2016–2017 - Stageview · Geraldine R. Dodge Foundation, the New Jersey State Council on the Arts, PNC ... Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis:

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2 BAY ATLANTIC SYMPHONY | 2016– 2017




the music directorJED GAYLIN

towns, music festivals such as Cape May, and even casinos. Atlantic City’s Borgata hosts the Symphony for an all-classical summer series, begun in 2013. In 2012, Jed Gaylin was named Artist in Residence at Stockton University. This position is a part of an innovative model in which Bay-Atlantic Symphony is integrated into the music curriculum. Also in 2012, he was named Music Director of the Two Rivers Chamber Orchestra, in Shepherdstown, West Virginia.

Mr. Gaylin served as the Director of Orchestras at the International Music Festival and Summer Course of Cervera (Spain) and was a regular conductor at Opera Vivente in Baltimore. His numerous guest appearances include St. Petersburg State Symphony, National Film and Radio Philharmonic (Beijing, China), Shanghai Conservatory Orchestra, Bucharest Radio Orchestra, Academia del Gran Teatre del Liceu (Barcelona, Spain), Eastman School Music Broadband Ensemble, among many others. He has performed with such soloists as Hilary Hahn, Yuja Wang, Eugenia Zukerman, Shai Wosner, and Stefan Jackiw.

Jed Gaylin’s television and radio broadcasts include National Public Radio’s Weekend Edition, Voice of America, Bucharest Radio Orchestra, and the National Radio and Film Philharmonic (Beijing). He has been aired in the US on WWFM in New Jersey and WYPR in Baltimore.

Mr. Gaylin earned both a Bachelor of Music in piano and a Master of Music in conducting at the Oberlin Conservatory, and a Doctor of Musical Arts in conducting at the Peabody Conservatory. He attended the Aspen Music Festival as a Conducting Fellow. Among other honors, he has received a National Endowment for the Arts grant and the Presser Music Award. His conducting teachers have included Frederik Prausnitz, Leonard Slatkin, Jahja Ling, Murry Sidlin, Paul Vermel, and Michel Singher, and, for piano, Lydia Frumkin.

“Generous” is the word listeners and performers use time and again to describe conductor Jed Gaylin’s approach to the orchestra, the score, and the audience. His joyful abandon and probing intellect join together in powerful programs, compelling

interpretations, and evenings that are fresh and exuberant. George Szell said, “In music one must think with the heart and feel with the mind,” a maxim Jed Gaylin embodies abundantly and passionately.

Orchestra members throughout the world, soloists, and opera singers often recount how Jed Gaylin’s rehearsals and performances elicit their very best, not only individually but collectively. He seeks connections not only within a piece, but also between seemingly disparate and wide-ranging works to sculpt a concert of surprising, captivating juxtapositions. His dedication to exploring the music’s fullest potential in a collaborative spirit reaches beyond the stage to draw the audience into the creative act. Listeners feel far more than just welcomed by words from the podium—they feel engaged as participants in a wordless musical conversation that is spontaneous, big-hearted, and eloquent.

As Music Director, Jed Gaylin leads the Bay Atlantic Symphony, Hopkins Symphony Orchestra, and Two Rivers Chamber Orchestra with the same creative depth and an open spirit that he brings to the podium. The Bay Atlantic Symphony is now not only consistently praised for its astonishing level of artistry and precision, it is also viewed throughout New Jersey as a model for how professional orchestras can become a vital focus and source of identity in their communities. As a sought-after creative partner throughout the region, the Bay Atlantic Symphony has forged residencies with area colleges, numerous


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From the President | III

Tonight’s Performance | V

Movements & Translation | VI

Program Notes | VIII

Artist Biographies | X

Orchestra Personnel | XIII

Annual Fund | XIV

Cover design and cover artwork by painter/printmaker Romy Burkus. Website: RomyBurkus.smugmug.com

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For the enjoyment of all patrons, please silence all cell phones, pagers and electronic devices.

PRESIDENTMark Soifer, Esq.

VICE PRESIDENTJames F. Ferguson, Esq.

TREASURERRobert WoodruffSECRETARY

David Iams

TRUSTEESAaron Cohen

Robert DragottaLoretta P. Finnegan, M.D.

Thomas A. Giegerich, DMDShy Kramer

Dana Dunn LisickiMaria Jimena Mento

Charles O’HaraCheryl O’Hara

Alyce ParkerHon. Carmine J. Taglialatella, JWC

Robert Watters

ADVISORY BOARDRay Ciccone, CPA

Gary HillJames Rutala

Leo Schoffer, Esq.Scott Wahl

MUSIC DIRECTORJed Gaylin

EXECUTIVE DIRECTORMeg Sippey

ADMINISTRATIVE ASSISTANTClaudia Spence

2016 BOARD OF TRUSTEES

This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. OnStage Publications is a division of Just Business, Inc. Contents ©2016. All rights reserved. Printed in the U.S.A.

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BAY ATLANTIC SYMPHONY | 2016– 2017 III

Dear Friends,

Welcome to the opening of our 33rd year of spreading the joy and power of music throughout southern New Jersey! I’m sure you will enjoy our opening concert of Mozart’s Requiem and Tchaikovsky’s Serenade for Strings. We will also be presenting a series of exciting, inspirational programs throughout the season. You won’t want to miss a single concert!

This weekend, we begin performing in our new Cumberland County home at the historic Landis Theater. When it opened in 1937, the Landis Theater was an Art Deco-style movie theater. Through the efforts of Vineland’s Redevelopment Plan, the theater has been returned to its original splendor. The restoration of the theater is the cornerstone of a major redevelopment plan for Main Street Vineland.

I am delighted to introduce our new Executive Director, Meg Sippey. Meg is joining us from Baltimore, where she was Artistic Administrator for the Baltimore Symphony Orchestra. Her enthusiasm and energy, in addition to her extensive knowledge of arts administration, will be a great addition to the Symphony.

We want to thank Woodruff Energy for supporting the 2016-17 Classical Music series that keeps our ticket prices affordable. And we thank Bob and Merry Woodruff for their continued support.

The Board and staff of the Symphony also wishes to thank all of our great supporters – Geraldine R. Dodge Foundation, the New Jersey State Council on the Arts, PNC Foundation, the Frank & Lydia Bergen Foundation, Atlantic City’s Friends of Music, Stockton University, the Borough of Avalon, South Jersey Industries, Borgata Hotel Casino and Spa, the Cilento Family Foundation, and the Ann B. Hayes Trust. We also want to thank you, our audience. Without their support and yours, we could not continue to keep the music playing!

Please join our mailing list to make sure that you are kept informed on Symphony activities. Thanks again for supporting the Symphony! Enjoy the concert!

Sincerely,Mark SoiferPresident, Bay Atlantic Symphony

president’s message

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Please take a moment and silence all phones, watches, and pagers. Thank you.

Jed Gaylin, Music Director

Piotr Ilyich Tchaikovsky Serenade for Strings in C major, op. 48 (1880) (1840-1893) 1. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato 2. Valse: Moderato — Tempo di valse 3. Élégie: Larghetto elegiaco 4. Finale (Tema russo): Andante — Allegro con spirito

Wolfgang Amadeus Mozart Requiem Mass in D minor, K. 626 (1792) (1756-1791) completed by Franz Xaver Süßmayr (1766-1803)

Natalie Conte, soprano Jessica Renfro, mezzo-soprano Gran Wilson, tenor Robert Cantrell, bass-baritone

Choral Arts of Southern New Jersey Jack Hill, Music Director Stockton Oratorio Society Beverly Vaughn, Music Director

For a list of individual movements and translations, please go to page VI.

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mozart requiem movements & translationRequiem æternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus Deus, in Sion, et tibi reddetur votum in Ierusalem. Exaudi orationem meam; ad te omnis caro veniet. Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

Dies iræ! dies illa Solvet sæclum in favilla: Teste David cum Sibylla! Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus!

Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum. Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur. Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix iustus sit securus?

Rex tremendæ maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

Recordare, Iesu pie, Quod sum causa tuæ viæ: Ne me perdas illa die. Quærens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus. Iuste iudex ultionis, Donum fac remissionis Ante diem rationis. Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus. Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Preces meæ non sunt dignæ: Sed tu bonus fac benigne, Ne perenni cremer igne. Inter oves locum præsta, Et ab hædis me sequestra, Statuens in parte dextra.

Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.

Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. A hymn becomes you, O God, in Zion, and to you shall a vow be repaid in Jerusalem. Hear my prayer; to you shall all flesh come. Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.

The day of wrath, that day will dissolve the world in ashes As foretold by David and the sibyl! How much tremor there will be, when the judge will come, investigating everything strictly!

The battle trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne. Death and nature will marvel when the creature arises to respond to the Judge. The written book will be brought forth, in which all is contained, from which the world shall be judged. When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished. What am I, miserable, then to say? Which patron to ask, When the just may hardly be sure?

King of tremendous majesty, who freely saves those that have to be saved, Save me, source of mercy.

Remember, merciful Jesus, that I am the cause of thy way: lest thou lose me in that day. Seeking me, thou sat tired: thou redeemed [me] having suffered the Cross: let not so much hardship be lost. Just judge of revenge, give the gift of remission before the day of reckoning. I sigh, like the guilty one: my face reddens in guilt: Spare the supplicating one, God. Thou who absolved Mary, and heard the robber, Gives hope to me, too. My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire. Grant me a place among the sheep, and take me out from among the goats, Setting me on the right side.

Once the cursed have been rebuked, sentenced to rancorous flames: Call thou me with the blessed. I meekly and humbly pray, [my] heart is as crushed as the ashes: Perform the healing of mine end.

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mozart requiem movements & translationLacrimosa dies illa, qua resurget ex favilla iudicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine, dona eis requiem. Amen.

Domine Jesu Christe, Rex gloriæ, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; sed signifer sanctus Michæl repræsentet eas in lucem sanctam, quam olim Abrahæ promisisti et semini eius.

Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahæ promisisti et semini eius.

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Agnus Dei, qui tollis peccata mundi, dona eis requiem, Agnus Dei, qui tollis peccata mundi, dona eis requiem, Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lux æterna luceat eis, Domine, cum sanctis tuis in æternum, quia pius es. Requiem æternam dona eis, Domine; et lux perpetua luceat eis; cum Sanctis tuis in æternum, quia pius es.

Tearful will be that day, on which from the ashes arises the guilty man who is to be judged. Spare him therefore, God. Merciful Lord Jesus, grant them rest. Amen.

Lord Jesus Christ, King of glory, free the souls of all the faithful departed from infernal punishment and the deep pit. Free them from the mouth of the lion; do not let Tartarus swallow them, nor let them fall into darkness; but may the standard-bearer Saint Michael, lead them into the holy light which you once promised to Abraham and his seed.

We offer You, O Lord, sacrifices and prayers of praise; accept them on behalf of those souls whom we remember today. Let them, O Lord, pass over from death to life, as you once promised to Abraham and his seed.

Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of your glory. Hosanna in the highest.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them eternal rest.

May everlasting light shine upon them, O Lord, with your Saints forever, for you are kind. Grant them eternal rest, O Lord, and may everlasting light shine upon them. with your Saints forever, for you are merciful.

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program notesMozart’s Legacy—Immediate and Ninety Years LaterBy Paul Mack SomersEditor, Maurice River Press

The Requiem Mass in D minor by Mozart was his last and uncompleted work. A study of its various completions and the sources of the additional music is the very definition of “getting into the weeds.” So let me simply say that Mozart composed or was the source of the music through the “Hostias”, and in the edition being used in this performance, the music from the “Sanctus” through the final “Lux aeterna” was composed by Franz Xaver Süßmayr.

For may years he was described as a student of Mozart, but current scholarship labels him only as an associate who copied music of the Requiem during Mozart’s final days. He was certainly a close friend of the family.

Without the very premature death in February 1791 of Count Franz von Walsegg’s wife Anna at the age of 20 there would not have been a Requiem by Mozart. Von Walsegg enjoyed commissioning works from known composers, then to his friends pass them off as his own at the premiere. He sent one of his employees (there is some debate as to which one) as a messenger to deliver a commission to Mozart for a Requiem Mass to be performed on the first anniversary of his wife’s death. Mozart requested and received a downpayment of 100 ducats for the composition, the remaining 100 to be paid upon delivery of the completed work. Mozart may or may not have known the composer would be misrepresented as von Walsegg. Certainly his wife Constanza came to know it was von Walsegg.

Mozart was in the midst of a grueling period of composing. He had been asked to compose a comic Singspiel to a German text called Die Zauberflöte (The Magic Flute) by the producer Schickaneder. No sooner had he begun this when he received an even more important commission from Prague to compose an opera seria on the subject of the Roman Emperor, Tito Vespasian. So he set aside the last few pieces for The Magic Flute and began La clemenza di Tito. Hardly had he begun this than the commission from Walsegg arrived. So Mozart went to Prague and completed that project, now one of the few “serious operas” by him still performed. When he returned to

Vienna, he set to work putting the final touches to The Magic Flute.

By the time he finished this masterpiece, he was already feeling ill, probably from the overwork of composing and leading the preceding two large operas. But he never the less picked up the Requiem, feeling his declining health as he progressed through the music. Some say his wife Constanza took away the music for awhile, hoping he would recover, but he insisted. She claimed after his death he already felt he was writing his own Requiem because he was feeling so ill yet could not be held back from composing.

While it is true that Mozart often composed in his head, then just copied down what was already completed mentally, for the Requiem he had written sketches of various sections, so when he died on December 5, 1791, he left behind only one completed movement, some well-sketched-out incompletions, and at least melodic and accompanying material for specific texts through the “Hostias” section of the Requiem text. The remainder of the text was untouched.

To understand the rest of the story, one must know that “Wolfi” and Constanza were too alike: neither had a clue how to save money. As soon as the payment for a piece of commissioned music arrived, the two of them would either throw a big party for one and all, or pay off the large debts they had run up — too often the former. So in spite of the payments for La clemenza di Tito and Die Zauberflöte, Constanza was in dire need of the remainder of the commission payment. She knew she had to produce the complete Requiem, not just the one complete movement and some fragments which her husband had produced. So she at first approached the composer Joseph von Eybler, who worked on the “Dies irae” section, but then handed it back to Constanza.

She next gave the score to Franz Xaver Süßmayr, who redid the same sections von Eybler had worked on, though using some of his material. Süßmayr finished composing and orchestrating Mozart’s sketched sections and himself composed the remainder. His addition of the “Lux aeterna” using material from the opening sections of the Requiem both he and Constanza claimed was Mozart’s wish. While some suggest that Mozart would not have brought back this music, he certainly only a few years before had done that

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program notesvery thing in Don Giovanni. Süßmayr gave the complete score to Constanza in 1792.

Von Walsegg’s likely intention to claim the piece as his own, was thwarted when the parts actually completed by Mozart were performed at his memorial service only five days after his death. Süßmayr’s 1792 completion was performed a year later when the whole piece was performed in January of 1793 as a benefit for Constanza. And finally in December of that year it was sent off to von Walsegg with a counterfeited Mozart signature. It was at last performed at a memorial for his wife Anna. But the music was already known to be by Mozart, so von Walsegg could not claim to be the composer.

There are certain elements sometimes associated with this story which have been misrepresented in Peter Shaffer’s famed dramatic fiction Amadeus, which is itself based on a play Mozart and Salieri by Pushkin and the opera based on it by Rimsky-Korsakov. The composer Antonio Salieri certainly did not poison Mozart. While there was doubtless rivalry between the two, young Franz Xaver Mozart, born the year of his father’s death, was sent by his mother to Salieri for music lessons. And if Salieri was so envious of Mozart that it drove him to murder, he would have had plenty of reason to become a serial assassin, for he actually taught Beethoven and Schubert! We forget, if we ever knew, that he was actually a fine composer who would hardly have suffered from a lack of self-esteem.

The music of the Requiem contains some elements worth explaining:

• The opening “Requiem” uses two basset horns (related to the modern clarinet, but with a lower range) and two bassoons, dark colors for a dark text.

• The word “fugue” means “flight” and is used to set the “Kyrie eleison” (Lord have mercy) text to show the musical motif ’s repetitions “flying” from place to place – signifying that all people require God’s mercy.

• In English we use the term “The last trumpet”, but in German it is “die letzte Posaune” – “the last trombone.” So “Tuba mirum” contains a long trombone solo.

• “Rex tremendæ” is a kingly march. But it is followed by a contrasting sighing section.

• In the “Lacrimosa” (weeping), the pairs of notes are often used by composers as representations of weeping and sadness.

• In the “Libera me” the upward moving line expresses freedom from earthly bonds.

The movements completely composed by Süßmayr also contain often used symbolic gestures:

• He, too, uses a fugue to show universality, but in this case it is the holiness of the “Sanctus.”

• When he brings in the trombone choir in the “Benedictus” it is about death in the sense of “Blessed are they who die in the Lord.”

• Just as D minor is used by Mozart to represent death at the beginning and penultimate scene of Don Giovanni, so does Süßmayr conclude the whole work in the same D minor with which Mozart began it. The tempo recalls the opening movement; the mood of sad resignation at “et lux perpetua” recalls the opening movement’s entrance into the world of the departed.

What has this to do with Tchaikovsky’s lovely 1880 Serenade for Strings, which opens the concert? November 6 is the date of his death, quite close to this concert, and thus the Requiem is quite apt. But well beyond that coincidence, Tchaikovsky simply loved the music of Mozart. The piece was clearly intended to be his homage to his favorite composer of the past.

The Serenade opens with a slow introduction not unlike Haydn or late Mozart, then proceeds to become a classical Sonata (or sonatina) form. There follows a Valse in ¾, Tchaikovsky’s substitute for a ¾ Minuet. Where Mozart would have composed a generically labeled slow movement somewhere between the tempos Largo and Andante, Tchaikovsky gives us a more emotionally tinged title “Élégie” for the slow movement. And finally, after a slow introduction, he supplies a sonata-allegro finale rooted in folk idioms. The first movement’s slow introduction returns, signaling a concluding coda pulling the entire piece together, just as his revered Mozart had done in the iconic Don Giovanni.

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NATALIE CONTESoprano Natalie Conte has appeared in opera, oratorio, and concert in the United States—including Baltimore, Washington, Massachusetts, and her hometown of Detroit—and

internationally in Rome, St. Petersburg, and Moscow. She frequently appears as a soloist in Outreach programs for the Lyric Opera House of Baltimore. She also has concertized at the Russian Embassy, with the Baltimore Vocal Arts Foundation, the Baltimore Concert Opera, the Young Victorian Theatre Company, Live Arts Maryland, and at the State Department. She teaches voice both privately and at Shepherd University where she has held an adjunct voice faculty position since September of 2008.

JESSICA RENFROMezzo-soprano Jessica Renfro has performed with opera companies including Opera Tampa, Opera Delaware, Dicapo Opera, St. Petersburg Opera, Opera Company of

Middlebury, Mid-Atlantic Opera Company, Boheme Opera and, most recently, at the prestigious Opera di Firenze’s Maggio Musicale. As a concert artist, Renfro has performed previously with the Bay Atlantic Symphony, as well as with the Baltimore Symphony Orchestra, Delaware Symphony Orchestra, Buffalo Philharmonic, and the Bach in Baltimore Concert Series. With members of the Bay Atlantic Symphony, she has participated in a Maurice River Press CD of music by Robert Russell Bennett in which she sang Three Chaucer Songs.

GRAN WILSONTenor Gran Wilson has sung with companies such as the New York City Opera, Boston Symphony, San Francisco Opera, Houston Grand Opera, Australian Opera, Oper Frankfurt,

Netherlands Opera, Vlaamse Oper, Teatro di San Carlo Lisboa, Opera de Nice, Teatro Galdos Las Palmas de Gran Canaria, L’Opera de Toulon, L’Opera Royal de Wallonie, Theatre Graslin Nantes, L’Opera de Nancy et de Lorraine, St. Paul Symphony, Edinburgh Festival, Lincoln Center Festival, Spoleto USA Festival, and Mostly Mozart Festival. On radio, he has been heard on NPR affiliates with The Baltimore Choral Arts Society, Seattle Opera, Miami Opera, St. Louis Opera, Central City Opera, Boston Symphony, Pittsburgh Symphony, and Richmond Symphony. He has also appeared with the Washington National Opera, National Symphony, Baltimore Opera, Opera Vivente, Washington Lyric Opera, Capital Symphony, Hopkins Symphony, and Baltimore Choral Arts Society.

ROBERT CANTRELLBass-baritone Robert Cantrell has appeared with the Washington National Opera, Spoleto Festival of Two Worlds, Baltimore Opera, Wolf Trap Opera, Opera Delaware, Sarasota

Opera, Opera Vivente, Washington Summer Opera, and Opera Ebony. He has appeared as soloist with the Baltimore Symphony, Prince George’s Philharmonic, Baltimore Concert Artists, Baltimore Choral Arts, Reading Symphony Orchestra, Loudon Symphony, York Symphony, Columbia Pro Cantare, Deer Creek Chorale, Easton Choral Arts, Baltimore Masterworks Chorale, MidAtlantic Symphony, and the Handel Choir of Baltimore. Upcoming engagements include appearances with the Prince George’s Philharmonic, the U.S. Naval Academy, and the Baltimore Choral Arts. He is on the voice faculty at the Baltimore School for the ARTS and at the Washington National Operas’ Summer Institute for Young Singers.

artist biographies

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JACK HILL Artistic Director & Co-Founder

Throughout his professional career, Jack Hill has gained a reputation as a pre-eminent choral conductor.

During his years as Choral Director at Clearview Regional High School, he built a program which achieved international recognition. His Vocal Ensemble was invited to sing for both National and Divisional ACDA Conventions where they represented the best of high school choral music. Since his retirement in 2009 from public school teaching, Mr. Hill continues to serve as Minister of Music at The Presbyterian Church at Woodbury, in Woodbury, New Jersey where he directs the church’s three choirs and plays the organ. He is an active recitalist and also maintains a voice and piano studio.

Mr. Hill’s formal training was at Westminster Choir College in Princeton New Jersey where he received his Bachelor of Music degree in Church Music and his Master of Music Degree in Organ Performance. Subsequent to his college training Mr. Hill had the privilege of studying with Robert Shaw. Mr. Hill is also Repertoire and Standards Chair for the Eastern Division American Choral Directors Association (ACDA) and President of New Jersey ACDA. As professor at Rowan University, he conducts the Women’s Choir and teaches in both the music and theatre departments.

Choral Arts of Southern New Jersey was founded in 2011 by veteran conductor Jack Hill and musical entrepreneur Brad Zabelski. Having blossomed into an opportunity of expression for dozens of regional participants over the past five years, the choir currently consists of approximately 40 auditioned voices. With a clear focus on SATB choral music of the 20th/21st Centuries, more than 35 performances have been held in area churches as well as performing arts venues.

While a portion of our repertoire is acapella, most numbers are accompanied by piano and are augmented by the fine musicianship of accompanist Diana Gable. This prestigious ensemble meets weekly throughout the fall & spring seasons with several concerts during each season. Under the direction of Maestro Hill, this choir performs at the highest standard. While engaging the community through enriching and innovative programming, Choral Arts of Southern New Jersey seeks to elevate the cultural offering of our region.

BEVERLY VAUGHNProfessor of Music and Director of Choral Activities

Beverly Vaughn, mezzo-soprano, is a native of Columbus, Ohio, and

a graduate of Loma Linda University in Riverside, California, with a B.A. in Spanish. Following graduation from Loma Linda University, she completed a Master of Music degree in voice performance at The Ohio State University and was awarded a Corbett Foundation Fellowship for operatic study in New York City. While there, she studied with Mme. Marinka Gurewich and coached primarily with Maestro Martin Rich, formerly of the Metropolitan Opera. She made her operatic debut in 1976 as the Strawberry Woman in Gershwin’s Porgy and Bess with the Graz, Austria, Opera. This was followed by her 1976 debut as Nicklaus in Hoffmans Erzählungen (The Tales of Hoffman). She received critical acclaim for her performance as Hannah in the world debut of Sir Michael Tippett’s The Ice Break at the Royal Opera House in London, England under the direction of Sir Colin Davis and subsequently appeared in other roles such as Suzuki with the Columbus Symphony Orchestra and as Tigrana in Puccini’s Edgar with the Boston Oratorical Society. She later appeared with numerous orchestras in concerts and recitals both in the United States and Europe as well

artist biographies

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as on international radio and both American and European television. From 1979 to 1982, she again attended The Ohio State University where she received the Doctor of Musical Arts degree in vocal performance and was subsequently hired by Stockton University to become a part of its music faculty and to serve as the director of choral activities.

The Stockton Oratorio Society Community Choir is directed by the charismatic Dr. Beverly Vaughn, Coordinator of the Vocal/Choral Program at Stockton University. The Oratorio Society has existed since the very beginnings of Stockton

University. It is designed to be a home to all lovers of song who seek to gather for the purpose of performing the great choral works of the world. Auditions are not required to be a part of this family; we only ask that you bring your passion for singing and a positive attitude. The Stockton Oratorio Society Community Choir is renowned for its majestic performances, which include Handel’s Messiah, Haydn’s Creation, and Requiem Masses of Mozart, Brahms, and Verdi, among others. The choir has two mainstage performances every year. Weekly rehearsals are held at Stockton University’s Galloway Campus on Monday evenings.

artist biographies

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VIOLIN I Ruotao Mao,

concertmasterNancy Jan,

associate concertmasterThomas Jackson,

concermaster emeritusAmanda HockenbergerMary Greening,

principal emeritusIrina Schuck

VIOLIN II Nina Vieru,

principalRuth Kiang,

assistantNatasha ColkettLaura EarleyLily WuMary Moser

VIOLA Ana Tsinadze,

principalRenee Steffy-Warnick

assistantNina CottmanSteven Heitlinger

CELLO Elizabeth Mendoza,

principalNancy Stokking,

assistantCheryl EverillMaud Fried-Goodnight

BASS Michael Egan,

primcipalLesa Hornaday-Kurtz,

assistant

CLARINET Christopher Di Santo,

principalKaren Di Santo

BASSOON Ping Liang,

principalRichard Carroll

TRUMPET George Rabbai,

principalBrian Cook

TROMBONE Richard Linn,

principalCatherine BridgeJonathan Schubert,

bass trombone

TIMPANIJohn Hintz, Jr.,

principal

October 29 & 30, 2016

Tchaikovsky—Serenade For StringsIntermission

Mozart—RequiemNatalie Conte, soprano; Jessica Renfro, mezzo-soprano;

Gran Wilson, tenor: Robert Cantrell, bass-baritone

With special guests Choral Arts of Southern New Jerseyand Stockton Oratorio Society

orchestra personnel

XIV BAY ATLANTIC SYMPHONY | 2016– 2017

$50,000-$100,000Geraldine R. Dodge

Foundation

$10,000-$49,999Frank and Lydia Bergen

FoundationJohn Fuyuume Borgata Hotel Casino and

SpaAnn. B. Hayes TrustNew Jersey State Council

on the ArtsPNC FoundationStockton UniversityWoodruff Energy

$5,000-$9,999Cilento Family FoundationFriends of The Music

FoundationSouth Jersey IndustriesRobert & Merry Woodruff

$2,500-4,999Aaron CohenThomas Giegerich, DDSAlan and Peggy Kligerman

$1,000-$2,499AtlantiCareCentury Savings BankCooper LevensonCumberland Mutual Fire

Insurance CompanyPaulajane D’AmatoNed & Rita GaylinSenator William and

Virginia A Gormley

Horizon EyeCareDennis and Carole KrillLia Purpura & Jed Gaylin

In honor of Ned and Rita Gaylin In memory of Michele Hogan

Lilia Sollish

$500-$999Anonymous Bridgeton Rotary Club

FoundationChris BrindisiThe Honorable Ronald &

Dolores BuckwalterLoretta Finnegan M.D.The GE FoundationElizabeth KratovilWilliam MayRita McElweeMetropolitan Business &

Citizens Assoc. Schultz - Hill FoundationSamuel Serata, Esq.William & Lenore SmytheRobert & Joan Watters

$100-499Jim & Nancy AlbertsonVirginia BanksHelen BoydAudrey BuckinghamJeffrey Contino, DOWalter & Hellen DePalmaBurt & Jeanne DoremusJames FergusonDr. Sheldon &

Marilyn GaylinAnn GaylinHenry Gorelick

Lois HarrisRobert HeinlyThomas & Clare HerronJames J. HigbeeLeo HoganJudith Holst-HallDavid IamsFrancis JervisHelen G. JonesPriscilla & Bill KirbyShy KramerElizabeth G. McCutcheonMaria MentoLawrence & Suzanne MerighiJill MortensenCharles & Cheryl O’HaraDr. Lawrence & Joanne OwenAudrey OwenMassimo & Carol ParisPaul & Marlene RigbyHoward & Mary SchapkerMark SoiferPaul & Janet SomersWilliam R. SpeerKathryn StachejkoThomas & Jane VerbaStephen & Karen WeisJ. Alan & Grace Woodruff

Under $100Bernhard AbramsMickey AlstonMildred G. BalimaBennett & Lydia BardfieldDavid BarryMarvin BermanAnna BjornbergRhoda BrownSusan Burton

2015-2016 annual fund contributors

We acknowledge with grateful appreciation the following contributions made from October 1, 2015 through September 30, 2016. Thank you for helping

us spread the power and joy of classical music throughout South Jersey.

BAY ATLANTIC SYMPHONY | 2016– 2017 XV

2015-2016 annual fund contributorsElizabeth CanderanRobert & Ingeborg CarlsonFrank CateriniKathryn CavalerroYvonne CustisWon S. CynnRosemary D’AngeloElizabeth DeLussaWilliam DoubasJay & Cynthia DozierPatricia FedericiMr & Mrs Stanton FreemanShirley GottliebBill & Linda GussieLori HerndonHilda HoffmanPhilip & Mary IngrahamJames MoyerJean MuchanicJoe & Francine NietubiczAlyce ParkerHelen PettyJaklyn RamosBrian & Corine ReynoldsGeorge E RossiJoseph ScarpaCarl SchumacherStephen WajdaCarl Wannen

FRIENDS OF THE SYMPHONYBernhard AbramsRuth BandoroffStanley & Marjorie BerkHoward & Shirley BernsteinEugen & Barbara BrogElizabeth ChandlerMarcia ChotinerH. Lawrence &

Rosalie ClofineMorton & Suzanne CohenSima DiamondJack & Lois DubisSindy FinkelsonLeonard & Marylyn

FinkelsteinLoretta Finnegan, M.D.Jack FoxLois FriedCarol GaffneyHarold GarberMitchell & Linda GordonMarge GosinShirley GottliebJoan GravitzStanley & Marsha GrossmanIvan & Susan HambergRobert & Linda

HammerschlagMiriam Hirch

Jill HoffenbergAbram & Rachel KaplanShy & Janet KramerJonathan KremerRobert & Susan LangRalph LevinMarc LowensteinErwin & Bebe MarkmanRobert & Suan MayerHarold & Martha MoskowitzWalter MurphyRobert & June NeustadterRosa OjserkisElaine PeskoeMarvin & Elleane PodolnickLeonard & Beverly PopowichNatalie PowellDebra RosenbergJune RosenfeldRobert SaboLionel & Judy SchlankArthur & Carol SklarDavid & Ruthy SkoleDr. Edwin & Janet SnyderHerb & Faith SternEdward WeinsteinDavid & Susan WeisAnita WeissThe Honorable Michael &

Nadine WinkelsteinKirk Wisemayer

XVI BAY ATLANTIC SYMPHONY | 2016– 2017


THE ANNUALNUMBER OF

HEART ATTACKSCOULD TAKE YOUR

BREATH AWAY.

SO COULDJUST ONE

HEART ATTACK.

Shortness of breath and difficulty breathing are just two warning signsof a heart attack. Call 911 if you experience any warning sign. Learn the other signs at americanheart.org or call us at 1-800-AHA-USA1.

© 2002, American Heart Association.






WOODRUFF ENERGY KEEPS THE MUSIC PLAYINGWith the Bay-Atlantic Symphony

A generous grant from Woodruff Energy has allowed the Bay Atlantic Symphony to keep its ticket prices affordable through the 2016-17 season. Thanks to Woodruff Energy’s donation, the Bay Atlantic Symphony will keep ticket prices at $30 for individual tickets, and only $100 for a season ticket purchase—that’s only $25 per seat.

October 29 & 30, 2016 Tchaikovsky and MozartWhen we think of Mozart, we likely imagine clarity, brilliance, and verve, among other qualities. And for Tchaikovsky, dark colors and moods and extreme pathos – surprise! This concert turns those expectations inside out. Tchaikovsky’s Serenade for Strings is suave, charming, and spirited, where Mozart’s Requiem is fierce, intense, and yearning. We are delighted to present a phenomenal quartet of soloists for the Requiem and to be joined by Chorale Arts of Southern New Jersey and Stockton Chorale.

January 21 & 22, 2017 Copland and VivaldiCan you blame us for pushing the season? Actually, all four of them! We look ahead to springtime with Copland’s Appalachian Spring, his most famous masterwork written for Martha Graham. Then, co-concertmaster Jorge Avila is featured in Vivaldi’s Four Seasons, a scintillating romp through the calendar. Let’s romp!

March 18 & 19, 2017 Schnittke and BrahmsRussian native Lydia Frumkin brings her tremendous pianism and deep commitment to Schnittke’s Piano Concerto’s harrowing, shimmeringly lyrical work of beauty and dissidence. A similar mood ushers in Brahms’ stirring First Symphony¸ but yields to limitless exuberance.

May 6 & 7, 2017 Glinka, Prokofiev, and MendelssohnFolklore is the watchword for this colorful panoply of dance and melody. Young superstar violinist Luosha Fang, joins us for Prokofiev’s treacherous Second Concerto ending in a diabolically warped witch’s dance. Just as fiery is the conclusion to Mendelssohn’s Italian Symphony, featuring a scorpion-stung tarantella. Woven amongst the adrenaline are some of the most haunting melodies from any continent.

Woodruff Energy is the region’s leader in providing total in-home and commercial comfort technology and is dedicated to bringing you new ideas and energy efficiency, with the services and dependability exemplified since 1869. The Bay Atlantic Symphony thanks Woodruff Energy for their great support.

The Bay Atlantic Symphony performs it’s classical series at:Stockton University (Box office 609-652-9000)Landis Theater (Box office 866-811-4111)

Documents

2016–2017 - Stageview · Geraldine R. Dodge Foundation, the New Jersey State Council on the Arts, PNC ... Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis: