Brahms had already died of a stroke at age 76. Though he maintained a stoical face before his family, Brahms was devastated by the loss of the mother who had stood lovingly by him through all his trials and triumphs. After he returned to Vienna, his friend Josef Gänsbacher dropped in at his apartment and found him playing Bach’s Goldberg Variations with tears streaming down his face. Brahms briefly told Gänsbacher of his loss, but never stopped playing. That grief would generate the composer’s longest and most profound work: A German Requiem (Ein Deutsches Requiem), mostly composed over a one-year period from 1865 to 1866. But the music for this masterpiece had been gestating for at least a decade, and it was originally intended as a memorial to Robert Schumann, Brahms’ discoverer and mentor.

Thus A German Requiem is actually a memorial to two important people in Brahms’ life: his biological mother and his artistic father. And it was an intensely personal and original work. Unlike most musical requiems, it is not based on the liturgical Catholic rite for the dead, a service emphasizing prayers for the souls of the departed. Rather, it is an idiosyncratic Protestant setting, with its text drawn by Brahms himself from the Old and New Testaments and the Apocrypha of Martin Luther’s German Bible. The emphasis is not on the dead but on finding consolation for the living, as stated in the Requiem’s very first line from St. Matthew’s Gospel, “Blessed are they that mourn.” A word about Brahms’ own religious stance: The composer was raised in the Protestant tradition and remained a faithful reader of the Bible throughout his life. But in adulthood, he became a religious skeptic bordering on agnosticism and was never a churchgoer. The text he assembled for his Requiem expresses more or less his own convictions: a universal, nondenominational message, but not a specifically Christian one. Premiered in Leipzig on February 18, 1869, A German Requiem is a strikingly original work with few parallels before or since. Listening to the Music

Constructing solid musical architecture was always an important concern for Brahms, and so the Requiem is shaped as a mighty arch. The quieter, more restrained first and last movements mirror each other, as do the more dramatic and forceful second and sixth movements, and the more personal third and fifth movements dominated by solo voices. The wellloved fourth movement, “How lovely are Thy dwelling places,” stands alone as an intimate and untroubled central interlude. Even though it is in the major mode — F Major, the Requiem’s home key — movement one, “Blessed are they who mourn,” is weighed down with grief. Brahms chose a very dark-toned ensemble: violas, cellos, double basses, and the more somber wind colors, omitting the brighter sounds of clarinets, trumpets, and even violins. The first melody we hear, in the

cellos, is a variation of J.S. Bach’s chorale tune “Wer nur den lieben Gott lässt walten”; this rising-and-falling theme will reappear many times in this movement. Equally important is a three-note rising motive in the soprano part, topping the chorus’ first entrance; this is the seed motive from which the entire work grows. Despite the heavy sorrow, there is a mood of calm underlying this music, and the lighter middle section, “They that sow with tears shall reap in joy,” explains why.

A German Requiem is actually a memorial to two important people in Brahms’ life: his biological mother and his artistic father.

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The second movement, “For all flesh is as grass,” is a strange yet powerful mixture of a funeral march and slow sarabande dance. The violins finally appear, but, since they are played with mutes, they sound veiled and husky. The chorus’s grim unison melody follows the shape of the Bach chorale. Eventually, the music accelerates a bit and actually begins to dance for the interlude “So be patient, beloved brethren,” a promise of deliverance. After a reprise of the funeral dirge comes a magical moment as the music brightens into the major and the chorus proclaims that, unlike mortal man, “the Word of the Lord endures forever.” Movement three, “Lord, teach me to know my end,” personalizes the previous movement’s message as the baritone soloist pleads for help in accepting his mortality. “How shall I find consolation?” he cries and the chorus repeats the question with growing frenzy. Moving from D Minor to D Major, the answer comes in a radiant choral cadenza: “My hope is in the Lord.” Then begins one of the Requiem’s most extraordinary passages: a double fugue for chorus and orchestra with each pursuing its own separate fugue subject. All this contrapuntal activity is anchored in a mighty sustained pedal on the pitch D, representing the secure grip of the hand of God.

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2/12/16 12:50 PM

{ program notes The Requiem’s peaceful, lyrical oasis, the fourth movement, “How lovely are Thy dwelling places,” is a vision of untroubled faith. The key is a warm E-flat Major, the meter a gently swaying 3/4, and the orchestra a chamber ensemble of great beauty and delicacy. Movement five, “You now have sorrow,” is a radiant expression of mother love enduring beyond the grave. It was the last movement Brahms composed, added only in 1868 at the suggestion of the composer’s old teacher Eduard Marxsen. But perhaps this was the soonest after his mother’s death he could bear to write music expressing his own loss so openly. Muted strings and woodwinds, with occasional soft interjections from the chorus, accompany the soprano soloist’s beautiful, arching lines, an idealized representation of the voice of Christiane Brahms. In the sixth movement, “For we have here no continuing city,” the chorus wanders like homeless refugees through a forest of harmonically unstable lines; this bewildered search is intensified by the entrance of the baritone soloist intoning the famous words from First Corinthians. Here we have the Requiem’s only reference to the Day of Judgment, but the chorus and orchestra greet this prospect with confidence and jubilation: “Death is swallowed up in victory!” Movement seven, “Blessed are the Dead”: Having found hope for the living, the Requiem now turns its attention for the first time to the dead. This music — which begins with the sopranos singing a reversal of the Bach chorale tune — relates back to movement one, but is now bigger and more confident. And the dramatic change of mood is brought home clearly when the altos lead a reprise of the Requiem’s opening music. At the work’s end, a harp — an instrument Brahms rarely used — wafts sweetly upward. Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns two trumpets, three trombones, tuba, timpani, two harps, organ, and strings. Notes by Janet E. Bedell, Copyright ©2016

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All-Beethoven Joseph Meyerhoff Symphony Hall

Friday, March 11, 2016 — 8 p.m. Sunday, March 13, 2016 — 3 p.m. Music Center At Strathmore

Saturday, March 12, 2016 — 8 p.m. Markus Stenz, Conductor Lars Vogt, Piano Kwame Kwei-Armah, Narrator Lauren Snouffer, Soprano

Ludwig van Beethoven



Leonore Overture No.2, opus 72a

Ludwig van Beethoven Piano Concerto No. 1 in C Major, opus 15 Allegro con brio Largo Rondo: Allegro LARS VOGT

INTERMISSION Ludwig van Beethoven Overture and Incidental Music to Egmont, opus 84 Overture Lied: Vivace Entr’acte I: Andante – Allegro con brio Entr’acte II: Larghetto Lied: Andante con moto – Allegro assai vivace Entr’acte III: Allegro – Allegretto – Marcia vivace Entr’acte IV: Poco sostenuto e risoluto – Larghetto – Andante Larghetto Melodrama: Poco sostenuto Siegessymphonie: Allegro con brio KWAME KWEI-ARMAH LAUREN SNOUFFER

Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:55 p.m. on Friday, and 4:55 p.m. on Sunday. Music Center At Strathmore The concert will end at approximately 10 p.m.

Markus Stenz Felix B ro ed e

For Markus Stenz’s bio., please see pg. 13.

Lars Vogt

Lars Vogt has established himself as one of the leading musicians of his generation. Born in the German town of Düren in 1970, he first came to public attention when he won second prize at the 1990 Leeds International Piano Competition. His versatility as an artist ranges from the core classical repertoire of Mozart, Beethoven, Schumann and Brahms to the romantics Grieg, Tchaikovsky and Rachmaninoff through to the dazzling Lutosławski concerto. Mr. Vogt has performed with many of the world’s great orchestras and with some of the world’s most prestigious conductors including Sir Simon Rattle, Mariss Jansons, Claudio Abbado and Andris Nelsons. He currently serves as Music Director of the Royal Northern Sinfonia at the Sage, Gateshead. In June 1998, Mr. Vogt founded his own chamber festival, Spannungen, in the village of Heimbach near Cologne. Its success has been marked by the release of 10 live recordings on EMI. Mr. Vogt’s recordings for EMI also include the Hindemith Kammermusik No. 2 with the Berlin Philharmonic, and Schumann, Grieg and Beethoven concertos with the City of Birmingham Symphony Orchestra. Recent recordings include solo works of Schubert for Avi-music, Mozart concerti with the Salzburg Mozarteum Orchestra for Oehms and Mozart sonatas with Christian Tetzlaff for Ondine.

Broadmead resident, Erroll Hay



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Lars Vogt last appeared with the BSO, October 2002, performing Mozart’s Piano Concerto No. 9, with Jun Märkl conducting.

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Kwame Kwei-Armah

Kwame Kwei-Armah is an award-winning British playwright, director, actor and broadcaster. He is the Artistic Director of Center Stage,

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{ program notes where he has directed many productions, including One Night in Miami, Amadeus, dance of the holy ghosts (City Paper Top Ten Productions, 2013), The Mountaintop, An Enemy of the People, The Whipping Man and Naomi Wallace’s Things of Dry Hours. In 2014, Mr. Kwei-Armah was nominated for Stage Directors and Choreographer Society’s Zelda Fichandler Award for best theater director. Among his works as a playwright are Elmina’s Kitchen and Let There Be Love as well as A Bitter Herb, Statement of Regret and Seize the Day. His latest play, Beneatha’s Place, debuted at Center Stage in 2013 as part of the groundbreaking Raisin Cycle. Mr. KweiArmah’s other directorial credits include Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center in New York’s Public Theater production of Much Ado About Nothing, the world premiere of Detroit ’67 (nominated for Best Director) at the Public Theater, and the world premiere of The Liquid Plain at the Oregon Shakespeare Festival. Mr. Kwei-Armah has served on the boards of the National Theatre and The Tricycle Theatre, both in London, and as Artistic Director for the World Arts Festival in Senegal. He was named the chancellor of the University of the Arts London, and in 2012, was named an Officer of the Most Excellent Order of the British Empire. Kwame Kwei-Armah OBE last appeared with the BSO in September 2014, narrating Copland’s Lincoln Portrait, with Marin Alsop conducting.

Lauren Snouffer

Lauren Snouffer is a versatile soprano whose performances in the current season include the Mozart Requiem with Harry Christophers and the Handel & Haydn Society of Boston, Poulenc’s Gloria with the Houston Ballet, and Handel’s Messiah with Mercury Baroque. On the opera stage, Ms. Snouffer returns to Houston Grand Opera in two productions, singing Cherubino in Le nozze di Figaro and Carrie Pipperidge in Carousel.

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Highlights of past seasons include the Atlanta Opera as Susanna in Le nozze di Figaro, the Cleveland Orchestra at Severance Hall and Lincoln Center for concert performances of Strauss’ Daphne, and a New York Philharmonic debut in HK Gruber’s Gloria — A Pig Tale. Ms. Snouffer has given performances of Beethoven’s Ninth Symphony with Marin Alsop and the São Paulo Symphony; and Handel’s Messiah with Nicholas McGegan and the Houston Symphony. A recent graduate of the Houston Grand Opera Studio, Ms. Snouffer has performed with the company in L’italiana in Algeri, Show Boat, The Rape of Lucretia, and Il barbiere di Siviglia among others. She was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation, a Richard F. Gold Career Grant bestowed by Houston Grand Opera. A native of Houston, TX, Ms. Snouffer graduated from Rice University and The Juilliard School. Lauren Snouffer last appeared with the BSO in June of 2015, as Cunegonde in the BSO’s semi-staged production of Bernstein’s Candide, with Marin Alsop conducting.

About the concert: Leonore Overture No. 2, opus 72a

Ludwig van Beethoven

Born in Bonn, Germany, December 16, 1770; died in Vienna, Austria, March 26, 1827

Beethoven wrote just one opera, Fidelio, but it probably cost him more effort than all nine of his symphonies put together. Unsatisfied with his creation, he composed three versions over the decade 18041814 and wrote four overtures for it, all of which are now in the symphonic repertoire. The most famous of them is Leonore No. 3 (the opera was originally called Leonore), but at this concert we will hear its relatively rarely performed predecessor, the Leonore Overture No. 2, created for the opera’s very first performances in November 1805 in Vienna.

Based on a French drama, Jean Nicolas Bouilly’s Leonore or Conjugal Love, the story was drawn from real incidents during the French Revolution. It tells of the plight of Florestan, unjustly thrown into prison by a political rival, Don Pizarro. Florestan’s resourceful wife, Leonore, discovers where he has been hidden and, disguising herself as a young man, becomes a trusty at the prison. At gunpoint, she faces down the evil Pizarro, and her heroism is rewarded by the sound of a distant trumpet, signaling the arrival of the Minister of Justice, Don Fernando. Fernando frees Florestan and the other political prisoners, and they join in a triumphant chorus hailing their freedom and Leonore’s courageous love.

In a city mad for pianists, the throne of king of the keyboard was vacant, and Beethoven was quick to fill it. The Second Leonore Overture represents a fascinating first draft for the renowned Leonore 3; it contains most of that overture’s major musical elements but presents them in quite a different way. Everything about No. 2 is on the most massive scale: its lengthy, weighty slow introduction, its leisurely presentation of themes, and its sprawling middle development section, which builds tremendous conflict and suspense before we hear the familiar trumpet calls announcing the arrival of Don Fernando and Florestan’s deliverance. In fact, if Beethoven had completed his form by giving a full recapitulation of the opening themes after those trumpet fanfares, this overture might have run to 20 minutes or more — hardly what an audience wants when it is waiting for the curtain to rise! But the Second Leonore certainly succeeds as a concert opener. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, and strings.

program notes { TOWSON UNIVERSITY

Piano Concerto No. 1

Ludwig van Beethoven When Beethoven arrived in Vienna in November 1792 to study with the great Haydn and win fame as a piano virtuoso, Mozart had been dead for less than a year. In a city mad for pianists, the throne of king of the keyboard was vacant, and Beethoven was quick to fill it. His conquest of Vienna came far more easily and was more lasting than Mozart’s; within a year, he had a host of wealthy noble patrons such as Mozart had only dreamed about, and was the most sought-after soloist in town. His pupil Carl Czerny recalled the spell Beethoven’s powerful virtuosity cast over his audiences: “In whatever company he might chance to be, he knew how to produce such an effect upon every hearer that frequently not an eye remained dry, while many would break out into loud sobs; for there was something wonderful in his expression in addition to the beauty and originality of his ideas and his spirited style of rendering them.” Although Beethoven had come to Vienna to study composition with Haydn, the pairing didn’t work. Haydn was a better composer than teacher and did not know what to make of the youngster he dubbed “the Grand Mogul” for his arrogance and obstinacy. Nevertheless, Beethoven’s reputation as a composer soon began to catch up with his fame as a pianist. Scholars are not absolutely certain when he wrote his First Piano Concerto (actually his second, since Piano Concerto No. 2 in B-flat was written earlier, but published later), but focus on the year 1795. He likely premiered this concerto at a concert in Vienna on December 18, 1795, organized by Haydn. Movement 1: Beethoven’s first two piano concertos follow the model of Mozart’s, but this one already shows his own stamp in its sprawling scale and combination of boldness and reverie. It is scored for two trumpets and timpani, as well as woodwinds and strings, as was typical for late-18th century compositions in the “brilliant” key of C Major. The very military opening theme begins softly in the strings, but reveals its true character

Department of Music

when it is repeated fortissimo by the full orchestra. The orchestra also introduces us to the graceful, downward-curving second theme, but we just hear the first part of it as it keeps seeking a way back to C Major. Only when the piano enters will we hear it in its entirety. Much of the piano’s exposition is devoted to glittering, high-speed passagework to show off Beethoven’s virtuosity, but he also displayed his poetic side in some lovely quiet playing toward the end. The development section, begun by solo oboe, also is introspective and quiet. The slow movement is a beautiful rhapsody, which we want to go on forever (as it nearly does). The orchestra is reduced to just strings and the darker winds — clarinets, bassoons, and horns — giving it a special moody coloration. The piano’s long, melancholy melodies, elegantly embellished, introduce a Romantic world that Mozart never quite entered. In the extended coda at the end comes a wonderful, tender duet for the solo clarinet and the piano. The pianist launches the rondo finale with a vivacious, high-spirited rondo theme that is easy to recognize on its many returns. The composer includes a perky dialogue between woodwinds and soloist near the end as well as a quiet passage for soloist and oboe that sets off the boisterous finish all the better.

Dr. Eileen M. Hayes, Chairperson Department of Music

Comprehensive programs in undergraduate and graduate music studies. towson.edu/music

Instrumentation: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Overture and Incidental Music to Egmont

Ludwig van Beethoven In the story of the Flemish Count Lamoral van Egmont, executed by the Spanish in 1568 for leading a movement to free the Netherlands from Spanish rule, Beethoven found the kind of hero he always idealized and could have happily honored in his “Eroica” Symphony. The history of Egmont and the aspirations of the 16th-century Flemish to break the yoke of Spanish Hapsburg tyranny — a story

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{ program notes that also figures in Friedrich Schiller’s classic play Don Carlos and Giuseppe Verdi’s opera Don Carlo — was very much in the air in Vienna at this time. In 1786, the great German poet Johann Wolfgang von Goethe (1749 –1832) had completed a play on the subject, and in turn, Schiller touched up Goethe’s play for its Viennese premiere in May 1810. It was customary then for composers to create overtures and incidental music to enhance spoken dramas. When Beethoven was asked to participate in the production of Egmont, he readily assented. He even waived any fee for his work and wrote that he took on the assignment “only out of devotion to [Goethe].” The composer revered Goethe as the greatest man of their era and had already written a number of songs set to his poetry. Beyond his generalized admiration for men like Egmont who lived and died for their ideals, Beethoven found contemporary relevance in this story from the already distant past. In 1809, Napoleon had invaded Austria and even bombarded and occupied Vienna. By 1810, this foreign conqueror— and Beethoven’s fallen idol—had been driven from Austrian soil, but the bitter memories of that occupation were still fresh for the composer. We usually only hear the superb Egmont Overture, but at these concerts we will also have the privilege of experiencing the other nine numbers Beethoven created for this production, including several orchestral sequences, two songs and a powerful melodrama for speaker and orchestra. A virile, martial portrait of the play’s protagonist, the famous Overture in F Minor, a key Beethoven associated with deepest tragedy, foretells Egmont’s fate with the ominous chords of its slow introduction. Egmont’s heroic struggle against oppression is sketched in the Allegro main section. Then, after a quiet linking passage, comes the exhilarating coda, now in F Major. This is the music of the “Victory Symphony” (Siegessymphonie), the play’s finale, with Egmont’s triumph-in-death shouted out by the entire orchestra, dominated by the brass and those famous exuberant flourishes of the piccolo.

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Beethoven

A drum roll awakens Egmont to face his death with fearless exultation, knowing his fight has not been in vain. Balancing Egmont himself, Goethe’s play also emphasizes a female character Clärchen, Egmont’s fiancée, who —like Leonore in Fidelio — struggles bravely to save her lover, but in this case is unsuccessful. Beethoven created two contrasting songs for her, carefully crafted not to overtax the modest abilities of the actress playing the role. In her spirited song from Act I, “Die Trommel gerühret” (“The Drum Rolls”), Clärchen longs to be a man so she can join her lover in battle. From Act III, “Freudvoll und leidvoll” (“Joyful and Sorrowful”) is a touching portrait of her sensitive nature and her complete devotion to Egmont as she awaits his visit. Beethoven composed four musical entr’actes to bridge the play’s five acts. In keeping with the traditional practices of his time, they are divided between a first section echoing the emotions of the previous act and a second section looking ahead to the events of the act to come. Thus, the First Entr’acte begins as a gentle Andante for strings and woodwinds reflecting the domestic scene in Clärchen’s home that closes Act I, then shifts to energetic Allegro con brio music with fiercely rushing strings to foretell Egmont’s plotting to free his people from Spanish oppression. The Second Entr’acte, linking Acts II and III, is more unified: mostly quiet, expectant music in Beethoven’s heroic key

of E-flat Major anticipating the fatal events ahead with distant fanfares and drum rolls. Again in a contrasting two-section shape, the Third Entr’acte immediately follows the scene between Egmont and Clärchen in Act III, and so its first section, featuring wonderful solos for the oboe (the instrument Beethoven chose to represent Clärchen), elaborates on her lovely song “Freudvoll und leidvoll.” Its second section forecasts Act IV in a crescendoing march announcing the arrival of the Spanish Duke of Alba’s army to quell Egmont’s rebellion and the frightened response of the Flemish people. As Act IV closes, Egmont is arrested and condemned. The Fourth Entr’acte mourns his downfall with beautiful, sorrowing music in the heroic key of E-flat. The more animated second section describes Clärchen’s frantic, futile efforts to save her lover, with her signature oboe portraying her love and courage. The drama’s two great emotional crises are also heightened by musical numbers. In Act V, in despair over Egmont’s impending execution, Clärchen takes poison and dies. Beethoven’s subtle music in D Minor for this scene, “Clärchen’s Tod,” is among the score’s finest, again with its prominent, poignant writing for oboe. In the same act, Egmont in his prison cell awaits his summons to the scaffold. In his sleep, he sees a vision of Clärchen looking joyfully down from Heaven; she holds out a laurel crown to him signifying his ultimate victory as the Flemish will indeed be freed from Spanish rule (an event that would not come for another century). Using a popular device of his era, Beethoven sets this scene as a Melodrama, a spoken text over music describing Egmont’s vision. A drum roll awakens Egmont to face his death with fearless exultation, knowing his fight has not been in vain. His triumph is celebrated in the “Victory Symphony,” a reprise of the joyous music we heard at the close of the Overture. Instrumentation: Two flutes (including piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, percussion, and strings.

Notes by Janet E. Bedell, Copyright ©2016

program notes {

In perfect harmony.

Yuri Temirkanov Returns Music Center At Strathmore

Thursday, March 17, 2016 — 8p.m. Joseph Meyerhoff Symphony Hall

Friday, March 18, 2016 — 8 p.m. Saturday, March 19, 2016 — 8 p.m.

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Yuri Temirkanov, Conductor Denis Matsuev, Piano

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Sergei Rachmaninoff Piano Concerto No. 3 in D Minor, opus 30 Allegro ma non tanto Intermezzo Finale DENIS MATSUEV

700815

725 Mount Wilson Lane Pikesville, MD 21208

INTERMISSION Piotr Ilyich Tchaikovsky Symphony No. 4 in F Minor, opus 36 Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

VE O L U IF YO ,

O S B E TH LL LOVE YOU’ . A S B THE

Music Center At Strathmore The concert will end at approximately 10 p.m.

Sa sha Gusov

Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:55 p.m.

Yuri Temirkanov

Yuri Temirkanov was the music director of the BSO from 1999 to 2006. Since 1988, he has been the artistic director and chief conductor of the St. Petersburg Philharmonic, with whom he regularly undertakes major international tours and recordings. Born in the Caucasus, Mr. Temirkanov began his musical studies at the age of 9. He attended the Leningrad Conservatory where he completed his

studies in viola and began training as a conductor, graduating in 1965. After winning the prestigious All-Soviet National Conducting Competition in 1966, Mr. Temirkanov was invited by Kirill Kondrashin to tour Europe and the United States with legendary violinist David Oistrakh and the Moscow Philharmonic. Mr. Temirkanov made his debut with the St. Petersburg Philharmonic in early 1967, and was then invited to join the orchestra as Assistant Conductor to Yevgeny Mravinsky.

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{ program notes After making his London debut with the Royal Philharmonic in 1977, Mr. Temirkanov was appointed its principal guest conductor and from 1992 to 1998 was principal conductor. He was also the principal guest conductor of the Dresden Philharmonic Orchestra and the Danish National Radio Symphony Orchestra. He frequently conducts the major orchestras of New York, Philadelphia, Boston, Chicago, Cleveland, San Francisco and Los Angeles as well as leading European orchestras, including the Berlin and London philharmonics, London Symphony and the UK-based Philharmonia Orchestra. Mr. Temirkanov’s numerous recordings include collaborations with the St. Petersburg Philharmonic, New York Philharmonic and Danish National Radio Symphony orchestras, and the Royal Philharmonic Orchestra with whom he recorded the complete Stravinsky ballets and Tchaikovsky symphonies. Yuri Temirkanov last appeared with the BSO in October 2006, conducting Shostakovich’s Tahiti Trot and Tenth Symphony.

Denis Matsuev

Denis Matsuev has enjoyed a stellar career since his victory in the 11th International Tchaikovsky Competition in Moscow in 1998. He has appeared with the major orchestras of New York, Chicago, Pittsburgh, London, Philadelphia, London, Paris, Berlin, Moscow and St. Petersburg, and with such distinguished conductors as Lorin Maazel, Valery Gergiev, Kurt Masur, Mariss Jansons, Zubin Mehta, and Yuri Temirkanov. For many years Mr. Matsuev has collaborated with the Sergei Rachmaninoff Foundation. He was chosen by the Foundation to perform and record Rachmaninoff’s unknown pieces on the composer’s own piano at the Rachmaninoff house in Lucerne. He introduced two lost Rachmaninoff works, the D Minor Fugue and the piano version of the Suite for Orchestra; both appeared on Mr. Matsuev’s

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2008 RCA recording Unknown Rachmaninoff. He was appointed artistic director of the Foundation in 2008. Mr. Matsuev, a laureate of the prestigious “Shostakovich’s Prize” in music, is a “People’s Artist of Russia” and a member of the Presidential Council for Culture and Art. In February 2014, Mr. Matsuev was awarded the honor of performing at the Closing Ceremony of the XXII Winter Olympic Games in Sochi. Mr Matsuev was born in Irkutsk, Russia in 1975. His father was a composer and pianist and his mother was a piano teacher. Denis Matsuev last appeared with the BSO in April 2004, performing Rachmaninoff’s Piano Concerto No. 2, with Roberto Abbado, conductor.

About the concert: Piano Concerto No. 3 in D Minor, opus 30

Sergei Rachmaninoff

Born in Oneg, Russia, April 1, 1873; died in Beverly Hills, California, March 28, 1943

In 1909, Sergei Rachmaninoff signed a contract to undertake his first American tour. Eight years before the Russian Revolution, he could not have guessed he would one day be a U.S. resident, but he did know he wanted to make a strong impression in the lucrative American market. He decided that a new concerto was required. He composed his Third Piano Concerto in D Minor the summer before the tour at his country estate, Ivanovka. He practiced the new concerto on a dummy keyboard on the boat to America. Although the Third Concerto scored a success at its premiere on November 28, 1909 with the New York Symphony (now the New York Philharmonic), it was slow to win the mystique it possesses today. Vladimir Horowitz began to build the Third’s legend as the ultimate virtuoso vehicle, and Van Cliburn cemented it in the years after his gold medal at the Tchaikovsky Competition in 1958.

Is this really the most difficult of all piano concertos to play? The movie Shine suggested that the Third’s ferocious demands drove poor David Helfgott into madness. But plenty of pianists play the work and keep all their wits. Yes, it is highly demanding technically, requiring the utmost facility in executing very fast and/or intricately written passages and in encompassing extremely brawny chords. It also demands stamina, for during its nearly 40-minute length, the pianist receives little rest. But “Rach 3,” as it’s known in the business, is a complete test for the pianist not for these reasons alone. It also requires a broad expressive range — from imposing drama to quicksilver wit to songful lyricism. First Movement: For a concerto with such a virtuosic reputation, the Third opens with surprising simplicity and tranquility. Over a rocking accompaniment (which will recur throughout the concerto), the pianist launches an expressive song, played in bare octaves between the two hands. Its stepwise motion, pivoting around the tonic note of D, and its narrow range suggest Russian Orthodox chant. This lengthy melody is eventually given to violas and horns, while the piano embroiders a free fantasia above. The movement’s second theme appears first as a choppy rhythmic idea passed between orchestra and piano before the soloist eases it into a lovely flowing melody over rippling arpeggios. A return of the opening music launches the development section, built around the chant theme and giving the pianist plentiful opportunities to display his virtuoso skills. It ranges from high drama to eerie nocturnal passages before slipping into a big cadenza for the soloist. Rachmaninoff wrote two — the first longer and more showy, which most pianists play today, and the second shorter and slightly more understated, which Rachmaninoff himself preferred. Then the lyrical version of the second theme and the opening music are briefly reprised. In the second-movement Intermezzo, though the mode shifts from minor to major, the tone actually darkens as the orchestral introduction droops in sorrow. The piano sings a romantically melancholy

program notes { song, which ebbs and flows in intensity and passion. Midway through this movement comes a faster, feathery dance led by the piano; listen to the woodwind solos that accompany it for they are singing a cleverly altered version of movement one’s chant theme. The pianist abruptly dismisses the dark mood, and with a burst of virtuosity sails directly into the finale. Rachmaninoff loved the sound of Russian church bells, and we hear them ringing in the piano as the finale opens. As in movement one, the second theme is first presented rhythmically in thick, aggressively syncopated piano chords. Then it is transformed into the big soaring tune we wait for in every Rachmaninoff work. A series of variations on the bell theme, featuring coruscating pianism of extreme difficulty, takes the place of a development section. The concerto’s final drive begins with a roaring march for the piano, spurred on by low strings. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.

Symphony No. 4 in F Minor

Piotr Ilyich Tchaikovsky

Born in Votkinsk, Russia, May 7, 1840; died in St. Petersburg, Russia, November 6, 1893

Tchaikovsky’s Fourth Symphony is a tale of two women. Both entered the composer’s life in 1877, the year he created this tempestuous, fate-filled work. One of them nurtured his creative career with bountiful gifts of friendship, understanding, and money; the other, in a quixotic marriage, nearly destroyed it. The composer’s bright angel was Nadezhda von Meck, recently widowed and heiress to a substantial financial empire. An intelligent, highly complex woman, she loved music passionately and that passion became focused on Tchaikovsky. Early in 1877, she began writing long, heartfelt letters to him: “I regard the musician-human as the supreme creation of nature. … In you the musician and the human being are united so beautifully, so

harmoniously, that one can give oneself up entirely to the charm of the sounds of your music, because in these sounds there is noble, unfeigned meaning.” From such effusions grew one of the strangest and most fruitful relationships in music. Mme. von Meck and Tchaikovsky found they were soul mates, yet they determined to conduct their relationship exclusively through letters and never to meet. For 14 years, they poured out their innermost feelings to each other. She gave him a generous annual stipend that freed him from financial worries. He stayed at her estate when she was away. Years later, when they accidentally encountered each other on a street in Florence, they raced past each other in embarrassment. For a man of homosexual inclination who nevertheless yearned for closeness with a woman, it was an ideal situation. Less ideal was Tchaikovsky’s relationship with his dark angel, Antonina Milyukova, whom the composer — hoping to create a “respectable” home life for himself —foolishly agreed to marry in July 1877. The relationship was a disaster from the beginning and drove the composer to a nervous breakdown. He fled his new bride almost immediately and for years traveled throughout Europe to avoid her. The Fourth Symphony was conceived during this turmoil — drafted before the marriage and orchestrated in the aftermath — and the continual appearances of a “Fate” fanfare, the turbulence of its first movement, and the almost hysterical rejoicing of its finale reflect it. Dedicating the symphony to her, Tchaikovsky turned to his “best friend,” Mme. von Meck, for solace. He kept her continuously apprised of the progress of “our symphony.” When she begged him for a “program” explaining what the music “meant,” he at first demurred but finally obliged with the following movement descriptions: Movement 1: “The introduction [the loud fanfare theme] is the seed of the whole symphony, without a doubt its main idea. This is Fatum, the fateful force that prevents our urge for happiness from achieving its end, … hangs over our heads like the sword of Damocles, and constantly, unceasingly, poisons our soul. …

“Discontent and despair grow stronger, become more scathing. Would it not be better to turn one’s back upon reality and plunge into dreams? [the solo clarinet’s wistful theme] … “O joy! At least one sweet and tender dream has appeared. Some beatific, luminous human image flies by, beckoning us on: [the sweeping, waltz-like music] … [Return of Fate fanfare] “No! They were only dreams, and Fatum awakes us. … So life itself is the incessant alternation of painful reality and evanescent dreams of happiness …” Movement 2: “The second part of the symphony expresses a different aspect of human anguish. It is the melancholy feeling that appears in the evening, when you are sitting alone. … Memories swarm around you. You feel sad about what was and is no more. … It is sad and somehow sweet to sink into the past.” Movement 3: “The third part … is made up of the capricious arabesques … that pass through the mind when one has drunk a little wine and feels the first phase of intoxication. … These are the disconnected pictures that pass though the head when one goes to sleep. They have nothing in common with reality; they are bizarre, strange, incoherent.” Finale: “If you do not find cause for joy in yourself, look to others. Go to the people … They make merry and surrender wholeheartedly to joyful feelings. Picture a popular festival. Scarcely have you forgotten yourself and become interested in the spectacle of other people’s joy, when the tireless Fatum appears again and reminds you of his existence. … Do not say that everything is sad in the world. There exist simple but deep joys. … Life can still be lived. “This, my dear friend, is all I can tell you about the symphony. Of course, it is unclear and incomplete, but this is in the nature of instrumental music. … As Heine said: ‘Where words end, music begins.’ ” Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.

Notes by Janet E. Bedell, Copyright ©2016



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Mi chael Tam maro

{ program notes

Broadway Divas Music Center At Strathmore

Thursday, March 31, 2016 — 8 p.m. Joseph Meyerhoff Symphony Hall

Friday, April 1, 2016 — 8 p.m. Saturday, April 2, 2016 — 8 p.m. Sunday, April 3, 2016 — 3p.m. Presenting Sponsor: Jack Everly, Conductor Christina Bianco Mandy Gonzalez N’Kenge Kristen Plumley

Various, Arr. Everly Broadway Divas Prelude Lerner & Loewe; Arr. Lang “I Could Have Danced All Night” from My Fair Lady      Boubil & Schonberg/ Kretsmer; Arr. Krogstad “I Dreamed a Dream” from Les Misérables   George & Ira Gershwin; Arr. Bennett “Summertime” from Porgy and Bess     Kander & Ebb; Arr. Gibson Suite from Chicago       Styne/Comden/Greene/ Neverland/Defying Gravity Schwartz; Arr. Barton       Kern & Hammerstein; Arr. Krogstad “Can’t Help Lovin’ That Man” from Show Boat

INTERMISSION

  Styne/Sondheim; Arr. Ginzler Overture to Gypsy       Krieger/Eyen; Arr. Barker “And I Am Telling You  I’m Not Going”     from Dreamgirls     Brown & Brent; Arr. Runyan “Love is Where You Find it”         from The Kissing Bandit       Bernstein & Sondheim; Arr. Kostal “A Boy Like That/I Have a Love” from West Side Story     Kander & Ebb; Arr. Krogstad, Barton “Come to the Cabaret” from Cabaret Herman; Arr. Barker “If He Walked Into My Life” from Mame Lopez & Lopez; Arr. Ricketts   “Let It Go” from Frozen                   Music Center At Strathmore The concert will end at approximately 10 p.m.

Joseph Meyerhoff Symphony Hall The concert will end at approximately on 10p.m. (Fri./Sat.), and on 5p.m. (Sun.) The appearance of the guest artists is made possible, in part, through the Samuel and Margaret Gorn Pops Conductor Fund.

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Jack Everly

Jack Everly is the principal pops conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. This season, Maestro Everly will conduct over 90 performances in more than 20 North American cities. As music director of the National Memorial Day Concert and A Capitol Fourth on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest rated programming on PBS television. Originally appointed by Mikhail Baryshnikov, Mr. Everly was music director of the American Ballet Theatre for 14 years. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 16 years and when not on the podium you can find Maestro Everly at home with his family which includes Max the wonder dog. Jack Everly last appeared with the BSO in February 2016, conducting “An Evening with Sutton Foster.”

Christina Bianco

Two-time Drama Desk Award nominated actress, singer and impressionist Christina Bianco has

program notes { become a YouTube sensation with her diva impression videos. With over 21 million views worldwide, Ms. Bianco is best known for her renditions of “Total Eclipse of the Heart” and “Let It Go.” Ms. Bianco made her West End debut starring in the Menier Chocolate Factory’s hailed production of Forbidden Broadway at the Vaudeville Theatre in London. In New York, she starred Off Broadway in the one-woman, multi-character comedy Application Pending. Other New York credits include Newsical the Musical, Forbidden Broadway: Goes To Rehab, Raffi On Broadway at the Gershwin Theatre, Tony and Tina’s Wedding and It Must Be Him. Ms. Bianco originated the role of Dora in the long-running national tour of Dora The Explorer Live, which included a sold-out run at Radio City Music Hall. On television, Ms. Bianco plays the recurring role of Bianca on the sitcom Impress Me, produced by SoulPancake. As a cabaret artist, Ms. Bianco performed weekly in an unprecedented eight-month run of 11 O’Clock Numbers at Feinstein’s at Loew’s Regency. She has performed her critically acclaimed solo shows, Diva Moments and Party Of One to sold out crowds at NYC’s Birdland and regionally across the country. A native of New York, Ms. Bianco attented the Tisch School of the Arts. Christina Bianco last performed with the BSO in October 2014, in the program Broadway Standing Ovations! with Jack Everly, conductor.

Mandy Gonzalez

Mandy Gonzalez is best known for her emotional portrayal of Nina Rosario in the Tony Award winning Broadway musical In the Heights, a role she created Off Broadway at 37 Arts and which received a Drama Desk Award for best ensemble. Ms. Gonzalez starred as Elphaba in the Broadway production of Wicked at New York’s Gershwin Theatre, singing the signature song “Defying Gravity” and

receiving a Broadway.com Award for best replacement. Other Broadway roles include Princess Amneris in the Elton John and Tim Rice musical Aida, and multiple roles including that of Beatles icon John Lennon in Lennon. Ms. Gonzalez made her Broadway debut in Jim Steinman’s Dance of the Vampires opposite Michael Crawford. Ms. Gonzalez received an OBIE Award and critical praise for her performance in the Off-Broadway production of Eli’s Comin’, directed by Diane Paulus and based on the music and lyrics of singersongwriter Laura Nyro. Equally at home on the big and small screen, she has appeared in Across the Universe directed by Julie Taymor and Man on a Ledge with Sam Worthington. Ms. Gonzalez’ television credits include White Collar, The Good Wife, 666 Park Avenue, One Life to Live and Third Watch. She can currently be seen as the recurring character Lucy Knox in Madam Secretary on CBS. A native of California, Ms. Gonzalez attended the California Institute of the Arts. Mandy Gonzalez is making her debut with the BSO.

N’Kenge

N’Kenge, who originated the role of Mary Wells in Broadway’s Motown: The Musical, made her Broadway debut in Sondheim on Sondheim alongside Barbara Cook, Vanessa Williams, Norm Lewis and Tom Wopat, directed by Pulitzer Prize winner James Lapine. In London, N’Kenge made her West End debut starring in The Genius of Ray Charles. N’Kenge starred in the Michael Jackson Tribute Show World Tour and has been seen as a soloist at Carnegie Hall with The New York Pops Orchestra, Cincinnati Symphony, Indianapolis Symphony and Cleveland Orchestra to name a few.  This 2015–2016 season saw N’Kenge  as the witch in Big Fish and Matron “Mama” Morton in Chicago with Alpine Music Project Theater. In addition, N’Kenge will appear as a soloist with

numerous symphonies across the U.S. this season.  Nominated for outstanding lead actress by the Helen Hayes Awards in DC for her performance in 3 Mo’Divas, N’Kenge had the honor of performing for President Obama at the Commander-inChief’s Inaugural Ball. Visit N’Kenge at www.nkengemusic.com. N’Kenge last performed with the BSO in September 2015, in the program Classic FM, with Jack Everly, conductor.

Kristen Plumley

Kristen Plumley has performed with many opera companies throughout the country, including Barbarina in Le Nozze di Figaro with New York City Opera, Norina in Don Pasquale and Zerlina in Don Giovanni with Virginia Opera, Yum-Yum in The Mikado with Opera Memphis and Josephine in H.M.S. Pinafore with Nevada Opera. Ms. Plumley’s works on the concert stage include Mozart’s Coronation Mass and Haydn’s Mass in Time of War at Carnegie Hall, Mozart’s Mass in C Minor, Elgar’s For the Fallen, Bach’s Coffee Cantata, and Respighi’s Laud to the Nativity, Basically Bernstein with Opera Tampa, and An Evening of Gilbert and Sullivan with the symphony orchestras of St. Louis, Richmond, Memphis and Minnesota. Her favorite concert is An Evening of SciFi Favorites — music from science fiction movies and television shows, hosted by George Takei and conducted by Maestro Jack Everly — which she has performed with the Cleveland, Indianapolis, Seattle, Baltimore, Edmonton and Ottawa Symphonies, among others. A Connecticut native, Ms. Plumley received an Artist Diploma in opera from the Hartt School of Music and a Bachelor of Arts in psychology and music from College of the Holy Cross. Kristen Plumley last performed with the BSO in February 2014, in the program Sci-Fi Spectacular, with Jack Everly, conductor.

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{ program notes Marin Alsop

For Marin Alsop’s bio., please see pg. 12.

Kwame Kwei-Armah

For Kwame Kwei-Armah’s bio., please see pg. 19.

Gershwin’s Porgy and Bess Joseph Meyerhoff Symphony Hall

Friday, April 8, 2016 — 8 p.m. Sunday, April 10, 2016 — 3p.m. Music Center At Strathmore

Saturday, April 9, 2016— 8 p.m. Presenting Sponsor: Marin Alsop, Conductor Kwame Kwei-Armah, Director Cast Porgy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Derrick Parker Bess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laquita Mitchell Clara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Onadek Winan Sportin’ Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . Larry D. Hylton Crown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lester Lynch Chorus . . . . . . . . . . . . . . . . . . Morgan State University Choir Performance ACT I

ACT III

Scene I Overture—Jasbo Brown (Chorus) “Summertime” (Clara) “Roll dem bones” (Sportin’ Life, Chorus) “A woman is a sometime thing” (Jake, Chorus) “They pass by singin’ ” (Porgy) Craps game (Porgy, Crown, Sportin’ Life, Bess, Jim, Robbins, Maria, Chorus)

Scene 1 “Porgy, Porgy, that you there ain't it?...I loves you Porgy” (Bess, Porgy) Hurricane scene (Clara, Maria)

Scene 2 Funeral Scene: “Where is brudder Robbins?” —“Fill up de saucer till it overflow” (Chorus) “My man's gone now” (Serena, Chorus) “Oh we're leavin' for the Promise' Land” (Bess, Chorus) ACT II Scene 1 “I got plenty o' nuttin' ” (Porgy, Chorus) “Bess, you is my woman now” (Porgy, Bess) “Oh, I can't sit down” (Chorus) Scene 2 “It ain't necessarily so” (Sportin’ Life, Chorus) “Shame on all you sinners” (Serena) “Crown!...What you want wid Bess?” (Bess, Crown)

INTERMISSION

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Scene 2 “Clara, Clara, don't you be downhearted” (Chorus) “Summertime [reprise]” (Bess) ACT IV Scene 1 “There’s a boat that's leaving soon for New York” (Bess, Sportin’ Life) Scene 2 “How are you dis mornin'?“ (Chorus) “Welcome home Porgy...Bess is gone” (Porgy, Mingo, Serena, Maria, Chorus) Finale: “Oh Lawd, I'm on my way” (Porgy, Chorus) Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:55 p.m. on Friday and 4:55 p.m. on Sunday. Music Center At Strathmore The concert will end at approximately 10 p.m.

Derrick Parker Porgy

Derrick Parker’s many operatic performances include Alidoro in La cenerentola with Portland Opera, Fort Worth Opera and Utah Opera; Colline in La bohème with Fort Worth Opera, Cleveland Opera, Lyric Opera of Kansas City and Shreveport Opera; Raimondo in Lucia di Lammermoor with Fort Worth Opera and Banquo in Macbeth with Anchorage Opera. The bass-baritone made his European operatic debut in performances of Mel in Sir Michael Tippett’s The Knot Garden at the Scottish Opera and recently sang Crown in Porgy and Bess with Cape Town Opera. Mr. Parker has joined both the Dallas Symphony and Pacific Symphony for Beethoven’s Symphony No. 9; Utah Symphony for Mozart’s Requiem and Bernstein’s Mass; BSO and Orquestra Sinfônica do Estado de São Paulo, both conducted by Marin Alsop as well as Poland’s Sinfonia Cracovia for Gershwin’s Porgy and Bess suite. Mr. Parker is the recipient of a Richard F. Gold Career Grant from the Shoshanna Foundation as well as a Sullivan Foundation Award. He is a former member of the prestigious Houston Grand Opera Studio Program as well as Glimmerglass Opera’s Young American Artist program, Wolf Trap Opera’s Filene Young Artist Program, and the programs of the Opera Theatre of Saint Louis and Chautauqua Opera. He holds a Master of Music from Eastman School of Music and earned his Bachelor of Music from Florida State University. Derrick Parker last appeared with the BSO in July 2012, performing as part of the July 4th program, with Robert Franz conducting.

program notes { Laquita Mitchell Bess

Soprano Laquita Mitchell consistently earns acclaim at eminent international opera companies, leading performances with Los Angeles Opera, San Francisco Opera, Washington National Opera and Opéra Comique in Paris, among many others. After her début as Bess in Porgy and Bess with the San Francisco Opera, Ms. Mitchell has reprised the role with the Atlanta Opera, the Tanglewood Festival, and the Cleveland Orchestra. Ms. Mitchell is also an active concert artist, and her performances include Over the Rainbow — an evening honoring Harold Arlen at Weill Recital Hall at Carnegie Hall, Barber’s Knoxville: Summer of 1915 with the Louisville Orchestra, a début with the New World Symphony in Alberto Ginastera’s Cantata para la América Mágica, and her Boston Symphony Orchestra debut as the soprano soloist in Wynton Marsalis’ All Rise under the direction of Kurt Masur. A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions grand prize winner, and was awarded a Sara Tucker Award. She was also the first prize winner of the Wiener Kammeroper’s Hans Gabor Belvedere Competition, making her the first American to win this competition in more than 20 years. Ms. Mitchell holds a master of music degree and the professional studies certificate from the Manhattan School of Music and completed her undergraduate studies at Westminster Choir College.

Ke ssan Wi nan

Laquita Mitchell is making her debut with the BSO.

Onadek Winan Clara

Onadek Winan, a native of Paris, is an undergraduate student at The Juilliard School, where she has been awarded an Alumni Fund Scholarship and a Leona Gordon Lowin Memorial Scholarship, and is currently a Jerome L. Greene Fellow.

She made her opera debut with the Radio France Philharmonic Orchestra at age 15, singing the lead role in Henri Tomasi’s Le Colibri. She also sang with the Paris National Opera Children’s Choir and made her recital debut at salle Cortot. Recently Ms. Winan sang in Charpentier’s Acteon with conductor William Christie, and was Bastienne in Mozart’s Bastien und Bastienne with the Massy Opera. She made her Carnegie Hall debut as Lucia in a Juilliard production of Britten’s The rape of Lucretia. Ms. Winan, who has been chosen to participate in Houston Grand Opera young artists program, has won prizes at the International Singing Competition of Marmande, Les Maitres du chant Français and the Canari Vocal Competition. A graduate of the École Normale de Musique and the Conservatoire National de Région, Ms. Winan also studied at the Conservatoire National Supérieur de Musique. She has been supported by the Safran Foundation for Music. Onadek Winan is making her debut with the BSO.

Larry D. Hylton Sportin’ Life

Larry D. Hylton, tenor, has appeared with The Metropolitan Opera, Washington National Opera, Cincinnati Opera, Lyric Opera of Chicago, L’Opéra National de Lyon and Opéra de Montréal. Mr. Hylton made his international debut as Sportin’ Life in 2003 at Theatre des Westens, Berlin, Germany and has performed the role around the world. His musical theater credits include performances of Carmen Jones under the baton of Maestro Placido Domingo, Sweeney Todd, Debbie Allen’s Soul Possessed, Langston Hughes’ Black Nativity at the Kennedy Center and Show Boat at the Lyric Opera of Chicago. Concert credits include São Paulo Symphony, the BSO, the Lyon Big Band Orchestra, the Barcelona Jazz Orchestra, the American Spiritual Ensemble, the

Moses Hogan Singers and the New York Harlem Singers. He has recorded for GIA Publications, Oregon Catholic Press and MGH Records. Mr. Hylton is a full time soloist at the historic Abyssinian Baptist Church in Harlem, NY. He is a graduate of the Duke Ellington School of the Arts and continued vocal studies at Carnegie Mellon University and Morgan State University. Larry D. Hylton last performed with the BSO in July 2010, performing in Gershwin’s Porgy and Bess, with Marin Alsop conducting.

Lester Lynch Crown

Baritone Lester Lynch’s performances include Lescaut in Puccini’s Manon Lescaut under the baton of Sir Simon Rattle with the Festspielhaus Baden-Baden, Crown in Porgy and Bess with the Opéra de Montréal, Amonasro in Verdi’s Aida with Pittsburgh Opera and Carbon in Cyrano de Bergerac with San Francisco Opera. Mr. Lynch’s regular repertoire also includes Marcello in Puccini’s La bohème, Germont in Verdi’s La Traviata, Count DiLuna in Trovatore, the title role of Rigoletto, Iago in Otello, the title role in Verdi’s Falstaff, Guglielmo in Puccini’s Le Villi, Paolo in Verdi’s Simon Boccanegra, and Flint in Britten’s Billy Budd. His performance of Crown with San Francisco Opera’s production of Porgy and Bess was recently released on DVD. Pentatone Classics has released his recordings of two operas by the contemporary composer Gordon Getty — the title role in Plumpjack, and Cauchon in Joan and the Bells. Mr. Lynch also appears on the Pantone release December Celebration — New Carols by Seven American Composers. An Ohio native and a graduate of the Juilliard Opera Center, Mr. Lynch has received many distinguished awards, including the Metropolitan Opera National Council Auditions, the George London Vocal Competition and the

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{ program notes Sullivan Awards. His work with Opera Theatre of Saint Louis earned him the Richard Gaddes Award. Lester Lynch is making his debut with the BSO.

Morgan State University Choir and Eric Conway last appeared with the BSO in December 2015, for A Gospel Christmas, with Eric Conway conducting.

About the concert:

Morgan State University Choir

Porgy and Bess

Eric Conway is the director of the Morgan State University Choir and the chairperson of Morgan’s Fine and Performing Arts Department. As director, he has travelled all over the world, directing the choir in the Czech Republic, Ghana, South Africa and Colombia, to name a few destinations. Dr. Conway is a doctoral graduate of the Peabody Conservatory of Music of the Johns Hopkins University, where he majored 
in piano and conducting and received the prestigious Liberace scholarship. The Morgan Choir has performed with several major symphony orchestras, including The Philadelphia Orchestra, Chicago Symphony, New York Philharmonic and the National Symphony Orchestra. Under Dr. Conway’s direction, the choir has appeared in the Grammy-nominated recording of Leonard Bernstein’s Mass with the BSO. Dr. Conway has led the choir to many acclaimed performances, including a special performance at the service honoring Rosa Parks, the first woman to lie in honor at our nation’s Capitol Rotunda.
In July 2006, the choir traveled to Prague for two concerts with the Czech National Symphony Orchestra. In 2008, MSUC performed at Carnegie Hall on two separate occasions; under the baton of Bobby McFerrin with the St. Luke’s Orchestra and with Marin Alsop and the BSO. For further information, see www.msuchoir.org

Born in Brooklyn, New York, September 26, 1898; died in Beverly Hills, California, July 11, 1937

Eric Conway, director

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Morgan State University Choir

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George Gershwin

On an October night in 1926, George Gershwin, wound up from rehearsals of his Broadway-bound musical Oh! Kay, found himself unable to sleep. At 28, he was the toast of American music. He had created the scores of numerous hit Broadway shows and was already considered one of the country’s best songwriters. But he was a restless artist, always looking for new challenges. In 1924, he had brilliantly mingled jazz and classical idioms in his Rhapsody in Blue and followed it with the full-length Piano Concerto in F the next year. And he dreamed of someday crossing over from the world of musical comedy he had already mastered to create a fullfledged American opera. That night, Gershwin turned to a popular new novel, Porgy, about African-American life in the Charleston ghetto by a white South Carolinian named DuBose Heyward. The composer was enthralled and read until dawn. His savvy theatrical sense told him this was a story crying out for dramatic treatment, and he promptly fired off a letter to Heywood expressing his interest in using it for a future opera. But Gershwin admitted he did not feel he had the technical knowledge yet to tackle such an ambitious project. It would be another nine years before Porgy and Bess had its premiere. The scion of an aristocratic but impoverished Charleston family, Heyward had spent time as a cotton checker working among black stevedores on the Charleston wharves. He found himself mesmerized by “the color, the mystery and movement of Negro life.” Just down

the street from his home was a decaying courtyard of tenements called Cabbage Row, and this became the Catfish Row of his novel and play. The inspiration for the crippled Porgy was a real-life local character Samuel Smalls, known as “Goat Sammy,” who traveled around the streets of Charleston on a tiny goat-driven cart. Heyward also drew upon the Gullah culture of the sea islands off Charleston; here isolated African-American settlements had retained customs and language very close to their African homelands. At last, in 1933, Gershwin felt ready to embark on his operatic project with Heywood. The first major piece composed was the enchanting “Summertime,” which Clara sings at the beginning of the opera. The most intense period of work, however, came during the summer of 1934 when Gershwin rented a cottage near Heywood’s summer home on Folly Island off Charleston and immersed himself in local Gullah and black culture. Gershwin was dazzled by the spirituals and the Gullah tradition of “shouting”— accompanying spirituals with complicated rhythmic patterns beaten out by hands and feet. Listening to black Holy Rollers simultaneously chanting different prayers to different rhythms inspired Gershwin’s intricate six-part prayer sequence that opens Act II’s Storm Scene. Back in New York, George’s brother, Ira, joined the creative team, writing many of the lyrics. Gershwin and Heywood wanted a black cast, and Gershwin insisted on fully developed operatic voices for his music. With opportunities for African-Americans to receive classical training then so limited, the nationwide search took months. At Howard University, Gershwin found Todd Duncan, a burly six-foot professor with a big, blazing baritone; here was his Porgy. Soprano Anne Brown, the daughter of a Baltimore physician and a 22-year-old student at Juilliard, wrote Gershwin for an audition; though she had no stage experience, he cast her as Bess for her radiant high notes and vulnerable good looks. Porgy and Bess opened at Broadway’s Alvin Theater in a Theater Guild production

program notes { on October 10, 1935. The audience loved the show, especially Gershwin’s inspired music and the powerful cast that sang it. But critics were more reserved. Especially they questioned what kind of work Porgy and Bess was — musical, operetta, or opera? Gershwin maintained that it was an opera, and he had indeed followed the operatic conventions of using continuous music and casting the dialogue largely in sung recitative.

Over the decades, the power and universality of Porgy and Bess has largely won out. It has moved people to tears all over the world. African-Americans also had criticisms. They decried the show as a white production, created, directed, and conducted by white men despite its black cast. Some found the dialect language demeaning and the depiction of African-Americans as ignorant, superstitious and living on the shady side of the law, insulting. But over the decades, the power and universality of Porgy and Bess has largely won out. It has moved people to tears all over the world. It has created new stars —notably Leontyne Price and William Warfield who played the title characters in a production toured by the State Department in the 1950s. Fifty years after its premiere, Porgy and Bess scored the ultimate establishment coup when the Metropolitan Opera gave it a new production in 1985 under James Levine. For many, the work remains unchallenged as the Great American Opera. A Guide to the Drama and Its Musical Highlights

Act I, scene 1: After a brief orchestral Prelude, the curtain opens on Catfish Row. It is evening, and a jazz piano plays in the background. Home from work, the men of the Row have begun a crap game. Clara, wife of Jake the fisherman, sings a lullaby to her baby (“Summertime”). Jake then takes the baby and

sings it a more cynical song (“A Woman is a Sometime Thing”). The crippled Porgy joins the game (“Oh, Little Stars”), followed by the sinister stevedore Crown, with his flashily dressed woman, Bess, on his arm. Crown is drunk and soon gets into a brawl with Robbins (powerful orchestral fugue), killing him with a cotton hook. Crown flees, leaving Bess behind; as the police arrive, Porgy is the only one who will give her shelter. Scene 2: Robbins’ body is laid out in his wife Serena’s room with a saucer on his chest to receive donations for his burial; the chorus mourns him (“Gone, Gone, Gone”). Porgy urges everyone to be generous. Serena sings an anguished lament (“My Man’s Gone Now”). The collection amounts to only $15, but the undertaker promises to give Robbins a decent burial. Act II, scene 1: It is a month later, and the residents of Catfish Row are preparing for a holiday boat trip and picnic on Kittiwah Island. Jake and the other fisherman are repairing their nets (“It Take a Long Pull to Get There”). Bess and Porgy have fallen in love, and he expresses his newfound joy (“I Got Plenty o’ Nuttin’”). Bess is reluctant to leave Porgy behind for the picnic, but Porgy urges her to enjoy herself; they sing the famous love duet “Bess, You is My Woman Now.” Dressed in their Sunday best, the neighbors parade off to the boat. Scene 2: On Kittiwah Island, the neighbors enjoy themselves to music energized by African drums (“I Ain’t Got No Shame”). The bootlegger Sportin’ Life regales them with the irreverent “It Ain’t Necessarily So.” As the crowd leaves for the boat, Crown, who’s been hiding on the island, accosts Bess. Loyal to Porgy, she struggles with him, but he seduces her and drags her into the bushes. Scene 3: A week later on Catfish Row, Bess is lying in feverish delirium after struggling back from Kittiwah. Serena and Porgy pray for her, and she regains consciousness. Though Porgy knows she’s been with Crown, he forgives her, and they renew their love in a heartfelt duet “I Loves You, Porgy.” Jake and the fishermen are out at sea, and Clara screams as the wind comes up and the hurricane bell clangs.

Scene 4: The neighbors have taken shelter from the hurricane in Serena’s house. The scene opens with six prayers sung together in the complex style inspired by African-American meetings Gershwin had witnessed. Trembling with fear, the people are astonished by the sudden arrival of the indestructible Crown. He mocks their fears and prayers with the song “A Red-Headed Woman,” boasting of his conquests. When Bess sees Jake’s boat overturned in the river, the distraught Clara rushes out into the storm. Crown follows to try to save her. Act III, scene 1: A calm evening after the storm. Clara, Jake, and some of the fishermen have been drowned, and the women mourn them in a haunting chorus. Thought dead, too, Crown suddenly creeps back to reclaim Bess. In a furious struggle under Porgy’s window, the crippled man defends his woman and kills Crown. Scene 2: The next morning, the police arrive to investigate Crown’s murder; they take Porgy to the station for questioning. Sportin’ Life moves in on Bess and offers her some of his “happy dust.” He tells her Porgy will be in jail for years and urges her to join him in New York (“There’s a Boat That’s Leavin’”). Bess at first fends him off, then, taking some of the dope, succumbs to temptation and they leave together. Scene 3: A week later, Porgy returns to the Row; there’s not enough evidence to charge him. Eagerly, he looks for Bess while the neighbors watch in embarrassment (“Bess, Oh Where’s My Bess?”). In a trio, Serena and Maria tell him Bess has sold her soul to the Devil and he’s better off without her. Porgy doesn’t agree. Even when told New York is a thousand miles away, he is determined to go there and bring her back. Calling for his goat cart, he leaves Catfish Row on his impossible quest (“Oh Lawd, I’m on My Way”). Instrumentation: Two flutes (including piccolo), two oboes (including English horn), three clarinets, bass clarinet, bassoon, three saxophones, three horns, three trumpets, two trombones, tuba, timpani, percussion, piano, banjo, and strings. Notes by Janet E. Bedell, Copyright ©2016



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{ program notes Marin Alsop

Alkemy X

For Marin Alsop’s bio., please see pg. 12.

Mahler’s Symphony No. 5 Music Center At Strathmore

Thursday, April 14, 2016 — 8 p.m. Joseph Meyerhoff Symphony Hall

Friday, April 15, 2016 — 8 p.m. Marin Alsop, Conductor

Christopher Rouse

Processional (World premiere, BSO commission)

Kevin Puts The City James Bartolomeo, Videographer (World Premiere, Co-Commissioned by Baltimore Symphony Orchestra, Carnegie Hall, and the Cabrillo Festival of Contemporary Music)

INTERMISSION Gustav Mahler

Symphony No. 5 in C-sharp Minor Part I: 1. Trauermarsch 2. Stürmisch bewegt, mit grösster Vehemenz Part II: 3. Scherzo, Kräftig, night zu schnell Part III: 4. Adagietto, sehr langsam 5. Rondo—Finale, Allegro

Music Center At Strathmore The concert will end at approximately 10:15 p.m. Joseph Meyerhoff Symphony Hall The concert will end at approximately 10:10 p.m.

The Co-Commissioning and World Premiere of Kevin Puts’ T he C ity are generously underwritten by Claire and Dr. Allan Jensen. Additional support comes from the Catalyst Fund of the Johns Hopkins University. Christopher Rouse’s Processional was commissioned for the Baltimore Symphony Orchestra and Music Director Marin Alsop by Classical Movements, Inc. as part of the Eric Daniel Helms New Music Program. Also made possible by a grant from New Music USA through a generous contribution from Thomas Brener and Inbal Segev, and additionally supported by the Francis Goelet Charitable Lead Trusts, the Aaron Copland Fund for Music, and the Randolph S. and Amalie R. Rothschild Endowed Fund for New Music.

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James Bartolomeo

A product of the New York film scene, director and filmmaker James Bartolomeo credits much of his diverse storytelling acumen to long hours spent on sets with the likes of David Chase, Darren Aronofsky, James L. Brooks and Barry Levinson while working in the camera department on feature films and high-level episodics. He has told visual stories for the past 15 years with a focus on comedy and character-driven performance. Mr. Bartolomeo’s work reflects an appreciation not only for aesthetics, but for offbeat moments that reveal human nature. One of his favorite projects to date was directing a PSA featuring Michelle Obama, the Sprout Channel’s Sportacus, and the puppet character known as Chica in the East Room of the White House. In the commercial realm he has worked with a multitude of national clients including Fox Network, Under Armour, Walmart, Chevy, Southwest Airlines and Comcast. Mr. Bartolomeo is a native of Baltimore, and graduated from Loyola University. He also studied painting at MICA and playwriting and screenwriting at NYU. Since 2009, James Bartolomeo has worked closely on a number of video projects including a series of “webumentaries,” short promotional videos with Marin Alsop introducing BSO programs and also BSO OrchKids, and most recently a documentary about OrchKids.

About the concert: The City

Kevin Puts Born in St. Louis, Missouri, January 3, 1972

In a season rich in music by many of today’s most exciting composers, it is not surprising that the Baltimore Symphony

program notes { should turn to Kevin Puts to create a new work saluting the Orchestra’s 100th anniversary. Not only has he been on the faculty of the Peabody Institute since 2006, but he has become one of the nation’s most sought-after composers, for music in a wide variety of genres including operas, symphonies, concertos, and orchestral tone poems. Puts’ opera Silent Night, premiered at the Minnesota Opera in 2011, won the 2012 Pulitzer Prize for Music and has subsequently been produced at major houses in the United States, Canada, and Europe. In 2015, he followed this success with another opera for Minnesota, The Manchurian Candidate based on Richard Condon’s famous novel, which also was an extraordinary success. Next November, in New York City, the superb American soprano Renée Fleming will premiere a new Puts work for soprano and orchestra written expressly for her.

The City is a tone poem that was co-commissioned to honor two major American musical anniversaries: the BSO’s 100th and Carnegie Hall’s 125th Not only Marin Alsop but also the BSO’s two previous music directors, Yuri Temirkanov and David Zinman, have embraced Puts’ vibrantly appealing, emotionally expressive music. One of the composer’s most important pieces, Vision for cellist Yo-Yo Ma and orchestra, was commissioned by the Aspen Music Festival in honor of Maestro Zinman’s 70th birthday. Maestro Temirkanov chose Puts’ Network for performances here in 2002, and River’s Rush followed in 2006. Maestra Alsop introduced his Fourth Symphony, “From Mission San Juan” in 2012 and his Flute Concerto in 2015; she has also presented many of his works at her Cabrillo Festival. The City is a tone poem that was cocommissioned to honor two major American musical anniversaries: the BSO’s 100th

and Carnegie Hall’s 125th and thus will be performed in both cities. Puts describes its inspiration and trajectory as follows: “Though inspired by the city of Baltimore, The City was intended as an exploration of many aspects of urban centers in America. My work on the piece intensified following the unrest of April 2015, whereupon I realized the potential for the work to transcend mere illustration and aspire to the territory of healing. “Accompanied at its premiere by a film created by James Bartolomeo, the work begins kaleidoscopically with panoramic views of the city, its spires, monuments, buildings, and infrastructure. Anchored by a simple two-note motive, this opening evolved into a depiction of people — all sorts of people — involved in a variety of situations. Drums and strings create a groove together, while woodwinds and brass introduce primal-sounding melodies. An anthem arises in the string section, followed by a deconstruction and rebuilding of this theme, though on less-stable harmonic ground. A moment of suspense follows as a single note is sustained and passed through the sections of the orchestra. From here, the work gradually builds to cataclysmic dimensions until the opening motive — and then the anthem — are rediscovered. The City ends in a haze of uncertainty. I imagined a helicopter making a final pass over the city until it recedes into the distance. “We are a species suffering the pains of its adolescence. Let us have the resolve, the compassion, and the foresight to force our own evolution to a place of reason and harmony.” Instrumentation: Three flutes (including piccolos), three oboes (including English horn), three clarinets (including E-flat clarinet and bass clarinet), three bassoons (including contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, and strings.

Symphony No. 5 in C-sharp Minor

Gustav Mahler

Born in Kalischt, Bohemia, July 7, 1860; died in Vienna, May 18, 1911

On February 24, 1901, Gustav Mahler had his first close brush with death. It had been a typically frenetic day; he had conducted the Vienna Philharmonic in the afternoon, then moved on to the opera house in the evening to lead a production of Mozart’s The Magic Flute. Later that night, he suffered a violent hemorrhage, and his sister Justine found him lying in a pool of blood. He recalled, “While I was hovering on the border between life and death, I wondered whether it would not be better to have done with it at once, since everyone must come to that in the end.” But Mahler’s constitution was still robust and after surgery he recovered rapidly. After this crisis, the summer of 1901 turned out to be the most productive and serene of Mahler’s career. Because of his nonstop conducting career from September through May, only the summer months were available for composing. In 1901, a new summer home awaited him, a splendid villa he had had built in the village of Maiernigg on the shores of the peaceful Wörtersee in southern Austria. The composer was delighted with this retreat. “It’s too beautiful, one shouldn’t allow oneself such a thing,” his puritan conscience complained. Up a steep path in the woods was his little composing cottage or Häuschen, meagerly furnished with a piano, a worktable, and a chair or two. Here that summer, he created the central Scherzo and the first two movements of his new symphony, as well as eight orchestral songs, including three of his great “Kindertotenlieder” (“Songs of the Death of Children”) and three other songs to poems by Friedrich Rückert. Not surprisingly, the songs fertilized the symphony, and some of their themes and moods infiltrated its movements. Before he was able to return the next summer to complete his Fifth Symphony, another major event occurred. That winter, he met and married the alluring Alma Schindler, 19 years his junior. As he returned to Maiernigg in June 1902, he brought his new bride, already expecting their first child. Yet, as Alma Mahler ruefully recalled, the routine at the Mahler Villa changed hardly at all to accommodate their new family structure;

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everything still revolved around providing Mahler with peace and solitude for his composing. Nevertheless, new feelings of joy surely influenced the symphony’s conclusion as he created the gorgeous string-and-harp Adagietto (which his friend the Dutch conductor Willem Mengelberg believed was a love song to Alma) and the exuberant Rondo-Finale. With the Fifth, Mahler realized he had created something “completely unlike anything I have written before.” In the broadest terms, it marked a break from the three preceding symphonies, which incorporated sung texts into the symphonic fabric. Though they still contain melodic quotes from his songs, Mahler’s three middle symphonies, the Fifth through Seventh, are wordless, exclusively instrumental compositions. The composer’s development and transformation of themes become more imaginative, his contrapuntal interweaving of lines more complex, his harmonies more daring, and his orchestration leaner and often harsher. Yet, although the Fifth Symphony contains no external program, it still intimately reflects the patterns of its creator’s inner and outer life. Only the mercurial Mahler could juxtapose such wildly conflicting moods as this work contains. In the words of Deryck Cooke, “The symphony might almost be described as schizophrenic, in that the most tragic and the most joyful worlds of feeling are separated off from one another, and only bound together by Mahler’s unmistakable command of large-scale symphonic construction and unification.” The symphony’s five movements are grouped into a larger structure of three sections. The death-obsessed movements one and two, which share much of the same thematic material, form Part I. Part II is the Scherzo, the work’s longest movement. Part III comprises the Adagietto as a slow introduction and the Rondo-Finale. Movement one is a funeral march — a favorite Mahlerian trope — in the dark key of C-sharp Minor; its various sections are linked by the searing solo-trumpet fanfare that opens it. After the fanfare, the strings in low register introduce the principal theme, a dry-eyed lament over the

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The BSO

Movement one is a funeral march—a favorite Mahlerian trope —in the dark key of C-sharp Minor. muffled tread of the cortege. When the fanfare returns for the third time, it is immediately engulfed by a wild outburst of grief from the violins introducing the first trio section. Later a second trio takes a different emotional approach with consoling, very Viennese music in the strings. But this too builds to a climax of pain Mahler labels “Klagend” (“Lamenting”). Marked “Stürmisch bewegt”—“with stormy motion”— movement two is the angry working out of the themes and the emotions largely kept under control in the march. The strings open with a wild paroxysm of grief, burdened by harmonic and rhythmic struggle, that seems an intensification of the march’s first trio music. Then cellos introduce a contrasting mood: a marvelous long-spun theme that expands the consoling music of the march’s second trio. Above them, high woodwinds tremble and cry out an important motive— a wailing upward leap that immediately falls back. These themes and moods battle for control until an exalted brass chorale in the brilliant key of D major seems to proclaim triumph. But it is too soon, and the music flickers out in woodwind cries. The symphony now undergoes a schizophrenic mood swing from tragedy to comedy. This buoyant dancing Scherzo

Ch r is Lee

{ program notes in D Major — the symphony’s harmonic goal — was the first music Mahler created for the work, and it portrays the untroubled pastoral pleasures of his retreat at Maiernigg. The scherzo music itself is in the style of the Austrian country dance known as the ländler, but its naiveté is contradicted by the composer’s sophisticated rhythmic cross-play. It is succeeded by a first trio section, a lilting Viennese waltz for the strings, and a second trio, in which the principal horn — which has an important solo role throughout this movement— creates gentle, dreamlike music with strings and woodwinds. Cooke calls this Scherzo “a dance of life,” and in the rest of the symphony Mahler will choose life over death. In Part III, the beautiful Adagietto for strings and harp serves as slow introduction to the Finale. Often excerpted, its sensuous beauty speaks for itself. Written in the first summer of his marriage, it is, if not a love song to Alma, surely an expression of the peace of his composing retreat. Its music recalls his contemporaneous Rückert song, “Ich bin der Welt abhanden gekommen” (“I am lost to the world”), which ends with the words: “I live alone in my own heaven, in my love, in my song.” The ebullient Rondo-Finale in the new home key of D Major follows immediately. Solo woodwinds introduce a collection of folksong-like themes that will propel the movement, then the French horns spin out the mellow rondo refrain. At this time, Mahler was entranced with Bach’s contrapuntal wizardry, and this finale overflows with exuberant fugal passages. When the horns and low-register violins introduce the subject of the second fugal section, we may not immediately recognize the tune, but the strings soon confirm it as the Adagietto’s yearning theme, now sped up and dancing with all the rest. Instrumentation: Four flutes (including piccolos), three oboes (including English horn), three clarinets (including E-flat clarinet and bass clarinet), three bassoons (including contrabassoon), six horns, four trumpets, three trombones, tuba, timpani, percussion, harp, and strings.

Notes by Janet E. Bedell, Copyright ©2016

program notes { Orchestra in the world premiere of Górecki’s Symphony No.4, to considerable acclaim. Notable in Mr. Boreyko’s discography with the Radio-Sinfonieorchester Stuttgart des SWR (where he was principal guest conductor) are Pärt’s Lamentate and Silvestrov’s Symphony No.6 (both for ECM records) and the premiere recording of his original version of the Suite from Lady Macbeth of Mtsensk for Hänssler Classics. Mr. Boreyko was born in St. Petersburg, Russia in 1975, and studied conducting at the Rimsky-Korsakov Conservatory, graduating summa cum laude.

Variations on a Rococo Theme Joseph Meyerhoff Symphony Hall

Friday, April 29, 2016 — 8p.m. Sunday, May 1, 2016 — 3 p.m. Music Center At Strathmore

Saturday, April 30, 2016 — 8 p.m.

Andrey Boreyko is making his BSO debut.



Victoria Borisova–Ollas

Piotr Ilyich Tchaikovsky

The Kingdom of Silence Variations on a Rococo Theme, opus 33 DARIUSZ SKORACZEWSKI

INTERMISSION Sergei Prokofiev Symphony No. 5 in B-flat Major, opus 100 Andante Allegro moderato Adagio Allegro giocoso

Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:50 p.m. on Friday, and 4:50p.m. on Sunday. Music Center At Strathmore The concert will end at approximately 9:55 p.m.

Arch iv Ku ns tler

Supporting Sponsor:

Andrey Boreyko

Andrey Boreyko has been music director of Orchestre National de Belgique since 2012, expanding its activities nationally and internationally. He also holds the position of principal guest conductor of the Orquesta Sinfónica de Euskadi, and since 2014 music director of the Naples Philharmonic in Florida.

In North America, he has worked with the New York and Los Angeles philharmonics, the Cleveland and Philadelphia orchestras, and Toronto, Chicago, Boston, Pittsburgh and Montreal symphony orchestras. His 2015–2016 season includes a debut with San Francisco and concerts with the Baltimore, Indianapolis and Toronto symphony orchestras. A passionate advocate for new works, Boreyko led the London Philharmonic

Ch r istian Co lb erg

Andrey Boreyko, Conductor Dariusz Skoraczewski, Cello

Dariusz Skoraczewski

Baltimore Symphony Orchestra’s Principal Cellist Dariusz Skoraczewski has delighted audiences in America and Europe with his artistic and technical command of the instrument. As a soloist in the U.S., he has performed with the National Philharmonic, Alexandria Symphony, Arlington Philharmonic, Lancaster Symphony and the BSO. As a chamber musician, Mr. Skoraczewski has appeared in the Candlelight Series, Music at the Great Hall in Baltimore and the Barge Music Festival in New York City. In 2005 he gave his Carnegie Hall debut, which was sponsored by the La Gesse Foundation. The cellist is also a member of the Monument Piano Trio. Mr. Skoraczewski began his musical education at the age of six in Warsaw and completed his higher education as a scholarship recipient at the Peabody Conservatory of Music in Baltimore under the supervision of Stephen Kates. He is a laureate of the Tchaikovsky Competition in Moscow, the Leonard Rose Competition in Washington D.C. and the Rostropovich Competition in Paris. In 2013, Mr. Skoraczewski was awarded the prestigious Baker Artist Award, the highest recognition for artists in Maryland. His debut CD Cello Populus is a collection of solo pieces from the

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{ program notes 20th and 21st centuries and includes works of Hindemith, Ligeti, Crumb, Penderecki and others. Dariusz Skoraczewski last appeared as a soloist with the BSO in February 2015, performing J.C. Bach’s Sinfonia Concertante, Nicholas McGegan, conductor.

About the concert: The K ingdom of Silence

Victoria Borisova–Ollas Born in Vladivostok, Russia, 1969; now living in Stockholm, Sweden

In the spellbinding tone poem The Kingdom of Silence, BSO audiences will be meeting a vividly original creative voice whose background incorporates two very different cultures. Victoria Borisova-Ollas was born in Vladivostok, Russia’s far-eastern Pacific port, yet for the past two decades she has lived and worked in Sweden. However, she disavows any overt nationalistic tendencies in her music, saying that it is “just a healthy blend of everything.” As a young child taking piano lessons, Borisova-Ollas “realized quite soon that it was more fun playing my own compositions than other people’s. At first, it took ages for me to write down my music. Eight bars of music could take as many days to turn into notes.” Borisova-Ollas’ musical production became much faster after she began studying at the prestigious Central Music School of Moscow, followed by that city’s legendary Tchaikovsky Conservatory. As perestroika began opening up the U.S.S.R., she moved on to London’s Royal College of Music and Sweden’s Malmö Academy of Music. In the 1990s, she settled in Sweden permanently. Borisova-Ollas’ music has a strong descriptive and storytelling quality, though — unlike Richard Strauss — she does not set out detailed scenarios but leaves listeners free to create their own. Atypically, she begins with a chosen title, which she says then determines the music she will write. She draws inspiration from paintings, literature, and most of all from her strong religious beliefs, her main source being the

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Book of Psalms. Indeed, she explains the title of The Kingdom of Silence “is a free interpretation of one of the psalms. … The words describe, in a very poetic way, the world to which all of us must go after we die. It is dedicated to Nikolai Korndorf, a fantastic Russian composer. He happened to be my teacher in instrumentation at the Moscow Conservatory. I guess it’s a kind of a Requiem in a very small format.” Written and premiered in Sweden in 2003, the work won Sweden’s prestigious Rosenberg Prize. Set in the shape of a musical arch, The Kingdom of Silence is a work of stunning sonic beauty, spanning tonal colors from the most fragile to the very intense. Borisova-Ollas briefly describes it as follows: “The mysterious country where we all should go after our lifetime has many different names; ‘The Kingdom of Silence’ is one of them. The composition starts as a lullaby in which glockenspiel and celesta play a rather simple melody, wrapped in the ‘echo’ of string instruments. Gradually, we are sinking into a dream. Different scenes are appearing in a succession, sometimes linked to each other by the same tempos or divided by the sudden change of mood. With the return of the ‘lullaby,’ a long chain of events is finished. But the dream itself— does it ever end?” Instrumentation: Three flutes (including alto flute), three oboes (including English horn), three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste, and strings.

Variations on a Rococo Theme

Peter Ilyich Tchaikovsky

Born in Votkinsk, Russia, May 7, 1840; died in St. Petersburg, Russia, November 6, 1893

The year 1876 was one of low spirits for Tchaikovsky. Restless and irritable, he traveled about Europe in search of the creative muse. The first work he finally wrote late in the year, the tempestuous tone poem Francesca da Rimini, reflected his mood, but the one that followed in December, Variations on a Rococo Theme for cello and orchestra, certainly did not. For in this lovely work

the composer retreated to the 18th-century world of his favorite composer, Mozart, and the quality of balance it always gave his spirit. “I don’t just like Mozart, I idolize him,” he wrote a little later to his patroness Nadezhda von Meck. “Perhaps it is just because —being a child of my time —I feel broken and spiritually out of joint, that I find consolation and rest in the music of Mozart, music in which he gives expression to that joy in life that was part of his sane and wholesome temperament.” “Rococo,” from the Italian word for “shell,” was originally the name for a shell-like ornament used for interior decoration in mid-18th-century palaces; its popularity eventually gave name to an entire cultural style of delicate ornamentation and lightheartedness. Tchaikovsky adopted the rococo spirit here in his simple, graceful theme, in the charm and fancifulness of his variations, and in the use of a small 18th-century orchestra, with only pairs of woodwinds plus strings to support the cello soloist. In the seven variations that follow the cello’s presentation of the theme, Tchaikovsky sticks closely to the melody so that we never forget its original shape. The heart of the work is the lengthy third variation, a soulful, slow-tempo song for the cello that is a masterpiece of heartfelt lyricism. Variation five shows off the soloist’s virtuosity with chains of trills, an extremely wide range (Tchaikovsky emphasizes the cello’s highest notes throughout this work), and rapid figurations. The sixth variation moves into the minor mode with a darkly melancholy Russian melody, exquisitely accompanied by pizzicato strings and woodwind solos. The Rococo Variations was written for the German cellist Wilhelm Fitzenhagen, who insisted on revising the entire work— reordering the sequence of Tchaikovsky’s variations and dropping an eighth variation altogether. And that is the version that has come down to us. Why Tchaikovsky permitted this tampering with his 18th-century jewel is anyone’s guess— a cautionary tale for partnerships between composers and ego-driven virtuosos. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, and strings.



program notes { Symphony No. 5 in B-Flat Major

Sergei Prokofiev

Born in Sontsovka, Ukraine, April 23, 1891; died in Moscow, March 5, 1953

The premiere of Prokofiev’s Symphony No. 5 in Moscow on January 13, 1945 was an occasion charged with emotion. The great Soviet pianist Sviatoslav Richter vividly recalled the moment as Prokofiev mounted the podium: “He stood like a monument on a pedestal. And then, when [he] had taken his place… and silence reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited, and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us —including Prokofiev — had reached some kind of shared turning point.” Richter’s observation was accurate. The cannons that interrupted the start of the Fifth Symphony were celebrating the news that the Soviet Army was crossing the Vistula River into the territory of Nazi Germany. The end of World War II was now assuredly in sight. The music that followed this joyful roar proved worthy of the moment, and 40 minutes later, the audience set off its own explosion. For with his longest and arguably greatest symphony, Prokofiev had summed up the mood of the Russian people at this momentous time in their history with music that paid tribute both to the terrible suffering they had experienced and to the victory that would soon be theirs. Prokofiev, too, had reached a personal turning point. Since he returned from the West to the U.S.S.R. in 1936, he had struggled to adjust to Stalin’s cultural whims. Now for a brief moment, he was at the apex of his career; no longer a suspiciously watched “foreigner,” he was the musical voice of the Russian people. Later, Prokofiev commented that the Fifth Symphony was “very important not only for the musical material that went into it, but because I was returning to the symphonic form after a break of 16 years. The Fifth Symphony is the culmination of an entire period of my work. I conceived

of it as a symphony on the greatness of the human soul.” Oddly, it had been easier to be a composer in the Soviet Union during World War II then in the years before or after; Stalin was too busy with the war to worry about subversive artists. Retreats far from the front lines were set aside for Soviet creators, and Prokofiev had spent most of 1944 at a “House of Creative Work” near Ivanovo, west of Moscow, with other leading composers, including Shostakovich. Buoyed by the news of the successful Normandy invasion in June, Prokofiev wrote the Fifth very rapidly during the summer and early fall.

A wartime mood prevails with drums and dark brass adding military color and weight. The sonata-form first movement, in the home key of B-flat Major, is unusual for being a slow movement, and in fact slow tempos dominate this symphony. It opens with the haunting principal theme sung in octaves by flutes and bassoon. Strings then reveal its beauty with lush harmonies. A wartime mood prevails with drums and dark brass adding military color and weight. As the tempo quickens slightly, flute and oboe present the more flowing and optimistic second theme. The exposition section closes with a grand fanfare-like theme for full orchestra envisioning the victory to come. Working out all these themes, the development section reaches a powerful climax, out of which the principal theme, now triumphant rather than wistful, is trumpeted forth by the brass. To cymbal crashes and blows on the gong, the movement reaches a staggering conclusion, mighty enough to close a symphony. But there’s still much more to come. Leaving memories of the war behind, movement two is a wry, ironic scherzo in D Minor set to propulsive rhythms. Prokofiev originally intended this music for his ballet Romeo and Juliet, written

a decade earlier, and it is a very characteristic expression of his black-comedy vein. A solo clarinet sings the winding, sassy principal theme. The scherzo music segues smoothly into a slightly slower trio section, opened by oboe and clarinet singing a downward-sliding tune. Subtle, imaginative scoring characterizes this section, which has an elusive, slightly macabre mood. The success of the Shostakovich work, written nearly a decade earlier, had made it a model of the ideal symphony for Soviet composers. But though Prokofiev’s Adagio is also music of mourning, it is more sensuous and artful than Shostakovich’s blunt cry of pain. Its quality of lyric tragedy is embodied in its beautiful, poignant principal theme, introduced by the woodwinds but soon passed to its rightful owners, the strings. The gorgeous string writing here is vintage Prokofiev, as first violins soar to the stratosphere, arcing against the second violins not far below. The movement’s middle section is darker and more turbulent in its depiction of wartime suffering. Two funeral-march themes — one emphasizing jagged rhythms and associated with strings, the other for winds and containing a sinister trill — strive against each other. This rises to a climax of shattering volume and dissonance before the ethereal close. After a brief recall of the melody that launched the symphony, the Allegro giocoso finale shakes off the sorrows of war and exuberantly prepares for peace. Over rollicking horns, the clarinet leads with a theme of Prokofievian drollery, followed by a chirpy idea for oboes, and finally a jauntily optimistic tune for flute. With clattering percussion and the Slavic tune blazing in the brass, the symphony closes with a joyful noise. Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings.

Notes by Janet E. Bedell, Copyright ©2016



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T h e B a l t i mo r e S ym p h ony O r c h est r a

Symphony fund Honor Roll October 1, 2014 – December 1, 2015 The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation, and government donors whose generosity supports our artistic, education, and community engagement initiatives. Gifts were received from the following donors between October 1, 2014 and December 1, 2015. To donate, please contact the BSO Membership Office at 410.783.8124 or visit BSOmusic.org/donate.

The Century Club $100,000 or more

Marin Alsop Donna and Paul Amico The Baltimore Symphony Associates Sandy Feldman, President The Charles T. Bauer Foundation Henry and Ruth Blaustein Rosenberg Foundation and the Estate of Ruth Marder* Mr. and Mrs. Kingdon Gould, Jr. Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Mark and Pat Joseph Joseph and Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker Linda and Stanley* Panitz Bruce and Lori Laitman Rosenblum Alena and David M. Schwaber

Founder’s Circle

The Bozzuto Charitable Fund Jessica and Michael Bronfein Esther and Ben Rosenbloom Foundation Michelle G. and Howard Rosenbloom Dr. and Mrs. Solomon H. Snyder Ellen W.P. Wasserman Anonymous David and Pat Bernstein Caswell J. Caplan Charitable Income Trusts Constance R. Caplan Mr. and Mrs. Robert Coutts

BSO AT THE MEYERHOFF HONOR ROLL The following donors contribute to support music and music education throughout the Baltimore community.

Meyerhoff Governing Members Gold $5,000 –$9,999

Anonymous (3) Dr. and Mrs. Thomas E. Allen Deborah and Howard M. Berman Linda and Barry Berman Alan and Bunny Bernstein Dr. and Mrs. Paul Z. Bodnar Ms. Carol Bogash John and Bonnie Boland Steven Brooks and Ann Loar Brooks Mrs. Elizabeth A. Bryan Mr. and Mrs. Robert Butler

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Maestra’s Circle Diamond $15,000 –$24,999

$50,000 –$99,999

$25,000 –$49,999

Adalman-Goodwin Foundation Hilda Perl Goodwin and Douglas* Goodwin, trustees Mr. and Mrs. Benjamin H. Griswold, IV Nancy Hackerman and Lillian Hackerman Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. Stephen M. Lans Sarellen and Marshall Levine The Huether-McClelland Foundation George and Catherine McClelland Judy and Scott Phares Dr. and Mrs.* Thomas Pozefsky Lainy LeBow-Sachs and Leonard R. Sachs The Honorable Steven R. Schuh Mr. and Mrs. Stephen D. Shawe David and Chris Wallace Dr. Ellen Yankellow and Mr. Bill Chapman

Anonymous (2) Robert H. Boublitz In memory of Harry H. Boublitz Mr. and Mrs. George L. Bunting, Jr. Lt Gen (Ret) Frank B. and Karen Campbell The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg Rosalee C. and Richard Davison Foundation Donna and Kenneth DeFontes, Jr. Alan and Carol Edelman Sara and Nelson Fishman Sandra Levi Gerstung Mr. and Mrs. Douglas Hamilton

Mr. John Cahill Nathan and Suzanne Cohen Foundation Mr. and Mrs. Elbert Cole Faith and Marvin Dean Dr. and Mrs. Thomas DeKornfeld Ronald E. Dencker Drs. Sonia and Myrna Estruch Ms. Margaret Ann Fallon Andrea and Samuel Fine John Gidwitz Sandra and Barry Glass Betty E. and Leonard H. Golombek Dr. Todd Phillips and Ms. Denise Hargrove Sandra and Thomas Hess Mr. and Mrs. J. Woodford Howard, Jr. Mr.* and Mrs. H. Thomas Howell Susan and David Hutton

Dr. Michael G. Hansen and Nancy E. Randa Joel and Liz Helke The Sandra and Fred Hittman Philanthropic Fund Dr. and Mrs.* Murray Kappelman Barbara Katz Howard Majev and Janet Brandt Majev Hilary B. Miller and Dr. Katherine N. Bent Mr. and Mrs. H. Hudson Myers, Jr. Mr.* and Mrs. Michael P. Pinto Arnold and Diane Polinger Alison and Arnold Richman Mr. George A. Roche Morris Shapiro Family Foundation Dr. and Mrs. Charles I. Shubin Richard C. and Julie I. Vogt

Maestra’s Circle Platinum $10,000 –$14,999

Anonymous Erin Becker Dr. Emile A. Bendit and Diane Abeloff Mr. and Mrs. Ed Bernard Mr. and Mrs. A.G.W. Biddle, III Diane and Leland Brendsel Ms. Mary Catherine Bunting Dan Cameron Ms. Kathleen A. Chagnon Mr. and Mrs. H. Chace Davis, Jr. Chapin Davis Investments Judith* and Mark D. Coplin Mr. and Mrs. Albert Counselman Mr. and Mrs. William H. Cowie, Jr. The Rothschild Charitable Foundation Ellen and Linwood Dame Mr. and Mrs. James L. Dunbar

Susan and Stephen Immelt Mr. and Mrs. Harry Kaplan Mr. William La Cholter Joseph H.* and Eileen A. Mason Norfolk Southern Foundation Dan and Agnes Mazur Mrs. Kenneth A. McCord Margot and Cleaveland Miller Jolie and John Mitchell Dr. and Mrs. C.L. Moravec Elizabeth Moser Mrs. Joy Munster Dr. and Mrs. David Paige Dr. and Mrs. Lawrence C. Pakula William and Kathleen Pence Marge Penhallegon Helene and Bill Pittler The Joel Rabin Family Dr. and Mrs. E. Albert Reece Rona and Arthur Rosenbaum Neil J. and JoAnn N. Ruther

Doris T. and Bill Fader Mr. Mark Fetting Joanne Gold and Andrew A. Stern Wendy Jachman The Alvin and Louise Meyerberg Family Foundation Drs. Riva and Marc Kahn Mrs. Barbara Kines* Dr. and Mrs. Yuan C. Lee Harriet and Jeffrey Legum Richard W. Ley In Memory of Gavin and Mary Manson Sayra and Neil Meyerhoff Sally S. and Decatur* H. Miller Drs. Mark and Virginia Myerson Mr. and Mrs. Bill Nerenberg Dr. Selvin Passen The RCM&D Foundation and RCM&D, Inc. Mr. and Mrs. Albert R. Counselman Gar and Migsie Richlin Barry and Susan Rosen John and Dawn Sadler M. Sigmund and Barbara K. Shapiro Philanthropic Fund Francesca Siciliano and Mark Green The Honorable and Mrs. James T. Smith, Jr. Mr. and Mrs. Gideon N. Stieff, Jr. Ms. Harriet Stulman The Louis B. Thalheimer and Juliet A. Eurich Philanthropic Fund Mr. and Mrs. Loren Western Mr. Edward Wiese Aaron and Joanie Young The Zamoiski-Barber-Segal Family Foundation

Dr.* and Mrs. Marvin M. Sager Mr. and Mrs. J. Mark Schapiro Jacob S. Shapiro Foundation Jane and Stan Rodbell, and James Shapiro The Sidney Silber Family Foundation Mr. and Mrs. Harris J. Silverstone Melissa and Philip Spevak James Storey and Janice Collins Dr. and Mrs. Carvel Tiekert Mr. Peter Van Dyke and Ms. Judy Van Dyke Susan Wolman Laurie S. Zabin

Meyerhoff Governing Members Silver $3,000 –$4,999

Anonymous (4) Dr. and Mrs. Robert J. Adams

Mr. and Mrs. Edward J. Adkins Julianne and George Alderman Frederick Apfel and Meredith Pattin Mr. Paul Araujo Jackie and Eugene Azzam Mr.* and Mrs. Thomas H. G. Bailliere, Jr. Susan and David Balderson Ms. Penny Bank Donald L. Bartling Dr. and Mrs. Theodore M. Bayless Dr. and Mrs. Mandell Bellmore Donna and Stanley Ber Dr. and Mrs. Mordecai P. Blaustein Mr. and Mrs. John Blodgett Jeffrey and Peggy Boltz Mr. and Mrs. John M. Bond, Jr. Dr. Helene Breazeale Dr. Rudiger and Robin Breitenecker

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Strathmore Symphony Society Members Judy and Michael Mael.

Mr. and Mrs. Thomas H. Broadus, III Barbara and Ed Brody Dr. and Mrs. Donald D. Brown Mr. and Mrs. S. Winfield Cain Brad and Kate Callahan James N. Campbell, M.D. and Regina Anderson, M.D. Michael and Kathy Carducci Ms. Susan Chouinard Joan Piven-Cohen and Samuel T. Cohen Wandaleen and Emried Cole Dr. Elizabeth H. Jones and Steven P. Collier Mr. and Mrs. John W. Conrad, Jr. David and Ellen Cooper Robert A. and Jeanne Cordes Charles A. Corson Mrs. Rebecca M. Cowen-Hirsch Alan and Pamela Cressman Mr. and Mrs. Edward A. Dahlka, Jr. Dr. and Mrs. Cornelius Darcy Mr. and Mrs. William F. Dausch Walter B. Doggett, III and Joanne Doggett Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Mr. and Mrs. Laurence Dusold Dr. Sylwester J. Dziuba Donna Z. Eden and Henry Goldberg Deborah and Philip English Michaeline Fedder and Susan Arisman Mr. and Mrs. Maurice R. Feldman John and Pam Ferrari David and Merle Fishman Winnie and Bill* Flattery Dr. and Mrs. Jerome L. Fleg Ms. Lois Flowers Mr. and Mrs. John C. Frederick Jo Ann and Jack Fruchtman John Galleazzi and Elizabeth Hennessey Mr. Robert Gillison and Ms. Laura L. Gamble Mrs. Ellen Bruce Gibbs Gale Gillespie Helaine and Louis Gitomer Bruce Yale Goldman Brian and Gina Gracie Dr. Diana Griffiths In memory of Dr. Felix Gyi

Nancy Bradley, Marge Penhallegon, and Dick Spero celebrate at the BSO Gala.

Carole Hamlin and C. Fraser Smith Mr. Gary C. Harn Melanie and Donald Heacock John P. Healy Mr. and Mrs. Robert W. Hearn Mr. and Mrs. Edward Heine Mr. Thomas Hicks Martin S. Himeles Foundation, Inc. Bruce and Caren Beth Hoffberger Ms. Marilyn J. Hoffman Betsy and Len Homer Bill and Ann Hughes Elayne and Benno Hurwitz In memory of John T. Ricketts, III Richard and Brenda Johnson Susan B. Katzenberg Louise and Richard Kemper Townsend and Bob Kent Suzan Russell Kiepper Deborah C. Kissinger Richard Kitson and Andrew Pappas Dr. and Mrs. Richard A. Kline Paul Konka and Susan Dugan-Konka Dr. Morton D. Kramer Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug Sandy and Mark Laken Dr. and Mrs. Donald Langenberg The Lavagnino Family Anna and George Lazar Ruth and Jay Lenrow Doris and Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman Darielle and Earl Linehan Ms. Louise E. Lynch Diane and Jerome Markman Donald and Lenore Martin Dr. Marilyn Maze and Dr. Holland Ford Ms. Beverly Wendland and Mr. Michael McCaffery Drs. Edward and Lucille McCarthy Mr. and Mrs. Scott A. McWilliams Paul Meecham and Laura Leach John Meyerhoff, M.D. and Lenel Srochi-Meyerhoff Sheila J. Meyers Mr. Charles Miller

Governing Members Drs. Sonia and Myrna Estruch with René Hernandez at a BSO Cast Party.

Carolyn B. Mills and Dr. John A. Snyder Ms. Patricia J. Mitchell Drs. Dalia and Alan Mitnick Dr. Mellasenah Y. Morris Rex Myers Roy and Gillian Myers Phyllis Neuman, Ricka Neuman and Ted Niederman Roger F. Nordquist, In memory of Joyce C. Ward In memory of the Rev. Howard G. Norton and Charles O. Norton Dr. Antonella Nota Number Ten Foundation Kevin and Diane O’Connor Anne M. O’Hare Drs. Erol and Julianne Oktay Mrs. Bodil Ottesen Mr. and Mrs. Frank Palulis Helen and Mac Passano Beverly and Sam Penn Dr. and Mrs. Anthony Perlman David and Lesley Punshon-Smith Peter E. Quint Dr. Jonas Rappeport and Alma Smith Louise Reiner Paul Rivken M.D. and Karen Jackson Nathan and Michelle Robertson Mr. and Mrs. Richard Roca Dr. Jeffrey D. Rothstein and Ms. Lynn A. Bristol Robert and Lelia Russell Ilene and Michael Salcman Ms. Doris Sanders Lois Schenck and Tod Myers Marilyn and Herb* Scher Dr. and Mrs. James L. Scott Ida and Joseph Shapiro Foundation and Diane and Albert Shapiro Mr. Stephen Shepard Dr. and Mrs. Ronald F. Sher Thom Shipley and Chris Taylor Francine and Richard Shure Dr. and Mrs. Frederick Sieber Ronnie and Rachelle Silverstein Drs. Ruth and John Singer Ellwood and Thelma Sinsky Mrs. Barbara and Rev. Joseph Skillman Ms. Leslie J. Smith Ms. Nancy E. Smith Cape Foundation Turner and Judy Smith

BSO Board Member Kathleen Chagnon at the Celebration Gala.

Mr. and Mrs. Lee M. Snyder Dr. and Mrs. John Sorkin Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Anita and Mickey Steinberg Mr. Edward Steinhouse Harriet Stulman Susan and Brian Sullam Jim and Brigitte Sutherlin Mr. and Mrs. Robert Taubman Dr. Ronald J. Taylor Mr. and Mrs. Terence Taylor Sonia and Carl Tendler Mr. and Mrs. Paul G. Tolzman Dr. Jean Townsend and Mr. Larry Townsend Raymond G. Truitt and Mary K. Tilghman In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel Joan Wah William and Salli Ward Martha and Stanley Weiman Dr. and Mrs. Matthew R. Weir Mr. and Mrs. David Weisenfreund John Hunter Wells Mr. and Mrs. Christopher West Sean and Jody Wharry Ms. Camille B. Wheeler and Mr. William B. Marshall Ms. Louise S. Widdup In Memory of Carole L. Maier, Artist Mr. and Mrs. Barry F. Williams Mr. and Mrs. T. Winstead, Jr. Laura and Thomas Witt Mr. and Mrs. Richard Wolven Drs. Yaster and Zeitlin Chris and Carol Yoder Mr. and Mrs. Michael Young Dr. and Mrs. Robert E. Zadek

Meyerhoff Symphony Society Gold $2,000 –$2,999

Anonymous (4) George and Frances Alderson Robert and Dorothy Bair Chris H. Bartlett Msgnr. Arthur W. Bastress Carolyn and John Boitnott Mr. and Mrs. Charles R. Booth Loretta Cain Campbell & Company Marilyn and David Carp Ernie and Linda Czyryca Arthur F. and Isadora Dellheim Foundation, Inc. Mrs. Nancy S. Elson



Mr. and Mrs. Arthur Flach Ms. Stephanie Hack Mr.* and Mrs. E. Philips Hathaway Lloyd Helt and Ruth Gray Betsy and George Hess Barbara and Sam Himmelrich Mr. and Mrs. A. C. Hubbard, Jr. Dr. Helmut Jenkner and Ms. Rhea I. Arnot The Philip and Harriet Klein Foundation Dr. and Mrs. Jeffrey Kremen Peter Leffman Mr. Melvin Lessing Louise D. and Morton J. Macks Family Foundation, Inc. Marina Macks Kahn and Peter Kahn Genine and Josh Fidler Ellen and Lawrence Macks Dr. Frank C. Marino Foundation Jim and Sylvia McGill Mr. and Mrs. Peter Muncie Mr. and Mrs. Robert C. Neiman Mr. James D. Parker Mr. and Mrs. Thomas Parr Mr. and Mrs. Stephen Petrucci Mr. and Mrs. John Brentnall Powell Dr. Thomas Powell Jo Ellen and Mark Roseman Mr.* and Mrs. Nathan G. Rubin Beryl and Philip Sachs Karen and Richard Soisson Michael White and Rena Gorlin Leslie and James J. Wharton Mark and Lisa Wiegmann Dr. and Mrs. E.F. Shaw Wilgis Ms. Anne Worthington

Meyerhoff Symphony Society Silver $1,200 –$1,999

Anonymous (4) Mr. and Mrs. Ronald Abrams Matthew P. Alfano Mr. and Mrs. W. Michael Andrew Robert and Martha Armenti Mr. and Mrs. Maurice Arsenault Phyllis and Leonard J. Attman Mrs. Jean Baker Dr. and Mrs. Bruce Barnett Karl Becker Arthur and Carole Bell Mr. and Mrs. Neil R. Bernstein Mr. and Mrs. Charles Berry, Jr. Mr. Edward Bersbach

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Mr. and Mrs. Albert Biondo Roy Birk Ms. Amy Boscov and Mr. Terence Ellen Elizabeth W. Botzler David E. and Alice R. Brainerd Drs. Joanna and Harry Brandt Jean K. Brenner Elizabeth Bright Jean B. Brown Mrs. Robert W. Brown Stephen C. Buckingham Chuck and Beth Bullamore Dr. Robert P. Burchard Mrs. Edward D. Burger Dr. and Mrs. Arthur L. Burnett Mr. and Mrs. David Callahan Marla Caplan Mr. and Mrs. Claiborn Carr Dr. and Mrs. John Carey Mr. James T. Cavanaugh, III Ms. Jennifer Cawthra David P. and Rosalie Lijinsky Chadwick Mary D. Cohen Mr. and Mrs. Jonas M. L. Cohen Mr. Matthew S. Cole and Dr. Jean Lee Cole John and Donna Cookson Catherine and Charles Counselman, Jr. Mr. and Mrs. Jeffrey Crooks James Daily Mr. and Mrs. Thomas Darr Richard A. Davis* and Edith Wolpoff-Davis Mr. and Mrs. William C. Dee Dr. Alfred J. DeRenzis Nicholas F. Diliello Dr. Jeanne A. Dussault and Mr. Mark A. Woodworth Mr. and Mrs. Stuart Elsberg and The Elsberg Family Foundation Mr. and Mrs. Ray Fischer Dr. and Mrs. William Fox Gigi Franyo and Dave Ehlers Virginia K. Adams and Neal M. Friedlander, M.D. Dr. and Mrs. Donald S. Gann Audrey and Stanford G. Gann, Sr. Mr. George Garmer Fred and Elaine Gehris Mr. and Mrs. Austin George Dr. and Mrs. Frank A. Giargiana, Jr. Mr. Price and Dr. Andrea Gielen Michael B. Glick Judith A. Gottlieb Robert Greenfield Donna and Gary Greenwald Mrs. Ann Greif Mr. Charles H. Griesacker Joel and Mary Grossman Dr. Alfredo J. Guerra and Dr. Sarah C. Keane Mr. and Mrs. Donald Gundlach Sandra and Edward J. Gutman Mary Hambleton Mr. Loring Hawes Mr. David L. Heckman Thelma Horpel Herbert H. Hubbard Alexandra Huff and James BonTempo Yvonne Hughes

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Jennifer Hulse Nancy Hulse Ms. Elizabeth Huttar Mr. and Mrs. Scott Jacobs Honor and John Johnson The Honorable and Mrs. Christian M. Kahl Elizabeth M. Kameen Drs. Harold and Norma Kanarek Mrs. Harry E. Karr Mrs. Shirley Kaufman Ann and David Keith George and Catherine Klein Marcel and Barbara Klik Dr. John Boronow and Ms. Adrienne Kols, In Memory of John R. H. and Charlotte Boronow Francine and Allan Krumholtz Charles Randall Kuning Dr. James and Mrs. Lynne LaCalle Andrew Lapayowker and Sarah McCafferty Dr. Edward and Ms. Rebecca Lawson Mr. Ronald P. Lesser Dr. Harry Letaw, Jr. and Mrs. Joyce W. Letaw Len and Cindy Levering Dr. and Mrs. Bernard Levy Ms. Joanne Linder Mr. and Mrs. Arthur Lynch Joseph S. Massey Mr. and Mrs. Stanley Mathews Susan J. Mathias Mr. and Mrs. Jordon Max Mrs. Patricia McCall Mr. Timothy Meredith Benjamin Michaelson, Jr. Richard M. Kastendieck and Sally J. Miles Mr. and Mrs. Charles R. Miller Noah* and Carol C. O’Connell Minkin Herbert and Miriam Mittenthal Dr. Carol Morris Mr. Howard Moy Marita K. Murray Michael and Rosemary Noble Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mrs. S. Kaufman Ottenheimer Mary Patil Dr. and Mrs. Arnall Patz Dr. and Mrs. Frederick Pearson Mrs. J. Stevenson Peck Dr. Sally Pinkstaff Mr. and Mrs. James Piper Mr. and Mrs. Morton B. Plant Mr. and Mrs. Elias Poe Dr. G. Edward Reahl, Jr. Mr. Charles B. Reeves, Jr. Mr. and Mrs. B. Preston Rich Carl and Bonnie Richards Mrs. Randall S. Robinson Stephen Root and Nancy Greene Mr. Seymour S. Rubak John B. Sacci and Nancy Dodson Sacci Mr. and Mrs. Benjamin Schapiro Mrs. Barbara K. Scherlis Jeff M. Schumer Dr. Deborah Schwengel Mr. and Mrs. Robert W. Sharp

Dr. and Mrs. Edward M. Sills Mr. and Mrs. Miles T. Smith Mr. and Mrs. Scott Smith Mr. and Mrs. Jeffrey L. Staley Bruce and Lynne Stuart Ms. Sandra Sundeen Mr. and Mrs. William J. Tate Robert and Sharonlee Vogel Charles and Mary Jo Wagandt Charles Emerson Walker, PhD Mr. and Mrs. Kent Walker Dr. Robert F. Ward Drs. Susan and James Weiss Mrs. Margaret Wheeler Jennifer and Leonard Wilcox Dr. and Mrs. Donald E. Wilson Mr. George H. Winslow Mr. Sander L. Wise Dr. Richard Worsham and Ms. Deborah Geisenkotter Drs. Paul and Deborah Young-Hyman Mr. and Mrs. Donald W. Zurwelle

Burt and Karen Leete James Lynch Ellen G. Miles and Neil R. Greene Dr. William W. Mullins Ms. Diane M. Perin Martin Poretsky and Henriette van Eck Roger and Barbara Schwarz Patricia Smith and Dr. Frances Lussier Don Spero and Nancy Chasen Mr. Alan Strasser and Ms. Patricia Hartge Alan V Asay and Mary K Sturtevant Dr. Diana Locke and Mr. Robert E. Toense Dr. Edward Whitman Sylvia and Peter Winik

BSO AT STRATHMORE HONOR ROLL The following donors contribute to the BSO at Strathmore Artistic Fund to support music and music education throughout Montgomery County and the DC Metro community.

Anonymous (2) Caroline W. and Rick Barnett Ms. Shirley Brandman and Mr. Howard Shapiro Dr. Mark Cinnamon and Ms. Doreen Kelly Dr. Edward Finn Mary Martin Gant George and Joni Gold In memory of Albert Golden, viola David and Anne Grizzle Mr. and Mrs. Gerald Hoefler Fran and Bill Holmes Madeleine and Joseph Jacobs Darrell Lemke and Maryellen Trautman Marie Lerch and Jeff Kolb Susan Liss and Family Herb and Rita Posner Donald M. Simonds Thomas M. Ward

Strathmore Governing Members Gold $5,000 –$9,999

Anonymous Ms. Marietta Ethier Susan Fisher Mr. and Mrs. Christopher Keller David Leckrone and Marlene Berlin Dr. James and Jill Lipton Mr. James Lynch Howard and Linda Martin Mr. and Mrs. Humayun Mirza David Nickels and Gerri Hall Jan S. Peterson and Alison E. Cole William B. and Sandra B. Rogers Mike and Janet Rowan Daniel and Sybil Silver John and Susan D. Warshawsky

Strathmore Governing Members Silver $3,000–$4,999

Anonymous Ms. Franca B. Barton and Mr. George G. Clarke Leonard and Gabriela Bebchick Dr. Nancy D. Bridges Geri and David Cohen Kari Peterson and Benito R. and Ben De Leon June Linowitz and Howard Eisner J. Fainberg Dr. and Mrs. Bruce Feldman Anthony and Wyn Fitzpatrick Dr. Phyllis R. Kaplan Marcia Diehl and Julie Kurland Marc E. Lackritz and Mary DeOreo

Strathmore Symphony Society Gold $2,000 –$2,999

Strathmore Symphony Society Silver $1,200–$1,999

Anonymous (4) Mr. and Mrs. Anthony Abell Charles Alston and Susan Dentzer Mr. and Mrs. Larry Avrunin Mr. William J. Baer and Ms. Nancy H. Hendry Mrs. Elaine Belman Mr. and Mrs. Jeffrey Bergman Sherry and David Berz Drs. Lawrence and Deborah Blank Ms. Jane B. Boynton Mr. Richard H. Broun and Ms. Karen E. Daly Gordon F. Brown Frances K. Burka Mr. and Mrs. John Carr Mr. Vincent Castellano Cecil Chen and Betsy Haanes Mr. Harvey A. Cohen and Mr. Michael R. Tardif Mr. and Mrs. James C. Cooper Mr. John C. Driscoll Chuck Fax and Michele Weil Mr. and Mrs. Jack A. Fishman

Mr. and Mrs. Karl Flicker Mr. and Mrs. Roberto B. Friedman Mary and Bill Gibb Joseph M. Gillmer and Leah B. Mazar Dr. and Mrs. Sanford A. Glazer Dr. and Mrs. Harvey R. Gold Drs. Joseph Gootenberg and Susan Leibenhaut Joan and Norman Gurevich Drs. Marlene and Bill Haffner John and Linda Hanson Sara and James A. Harris, Jr. Keith and Linda Hartman Esther and Gene Herman Ellen and Herb Herscowitz David A. and Barbara L. Heywood Linda Lurie Hirsch Betty W. Jensen Ms. Kathleen Knepper Anita Difanis and Richard Krajeck Drs. David and Sharon Lockwood Dr. and Mrs. Peter C. Luchsinger Frank Maddox and Glenda Finley Michael and Judy Mael Mr. Mark Mattucci and Ms. Judith A. Furash David and Kay McGoff Ms. Florentina Mehta David and Anne Menotti Mrs. Rita Meyers Dr. and Mrs. Stanley R. Milstein Bernard and Rae Newman Douglas and Barbara Norland Mary Frances Padilla Evelyn and Peter Philipps Thomas Plotz and Catherine Klion Andrew and Melissa Polott Mr. and Ms. Donald Regnell Richard and Melba Reichard Dr. and Mrs. Gerald Rogell Mr. and Mrs. Barry Rogstad Dr. and Mrs. S. Gerald Sandler Estelle Luber Schwalb Mrs. Phyllis Seidelson Ms. Terry Shuch and Mr. Neal Meiselman Mr. and Mrs. Daniel Shykind Dr. and Mrs. Jeffrey R. Singer Marshall and Deborah Sluyter Mr. and Mrs. Richard D. Spero Jennifer Kosh Stern and William H. Turner Margot and Phil Sunshine Mr. and Mrs. Richard Swerdlow Mr. and Mrs. Richard Tullos Donna and Leonard Wartofsky Elizabeth V. Weber Mr. and Mrs. Harvey Weiner David Wellman and Marjorie Coombs Wellman Ms. Susan Wellman Leonard Wiener Dr. Ann M. Willis Marc and Amy Wish H. Alan Young and Sharon Bob Young, Ph.D. * Deceased

S ym p h ony f u nd Hono r Ro l l

Institutional FUnding Partners The Century Club: $100,000 or more

Founder’s Circle: $50,000–$99,999

Henry and Ruth Blaustein Rosenberg Foundation

$25,000–$49,999

William G. Baker, Jr. Memorial Fund Creator of the Baker Artist Award www.bakerartistawards.org Jacob and Hilda Blaustein Foundation

The Morris and Gwendolyn Cafritz Foundation Ruth Carol Fund Anne and Gordon Getty Foundation

The Goldsmith Family Foundation Ensign C. Markland Kelly, Jr. Memorial Foundation

The Bonnie McElveen-Hunter Fund Peggy & Yale Gordon Trust Young Artist Sponsor

$10,000–$24,999 Anonymous American Trading & Production Corporation Bunting Family Foundation Chesapeake Employers’ Insurance Company Cigna

DLA Piper US LLP Gordon Feinblatt LLC Francis Goelet Charitable Lead Trusts LaVerna Hahn Charitable Trust The Hartford Legg Mason Global Asset Management

Anonymous Cameron and Jane Baird Foundation Sarah and Cameron Baird BWI Thurgood Marshall Airport The Aaron Copland Fund for Music

City Café Corporate Office Properties Trust D. F. Dent & Company The Charles Delmar Foundation Helen P. Denit Charitable Trust

ALH Foundation, Inc. Alliance Bernstein L.P. Community Foundation for the National Capital Region Constantine Commercial Construction

Federal Parking, Inc. Harford Mutual Insurance Companies S. Kann Sons Company Foundation Amelie and Bernei Burgunder

John J. Leidy Foundation, Inc. Macht Philanthropic Fund of the AJC Macy’s Maryland Transit Administration (MTA) New Music USA Royal Sonesta Harbor Court Baltimore

Saul Ewing LLP TelephoNET Total Wine & More Venable LLP Cecilia Young Willard Helping Fund Wright Family Foundation

$5,000–$9,999 GEICO Georgetown Paper Stock of Rockville The Ivy Hotel/Magdalena Edith and Herbert Lehman Foundation, Inc.

Levin & Gann, P.A. Merritt Properties, LLC SC&H Group, LLC Clark Winchcole Foundation Zuckerman Spaeder LLP

$2,500–$4,999 Herschel and Judith Langenthal Philanthropic Fund of the Israel and Mollie Meyers Foundation, Inc. Mangione Family Enterprises

Rogers-Wilber Foundation, Inc. Superior Tours Wells Fargo

$1,000–$2,499 Anonymous The Lois and Irving Blum Foundation The Campbell Foundation, Inc. Charlesmead Foundation

Deering Family Foundation Dimick Foundation Ellin & Tucker, Chartered Enterprise Holdings Foundation

Gailes’ Violin Shop The Harry L. Gladding Foundation Independent Can Company Ethel M. Looram Foundation, Inc.

Rovner Products The Edwin and Jeanne Trexler Foundation David Goldner and Jeffrey Abarbanel

Thank You to our Government Funders

The Baltimore Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, the Baltimore County Commission on the Arts and Sciences, the Mayor and City Council of Baltimore, the Arts and Humanities Council of Montgomery County, Howard County Arts Council, Carroll County Government, and the Maryland State Department of Education. The Citizens of Baltimore County

For more information on joining our team of generous institutional funding partners, please contact Director of Institutional Giving, Alice H. Simons, at 410.783.8073 or [email protected]

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Invest in innovation and become a BSO member today! BSO Members enjoy exciting benefits that bring them even closer to the music, beginning at $75 with a behind-the-scenes look at a BSO rehearsal. At higher levels, you can celebrate with your BSO musicians at Cast Parties, and our Governing Members (donors $3,000 and above) enjoy priority ticketing and other exclusive benefits.

Play your part

Visit: BSOmusic.org/membership Email: [email protected] Call: 410.783.8124

Upcoming BSO Member Events All events are open to both Meyerhoff and Strathmore members, regardless of the host venue.

State of the Orchestra

Saturday, March 5 @ Strathmore 6pm Meet on stage Governing Members Silver and higher ($3,000+)

BSO President and CEO Paul Meecham will present his annual State of the Orchestra Address on stage at Strathmore. Light refreshments in the Comcast Lounge will follow.

On Stage Rehearsal

Friday, March 11 @ the Meyerhoff 9:15 am Light refreshments, 10am Rehearsal Governing Members Silver and higher ($3,000+)

Join us for another on stage rehearsal at the Meyerhoff as the orchestra rehearses three works by Beethoven: Leonore Overture No. 2, Piano Concerto No. 1, and Overture and Incidental Music to Egmont. Appearing with the BSO are Principal Guest Conductor Markus Stenz, pianist Lars Vogt, and narrator Kwame Kwei-Armah.

Artist Reception

Thursday, March 17 @ Strathmore Immediately following the performance Symphony Society Gold and higher ($2,000+)

Celebrate the return of Music Director Emeritus Yuri Temirkanov in the Comcast Lounge. Guest pianist Denis Matsuev and BSO musicians will also attendees joined for desserts and drinks.

Allegretto Dinner

Saturday, March 19 @ the Meyerhoff 6pm Cocktails, 6:30pm Dinner Symphony Society Gold and higher ($2,000+)

Share the company of BSO musicians and staff for an evening of cocktails, appetizers, and an elegant dinner of food and wine pairings before hearing Rachmaninoff’s Piano Concerto No. 3 and Tchaikovsky’s Symphony No. 4 under the direction of Music Director Emeritus Yuri Temirkanov. $60 per person, meal selections to follow. Events subject to change For Meyerhoff events, please RSVP to [email protected] or 410.783.8074. For Strathmore events, please RSVP to [email protected] or 301.581.5215.

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The Board of Directors of the Baltimore Symphony Orchestra established The Legato Circle to honor those individuals who have included a charitable gift to the BSO in their long-term financial plans, including gifts by bequest, life income, trust, IRA beneficiary, life insurance, or donor advised fund. As in a legato musical line, these special designations ensure the smooth transfer of musical values from this generation to the many following. Over the years, these legacy gifts, both large and small, have played a significant role in the financial stability of the BSO, supporting the BSO commitment to perform the highest quality symphonic music of all eras that nurtures the human spirit. We gratefully acknowledge the following donors who have let us know that they have included the Baltimore Symphony Orchestra in their estate plans: Anonymous (9) George and Frances Alderson (N) Dr. James M. Anthony (N) Donna B. and Paul J. Amico Paul E. Araujo (N) Hellmut D.W. “Hank” Bauer Nancy H. Berger (N) Deborah R. Berman Ellen Baron Blaustein and  Mordecai P. Blaustein, M.D (N) John & Marjorie Blodgett (N) Ms. Jeanne Brush Dr. Robert P. Burchard Katharine H. Caldwell Mrs. Selma Carton Harvey A. Cohen, PhD Harvey L. Cohen & Martha R. Krach (N) Mark D. and Judith* L. Coplin Mr. and Mrs. William H. Cowie, Jr. Ann Weller Dahl (N) Athena and Scott Dalrymple (N) Ronald E. Dencker Jim Doran (N) Freda (Gordon) Dunn Dr. Jeanne Dussault & Mark Woodworth H. Lawrence Eiring, CRM Carol and Alan Edelman Mr.* and Mrs. Thomas Fallon (N) Mr. and Mrs. Maurice R. Feldman Gary and Debra Brown Felser Winnie and Bill* Flattery Haswell M. and Madeline S. Franklin

Audrey and Stanford G. Gann, Sr. (N) George W. Gebhardt (N) Sandra Levi Gerstung (N) Patrick M. Green (N) Robert E. Greenfield Sue and Jan K. Guben Carole B. Hamlin Ms. Denise Hargrove Barbara and Michael Hettleman (N) Mrs. Betty J. Himeles & The Martin S. Himeles, Sr. Foundation Beth R. Horton Gwynne and Leonard Horwits Mr.* and Mrs. H. Thomas Howell Mr.* and Mrs. Richard E. Hug David and Susan Hutton Dr. Phyllis R. Kaplan Dr. and Mrs.* Murray M. Kappelman Albert D. Keller Jo Ansley B. Kendig Suzan Kiepper Krannich Miss Dorothy B. Krug Dr. James and Lynne LaCalle (N) Dr. Sandra R. Leichtman (N) Ruth and Jay Lenrow Lynne and Joe Lentz, Jr. Joyce and Dr. Harry Letaw, Jr. Bernice S. Levinson Constance J. Lieder (N) Mrs. George R. McClelland Joy Mandel and Tim Nehl (N) Carol O’Connell Minkin Mr. Roy E.* and Mrs. M. Moon Mrs. Joy Munster

Bill and Dotty Nerenberg (N) Robert* and Marion Neiman Stanley* and Linda Hambleton Panitz Mr. and Mrs. John Pecora (N) Mr. and Mrs. William Pence (N) Margaret Penhallegon Beverly and Sam Penn (F) G. Edward Reahl, Jr. M.D. Nancy Rice (N) Lois Schenck and Tod Myers Harold and Carolyn* Schlenger Susan and Charles Shubin (N) Jim and Sandy Smith (N) Nancy E. Smith Dr. and Mrs. Solomon H. Snyder (N) Karen Soisson (N) Catherine R. Soares Dr.* and Mrs. Harry S. Stevens Mr. Michael R. Tardif Roy and Carol Thomas Fund for the Arts Dr. and Mrs. Carvel Tiekert Leonard Topper Mr.* and Mrs. William Volenick Susan G. Waxter (N) Mark Wiesand (N) W. Owen and Nancy J. Williams Rebecca Wingate (N) Charles* and Shirley Wunder Mr. and Mrs.* Calman J. Zamoiski, Jr. (F) Founding Member (N) New since 9/2014 * Deceased

We gratefully acknowledge the following donors, now deceased, who have provided a gift through their estate in support of the Baltimore Symphony Orchestra: Mrs. Ruth Alsop Barbara F. Appell (N) Mrs. Claire Beissinger Phyllis Wagner Brill (N) Mrs. Phyllis B. Brotman (F) Elizabeth A. Bryan (N) Mr. Walter Budko Mrs. Alma T. Martien Bond W. George Bowles Mrs. Frances H. Burman Joseph and Jean Carando Clarence B. Coleman Sergiu and Robinne Comissiona (N) Margaret Hammond Cooke (N) Roberta L.and Richard A. Davis Mildred and Patrick Deering (F) Dr. Perry A. Eagle (F)

Douglas Goodwin Dailina Gorn Mr. Joseph P. Hamper, Jr. Judith C. Johnson Richard M. Lansburgh John Christian Larsen Ruby Loflin-Flaccoe Robert and Ryda H. Levi Lauretta Maisel Mrs. Jean M. Malkmus Ruth R. Marder Esther Holden Miller (N) Ralph W. Nichols Margaret Powell Payne Mrs. Margery Pozefsky Joan Marie Pristas Thelma T. Randolph (N)

Mr. Robert N. Riley Lawrence Melvin Roberts Mr. William G. Robertson, Jr. Ruth Blaustein Rosenberg Randolph S. and Amalie R. Rothschild Dr. Henry Sanborn Eugene Scheffres and Richard E. Hartt Mrs. Muriel Schiller (F) Dr. Albert Shapiro George Steele Howard A. and Rena S. Sugar Mignon Y. Velie (N) Albert and Martha Walker (N) Ingeborg B. Weinberger Dr. Mildred Zindler (N)

Help reach the Centennial Challenge Finish Line! In honor of the BSO Centennial in 2016, we have established a goal of 100 new members of the Legato Circle. These visionary donors are helping to secure our second century of musical excellence by including the BSO in their estate plans. If you have named the BSO in your plans, we would like to thank you! To learn more about ways to help sustain the BSO into the next century through tax-wise giving, please contact Kate Caldwell, Director of Philanthropic Planning at 410.783.8087 or [email protected]

For more information, please visit

www.BSOmusic.giftplans.org

S ym p h ony f u nd Hono r Ro l l Th e Balti more Sym phony Orch estr a

Board of Directors & Staff Board of Directors

Chairman Laureate

Officers

Michael G. Bronfein Kenneth W. DeFontes, Jr. Calman J. Zamoiski, Jr.

Chair Barbara M. Bozzuto* Secretary Kathleen A. Chagnon, Esq.* Vice Chair Lainy LeBow-Sachs* President and CEO Paul Meecham* Treasurer The Honorable Steven R. Schuh*

Board Members Rick Bernstein A.G.W. Biddle, III Frank (Ted) Campbell Constance R. Caplan August J. Chiasera Robert B. Coutts Alan S. Edelman* Sandy Feldman† President, Baltimore Symphony Associates Sandra Levi Gerstung Michael G. Hansen* Denise Hargrove† Governing Members Co-Chair Robert C. Knott Ava Lias-Booker, Esq. Dr. Marshall A. Levine Howard Majev, Esq. Liddy Manson Hilary B. Miller* E. Albert Reece, M.D. Barry F. Rosen Ann L. Rosenberg Terry M. Rubenstein * Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr.* Solomon H. Snyder, M.D.* David Trone Gregory W. Tucker Amy Webb Jeffrey Zoller† Chair, Baltimore Symphony Youth Orchestras

Life Directors Peter G. Angelos, Esq. Rheda Becker Yo-Yo Ma Harvey M. Meyerhoff Robert E. Meyerhoff Linda Hambleton Panitz

Directors Emeriti Barry D. Berman, Esq. Murray M. Kappelman, M.D. M. Sigmund Shapiro

Board of Trustees— Baltimore Symphony Endowment Trust Benjamin H. Griswold, IV Chairman Chris Bartlett Barbara M. Bozzuto Kenneth W. DeFontes, Jr. Paul Meecham The Honorable Steven R. Schuh Calman J. Zamoiski, Jr. * Board Executive Committee † Ex-Officio

Staff Paul Meecham President and CEO Leilani Uttenreither Executive Assistant Carol Bogash Vice President of Education and Community Engagement Jack Fishman Vice President of External Affairs, BSO at Strathmore Jamie Kelley Vice President of Development John Verdon Vice President and CFO

ARTISTIC OPERATIONS Tiffany Bryan Manager of Front of House Patrick Chamberlain Artistic Planning Manager Rick Gerhardt Director of Facility Sales and JMSH Event Manager Jinny Kim Director of Orchestra Personnel Evan Rogers Associate Director of Concert Operations Meg Sippey Acting Artistic Administrator Izabel Zambrzycki Artistic Liaison and Assistant to the Music Director Shawne Zarubica Director of Concert Operations

DEVELOPMENT Jessica Abel Associate Director of Institutional Giving Chelsey Anderson Institutional Giving Coordinator

Katie Applefeld Director of External Affairs, OrchKids Megan Beck Manager of Donor Engagement and Special Events Katharine H. Caldwell Director of Philanthropic Planning Sara Kissinger Development Operations & Membership Coordinator Mary Maxwell Manager of Annual Giving, BSO at Strathmore Sarah Miner Executive Assistant and Office Manager Emily Montaño Annual Fund Assistant Stephanie Moore Director of the Annual Fund Joanne M. Rosenthal Director of Principal Gifts & Government Relations Alice H. Simons Director of Institutional Giving Richard Spero Community Liaison for BSO at Strathmore Janie Szybist Research & Campaign Associate Angel Terol Director, BSO Second Century Campaign

EDUCATION Katie Brill Education Assistant Nicholas Cohen Director of Engagement and Civic Projects/General Manager BSYO Annemarie Guzy Director of Education and Digital Projects Johnnia Stigall Education Program Coordinator Larry Townsend Education Assistant OrchKids

Camille Delany-McNeil Senior Site Manager, Lockerman Bundy Elementary School Kurt Fedde Site Coordinator, Patterson Park Charter School Kay Sheppard Site Manager, Booker T. Washington Middle School for the Arts Nick Skinner Director of Operations Marin Srygley Site Manager, Highlandtown Elementary Middle School

Dan Trahey Artistic Director Mollie Westbrook Site Coordinator, Mary Ann Winterling Elementary School Baltimore Symphony Youth Orchestras

Alicia Kosack Operations Manager Ken Lam Artistic Director and Conductor of YO MaryAnn Poling Conductor of CO Nana Vaughn Conductor of SO

FACILITIES OPERATIONS Kevin Alexander Facilities Technician James Brown Housekeeper Shirley Caudle Housekeeper Alvin Crawley Manager of Facilities Rose Ferguson Housekeeper Jeanine Jones Housekeeping Supervisor Renee Thornton Housekeeper Frank Wise Housekeeper

FINANCE and INFORMATION TECHNOLOGY Sarah Beckwith Director of Accounting Barbara Gourdin Receptionist Sophia Jacobs Senior Accountant Janice Johnson Senior Accountant Evinz Leigh Administration Associate Donna Waring Payroll Accountant Jeff Wright Director of Information Technology

MARKETING & PUBLIC RELATIONS Rafaela Dreisin Audience Development Manager Justin Gillies Graphic Designer Carlos Howard Marketing Coordinator Theresa Kopasek Marketing and PR Associate



Ricky O'Bannon Writer in Residence Erin Ouslander Senior Graphic Designer Katelyn Simon Marketing Manager Adeline Sutter Group Sales Manager Martha Thomas Publications Editor Rika Dixon White Director of Marketing and Sales Kaila Willard Digital Content Coordinator

TICKET SERVICES Amy Bruce Director of Ticket Services Morgan Gullard Manager of Special Events Timothy Lidard Manager of VIP Ticketing Juliana Marin Senior Ticket Agent for Strathmore Peter Murphy Ticket Services Manager Michael Suit Ticket Services Agent Thomas Treasure Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATES Sandy Feldman President Barbara Dent Secretary Barbara Kelly Treasurer Kitty Allen Parliamentarian Vice President, Communications Marge Penhallegon Immediate Past President Regina Hartlove Vice President, Education Carolyn Stadfeld Vice President, Meetings/Programs Florence McLean Vice President, Recruitment/Membership JoAnn Ruther Vice President, Special Services/Events Larry Albrecht Vice President, Symphony Store Louise Reiner Office Manager

March– April 2016 |

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{ impromptu

44 O v ertur e |

L aura Farmer

Lisa Steltenpohl Principal Viola

A concert musician with a clone. Sometimes, when you find yourself on the side of a mountain road in the Poconos, pushing your car out of knee-deep mud while being pelted by rain, that’s the moment you really appreciate having your sister along for the adventure. Even better if that sister is your twin who shares your wacky sense of humor and penchant for finding fun in life. “My twin sister, Anna, is my best friend,” says the BSO’s charismatic principal viola Lisa Steltenpohl. “She and I talk all the time.” Last summer, the pair found themselves on that soggy Poconos adventure because they wanted to spend time together, as they now live in separate cities. “Anna is also a professional musician and performs with the Rochester Philharmonic Orchestra,” says Steltenpohl. “We decided to meet halfway between Baltimore and Rochester and rented a yurt on Airbnb. It sounded like fun at the time! But with the rain, the whole trip was sort of abysmal.” So that adventure may not have worked out. But, not to worry, as the two have quite an album of other hilarious and wonderful memories. Like the time when they were listening to Vivaldi’s lute concerti in their basement, pretending to be gymnasts in the Atlanta Olympics — and Anna injured her nose. Or the time when they were living together in New York City and only paid for one gym membership and just took turns using it. Or like every time when they perform in orchestras together, when they try to catch each other’s eye from across the orchestra to make each other crack up.

Mitro H o o d

“I can’t look at Anna when we perform! She always makes me laugh,” says Steltenpohl. “Anna and I grew up performing together in the same youth orchestras. She plays oboe and English horn and I play viola. People ask if we were competitive with each other when we were younger. We really never were. Music was always just one more thing that we enjoyed doing together.”

www. bsomusic .org

2016 McDonogh SuMMer PrograMS Day caMPS

acaDeMic PrograMS

red Feather For children turning four prior to June 20, 2016 and for five-year-olds not yet attending kindergarten Session 1: June 20 to July 8 Session 2: July 11 to July 29

american immersion at McDonogh for boys and girls 10 to 17 Session 1: June 19 to July 2 Session 2: July 3 to July 16 Session 3: July 17 to July 30

red eagle For boys and girls 5 to 8 (entering first grade and up in fall 2016) Session 1: June 20 to July 8 Session 2: July 11 to July 29

children Play 2 Learn robotics for boys and girls ages 8 to 13 Weekly: June 20 to July 29

Senior camp for boys and girls ages 9 to 12 Session 1: June 20 to July 8 Session 2: July 11 to July 29 outdoor adventure camp for boys and girls ages 10 to 15 Session 1: June 20 to July 8 Session 2: July 11 to July 29 all Sports camp for boys and girls ages 8 to 13 Session 1: June 20 to July 8 Session 2: July 11 to July 29 all Sports camp (rope and rock Wall) for boys and girls ages 10 to 13 Weekly: June 20 to July 29 4th of July Week: July 5 to July 8 Teen camp for boys and girls ages 13 to 15 Session 1: June 20 to July 8 Session 2: July 11 to July 29 counselor-in-Training Program for boys and girls ages 14 to 16 Session 1: June 20 to July 8 Session 2: July 11 to July 29 Watersports extreme camp i for boys and girls ages 9 to 12 Weekly: June 20 to July 29 Watersports extreme camp ii for boys and girls ages 12 to 16 Weekly: June 20 to July 29

children Play 2 Learn Technology for boys and girls ages 8 to 13 Weekly: June 20 to July 29 children Play 2 Learn Video game Design for boys and girls ages 10 to 14 Weekly: June 20 to July 29 children Play 2 Learn young engineers for boys and girls ages 6 to 9 Weekly: June 20 to July 29 SaT Prep course for boys and girls ages 15 to 17 June 20 to July 8 Writing Strategies For McDonogh students only! Session 1: June 20 to June 24 (For rising sixth and seventh graders only) Session 2: June 27 to July 1 (For rising eighth and ninth graders only) McDonogh chess camp for boys and girls ages 5 to 14 Session 1: June 20 to June 24 Session 2: June 27 to July 1 Session 3: July 5 to July 8 (4th of July Week)

McDonogh Baseball School: Pitching and catching camp for boys ages 11 to 15 June 27 to July 1 McDonogh Baseball School: hitting camp for boys ages 11 to 15 July 5 to July 8 (4th of July Week) McDonogh Lacrosse academy for boys ages 6 to 14 June 27 to July 1 Maryland Future champs Wrestling camp for boys ages 7 to 17 June 27 to July 1

chinese extravaganza for McDonogh Lower School students only! Session 1: June 20 to June 24 (For rising first and second graders only) Session 2: June 27 to July 1 (For rising third and fourth graders only)

Mighty Mites novice Wrestling camp for boys ages 5 to 8 June 27 to July 1

SPorTS cLinicS coeD SPorTS cLinicS The McDonogh Tennis Program: Beginner for boys and girls ages 6 to 12 Weekly: June 20 to July 29

McDonogh Football camp for boys ages 6 to 14 Session 1: July 5 to July 8 (4th of July Week) Session 2: July 25 to July 29 rising Star Boys Basketball for boys ages 8 to 15 Session 1: July 11 to July 15 Session 2: July 18 to July 22

The McDonogh Tennis Program: advanced for boys and girls ages 9 to 14 Weekly: June 20 to July 29 McDonogh rock Shop rackets, ropes, and rockwall for boys and girls ages 9 to 15 for boys and girls ages 9 to 14 Session 1: July 5 to July 15 Weekly: June 20 to July 29 Session 2: July 18 to July 29 Tennis, Badminton, and Pickle Ball circus camp Juniors for boys and girls ages 9 to 14 for boys and girls ages 6 to 8 Weekly: June 20 to July 29 Session 1: June 20 to June 24 half-Day Tennis/half-Day golf camp Session 2: June 27 to July 1 Session 3: July 5 to July 8 (4th of July Week) for boys and girls ages 7 to 11 Session 1: June 20 to June 24 circus camp Stars! Session 2: July 5 to July 8 (4th of July Week) for boys and girls ages 9 to 15 Session 3: July 11 to July 15 Session 1: June 20 to June 24 McDonogh golf academy: general Skills Session 2: June 27 to July 1 for boys and girls ages 8 to 12 Session 3: July 5 to July 8 (4th of July Week) Session 1: June 20 to June 24 Session 2: July 5 to July 8 (4th of July Week) Stand-up comedy and Public Speaking Session 3: July 11 to July 15 for boys and girls ages 10 to 14 June 20 to June 24 McDonogh golf academy: advanced Skills

advanced art Techniques: Painting for boys and girls ages 9 to 14 July 25 to July 29

McDonogh elite Baseball “Boot” camp for boys ages 11 to 15 June 20 to June 24

Brilliant Brains for boys and girls ages 11 to 14 Session 1: June 20 to June 24

young actors Theatre for boys and girls ages 12 to 18 June 20 to July 17

advanced art Techniques: Drawing for boys and girls ages 9 to 14 July 18 to July 22

BoyS SPorTS cLinicS McDonogh Traditional Baseball School for boys ages 7 to 12 June 20 to July 8 McDonogh Soccer Summer camp for boys ages 7 to 14 June 20 to June 24

arTS PrograMS

Musical Theater Workshop camp for boys and girls ages 8 to 11 July 18 to July 22

oVernighT caMPS

McDonogh Fencing camp for boys and girls ages 8 to 13 Session 1: July 11 to July 15 Session 2: July 18 to July 22 Session 3: July 25 to July 29

Let’s Debate! camp for boys and girls ages 8 to 14 Session 4: July 11 to July 15

Visual arts camp for boys and girls ages 9 to 13 June 20 to July 8

Boys general Skills camp for boys ages 6 to 14 June 27 to July 1

international Soccer School: Kinderkick camp for boys and girls ages 4 to 6 June 27 to July 1

Fun on the run camp for boys and girls ages 11 to 14 Session 1: June 27 to July 1 Sesson 2: July 11 to July 15

young Filmmakers camp for boys and girls entering Grades 5 to 9 Session 1: June 20 to July 8 Session 2: July 11 to July 29

McDonogh inTernaTionaL Soccer SchooL:

girLS SPorTS cLinicS McDonogh girls Basketball camp for girls entering grades 4 to 9 Sesson 1: June 20 to June 24 Sesson 2: July 27 to July 1 McDonogh girls Lacrosse camp: general Skills for girls ages 6 to 14 June 20 to June 24 McDonogh girls Lacrosse camp: advanced Skills for girls ages 6 to 14 June 20 to June 24 McDonogh Soccer Summer camp for girls ages 8 to 12 June 27 to July 1 McDonogh Softball camp: general Skills for girls ages 8 to 12 June 27 to July 1 McDonogh Softball camp: advanced Skills for girls ages 10 to 15 June 27 to July 1 eagle Volleyball camp for girls ages 10 to 17 July 5 to July 8 (4th of July week) McDonogh Field hockey camp for girls ages 8 to 13 July 11 to July 15 McDonogh inTernaTionaL Soccer SchooL: girls general Skills camp for girls ages 6 to 14 June 27 to July 1 girls Team Training camp for girls ages 7 to 14 June 27 to July 1 girls half-Day Soccer/half-Day Tennis camp for girls ages 6 to 14 June 27 to July 1 girls half-Day Soccer/half-Day rock Wall camp for girls ages 10 to 14 June 27 to July 1 girls advanced Skills camp for girls ages 9 to 16 July 11 to July 15 girls club Level camp for girls ages 8 to 15 July 18 to July 22 girls Striker camp for girls ages 10 to 16 July 25 to July 29 girls Midfielder camp for girls ages 10 to 16 July 25 to July 29 girls Defender camp for girls ages 10 to 16 July 25 to July 29 girls goalkeeper camp for girls ages 10 to 16 July 25 to July 29

McDonogh competitive Swim camp for boys and girls ages 9 to 14 Session I: June 20 to June 24 Session II: July 5 to July 8

Boys Team Training camp for boys ages 7 to 14 Between the Pipes growing goalies girls Lacrosse camp June 27 to July 1 Junior High or Middle School girls; Grades 4-9 Boys half-Day Soccer/half-Day Tennis camp June 19 to June 21 for boys ages 6 to 14 Between the Pipes Super Savers June 27 to July 1 girls Lacrosse camp for girls entering grades 9 to 12 Boys half-Day Soccer/half-Day rock Wall June 21 to June 23 camp for boys ages 6 to 14 McDonogh inTernaTionaL June 27 to July 1 Soccer SchooL: Preseason Prep overnight camp Boys advanced Level camp for boys and girls ages 10 to 18 for boys ages 9 to 14 June 26 to June 29 July 11 to July 15 overnight Striker camp Boys club Level camp for boys ages 8 to 15 for boys and girls ages 10 to 18 July 18 to July 22 June 26 to June 29 Boys Striker camp for boys ages 10 to 16 overnight Defender camp July 25 to July 29 for boys and girls ages 10 to 18 June 26 to June 29 Boys Midfielder camp for boys ages 10 to 16 July 25 to July 29 overnight Midfielder camp for boys and girls ages 10 to 18 for boys and girls ages 10 to 15 Boys Defender camp for boys ages 10 to 16 June 26 to June 29 Session 1: June 20 to June 24 July 25 to July 29 Session 2: July 5 to July 8 (4th of July Week) overnight goalkeeper camp Boys goalkeeper camp for boys ages 10 to 16 Session 3: July 11 to July 15 for boys and girls ages 10 to 18 July 25 to July 29 June 26 to June 29

i

Don’T LeT your chiLD MiSS ouT on a SuMMer oF Fun! i Free Lunch i Free Transportation

i Before and aftercare i early Bird and Multiple Sibling Discounts

To find out about the 120 camps, sports clinics, and academic programs that McDonogh offers in the summer, call 443-544-7100, visit www.mcdonogh.org, or email [email protected]

Call now for early bird specials!

Your future is waiting to unfold. Just 15 minutes from cosmopolitan Baltimore, Blakehurst is situated on 40 acres within a pristine neighborhood and has recently undergone beautiful interior updates. Expanded dining options. New spaces for entertaining family and friends. Health Center enhancements. This prestigious senior living community is positioned for you and your engaging lifestyle for years to come. Experience Blakehurst for yourself today. Call 410.870.5766 for more information or to schedule a personal tour.

1055 West Joppa Road • Towson, MD 21204 410.870.5766 • www.BlakehurstLCS.com 700830