Overture September-October 2010

A MAGAZINE FOR THE PATRONS OF

THE BALTIMORE SYMPHONY ORCHESTRA

MARIN ALSOP, MUSIC DIRECTOR

SEPTEMBER 11, 2010 - NOVEMBER 28, 2010overture

They are young, filled with talentand passion, and still in the early

days of their musical careers.

Haven’t heard of them yet?Don’t worry, you will.

Your technique is impeccable.

Your phrasing, sensational.

Your talent, undeniable.

But when noise-induced hearing loss

damages your pitch perception,...that’s when the music stops.

Audiologists at The Hearing and Speech !"#$% '("$)*+)," )# -)!-./0"+)1%2 $3'145-"*6)#! (641"$1)4# 746 53')$)*#'2 53')$(647"'')4#*+' *#0 53')$ +48"6'9

:#+);" $4#8"#1)4#*+ "*6(+3!'2 53')$)*#'<(+3!' 04 #41 =+4$; '43#02 1-"% /+1"6 )1 *'1-"% (641"$1 %436 -"*6)#!9 >43#0 ?3*+)1%)' 5*)#1*)#"0 *#0 )5(648"02 "'("$)*++%

*1 -)!-"6 76"?3"#$)"'2 5*;)#! =41- 1-"-35*# 84)$" *#0 )#'1635"#1*+ 53')$'43#0 $+"*6"6 *#0 546" #*136*+9

>$-"03+" * $45(6"-"#')8" -"*6)#! 1"'114 0"1"65)#" %436 -"*6)#! '1*13'9 @-"#2*++4A 3' 14 /1 %43 746 $3'145 -"*6)#!protection that will keep your hearing-"*+1-% *#0 %436 *=)+)1% 14 +)'1"#999perfetto.

THE HEARING AND SPEECH AGENCY

B45(6"-"#')8" -"*6)#! '"68)$"' 477"6"0 )# * '1*1".47.1-".*61 7*$)+)1% =% *30)4+4!)'1' A-4 5""1 1-"-)!-"'1 +"8"+ 47 (647"'')4#*+ $"61)/$*1)4# )#$+30)#! !6*03*1" 0"!6""' 7645 14(.+"8"+ 3#)8"6')1)"'9

CDEE F"164 G6)8"2 H*+1)546"2 FG IJIJC9 K77 L461-"6# M*6;A*%2 '"8"# 5)#31"' 7645 F19 N*'-)#!14#9Call to schedule an appointment: 410-318-6780. Major insurances accepted.

www.hasa.org 410-318-6780

Protect Your Most Precious Asset

Your is impeccable.

Your , sensational.

Your , undeniable.

But when noise-induced hearing loss

damages your

...that’s when the music stops.

Audiologists at The Hearing and Speech !"#$% '("$)*+)," )# -)!-./0"+)1%2 $3'145-"*6)#! (641"$1)4# 746 53')$)*#'2 53')$(647"'')4#*+' *#0 53')$ +48"6'9

:#+);" $4#8"#1)4#*+ "*6(+3!'2 53')$)*#'<(+3!' 04 #41 =+4$; '43#02 1-"% /+1"6 )1 *'1-"% (641"$1 %436 -"*6)#!9 >43#0 ?3*+)1%)' 5*)#1*)#"0 *#0 )5(648"02 "'("$)*++%

*1 -)!-"6 76"?3"#$)"'2 5*;)#! =41- 1-"-35*# 84)$" *#0 )#'1635"#1*+ 53')$'43#0 $+"*6"6 *#0 546" #*136*+9

>$-"03+" * $45(6"-"#')8" -"*6)#! 1"'114 0"1"65)#" %436 -"*6)#! '1*13'9 @-"#2*++4A 3' 14 /1 %43 746 $3'145 -"*6)#!protection that will keep your hearing-"*+1-% *#0 %436 *=)+)1% 14 +)'1"#999perfetto.

THE HEARING AND SPEECH AGENCY

B45(6"-"#')8" -"*6)#! '"68)$"' 477"6"0 )# * '1*1".47.1-".*61 7*$)+)1% =% *30)4+4!)'1' A-4 5""1 1-"-)!-"'1 +"8"+ 47 (647"'')4#*+ $"61)/$*1)4# )#$+30)#! !6*03*1" 0"!6""' 7645 14(.+"8"+ 3#)8"6')1)"'9

CDEE F"164 G6)8"2 H*+1)546"2 FG IJIJC9 K77 L461-"6# M*6;A*%2 '"8"# 5)#31"' 7645 F19 N*'-)#!14#9Call to schedule an appointment: 410-318-6780. Major insurances accepted.

www.hasa.org 410-318-6780

Protect Your Most Precious Asset

Submit your favorite sounds to The Baltimore Soundscape Project.Find out more at www.hasa.org.

FOUR UNDER 25

Meet Lukás Vondrácek,TianwaYang, Ilyich RivasandYujaWang—four of the most gifted artistsof their generation. Plus: Mahler’s obsessionwith innocence.BY MARIA BLACKBURN

ONE ON ONE

BSOViolinist Gregory Mulligan tells whatmusicians—and audiences—have to gain whenplayers have a stake in choosing their repertoire.INTERVIEW BY MARIA BLACKBURN

10

14

59

5 LETTER FROM THE PRESIDENT AND CEO

6 IN TEMPO News of note.

8 BSO LIVE Upcoming events you won’t want to miss!

16 ORCHESTRA ROSTER

53 DONORS

59 IMPROMPTU The BSO’s Kristin Ostling tests her“metal” with the cello rock band Primitivity.

17 SEPT 11 Gala Concert

22 SEPT 24 Mahler’s Seventh Symphony

25 OCT 2-3 Mendelssohn’s ViolinConcerto

29 OCT 8-10 Gotta Dance!

32 OCT 14-15 Beethoven and Shostakovich

36 OCT 22-23 Midori Plays Shostakovich

40 NOV 4 The Unfinished Symphonies

44 NOV 5 Ravi Shankar

45 NOV 6 Analyze This: Mahlerand Freud

46 NOV 11-12 Beethoven’s “Eroica”Symphony

49 NOV 21 Prokofiev’s Violin Concerto

52 NOV 26-28 Chris Botti

PROGRAM NOTES

contents

14

overtureBSOmusic.org • 410.783.8000

Marin AlsopMusic Director

Michael G. BronfeinChairman

Paul MeechamPresident and CEO

Eileen Andrews JacksonVice President

of Marketing and Communications

Sarah HallerPR & Publications Coordinator

Janet E. BedellProgram Annotator

Alter Custom MediaSue De Pasquale

Editor

Cortney GeareArt Director

Maria BlackburnContributing Writer

Jeni MannDirector of Custom Media

Lauren GeldzahlerProofreader

Maggie Moseley-FarleySenior Sales Consultant

Karen R. BarkMarcie Jeffers

Sales Consultants

Heidi TrabandAdvertising Designer

Kristen CooperDirector of Advertising

Baltimore SymphonyOrchestra

2010-2011 Season

Design and Advertising SalesAlter Custom Media

1040 Park Ave., Suite 200Baltimore, MD 21201

443.451.0736

www.altercustommedia.com

Dear Friends,Welcome back to the Meyerhoff for what promisesto be another great year with the Baltimore SymphonyOrchestra.We are thrilled to begin this season with abalanced budget, strong community support andthriving education programs.

Like her first three seasons, Marin Alsop’s fourth season as Music Director has awonderful blend of the old and the new, the familiar and the unfamiliar.With youthas a central theme, many of the programs feature the very best up-and-comingyoung artists destined to become leading stars in the field, including our ownBSO-Peabody BrunoWalter Assistant Conductor, 17-year-old Ilyich Rivas.We alsocelebrate Gustav Mahler’s double jubilee with performances of both his most notableand lesser-heard works.And the BSO’s celebrated Holiday Spectacular returns withvocalist Maureen McGovern.The BSO under Marin Alsop’s leadership is attracting increasing national and

international attention for recording and touring. Its series of Dvorák symphonies onthe Naxos label will be complete with this Fall’s release of Symphony No. 6.And onNovember 13 and 14, the BSO will travel to NewYork City’s Carnegie Hall forperformances of Beethoven’s “Eroica” Symphony and Too Hot to Handel:The GospelMessiah. Regular visits to Carnegie Hall maintain vital recognition for the BSO,bringing tourism and support to the City of Baltimore and the State of Maryland.If you are planning a weekend trip this Fall, come to NYC and show your supportfor your hometown orchestra!I hope you will enjoy this special season we planned for you as much as we

enjoyed planning it. See you around the hall!

Paul MeechamPresident and CEO, Baltimore Symphony Orchestra

Be Green: Recycle Your Program!

Please return your gently used program books to the Overture racks in the lobby.

Want to keep reading at home? Please do! Just remember to recycle it when you’re through.

Baltimore Symphony OrchestraBaltimore Symphony OrchestraLife is Better with Music

410.783.8124 | BSOmusic.org/musicmatters

The BSO is committed to serving our community in relevant andmeaningful ways, including high quality music education and lifeenrichment programs for more than 55,000 youths each year. Your support makes this important work possible, helping to secure the BSO as a key contributor to the culture and quality of life inBaltimore and throughout Maryland.

For more information about supporting your world-classorchestra, please contact our membership office.

f rom the president

��

September 11, 2010 – November 28, 2010 5

6 Overture

intempo News of note.

Forte, the BSO’s fan group of young professionals, providesexciting networking opportunities between fellow music loversand the BSO. Forte members enjoy a wide variety of specialbenefits, including discounted tickets, happy hours, access topost-concert parties, free gifts and chances to win prizes. Eachseason, Forte hosts social events at four concerts. For $40,members receive a premium seat for the concert, admissioninto the pre- or post-concert event with the opportunity tomeet BSO musicians and guest artists and one drink voucher.The 2010-2011 Forte events include Analyze This: Mahler andFreud on Saturday, November 6; Icarus at the Edge of Time onFriday, January 14; Rachmaninoff ’s Second Piano Concertoon Friday, February 11; and Charlie Chaplin’s The Gold Rushon Saturday,April 16.Established in 2008 to engage young patrons from the

Baltimore area in the classical music scene, Forte hopes toevolve outside the walls of the Meyerhoff through volunteerand networking activities in the Baltimore area—suchas involvement with the BSO’s OrchKids and otheroutreach programs.

There are four easy ways to join Forte this season;please visit BSOmusic.org/forte for more informationon how to get involved.

Forte Grows, More Waysto Get Involved

The much-anticipated Baltimore edition of “Rusty

Musicians with the BSO” will take place on Tuesday,

September 21 from 6 to 10 p.m. at the Joseph

Meyerhoff Symphony Hall. More than 440 amateur

musicians applied to join members of the BSO and

Music Director Marin Alsop on stage to perform

Brahms’ Academic Festival Overture and the finale

from Stravinsky’s Firebird Suite, with 324 accepted to

participate. To accommodate this many participants,

the evening will include four separate sessions: 6 p.m.,

7 p.m., 8 p.m. and 9 p.m. “Rusty Musicians with the

BSO” is part of the BSO’s vision to increase the com-

munity’s involvement in music and serve as a cultural

resource for the Baltimore-Washington region.

More than 600 musicians

applied to the first “Rusty

Musicians” program held at the

Music Center at Strathmore in

February 2010, with 400 accept-

ed to participate. The success of

the program at Strathmore prompted

area musicians to request another, this

time in Baltimore. “By engaging patrons

in this directly participatory experience, we

are tearing down the walls that separate us from

our audiences,” said Maestra Alsop.

“Rusty Musicians” Performwith the BSO, Sept. 21

��

Music Director Marin Alsop leads “Rusty Musicians” and members ofthe BSO in Tchaikovsky’s Fourth Symphony on February 2, 2010 atthe Music Center at Strathmore.

Forte members meet pianist Jean-Yves Thibaudetat a post-concert party.

Forte members enjoythe post-concert party inthe Meyerhoff Lounge.

TRACEYBROWN


Specializing in Facial RejuvenationRhinoplasty, Botox & Injectables

Facial Skin Cancer Reconstruction Ear Correction Facial Trauma Cleft Lip & Palate Scar Revision

Artistry. Innovation. Mastery. Right here in Baltimore.

Randolph B. Capone, MD, FACS, DirectorFor appointments 410-828-4123

6535 North Charles Street, Suite 250 • Baltimore, Maryland 21204 • www.BaltimoreFaces.com

Shouldn’t your offi ce be as nice as your home?See why 86% of our offi ce tenants renew their lease.

Visit The Exchange at www.exchangebuilding.net

HOME-MADE BRISKET,CORNED BEEF AND PASTRAMI

FALAFEL AND SCHWARMASALADS AND LITE FARE

FRESH SQUEEZED JUICES & SMOOTHIESHOMEMADE DESSERTS

ZEKE'S COFFEE AND ESPRESSO

SHOW YOUR SAME DAY THEATRE TICKETOR STUB FOR A 10% DISCOUNT

1 block east of The Meyerhoff7 W. Preston St

Monday thru Thursday 8 am to 8 pmFriday & Saturday 8 am to 11 pm

443-220-0050www.shapiroscafe.com

JOIN US BEFOREOR AFTER THE SHOW

Authentic Jewish Deli &Middle Eastern Cuisine

50th Anniversary

410•323•1700

The NursingCare Specialists

R.N.s • L.P.N.sCertified Nurses Aides

CompanionsHome Nursing Care

Private DutyHourly • Live-in

RECOMMENDED BY LEADINGHEALTH CARE PROFESSIONALSMost Insurances & Credit Cards AcceptedLicensed & Bonded • 24-Hour Service

ElizabethCooneyAgency.com

8 Overture

SPECIAL EVENT

Handel’s MessiahFri, Dec 3, 7:30 p.m.

Edward Polochick, conductorConcert Artists of Baltimore

It wouldn’t be the holiday seasonwithout Handel’s Messiah.The BSOcontinues the tradition of ushering inthe Christmas season with a performanceof Handel’s glorious oratorio and the“Hallelujah Chorus.”

FAMILY CONCERT

The NutcrackerFor children ages 5 and up and their families

Sat, Dec 4, 11 a.m.

Rheda Becker, narratorBaltimore Ballet

Join the BSO and the Baltimore Ballet asexcerpts from this holiday classic come tolife.Treat your child (and yourself!) to thetimeless tale of The Nutcracker and delightin some of the season’s most memorablemelodies. Please note: the BSO FamilyFun Zone opens at 10 a.m. in themain lobby.

BSO Holiday SpectacularFri, Dec 10, 2 p.m. and 7:30 p.m.Sat, Dec 11, 2 p.m. and 7:30 p.m.Sun, Dec 12, 2 p.m.Wed, Dec 15, 2 p.m.Fri, Dec 17, 2 p.m. and 7:30 p.m.Sat, Dec 18, 2 p.m. and 7:30 p.m.Sun, Dec 19, 2 p.m. and 6:30 p.m.

Damon Gupton, conductor(Dec. 10-12)

Steven Reineke, conductor(Dec. 15-19)

Maureen McGovern, host and vocalistMartin Preston, vocalistHoliday Spectacular ChorusBaltimore School for the Arts Dancers

Baltimore’s best holiday variety show isbigger and better than ever starringaward-winning vocalist MaureenMcGovern and the BSO! Experiencemore than 100 singers, dancers and enter-tainers in lavish costumes, an amazingmusical performance by LasVegas show-man Martin Preston as Liberace,TonyHoard and Rockin’ Rory as seen onAmerica’s Got Talent and, of course, thenow legendary Tap-Dancing Santas.

Icarus at the Edge of TimeFri, Jan 14, 8 p.m.Sun, Jan 16, 3 p.m.

Marin Alsop, conductor

Science and sound collide when famedphysicist and author of The ElegantUniverse, Brian Greene, teams up withAmerican composer and Baltimorenative Philip Glass in this multimediarecreation of Greene’s board book forchildren, Icarus at the Edge of Time. Ledby Marin Alsop, this cautionary talewith mythological roots depicts a youngboy’s accidental adventure to a blackhole.The program opens with Mark-Anthony Turnage’s Ceres and JohnWilliams’ StarWars Suite.

Robustly RussianThu, Jan 20, 8 p.m.Sun, Jan 23, 3 p.m.

Marin Alsop, conductorKirill Gerstein, piano

With his popular Fifth Symphony,Shostakovich achieved the seeminglyimpossible—he maintained his personaland artistic integrity to create one of the20th century’s most powerful orchestralmasterpieces while keeping at bay theSoviet authorities’ desire to crush his spir-it. Opening the program are two worksby Rachmaninoff: an orchestral transcrip-tion of the melodic Vocalise and his FirstPiano Concerto (composed at age 19),performed by the brilliant RubinsteinCompetition winner, Russian pianistKirill Gerstein.

bsolive Upcoming key events.

��

��

��

SPECIAL EVENT

Vienna Choir BoysSat, Dec 4, 4 p.m.The world’s foremost boys’ choir will fill the Meyerhoff with the angelic sounds thathave captivated kings and commoners for more than 500 years. Don’t miss theopportunity to hear the Vienna Choir Boys during their 2010 U.S. tour.Please note: the BSO does not perform on this program.

VIENNA CHOIR BOYS

KIRILL GERSTEIN

LUKASBECK

MARCOBORGGREVE


OFF THE CUFF

Shostakovich’s Fifth SymphonySat, Jan 22, 7 p.m.

Marin Alsop, conductor

Shostakovich set out to triumph overadversity with his Fifth Symphony,an epic work conceived in a time ofgreat political unrest in 1930s Russia.Marin Alsop walks the audience throughthe period of scrutiny and pressurethat served as an impetus for many ofthe composer’s most evocative musicalcreations, including this work that thecomposer allegedly subtitled,“thecreative reply of a Soviet artist tojustified criticism.”

BSO SUPERPOPS

Big Band Hit ParadeFri, Feb 4, 8 p.m.Sat, Feb 5, 8 p.m.Sun, Feb 6, 3 p.m.

Jack Everly, conductorJudy McLane, vocalistJon Manasse, clarinetCapitol Quartet

You’ll be “In the Mood” for“Sophisticated Swing” when the BSOSuperPops, Broadway star Judy McLaneand the Capitol Quartet perform thegreatest hits of the Big Band era includ-ing “Stardust,”“String of Pearls” and aspecial tribute to the “King of Swing,”Benny Goodman.

FAMILY CONCERT

Beethoven: A Musical HeroFor children ages 5 and up andtheir families

Sat, Feb 5, 11 a.m.

Rheda Becker, narratorTony Tsendeas, actor

Travel back in time and uncover theremarkable life of one of history’sgreatest composers, Ludwig vanBeethoven. Listen as the BSO playsmusic from some of Beethoven’s mostheralded and recognizable pieces includingFür Elise, Symphonies Nos. 5 and 9 andMoonlight Sonata. Please note: the BSOFamily Fun Zone opens at 10 a.m. inthe main lobby.

Rachmaninoff’s Second PianoConcertoFri, Feb 11, 8 p.m.Sun, Feb 13, 3 p.m.

Juanjo Mena, conductorYuja Wang, piano

After her dynamic 2008 BSO debut, pianophenomYujaWang returns to conquer thework that cemented Rachmaninoff ’s fameas both a composer and a pianist, his SecondPiano Concerto.A favorite of BSO musi-cians, incisive Spanish conductor JuanjoMena leads the BSO’s first performancesince 1988 of Bruckner’s Sixth Symphony, awork of tender,memorable themes buildingup to an exultant climax.Hear engagingmusical insights from the experts when

you join us for Classical Conversations,a pre-concert lecture free to Fridayticket holders, which begins at 7 p.m.

Ingrid Fliter Plays ChopinFri, Feb 18, 8 p.m.

Hans Graf, conductorIngrid Fliter, piano

Argentine pianist Ingrid Fliter makesher BSO debut in Chopin’s earliestmasterpiece, Piano Concerto No. 2, whichcaptures the pathos of unrequited love.Tchaikovsky’s joyous Second Symphonycelebrates his homeland in an intricate andcolorful work based on Ukrainian folktunes.The program opens with Rossini’slegendary WilliamTell Overture.

SPECIAL EVENT

DRUMLine LIVESat, Feb 19, 7:30 p.m.

DRUMLine Live brings the blackmarching band tradition to the Meyerhoffstage.With riveting rhythms, bold beatsand ear-grabbing energy, this musicalshowcase incorporates original composi-tions and soul-infused interpretations oftop 40 hits, colorfully choreographedroutines and incredible displays of drumriffs and cadences.

The Magic FluteSat, Feb 26, 8 p.m.Sun, Feb 27, 3 p.m.

Marin Alsop, conductorDomingo-Cafritz Young Artist Program,

vocalistsBaltimore Choral Arts SocietyTom Hall, director

Michael Ehrman, stage director

Armed with his wits and magical fluteto protect him,Tamino embarks ona perilous quest to save the beautifulPamina from an evil sorcerer. Mozart’smost beloved opera will be performedin a semi-staged concert version withsolo vocalists and chorus.

��

Brahms’ Violin ConcertoThu, Jan 27, 8 p.m.Fri, Jan 28, 8 p.m.

Juanjo Mena, conductorAugustin Hadelich, violinTwenty-six-year-old violinist extraordinaire Augustin Hadelichmakes his BSO debut with Brahms’ Violin Concerto,one of the Olympian peaksof the violin repertoire.Also featured is the localpremiere of Puerto Rico-born Roberto Sierra’sSinfonia No. 4and Haydn’s“La Reine”Symphony.

��

��

��

AUGUSTIN HADELICH

INGRID FLITER

COURTESY

OFBSO

GARYHOULDER

10 Overture

They are young, filled with talentand passion, and still in the early

days of their musical careers.

By Maria Blackburn


Passionate at the PodiumIlyich Rivas, 17, BSO-Peabody Bruno Walter Assistant ConductorIlyich Rivas looks like a teenager, dresses like a teenager and loves sportsand cars as any teenager does. But when the 17-year-old steps up to thepodium, baton in hand, the last thing he wants the orchestra seated beforehim to see is a teenager. He wants them to see a conductor.“I think my goal is to get everyone to forget my age,” says Rivas, who

spends months preparing and researching the music he conducts.“If I reallyprepare the right way, it shouldn’t seem like I’m some kid up there.This issomething that I have done half my life.”BSO Music Director Marin Alsop recognizes how Rivas’ challenge

differs from that of other young, talented musicians.“He is by far theyoungest, yet he is operating as the boss,” she says of theVenezuelan-bornteen.“Having something valuable and helpful to sayto musicians who are triple your age can seem adaunting task.” But Rivas, who just started his secondyear as the BSO-Peabody BrunoWalter AssistantConductor, is up to the challenge.“Ilyich is enthusias-tic, deferential, respectful and focused,” she says.“Andhe’s passionate.”The son of a conductor and a literature professor,

Rivas has always felt a deep attraction to moving hisarms in a way that expresses music.With his fatheras his teacher and mentor, he developed his skills asa conductor, and by age 9, could conduct all ofBeethoven’s symphonies from memory. Since then,he’s trained with noted conductors and performedinternationally, making his U.S. conducting debutwith the Atlanta Symphony in the summer of 2009.“I’ve always been passionate about unifying a pieceand being a leader,” says Rivas, who was raised inDenver, Co.“I love social sciences. I love internationalpolitics.And conducting is a way of combining apassion for music and a passion for ideas.”After spending much of last year in graduate-level

classes at the Peabody Institute of The JohnsHopkins University, Rivas will be touring and performing more this year.He’s eager for the next stage of his career to begin.“I just want to go as faras I can in my field because this is what I’ve come to this earth to do.”

Rivas makes his subscription concert debut with the BSO on Oct. 14 and 15.He will conduct Beethoven’s Second Piano Concerto, Shostakovich’s SymphonyNo. 1, Brahms’Academic Festival Overture and Mahler’s Blumine.

Haven’t heard of them yet? Don’t worry, you will.The following musicians, all scheduled to perform with the Baltimore SymphonyOrchestra this season, aren’t yet 25, but they already have established themselvesas four of the most gifted artists of their generation.

From left to right: Lukás Vondrácek, Tianwa Yang,Ilyich Rivas and Yuja Wang.

12 Overture

“A Pride of China”Tianwa Yang, 23, violinTianwaYang was 4 years old the first time she lifted a violin toher shoulder to play.“I loved it from the first moment,” she says.“When I played, I could feel how the sound vibrated on mybody.That touched me immediately.”Violin came naturally to the Beijing kindergartener, and she

was soon winning competitions and being lauded as “a pride ofChina” by local media.At age 10,Yang was accepted to studywith Professor LinYaoji at the Central Conservatory of Music.Two years later, Issac Stern saw her perform at the 1999 BeijingMusic Festival and invited her to study with him in the UnitedStates. However, despiteYang’s many successes, she didn’t seemusic as a possible career.“Too unrealistic,” she thought.Yang’s opinion changed when, at the age of 13, her teacher

challenged her to record Paganini’s 24 Caprices for SoloViolin.She did and became the youngest person in the world to inter-pret the famously demanding composition.“Afterward I justrealized what I had achieved,” Yang says.“I knew then that

I could become aprofessional musician.”Since then, she’s

performed all overthe world and hasbeen heralded bycritics as the mostimportant newviolinist to come onthe scene in years.Recently, she finishedrecording the com-plete works for violinby Sarasate for Naxos.People often mentionher technique whenthey talk about herplaying.Yang doesn’tmind, but as an adultshe avoids playing“stylistically brilliant”

works like the Caprices that only show off her technical skills.Instead she’d rather tell stories through her music, to evoke theaudience’s memories and feelings.“The last thing I want to berecognized as is a virtuosic player with 10 flying fingers.To me,that’s not what music is about,” she says.“People have to enjoy it.”

Yang makes her BSO debut in Prokofiev’s Violin Concerto No. 1on November 21.

Strong and IndependentYuja Wang, 23, pianoYujaWang can’t help but laugh when she recalls her childhoodcareer ambitions.“I wanted to be a mathematician,” she says.“And a dress designer. Oh, and a model. But I am way too shortfor that.”Wang’s 5-foot, 2-inch frame may have made her unsuitable for

the runway, but considering her talent as a pianist, it all workedout for the best. Born in Beijing in 1987 to a ballerina and amusician, she started playing piano at age 6 and began givingconcerts six months later. She studied at the CentralConservatory of Music, and in 2002 at the age of 15,Wang wonthe Aspen Music Festival’s concerto competition and moved tothe U.S. to study with Gary Graffman at the Curtis Institute ofMusic. She’s performed with many of the world’s top orchestras;her debut CD, Sonatas and Etudes, was nominated for a GrammyAward in 2009; and TheWashington Post described her KennedyCenter recital debut as “jaw-dropping.”And perhaps she didachieve fashion model status in her own way. Fashion designershave asked to dressWang in concert. But she has declined becauseshe doesn’t want the distraction.“During a concert, I try to putmyself into another world, another place somewhere,” she says.“Ireally like going onstage and sharing what I find is so beautiful.”The profession has its challenges.“Doing this takes not only

talent, but discipline, patience, good communication skills andstrong character,” she says.“To do this career, especially being awoman, is really tough.You have to be strong and independent,especially as a soloist.”It’s worth it. ForWang, music is more than a career.“People

talk about the music business, but I don’t think of this as businessat all,” she says.“It’s something that is part of my life. It’s not acareer. It’s just part of who I am.”

Wang returns to the Meyerhoff on February 11 and 13 to playRachmaninoff’s Second Piano Concerto.

Doing this takes not only talent, but discipline,patience, good communication skills andstrong character.” —Yuja Wang

“

FELIXBROEDE

HEIKOROGGE


Mahler: Obsessed with InnocenceIt’s been 150 years since Gustav Mahler’s birth and 100 years

since his death, but this double jubilee isn’t the sole reason for

the BSO to fully explore the work of the legendary composer

this season. His work also ties nicely into the Orchestra’s focus

on young artists.

“Mahler had almost an obsession with youth, innocence and

childhood,” explains BSO Music Director Marin Alsop. “It just

seemed like a natural fit.”

Indeed, Mahler once said, “It should be one’s sole endeavor

to see everything afresh and create it anew.” And his original

voice and extensive and varied symphonic repertoire give

listeners much to appreciate and consider. “People love Mahler

because he really is, as Leonard Bernstein said, ‘the prophet of

the 20th century,’” Alsop says. “It is music of our time.”

Mahler lived at the turn of the last century, a time when

Sigmund Freud and Carl Jung were exploring the psyche and

the conscious mind, and people were anticipating and fearing a

new industrialized existence. “In his music, Mahler is trying to

capture his whole philosophy about life, spirituality, the afterlife,

why we exist, his love of nature, his thoughts about innocence

and his children. One piece of music might contain everything,”

notes Alsop.

Such epic themes aren’t always easy to understand, and

that’s why one needs to give Mahler’s music time to unfold in

order to fully experience it. “Mahler is our lens to review the

recent past and move on to the 21st century. It’s a vehicle for us

to explore what’s possible for our futures,” says Alsop. “People

today are looking for a heightened transcendental kind of

experience through art, and I think that’s what this season will

provide. This isn’t a sound bite. It is a journey.”

—Maria Blackburn

Upcoming Concerts featuring works by Gustav Mahler:

September 24-25: Mahler’s Symphony No. 7

October 14-16: The second movement “Blumine” from

Mahler’s Symphony No. 1

November 4-6: The unfinished 10th symphonies of Mahler and

Beethoven, and Sieben Lieder, a work by Mahler’s wife, Alma.

November 5-6: A special Off the Cuff program, “Analyze This:

Mahler and Freud,” reenacts the little-known meeting in 1910

between Mahler and psychiatrist Sigmund Freud and features

excerpts of Mahler’s music.

A “Magical” PerformerLukás Vondrácek, 23, pianoLukas Vondrácek has always hated the title “child prodigy,” yetfor most of his life he’s been unable to shake it.Vondrácek was only 2 years old when his professional pianist

parents realized his musical talent. He gave his first concert at theage of 4 and made his first international tour in 1997 at the ageof 10.“It was like a game,” saysVondrácek, who was born inOpaza, Czech Republic in 1986.“I didn’t need to read the music.I have perfect pitch. So my parents would play something andthen I would play it.”However, for the first half of his career,Vondrácek’s favorite

part of performing wasn’t the music.“For me playing was moreabout getting chocolate or some books after the concert, aboutgetting to travel and meet interesting people,” he says.Then, when he was 13, he played forVladimir Ashkenazy,

music director of the Czech Philharmonic Orchestra.Theacclaimed conductor and pianist told the teen he had potentialand to work hard.“I knew then that the piano was somethingI wanted to do,” he says.Vondrácek threw himself into practicing10 to 12 hours a day. In 2002, he made his debut with the CzechPhilharmonic, and soon afterward he played with the orchestraat Carnegie Hall. He’s given more than 1,000 concerts in25 countries to date, and his playing has been described as “pure”and “magical” by reviewer MikeWinter on theVan CliburnCompetition blog.“I was lucky to have met Mr.Ashkenazy because he opened

doors for me,” says the young musician.Now that he’s in his early 20s,Vondrácek is rarely described as

a child prodigy. Instead he’s about to take on a new title: graduatestudent. He starts a two-year graduate diploma program at theNew England Conservatory of Music this fall. He’s lookingforward to living in Boston and spending time with other youngpeople. Mostly though, he’s looking forward to the music.“I think about music a lot more than I ever did before,”

Vondrácek says.“It’s something I love and couldn’t imaginemy life without it.”

Vondrácek returns to the BSO on March 4 and 6 to performRachmaninoff’s Rhapsody on aTheme of Paganini.

MARTINACECHOVA

��

14 Overture

What’s involved in choosing therepertoire, and what kinds of piecesdo BSO musicians suggest?

A. Technically, the process of selectingrepertoire is our management’s responsibili-ty, not ours. On the other hand, we reallyhave a big interest in getting it right andwe like contributing.There are master-pieces that we don’t play very often forone reason or another that we mightsuggest and it’s always exciting to do those.Over the years the list has generated

a lot of interesting suggestions.They canrange anywhere from a Mahler symphonythat is completely standard repertoire,but that we just haven’t played recently.Or it can be a little bit more off thebeaten track, like Sibelius’ SymphonyNo. 7, which is a personal favorite ofmine.We found a match with guestconductor Thomas Dausgaard who camein and conducted it last season.Andsometimes it can be more obscure—likeHugo Alfven’s Swedish Rhapsody No. 1.

How are BSO musicians’suggestions different from whatMusic Director Marin Alsop maywant to play?

A. It’s not so much that we’re suggestingdifferent choices than what Marinmight want to perform, because she isvery open-minded, and like mostmusicians, she loves the entire repertoire.Some listeners are more conservativeand would only go to things they know,while others want to expand their musicalhorizons.That’s why we often programlesser-known pieces with more popularones.We’re all interested in tappinginto our passion for our artform andmaybe getting people to be a little bitmore experimental.

Are there certain pieces orcomposers that musicians suggestevery year, no matter what?

A.Yes. Bruckner.We’re told sometimesthat Bruckner is not a huge audiencedraw, but we consider him to be anincredibly great symphonic composer.

MUSICIANS ARE USED TO TAKING DIRECTION, like beingtold what, when and how to play—but sometimes they want to do

more than that.

For the last few seasons, BSO musicians haven’t just performed the 70

or so works that form their classical repertoire each season; they’ve helped

select the music, too. BSO musicians share their programming suggestions

with the Artistic Advisory Committee, seven musicians who meet regularly

with the BSO management team and occasionally with Music Director Marin

Alsop. Taking such issues as artistic themes, conductor schedules, guest

artist repertoires and the needs of their patrons into account, together they

program a handful of works for the coming season from BSO musicians’

suggestions. This year for the first time, these “Musicians’ Picks” have been

highlighted for BSO audiences in the concert guide.

Gregory Mulligan, a member of the Artistic Advisory Committee, has

been a violinist with the BSO for 25 years. In the interview that follows,

he tells what BSO musicians—and audiences—have to gain when players

have a stake in choosing their repertoire.

Interview by Maria Blackburn

The Musing Behind “Musicians’ Picks”

CHRISTIANCOLBERG

oneonone

Q.

Q.

Q.

FA L L A N D D I N I N G ATTA R K ' S PAT I O - J U S T

A R O U N D T H E CO R N E R ! ! !

BEFORE OR AFTER THE SHOWSERVING LUNCH, DINNER & WEEKEND BRUNCHPRIVATE PARTIES • CARRYOUT2360 JOPPA ROAD AT GREENSPRING STATIONP 410.583.TARK (8275) • F [email protected]


At the moment we have been doingBruckner every other year and that hasdeveloped out of our conversationswith management.

Even if management likes amusician’s suggestion, what mightkeep it from being programmed?

A.We may all be really enthusiastic abouta particular piece and when we look at aweek that has openings in that season andwho might be conducting it, it may notalways be a match and might have to waituntil the next year. Instrumentationis a consideration, too.

Which of the six “Musicians’Picks” are you particularly lookingforward to playing this season?

A. I’m definitely looking forward tothe Lutosławski Concerto.And Mahler’sSymphony No. 7 is typical in the sensethat we always play some Mahler in a givenyear, but it’s atypical in that it calls for apretty huge orchestra.And theWalton,sinceWalton is great and does prettyunusual stuff.And the Bruckner.And yes,the Barber. Gosh, it’s all great.

Do you have any favorite piecesthat you personally would like theBSO to play in concert soon?

A. Janácek’s Sinfonietta, a beautiful,20-minute piece for a large orchestra thatcalls for an ungodly number of trumpets.I have only ever performed it once inmy life and I would love to do it again.I know many other musicians who alsolove this piece.

When you are playing, do youfeel any extra affinity for music themusicians have chosen?

A. Maybe during preparation. But whenyou get down to performing any piece,you forget about how it came aboutbecause you’re just busy concentratingon playing it beautifully.

Q.

Q.

Q.

Q.

��

It’s the

of

Broadmead is an inclusive, accredited, not-for-profit

Continuing Care Retirement Community founded

and operated in the caring Quaker tradition.

TTY/Voice~

Maryland Relay Service

1-800-201-7165

www.broadmead.org

- inclusive healthcare, maintenance-free garden

apartments, and interesting friends are a way of life at

Broadmead. Enjoy an abundance of resident-driven

programs and activities or the serenity of the natural

surroundings on this 94-acre campus. It’s all up to you.

We invite you to visit us and catch the Broadmead spirit.

Call (443) 578-8006 to schedule your personal tour.

16 Overture

First ViolinsJonathan Carney

Concertmaster,

Ruth Blaustein

Rosenberg Chair

Madeline AdkinsAssociate

Concertmaster,

Wilhelmina Hahn

Waidner Chair

Igor YuzefovichAssistant

Concertmaster

Yasuoki TanakaJames BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoJohn MerrillGregory MulliganRebecca NicholsE. Craig RichmondEllen Pendleton TroyerAndrew Wasyluszko

Second ViolinsQing Li

Principal, E. Kirkbride

and Ann H.

Miller Chair

Ivan StefanovicAssistant Principal

Leonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles UnderwoodMelissa Zaraya

ViolasRichard Field

Principal, Peggy

Meyerhoff Pearlstone

Chair

Noah ChavesAssociate Principal

Christian Colberg*Assistant Principal

Peter MinklerKarin Brown

Sharon Pineo MyerGenia SlutskyDelmar StewartJeffrey StewartMary Woehr

CellosChang Woo Lee

Associate Principal

Dariusz SkoraczewskiAssistant Principal

Bo LiSusan EvansSeth LowEsther MellonKristin Ostling*Paula Skolnick-Childress

BassesRobert Barney

Principal, Willard and

Lillian Hackerman

Chair

Hampton ChildressAssociate Principal

Owen CummingsArnold GregorianMark HuangJonathan JensenDavid Sheets*Eric Stahl

FlutesEmily Skala

Principal, Dr. Clyde

Alvin Clapp Chair

Marcia Kämper

PiccoloLaurie Sokoloff

OboesKatherine Needleman

Principal, Robert H.

and Ryda H. Levi

Chair

Shea ScruggsAssistant Principal

Michael Lisicky

English HornJane Marvine

Kenneth S. Battye

and Legg Mason

Chair

ClarinetsSteven Barta

Principal, Anne

Adalman Goodwin

Chair

Christopher WolfeAssistant Principal

William JenkenEdward Palanker

Bass ClarinetEdward Palanker

E-flat ClarinetChristopher Wolfe

BassoonsJulie Green

Assistant Principal

Fei Xie

ContrabassoonDavid P. Coombs

HornsPhilip Munds

Principal, USF&G

Foundation Chair

Gabrielle FinckAssociate Principal

Beth GrahamAssistant Principal

David BakkegardMary C. BissonBruce Moore

TrumpetsAndrew Balio

Principal, Harvey M.

and Lyn P. Meyerhoff

Chair

Rene HernandezAssistant Principal

Jonathan Kretschmer

TrombonesChristopher Dudley*

Principal, Alex. Brown

& Sons Chair

Mark DavidsonActing Principal

James OlinCo-Principal

John Vance

Bass TromboneRandall S. Campora

TubaDavid T. Fedderly

Principal

TimpaniDennis Kain

Principal

Christopher WilliamsAssistant Principal

PercussionChristopher Williams

Principal, Lucille

Schwilck Chair

John LockeBrian Prechtl

PianoSidney M. and Miriam

Friedberg Chair

Jonathan JensenMary Woehr

Director ofOrchestra PersonnelMarilyn Rife

AssistantPersonnel ManagerChristopher Monte

LibrariansMary Carroll Plaine

Principal, Constance

A. and Ramon F.

Getzov Chair

Raymond KreugerAssociate

Stage PersonnelEnnis Seibert

Stage Manager

Frank SerrutoStagehand

Todd PriceElectrician

Larry SmithSound

*on leave

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

Jack Everly Principal Pops Conductor

Yuri Temirkanov Music Director Emeritus

Ilyich Rivas BSO-Peabody Bruno Walter Assistant Conductor

The musicians who perform for the Baltimore Symphony Orchestra do so underthe terms of an agreement between the BSO and Local 40-543, AFM.

Hailed as one of the world’s leading

conductors for her artistic vision and

commitment to accessibility in classical

music, Marin Alsop made history with

her appointment as the 12th music

director of the Baltimore Symphony

Orchestra. With her inaugural con-

certs in September 2007, she became

the first woman to head a major

American orchestra. She also holds

the title of conductor emeritus at the

Bournemouth Symphony in the United

Kingdom, where she served as the

principal conductor from 2002

to 2008, and is music director of the

Cabrillo Festival of Contemporary

Music in California.

In 2005, Ms. Alsop was named a

MacArthur Fellow, the first conductor

ever to receive this prestigious award.

In 2007, she was honored with a

European Women of Achievement

Award; in 2008, she was inducted as a

fellow into the American Academy of

Arts and Sciences; and in 2009, MusicalAmerica named her “Conductor

of the Year.”

A regular guest conductor

with the New York Philharmonic,

The Philadelphia Orchestra, London

Symphony Orchestra and Los Angeles

Philharmonic, Ms. Alsop also appears

frequently as a guest conductor with

some of the most distinguished

orchestras around the world. In addi-

tion to her performance activities, she

is also an active recording artist with

award-winning cycles of Brahms,

Barber and Dvorák orchestral works.

Ms. Alsop attended Yale University

and received her master’s degree

from The Juilliard School. In 1989, her

conducting career was launched when

she won the Koussevitzky Conducting

Prize at Tanglewood, where she

studied with Leonard Bernstein.

Marin Alsop,Music Di rector

DEA

NA

LEXA

ND

ER

Baltimore Symphony Orchestra2010-2011 Season

Marin AlsopFor Marin Alsop’s bio, please see p. 16.

Nadja Salerno-SonnenbergOne of the leading violinists of our time,Nadja Salerno-Sonnenberg is best knownfor her exhilarating performances, passionateinterpretations, musical depth and unique

charisma.After serv-ing for two highlysuccessful seasons asmusic director of theNew CenturyChamber Orchestra,she leads this

19-member string orchestra into its thirdseason, which includes a January/February2011 U.S. tour. Performing works by

Wolf, Bartók, Piazzolla andTchaikovsky,it will travel to San Francisco, Cleveland,Granville,Ann Arbor, Evanston, SantaMonica, San Diego and Davis. NewCentury’s 2010-2011 season also includesfour subscription series, two of whichhighlight the 2010-2011 featuredcomposer Mark O’Connor, whose worldpremiere commission will be performedin May 2011. In Fall 2011, Ms. Salerno-Sonnenberg’s record label, NSS Music,releases a highly-anticipated secondrecording of New Century featuringStrauss’s Metamorphosen, Barber’s Adagiofor Strings and Mahler’s “Adagietto”from Symphony No. 5.

Ms. Nadja Salerno-Sonnenberg startedNSS Music in 2005.The label continuesto grow, with the most recent release beingSchubert’s Echo featuring the AmericanString Quartet released in August 2010.Additionally, she has more than 20 releaseson the EMI and Nonesuch labels.

JenniferEdwardsSoprano JenniferEdwards was a 2009district winner ofthe MetropolitanOpera’s National

Council Auditions. Recent performancesinclude Echo with Seattle Opera inAriadne auf Naxos, Fiordiligi in Così fantutte with Peabody Opera, Despina inCosì fan tutte with Chesapeake ChamberOpera and scenes from Bellini’s Normawith Maryland Concert Opera.As arecitalist, she presented four art songrecitals as part of the 2010 Art SongDiscovery Series. She is a student at thePeabody Institute where she is a recipientof the Lydia Richard Gillespie EndowedScholarship and in the studio of interna-tionally acclaimed soprano PhyllisBryn-Julson.While at Peabody, she hasperformed as soprano soloist in Mozart’sMass in C Minor, Haydn’s Lord NelsonMass and Mahler’s Fourth Symphony aswell asVioletta in La traviata and TheWoman in TheYellowWallpaper. She hasbeen a recipient of prizes in numerouscompetitions, including the 2009Russell C.WonderlicVoice Competition,the 2008 Rhode Island Bel CantoCompetition and the 2008 SylviaGreen Competition.

programnotes

Gala Concert

Joseph Meyerhoff Symphony Hall

BALTIMORE SYMPHONY ORCHESTRA

MARIN ALSOP

MUSIC DIRECTOR • HARVEY M.AND LYN P. MEYERHOFF CHAIR

Marin Alsop Conductor

Nadja Salerno-Sonnenberg Violin

Jennifer Edwards Soprano

Edwin Aparicio Flamenco dancer

Anna Menendez Flamenco dancer

Gonzalo Arias Contreras Guitar

Petrit Çeku Guitar

Jeremy Lyons Guitar

Marco San Nicolas Guitar

Alberto Ginastera “Malambo” from Estancia

Georges Bizet “Aragonaise” from Carmen Suite No. 1“Chanson du Toreador” from

Carmen Suite No. 2“Danse Bohème”fromCarmen SuiteNo. 2EDWIN APARICIOANNA MENENDEZ

Heitor Villa-Lobos “Aria” from Bachiana Brasileira No. 5JENNIFER EDWARDS

Joaquin Rodrigo “Allegretto” from Concierto AndaluzGONZALO ARIAS CONTRERASPETRIT ÇEKU, JEREMY LYONS,MARCO SAN NICOLAS

Saturday, September 11, 2010 8:30 p.m.

continued on pg. 18


CH

RIST

IAN

STEI

NER

EdwinAparicioEdwin Apariciois one of themost sought-afterflamenco performers,teachers and chore-

ographers.Trained by the world-renownedflamenco artists Tomás de Madrid and LaTati, Mr.Aparicio made his debut at CasaPatas in Madrid in 2001. He has performedas a soloist throughout the U.S. and hasshared the stage with such internationallycelebrated artists as LaTruco, Elena Andújar,Carmela Greco, Pastora Galván and JoséLuis Rodríguez.

He is the artistic director andchoreographer of Al Andalús, Camino/alflamenco and Encuentros; the co-director andchoreographer of Bailes Inéditos, Íntimowith Carmela Greco and Entresueño.

In 2007, he produced and presentedFlamenco: Sol y Luna in Portland, Ore.,EdwinAparicio: SelectedWorks inWashington, D.C.and performed in LasVegas as part of theproduction Spanish Nights on the Lake that

featured the top echelon of the U.S.-basedflamenco artists. He is the resident coordina-tor and a featured performer of GALAHispanicTheatre’s annual Fuego FlamencoFestival. In 2008, he joined the faculty of theWashington School of Ballet. Most recently,he was one of the featured performers inthe first annualVelocity DC Dance Festival.

AnnaMenendezAnna Menendez isaWashington, D.C.-based flamencodancer. She hasappeared in Edwin

Aparicio’s productions of Bailes Ineditos,Encuentros,Camino/al flamenco,Entresuenos,Dos Mundos and Intimo with CarmelaGreco. She has performed in more than50 children’s concerts with the BaltimoreSymphony Orchestra from 2004-2005. In2008, she co-founded Suite Hispania andmost recently performed in its productionof Amores Quebrados: the Songs of FedericoGarcia Lorca at the Repertorio Español in

NewYork City and at theTeatrul Bulandrain Bucharest, Romania.

She is a 2003 recipient of the ArtisticFellowship Award from the D.C. Councilfor the Arts and Humanities for excellencein flamenco dance. She has taught at theAmerican Dance Institute in Rockville,Maryland, since 2001 and continues towork with her apprentice company Pastora.She is a graduate of Trinity College inHartford, Conn.

GonzaloAriasContrerasGonzalo AriasContreras wasborn in 1989 inLos Andes, Chile.

He started working towards his bachelor’sdegree in classical guitar at the age of 14at the University of Chile in Santiago,studying under Romilio Orellana. He hasreceived multiple awards and top prizesin national and international competitionsincluding the ParkeningYoung GuitaristsCompetition, Split Guitar Festival andCompetition, Jose Tomas GuitarCompetition,Youth Liliana Perez Coreycompetition, Concerto Competition,Concurso Juvenil Momento MusicalOp. 2009, Guitar Foundation ofAmerica InternationalYouth Guitar SoloCompetition and Fondo de la Música2010. He has played with the PepperdineSymphonic Orchestra, in theVenturaMusic Festival in California and at theAllberville Conservatory in France.

He has participated in master classeswith guitarists Elliot Fisk, Zoran Dukic,Carlo Marchione and Hubert Kappel.In 2007 and 2008, he won a scholarshipto study at Pepperdine University inCalifornia under Christopher Parkening.He is currently studying at the PeabodyInstitute with Manuel Barrueco.

Petrit Çeku,Petrit Çeku wasborn in 1985 inPrizren, Kosovo,where he receivedinstruction fromLuan Sapunxhiu. In

2002, he moved to Zagreb, Croatia, wherehe studied under the instruction of Xhevdet

18 Overture

programnotes

Gala Concert

Astor Piazzolla Four Seasons of Buenos AiresArranged by Leonid Desyatnikov (Las Cuatro Estaciones Porteñas)

Primavera porteña(Spring in Buenos Aires)

Verano porteño(Summer in Buenos Aires)

Invierno porteño(Winter in Buenos Aires)

Otoño porteño(Autumn in Buenos Aires)

NADJA SALERNO-SONNENBERG

Manuel de Falla “Spanish Dance No. 1” from LaVida BreveNADJA SALERNO-SONNENBERG,EDWIN APARICIO, ANNAMENENDEZ, GONZALOARIAS CONTRERAS,PETRIT ÇEKU, JEREMY LYONS,MARCO SAN NICOLAS

The concert will end at approximately 9:50 p.m.

continued from pg. 17

Sahatxhija and later entered DarkoPetrinjak’s class at the Music Academy inZagreb, from where he graduated in 2008.He currently studies with guitarist ManuelBarrueco at the Peabody Institute. Mr. Çekuwon a silver medal inThe ParkeningCompetition in Malibu and second prizein the 2006 Printemps de la guitare inCharleroi, Belgium. He established himselfas one of the leading young guitarists afterwinning the 2007 Pittaluga Competition inItaly. In 2008, he released his first solo CDon Naxos and was awarded the “The BestYoung Musician of theYear” byThe ZagrebPhilharmonic Orchestra.

Jeremy LyonsJeremy Lyons beganstudying the classicalguitar at a youngage with his father,Glenn Lyons,a classical guitar

professor atWest Chester University ofPennsylvania. He also studied the cello withhis father’s colleague Ovidiu Marinescu,professor of cello and orchestral conductor.He graduated with a bachelor’s degree inmusic and guitar performance from FloridaState University (FSU) where he studiedwith Bruce Holzman. He was a member ofthe FSUViols, the FSU Chinese Ensembleand accompanied the FSU Early MusicEnsembles under the direction of Dr. JefferyKite-Powell. Recently, he appeared as aguest artist for the Harford CommunityCollege Sunday Afternoon Recital Series,performed a solo recital at the 2010Philadelphia Classical Guitar Society Festivaland won first prize in the collegiate divisionat the 2009 Philadelphia Classical GuitarSociety Student Competition.

He is completing his master’s degree inmusic, guitar performance and pedagogy atthe Peabody Institute where he studies withManuel Barrueco and is a member of thePeabody Consort of Viols.

Marco SanNicolasMarco San Nicolaswas born in Murcia,Spain, where hecompleted hismusical studies at

the Rafael Orozco Superior Conservatory

of Music with honors, in addition to hisprivate lessons with the Spanish master,Jose Tomas. He has performed in masterclasses with Manuel Barrueco, DavidRussell and Leo Brouwer.

He has earned top prizes at majornational and international competitionsincluding first prizes in the Isaac AlbenizNational Competition, Ruperto ChapiCompetition (string division), FranciscoTarrega International Guitar Competition,Cantabria International GuitarCompetition and Cordoba InternationalGuitar Festival Competition. He hasperformed in concert throughout Europeand his recitals have been broadcast onSpanish radio and television.At theCordoba International Guitar Festival,he shared top billing with B. B. King,Pat Metheny, George Benson andManuel Barrueco.

He attends the Peabody Institute inthe graduate performance diplomaprogram with Manuel Barrueco.

NOTES ON THE PROGRAM

“Malambo” from Estancia

Alberto GinasteraBorn in Buenos Aires, Argentina, April 11,1916; died Geneva, Switzerland inJune 25, 1983

Until recently, Latin American classicalcomposers have had difficulty winninginternational celebrity, but over the courseof his nearly 70 years, Argentinean AlbertoGinastera became one of the most widelyperformed of contemporary composers. Hewas completely trained in his native countryand first came to prominence with his balletscore Panambi, written when he was 20. In1941 when Lincoln Kirstein came on tourto South America with George Balanchine’sAmerican Ballet Caravan (the forerunnerof the NewYork City Ballet), he heardPanambi, and commissioned Ginastera tocreate a ballet score on Argentinean lifefor the company.

Ginastera responded with Estancia,named for the great cattle ranches that dotthe Argentinean pampas (plains).The balletis a South American counterpart to AaronCopland’s Rodeo, written at exactly the sametime for Agnes DeMille (although Ginasterawouldn’t have known that work). Its plot isalmost Rodeo’s exact opposite. In Rodeo, a

tough cowgirl learns how to dress up andbecome a lady to win her man; in Estancia,a country girl, who despises effete city men,finally falls for one when he proves he canhandle the rough tasks on the estancia justas well as the gauchos.

The Ballet Caravan folded in 1942 andthe planned production never took place.On May 12, 1943, the score of Estancia wasfirst heard in concert at Buenos Aires’ TeatroColón; a full production of the ballet waiteduntil August 1952, also at the Colón.

Four of the dances from Estancia havebecome a popular concert extract, and theybrilliantly express the energy and vitalityof Argentinian folk music.We’ll hear thepropulsive final dance,“Malambo”: a virtualdance orgy, showcasing the brilliant soundsof piccolo, trumpets, xylophone and ahyperactive percussion section.

“Aragonaise” from Carmen Suite No. 1

“Chanson du Toreador” fromCarmen Suite No. 2

“Danse Bohème” from Carmen Suite No. 2

Georges BizetBorn in Paris, France, October 25, 1838;died in Bougival, France, June 3, 1875

Georges Bizet’s life was as ill-fated asthose of his unforgettable operatic loversCarmen and Don José.A child prodigywho wrote his enchanting Symphony inC at age 17, he was dogged by illnessand bad luck throughout his brief career.Even his masterpiece Carmen, was arelative failure at its first performance onMarch 3, 1875 at Paris’ Opéra-Comique.Worn down by the controversiessurrounding its production, Bizet’s healthcollapsed, and on June 3, exactly threemonths after the premiere, he died of aheart attack at age 36.

If Bizet had lived only another year,he would have watched his gypsy heroinetriumph on stages throughout Europe.Today,Carmen is considered one of themost perfect of all operas: an ideal blend-ing of spellbinding story, vivid characters,expert pacing and, above all, nonstopmusical inspiration. Bizet had found acompelling libretto in Prosper Mérimée’sgritty novella about an untamed gypsywho makes her own rules, chooses herown lovers and welcomes death withouta tremor. But the managers of the Opéra-Comique—purveyors of light-hearted


programnotes

family entertainment—and the Parisianmusic critics were horrified by this“obscene” story. Carmen seduces anupright young soldier, Don José, awayfrom the army and his fiancée into anefarious life of smuggling, then jilts himfor the glamorous toreador, Escamillo.Maddened by jealousy, Don José stalks herat the bullfights in Seville and, as thecrowds cheer Escamillo, stabs her todeath outside the arena.

Because the opera contains a numberof wonderfully scored orchestral entr’actesas well as brilliant arias and dances, itproved ideal for arrangement for theconcert hall.After Bizet’s death, his friendErnest Guiraud devised two orchestralsuites of excerpts; tonight we’ll hear threeselections drawn from both. First we’llhear the graceful “Aragonaise” with itsprominent oboe solo; in the opera, it setsthe stage for Act IV’s festive but fatal bull-fight. Escamillo’s famous “Toreador Song”from Act II comes next: this is the macho,swaggering aria that he introduces himselfto both the audience and Carmen herself.Finally, we’ll hear the whirling “DanseBohème” that opens Act II. Carmen andher friends await Don José at Lilias Pasta’stavern and entertain themselves with asong and dance that grows progressivelyfaster and wilder with each verse.

“Aria” from Bachianas Brasileiras No. 5

Heitor Villa-LobosBorn in Rio de Janeiro, Brazil,March 5, 1887; died in Rio de Janeiro,Brazil, November 17, 1959

Born into a musical family in Rio deJaneiro—his father was a amateur cellist—HeitorVilla-Lobos was an extraordinaryoriginal: flamboyant in temperament andprodigious in his creative energy.Though hemastered his father’s instrument, he showedlittle inclination for formal musical trainingand was largely self-taught as a composer.He developed an early passion for the musicof Bach from his pianist aunt, who delightedhim with her playing of the Well-TemperedClavier.At 18,Villa-Lobos headed for theBrazilian jungles and absorbed indigenousmusic of his vast homeland, includingAfro-Brazilian and Amerindian strains. Hereturned with musical memories that wouldinspire his life’s work—and colorful tales ofnarrow escapes from Amazonian cannibals.

By the 1920s,Villa-Lobos wasrecognized as Brazil’s foremost composer,and when he traveled to Paris in 1923, hetook that sophisticated musical capital bystorm. Suddenly, propulsive Brazilian dancerhythms and soulful modhinas became verychic.A few years later, the United Stateswould also fall underVilla-Lobos’ spell.Extraordinarily prolific, he wrote between600 and 700 compositions in all genres.He also found time to reorganize the systemof musical education in both Rio andSão Paulo and to establish the BrazilianAcademy of Music.

Between 1930 and 1945,Villa-Loboscomposed nine works he called BachianasBrasileiras, in which some of the techniquesof J. S. Bach were mingled with the danceand song styles of Brazil.They were writtenfor a variety of ensembles and looselyfollowed the form of Baroque dance suites.

Of these Bachianas, the most popularis the Fifth, scored for soprano and anorchestra of eight cellos, an earthy ensembleunique to this composer.And in the open-ing Aria/Cantilena—in the haunting styleof the Brazilian modhina—the soprano isalso treated like an instrument: singing andhumming a wordless vocalise, doubled bythe first cello, over a guitar-like pluckedaccompaniment. In the middle, she chantsa poem in praise of the evening sky writtenby RuthValadares Corrêa, the Braziliansoprano who sang this song’s premiere.The second movement,Dansa/Martelo,is a fleet song imitating, with its melodicpatterns and onomatopoetic words,birdsongsVilla-Lobos had notated in north-eastern Brazil.The song’s rhythms followthe embolada folk-song style of the sameregion.“Martelo” probably refers to thefast “hammering” rhythmic pattern withwhich the song opens.

“Allegretto” from Concierto Andaluz

Joaquín RodrigoBorn in Sagunto, Valencia, November 22,1901; died in Madrid, Spain, July 6, 1999

Spanish composer Joaquín Rodrigo, whoselife spanned the 20th century, died in 1999at the age of 97. His Concierto de Aranjuezhas become one of the best-loved works ofthe past century, and this along with his25 other compositions for classical guitar hascontributed enormously to the instrument’sprominence in concert halls today.

Blind since 3, Rodrigo in his 20sbecame a pupil of the Frenchman PaulDukas, and a French refinement and sensi-tivity to color mingles with the prominentSpanish influences in his music. He lived inexile in Paris during the Spanish CivilWar,but returned home to become the dean ofSpanish composers. His great mastery ofmelody and atmosphere made him popularwell beyond the boundaries of Spain. In1992, King Juan Carlos of Spain honoredRodrigo with the hereditary title “Marquesade los Jardines de Aranjuez.”

Not as well-known but just as appealingas the Concierto de Aranjuez for solo guitarand orchestra is the Concierto Andaluz forfour guitars and orchestra, which Rodrigocomposed in 1967 for the Los RomerosGuitar Quartet: Celedonio Romero andhis three sons Celin, Angel and the nowvery famous Pepe Romero.A muchbrighter work thanAranjuez, (which waswritten during the tragic days of the CivilWar),Andaluz is inspired by the folkrhythms and melodies of Andalusia, Spain’ssouthernmost province.The captivatingmelodies, however, are all Rodrigo’s owninventions.We will hear its vivacious,dancing finale in a quick Allegretto tempo.

Four Seasons of Buenos Aires

Astor PiazzollaBorn in Mar del Plata, Argentina, March 11,1921; died in Buenos Aires, Argentina,July 4, 1992

Historians disagree about whether thepassionate dance known as the tango origi-nated in Spain, Africa or Cuba. But itdefinitely came of age in the poor urbanneighborhoods of Argentina and Uruguay,and by the early 20th century was estab-lished as the soul of both dance and songfor Buenos Aires. By the 1920s, this sensualtwo-beat couple dance had crossed theAtlantic to become the sensation ofEurope and later North America.

With their proprietary interest,Argentineans were not at first veryhappy with the tango innovations of theircountryman Astor Piazzolla.The son ofItalian immigrants who had spent a goodpart of his growing-up years in NewYork’s GreenwichVillage, Piazzolla alwaysremained a bit of an outsider in his nativeland and an artistic maverick. In his lateteens, he finally resettled in Argentina, and

20 Overture

programnotes

his skills playing the bandoneon, a variety ofaccordion that is the signature instrumentof authentic Argentinean tango, won hima place in the traditional tango orchestrasthat were at their height during the 1940s.

But Piazzolla was no traditionalist, andhe had a restless musical mind.After study-ing with Alberto Ginastera, in 1954 he wona scholarship to study with the great Frenchpedagogue Nadia Boulanger in Paris.Therehe soaked up French impressionism, con-temporary atonality and improvisatory jazz.Nevertheless, Boulanger urged him to stayclose to his roots; while playing one of hisown tangos for her, he recalled her saying,“Here is the true Piazzolla—do not everleave him.”

Piazzolla returned to Argentina anddeveloped what he called “tango nuevo”:an invigorating contemporary form of tangofor serious concert music.

However, while Piazzolla’s tango compo-sitions won fans abroad, the Argentineansresisted his innovations nearly up until thetime of his death in 1992.And, in fact,Piazzolla’s domestic and international fameblossomed after his death, as such renownedmusicians as Daniel Barenboim,Yo-Yo Ma,Emanuel Ax and the Kronos Quartet beganchampioning his music in the concert hall.

The four tangos of Piazzolla’s Quatroestaciones porteñas (“porteño” is theArgentinean name for a citizen of BuenosAires) were composed between 1965 and1970.The composer originally wrote thesedances for the typical tango ensemble ofbandoneon (played by himself), piano, violin,double bass and electric guitar, but, as withmost of his music, he sanctioned arrange-ments for other combinations as well.We will hear an arrangement for solo violinand small string orchestra made by LeonidDesyatnikov for the great Russian violinistGidon Kremer; this arrangement matchesthe instrumentation forVivaldi’s The FourSeasons written 250 years earlier in Italy.Remember when listening to Piazzolla’sFour Seasons: that the seasons are reversedfrom what they are in Europe and Americasince Buenos Aires is south of the equator.

“Spanish Dance No. 1” from La Vida Breve

Manuel de FallaBorn in Cadiz, Spain, November 23, 1876; diedin Alta Gracia, Argentina, November 14, 1946

Created in 1904–1905 when he was still in

his 20s, the opera LaVida Breve (The ShortLife) was the first masterpiece of Manuelde Falla, the greatest Spanish composer ofthe 20th century (his most popular worksinclude TheThree-Cornered Hat,Nights in theGardens of Spain and El Amor Brujo), and itbecame his ticket to fame. But first he hadto endure nearly a decade of delays before itwas produced on stage. De Falla had origi-nally composed it for a Spanish competitionfor one-act operas, but though it took theprize, the competition organizers renegedon their promise of a professional produc-tion. La Vide Breve’s premiere finally camein a French translation in Nice, France onApril 1, 1913.The opera didn’t make its wayto Madrid and back to its native languageuntil a year and a half later.

However, de Falla used those years ofdelay to good advantage. He moved fromSpain to Paris for study with Ravel andDebussy, and their influence, along with thespecific suggestions of composer Paul Dukas(The Sorcerer’s Apprentice), helped him tomake his novice opera even better. But LaVida Breve’s main inspiration remained the

folk music of Andalusia, Spain’s southernprovince, and specifically the gypsy-flavoredtraditions of flamenco.

The opera’s story is set in Granada,the home of the Alhambra Palace. Salud, afragile young Gypsy woman, has fallen inlove with Paco, a wealthy Spaniard. Buthe is merely stringing her along, for, unbe-knownst to her, he is actually engaged toCarmela, a woman of his own class. Soonafter he makes love to Salud for the lasttime, Paco celebrates his marriage in grandstyle, and Salud, drawn by the festive music,learns the truth. She confronts Paco at thewedding party and then falls dead at hisfeet, her life cut short by his treachery.

We will hear LaVida Breve’s most famousnumber,“Spanish Dance No. 1” from thewedding-party scene.Accented by castanets,it is in the style of the traditional three-beatSpanish dance the jota. Its subtly colorfulorchestration reveals de Falla’s work withthe French impressionists.Notes by Janet E. Bedell, copyright 2010


programnotes

A Not-for-Profit Life Care Community

410-243-5700TDD: 1-800-735-2258

www.rolandparkplace.org

830 West 40th StreetBaltimore, MD 21211

Roland Park Place is a unique continuing care retirement community in the heart of northern Baltimore City.

Roland Park Place is a unique cont community in the hea

is a unique continuing caree heart of northern Baltim

e retirement more City

olandpa

410-243-570TDD: 1-800-735-225

landparkpla.r

est 40

www

WWest 40830 th StrBaltimore, MD 2121

-rr-offo--ftoNNoAmoC

0058

ace.org

reet1121

erre aCCaeffeiifLtiffioofrPyttyinumm



Suite

Johann Sebastian BachBorn in Eisenach, Germany, March 21, 1685;died in Leipzig, Germany, July 28, 1750

Arranged by Gustav Mahler

Gustav Mahler revered Johann SebastianBach above all composers.As eachvolume of the complete works of Bach

was published during his lifetime, hepoured over it with fascination—and withan eye to improving his own compositionalmastery, especially his writing of counter-point. He was astonished by “this miraculousfreedom of Bach’s, which probably no othermusician has ever attained and which isbased on his unparalleled skill and commandof technique.” To his close friend NatalieBauer-Lechner, he wrote:“Bach teaches mesomething every day, for my method ofcomposing is innately ‘Bachic’!”

In 1909, Mahler—temporarily self-exiledfromVienna and serving as music director of

the NewYork Philharmonic—embarkedon a series of concerts by the older musicalmasters with that orchestra. Naturally, Bachwould figure among them. But for Mahler,conducting was a creative activity as muchas a re-creative one: he was not content tosimply reproduce what was in the originalscore, but instead utilized his own masteryof the orchestra to edit the music andto enhance it in light of the advances ininstrumental construction since Bach orBeethoven’s day, as well as his own taste.Andfor his Bach Suite, he took further liberties.Cobbled together from both the OrchestraSuite No. 2 in B Minor and the OrchestraSuite No. 3 in D Major, this music repre-sents the “greatest hits” from the two,including the spectacular Overture of theSecond Suite and the beloved “Air” fromtheThird.

How did Mahler alter this musicfrom what we usually hear? Since Mahlerconsiderably expanded the numbers ofstring players from the usual Baroque forces,he also replaced the delicate harpsichordwith beefier organ and piano parts (MarinAlsop will use a “prepared” piano that isaltered to sound more like a harpsichord).Especially in the Overture, he added moreelaborate inner parts for the second violinsand violas. For the “Air” (famous as the“Air on a G String”) of theThird Suite,he made no musical changes, but filledhis edition with the explicit dynamic andexpressive marks he used in his own works.TheThird Suite’s “Gavotte I” gains someshowy coloratura for its piano part.

Scholars are not sure when and whereBach’s four orchestral suites were written.Their secular nature and courtly stylesuggest the period of 1717 to 1723 whenBach served as kapellmeister at the princelycourt of Cöthen and created many of hissecular instrumental works, includingthe Brandenburg Concertos. But recentscholarship suggests he may have writtensome of them at a later time during hislong service in Leipzig. In addition to hisduties providing music for St.ThomasChurch in Leipzig, from 1729 to 1737 andagain after 1739, Bach directed the city’sCollegium Musicum, a voluntary associationof professional musicians and universitystudents.The Collegium gave weekly con-certs—in summer in an outdoor garden andin winter at Zimmermann’s coffee house.

22 Overture

programnotes

Mahler’s Seventh Symphony



MARIN ALSOP



Johann Sebastian Bach SuiteArranged by Gustav Mahler Overture

Rondo and BadinerieAirGavotte I and Gavotte II

INTERMISSION

Gustav Mahler Symphony No. 7 in E MinorLangsam - AllegroNachtmusik IScherzo: SchattenhaftNachtmusik IIRondo - Finale


Friday, September 24, 2010 8 p.m.

Presenting Sponsor:

Support for this program generously provided by:

��

The Second Suite is the most intimateof the four and the only one written in aminor key, B minor, a key Bach particularlyfavored for flute music.And indeed thisSuite often sounds like a flute concerto.With its brilliant use of trumpets andtimpani, theThird Suite in D Major musthave been intended for festive occasionsand most likely for outdoor performance.

Instrumentation: Flute, two oboes, threetrumpets, timpani, doctored piano, organand strings.

Symphony No. 7 in E Minor

Gustav MahlerBorn in Kalischt, Bohemia, July 7, 1860;died in Vienna, Austria, May 18, 1911

Throughout his career, Gustav Mahlermade many provocative remarks about hismusic, but probably the most famous of allis:“The Symphony is the world—it mustembrace everything!”This dictum seems toapply especially to his Seventh Symphony,for this is a work of enormous emotionalrange that challenges us to move fromdread to elation, from childlike innocenceto worldly cynicism not only over its 80-minute span but from moment to moment.

Its mercurial quality seems to reflectits creator. Mahler’s close associate, the greatconductor BrunoWalter, and other friendshave described the rapid changes theyoften observed in Mahler’s mood and facialexpressions. In a provocative mixture thatwas unique to this composer, the Seventhjuxtaposes sublime, serious music—whatwe think of as “proper” classical music—with elements of popular song and dance:“vulgar” military brass-band episodes,Viennese waltzes gone awry. Its first move-ment contains some of his most adventurousand forward-looking harmonic writing,including daring and rapid modulations andeven passages of bitonality.All its movementsand especially its controversial finale (manycritics dislike what they hear as emptymusical bombast or a forced “happy ending”here) display a richness of contrapuntalwriting inspired by Mahler’s love of Bachand close study of his Art of the Fugue.

The Seventh is Mahler’s most brilliantlyorchestrated symphony: in Deryck Cooke’swords,“the most wildly fantastic [scoring]ever conceived by this most wildly fantasticof orchestrators—a continual feast for theear.”Although Mahler employs a large

orchestra, he rarely—and then only in theouter movements—throws the whole appa-ratus at us. Instead, he prefers to spotlightunexpected combinations of instruments inchamber-music groupings.Throughout thework, there is more pungency and color inthe sound than lushness.

Mahler explained that the Seventhshould be heard as a journey from night(the first movement and the three middlemovements, two of which are explicitlylabeled Nachtmusik or “Night Music”) toblazing C-major day (the finale).And hehad to undertake a journey of his ownbefore he could complete it. Movements 2and 4 (the two called “Nachtmusik”) werewritten quite easily during his summercomposing holiday in 1904; they immedi-ately followed completion of his SixthSymphony (movement two even includes asubtle quote of the Sixth’s principal motive).But in the summer of 1905 when Mahlerreturned to complete the work at hisholiday villa in Maiernigg on the shores ofthe beautifulWörtersee in Austria’sCarinthian Alps, he was stricken with anuncharacteristic fit of writer’s block.Desperate for inspiration, he fled over theborder to Italy to another retreat in theDolomite Mountains. But the blockpersisted. In a letter to his wife,Alma, hedescribed how it was finally lifted:“Iplagued myself for two weeks until I sankinto a gloom...then I tore off to theDolomites.There I was led the same dance,at last gave it up and returned home, con-vinced that the whole summer was lost...Igot into the boat to be rowed across.At thefirst stroke of the oars, the theme (or ratherthe rhythm and character) of the introduc-tion to the first movement came into myhead—and in four weeks, the first, third andfifth movements were done.”Although hewould continue to revise details of theSeventh until near the end of his life,Mahlerwas fundamentally pleased:“It is my bestand predominantly of a cheerful character.”

“Predominantly of a cheerful charac-ter”—it’s important to remember thosewords when listening to the Seventh.Even though it deals with the shadows andfears of night—and of death, which nightoften represented to Mahler—the composeris telling us not to approach this workwith furrowed brow. He had just writtenhis Sixth Symphony, the most tragic and

harrowing of all his works. Recoiling fromthe painful vision of the Sixth’s final move-ment, he was now in the Seventh creatinga literal march away from the tragic view toa world of sunshine and affirmation of life.

Listening to the Music

The slow dipping of the oars thatlaunched Mahler into the writing of thefirst movement can be heard in the slow,dotted-rhythm chords that open its intro-duction; they provide a funeral march tread,but this movement is not destined formourning. March themes of differentcharacter will propel the entire movement.An important theme is immediatelyannounced by an unusual orchestral instru-ment, the mellow-toned yet powerful tenorhorn;“Here Nature roars!” wrote Mahlerof this theme.The pace quickens slightly,and the woodwinds play a feisty newmarch tune.Already the funeral is over: thistheme resembles the tradition of a NewOrleans jazz band playing lively music asit exits the cemetery.

The main Allegro section of thissonata-form movement in E minor isannounced by the four horns shouting inunison an aggressively macho melody.Contrasting with it is a very femininesecond theme in C major: a yearning,leisurely theme for the violins that isquintessential Mahler.

Toward the end of the succeedingdevelopment section comes a passage ofuncanny beauty heralded by distant, ghostlytrumpet fanfares and an upward swoop ofthe harp: this is a heavenly vision voiced bysoaring first violins over chorale-like chordsin the winds and low strings.The visiondissolves abruptly into the recapitulation ofthe funeral tread and the tenor horn theme.Then Mahler transforms the woodwinds’feisty march into a brash brass band, glitter-ing with triangle and tambourine andsounding very much like football half-timemusic. By the movement’s conclusion inE major, all thoughts of funerals havebeen banished.

Movement two: Marches alsodominate the first “Nachtmusik,” but whata different character they have in thisatmospheric nocturne of horns calls, trillingwoodwind birds and subtle scoring.Thisis mysterious music of night patrols. Anopening horn call in C major is answered


programnotes

by a distant horn in C minor. Soon all thehorns take up a stately march melodyover a military-tattoo rhythmic ostinatothat will underpin the movement.Thehorn march alternates with two even morelightly scored trio sections: the first aflowing dance led by the cellos, the seconda pastoral idyll featuring woodwinds.Theorchestration throughout this movementis of exquisite beauty and imagination.

The third-movement Scherzo inD minor shows a very different aspect ofnight. Marked “Schattenhaft” (“Shadowy”),it plays with our fears about what mightbe lurking in the darkness.Timpani thumpsjuxtaposed against pizzicato snaps in thelow strings conjure up goblins, and theviolins soon launch a crazy nightmarewaltz.A gentler trio section in the majormode is proposed by the woodwinds, but

they are soon unhinged by fragments of thewaltz. Mahler’s orchestration throughout isremarkable: lean, edgy, skeletal.

The Andante amoroso fourth move-ment, Nachtmusik II, has always beenthis symphony’s most popular section.It is a serenade of rare enchantment thatbreathes the atmosphere of a warm sum-mer’s night. In a setting of chamber-musicdelicacy (brass and drums sit this movementout), Mahler uses two traditional serenadinginstruments: the guitar and the mandolin.The two singers are the solo horn andsolo violin. Here night wears her mostbeneficent face.

Finale: “Variety and contrast! Thatis...the secret of effectiveness!” Mahler hasalready demonstrated his words throughoutthis symphony and never more so than inthe raucous brass fanfares that replace thediaphanous sounds of Nachtmusik II. Dayhas finally broken in a blaze of C major,and the entire orchestra wakes up to greetit. Mahler’s grandiloquent main theme,which will keep returning in various trans-formations throughout this lengthy rondoform, bears a strong resemblance to thefamous march theme of Wagner’s Prelude toDie Meistersinger.Another operatic allusionoccurs as the oboes, flutes and clarinetsslyly quote The MerryWidow waltz at theopening of the first rondo episode; in 1905,this operetta made its debut and becamethe rage of Vienna.

Not only does the main themeresembleWagner’s melody but it alsopossesses a strong kinship to the firstmovement’s striding macho theme, aswe will hear when the latter returns latein this movement. Mahler combines ittriumphantly with the finale theme andother motives in a dazzling fantasia ofcounterpoint, demonstrating that hehad truly learned well from his manyhours pouring over the scores of hisbeloved Bach.

Instrumentation: Four flutes, two piccolos,three oboes, English horn, three clarinets,bass clarinet, piccolo clarinet, three bassoons,contrabassoon, four horns, three trumpets,three trombones, tuba, timpani, percussion,two harps, guitar, mandolin, tenor hornand strings.Notes by Janet E. Bedell, copyright 2010

24 Overture

programnotes

At the Baltimore Community Foundation there are lots of ways

to invest in Baltimore. Start a donor-advised fund, or choose a

mutual fund approach to giving and expand the difference you

canmake – in the arts or wherever your passion lies. Learn about

the many options: bbccff..oorrgg or 410-332-4171.

Choose a Per formance Fund

Make the stage your beneficiary


Stefan JackiwViolinist Stefan Jackiw is recognized asone of his generation’s most significantartists. Last season he debuted with The

PhiladelphiaOrchestra andthe Cincinnati,Montreal,Pittsburgh andToronto symphonyorchestras, and

appeared with the Russian National

Orchestra on a West Coast tour. In recentseasons, he has appeared with the BostonSymphony, Chicago Symphony, ClevelandOrchestra and NewYork Philharmonic.This past summer, he reunited with ThePhiladelphia Orchestra led by Marin Alsopat the Bravo!VailValley Music Festivalfollowing sold out tours in Korea andJapan as a member of Ensemble Ditto.

In the 2010-2011 season, he performswith the London Philharmonic ontours of Europe and Asia. Other seasonhighlights include recitals in Aspen, SanDiego, Santa Fe, Sarasota andVancouver,residencies with the Seattle ChamberMusic Society and solo appearanceswith the Nashville and Kansas Citysymphonies, among others.

He is also an active recitalist andchamber musician. He has performed innumerous festivals and concert seriesincluding the Ravinia Festival, CaramoorInternational Music Festival, CelebritySeries of Boston, Mostly Mozart Festival,and the Louvre Recital Series in Paris.He is also a founding member of theTessera Quartet, an emerging NewYork-based ensemble formed under theguidance of the Juilliard String Quartet.

Born in 1985 to physicist parents ofKorean and German descent, StefanJackiw began playing the violin at age 4.His teachers have included ZinaidaGilels, Michèle Auclair and DonaldWeilerstein. He holds a bachelor’s degreein music from Harvard University, aswell as an artist diploma from the NewEngland Conservatory. In 2002, he wasawarded the prestigious Avery FisherCareer Grant.


Doctor Atomic Symphony

John AdamsBorn in Worcester, Massachusetts, February15, 1947; now living in Berkeley, California

Music journalists have dubbed JohnAdams the “CNN composer,” a term heheartily dislikes.True, he has won famewith a number of works that featureevents in recent American history, notablyhis operas Nixon in China (inspired byRichard Nixon’s breakthrough visit toChina in 1972), The Death of Klinghoffer(about the 1985 hijacking of the cruise


programnotes

Mendelssohn’s Violin Concerto



MARIN ALSOP



Stefan Jackiw Violin

John Adams Doctor Atomic Symphony

Felix Mendelssohn Violin Concerto in E Minor, Op. 64Allegro molto appassionatoAndanteAllegretto non troppo -

Allegro molto vivaceSTEFAN JACKIW

INTERMISSION

Antonín Dvorák Symphony No. 9 in E Minor, Op. 95,“From the New World”

Adagio - Allegro moltoLargoMolto vivaceAllegro con fuoco

The concert will end at approximately 10:05 p.m. on Saturdayand 5:05 p.m. on Sunday.

Presenting Sponsor:

Saturday, October 2, 2010 8 p.m.

Sunday, October 3, 2010 3 p.m.

LISA

-MA

RIE

MA

ZZU

CC

O

Support for the appearance of Stefan Jackiw is providedby the Ruth Blaustein Rosenberg Guest Artist Fund.

��

ship Achille Lauro), IWas Looking at theCeiling and Then I Saw the Sky (touchingon the Los Angeles earthquake of 1994),Doctor Atomic (the testing of the firstatomic bomb in 1945) and his 9/11memorial piece On the Transmigration ofSouls. But Adams has never chosen hissubjects in an effort to be relevant ortrendy. Instead, he has sought to bring outthe universal and timeless elements inthese stories—even their mythic qualities.

In the complex figure of Americanphysicist J. Robert Oppenheimer,(1904–1967), director of the ManhattanProject that built the first atomic bomb,Adams found a classical tragic protagonist.In the events of the summer of 1945 inthe New Mexico desert, the composerdiscovered a story that he calls “ripe formythic treatment. Mythology aboundedin stories of hubris, of the arrogant humanor god who through cleverness makesan invention that unleashes powersthat eventually turn on their inventor anddestroy him.The manipulation of theatom, the unleashing of that formerlyinaccessible source of densely concentratedenergy, was the great mythological taleof our time.”

The idea of turning the momentousevents of 1945 into an opera came fromPamela Rosenberg, the then-generaldirector of the San Francisco Opera,who suggested to Adams that he composean “American Faust” opera based onOppenheimer’s story.The opera receivedits world premiere to great acclaim onOctober 1, 2005 at the San FranciscoOpera, then moved on to performancesin Amsterdam, London, and at theMetropolitan Opera in 2008.The

provocative director Peter Sellars,a frequent Adams collaborator, not onlystaged the opera, but also fashioned itslibretto from original source materials,including the characters’ first-handaccounts in newspapers and journals,their memoirs and declassified govern-ment documents. Enlarging these factualmaterials is a rich trove of poetry from theHindu Bhagavad Gita, John Donne andCharles Baudelaire that Oppenheimer—

an immensely cultivated and well-readman who wrote sonnets as relaxationfrom his scientific work—personally loved.

The opera’s first act takes place ona June 1945 evening in Los Alamos,New Mexico at the Manhattan Projectheadquarters.As the scientists prepare forthe test explosion one month ahead, theyargue about the morality of using thebomb on a civilian population in Japan, asthe government intends. Divided betweenthe desert test site at Alamogordo andLos Alamos, the final scene of the first actand the entire second act takes place onthe fateful night of July 15-16 as thescientists ready the bomb for its 5:30 a.m.test.The drama becomes an agonizinglytense and protracted countdown, and theopera ends with the explosion.

Following the opera’s success,Adamsdecided to create a symphonic treatmentof some of its musical material, whosedevelopment he felt had been overlyrestricted by the needs of the drama.The resulting 25-minute symphony wasco-commissioned by the Carnegie HallCorporation, the Saint Louis Symphonyand its music director David Robertson(to whom the work is dedicated) andBBC Radio 3 for the popular BBC Proms

series. It was premiered by the BBCSymphony under Adams’ baton on August21, 2007 at London’s Royal Albert Hall.

Though in one long, continuousmovement, the Doctor Atomic Symphonyis divided into three distinct sections—“The Laboratory,”“Panic” and “Trinity.”As does the opera, the Symphonyopens with a violent onslaught of sound.The timpani pound relentlessly: a monsterclock counting off the moments toignition. Brass roar, bells toll, heraldingimminent apocalypse. Eventually, thisviolence subsides into an eerie quiet anda melancholy modal melody for wood-winds, but the mood remains foreboding.

A frenzied string ostinato and wildcries from the brass propel the musicinto the second section, “Panic,”which is the Symphony’s longest. Onthe night of July 15-16, powerful thun-derstorms menaced the test site, riskinga premature detonation of the bomb andthe lives of the scientists making finalpreparations. Gigantic, terrifying brasschords pierce this nervous whirlwind.Adams uses the trombone to representthe bass voice of Gen. Leslie Groves, themilitary commander of the project, as herefuses to postpone the test and barksorders.A quieter section carries us backto Los Alamos, where that same night,the Oppenheimers’ Native Americanmaid, Pasquelita, expresses her ownDelphic warnings, here in the voices ofthe cellos and solo horn.The music growsprogressively softer, slower: time standsstill waiting for the moment that willchange humankind forever.

Part 3, “Trinity”: The musicgradually crescendos into a franticallypulsing, rhythmically complex ostinatothat, like Adams’ earlier minimalist scores,obsesses on one pitch, the note D. Dminor is the key of the powerful, emo-tionally anguished aria Oppenheimersings at the close of the first act:“Battermy heart, three-person’d God,” a poemfrom the Holy Sonnets of John Donne, thegreat 17th-century English mystical poetwhom Oppenheimer treasured. Betweenreturns of the frantic ostinato, we heara solo trumpet singing the verses of thisaria, which is set in the style of a solemnBaroque chaconne.At this moment in theopera, Oppenheimer is face to face with

26 Overture

programnotes

“Mythology abounded in stories of hubris, of thearrogant human or god who through cleverness makes

an invention that unleashes powers that eventuallyturn on their inventor and destroy him. The manipulationof the atom, the unleashing of that formerly inaccessible

source of densely concentrated energy, was the greatmythological tale of our time.”

��

��

the awesome “Gadget” he has created andasks God to “break, blow, burn and makeme new”: to destroy his contaminatedinner being and restore his moral balance.Comments Adams:“He is alone—a raremoment of solitude for him—and feelsa very deep dissonance within himselfover the fact that here he is bringingforth this terrible weapon, something thatis going to introduce an unknowableamount of pain and destruction into theworld.The Donne sonnet, whichOppenheimer later said prompted him toname the test site Trinity, is a poem ofalmost unbearable self-awareness, anagonistic struggle between good andevil, darkness and light.”

Instrumentation:Two flutes, piccolo,three oboes, English horn, three clarinets,bass clarinet, piccolo clarinet, three bassoons,contrabassoon, four horns, four trumpets,piccolo trumpet, three trombones, tuba,timpani, percussion, harp, celesta and strings.

Violin Concerto in E Minor, Op. 64

Felix MendelssohnBorn in Hamburg, Germany, February 3, 1809;died in Leipzig, November 4, 1847

During the years he served as directorof the Leipzig Gewandhaus Orchestra,Felix Mendelssohn was blessed with anoutstanding concertmaster, FerdinandDavid, one of the 19th century’sfinest and most versatile violinists.Asearly as 1835, the composer promisedDavid a concerto to show off hisremarkable abilities. But the promisedconcerto did not appear for nearly adecade, despite the violinist’s frequentreminders preserved in some charminglywheedling letters.

This delay was uncharacteristicof Mendelssohn, usually a man whopromptly fulfilled his obligations, musicalor otherwise. But the early 1840s wereparticularly trying times for him.Alreadyin demand all over Europe as composerand performer, Mendelssohn in 1841 wassummoned to Berlin (his family’s home)by King Friedrich Wilhelm IV of Prussiato be his court musician and establisha grandiose new conservatory. For threeyears, the composer dutifully servedthe king’s constantly changing whimswhile longing to return to Leipzig.The enchanting incidental music toA Midsummer Night’s Dream was one of

the few good things to come out of thisfrustrating period.As soon as he couldgracefully extricate himself from Berlin,Mendelssohn turned to the long-delayedconcerto and completed it in September1844. It was premiered by David, withthe Leipzig Gewandhaus, conducted byNiels Gade (Mendelssohn was ill), onMarch 13, 1845.

Generations of violinists andaudiences can attest that the concerto—one of the most perfect ever written forthis instrument—was worth the wait.As Brahms would later do with hisViolin Concerto for Joseph Joachim,Mendelssohn constantly sought David’sadvice and scrupulously tailored hisconcerto to the violinist’s skills andmusical personality.

Mendelssohn is usually regarded as aconservative composer, who despite hisallegiance to Romanticism, followed theclassical forms and feeling of Mozart andHaydn more closely than did his contem-poraries. But, as Sir Donald Francis Toveyhas pointed out, Mendelssohn was also

a true Romantic, who felt free to breakthe rules of the classical concerto.

First Movement: The most famousexamples of Mendelssohn’s Romanticconcerto style are the bridge passagesthat seamlessly link each movement to thenext.The breaking of old rules, however,begins immediately as the violinistlaunches the buoyant principal theme inthe second measure, dispensing with thecustomary orchestral exposition.The keyof E minor adds a touch of poignancy tothis expansive, openhearted melody.

The most magical moment of thissonata-form movement comes at the end ofthe development section when in a hushed,mysterious passage the soloist begins search-ing for the home key. Just as he seems tohave found it, Mendelssohn pulls a surprise:launching the soloist’s cadenza, which iscustomarily placed after the recapitulationjust before the movement ends. It concludeswith chains of rapid arpeggios that contin-ue as the orchestra reprises the principaltheme, thus binding cadenza seamlesslyto recapitulation.


programnotes

SUNDAYS AT 7:30CHAMBER MUSICBY CANDLELIGHTFeaturing members of the BSO

SEPT 26, 2010

OCT 24, 2010

NOV 21, 2010

JAN 23, 2011

2010-2011 CONCERT SEASON

F R E E A D M I S S I O N T O A L LAll concerts takeplace at the SecondPresbyterian Church4200 St. Paul St.Baltimore, MD

SUNDAYS AT 3:30SEPTEMBER 19, 2010Joel Fan, piano

OCTOBER 31, 2010Lura Johnson and Friends

NOVEMBER 7, 2010Emily Skala, flute

JANUARY 30, 2011Aspen String Trio

For more information call 443.759.3309 • www.CommunityConcertsAtSecond.org

At movement’s end, we hear alone bassoon holding onto the note B.That note then rises a half step for thenew key of C major for the second-movement Andante, which the soloistbegins after a brief orchestral bridgepassage.This movement is in three-partsong form—most appropriate herebecause Mendelssohn has given the soloistone of his “songs without words.” Themiddle section interjects passionateagitation amid the lyricism.

Another bridge provides harmonicand tempo transition to the E-majorfinale. Here we have one of Mendelssohn’scelebrated scherzos: a joyous, scamperingromp for the soloist. Conjuring up theworld of A Midsummer Night’s Dream,the woodwinds are agile companionsto the violin’s gambols.

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

Symphony No. 9 in E Minor, Op. 95“From the New World”

Antonín DvorákBorn in Nelahozeves, Bohemia(now Czech Republic), September 8, 1841;died in Prague, May 1, 1904

At its premiere in the newly openedCarnegie Hall on December 16, 1893,Dvorák’s last symphony,“From theNew World,” was perhaps the greatesttriumph of the composer’s career, and ithas continued to rank among the mostpopular of all symphonies.Yet from itsfirst reviews, commentators have askedthe question:“Is this symphony reallyAmerican?” In other words, how muchis it “from the new world” and howmuch “from the old world”?

In 1892, Mrs. Jeannette Thurber,a devoted music patron and wife of anAmerican multimillionaire businessman,had lured Dvorák to NewYork City tobecome director of her new NationalConservatory of Music. She chose well,for not only was Dvorák one of Europe’smost celebrated composers, but moreimportantly he brought fine teachingskills and an openness to the potentialof American music.“I did not come toAmerica to interpret Beethoven orWagner for the public,” he stated.“I cameto discover what young Americans hadin them and to help them express it.”

A man who drew on his Czechpeasant roots both for personal values andartistic inspiration, Dvorák found muchto treasure in American folk traditions.While white Americans were inclinedto undervalue the spirituals of blackAmericans, Dvorák was enraptured bythem. One of his students was Harry T.Burleigh, an African American with afine baritone voice who was to becomean important arranger of spirituals andwriter of American art songs.As Burleighremembered, Dvorák “literally saturatedhimself with Negro song ... I sang ourNegro songs for him very often, andbefore he wrote his own themes, hefilled himself with the spirit of the oldSpirituals.”Although pointing out theresemblance between the second theme inthe first movement of the “New World”and the opening of “Swing Low, SweetChariot,” Burleigh stressed, as did Dvorákhimself, that the Czech did not actuallyquote from American tunes but usedthem to inspire his own original themes.Later the process came full circle whenanother Dvorák pupil,William ArmsFisher, created a popular quasi-spiritual,“Goin’ Home,” from Dvorák’s magnificentEnglish horn melody in the “New World’s”slow movement.

With his sensitive antennae, Dvorákabsorbed the vitality and brashness ofAmerica in the 1890s (“The enthusiasmof most Americans for all things new isapparently without limit. It is the essenceof what is called ‘push’—American push,”he observed) as well as the soulfulness ofspirituals, and all this influenced his newsymphony of “impressions and greetingsfrom the New World.”“I should neverhave written the symphony as I have ifI hadn’t seen America,” he declared.The drive of the first and last movementsas well as the syncopated rhythmsand melodic shapes of many of thethemes did indeed give this symphonya unique voice. But, as Burleigh wrote,“the workmanship and treatment of thethemes…is Bohemian”—Dvorák ishere, as always, the proud Czech patriot.The fruitful mixture of Americaninspiration and Czech sensibility is bestsummed up by the fact that bothAmericans and Czechs consider thissymphony their own.

The first movement’s slowintroduction hints at the principaltheme, which, as the tempo quickens toAllegro molto, is introduced by the horns.Motto-like, this theme will recur in allmovements. Dvorák seems to capture thespirit of “American push” in this driving,optimistic music. Listen for the hintsof “Swing Low” in the second theme,a merry tune for flutes and oboes.Aprodigal melodist, Dvorák also offers athird theme, bright and full of “can-do”spirit, in the solo flute.

The Largo slow movement isone of the most beautiful Dvorák everwrote. Here is the great “Goin’ Home”melody for English horn, an instrumentchosen by the composer because itreminded him of Burleigh’s baritonevoice.The composer loved Longfellow’spoem “Song of Hiawatha” and claimedthat this music was inspired by thedeath of Hiawatha’s bride, but many,including Dvorák’s sons, heard more ofhis homesickness for his native land here.A poignant middle section in the minorpresents two hauntingly wistful melodiesfor woodwinds above shuddering strings.

Dvorák also cited “a feast in thewoods where the Indians dance”from “Hiawatha” as influencing thethird-movement scherzo. But it isfareasier to detect European influencesin this spirited dance movement, whichsummons memories of the composer’sgreatest idols, Beethoven and Schubert:Beethoven for the opening recallingthe Ninth Symphony’s scherzo andSchubert for the ebullient trio section,sparkling with triangle.

The finale boasts a proudly ringingtheme for the brass that propels its loosesonata form. But its development sectionbrings back the first movement “motto”theme as well as the Largo’s “Goin’Home” and a snatch of the scherzo.At theend, the home key of E minor brightensto E major. Dvorák’s final magical touchin a loud, exuberant close is a surpriselast chord that fades to silence.

Instrumentation:Two flutes, piccolo,two oboes, English horn, two clarinets,two bassoons, four horns, two trumpets,three trombones, tuba, timpani,percussion and strings.Notes by Janet E. Bedell, copyright 2010

28 Overture

programnotes


Jack EverlyJack Everly is theprincipal popsconductor ofthe Baltimore andIndianapolissymphony orchestras,

Naples Philharmonic Orchestra andNational Arts Centre Orchestra (Ottawa),and the newly named music director of the“National Memorial Day Concert” and“A Capitol Fourth” on PBS.This season,he returns toThe Cleveland Orchestra andappears as guest conductor in Pittsburgh,Milwaukee,Toronto, Cincinnati, Edmontonand Detroit.

Mr. Everly is the music director ofYuletide Celebration, now a 25-year tradition.These theatrical symphonic holiday concertsare presented annually in December inIndianapolis and are seen by more than40,000 concertgoers.

Originally appointed by MikhailBaryshnikov, Mr. Everly was conductor ofthe American BalletTheatre for 14 years,

where he served as music director. Inaddition to his ABT tenure, he has teamedwith Marvin Hamlisch in Broadway showsthat Mr. Hamlisch scored including TheGoodbye Girl,They’re Playing Our Song andA Chorus Line. He conducted CarolChanning hundreds of times in Hello, Dolly!in two separate Broadway productions.

In television and film, Jack Everly hasappeared on “In Performance at theWhite House” and conducted the songsfor Disney’s animated classic The Hunchbackof Notre Dame. He has been music directoron numerous Broadway cast recordings, andconducted the critically praised Everything’sComing Up Roses:The Complete Overtures ofBroadway’s Jule Styne. Daniel Rodriguez’sIn the Presence with the Czech PhilharmonicChamber Orchestra of Prague conductedby Mr. Everly was released in 2005.

In 1998, Jack Everly created theSymphonic Pops Consortium, serving asmusic director.The Consortium, based inIndianapolis, produces a new theatricalpops program each season.

BSO SUPERPOPS

Gotta Dance!



MARIN ALSOP


JACK EVERLY

PRINCIPAL POPS CONDUCTOR

Jack Everly Conductor

The program will be announced from stage.

The concert will end at approximately 10 p.m. on Fridayand Saturday and at approximately 5 p.m. on Sunday.

Presenting Sponsor:

Friday, October 8, 2010 8 p.m.


Sunday, October 10, 2010 3 p.m.

It’sFun.

It’sLaid

Back.

It’sO

ffthe

Cuff.

Visit BSOmusic.org to learn more about

this innovativeconcert series.

J. BROWN JEWELERS

i

For three generations, J. Brown Jewelers' continual focus has been to bring our customers exceptional jewelry, courteous, concerned and professional service at competative prices. With a vast assortment of designers and our wide franchised

representation of Swiss timepieces, we feel we are able to o�er the public the �nest selection of exquisite jewelry and name-brand watches.

Previous Charles Street Location

Current Reisterstown Road Location

Celebrating 100 Yearsof Happy Moments.

1910 - 2010

ROWNBJ. EWELERSJWN WELERS

harles Sevious CrP tionaoceet Ltrrles S

Celebrof

CelebrlelebCelebrbrCelebrbrating lebbrating lebrH

brating Celebrating of HHaof HapHHapf Hapof HapHap

at 10tiinat ngati gtinH

ing 00101110000000H

ngating pp

gH pypyH ppy MMoppy MomentsMomentsMoH ppy MomentMoments

YeYeaarrsYearsYearYearsarsmeenntme tsmentsentmentsnts.

omers ecustor thrF

yelreptional jewcxmers ewo. Br, Jtionsaee generhr

11ned and preronc, ceoustour, cy

otinual fonelers' cwn Jew

oerstt ReistenurrC

1919191010 - 20201010101910 - 2010vicessional serofand pr

ing our o brocus has been t

tionaocwn Road Lo

te acour

eseneprrompetac

quisitxtion of eselecwiss timepiection of Stan

ast assorith a vW.esice prtiveta

-bry and nameelre jewisite able te areel we f, wesec

ners and our wide frt of desigtmenst assor

.chestaand wbrer the public the �nest o o�e t

anchised ers and our wide fr�nest ised

J. BROWN JEWELERSJis pleased to announce our

100 YEAR ANNIVERSARY SALE& DESIGNER TRUNK SHOW

NOVEMBER 22ND - DECEMBER 5TH

Unprecedented Discounts on: Diamonds, Fashion & Bridal Jewelry & Select Watches Throughout the Store

DECEMBER 3RD - 5TH

The Finest Collection of Designer & Bridal Jewelry from Renowned Names such as:

Gregg Ruth . Jenny Perl . Marco Bicego Monte Carlo . Verragio . Yvel

C

00 Y1

J

NAEARYis pleased t

ROWNB.

NNIVERSA

e ouro announct

EWELERSJN

ALESYARRY

LERS

E& D00 Y1

N

ESIGNERDNAEARY

N22OVEMBER

RUNKTRNNIVERSA

ECEMBER- DND

HOWSKALESYARRY

TH5ER

E

ECEMBERD

ches taWtelecSashion & B, FiamondsD

edenecUnpr

TH- 5RD3ER

otoughout the ShrTsyelrridal Jewhion & B

ts on: ounisced Dtn

H

eory &

hT

arlo e CtMonJenn.egg Ruth rGwom Renofr

tion of Dollecinest Che F

leYv.agio errV.lo eico BcMar.erl y Pnn

ned Names such as: ridal Jewesigner & Bof D

ego

yelrl Jew

Ilyich RivasIlyich Rivas was born inVenezuela in 1993into a distinguished musical family—his

father is also a conductor and was musicdirector of the Metro State SymphonyOrchestra in Denver. He frequently returns

toVenezuela toconduct the youthorchestra in hisnative city, theOrquesta SimónBolívar delTáchira.

In 2009, he wasselected as one of seven young conductorsfrom around the world to participate in theprestigious Cabrillo Festival ConductorsWorkshop in California, where he made asignificant impression on both Marin Alsopand Gustav Meier.After an audition in frontof the Baltimore Symphony Orchestra, hewas awarded the position of BSO-PeabodyConducting Fellow starting in September2009.This two-year position permits him tostudy conducting at the Peabody Instituteunder Meier’s guidance and to work closelywith Marin Alsop and the BSO.

In the 2009-2010 season, he madehis professional debut in the U.S. conductingthe Atlanta Symphony Orchestra in asummer festival concert to great criticalacclaim. More recently, he debutedwith the Stuttgart Radio SymphonyOrchestra which resulted in an immediatere-invitation.This season, he will make hisdebut with the Lucerne Symphony.

MarkusGrohIn addition to recentdebuts with theNational Symphonyand the ClevelandOrchestra, Markus

Groh has also appeared with the symphonyorchestras of Colorado, Detroit, Florida,Indianapolis, Kansas City, Milwaukee, NewJersey, NewYork, Philadelphia, San Franciscoand Seattle.Among his worldwide engage-ments are the Beijing Symphony, BerlinSymphony, Hague Residentie Orkest,Helsinki Philharmonic, London Symphony,MDR Orchestra at the LeipzigGewandhaus, New Japan Philharmonic,Orchestre de la Suisse Romande, RoyalScottish National Orchestra and theSt. Petersburg Philharmonic. Upcomingconcerts include debuts with the CincinnatiSymphony, Houston Symphony, MozarteumOrchestra, Rochester Philharmonic andtheVancouver Symphony.

A spellbinding recitalist, he recentlyappeared at the Friends of Chamber Music

32 Overture

programnotes

Beethoven and Shostakovich



MARIN ALSOP


Ilyich Rivas Conductor

Markus Groh Piano

Johannes Brahms Academic Festival Overture, Op. 80

Ludwig van Beethoven Piano Concerto No. 2 inB-Flat Major, Op. 19

Allegro con brioAdagioRondo: Molto allegro

MARKUS GROH

INTERMISSION

Gustav Mahler “Blumine” from Symphony No. 1in D Major

Dmitri Shostakovich Symphony No. 1 in F Minor, Op. 10Allegretto - Allegro non troppoAllegroLentoAllegro molto - Lento


��

Thursday, October 14, 2010 8 p.m.


Presenting Sponsor:

KU

LTU

ROP

JORG

WEB

ER

Young Artist Sponsor: The Peggy & Yale Gordon Trust


Denver, Friends of Chamber Music KansasCity,Vancouver Recital Society and atTheFrick Collection in NewYork.A frequentguest at international festivals, he is also thefounder and artistic director of the BeberseeFestival near Berlin.

Widely acclaimed for his interpretationsof Liszt, he released an all-Liszt CD byAVIE in 2006. Showered with rave reviews,it was named “Editor’s Choice” inGramophone Magazine. Other recordingsinclude an all-Brahms CD and Liszt’sTotentanz with the Orchestre de la SuisseRomande conducted by Fabio Luisi.


Academic Festival Overture, Op. 80

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

A child of the Hamburg slums, JohannesBrahms was never comfortable with pompand circumstance, medals and honorarydegrees. He even found personal praisehard to stomach. He usually countered itwith self-deprecating humor as when aneffusive woman fan gushed,“How do youwrite such divine Adagios?” and heresponded,“Well, you know my publisherorders them that way.”

So when England’s CambridgeUniversity proferred an honorary doctor-ate, he refused to show up (deathly afraidof water, he also didn’t want to cross theEnglish Channel).And when in March1879 the University of Breslau announcedit was making him an honorary doctor ofphilosophy, he initially fired off a postcardto his friend in Breslau, the conductorBernard Scholz, asking him to conveyto the university faculty his acceptance,hoping that would take care of the matter.Scholz promptly informed him that theUniversity expected him to appear inperson to receive the degree and to createa musical work for them in appreciation.“Wouldn’t you like to write a doctoralsymphony for Breslau?” Schulz wrote.“At the very least, we expect asolemn ode.”

Brahms agreed and dipped into his irrev-erent humor for inspiration. In its doctoralcitation, Breslau had proclaimed him “artismusicae serverioris in Germania nunc prin-ceps”—“present leader in Germany of music

of the more serious sort.”With his boisterousAcademic Festival Overture based on under-graduate drinking songs, Brahms set out tostand this pompous phrase on its head.

Raised in poverty, Brahms hadnever enjoyed a university or even a con-servatory education. His only contact withstudent life had come in the summer of1853 when he spent two months with hisfriend the great violinist Joseph Joachim(for whom he wrote hisViolin Concerto)while Joachim studied at the Universityof Göttingen. It was an experience heremembered fondly. Only 20, he mingledwith his wealthier peers in the tavernswithout having to undertake any heavierduties in library or classroom.The songshe learned then filled the Academic Festival.

Even the Overture’s opening is aspoof of “artis musicae severioris”: musicin C minor full of earnestly chuggingstrings, spooky woodwind arpeggios andportentously dramatic chords. But thisimpression slips away as the key movesto C major and the brass peal forth thestudent hymn “We Had Built a StatelyHouse” in marching-band style over adrum roll. Soon the strings soar upwardwith the nostalgic “High Festival Song.”And Brahms fully reveals his mischief bymaking his third theme the freshmanhazing song “Fuchsenritt” (“Fox Ride”),tootled comically by two bassoons; heeven uses this tune for his developmentsection. For the Overture’s Maestosoconclusion, he picks a song known inuniversities worldwide,“Gaudeamusigitur,” and he tarts it up with all theclashing cymbals and brass and percussionbombast his very large orchestracan muster.

Instrumentation:Two flutes, piccolo,two oboes, two clarinets, two bassoons,contrabassoon, four horns, three trumpets,three trombones, tuba, timpani, percussionand strings.

Piano Concerto No. 2 in B-flat Major, Op. 19

Ludwig van BeethovenBorn in Bonn, Germany, December 16, 1770;died in Vienna, Austria, March 26, 1827

When Beethoven arrived inVienna inNovember 1792 under the patronage ofCountWaldstein to study with Haydn and,inWaldstein’s words,“with the help ofassiduous labor...receive Mozart’s spirit from

Haydn’s hands,” he brought with him aportfolio of compositions written in Bonn,several of them already in “Mozart’s spirit.”One of them was to become his PianoConcerto No. 2 in B-flat, which he proba-bly began in the late 1780s, making this amuch earlier work than his First PianoConcerto (published before No. 2 and thuswinning the honor of being “No. 1”).

As Beethoven’s composing talentsdeveloped rapidly inVienna’s stimulatingenvironment, he kept returning to revisethis most charming of his concertos.Scholars believe he made extensive revi-sions—including a new finale—in 1793,in 1795 before its first public performance,and in 1801 when he finally published it.

Although the Beethoven-Haydn rela-tionship turned out to be a mismatchbetween two incompatible geniuses—Haydn was a greater composer than teacherand found Beethoven’s arrogant personalityand some of his music so shocking thathe dubbed him “the Grand Mogul”—Beethoven was soon taken up by theViennese aristocracy and became Mozart’sheir as the most popular pianist inVienna.Contemporary accounts marveled at hisnew, proto-Romantic style. Far luckier thanMozart, in the words of his pupil CarlCzerny, he “received all manner of supportfrom our high aristocracy and enjoyed asmuch care and respect as ever fell to the lotof a young artist.”

The first movement, an Allegro con briosonata form, opens with a split-personalityfirst theme: a crisp, staccato fanfare followedby a gracefully flowing response from theviolins. Beethoven will break these compo-nents apart and make much imaginative useof them throughout the movement. In fact,the violin response is soon developed by thestrings and woodwinds to take the place ofa contrasting lyrical theme.We don’t hearthe true second theme until after the pianomakes its entrance: a smooth descendingmelody that the orchestra introduces andthe piano embroiders.The development sec-tion is surprisingly tame by the standards oflater Olympian Beethoven developments.

The second movement in E-flat majoris the first of Beethoven’s marvelous slowmovements.A noble, hymn-like meditationis presented by the orchestra and elaboratedby the soloist; it forms the substance of theentire movement.This interlude is crowned


programnotes

with a remarkable coda in which the soloistspins out a delicate reverie in single noteswith orchestral punctuations.A high flutegives coloration to the last measures.

Beethoven probably created a newfinale for the work sometime in the 1790s.This witty, vivacious rondo with its short-long rhythm refrain bears the composer’spersonal stamp more than the rest of theconcerto. In ebullient 6/8 meter, it allowsthe soloist to show off his fleet fingerwork and features a very engaging middleepisode in the minor mode, sparked bysyncopated rhythms.

Instrumentation: Flute, two oboes,two bassoons, two horns and strings.

“Blumine” from Symphony No. 1 in D Major

Gustav MahlerBorn in Kalischt, Bohemia (now CzechRepublic), July 7, 1860; died in Vienna, Austria,May 18, 1911

With his First Symphony—which hebegan composing in 1883 and did not finishrevising until 1906, more than two decadeslater—Gustav Mahler struggled mightilywith the type of symphonic expression hewanted to create. Should it be a more or lessconventional four-movement symphonyusing the hallowed forms of sonata, rondoand so forth? Or should it be more of afreely constructed symphonic poem witha story-telling program?

Initially, he leaned toward the secondapproach and built the work into a five-movement structure in two parts whoseoverall title,“Titan,” and individual move-ment titles were drawn from the popularRomantic writer Jean Paul.The originalsecond movement, a lyrical, lightly scoredAndante in C major, was called “Blumine”(“Flowers”) after Jean Paul’s collectionof essays “Herbst-Blumine” (“AutumnFlowers”). Mahler included this movementin early performances of the First inBudapest in 1889 and inWeimar in 1894.But eventually he decided against issuingprograms for his symphonies, and heexpunged the titles he had given the First’smovements.At about the same time, forreasons that are unclear, he also eliminatedthe “Blumine” movement from his score,reducing the First Symphony to the fourmovements we know today.

For years, musical scholars believed that“Blumine” had been lost. It finally turned

up at Sotheby’s Auction House in 1959. Itseems that in 1897 Mahler had given thescore to Jenny Feld, a favorite student of hisat theVienna Conservatory; she in turn hadmarried an American named Perrin andmoved to Seneca Falls, NewYork.After herson inherited the score, he auctioned it off.It was bought by Mrs. James M. Osborn ofNew Haven, Connecticut who gave thefirst performance rights to the New HavenSymphony, which presented the first mod-ern performance of the First Symphony inits five-movement form on April 9, 1968.The Orchestra also permitted BenjaminBritten to lead the first performance of“Blumine” alone at England’s AldeburghFestival in June 1967.

This lovely music, scored for a muchsmaller orchestra than the rest of the FirstSymphony, features a haunting trumpet solosinging a melody Mahler had created earlieras incidental music for “DerTrompeter vonSäkkingen,” a then-popular verse dramaused for tableaux-vivant. Mahler describedit as “a moonlight serenade on the trumpetblown across the Rhine.”

Instrumentation:Two flutes, two oboes,two clarinets, two bassoons, four horns,one trumpet, timpani, harp and strings.

Symphony No. 1 in F Minor, Op. 10

Dmitri ShostakovichBorn in St. Petersburg, Russia, September 25,1906; died in Moscow, August 9, 1975

Listening to Dmitri Shostakovich’s FirstSymphony is an experience that makesone’s jaw drop in amazement. How couldthis astonishingly original, imaginative andtechnically assured four-movement scorehave been written by an 18-year-old stillstudying at the Leningrad Conservatory?Shostakovich began writing this ambitiouswork in October 1924 and had largelyfinished it by June of the followingyear.The Symphony was intended as agraduation test piece, but at its premiereon May 12, 1926 by the LeningradPhilharmonic under the baton of its musicdirector Nikolai Malko, it proved to besomething far more.

The audience responded ecstatically tothe new Symphony and demanded that itssecond-movement Scherzo be encored.Malko himself was deeply impressed:“It wasimmediately clear that this First Symphonyby Shostakovich was the vibrant, individual

and striking work of a composer with anoriginal approach.The style of theSymphony was unusual; the orchestrationsometimes suggested chamber music in itssound and its instrumental economy.”

Several of the leading conductors of theday were equally impressed. BrunoWaltergave the Symphony its Berlin debut thenext year. In 1928, Leopold Stokowski andThe Philadelphia Orchestra introduced it toAmerica, and ArturoToscanini put it intohis repertoire.Today it still holds a firm placein symphonic canon, even in competitionwith Shostakovich’s 14 later symphonies.

Who was this youngWunderkind?Shostakovich was then studying piano atthe Conservatory, with hopes of matchingProkofiev’s dual success as a piano virtuosoand composer, while also studying composi-tion with Rimsky-Korsakov’s son-in-law,Maximilian Steinberg.The conservativeSteinberg drilled him hard in the principlesof that leader of the Russian nationalists, buthis pupil had a strong independent streak.And he was inspired by the contemporarymusic he was hearing around him inLeningrad: works by Prokofiev, StravinskyandWestern masters Bartók, Hindemith andMahler.With the Soviet system still in itsinfancy, the 1920s were a lively period ofartistic experimentation in the U.S.S.R.Only at the end of the decade would theSoviet iron fist clamp down on the arts.

Though we think of Shostakovich as atragic figure oppressed by his society, as ateenager he was quite a different personality:a free and antic spirit who loved satire andwas always ready to laugh.And that’s thepersonality we hear throughout much ofthis Symphony, especially in its openingtwo movements. Initially, Shostakovichthought of calling the work a “symphony-grotesque.” In the opening movement, thereare suggestions of Stravinsky’s Petrouchka andof Prokofiev’s acerbic humor as well.And inthe crazy, piano-dominated energy of thesecond movement, we hear reminiscencesof Shostakovich’s moonlighting career asa pianist improvising sound tracks to silentfilms in Leningrad’s movie houses.

Throughout the Symphony, Shostakovichshows an astonishing mastery of the soundpossibilities of a large modern orchestra.There is a chamber music-like delicacy andrefinement throughout that suggests a sea-soned master at work, not an eager adolescent.

34 Overture

programnotes

Movement one, in F minor, openswith a tongue-in-cheek prelude thatconjures a carnival, with Pétrouchka’s mutedtrumpet peaking out from behind thecurtain. Finally, a clarinet steps forward tosing a jaunty, comic tune: the movement’sprincipal theme. For a contrasting secondtheme, the flute dances a wry, undulatingwaltz; the snickering orchestra findsthis just as amusing as the first melody.The development section begins in aconspiratorial mood, but is suddenlyinvaded by a crashing circus band, whichalso intrudes on the recapitulation.

The second-movement scherzo ismade up of two contrasting ideas. First wehear antic, cinema-chase music featuringa glittering piano solo, probably played byShostakovich himself at the premiere.Then comes a pensive, very Slavic-soundingprocession of pilgrims dominated bywoodwinds. Later Shostakovich managesto combine these two disparate musicsbrilliantly, with the pilgrims’ march shoutedout by the brass.The closing coda, with itstolling chords and shimmering percussion,is a bit of unexpected magic.

In the Lento third movement, thecarnival mood abruptly vanishes. Insteadof the bright sound of the clarinet, now wehear a plangent-toned oboe singing amournful melody full of large, yearningintervals.A solo cello adds to the elegiacmood.A threatening tattoo on trumpet anddrums intrudes several times and finallysucceeds in crushing this lament. Now theoboe sings a new, march-like melody,sounding like a plucky, undaunted soldier.Dogged still by the threatening brass/drummotive, the original theme returns, noweven more heartbreakingly beautiful in thesolo violin. In the closing coda, the menac-ing tattoo is transformed into somethingalmost consoling in the strings.Young as hewas, Shostakovich had already known grief.His father had died when he was 15, one ofhis best friends was dying of tuberculosis ashe wrote this and he had suffered from thatdisease himself.

Without a pause, a drum crescendoushers in the finale. Keening high wood-winds and brooding cellos maintain theprevious movement’s mood through a slowintroduction.All this is suddenly chasedaway by a mad scramble of clarinets, pianoand strings, followed by some of the

Symphony’s loudest and most violent music.But in a movement of extreme mood shifts,this passage is succeeded by slower, quietermusic of melancholy tenderness led off bysolo violin and intensified by the eerieshimmer of piano. In a stunning timpanisolo, the slow movement’s menacing tattooreturns.Then in a moving solo, the celloreprises the melancholy second theme, andthe music builds to a powerful, passionate

climax. But Shostakovich has not lost hissense of humor, and in a brazen Presto coda,he wraps up his first masterpiece with anemphatic “Take that!”

Instrumentation:Three flutes, two piccolos,two oboes, two clarinets, two bassoons,four horns, two trumpets, alto trumpet, threetrombones, tuba, timpani, percussion, pianoand strings.Notes by Janet E. Bedell, copyright 2010


programnotes

Gilbert VargaGilbertVarga, sonof the celebratedHungarian violinistTiborVarga, studiedunder threevery different and

distinctive maestros: Franco Ferrara,Sergiu Celibidache and Charles Bruck.Renowned for his commanding and

elegant baton technique, Mr.Varga hasheld positions with and guest conductedmany of the major orchestras throughoutthe world.

In North America, he made hisdebut with the Minnesota Orchestra in2002 and has since developed a flourishingand long-standing relationship with theOrchestra, returning there every season.In 2005, he made a highly successful debut

with The Philadelphia Orchestra.He works regularly with orchestras suchas Atlanta, St Louis, Dallas, Milwaukeeand Indianapolis. In 2010, he will debutin Seattle and Baltimore. In Europe,he works regularly with the OsloPhilharmonic, Berlin Radio Symphony,Orchestre de la Suisse Romande, MDRLeipzig, Gürzenich, Hungarian NationalPhilharmonic, Spanish National, FrankfurtMuseumgesellschaft and the BerlinKonzerthaus Orchestra. In South East Asia,he recently made his debuts with theTaipei Symphony Orchestra and with theMalaysian Philharmonic.

In the earlier part of his conductingcareer, Mr.Varga concentrated on workwith chamber orchestras, particularly theTiborVarga Chamber Orchestra, beforerapidly developing a reputation as a sym-phonic conductor. He was chief conductorof the Hofer Symphoniker (1980-1985)and chief conductor of the PhilharmoniaHungarica in Marl (1985-1990), conductingits debut tour to Hungary withYehudiMenuhin. In 1991, he became permanentguest conductor of the Stuttgart ChamberOrchestra until 1995, and from 1997-2000 was principal guest of the MalmöSymphony. From 1997–2008, he was musicdirector of the Basque National SymphonyOrchestra, leading them through 10 seasons,including tours across the U.K., Germany,Spain and South America.

His discography includes recordingswith ASV, Discover Records,Tring(The Royal Philharmonic Orchestra’sCollection), Koch International (MunichChamber Orchestra and BambergSymphony) and Claves Recordings(The Basque National Orchestra).

MidoriSince her debut atthe age of 11 withthe NewYorkPhilharmonic morethan 25 years ago,Midori has estab-

lished a record of achievement that sets herapart as a master musician, an innovator anda champion of the developmental potentialof children. Named a “messenger of peace”by U.N. Secretary-General Ban Ki-moonin 2007, she has created a new model for

36 Overture

programnotes

Midori Plays Shostakovich



MARIN ALSOP


Gilbert Varga Conductor

Midori Violin

Mikhail Glinka Overture to Ruslan and Ludmilla

Dmitri Shostakovich Violin Concerto No. 1 inA Minor, Op. 99

Nocturne:AdagioScherzo:Allegro non troppoPassacaglia:AndanteBurlesca:Allegro con brio

MIDORI

INTERMISSION

Igor Stravinsky Pétrouchka

Support for the appearance of Midori is provided bythe Willard and Lillian Hackerman Guest Artist Fund.


Presenting Sponsor:

��



TIM

OTH

YG

REEN

FIEL

D-S

AN

DER

S

young artists who seek to balance the joysand demands of a performing career at thehighest level with a hands-on investment inthe power of music to change lives.

Midori's performing schedule includesrecitals, chamber music performances andappearances with the world's most presti-gious orchestras. Her 2010-2011 seasonincludes new music recitals and workshops;tours of the U.S., Europe and Asia; andincreasing her already extensive commit-ment to music education as chair of thestrings department at the University ofSouthern California’s Thornton School ofMusic.Among the conductors with whomMidori will collaborate in the 2010-2011season are Christoph Eschenbach, SirDonald Runnicles,Alan Gilbert,AntonioPappano, Kent Nagano and Edo deWaart.

In 1992, Midori founded Midori &Friends, a non-profit organization inNewYork that brings music educationprograms to thousands of underprivilegedchildren each year. She also works withMusic Sharing (Japan) and Partners inPerformance (U.S.) to bring music closerto the lives of people who may nototherwise have involvement with the arts.In 2010-2011, Midori will conductcommunity engagement programs inTennessee, NewYork, Maine, Iowa, Japan,Bulgaria and Laos.

Midori’s two most recent recordingsare an album of sonatas by J.S. Bach andBéla Bartók, and The Essential Midori, a2-CD compilation, both issued bySony Masterworks.


Overture to Russlan and Ludmilla

Mikhail GlinkaBorn in Novospasskoy, Russia, June 1, 1804;died in Berlin, Germany, February 15, 1857

When Mikhail Glinka was born ina provincial Russian town in 1804, therewas no such thing as Russian classicalmusic. Beethoven was as much the musicalmodel for St. Petersburg as he was forVienna, and Russian folk melodies werestrictly for peasants. Glinka changed allthat and became revered by the genera-tions that came after him as the “fatherof Russian music.”

The scion of a wealthy land-owningfamily, Glinka showed modest musical

aptitude as a child. However, when hemoved to St. Petersburg to study in 1817,he became enthralled by the WesternEuropean music he heard around him.His musical training was anything butrigorous, but that may have actually helpedhis originality.Always sickly, in 1830Glinka decided to move to Italy for hishealth; there he became friends with thegreat bel canto opera composers Belliniand Donizetti. But he soon realized that“I could not sincerely be an Italian...A longing for my own country led megradually to the idea of writing in aRussian manner.” His father’s death in1834 brought him back to St. Petersburg.

There, Glinka made his dreams of adistinctively Russian music a reality withhis first opera,A Life for the Tsar. Its 1836premiere in Petersburg was such a triumphthat he promptly began a second operain 1837. But though Russlan and Ludmillawould become the greater work, it hada rocky genesis. It was set to a colorfuland fantastic fairytale by the great Russianpoet Alexander Pushkin, another friendof Glinka’s.The tale tells of the beautifulLudmilla, pursued by three suitors andabducted by the evil dwarf Chernomor;finally after many trials and the undoing ofassorted magical spells, she is rescued andwon by her true love, the noble Russlan.Pushkin promised he would turn this intoa suitable libretto for Glinka, but was killedin a duel before he could accomplishthat.Thus Glinka ended up with a messystew of a libretto, and this contributedto the tepid response at its premiere inSt. Petersburg on December 9, 1842.

But Glinka’s musical score wasbeautiful and imaginative, and Russianssoon embraced it. In the West, the operais known only for its dazzling overture.In a well-crafted sonata form, it is aboveall a brilliant showcase for the violins whomust fly through their many notes at afierce Presto pace.The warmly romanticsecond theme, sung by the violas andcellos, is taken from Russlan’s second-actaria as he dreams of Ludmilla on thebattlefield.A vivacious coda tells us thisopera will have a happy ending.

Instrumentation:Two flutes, two oboes,two clarinets, two bassoons, four horns,two trumpets, three trombones, timpaniand strings.

Violin Concerto No. 1 in A Minor, Op. 99


During his long career under theCommunists, Dmitri Shostakovichseesawed between being the pride ofRussian music and a pariah one stepaway from the Siberian Gulag. His lowestmoments came in 1936, when he wasdenounced for his seamy opera LadyMacbeth of Mtsensk (he restored himself tofavor with his Fifth Symphony), and againin 1948. In that year, Stalin, aging andcrazier than ever, attacked musicians,writers, scientists and scholars, denouncingthe most prominent figures to cow themasses.A party resolution condemnedcomposers for “formalistic distortionsand anti-democratic tendencies alien tothe Soviet people.” Black lists were drawnup, and heading the composers’ list werethe names of Shostakovich and Prokofiev.In one of those periods that show humannature at its worst, musicians scrambledto get their names off the list andreplace them with those of their rivals.But Shostakovich remained “enemynumber one”; his Eighth Symphony hadoffended because of its “unhealthyindividualism” and pessimism, and hisfrivolous Ninth, supposedly a tribute toStalin’s war victory, had personallyoutraged the leader.

In 1948, Shostakovich had justcompleted his FirstViolin Concerto, butlocked it away in a desk drawer; thisprobing and sometimes sarcastic workmight seal his doom with the Sovietauthorities.After Stalin’s death in 1953,times were more auspicious.The concertocame out again and was dedicated to thephenomenal Russian violinist DavidOistrakh, who played the premiere onOctober 29, 1955 with the LeningradPhilharmonic.A packed hall gave thecomposer and soloist ovation afterovation.Taking it on his first Americanconcert tour two months later, Oistrakhwith the NewYork Philharmonic intro-duced it to equally enthusiastic NewYork audiences, who realized theywere simultaneously meeting a supremevirtuoso and a masterful new work, soonto be established as one of the 20thcentury’s greatest concertos.


programnotes

Composed in four movements ofsymphonic weight, this is a true “ironman” concerto, calling on everything inthe violinist’s technical arsenal as well asvast physical and emotional stamina.Even the redoubtable Oistrakh beggedthe composer to give the opening of thefinale to the orchestra so that “at leastI can wipe the sweat off my brow” afterthe daunting solo cadenza that concludesthe third movement.The composerreadily complied.

Defying first-movement conventions,movement one is a quiet, meditativeNocturne. It gradually rises from thelower depths of orchestra and violin,though dark instrumental colors will beemphasized throughout.This is profoundlymelancholy, even anguished music: an ariafor violin with the soloist as a lonelyinsomniac singing to a sleeping, indifferentworld. Darkest woodwinds—clarinetswith bass clarinet, bassoon with contrabas-soon—paint deep shadows aroundhim.The bleak ending, with tolling harpand celesta accompanying the violinfloating on a fragile high harmonic note,is unforgettable.

The savage second-movementScherzo is a Fellini-esque circus of theabsurd.“Scherzo” means “joke,” and thisis a harshly sarcastic joke indeed.Thismood is so common in Shostakovichthat it seems the composer’s mocking, self-protective response to the regime he livedunder.And in fact, we hear his famoussignature motive DSCH: the notes D, S(the German designation for E-flat), C andH (German usage for B-natural).Abouta minute into the movement, a malicious-sounding ensemble of woodwinds mocksthe violinist with this motive, and later theviolinist bitterly echoes it.The beleagueredsoloist flies through a crazed, driven danceof exacting virtuosity.

As he would in other major works,Shostakovich turned to the Baroquepassacaglia form for his powerful F-minorthird movement, the Concerto’semotional center. (This was the movementthe composer was writing at the peakof his 1948 trials.) The passacaglia isa repeating melodic-harmonic pattern,usually in the bass. Shostakovich’s theme,which we hear at the outset in cellos andbasses accented by timpani, is 17 measures

long and broken into choppy two-measurephrases. Gradually, this pattern travelsthrough the orchestra; even the soloisteventually takes it up in fierce double-stopped octaves. Over it, the soloist andother instruments weave heartbreakinglyexpressive melodies.The movement con-cludes with one of the longest and mosttaxing (both physically and emotionally)cadenzas ever written for a violinist. It isalmost a movement in itself and constitutesthe soloist’s commentary on the entireconcerto. During its course, we hear remi-niscences of the first-movement Nocturneand the Scherzo.The cadenza graduallyaccelerates into the final movement.

The spirit of mockery returns in theAllegro con brio finale, titled “Burlesca.”But here the mood seems less bitter thanearlier: more a wild folk dance over adriving rhythmic ostinato. Midway, thepassacaglia theme makes a brief, mockingappearance in clarinet, horn and thehard-edged clatter of xylophone.Again,shrill woodwinds dominate this finale,while the soloist hurtles through anon-stop display of virtuosity, culminatingin a final acceleration to Presto.

Instrumentation:Three flutes, piccolo,three oboes, English horn, three clarinets,bass clarinet, three bassoons, contrabassoon,four horns, tuba, timpani, percussion, harp,celesta and strings.

Pétrouchka

Igor StravinskyBorn in Oranienbaum, Russia, June 17,1882;died in New York City, April 6, 1971

The tremendous success of The Firebird,Igor Stravinsky’s first ballet score forSerge Diaghilev’s Ballets Russes, in Parisin June 1910 suddenly made the youngRussian the most talked about composerin Europe. Naturally, Diaghilev asked foranother score post-haste, and the twoagreed it would be about a pagan ritualsacrifice in prehistoric Russia—whatwould eventually become The Riteof Spring.

However, when Diaghilev visited thecomposer in Lausanne, Switzerland thatSeptember, he found Stravinsky caught upin a totally different work, something hethought might be a concert piece forpiano and orchestra. Stravinsky called it“Pétrouchka’s Cry” and said it was inspiredby his vision of a carnival puppet-like

Punch or Pulcinella:“the immortal andunhappy hero of every fair in all coun-tries.” Diaghilev quickly spotted the dancepotential of this story idea and music andurged Stravinsky to develop the materialinto a ballet, sending in Alexandre Benois,his set designer, to assist the composer increating the scenario. The Rite of Springcould wait.

Stravinsky and Benois fashionedwhat they called a “burlesque in fourscenes.”The two outer scenes conjurethe swirling crowds and colorful Russianatmosphere of a Shrovetide (Mardi Gras)fair in St. Petersburg around 1830.Themore intimate scenes two and three tella bittersweet tale of a love trianglebetween three puppets appearing at thefair: the hapless clown Pétrouchka, thepretty Ballerina he loves and the sinisterBlackamoor who wins her affections.With the legendary Russian danseurNijinsky playing the title role, Pétrouchkamatched The Firebird’s success at itspremiere in Paris on June 13, 1911.

It was Stravinsky’s last unqualifiedtriumph. For although Pétrouchka soundedmore bitingly contemporary than TheFirebird, it still stayed within the audience’scomfort level. Its fair scenes are crammedwith actual Slavic folk melodies and thekind of dazzling orchestral writing thatRimsky-Korsakov (Stravinsky’s teacher)had made a hallmark of Russian style.In a musical version of cinematic cross-cutting, Stravinsky jumps rapidly fromone crowd vignette to another, showingus hurdy-gurdy players, dancing coachmenand a peasant with a lumbering bear.

The composer concentrated hismost daring music in the middle scenes,especially in scene two, which introducesus to Pétrouchka’s melancholy yet feistycharacter and his sense of oppressionunder the Magician/Charlaton. Here, bothorchestration and harmony are moreastringent. Carried over from the composer’soriginal conception, the piano plays a veryprominent role as one of the voices ofPétrouchka.As Stravinsky wrote:“I had inmy mind a distinct picture of a puppetsuddenly endowed with life, exasperatingthe patience of the orchestra with diabolicalcascades of arpeggios.The orchestra inturn retaliates with menacing trumpet-blasts.” Stravinsky probably created the

38 Overture

programnotes

dissonant bitonal (F-sharp major versusC major) harmony that became famous asthe “Pétrouchka chord” from playing onblack keys in the left hand against whitekeys in the right.We hear it first in twowailing clarinets, prominently in the pianoand sassily outlined in Pétrouchka’ssignature trumpet fanfares.

The original ballet score was createdfor an enormous orchestra. In 1947,Stravinsky revised its concert version,slightly reducing the instrumental forces.The revised score included the followingsuccinct guide to the ballet’s action. Fourtimes, you will hear a loud drum tattoo;this first signals the raising of the curtainat the puppet theatre and subsequently thechanges from one scene to the next.

Scene 1: “In the midst of Shrovetiderejoicings, an old Charlaton of orientalappearance produces before an amazedcrowd: the puppets Pétrouchka, theBallerina and the Moor, who execute awild [and very Russian] dance.The magicof the Charlatan [his spell represented bya sinuous flute melody] has imbued themwith all the human emotions and passions.

Scene 2: “Pétrouchka is betterendowed than the others...He feelsbitterly the cruelty of the Charlatan, hisslavery, his exclusion from ordinary life, hisugliness...He seeks consolation in the loveof the Ballerina and is on the point ofbelieving himself successful. But the lovelycreature only flees in terror before hisextraordinary behavior.

Scene 3: “The Moor’s life is quitedifferent. He is foolish and evil, but hisrich appearance seduces the Ballerina,who seeks by every means to captivatehim and finally succeeds. Just as the lovescene begins, Pétrouchka, mad withjealousy, arrives, and is at once thrownout by the Moor.

Scene 4: “The Shrovetide fair is atits height...Coachmen are dancing withnurses, a bear-tamer arrives with hisanimal and finally a troupe of masquer-aders leads everyone in a mad whirlwind.Suddenly, cries burst from the little theatreof the Charlatan.The rivalry between theMoor and Pétrouchka has [taken] a tragicturn.The marionettes escape from thetheatre, and the Moor kills Pétrouchkawith one blow from his sabre.Thewretched Pétrouchka dies in the snow

surrounded by the festive crowd.TheCharlatan...hastens to quiet everyone, andin his hands Pétrouchka becomes the dollonce again. He begs those about him to bereassured that the head is wooden and thebody filled with sawdust.The crowddisperses.The Charlaton, now alone, seesto his great terror, on the roof of the littletheatre, the ghost of Pétrouchka [repre-sented by his brash trumpet fanfares]

who threatens him and leers mockinglyat everyone whom the Charlatonhas fooled.”

Instrumentation: Three flutes, piccolo,two oboes, English horn, three clarinets, bassclarinet, two bassoons, contrabassoon, fourhorns, three trumpets, three trombones, tuba,timpani, percussion, harp, piano, celestaand strings.Notes by Janet E. Bedell copyright 2010


programnotes

fascinating house tours yuletidegarden tram tours special exhibitions

ever-changing bloomsenchanted woods children’s gardenfamily fun shopping & dining

Enjoy a unique blend of history and year-round beauty at thisworld-class museum, garden, and former du Pont estate.

Flower image: Jeannette Lindvig

anamericantreasure

Winterthur is nestled in Delaware’s beautiful BrandywineValley on Route 52.Take I-95 north to Exit 7 in Delaware.

800.448.3883 • 302.888.4600 • winterthur.org

40 Overture

programnotes


Sasha CookeRadiant Americanmezzo-sopranoSasha Cooke causeda sensation as KittyOppenheimer in theMetropolitan Opera

premiere of John Adams’s Doctor Atomic.TheNewYorker praised her “fresh, vital portrayal,bringing a luminous tone, a generouslysupported musical line, a keen sense ofverbal nuance and a flair for seduction.”

The 2010-2011 season brings severalnotable debuts including the DeutschesSymphonie-Orchester Berlin, Saint PaulChamber Orchestra, Houston Symphony,Mostly Mozart Festival Orchestra, KansasCity Symphony, Los Angeles ChamberOrchestra and the Edmonton Symphony.She also performs Mahler’s “Resurrection”Symphony with the San Francisco andSeattle symphony orchestras; returns toCarnegie’s Zankel Hall with JamesMacMillan’s Raising Sparks; and gives recitalsat the Kennedy Center, Merkin ConcertHall and the University of Minnesota.

Ms. Cooke held the LindemannVocal

Chair of Young Concert Artists, where in2007 she won first prize in their interna-tional auditions, as well as the RhodaWalkerTeagle Prize, the Fergus First Prize, theSwiss Global Foundation Award and theEmbassy Series Concert Prize. In 2010, shewon first place and the American Prize inthe 2010 José Iturbi International MusicCompetition, as well as the KennedyCenter’s Marian Anderson Award.


Leonore Overture No. 3, Op. 72b

Ludwig van BeethovenBorn in Bonn, December 16, 1770;died in Vienna, March 26, 1827


Beethoven wrote just one opera, Fidelio,but it probably cost him more effort thanall nine of his symphonies combined.Unsatisfied with his creation, he composedthree versions over the decade 1804–1814and wrote four overtures for it, all of whichare now in the symphonic repertoire.Themost famous of them is Leonore No. 3 (theopera was originally called Leonore), whichBeethoven composed for the premiere ofthe opera’s second version in 1806.

Based on a French drama, Jean NicolasBouilly’s Leonore or Conjugal Love, the storywas drawn from real incidents during theFrench Revolution. It tells of the plight ofFlorestan, unjustly thrown in prison bya political rival Don Pizarro. Florestan’sresourceful wife, Leonore, discovers wherehe has been hidden and, disguising herselfas a young man, becomes a trustee at theprison.At gunpoint, she faces down the evilPizarro, and her heroism is rewarded by thesound of a distant trumpet signaling thearrival of the Minister of Justice, DonFernando. Fernando frees Florestan and theother political prisoners, and they join ina triumphant chorus hailing their freedomand Leonore’s courageous love.

Essentially, the Leonore Overture No. 3tells this whole story in music before thecurtain even goes up, and that is exactlywhy Beethoven finally rejected it for theshorter, lighter Fidelio Overture.With thetwo trumpet calls heralding Don Fernando‘stimely arrival embedded in the music andthe concluding victory coda, the opera’sdenouement has already been given away.But if it fails as a curtain raiser, Leonore

The Unfinished Symphonies



MARIN ALSOP



Sasha Cooke Mezzo-soprano

Ludwig van Beethoven Leonore Overture No. 3, Op. 72bArranged by Gustav Mahler

Alma Mahler Seven SongsOrchestrated by Die stille Stadt

David and Colin Matthews Laue SommernachtLicht in der NachtWaldseligkeitIn meinesVaters GartenBei dir ist es trautErntelied

SASHA COOKE

INTERMISSION

Ludwig van Beethoven First Movement from Symphony No. 10Arranged by Barry Cooper

Gustav Mahler “Adagio” from Symphony No. 10Arranged by Deryck Cooke in F-sharp Major


Thursday, November 4, 2010 8 p.m.

NIC

KG

RAN

ITO


Have you heard about our 7th grade

guitar course?

Come discover BL.

THE BOYS’ LATIN SCHOOL OF MARYLAND

challenging goals l nurturing potential l building character

822 West Lake Avenue l Baltimore, MD 410.377.5192 l www.boyslatinmd.com

PRIVATESCHOOLS

MakeOUR

audience,your

AUDIENCEF

F

Advertise your business

in the pages of Overture.

Baltimore Symphony Orchestra

patrons share your commitment

to excellence, good taste

and exceptional quality.

For more information, contact

Alter Communications

Kristen Cooper

410-468-2700

[email protected]

No. 3 triumphs as a concert piece.The slowintroduction paints a vivid picture ofFlorestan in his cell, and the wistful melodysung immediately by clarinets and bassoonscomes from his despairing Act II aria, recall-ing his past joys with Leonore.When themusic quickens to Allegro, Leonore appearsbefore us with all her determination.Themiddle development section becomes astruggle between the forces of good andevil, ended by the offstage trumpet calls.After a hymn of hope and thanksgiving, thework ends in a mighty dance of victory.

We will hear Leonore No. 3 asarranged by Gustav Mahler, which he usedwhen conducting this work with theViennaPhilharmonic and other orchestras. Notcontent to simply recreate what was on thescore page, he increased the instrumentsfrom Beethoven’s original requirements andgave them some additional melodic materialto play. But more important are the sensitiveexpressive markings he added, as well as theuse of a broader range of dynamics, rangingfrom a whisper to a tremendous roar.

Instrumentation: Four flutes, four oboes,four clarinets, four bassoons, four horns,two trumpets, three trombones, timpaniand strings.

Seven Songs

Alma MahlerBorn in Vienna, Austria, August 31, 1879;died in New York City, December 11, 1964

The daughter of a prominent Austrianpainter,Alma Schindler Mahler begancomposing at the age of 9. In 1897, shebegan studying composition seriously withthe composer Alexander von Zemlinsky,who—like so many men over her life-time—fell in love with this beautiful, highlyintelligent, but willful young woman. Underhis tutelage, she created some 100 songs, apiano sonata and an unfinished opera.

In November 1901,Alma met GustavMahler, and by December, their whirlwindcourtship had progressed to marriage discus-sions. In an astonishingly dictatorial andarrogant letter written on December 19,Mahler presented his fiancée with an ulti-matum: give up your composing or therewill be no marriage.“Would it be possiblefor you, from now on, to regard my music asyours?...How do you picture the married lifeof a husband and wife who are both com-posers? Have you any idea how ridiculous

and, in time, degrading for both of us such apeculiarly competitive relationship wouldinevitably become?...But one thing iscertain and that is that you must become‘what I need’ if we are to be happy together,i.e., my wife, not my colleague...The roleof ‘composer,’ the ‘worker’s’ role, falls tome—yours is that of the loving companionand understanding partner.”

Alma was initially horrified at Mahler’srequest and briefly considered calling offthe relationship. But ultimately, her passionfor him won out and they married inMarch 1902. But Alma’s resentment overher sacrifice continued to simmer andshe insisted on bringing her compositionsalong with her wherever they moved.

In 1910, the Mahlers’ marriage encoun-tered a crisis as the architectWalter Gropius(whom Alma would eventually marry afterMahler’s death) began courting her. Mahlerwas so devastated by the prospect of losingAlma that he consulted the famed psychia-trist Sigmund Freud.And he began to makeamends in his relationship with his wife.Coming back to the house one day,Almafound him playing her songs at the piano.She reported that he exclaimed:“What haveI done?These songs are good—they’reexcellent. I insist on your working onthem, and we’ll have them published. I shallnever be happy until you start composingagain. God, how blind and selfish I was inthose days!”And Mahler made good onhis promise: he took five of the songs tohis publisher, and they were duly broughtout in 1910.We will hear four of theseearly songs, probably written around1900 or 1901.

After Mahler’s death,Alma continuedcomposing and published a set of four songsin 1915 (of which we will hear “Licht inder Nacht,”“Waldseligkeit” and “Erntelied”)and a further five songs in 1924. DuringWorldWar II, most of her compositionswere lost and only 16 songs survived.

A commonality shared by most of theseven songs we will hear is their focus onnighttime settings and themes, some positive(“Laue Sommernacht,”“Waldseligkeit,” “Beidir ist es traut”), some negative (“Licht inder Nacht”) and one ambiguous (“Die stilleStadt”).The fairytale-flavored “In meinesVaters Garten” is also named “French CradleSong” relates to night.“Erntelied” is set atsunrise and heralds the coming of day.Alma

wrote all the songs for voice and piano, butwe will hear them in orchestral arrange-ments by David and Colin Matthews.

Alma shows herself to be very sensitiveto the nuances of the poetry she sets—bycontemporary poets including the highlyregarded Richard Dehmel and RainerMaria Rilke—and very skillful at translatingthem expressively into music.The songs arein a quite advanced Late Romantic style,often with unconventional harmonies.The three later songs of 1915 show aconsiderable advance in sophistication andoriginality compared to the earlier four:“Licht in der Nacht” (“Light in the Night”)capturing an extraordinary atmosphere ofhope mingled with despair,“Waldseligkeit”(“Woodland Bliss”) a mood of uncannyecstasy and “Erntelied” (“Harvest Song”) agradual ascent—matching the rising sun—to rapturous, wordless praise.

Instrumentation:Two flutes, piccolo,two oboes, English horn, two clarinets,bass clarinet, two bassoons, four horns,two trumpets, three trombones, timpani,percussion, harp and strings.

First Movement from Symphony No. 10

Ludwig van BeethovenArranged by Barry Cooper

The curse of theTenth Symphony is oneof the legends of classical music. Severalprominent composers—among themBeethoven, Schubert, Bruckner, Dvorákand Mahler—did not live to either beginor finish their tenth symphonies, and thesuperstition—which Mahler certainlybelieved—that theTenth Symphonyrepresented death for its creator keptgrowing in power.

Death did prevent Mahler from com-pleting hisTenth, but when we come toBeethoven and the fragments he left of aTenth Symphony, the situation turns out tobe much less romantic. Beethoven workedfitfully on hisTenth for many years beforehis death in 1827, but it was always pushedaside for a more urgent project.And it wasnot alone: Beethoven had many ideas fornew works that he never brought to fruitionin his later years. Ill health forced him tomake ruthless decisions about what to workon.The Ninth Symphony, premiered in1824, absorbed his energy.And then, hebecame obsessed with the string quartet,creating five extraordinary late quartets

42 Overture

programnotes

during the closing years before his death.There simply wasn’t any time for theTenth.

But Beethoven did leave behind sometantalizing sketches created in 1822 and1824 for the first movement of theTenth,and a friend Karl Holz remembered hearinghim play some version of this movementon the piano. It was unlike any othermovement in his symphonies, although itsopening theme bears a strong resemblanceto the slow movement of the NinthSymphony. Its form was most unusual: acalm and lovely Andante in E-flat major,followed by a stormy, combative Allegro inBeethoven’s favorite C minor (the key ofthe Fifth Symphony) and closing with areturn to the almost otherworldly serenityof the Andante.

The British Beethoven scholar BarryCooper began assembling these sketches anddecided that there was enough material forhim to prepare a performing edition of themovement in 1988. But when we listen toit, keep in mind that we’re hearing someBeethoven and also a lot of Barry Cooperendeavoring to write in Beethoven’s style.As Cooper explained:“All the basic thematicmaterial is Beethoven’s, but appropriateharmony has had to be added in placeswhere it is missing, the movement hashad to be orchestrated in Beethoven’s style(with the aid of only a few clues in thesketches), and linking passages based onBeethoven’s themes have been insertedwhere necessary.”The resulting movementis a very intriguing example of “What if?”

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

“Adagio” from Symphony No. 10in F-sharp Major

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

Arranged by Deryck Cooke

The summer of 1910, the last summer ofGustav Mahler’s life, was one of tremendousstrain—the worst possible situation for aman with a bad heart. Since 1907, the com-poser had known that his condition wouldend his life.As he celebrated his 50th birth-day, even his marriage to the beautiful andmuch younger Alma seemed in jeopardy.

Alma Mahler was being ardentlypursued by architectWalter Gropius (whom

she would marry after Mahler’s death),and Gropius was begging her to leave herhusband. In an act of stunning Freudiancarelessness, he wrote her a letter to thiseffect, but addressed it to Mahler.The ensu-ing crisis sent the composer toViennabriefly to consult with Sigmund Freud.Ultimately, the marriage survived, butMahler’s feelings are revealed in the seriesof anguished cries he inscribed on thesketches of his latest work, theTenthSymphony he would never complete:“Farewell, my lyre...Almshili, to live foryou, to die for you...Have mercy, O Lord,why hast thou forsaken me?”

With his marriage shakily back on itsfeet, Mahler finished a sketch of theTenth,including all its themes, its sequence ofevents and copious indications about itsscoring. Its opening Adagio movement andpart of its third movement,“Purgatorio,”were essentially done. He had no doubt thatduring the summer of 1911, he would bringthe Symphony to completion.

But in February 1911, the terrible heart-related streptococcal infections resumed, andMahler was forced to quit the NewYorkPhilharmonic and return toVienna wheredied on May 18.The composer had consid-ered destroying the incomplete score of theTenth, but decided to leave it in Alma’s careto use her discretion as to its fate.

For another 12 years,Alma guarded thescore from all eyes. But in 1923, the widowrelented a bit and allowed her son-in-law,the young composer Ernst Krenek, toprepare performing editions of the Adagioand the “Purgatorio” movements, which—with additional scoring by Franz Schalk andAlexander von Zemlinsky—were revealedto the world in October 1924. In 1960,British musicologist Deryck Cookedetermined to honor the centennial ofMahler’s birth with a realization of thefull five-movement score, built as faithfullyas possible on the composer’s survivingsketches and instructions.Alma, now in hereighties, objected, but eventually her consentwas won and this completed version waspremiered in London on August 13, 1964.Versions by other musicians have followed,but Cooke’s is still the most often per-formed. Many conductors, however, believethat only the Adagio first movement shouldbe played, because it is virtually all Mahler’s.

Mahler’s last three symphonic works—

and the orchestral song cycle Das Lied vonder Erde should be included here with theNinth andTenth symphonies—all revolvearound the composer’s struggle to reconcilehimself to a fast-approaching death.This struggle achieves its most agonizingexpression in the Ninth Symphony, whichends with an Adagio finale in which allattachment to life seems to be relinquished.TheTenth’s opening Adagio takes up thepessimistic emotional state of the Ninth’s lastmovement and pushes it in a new direction.Crafted as a double variations form with aprolonged closing coda, it is built from twocontrasting themes, the first of which seemsto stand as a representation of Mahler’s owninner state of mind and the other as theunconcerned world of nature and daily lifethat will carry on after he has gone.

The movement opens with a hauntingrecitative sung by the violas alone; the moodof resignation seems to come directly fromthe Ninth. But then the Adagio itself begins,in the home key of F-sharp major: a glori-ous, upward-vaulting melody full of large,yearning intervals that proclaims a powerfulattachment to life. It is succeeded by thesecond theme, in F-sharp minor: a charm-ing, dancing melody belonging to the ruralAustrian world of many of Mahler’s scher-zos, but without their sarcastic bite.After theviola recitative reprises, Mahler explores andexpands his first theme, with expressivecounterpoint intensifying the rapture andstinging dissonances the pain.The bucolictheme also undergoes expansion, withwoodwind birdcalls and violin solos conjur-ing up the life aroundToblach in the ItalianDolomites, Mahler’s final composing retreat.

Suddenly a great, explosive brass choraleinterrupts,“like some awe-inspiring cosmicrevelation,” in Deryck Cooke’s words.Thencomes the crisis: a loud, shattering discord ofnine clashing pitches answered by screamingsolo trumpet and violins that surely repre-sents the arrival of Death. (This momentwill return again in the Symphony’s finale.)The bucolic theme resumes, but nowsadder, frailer and attacked by dissonance.The first theme fragments, and the musicdies slowly away.

Instrumentation: Four flutes, piccolo, fouroboes, four clarinets, bass clarinet, four bas-soons, contrabassoon, four horns, four trum-pets, four trombones, tuba, harp and strings.Notes by Janet E. Bedell, copyright 2010


programnotes

Ravi ShankarRavi Shankar,the legendary sitaristand composer, isIndia’s mostesteemed musicalambassador and a

singular phenomenon in the classical musicworlds of East andWest.As a performer,composer, teacher and writer, he has donemore for Indian music than any othermusician has and is well known for hiswork in bringing Indian music to theWest after long years of dedicated studyunder his illustrious guru Baba AllaudinKhan and after making a name forhimself in India.

Ravi Shankar has written threeconcertos for sitar and orchestra, the lastcomposed in 2008. He has also authoredviolin-sitar compositions forYehudiMenuhin and himself; music for flutevirtuoso Jean Pierre Rampal; music forHosanYamamoto, master of theShakuhachi, and Koto virtuoso MusumiMiyashita; as well as collaborated withPhillip Glass (Passages). George Harrisonproduced and participated in two ofShankar’s albums: Shankar Family & Friendsand Festival of India. Shankar has alsocomposed for ballets and films in India,

Canada, Europe and the United States—the latter of which includes the filmsCharly,Gandhi and the Apu trilogy.

Ravi Shankar is an honorary member ofthe American Academy of Arts and Lettersand is a member of the United NationsInternational Rostrum of composers.He has received many awards and honorsincluding 14 doctorates, the Bharat Ratna,the PadmaVibhushan, Desikottam, PadmaBhushan of 1967, the 1975 Music CouncilUNESCO Award, the Magsaysay Awardfrom Manila, two Grammy’s, the Fukuokagrand prize from Japan, the Polar MusicPrize of 1998 and the Crystal Award fromDavos. In 1986, he was nominated as amember of the Rajya Sabha, India’s upperhouse of Parliament.

Deeply moved by the plight ofmore than eight million refugees whocame to India during the BangladeshFreedom struggle from Pakistan, RaviShankar wanted to help in any way hecould. He planned to arrange a concertto collect money for the refugees.Thishumanitarian concern from Shankar sowedthe seed of the concept for the Concertfor Bangladesh.With the help of GeorgeHarrison, this concert became the firstmagnus effort in fundraising, paving theway for many others to do charity concerts.

44 Overture

SPECIAL PRESENTATION

Ravi Shankar



MARIN ALSOP


Ravi Shankar Sitar


Please note: the BSO does not perform on this program.

The concert will end at approximately 10 p.m.

Friday, November 5, 2010 8 p.m.

VIN

CEN

TLIM

ON

GEL

LI



Didi BalleDidi Balle’s writingand directing creditsinclude commis-sions, broadcastsand productions ofher work spanning

symphonic stage shows, radio, theatre,song cycles, musical theater and opera.Her work has been performed by theBaltimore Symphony Orchestra, City ofLondon Sinfonia, NewYork City Operaand Manhattan Rhythm Kings, in venuesranging from the Lincoln Center to theBarbican Center for the Arts in London.

She is the founding director of a newproduction company, Symphonic StageShows, which offers orchestras andaudiences a new experience of classical

music theater. In collaboration withMusic Director Marin Alsop, Ms. Ballewas commissioned by the BaltimoreSymphony Orchestra to write and directthe highly successful CSI Beethoven, whichwas presented in Feb. 2008.Their collabo-rations also include Radio Rhapsody, whichpremiered at Lincoln Center, and AnalyzeThis: Mahler and Freud.

Ms. Balle served as a contributingeditor for The NewYorkTimes syndicate for13 years. She received her master’s degreein fine arts from NewYork University’sTisch School of the Arts, where shewas awarded the Oscar HammersteinScholarship as a playwright-lyricist. Herfirst writing job was co-writing a weeklyradio musical comedy with GarrisonKeillor called “The Story of Gloria,AYoung Woman of Manhattan.”

OFF THE CUFF

Analyze This: Mahler and Freud



MARIN ALSOP



Didi Balle Writer and stage director

Please see insert for additional program information.


Presenting Sponsor:

Saturday, November 6, 2010 7 p.m.

MIC

HA

ELST

AD

LER

��Support for this program generously provided by:

Create

your

ow

nseries

andsave

10%

!

BSOmusic.org/choose


Simon TrpceskiWith the ability to perform a diverse range

of repertoire—from Haydn and Chopin to

Debussy and Stravinsky—Macedonian

pianist SimonTrpceski hascaptivated audiencesworldwide andestablished himselfas one of the mostremarkable young

musicians to have emerged in recent years.

Mr.Trpceski is praised not only for hisimpeccable technique and delicate expres-sion, but also for his warm personality andcommitment to strengthening Macedonia’scultural image.

In North America, Mr.Trpceski hasperformed withThe Cleveland Orchestra,the NewYork and Los Angeles philharmonicorchestras,The Philadelphia Orchestra,the Pittsburgh, San Francisco, Chicago,Toronto and Baltimore symphonyorchestras. In Europe, he is a frequent soloistwith the London and City of BirminghamSymphony Orchestras. He has alsoperformed with the Royal Concertgebouw,Deutsches Symphonie-Orchester Berlin andthe Rotterdam, Strasbourg andSt. Petersburg philharmonics.

During the 2010-2011 season,Mr.Trpceski makes his Carnegie Hall debutwith the Baltimore Symphony Orchestraand Marin Alsop and performs with theMontreal,Atlanta and Boston symphonyorchestras, along with numerous ensemblesworldwide. Recital appearances includeNewYork, Chicago, Los Angeles,Washington, D.C.,Atlanta, Seattle, SanFrancisco,Toronto,Vancouver, London,Paris, Munich, Hamburg,Amsterdam,Prague, Milan andTokyo.

SimonTrpceski has received muchpraise for his four EMI recital recordings,including Gramophone’s Editor’s Choice andDebut Album awards. March 2010 saw hisdebut concerto recording with the RoyalLiverpool Philharmonic andVasily Petrenko(Rachmaninoff Piano Concertos Nos. 2and 3), which debuted in the top 10 on theUK’s specialist classical chart. In additionto his international engagements, SimonTrpceski is a faculty member at his almamater, the School of Music at the Universityof St. Cyril and St. Methodius in Skopje.


Essay No. 2, Op. 17

Samuel BarberBorn in West Chester, Pennsylvania, March 10,1910; died in New York City, January 23, 1981

By 1942, Samuel Barber, barely into his30s, was one of the most sought-aftercomposers in America.The world’s leadingconductors—Ormandy,Toscanini, Szell,Koussevitzky—vied to perform his latestorchestral works. Barber’s music appealed

46 Overture

programnotes

Beethoven’s “Eroica” Symphony



MARIN ALSOP



Simon Trpceski Piano

Samuel Barber Essay No. 2, Op. 17

Sergei Prokofiev Piano Concerto No. 3 inC Major, Op. 26

Andante - AllegroAndantinoAllegro ma non troppo

SIMON TRPCESKI

INTERMISSION

Ludwig van Beethoven Symphony No.3 in E-Flat Major,Arranged by Gustav Mahler Op. 55,“Eroica”

Allegro con brioMarcia funebre:Adagio assaiScherzo:Allegro vivaceFinale:Allegro molto

The concert will end at approximately 10 p.m.

��

Thursday, November 11, 2010 8 p.m.


JILLI

AN

EDEL

STEI

N


Support for the appearance of Simon Trpceski is provided bythe Alvin and Fanny Blaustein Thalheimer Guest Artist Fund.

to them for the same reasons thataudiences love him today.An unashamedRomantic, he gloried in those musicalqualities that most listeners yearn for: lyrical,expansive melodies; emotional expressive-ness; conservative, solidly tonal harmoniclanguage and elegant exploitation of theunique beauties of whatever instrumenthe was writing for, be it a violin, oboe orsoprano singer.

But now Barber was also sought afterby his draft board.Waiting to be called upfor service, he turned his mind to a newwork requested by conductor BrunoWalterto commemorate the 100th anniversary ofthe NewYork Philharmonic.A composerwith a deep interest in literature, he hadenjoyed a major success with his Essay No. 1in 1937 (created forToscanini) and hewould conclude his career in 1978 with athird Essay. In explaining his choice of theword “essay” for a musical work, Barbercited its definition in the Oxford Dictionary:“a composition of moderate length on anyparticular subject...more or less elaborate instyle, though limited in range.” But Barber’sessay subjects would be purely musical, notinvolved with any extra-musical subject;about the Second Essay, he explained:“Although it has no program, one perhapshears that it was written in wartime.”

Less austere than his First Essay, theSecond Essay follows an overtly emotionaland dramatic path over its 10-minute span.It begins with a gentle pastoral theme passedamong a colorful group of woodwindsoloists: flute, bass clarinet and English horn.This theme seems quintessentially Americanwith its syncopated rhythms and “wide-open-spaces” melodic intervals of the fourthand fifth (Aaron Copland favored them,too).Then the violas offer a more urgentand sweeping second theme. Midwaythrough the piece, an abrupt loud chord forfull orchestra introduces an elaborate fugalsection built on a sped-up version of theopening theme and eventually draws in thesecond theme as well. Finally, from a five-note descending pattern in the horns,Barber builds an eloquent chorale, whichsoars to a passionate, openhearted close.

Instrumentation:Two flutes, piccolo,two oboes, English horn, two clarinets, bassclarinet, two bassoons, four horns, threetrumpets, three trombones, tuba, timpani,percussion and strings.

Piano Concerto No. 3 in C Major, Op. 26

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

When Sergei Prokofiev fled the RussianRevolution by train across Siberia and bysteamer across the Pacific to San Franciscoin 1918, he had high hopes that Americawould be the land of opportunity for him asit had been for so many others.Americanaudiences and critics were initially fascinatedby this bold young pianist/composer whomthey saw as embodying the proletarian spiritof the new Soviet Union—never mind thathe was in reality a refugee.The NewYorkTimes gushed:“His fingers are steel, hiswrists steel, his biceps and triceps steel...Heis a tonal steel trust...He is blond, slender,modest as a musician and his impassabilitycontrasted with the volcanic eruptions heproduced on the keyboard.”

Heartened by this enthusiasm, Prokofievspent the summer of 1921 on the Brittanycoast of France completing both hisThirdPiano Concerto and his opera The Love forThree Oranges for December premieres inChicago, by the Chicago Symphony and theChicago Lyric Opera, respectively.ThePiano Concerto, however, had had a longgestation period back in Russia, with someof its ideas dating back as far as 1911. Itgrew into a work of remarkable unity andpower, which embodied all five elementsProkofiev listed in his autobiography ascharacteristics of his music: the “classical,”the “modernistic,” the “dynamic,” the“lyrical” and the “humorous.”

This concerto is one of the great testsof a pianist’s technical virtuosity. Even itscomposer found it formidable.“MyThirdConcerto has turned out to be devilishlydifficult. I’m nervous and I’m practicinghard three hours a day,” he wrote beforethe Chicago premiere.To his surprise, thework drew only a lukewarm response inan America still uncomfortable with“modern” music. But audiences in Europeloved it, and soon Prokofiev moved toParis, ruefully acknowledging that the U.S.wasn’t ready for him.

In creating a bravura work for piano,Prokofiev did not slight the orchestra.Its colorful writing is nearly equallydemanding, and its pungent woodwindsand soaring strings add a characteristicallyProkofievian blend of irony and romance.

This is a concerto without a true slowmovement; instead the composer weavesslower, more lyrical episodes into allthree movements.

The first movement opens with aslow introduction in which solo clarinet,then two clarinets sing a melancholyRussian melody.Then the orchestra swingsinto a fast tempo, and the piano presentsthe brilliant, twisting principal theme. Evenmore exotic is the second theme, sung bythe oboe above clattering castanets andfeaturing crisp, percussive writing for thepiano. On its later return, this second themewill become harsher, almost grotesque, withthick piano chords topped by a shriekingpiccolo. Midway through, the tempo returnsto a slower Andante as the piano rhapsodizesover the opening Russian theme.

In the second movement, a drolldance theme in the woodwinds over a4/4 march in the strings forms the basis offive contrasting variations.These range fromfast virtuoso outings for the piano to a slow,mysterious reverie by the soloist over lightwoodwind and string accompaniment.The quiet conclusion of this movement isespecially intriguing.

The finale is a mixture of rhythmicdrive and soaring lyricism. It is dominatedby some of the most relentlessly difficultpiano writing ever devised. But relief comesin the big central lyrical section, featuringone of Prokofiev’s signature high-archingmelodies tossed from woodwinds to violins.The drive to the finish ranks among themost exciting in the concerto literature,with virtuosity, speed and pitch all raisedto the very zenith.

Instrumentation:Two flutes, piccolo,two oboes, two clarinets, two bassoons,four horns, two trumpets, three trombones,timpani, percussion and strings.

Symphony No. 3 in E-flat Major,Op. 55, “Eroica”

Ludwig van BeethovenBorn in Bonn, Germany, December 16, 1770;died in Vienna, Austria, March 26, 1827


Although the responses to Beethoven’smusic are as varied as the individuals wholisten to it, virtually everyone seems toagree that it often embodies an ethical orspiritual quest.And this epic quest ismost forcefully expressed in the worksBeethoven wrote during the first decade


programnotes

of the 19th century: what we now callhis “Heroic Period.”

Historically, this was also an era ofheroism and aspiration.The Americanand French revolutions had recently actedout humankind’s desire for freedom andself-determination and thrust forwardleaders such asWashington and Bonaparte.The contemporary German dramas ofGoethe and Schiller celebrated historicalfreedom fighters like Egmont andWallenstein and mythical ones likeWilliamTell. Beethoven translated this aspiring spiritinto music. Living inVienna under theautocratic Hapsburg regime and protectedonly by his genius, he acted out his dreamof individual liberty in his daily life. Hiscareer revolved around two heroic quests:his struggle against encroaching deafness andhis creative battle to forge a new musicallanguage within a conservative and oftenhostile environment.And this musicallanguage was itself heroic: with its audaciousharmonic procedures, epic expandedforms, virile themes, assaulting rhythmsand pronounced military character.

Beethoven launched his Heroic Periodwith hisThird Symphony, a work hesubtitled “Sinfonia eroica, composed tocelebrate the memory of a great man.”The question of exactly who that “greatman” was has provided fertile grounds forcommentators to till ever since.The chiefcandidate, of course, is Napoleon. Beethovenhimself told his publisher that “the subjectis Bonaparte,” but he also reportedly tore offthe work’s title page to expunge Napoleon’sname upon hearing in 1804 that theFrenchman had crowned himself emperor.Others have suggested the nobleTrojanprince Hector, Homer’s hero in the Iliad, orbecause of Beethoven’s use of a theme fromhis Creatures of Prometheus ballet score in thefinale, the mythical Prometheus. Manybelieve the hero to be Beethoven himself.

In any case, the “Eroica” was itself aheroic act: shocking its first audiences andsetting a new symphonic template for futurecomposers to emulate.A contemporarycritic spoke for many when he described itas “a very long drawn-out, daring and wildfantasy…very often it seems to lose itselfin anarchy.” In a work twice the lengthof previous symphonies, Beethoven hadexpanded 18th-century symphonic struc-tures beyond his contemporaries’ powers

of comprehension. Even more challengingwas the “Eroica’s” harmonic daring andoverall tone of aggression. It did not seekto please and amuse its listeners but tochallenge and provoke them.

We hear the challenge in the twoloud E-flat chords that open the firstmovement. More than introductorygestures, they are the germinal motive ofthe symphony. From them Beethoven buildsthe repeated sforzando chords, with theirarresting dislocation of the beat that we heara few moments later. Just before the endof the exposition, he adds teeth-grindingdissonance to this mix, and in the develop-ment section, this concoction explodes ina shattering crisis.

The movement’s principal theme is asimple swinging between the notes of anE-flat-major chord that quickly stumbleson a dissonant C-sharp. It will take the restof this giant movement, with its expandeddevelopment and coda sections, to resolvethis stumble. So intense is Beethoven’sforward propulsion that his themes neverhave time to blossom into melody. In fact,the most compelling theme waits untilthe development, when oboes and cellosintroduce it as part of the recovery fromthe hammering dissonant chords. As thedevelopment trails off into an eerie passageof trembling violins, the horns anticipatethe principal theme (early listeners inter-preted this as a mistake by the players!) andpush the orchestra into the recapitulation.After an outsized coda, Beethoven wrapsup his heroic journey with the openinghammer blows.

The second-movement funeralmarch in C minor is in rondo form;Beethoven here converts a form oftenused for light-hearted Classical finales toa tragic purpose. Over imitation drumrolls in the strings, the famous threnodyunfolds its majestic course. It is succeededby an episode in C major that injectsrays of sunshine and hope, with fanfaresproclaiming the greatness of the fallen hero.Then, the dirge melody returns and swiftlybecomes an imposing fugue: counterpointintensifying emotion. In the movement’sremarkable closing measures, the marchtheme disintegrates into sobbing fragments.

The third-movement scherzoprovides relief after the weight and dramaof the opening movements.Yet it too retains

intensity in the midst of light-heartedness.Beethoven re-introduces a gentler variant ofthe off-the-downbeat hammer blows fromthe first movement; eventually they brieflythrow the three-beat meter into two beats.The trio section features virtuoso writingfor the three horns.

After the struggle, the finale bringsus joy in the form of sublime musical play.It is an imposing set of variations on atheme Beethoven had used three timesbefore: in an early set of Contredances, inThe Creatures of Prometheus and for thepiano variations now known as the EroicaVariations.Actually, these are double varia-tions because Beethoven first isolates thebass line of his theme as a witty little tunein its own right, only later giving us thetheme itself in the woodwinds. Elaboratefugal passages and a grandly martialepisode culminate in a sublime apotheosis:a group of variations in a slower tempothat proclaims the hero’s immortality.ThePresto climax is capped by the symphony’sopening E-flat hammer blows, nowtriumphant rather than tragic.

At these concerts, we will hear the“Eroica” in Gustav Mahler’s arrangement,which he created for his concerts with theVienna Philharmonic and elsewhere.As agreat composer as well as a conductor,Mahler took a highly creative approach toperforming Beethoven’s symphonies, ratherthan being content with simply recreatingwhat was on the score page. In keepingwith late-Romantic taste, he enlarged thesections of the orchestra, adding additionalstrings, brass and even a second timpani.Andhe sometimes added new countermelodiesfor these musicians to play. But the moststriking change is the use of a much broaderrange of dynamics than Beethoven hadcalled for: everything from pppp to ffff.These changes were controversial; Brahmscalled Mahler “the most incorrigible revolu-tionist.” But Mahler insisted that he wasdoing no violence to Beethoven’s intentionsand that he “was determined not to sacrificeone iota of what the Master demands.”

Instrumentation: Four flutes, four oboes,four clarinets, piccolo clarinet, four bassoons,six horns, four trumpets, timpani and strings.Notes by Janet E. Bedell, copyright 2010

48 Overture

programnotes


programnotes

GüntherHerbigGünther Herbigleft behind thechallenging politicalenvironment ofEast Germany and

moved to the United States in 1984.

He became music director of the DetroitSymphony and later the music director ofthe Toronto Symphony. He has also heldposts that include principal guest conduc-tor of both the Dallas Symphony and theBBC Philharmonic Orchestra, and generalmusic director of both the DresdenPhilharmonic Orchestra and Berlin

Symphony Orchestra. Currently, he isartistic advisor of the National SymphonyOrchestra of Taiwan and principal guestconductor of Las Palmas in the GrandCanaries, Spain.

He toured extensively with the Detroitand Toronto symphony orchestras, includ-ing tours to Europe and the Far East.Conducting all of the major orchestras, hehas recorded more than 100 works, someof which were with the East Germanorchestras with whom he was associatedprior to moving to the West in 1984. Hehas made recordings with several of theLondon orchestras, the BBC PhilharmonicOrchestra and the Saarbrücken RSO.

Key figures in his training includeHermann Abendroth, Hermann Scherchenand Herbert von Karajan. England’sManchester Evening News calls Herbig “oneof the greats,” adding “Herbig brings lifeand distinction to everything he touches.”

TianwaYangOf Beijing descent,TianwaYang startedstudying the violinat age 4, soonwinning six out of

the seven violin competitions she entered.At age 10, she was accepted into CentralConservatory of Music in Bejing.Following her performance at the 1999Beijing Music Festival, Isaac Stern invitedher to study with him in the U.S. In 2000,at age 13, she recorded the 24 Caprices ofPaganini, making her the youngest inter-preter of this composition worldwide.She made her European debut at age14 performing the MendelssohnViolinConcerto with the Czech BroadcastingSymphony Orchestra.

Ms.Yang gave her North Americandebut in 2008 at theVirginia Arts Festivalwith theVirginia Symphony. She has sinceperformed with the Seattle, Detroit andNashville symphonies. She touredGermany with Klassische PhilharmonieBonn, performed at the Montpellier andSchwetzingen festivals and appeared inrecital at the Berlin Philharmonic Hall andWigmore Hall, London. Highlights thisseason include debuts with BuffaloPhilharmonic and at the Ravinia Festival;as well as performances with the Royal

Prokofiev’s Violin Concerto



MARIN ALSOP


Günther Herbig Conductor

Tianwa Yang Violin

Maurice Ravel Mother Goose SuitePavane of the Sleeping BeautyTomThumbLaideronette, Empress of the PagodasConversations of Beauty and the BeastThe Enchanted Garden

Sergei Prokofiev Violin Concerto No.1 in D Major,Op. 19AndantinoScherzo:VivacissimoModerato

TIANWAYANG

INTERMISSION

Dmitri Shostakovich Symphony No. 10 in E Minor, Op. 93ModeratoAllegroAllegrettoAndante - Allegro

The concert will end at approximately 10 p.m.��

Sunday, November 21, 2010 3 p.m.

Presenting Sponsor:


50 Overture

programnotes

Liverpool, BBC, Hong Kong and Warsawphilharmonic orchestras, SinfoniaFinlandia, Orchestre National d’ille deFrance and MDR-Sinfonieorchester.


Mother Goose Suite

Maurice RavelBorn in Ciboure, Basses-Pyrenées,France, March 7, 1875; died in Paris,December 28, 1937

Although a bachelor, Maurice Ravel adoredchildren.Two of his small friends wereMimie and Jean Godebski, the offspring of aPolish-born couple whose Paris apartmentand country house, La Grangette, was agathering place for Ravel and many of hiscolleagues. Ravel told them stories, inventedingenious toys and games and sent themfunny postcards when he was away.And hisultimate gift—completed at La Grangette in1910—was a five-part piano work for fourhands entitled Ma Mère l’oye, or MotherGoose after Charles Perrault’s 17th-centurycollection of fairy tales. He hoped theywould learn it for performance, but Jean andMimie found the work a bit too advancedfor their modest skills. Instead Jeanne Leleu,age 6 (who would have a successful careeras a pianist) and Geneviève Duroy, age 7,premiered Mother Goose in Paris on April20, 1910. Everyone was charmed, and by1911 Ravel had turned it into a ballet,orchestrated with the consummate skill thatwas one of his greatest talents.

Ravel wrote of this enchanting music,“My intention of awaking the poetryof childhood...naturally led me to simplifymy style and thin out my writing.”Andnothing could be simpler than “Pavaneof Sleeping Beauty,” with which thesuite opens.This is a dream-like dancewith a slowly circling theme played byvarious woodwind soloists, delicatelypunctuated by plucked and muted strings.“Tom Thumb” (or “Petit Poucet” inFrench), is a nightmare for its tiny herolost in the woods. Ravel quotes Perrault inthe score:“He thought he would easilyfind his way thanks to the bread he hadscattered wherever he had passed, but hewas quite surprised when he couldn’t seeeven a single crumb. Birds had come alongand eaten every bit.”Wandering lines inmuted strings—their pace changing meterevery few measures—grope their way

through the forest, while the oboe andEnglish horn evoke the child’s tears.

In 1889 at the Paris World Exhibition,Ravel first heard a Javanese gamelanorchestra, and it inspired a lifelong fascina-tion with the Orient. In “Laideronnette,Empress of the Pagodas,” he conjuresup the bell-like magic of gamelan musicusing the sparkling high timbres ofWestern instruments and the Asian penta-tonic scale (the scale using the five blacknotes of the piano). Laideronnette, mean-ing “the little ugly one,” has been madeugly by an evil spell, but the happy endingwill restore her beauty.

“Conversations of Beauty and theBeast”: In this romantic waltz, Beauty isportrayed by a silky-voiced clarinet andthe Beast by the ungainly contrabassoon.Eventually, their jarringly different voicesunite in a love duet.A sweep of the harpmarks the undoing of the spell, and theBeast is transformed into a handsomeprince, nobly sung by the cello.

The Mother Goose Suite ends with aglorious apotheosis: a child’s vision ofparadise, “The Enchanted Garden.”

Instrumentation:Two flutes, piccolo,two oboes, English horn, two clarinets, twobassoons, contrabassoon, two horns, timpani,percussion, harp, celesta and strings.

Violin Concerto No. 1 in D Major, Op. 19

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

The year 1917 was a momentous one inRussian history. In March, the Czar wasdeposed and a moderate parliamentarygovernment was installed, led by AlexanderKerensky; in October, this regime fell toLenin’s Bolshevik Revolution. Like manyartists, Prokofiev was more interested inmusic than in politics, and he did his bestto ignore it all. In fact, 1917 became themost prolific year of his life, bringingforth the FirstViolin Concerto, the Firstor “Classical” Symphony, the “Visionsfugitives” for piano, the Third and FourthPiano Sonatas and the beginning of hisThird Piano Concerto. Prokofiev managedto accomplish all this by distancing himselffrom St. Petersburg’s upheavals and retreat-ing to remote corners of the country. Heactually orchestrated theViolin Concertowhile traveling through western Siberia.

Ultimately the country’s chaotic situationbecame too much, and in May 1918, hefled across Siberia to settle in the West.

Fascinatingly, none of the musiche wrote in 1917 reflected the massivetransformations Russia was undergoing.Indeed, the FirstViolin Concerto repre-sented a dramatic departure from theearlier aggressive, in-your-face style thathad earned him the reputation as Russianmusic’s enfant terrible. Here, for the firsttime, Prokofiev revealed the lyrical sideof his genius that would become moreprominent as he grew older. New, too, wasthe delicacy of the orchestral writing: asurprise coming from the composer whohad recently deafened audiences with hissavage Scythian Suite.

We hear this work’s lyricismand delicacy immediately in the firstmovement as the soloist launches anexpansive, soaring melody in flowing 6/8meter against hushed string tremolos andthe misty colors of high woodwinds.For more than two minutes, this rapturousmelody wafts over us until abruptly themeter shifts to 4/4 and the cellos intro-duce an incisively rhythmic march themeas contrast.The soloist responds witha burst of energetic virtuosity. (ThisConcerto challenges the soloist through-out with writing of fearsome difficulty.)The development section is a steadybuildup of intensity in terms of solobravura, orchestral force and increasingspeed. Ultimately, a poignant passage ofdouble-stopped notes by the soloist easesthe accumulated tension and leads to thereprise of the lyrical song, now slowerthan before.This time it is sung by soloflute with the muted violin weaving anethereal obbligato around it, supported bythe soft pattering of harp. Here is one ofProkofiev’s most beautiful passages.

The composer’s abrasive bad-boy stylereturns for the whirlwind Scherzo secondmovement, in which the soloist isrequired to dig deeply into her technicalarsenal and deliver it all at a break-neckVivacissimo pace. Prokofiev’s trademarksarcasm fuels the orchestra’s shrill, edgysounds and rhythms.

Lyricism returns for the slower finale,and here Prokofiev finds subtler ways tochallenge his soloist.Against a tickingaccompaniment (another Prokofiev


programnotes

trademark), the bassoon launches a drollmelody that the violin immediatelymellows with the aid of warmly romanticharp chords.The violas maintain thisromantic mood in the smooth secondtheme while the violinist energizes it withbrisk staccato double stops. In the con-cluding coda, Prokofiev recaptures theradiance of movement one as the violinfloats the first movement’s song on highover shimmering woodwinds and violinsplaying the finale’s own first theme.

Instrumentation:Two flutes, piccolo,two oboes, two clarinets, two bassoons,four horns, two trumpets, tuba, timpani,percussion, harp and strings.

Symphony No. 10


On March 5, 1953, Joseph Stalin died.He had ruled over the Soviet Union fornearly 30 years, and his brutal purges hadkilled millions of Russians from peasants togenerals, many of them dying in the harshSiberian camps of the Gulag. Shostakovich,too, had suffered under the Stalinist Terror.In 1936 and again in 1948, his music hadbeen denounced as an affront to the State,and he had lain awake waiting for thenocturnal visitors summoning him toexile or death. For eight years, he had notwritten a symphony, and since the 1948denunciation, he had hidden away anyserious works, such as his somewhatsubversive FirstViolin Concerto.

With Stalin’s death began a culturalthaw that lasted through the Khrushchevera. Shostakovich was among the first totest the waters of what was now permissi-ble.Working at a fierce pace through thespring and summer of 1953, he composedhis Tenth Symphony, considered by manyto be the greatest of his family of 15.TheRussian music scholar Boris Schwarz calledit “a work of inner liberation,” whileShostakovich biographer Ian MacDonalddeclared it “a musical monument to thefifty million victims of Stalin’s madness.”

But at the Symphony’s premiere inLeningrad on December 17, 1953, Sovietcritics, not sure which way the politicalwinds were blowing, waffled betweendenunciation and praise.The Tenth becamethe topic of hot debate at the Composers

Union Conference the following April.Having learned through bitter experienceto keep his head down, Shostakovich gaveonly the blandest comments on the sym-phony:“In this composition, I wanted toportray human emotions and passions.”When asked if the symphony had a pro-gram, he replied,“No, let them listen andguess for themselves.” Many at the confer-ence criticized the work as too pessimisticand tragic in tone.A young composernamedVolkonsky came up with an artfulcompromise, calling it “an optimistictragedy!” Ultimately, the Tenth received theofficial stamp of approval, and Shostakovichwas awarded the highest Soviet artistichonor,“People’s Artist of the U.S.S.R.”

But this symphony—with its powerfulmixture of mourning, anguished protestand sardonic celebration and its incorpora-tion of Shostakovich’s own initials into amusical motive for the third and fourthmovements—has a very personal program.In SolomonVolkov’s controversial“Testimony,” reputed to be the dictatedmemoirs of the composer, Shostakovichexplained:“I did depict Stalin in musicin...the Tenth. I wrote it right after Stalin’sdeath, and no one has yet guessed what thesymphony is about. It’s about Stalin andthe Stalin years.The second [movement] isa musical portrait of Stalin, roughly speak-ing. Of course, there are many other thingsin it, but that’s the basis.”

Tragic in tone and comprising nearlyhalf the length of the symphony, thefirst movement, in the home key ofE minor, seems a remembrance of thesuffering of the Russian people underStalin. It is generated by three themes, eachgrowing out of the previous one. First wehear a six-note idea rising darkly from theorchestral cellar; this theme is hesitant andfearful, frequently halting in its tracks. Itgradually rises through the strings until thesolo clarinet enters, intoning the poignantsecond theme atop the first. Klaus Roy,The Cleveland Orchestra’s former annota-tor, has persuasively identified this theme asa borrowing from Mahler’s “Resurrection”Symphony; it is sung by the contraltosoloist in that work’s fourth movement,“Urlicht,” and significantly set to thewords:“Man lies in direst need! Man liesin greatest pain!”After this sequenceconcludes, the flute introduces the third

theme: a nervous, stuttering idea coiledtightly within a narrow range. More darksounds, this time from an ensemble ofbassoons and clarinets, introduce a searingdevelopment that is essentially one longcrescendo culminating in a shatteringclimax, intensified by blows of the tam-tam(gong).Then the movement graduallywinds down and closes in a weeping duetof two piccolos grieving for the dead.

The second-movement Scherzo isShostakovich’s portrait of Stalin, set to the2/4 rhythm of the gopak dance from thedictator’s native Georgia. Blaring brass andmilitary snare drums intensify the mood ofmaniacal energy and brutality.

In C minor, the third movement isthe Symphony’s most enigmatic andpersonal.Violins open with a nervouslycreeping theme asking “Is it safe to comeout yet?”Then to a rat-ta-tat rhythm,Shostakovich introduces himself via amotive of four notes spelling his initials:D-E-flat (E-flat is S in German notation)-C-B (B-natural is spelled as H)—D-S-C-H.In a later reappearance, the DSCH motifbecomes a puppet-like dance driven by ahalf-crazy (jangling tambourines), half-menacing orchestra: a powerful image ofthe composer trapped by the whims of theSoviet machine.A mysterious middlesection brings a change of mood as arepeated Mahlerian horn call summonsmusic of reflective gravity.

After a brooding minor-mode slowintroduction, the finale emerges in E majorfor a chirpy, bustling,“lets-get-on-with-life”theme.This movement has been criticizedfor its frivolous, vulgar tone, deemed bysome as unworthy of the preceding threemovements. But it is an authenticallyRussian finale—crazy, even a little vodka-drunk—that captures the mood of a peoplewho have been beaten and tormented andstill retain their capacity to laugh.With aloud orchestral shout of the DSCH motive,complete with mocking drum roll andcrashing gong, the composer rejoices thathe, too, is among Stalin’s survivors.

Instrumentation:Three flutes, two piccolos,three oboes, English horn, three clarinets,piccolo clarinet, three bassoons, contrabas-soon, four horns, three trumpets, threetrombones, tuba, timpani, percussionand strings.Notes by Janet E. Bedell, copyright 2010

Chris BottiSince the release ofhis 2004 criticallyacclaimed CD,WhenI Fall In Love, ChrisBotti has becomethe largest selling

American jazz instrumental artist. Hissuccess has crossed over to pop music andhis association with PBS has led to fournumber one jazz albums, as well as multipleGold, Platinum and Grammy awards.

Over the past three decades, he hasrecorded and performed with Frank Sinatra,Sting, Josh Groban, Michael Buble, PaulSimon, Joni Mitchell, John Mayer,AndreaBocelli, Joshua Bell and StevenTyler.

Hitting the road for more than 250 daysper year, Mr. Botti and his band have per-formed with many of the finest symphoniesand at some of the world’s most prestigiousvenues, including performances at theWorldSeries and Nobel Peace Prize Ceremony.

People Magazine voted him one of the“50 Most Beautiful People” in 2004.

52 Overture

BSO SUPERPOPS

Chris Botti



MARIN ALSOP


JACK EVERLY

PRINCIPAL POPS CONDUCTOR

Chris Botti Trumpet

Billy Kilson Drums

Mark Whitfield Guitar

Billy Childs Piano

Andy Ezrin Keyboards

Carlos Henriquez Bass

Caroline Campbell Violin

Lisa Fischer Vocals

Jeremy Plotnikoff Tour Manager

Mickey Beck Audio Engineer


Please note: the BSO does not perform on this program.

The concert will end at approximately 10 p.m. on Friday and Saturdayand at approximately 5 p.m. on Sunday.

Presenting Sponsor:


Saturday, November 27, 2010 8 p.m.

Sunday, November 28, 2010 3 p.m.

Subscribeto Baltimore’spremierelifestylemagazine.

Call 888-809-0085 orvisit baltimorestyle.com

GREATESCAPES!

April 2010$3.95

www.baltimorestyle.com

07447003172

7

04

$3.95US

STYLESTYLEFASHION • HOME • GARDEN • FOOD • TRAVEL • PEOPLE • ENTERTAINING

SMART LIVING IN BALTIMORE

GREAT ESCAPES!A World Away in Bald Head Island,N.C.

Bermuda BeckonsJapan, Bhutan,Kenya, Thailand—oh my!Visiting Norway... in Winter?

The Greening of Ladew

+

FallFashionGoesGaga

October 2010$3.95

www.baltimorestyle.com

07447003172

7

10

$3.95US



THE STORY OFSTEWART’S

DEALS ON DESIGNER DUDS

OPERA FOR EVERYONE!

MAD MEN’ IN BALTIMORE

A PENTHOUSEWITH A MAGICAL VIEW

‘

Fall Fashion Goes Gaga

3WeddingsandaUniqueBridalShowerTheBridesmaid’sBurdenTheMarriageMerry-Go-RoundTheLordBaltimoreHotelTurns80AFabulousFunHouse!

WildThingsOctober 2009

$3.95www.baltimorestyle.com

07447003172

7

02

$3.95US



3 Weddings anda Unique BridalShowerThe Bridesmaid’sBurdenThe Marriage Merry-Go-RoundThe Lord BaltimoreHotel Turns 80A Fabulous Fun House!

WildThingsOur 2010 Weddings Issue


SYMPHONY FUND HONOR ROLLT H E B A L T I M O R E S Y M P H O N Y O R C H E S T R A

Maestra’s Circle

Founder’s Circle

May 23, 2009 – July 23, 2010

The Century Club

Individuals

Pianist André Watts and guests attend a BSO event at the Ritz-Carlton Residences, Inner Harbor.

WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generousgifts to the Annual Fund between May 23, 2009 – July 23, 2010 helped theBaltimore Symphony Orchestra further its mission: “To make music of the highestquality, to enhance Baltimore and Maryland as a cultural center of interest, vitalityand importance and to become a model of institutional strength.”

$50,000 or more The Charles T. Bauer FoundationJessica and Michael BronfeinMr. and Mrs. George L. Bunting, Jr.Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet

Rifkin, Livingston, Levitan and Silver, LLCMr. and Mrs. Alan M. Rifkin

Esther and Ben Rosenbloom FoundationMichelle G. and Howard Rosenbloom

Dr. and Mrs. Solomon H. Snyder

$25,000 or moreHerbert Bearman Foundation, Inc.Dr. Sheldon and Arlene Bearman

Caswell J. Caplan Charitable Income TrustsConstance R. Caplan

Mr. and Mrs. H. Chace Davis, Jr.Chapin Davis Investments

Dr. Perry A. Eagle,* Ryan M. Eagle,and Bradley S. Eagle

Deborah and Philip EnglishMr. and Mrs. Kingdon GouldMr. and Mrs. Benjamin H. Griswold, IVMr. and Mrs. H. Thomas Howell

The Huether-McClellandFoundation

Mr. and Mrs. David ModellMargaret Powell Payne* Dr. and Mrs. Thomas Pozefsky Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard RudmanThe Honorable Steven R. SchuhDorothy McIlvain ScottIda & Joseph Shapiro FoundationDiane and Albert Shapiro

Jane and David SmithEllen W.P. Wasserman

$15,000 or moreAnonymous (1) Donna and Paul AmicoEllyn Brown and Carl J. Schramm Richard BurnsThe Cordish Family FundSuzi and David Cordish

Mr. and Mrs. Robert CouttsThe Dopkin-Singer-DannenbergFoundation, Inc.Mrs. Margery Dannenberg

Mr. Kenneth W. DeFontes, Jr.George and Katherine DrastalCarol and Alan EdelmanMs. Susan Esserman and Mr. Andrew Marks

Anne B. and Robert M. Evans

Judi and Steven B. FaderFamily Foundation

Mr. Mark FettingVenable FoundationMr. and Mrs. Jan K. Guben

Mr. and Mrs. Douglas HamiltonMr. and Mrs. Richard E. Hug Beth J. Kaplanand Bruce P. Sholk

Sarellen and Marshall LevineJon and Susan LevinsonSusan and Jeffrey* LissRuth R. MarderMr. and Mrs. Michael P. PintoGar and Migsie Richlin Mr. and Mrs. George A. RocheMr. and Mrs. Stephen D. Shawe

Shepard Family FoundationDonald J. and Rose Shepard

Joanne Gold and Andrew A. Stern

$10,000 or moreAnonymous (1)Mr. and Mrs. Edward J. AdkinsJean and John BartlettKenneth S. BattyeThe Legg & Co. Foundation

Mr. and Mrs. Douglas BeckerEric and Jill BeckerMr. and Mrs. Ed BernardMr. and Mrs. A.G.W. Biddle, IIIRobert L. Bogomolny and Janice Toran

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whosecumulative annual giving of $100,000 or moreplays a vital role in sustaining the Orchestra’smagnificent tradition of musical excellence.

Marin AlsopThe Baltimore OriolesGeorgia and Peter Angelos

The Baltimore Symphony AssociatesWinnie Flattery, President

Mayor and City Council of Baltimore City

Baltimore County Executive &County Council

Joseph and Jean Carando*Adalman-Goodwin Foundation Hilda Perl and Douglas* Goodwin, Trustees

Hecht-Levi FoundationRyda H. Levi* and Sandra Levi Gerstung

Maryland Department of Business andEconomic Development

Maryland State Arts Council

The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff FamilyCharitable Funds

Robert E. Meyerhoff and Rheda BeckerMr. and Mrs. Arthur B. ModellMontgomery County Arts andHumanities Council

PNC Henry and Ruth Blaustein RosenbergFoundation and Ruth Marder

The Whiting-Turner Contracting CompanyMr. and Mrs. Willard Hackerman

��

��

54 Overture

Individuals (continued)Governing Members Platinum $7,500 or moreDeborah and Howard M. BermanMr. Robert H. Boublitz Mr. Andrew Buerger Mr. and Mrs. Arthur J. GlatfelterMr. and Mrs. Bill NerenbergDr. and Mrs. Anthony PerlmanAlison and Arnold Richman Mr. and Mrs. W. Danforth Walker

Governing MembersGold $5,000 or moreAnonymous (1) Barry D. and Linda F. BermanJohn and Bonnie BolandThe Bozzuto Family Charitable Fund

Ms. Mary Catherine Bunting Mr. and Mrs. Robert ButlerNathan and SuzanneCohen Foundation

Dr. and Mrs. Stephen P. CohenMr. and Mrs. William H. Cowie, Jr.Mr. and Mrs. William F. Dausch Faith and Marvin DeanRonald E. DenckerDr. Susan G. Dorsey andDr. Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III

Mr. and Mrs. James L. DunbarDrs. Sonia and Myrna EstruchMs. Margaret Ann FallonAndrea and Samuel Fine John GidwitzSandra and Barry GlassBetty E. and Leonard H.Golombek

Mr. and Mrs. Stewart GreenebaumMrs. Anne HahnMrs. Catharine S. Hecht* Miss Frances A. Kleeman*Dr. and Mrs. Yuan C. LeeEileen A. and Joseph H. MasonDan and Agnes Mazur

Norfolk Southern FoundationMr. and Mrs. Gerald V. McDonaldPaul Meecham and Laura LeachMr. and Mrs. Neil MeyerhoffMargot and Cleaveland MillerMr. and Mrs. John O. Mitchell, IIIDrs. Virginia and Mark Myerson

Dr. and Mrs. David Paige Linda and Stanley PanitzMrs. Margaret PenhallegonDr. Todd Phillips and Ms. Denise Hargrove

Helene and Bill PittlerJane S. Baum Rodbell and James R. Shapiro

Mr. and Mrs. William RogersMike and Janet RowanMs. Tara Santmire andMr. Ben Turner

Mr. and Mrs. J. Mark SchapiroMr. Greg ScudderRonald and Cathi ShapiroFrancesca Siciliano and Mark GreenMr. and Mrs. Harris J. SilverstoneMs. Patricia Stephens Ms. Loretta Taymans*Dr. and Mrs. Carvel TiekertMr. and Mrs. Peter Van Dyke David and Chris Wallace Mr. and Mrs. Loren WesternMr. and Mrs. LeRoy A. Wilbur, Jr.Wolman Family FoundationLaurie S. Zabin

Governing MembersSilver $2,500 or more“In memory of Reverend Howard G. Norton”

Anonymous (2) Diane and Martin* AbeloffDr. Marilyn AlbertJulianne and George AldermanDr. and Mrs. Thomas E. AllenMr.* and Mrs. Alexander Armstrong

Jackie and Eugene AzzamMr. and Mrs. Thomas H.G.Bailliere, Jr.

Dr. and Mrs. Wilmot C. Ball, Jr.Ms. Penny BankDonald L. BartlingHank BauerDr. and Mrs. Theodore M. BaylessDr. Neil W. Beachand Mr. Michael Spillane

Mr. and Mrs. John W. BeckleyJohn C. and Rosemary F. BeersLynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit

Ms. Arlene S. BerkisMax Berndorff and Annette MerzAlan and Bunny BernsteinRandy and Rochelle BlausteinMr. Gilbert Bloom Dr. and Mrs. Paul Z. BodnarCarolyn and John BoitnottMr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. BoothDr. and Mrs. Stuart H. BragerDr. Rudiger and Robin BreiteneckerMr. and Mrs. Leland BrendselMrs. Elizabeth A. Bryan Dr. Robert P. BurchardLoretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. andRegina Anderson M.D.

Michael and Kathy CarducciMr. and Mrs. Arthur ChomasMs. Susan ChouinardCorckran Family Charitable FoundationMr. and Mrs. John C. Corckran, Jr.

Mr. and Mrs. David S. CohenMr. Harvey L. Cohen and Ms. Martha Krach

Mrs. Miriam M. CohenJoan Piven-Cohenand Samuel T. Cohen

Mr. and Mrs. Elbert ColeMr. and Mrs. Kerby ConferMr. and Mrs. John W. Conrad, Jr. Jane C. CorriganMr. and Mrs. Charles C.Counselman, Jr.

Mrs. Rebecca M. Cowen-HirschAlan and Pamela CressmanDr. and Mrs. George CurlinMr. and Mrs. Edward A. Dahlka, Jr.Richard A. Davis and EdithWolpoff-Davis

James H. DeGraffenreidtand Mychelle Y. Farmer

Kari Peterson, Benito R. and Ben DeLeon

Arthur F. and Isadora Dellheim Foundation, Inc.

Mr. and Mrs. Mathias J. DeVitoMr. and Mrs. A. Eric DottDr. and Mrs. Daniel DrachmanMr. and Mrs. Larry D. DroppaBill and Louise Duncan

Dr. and Mrs. Donald O. FedderDr. and Mrs. Bruce FeldmanMr. and Mrs. Maurice R. FeldmanMr. Stephen W. FisherWinnie and Bill FlatteryDr. and Mrs. Giraud Foster Mr. and Mrs. John C. FrederickMr. and Mrs. Kenneth FreedJo Ann and Jack Fruchtman, Jr. Mr. and Mrs. Frank GallagherJohn Galleazzi andElizabeth Hennessey

Ms. Ethel W. GalvinDr. Joel and Rhoda GanzMr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr.Mr. Robert Gillison andMs. Laura L. Gamble

Evee and Bertram GoldsteinMr. Mark Goldstein, Paley RothmanBrian and Gina GracieMr. and Mrs. Leonard L. Greif, Jr.Mrs. LaVerne GroveMs. Mary Therese GyiMs. Louise A. HagerMs. Margaret HalsteadCarole B. HamlinThomas Hasler and Patricia Robinson

Melanie and Donald HeacockDale C. HeddingMr. and Mrs. Edward HeineMr. and Mrs. John HellerSandra and Thomas Hess Mr. Thomas HicksBetty Jean and Martin S.Himeles, Sr.

Mr. and Mrs. Samuel HimmelrichMs. Marilyn J. HoffmanBetsy and Len HomerMr. and Mrs. Jack Hook Mr. and Mrs. J. WoodfordHoward, Jr.

Mr. and Mrs. A.C. Hubbard, Jr.Mr. and Mrs. William HughesElayne and Benno HurwitzSusan and David HuttonSusan and Stephen ImmeltDr. Richard JohnsRichard and Brenda Johnson

Nelson and Brigitte Kandel Mary Ellen and Leon KaplanBarbara and Jay KatzSusan B. KatzenbergLouise and Richard KemperMr. and Mrs. E. Robert Kent, Jr.Ms. Suzan KiepperDr. and Mrs. Richard A. KlineKohn FoundationMr. and Mrs. Steven S. KorenBarbara and David KornblattMs. Patricia Krenzke and Mr. Michael Hall

Miss Dorothy B. Krug Mr. William La CholterMarc E. Lackritz and Mary B. DeOreo

Sandy and Mark Laken Ms. Delia LangDr. and Mrs. Donald LangenbergMr. and Mrs. Luigi Lavagnino Dr. David Leckrone and Marlene Berlin

Mr. and Mrs. Howard LehrerClaus Leithererand Irina Fedorova

Ruth and Jay LenrowDr. and Mrs. Harry Letaw, Jr.C. Tilghman Levering Bernice and Donald S.* LevinsonMr. and Mrs. Vernon L. LidtkeDr. Frances and Mr. Edward Lieberman

Darielle and Earl LinehanMrs. June Linowitz and Dr. Howard Eisner

Dr. James and Jill Lipton Dr. Diana Locke and Mr. Robert E. Toense

Dr. Frank C. Marino Foundation Diane and Jerome MarkmanMr. and Mrs. Abbott MartinDonald and Lenore MartinMaryland Charity CampaignMr. Thomas MayerDr. Marilyn Maze and Dr. Holland Ford

Mrs. Kenneth A. McCord Mrs. Marie McCormackEllen and Tom MendelsohnSandra L. MichockiMrs. Anne Miller Mrs. Mildred S. Miller

Maestra’s Circle (continued)

Individuals

$10,000 or moreMs. Kathleen A. Chagnon and Mr. Larry Nathans

Chesapeake PartnersJudith and Mark CoplinRosalee C. and RichardDavison Foundation

Mr. L. Patrick Deering,Mr. and Mrs. Albert R. Counselman,The RCM&D Foundation and RCM&D, Inc.

Mr. Steve Dollase andMs. Shari Wakiyama

Sara and Nelson Fishman The Sandra and Fred Hittman Philanthropic Fund

John P. HollerbachRiva and Marc KahnDr. and Mrs. Murray M. KappelmanMrs. Barbara KinesTherese* and Richard LansburghJohn A. MacCollMr. and Mrs. Samuel G. MacfarlaneLouise D. and Morton J. MacksFamily Foundation, Inc. / Genine MacksFidler and Josh Fidler

Sally S. and Decatur H. Miller Mr. and Mrs. Charles O. Monk, IINumber Ten FoundationMrs. Violet G. Raum Dr. Scott and Frances Rifkin

Rona and Arthur RosenbaumTerry M. and James RubensteinLainy LeBow-Sachs and Leonard R. SachsDr. and Mrs. John H. SadlerM. Sigmund and Barbara K. ShapiroPhilanthropic Fund

Dr. and Mrs. Charles I. ShubinMr. and Mrs. Gideon N. Stieff, Jr. The Louis B. Thalheimer andJuliet A. Eurich Philanthropic Fund

Mark and Mary Vail WalshMr. and Mrs. William YeakelThe Zamoiski-Barber-Segal FamilyFoundation

* Deceased

Special Thanks to

for its generous support!Jan Guben and James Wood at a BSO Event. Governing Members Susan and David Hutton enjoy

a Candlelight Conversation.

��

��Guests listen to a performance at

a Major Gift dinner.

��


Judy and Martin MintzNorthern Pharmacy and Medical Equipment

Jacqueline and Sidney W. Mintz Mr. and Mrs. Humayun Mirza Ms. Patricia J. MitchellDrs. Dalia and Alan MitnickDr. and Mrs. C.L. Moravec Dr. Mildred Zindler Mr. and Mrs. Peter Muncie Mrs. Joy MunsterMr. John and Dr. Lyn MurphyLouise* and Alvin MyerbergMr. and Mrs. H. Hudson Myers, Jr.Mr. and Mrs. Rex E. Myers Drs. Roy A. and Gillian MyersHoward NeedlemanPhyllis Neuman, Ricka Neuman and Ted Niederman

David Nickels and Gerri Hall Mr. and Mrs. Kevin O’ConnorDr. A. Harry Oleynick Mrs. Bodil Ottesen Olive L. Page Charitable TrustDr. and Mrs. Lawrence C. Pakula Mr. and Mrs. Stephen Pattin Beverly and Sam PennJan S. Peterson and Alison E. ColePeter E. QuintReverend and Mrs. Johnny Ramsey Nancy E. Randa and Michael G. Hansen

Mr. and Mrs. Frederick RheinhardtNathan and Michelle Robertson Mr. and Mrs. Richard RocaStephen L. Rootand Nancy A. Greene

Mr. and Mrs. Charles RowinsT. Edgie RussellMr. and Mrs. Neil J. Ruther Dr. John Rybock andMs. Lee Kappelman

Dr. and Mrs. Marvin M. SagerDr. Henry SanbornMs. Doris SandersDr. Jeannine L. SaundersMr. and Mrs. David Scheffenacker Lois Schenck and Tod MyersMarilyn and Herb Scher*Dr. and Mrs. Horst K.A. SchirmerMrs. Roy O. ScholzAlena and David M. SchwaberMr. Jack SchwebelCarol and James ScottCynthia ScottIda & Joseph Shapiro Foundation and Diane and Albert* Shapiro

Mr. Stephen ShepardMrs. Suzanne R. SherwoodFrancine and Richard ShureThe Sidney SilberFamily Foundation

Mr. and Mrs. Daniel Silver Drs. Ruth and John SingerMr. David Punshon-Smith Ms. Leslie J. SmithMs. Nancy E. SmithMs. Patricia SmithMr. Turner B. SmithMr. and Mrs. Lee M. SnyderDr. and Mrs. Charles S. SpechtJoan and Thomas SpenceMelissa and Philip SpevakAnita and Mickey SteinbergMr. Edward Steinhouse Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge

Susan and Brian SullamMrs. Janis SwanMr. and Mrs. Robert TaubmanDr. Bruce T. Taylor andDr. Ellen Taylor

Dr. Ronald J. TaylorMr. and Mrs. Terence Taylor Sonia TendlerMs. Susan B. ThomasPaul and Karen TolzmanDr. Jean Townsendand Mr. Larry Townsend

Donna Triptowand Michael Salsbury

In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel

Mr. and Mrs. Charles L. Wagandt, IIMr. and Mrs. Semmes G. WalshJohn and Susan WarshawskyMartha and Stanley WeimanPeter WeinbergMr. and Mrs. Christopher WestMr. Edward WieseDr. and Mrs. Donald E. WilsonMrs. Phyllis Brill Wingrat and Dr. Seymour Wingrat*

Mr. and Mrs. T. Winstead, Jr.Judy M. Witt Laura and Thomas WittMr. and Mrs. Richard Wolven Charles and Shirley WunderDrs. Yaster and ZeitlinCharles and Carol YoderMr. and Mrs. Michael Young Paul A. and Peggy L. Young

NOVA Research CompanyDr. and Mrs. Robert E. Zadek

Symphony SocietyGold $1,500 or moreAnonymous (1)Mr. and Mrs. Robert R. BairThe Becker Family FundMr. Edward BersbachSteven Brooks and Ann Loar Brooks Dr. and Mrs. Donald D. BrownMr. Charles Cahn, IIDonna and Joseph CampMr. and Mrs. Claiborn Carr Mr. Robert M. ChestonMr. and Mrs. Howard CohenDr. and Mrs. David CooperDr. and Mrs. Cornelius DarcyDr. and Mrs. Thomas DeKornfeld Dr. and Mrs. Jerome L. FlegMr. and Mrs. Stanford Gann, Sr.Ms. Jean Goldsmith Mrs. Ellen HalleMs. Gloria Hamilton Dr. Mary HarbeitnerMr. Gary C. HarnMr.* and Mrs. E. Phillips HathawayMr. and Mrs. George B. Hess, Jr.Donald W. and Yvonne M. HughesBetty W. JensenMr. Henry KahwatyGail and Lenny Kaplan Mr. Harry Kaplan Gloria B. and Herbert M.

Katzenberg FundHarriet* and Philip Klein Andrew Lapayowker and

Sarah McCafferty Mr. and Mrs. Jeffrey LegumMs. Susan Levine Dr. and Mrs. Michael O. MaganMr. and Mrs. Luke MarburyHoward and Linda MartinMr. and Mrs. Jordan MaxCarol and George McGowanDrs. William and Deborah McGuireBebe McMeekinAlvin MeltzerMr. Hilary B. Miller Ms. Patricia Normile Mr. and Mrs. Thomas Parr Mrs. J. Stevenson PeckThe Pennyghael Foundation, Inc. Mr. and Mrs. James PiperMr. and Mrs. John Brentnall Powell

Mr. Larry Prall Mr. Joseph L. PressDr. and Mrs. Richard Radmer Mr. and Mrs. Michael RenbaumMargaret and Lee RomeMartha and Saul RosemanMr. and Mrs. William Saxon, Jr.The Honorable William Donald SchaeferMs. Phyllis Seidelson Mr. Jeffrey SharkeyMr. Thom Shipley and

Mr. Christopher TaylorDr. and Mrs. Frederick SieberMarshall and Deborah Sluyter Mr. and Mrs. Edgar SmithMr. and Mrs. Richard D. SperoMrs. Ann SteinMr. James Storey Harriet StulmanMr. and Mrs. Albert SunMs. Sandra Sundeen Dr. Martin TaubenfeldDr. Robert E. Trattner Ms. Elyse VinitskyMs. Joan Wah and Ms. Katherine WahMs. Janna P. WehrleDr. Edward Whitman Dr. Richard Worsham

and Ms. Deborah GeisenkotterMs. Anne Worthington Ms. Jean Wyman

Symphony SocietySilver $1,000 or moreDr. John Boronow and Ms. Adrienne

Kols “In memory of John R.H. andCharlotte Boronow”

Mrs. Frank A. Bosworth Jr.“In honor of Marin Alsop”

Mr. Kevin F. Reed“In honor of Steven R. Schuh”

Anonymous (10)Mrs. Rachael AbrahamMr. and Mrs. Ronald Abrams Dr. and Mrs. Robert J. AdamsVirginia K. Adams and

Neal M. Friedlander, M.D.Charles T. and Louise B. AlbertGeorge and Frances Alderson Mr. Owen ApplequistMr. Paul AraujoDr. Juan I. ArveloLeonard and Phyllis AttmanMr. William Baer and Ms. Nancy Hendry Mrs. Jean BakerMr. George BallMr. and Mrs. L. John BarnesDr. and Mrs. Bruce BarnettMr. and Mrs. Edward BartaMonsignor Arthur W. BastressMr. and Mrs. Charles Berry, Jr. David and Sherry BerzMr. and Mrs. Edwin and Catherine Blacka Dr. and Mrs. Mordecai P. BlausteinNancy Patz BlausteinMr. James D. BlumNina and Tony Borwick Mr. and Mrs. David E. BrainerdDrs. Joanna and Harry BrandtDr. Helene BreazealeDr. and Mrs. Mark J. BrennerThe Broadus FamilyIvy E. Broder and John F. Morrall, IIIBarbara and Ed Brody Dr. Galen BrooksMr. Gordon BrownMs. Jean B. BrownMs. Elizabeth J. BruenMs. Jeanne Brush Ms. Ronnie BuergerBohdan and Constance BulawkaMrs. Edward D. BurgerMs. Jennifer Burgy Mrs. Mary Jo Campbell Russ and Beverly CarlsonJonathan and Ruthie CarneyMr. Richard CerpaMr. Mark Chambers

Lyn Murphy, Susan Dorsey, John Murphy and Marla Oros at a fundraising dinner.

Guests listen to a performance at a Major Gift dinner.

To learn more about becoming a member, please email [email protected] or call 443.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to specialevents and exclusive opportunities to enhance your BSO experience throughout the season.

$75 BACH LEVEL MEMBERS• Two complimentary tickets to a Donor Appreciation Concert or event (R)

• BSO Membership Card• Opportunity to purchase tickets prior to public sale*• 10% discount on music, books and gifts at the Symphony Store and An Die Musik

• Invitation to one Open Rehearsal (R)

$150 BEETHOVEN LEVEL MEMBERSAll benefits listed above, plus…• Invitation to an additional Open Rehearsal (R)• Two complimentary drink vouchers

$250 BRAHMS LEVEL MEMBERSAll benefits listed above, plus…• 10% discount on tickets to BSO performances*• Two additional complimentary tickets to a Donor Appreciation Concert or event (R)

$500 BRITTEN LEVEL MEMBERSAll benefits listed above, plus…• Invitation to the Premium Evening Open Rehearsal (R)• Donor recognition in one issue of Overture magazine• Two additional complimentary drink vouchers• Four complimentary dessert vouchers• Invitation to the Opening Night Celebration Cast Party

$1,000 SYMPHONY SOCIETYAll benefits listed above, plus…• Invitations to additional Cast Parties, featuring BSO musicians and guest artists (R)

• Year-long donor recognition in Overture magazine• Two complimentary passes to the Baltimore Symphony Associates’ Decorators’ Show House

• Two one-time passes to the Georgia and Peter G. Angelos Governing Members Lounge

• Invitation to Season Opening Gala (R/$)• Invitation for two to a Musicians’ Appreciation event• Opportunity to attend one Governing Members Candlelight Conversation per year

• Reduced rates for select BSO events

$2,500 GOVERNING MEMBERSAll benefits listed above, plus…• Invitation to exclusive On-Stage Rehearsals (R)• Governing Member Allegretto Dinners (R/$)• Complimentary parking upon request through the Ticket Office• Season-long access to the Georgia and Peter G. Angelos Governing Members Lounge

• Invitation to the BSO’s Annual Electoral Meeting• VIP Ticket Concierge service including complimentary ticket exchange

• Opportunity to participate in exclusive Governing Member trips and upcoming domestic tours (R/$)

• Invitation to all Candlelight Conversations (R/$)• Priority Box Seating at the Annual Donor Appreciation Concert

$5,000 GOVERNING MEMBERS GOLDAll benefits listed above, plus…• Complimentary copy of upcoming BSO recording signed by Music Director Marin Alsop (one per season)

• Exclusive events including meet and greet opportunities with BSO musicians and guest artists

$10,000 MAESTRA’S CIRCLEAll benefits listed above, plus…• Exclusive and intimate events catered to this special group including post-concert receptions with some of the top artists in the world who are performing with the BSO

• One complimentary use of the Georgia and Peter G. AngelosGoverning Members Lounge facilities for hosting personal or business hospitality events ($)

(R) Reservation required and limited to a first-come basis.($) Admission fee *Some seating and concerts excluded.

LEGATO CIRCLELegato Circle recognizes those patrons who have included the BSO in their Estate Plans. If you have questions or wish to explore these arrangements, please call 410.783.8010.

Support your BSO and make a donation today!

Baltimore Symphony OrchestraMembership Benefits 2010-2011 Season

��

Individuals (continued)Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and

Ms. Doreen KellyJane E. CohenMr. and Mrs. Jonas M.L. CohenMrs. Wandaleen ColeMr. and Mrs. Alan Colegrove Ms. Patricia CollinsMs. Kathleen CostlowMr. Michael R. CriderMr. and Mrs. Jeffrey CrooksJohn and Kate D’AmoreMr. and Mrs. Thomas Darr Joan de Pontet Mr. and Mrs. Anthony DeeringMs. Priscilla Diacont Mr. Duane Calvin DeVanceJackson and Jean H. DiehlMs. Maribeth Diemer Nicholas F. Diliello Mrs. Marcia K. DorstMr. and Mrs. Robert Duchesne Ms. Lynne DurbinMr. Laurence Dusold Donna Z. Eden and Henry GoldbergMr. Terence Ellen and Ms. Amy BoscovMr. and Mrs. Stuart Elsberg

and the Elsberg Family Foundation Dr. and Ms. Jerry FarberDr. and Mrs. Marvin J. FeldmanMr. and Mrs. Edward Feltham, Jr.Mrs. Sandra FerriterJoe and Laura FitzgibbonDr. Charles W. Flexner and

Dr. Carol TrapnellMs. Lois Flowers Dr. and Mrs. Nicholas J. FortuinDr. and Mrs. William FoxDr. Neal M. FriedlanderMr. and Mrs. R. FriedlanderMr. and Mrs. Roberto B. FriedmanWilliam and Carol FuentevillaMr. Ron Gerstley and Ms. Amy BlankMr. Peter GilMr. and Mrs. Frank A. Giargiana, Jr.Mr. Louis GitomerDr. and Mrs. Sanford GlazerMr. Jonathan GoldblithWilliam R. and Alice GoodmanBarry E. and Barbara GordonDrs. Ronald and Barbara Gots Dr. and Mrs. Sheldon GottliebMr. Alexander Graboski Larry D. Grant and Mary S. GrantErwin and Stephanie GreenbergMr. Robert GreenfieldDr. and Mrs. Geoffrey GreifMr. Charles H. GriesackerMr. Ronald Griffin and Mr. Shaun CarrickMark and Lynne GrobanMary and Joel Grossman Mr. and Mrs. Stuart Grossman Mr. and Mrs. Donald GundlachMr. and Mrs. Norman M. GurevichMr. and Mrs. J.M. Dryden Hall, Jr.Dr. Jane Halpern and Mr. James B. PettitMs. Lana HalpernMs. Carole Finn Halverstadt Mr. Joseph P. Hamper, Jr.Mr. and Mrs. John HansonMr. and Mrs. James A. Harris Dr. and Mrs. S. Elliott Harris Mr. and Mrs. Robert Helm Ms. Doris T. HendricksMrs. Ellen HerscowitzDavid A. and Barbara L. HeywoodNancy H. Hirsche Mrs. Joan M. Hoblitzell Edward HoffmanMr. and Mrs. John Hornady, IIIMr. Herbert H. HubbardMrs. Madeleine JacobsCarol Jantsch and David MurrayMrs. Janet JeffeinDr. Helmut Jenkner and

Ms. Rhea I. ArnotMrs. Kathy JohnsonMr. R. Tenney Johnson

Dr. Richard T. JohnsonMr. and Mrs. Gilbert Jones Mr. J. Lee JonesMrs. Helen JordahlMr. Max JordanDr. Robert Lee Justice and Marie

Fujimura-JusticeAnn and Sam KahanMrs. Harry E. Karr Mr. and Mrs. William E. KavanaughDr. and Mrs. Haiq Kazazian, Jr.Mr. Frank KeeganMr. John P. KeyserMr. Andrew Klein George and Catherine KleinPaul and Susan KonkaDr. and Mrs. Jeffrey KremenMr. Charles Kuning Richard and Eileen KwolekMr. and Mrs. Charles Lamb Susan and Stephen LangleyJohn and Diane LaughlinMelvyn and Fluryanne LeachColonel William R. Lee Mr. and Mrs. Charles F. LegtersMr. and Mrs. Jeffrey LemieuxMr. Ronald P. LesserSara and Elliot* Levi Dr. and Mrs. Bernard LevyMr. Leon B. Levy Mr. Richard Ley Mrs. E.J. LibertiniMs. Joanne Linder Mr. Dennis LinnellGeorge and Julie LittrellDr. and Mrs. Peter C. LuchsingerMs. Louise E. LynchMichael and Judy MaelMs. Joan MartinJane MarvineMr. Joseph S. MasseyDr. and Mrs. Robert D. MathiesonDr. and Mrs. Donald E. McBrienMrs. Linda M. McCabeMr. Thomas B. McGeeMr. Richard C. McShaneMr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. Timothy MeredithMr. and Mrs. Abel MerrillDaniel and Anne Messina Dr. and Ms. John O. Meyerhoff Drs. Alan and Marilyn MillerMr. Charles MillerMr. and Mrs. Charles R. MillerMr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, IIMr. and Mrs. James D. MillerMr. Lee MillerMr. Louis MillsDr. and Mrs. Stanley R. Milstein Ms. Adrianne MitchellLloyd E. Mitchell FoundationMr. Nathan MookMr. Edwyn Moot Dr. and Mrs. Hugo W. MoserMr. and Mrs. M. Peter MoserMr. Howard Moy Teresa and Don MullikinMr. and Mrs. Gregory MurrayMs. Marita MurrayMr. Harish Neelakandan and

Ms. Sunita GovindMr. and Mrs. Robert C. NeimanMr. Irving NeumanMr. and Mrs. Roger F. NordquistCarol C. O’ConnellAnne M. O’HareDrs. Erol and Julianne OktayMr. Garrick OhlssonMs. Margaret O’Rourke and

Mr. Rudy ApodacaMrs. S. Kaufman OttenheimerMr. and Ms. Ralph Ottey Ms. Judith PachinoMr. and Mrs. Richard ParsonsMr. and Mrs. William Pence Jerry and Marie Perlet

Mr. and Mrs. Stephen PetrucciDr. and Mrs. Karl PickMs. Mary Carroll PlaineMr. and Mrs. Morton B. PlantRobert E. and Anne L. PrinceCaptain and Mrs. Carl QuanstromTed and Stephanie RanftDr. Tedine Ranich and

Dr. Christian Pavlovich Dr. and Mrs. Jonas R. RappeportMr. and Mrs. William E. RayMr. Charles B. Reeves, Jr.Mr. Thomas Rhodes Mr. and Mrs. Thomas P. RiceMr. and Mrs. Carl Richards David and Mary Jane RobertsDrs. Helena and David RodbardDr. and Mrs. Gerald RogellJoellen and Mark RosemanAnn and Frank RosenbergMr. and Mrs. Robert Rosenberg Joanne and Abraham RosenthalMr. and Mrs. Randolph* S. RothschildMr.* and Mrs. Nathan G. Rubin Robert and Leila RussellMr. and Mrs. John SacciBeryl and Philip SachsMs. Andi SacksMr. Norm St. LandauPeggy and David SalazarIlene and Michael SalcmanMs. Carolyn Samuels Ms. Vera SanacoreMr. and Mrs. Gilbert SandlerMr. and Mrs. Nathaniel SandlerMr. and Mrs. Ace J. SarichMr. Thomas ScaleaMrs. Barbara K. ScherlisMr. and Mrs. Eugene H. SchreiberEstelle D. Schwalb Ken and Nancy SchwartzMr. Bernard Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford ShapiroMr. and Mrs. Brian T. ShefferDr. and Mrs. Ronald F. SherReverend Richard Wise ShrefflerMr. Richard SilbertMr. Donald M. SimondsMr. Richard SipesMr. and Mrs. Robert Smelkinson Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr.Laurie M. SokoloffMs. Diane SondheimerDr. and Mrs. John Sorkin Ms. Jennifer SternDr. and Mrs. F. Dylan StewartDr. John F. Strahan Ms. Jean M. Suda and Mr. Kim Z. GoldenMs. Dianne SummersMr. and Mrs. Richard SwerdlowMr. Tim Teeter Mr. Harry Telegadas Mr. Marc J. TellerPatricia Thompson and Edward SledgeMr. Peter Threadgill Mr. and Mrs. David TraubMr. and Mrs. Israel S. UngarMs. Mary Frances WagleyMr. and Mrs. Guy T. Warfield Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew WeirMr. and Mrs. David Weisenfreund Drs. Susan and James WeissMs. Lisa WelchmanDavid Wellman and

Marjorie Coombs Wellman

Ms. Beverly Wendland andMr. Michael McCaffery

Mr. and Mrs. Sean WharryMs. Camille B. Wheeler

and Mr. William B. MarshallDr. Barbara White

Mr. and Mrs. Stephen Wilcoxson

Mr. Barry Williams

$100,000 or more

$50,000 or more

$25,000 or more

Corporations

56 Overture

��Musicians perform for a BSO benefit at the

American Visionary Art Museum.Donors enjoy a post-concert Cast Party. Todd Phillips and Denise Hargrove at a

Governing Members Allegretto Dinner.

��


Mrs. Gerald H. WilliamsMr. and Mrs. Peter WinikMr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Mr. Alexander Yaffe H. Alan Young and

Sharon Bob Young, Ph.D.Andrew Zaruba

Corporations$10,000 or moreAmerican Trading &

Production CorporationBeltway Fine WinesIWIFSaul Ewing LLPStanley Black & DeckerSunTrust Bank, Greater

Washington / MarylandTravelers Foundation Venable LLPWJHU Radio

$5,000 or moreCorporate Office Properties TrustD. F. Dent & CompanyP. Flanigan & Sons, Inc.Georgetown Paper Stock

of Rockville, Inc. Kramon & Graham, P.A. RBC Wealth ManagementValley Motors Zuckerman Spaeder LLP

$2,500 or moreCavanaugh Financial Group

Charitable FoundationDowntown Piano WorksEagle Coffee Company Inc.Federal Parking, Inc.Kann S. Sons Company FoundationMacy’s FoundationP&G Fund of the Greater

Cincinnati Foundation

$1,000 or moreEllin & Tucker, CharteredEyre Bus, Tour & TravelThe Harford Mutual Insurance CompanyIndependent Can CompanyJ.G. Martin Company, Inc.Nina McLemore, Inc.Pro Video GroupRosenberg Martin Greenberg, LLP Sandy Spring BankSemmes, Bowen & SemmesTargetVon Paris Moving & StorageWachovia Wells Fargo Foundation

Foundations$50,000 or more William G. Baker, Jr. Memorial FundThe Hearst Foundation, Inc. Hecht-Levi Foundation

Ryda H. Levi* and Sandra Levi Gerstung

The Andrew W. Mellon FoundationJoseph & Harvey Meyerhoff Family

Charitable FundsHenry and Ruth Blaustein

Rosenberg Foundation and Ruth Marder

$25,000 or more Jacob and Hilda Blaustein FoundationThe Buck Family FoundationAnn and Gordon Getty FoundationThe Goldsmith Family Foundation, Inc.Peggy & Yale Gordon Trust

Young Artist SponsorEnsign C. Markland Kelly, Jr.

Memorial FoundationZanvyl & Isabelle Krieger Fund

$10,000 or more Anonymous (1) Bunting Family FoundationThe Morris and Gwendolyn

Cafritz Foundation Degenstein FoundationHoffberger FoundationHarley W. Howell Charitable FoundationThe Abraham and Ruth Krieger

Family FoundationLeague of American Orchestras John J. Leidy Foundation, Inc.The Letaw Family Foundation Macht Philanthropic Fund of the AJCThe Rouse Company FoundationThe Salmon FoundationBruno Walter Memorial Foundation

$5,000 or moreAnonymous (1)The Arts FederationMargaret O. Cromwell Family FundThe Charles Delmar Foundation Betty Huse MD Charitable

Trust FoundationEdith and Herbert Lehman

Foundation, Inc.The John Ben Snow Memorial TrustCecilia Young Willard Helping Fund Wright Family Foundation

$2,500 or moreThe Campbell Foundation, Inc. The Harry L. Gladding Foundation Israel and Mollie Myers Foundation

Judith and Herschel LangenthalJonathan and Beverly Myers

The Jim and Patty Rouse Charitable Foundation, Inc.

Sigma Alpha Iota

$1,000 or moreALH Foundation, Inc.Balder FoundationBaltimore Community FoundationEthel M. Looram Foundation, Inc.Rathmann Family Foundation

Government GrantsAnne Arundel CountyMayor and City Council of

Baltimore and the Baltimore Office of Promotion and the Arts

Baltimore County Executive, County Council, and the Commission for the Arts and Sciences

Carroll County Government & the Carroll County Arts Council

The Family League of Baltimore City, Inc. Howard County Government

& the Howard County Arts CouncilMaryland State Arts CouncilMaryland State Department

of EducationArts and Humanities Council

of Montgomery CountyNational Endowment for the Arts

EndowmentThe BSO gratefully acknowledgesthe generosity of the followingdonors who have givenEndowment Gifts to the SustainingGreatness and/or the Heart of theCommunity campaigns.

* DeceasedAnonymous (6)Diane and Martin* AbeloffAEGON USAAlex. Brown & Sons Charitable

FoundationDr. and Mrs. Thomas E. AllenEva and Andy Anderson

Anne Arundel County Recreation and Parks Department

William G. Baker, Jr. Memorial FundMr. H. Furlong BaldwinBaltimore Community FoundationBaltimore County Executive,

County Council and the Commission on Arts and Baltimore Office of Promotion and the Arts

The Baltimore Orioles/Georgia and Peter Angelos

The Baltimore Symphony Associates, Winnie Flattery, President

Patricia and Michael J. Batza, Jr.Henry and Ruth Blaustein

Rosenberg FoundationThe Jacob and Hilda

Blaustein FoundationMr. and Mrs. Bruce I. BlumDr. and Mrs. John E. Bordley*Jessica and Michael BronfeinMr. and Mrs. George L. Bunting, Jr.Dr. and Mrs. Oscar B. CampCarefirst BlueCross BlueShieldCitiFinancialConstellation EnergyMr. and Mrs. William H. Cowie, Jr.Richard A. Davis and Edith Wolpoff-DavisRosalee C. and Richard

Davison FoundationMr. L. Patrick Deering,

Mr. and Mrs. Albert R. Counselman,The RCM&D Foundation and RCM&D, Inc.

DLA Piper Rudnick Gray Cary US LLP Carol and Alan EdelmanDr. and Mrs. Robert ElkinsDeborah and Philip EnglishEsther and Ben Rosenbloom

FoundationFrance-Merrick FoundationSandra Levi GerstungRamon F.* and Constance A. GetzovJohn GidwitzThe Goldsmith Family Foundation, Inc.Joanne Gold and Andrew A. SternJody and Martin GrassLouise and Bert GrunwaldH&S Bakery / Mr. John PaterakisHarford CountyHecht-Levi Foundation

Ryda H. Levi* and Sandra Levi Gerstung

Betty Jean and Martin S. Himeles, Sr.Hoffberger FoundationHoward County Arts CouncilHarley W. Howell Charitable FoundationThe Huether-McClelland FoundationMr. and Mrs. Richard E. HugIndependent Can CompanyLaura Burrows-JacksonBeth J. Kaplan and Bruce P. SholkDr. and Mrs. Murray M. KappelmanSusan B. KatzenbergMarion I. and Henry J.

Knott Scholarship FundThe Zanvyl and Isabelle Krieger FundAnne and Paul LambdinTherese* and Richard LansburghSara and Elliot* LeviLevi-Gerstung FamilyBernice and Donald S. LevinsonDarielle and Earl LinehanSusan and Jeffrey* LissLockheed MartinE. J. Logan FoundationM&T BankMacht Philanthropic Fund of the AJCMrs. Clyde T. MarshallMaryland Department of Business

and Economic DevelopmentThe Maryland State Arts CouncilMD State Department of EducationMcCarthy Family FoundationMcCormick & Company, Inc.Mr. Wilbur McGill, Jr.

OFFICERSMichael G. Bronfein*Chairman

Kathleen A. Chagnon, Esq.*Secretary

Lainy LeBow-Sachs*Vice Chair

Paul Meecham*President & CEO

Richard E. Rudman*Vice Chair

Andrew A. Stern*Vice Chair & Treasurer

BOARD MEMBERSA.G.W. Biddle III

Robert L. Bogomolny

Ralph A. Brunn

Andrew A. Buerger

Richard T. Burns

Constance R. Caplan

Robert B. Coutts

Kenneth W. DeFontes, Jr.

Steve Dollase

George A. Drastal

Alan S. Edelman

Ambassador Susan G. Esserman*

Winnie Flattery ^President, BaltimoreSymphony Associates

John P. Hollerbach

Richard E. Hug*

Beth J. Kaplan*

Murray M. Kappelman, M.D.

Jon H. Levinson

Susan M. Liss, Esq.*

John A. MacColl

David O. Modell

Michael P. Pinto

Margery Pozefsky

Scott Rifkin, M.D.

Ann L. Rosenberg

Bruce E. Rosenblum*

The Honorable Steven R. Schuh

Stephen D. Shawe, Esq.

Solomon H. Snyder, M.D.*

Mark Walsh

LIFE DIRECTORSPeter G. Angelos, Esq.

Willard Hackerman

H. Thomas Howell, Esq.

Yo-Yo Ma

Harvey M. Meyerhoff

Decatur H. Miller, Esq.

Patricia B. Modell

Linda Hambleton Panitz

The Honorable WilliamDonald Schaefer

Dorothy McIlvain Scott

DIRECTORS EMERITIMargaret D. Armstrong

Barry D. Berman, Esq.

L. Patrick Deering

M. Sigmund Shapiro

CHAIRMAN LAUREATECalman J. Zamoiski, Jr.

BOARD OF TRUSTEESBALTIMORE SYMPHONYENDOWMENT TRUSTBenjamin H. Griswold IVChairman

Terry Meyerhoff RubensteinSecretary

Michael G. Bronfein

Mark R. Fetting

Paul Meecham

W. Gar Richlin

Andrew A. Stern

Calman J. Zamoiski, Jr.

*Board Executive Committee^ex-officio

Upcoming Member-Only Event!

Governing Members Trip to New York CityNovember 13-14, 2010Don’t miss this exclusive trip to New York City to see Music Director Marin Alsop conduct the Baltimore Symphony Orchestra at Carnegie Hall. This two-day, one-night excursion includes:

• Bus transportation to and from NYC

• Accommodations at the 4-Star hotel Le Parker Meridien

• Private pre-concert dinner and post-concert reception

• A ticket to the Saturday concert at Carnegie Hall featuring Barber’s Essay No. 2, Beethoven’s “Eroica”Symphony and Prokofiev’s Piano Concerto No. 3 withpianist Simon Trpceski

• The opportunity to attend a BSO rehearsal for Too Hot To Handel at Carnegie Hall

To enjoy this event or to receive more information, please callJennifer Barton at 410.783.8122 or email [email protected].

>

BSO Board of Directors2010-2011 Season

Musicians perform of a Major Gift dinner.Todd Phillips and Denise Hargrove at a Governing Members Allegretto Dinner.

Endowment (continued)MIE Properties, Inc. / Mr. Edward St. JohnMercantile-Safe Deposit & TrustJoseph & Harvey Meyerhoff

Family Charitable Funds

Sally and Decatur MillerMs. Michelle MogaLouise* and Alvin Myerberg /

Wendy and Howard JachmanNational Endowment for the ArtsMr. and Mrs. Bill NerenbergMrs. Daniel M. O’ConnellMr. and Mrs. James P. O’ConorStanley and Linda Hambleton PanitzCecile Pickford and John MacCollDr. Thomas and Mrs. Margery PozefskyMr. and Mrs. T. Michael PrestonAlison and Arnold RichmanThe James G. Robinson FamilyMr. and Mrs. Theo C. RodgersMr. and Mrs. Randolph* S. RothschildThe Rouse Company FoundationNathan G.* and Edna J. RubinThe Rymland FoundationS. Kann Sons Company

Foundation, Inc. / B. Bernei Burgunder, Jr.

Dr. Henry SanbornSaul Ewing LLPMrs. Alexander J. SchafferMr. and Mrs. J. Mark Schapiro

Eugene Scheffres and Richard E. Hartt*Mrs. Muriel SchillerDorothy McIlvain ScottMrs. Clair Zamoiski Segal and

Mr. Thomas Segal Ida & Joseph Shapiro Foundation

and Diane and Albert ShapiroMr. and Mrs. Earle K. ShaweThe Sheridan FoundationRichard H. Shindell and FamilyDr. and Mrs. Solomon H. SnyderThe St. Paul CompaniesBarbara and Julian StanleyT. Rowe Price Associates Foundation, Inc.The Alvin and Fanny Blaustein

Thalheimer Guest Artist FundAlvin and Fanny B. Thalheimer

Foundation, Inc.TravelersGroupThe Aber and Louise Unger FundVenable LLPWachoviaRobert A. Waidner FoundationThe Whiting-Turner Contracting

Company / Mr. and Mrs. Willard Hackerman

Mr. and Mrs. Jay M. Wilson /Mr. and Mrs. Bruce P. Wilson

The Zamoiski-Barber-Segal Family Foundation

Baltimore SymphonyAssociates ExecutiveCommitteeWinnie Flattery, PresidentLinda Kacur, Recording SecretaryVivian Kastendike, Corresponding SecretaryCharles Booth, TreasurerKitty Allen,

Vice President, CommunicationsMarge Penhallegon,

Vice President, EducationLarry Townsend, Vice President,

Meetings and ProgramsSandy Feldman, Vice President,

Recruitment and MembershipDeborah Stetson, Vice President,

Special Services and EventsLarry Albrecht, Vice President,

Symphony StoreLaVerne M. Grove, ParliamentarianBarbara C. Booth, Past President

The Legato Circle

(F) Founding Member(N) New Member

* Deceased

Anonymous (5)Donna B. and Paul J. AmicoHellmut D.W. “Hank” BauerDeborah R. Berman Mrs. Alma T. Martien Bond*Mrs. Phyllis B. Brotman (F)W. George Bowles*Dr. Robert P. Burchard Mrs. Frances H. Burman*Joseph and Jean Carando* Mrs. Selma CartonClarence B. Coleman*Mr. and Mrs. William H. Cowie, Jr.James DavisRoberta L.* and Richard A. DavisL. Patrick Deering (F)Ronald E. Dencker Freda (Gordon) Dunn

Dr. Perry A. Eagle* (F)H. Lawrence Eiring, CRMCarol and Alan Edelman Anne “Shiny” and Robert

M. Evans Mr. and Mrs. Maurice R.

Feldman Winnie and Bill FlatteryHaswell M. and

Madeline S. FranklinMr. Kenneth J. FreedDouglas Goodwin* Samuel G*. and Margaret

A. Gorn (F)Robert E. Greenfield Sue and Jan K. GubenCarole B. Hamlin Miss M. Eulalia HarbaughMs. Denise Hargrove Gwynne and Leonard HorwitsMr. and Mrs. H. Thomas HowellMr. and Mrs. Richard E. HugJudith C. Johnson*

Dr. and Mrs. Murray M. Kappelman

Miss Dorothy B. KrugRuth and Jay Lenrow Joyce and Dr. Harry Letaw, Jr. Robert and Ryda H. Levi*Bernice S. Levinson Estate of Ruby Loflin-Flaccoe*Mrs. Jean M. Malkmus Ruth R. Marder Mrs. George R. McClellandMr. Roy E.* and Mrs. M. MoonRobert and Marion Neiman Mrs. Daniel M. O’ConnellStanley and Linda

Hambleton PanitzMargaret Powell Payne* Beverly and Sam Penn (F)Mrs. Margery PozefskyG. Edward Reahl, Jr. M.D. Mr. William G. Robertson, Jr.*Randolph S.* and

Amalie R.* RothschildDr. Henry SanbornEugene Scheffres*

and Richard E. Hartt*Mrs. Muriel Schiller (F)Dr. Albert Shapiro*Dr. and Mrs. Harry S. StevensHoward A. and Rena S. Sugar*Roy and Carol Thomas

Fund for the ArtsDr. and Mrs. Carvel Tiekert Leonard Topper Ingeborg B. Weinberger W. Owen and Nancy J. WilliamsCharles and Shirley WunderMr. and Mrs. Calman J.

Zamoiski, Jr.

In 1986, the Board of Directors of the Baltimore SymphonyOrchestra established The Legato Circle in recognition of thoseindividuals who have notified the BSO of a planned gift, includinggifts through estate plans or life-income arrangements.

Bequests and planned gifts are the greatest source of security forthe BSO’s future! The Symphony depends on lasting gifts such asthese to help fund our diverse musical programs and activities.Members of The Legato Circle play a vital and permanent role inthe Symphony’s future.

If you have named the BSO in your estate plans, please contactJoanne Rosenthal at 410-783-8010 or [email protected] to join the Legato Circle.

We gratefully acknowledge the following Donors who have included the Baltimore Symphony Orchestra in their Estate Plans.

Paul MeechamPresident and CEO

Barbara KirkExecutive Assistant

Terry A. ArmacostVice President and CFO

Dale HeddingVice President

of Development

Eileen Andrews JacksonVice President of Marketing

and Communications

Matthew SpiveyVice President of

Artistic Operations

ARTISTIC OPERATIONSToby BlumenthalManager of Facility Sales

Tiffany BryanManager of Front of House

Erik FinleyAssistant to the Music Director

Alicia LinDirector of Operations

Chris MonteAssistant Personnel Manager

Steven ParkerFood and Beverage

Operations Manager

Marilyn RifeDirector of Orchestra Personnel

EDUCATIONCheryl Goodman OrchKids Director of Fundraising

and Administration

Lisa A. SheppleyAssociate Director of Education

Nick SkinnerOrchKids Site Manager

Larry TownsendEducation Assistant

Dan TraheyOrchKids Director of Artistic

Program Development

DEVELOPMENTJennifer BartonDevelopment Program Assistant

Margaret Blake Development Office Manager

Allison Burr-Livingstone Grant Writer

Sarah ChrzanowskiAnnual Fund Coordinator

Alana MorrallDirector of Individual and

Institutional Giving

Rebecca PotterCorporate Relations Coordinator

Joanne M. RosenthalDirector of Major Gifts,

Planned Giving and Government Relations

Elspeth ShawIndividual Giving Coordinator

Richard SperoCommunity Liaison for

BSO at Strathmore

Emily WiseDonor Relations Manager,

BSO at Strathmore

FACILITIES OPERATIONSShirley CaudleHousekeeper

Bertha JonesSenior Housekeeper

Curtis JonesBuilding Services Manager

Ivory MillerMaintenance Facilities

FINANCE AND INFORMATIONTECHNOLOGYJim HerbersonManager of Information Systems

Janice JohnsonSenior Accountant

Evinz LeighAdministration Associate

Sandy MichockiController and Senior Director

of Business Analytics

Carol RhodesPayroll and Benefits Administrator

MARKETING AND PUBLIC RELATIONSRika DixonMarketing Manager

Laura FarmerPublic Relations Manager

Deborah GoetzSenior Director of Marketing

Sarah HallerPR and Publications Coordinator

Derek A. JohnsonMarketing Coordinator,

Advertising and Media

Theresa KopasekMarketing and PR Associate

Samanatha ManganaroDirect Marketing Coordinator

Kristen PohlGroup Sales Manager

Jamie SchneiderMarketing Manager,

E-Commerce and Digital

TICKET SERVICESAmy BruceManager of Special Events

and VIP Ticketing

Gabriel GarciaTicket Services Agent

Adrian HilliardSenior Ticket Services Agent,

Strathmore

Timothy LidardAssistant Ticket Services Manager

Kathy MarcianoDirector of Ticket Services

Peter MurphyTicket Services Manager

Michael SuitTicket Services Agent

Zoë WhitingTicket Services Agent

BALTIMORE SYMPHONYASSOCIATESLarry AlbrechtSymphony Store Volunteer

Manager

Louise ReinerOffice Manager

Baltimore Symphony Staff

Donors and guests with pianist André Watts at a Cast Party.

Dale and Roma Strait attend a BSO event at the Ritz-Carlton Residences, Inner Harbor.

58 Overture


THE FIRST TIME KRISTIN OSTLING heard that she “shredded” on the cello, she didn’t know if it was a compliment or an insult. Shredding,the rock ‘n’ roll term for playing a string instrument skillfully and fast,was a foreign word to the classically trained musician. Now, after several months of performing heavy metal music with the cello rockband Primitivity, Ostling knows how to respond when a fan greets her this way. “Cool,” she says.

Ostling, who joined the BSO as a cellist in 1995, didn’t know muchabout the hard driving guitar-heavy genre of rock known as heavy metal when Primitivity founder Loren Westbrook-Fritts invited her to jointhe band last year. She jumped at the opportunity. “It’s all music to me,”Ostling explains. “It’s just a different style. Like Debussy would be a different style from Bach. Well, this is Metallica-style.”

The cello’s versatile range makes it compatible with rock ‘n’ roll, says Ostling, who recorded an album with the surf punk band CashmereJungle Lords in 1998. “One thing I have to do in the Metallica song‘Master of Puppets’ is play a very low bass line, then I jump way up and play a guitar solo, then jump back down and start doing bass riffsagain,” she says. “I think the cello lends itself to that better than anyother instrument.”

Westbrook-Fritts composes and plays lead in Primitivity, which coverssongs by Megadeth, Metallica and the Finnish cello rockers Apocalyptica.He’s joined onstage by Ostling, percussionist Robby Burns and cellistsDavid Teie of the National Symphony (formerly of the BSO) and MauricioBetanzo of the Maryland Symphony.

The Washington, D.C.-based group released its first album, PlaysMegadeath for Cello, in February to glowing reviews by classical andheavy metal fans alike. Next on their agenda? Recording a CD ofWestbrook-Fritts’ original compositions.

Ostling says someday she’d like to hear Primitivity take on LedZeppelin and Pink Floyd. Until then, she’ll be working on perfecting her heavy metal stage presence, a task that could involve a fair amountof head banging. She is looking to Westbrook-Fritts—who has thewardrobe and a head of heavy-metal-worthy hair of his own—for guidance.

“How do you deal with head banging when your hair gets caught inyour strings?” Ostling asked him. His advice was simple. “You just haveto learn to work it in.”

—Maria Blackburn

KIR

STEN

BEC

KER

MA

N

��

impromptu

M&T Investment GroupSM is a service mark of M&T Bank Corporation and consists of M&T Securities, Inc., the investment-related areas of M&T Bank and investment advisory firms MTB InvestmentAdvisors, Inc., and Zirkin-Cutler Investments, Inc. Brokerage services and insurance products are offered by M&T Securities, Inc. (member FINRA/SIPC), not by M&T Bank. M&T Securities, Inc. islicensed as an insurance agent and acts as agent for insurers. Insurance policies are obligations of the insurers that issue the policies. Insurance products may not be available in all states.Asset allocation does not assure a profit nor protect against loss.©2010 M&T Bank.

It starts with seeing your entire �nancial picture andhow everything can work together – from asset allocation and business succession planning topersonal and commercial insurance. AnM&TWealth Advisor will consult with you to prioritize yourneeds, understand your risks, and provide youwith context on the economy and issues that impact yourbusiness.�en,workingwith you, a strategic plan is constructed, drawing on the expertise ofM&T’steam of specialists.�at’s the power of mSIGHT, the signature approach ofM&T Investment Group.Put it to work today by calling Kevin Burke at 410-545-2189.

M&T Bank services include financial planning, investment management, trust and estate services, custody and employee benefit services. Wealth advisors are employees of M&T Bank and M&T Securities, Inc.

Documents

Overture September-October 2010