november/december issue of applause

The Vital

With Storied Strings,

VIOLIN

inside:Baltimore

Symphony Orchestra

The National Philharmonic

Messiah is a

Washington Performing

Arts SocietyNew Century Chamber

Orchestra makes D.C.-area debut

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2 APPLAUSE NOVEMBER/DECEMBER 2012

preludeAPPLAUSE AT STRATHMORE NOVEMBER/DECEMBER 2012

32 51 12 14

10 The Flight of the Violin The violin’s lasting in!uence in American music

12 A True Wagnerian Opera BSO celebrates 200th anniversary of Richard Wagner’s birth

14 Sing Out, Sisters! Sing the Truth pays homage to African American women in music

15 Need a Little Christmas? Handel’s Messiah means the holidays are near

16 Music for the MassesPre-concert lectures make classical music more accessible

17 The Cats and the Fiddler Violinist Madeline Adkins has a heart for felines

18 Black Box Goes Green CityDance’s new theater is eco-friendly

19 Invest in the Present, Shape the Future New initiatives support The National Philharmonic’s missions

20 The Joy of Music New Century Chamber Orchestra’s excitement is contagious

6 Musings of Strathmore CEO Eliot Pfanstiehl 6 A Note from BSO Music Director Marin Alsop 8 Calendar: January and February performances 80 Encore: National Philharmonic Chorale members and volunteers Jan Schiavone and Ellen van Valkenburgh

30 Baltimore Symphony Orchestra34 National Philharmonic Orchestra and Chorale

Nov. 1 24 / WPAS: Joshua Bell

Nov. 327 / Strathmore: Keb’ Mo’

Nov. 828 / BSO SuperPops: “Songbirds” with Linda Eder

Nov. 9 29 / BSO: Off the Cuff—Beethoven’s Fifth

Nov. 10 32 / The National Philharmonic: Proko!ev—Beyond Peter and the Wolf

Nov. 1136 / Strathmore: Introducing Nathan Pacheco

Nov. 1337 / Strathmore: Rita

Nov. 16 38 / Strathmore: Olivia Newton-John

Nov. 1739 / BSO: Lyrical Dvo!ák and Brahms

Nov. 2342 / Strathmore: Classic Albums Live—Pink Floyd’s Dark Side of the Moon

Nov. 24 44 / Strathmore: Dein Perry’s Tap Dogs

Nov. 29 48 / BSO: Elgar Cello Concerto

Dec. 3 51 / Strathmore: Dave Koz & Friends Christmas Tour 2012

Dec. 6 54 / Strathmore: Natalie MacMaster—Christmas in Cape Breton

Dec. 8, 22 and 23 55 / The National Philharmonic: Handel’s Messiah

Dec. 12 60 / BSO SuperPops: Holiday Pops Celebration

Dec. 13 62 / Strathmore: Mark O’Connor—An Appalachian Christmas

Dec. 15 63 / Strathmore: Mannheim Steamroller Christmas by Chip Davis

Dec. 18 64 / The National Philharmonic: A Festive Evening with the Wash-ington Symphonic Brass

ON THE COVERIllustration by www.JuliaSverchuk.com

APPLAUSE NOVEMBER/DECEMBER 2012 3

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! Strathmore Under the leadership of CEO Eliot Pfanstiehl and President Monica Jeffries Hazangeles, Strathmore welcomes thousands of artists and guests to the Music Center, Mansion and 11-acre campus. As well as presenting performing artists and fine art, Strathmore commissions and creates new works of art and music, including productions Free to Sing and Take Joy. Education plays a key role in Strathmore’s programming, with classes and workshops in music and visual arts for all ages throughout the year. From presenting world-class performances by major artists, to supporting local artists, Strathmore nurtures arts, artists and community through creative and diverse programming of the highest quality. Visit www.strathmore.org.

! Baltimore Symphony Orchestra The Grammy Award-winning Baltimore Symphony Orchestra is internationally recognized as having achieved a preeminent place among the world’s most important orchestras. Under the inspired leadership of Music Director Marin Alsop, some of the world’s most renowned musicians have per-formed with the BSO. Continuing the orchestra’s 96-year history of high-quality education programs for music-lovers of all ages, the BSO presents mid-week education concerts, free lecture series and master classes. Since 2006, the BSO has offered Montgomery County grade schools BSO on the Go, an outreach initiative that brings small groups of BSO musicians into local schools for interactive music education workshops. For more information, visit BSOmusic.org.

! National Philharmonic Led by Music Director and Conductor Piotr Gajewski, the National Philharmonic is known for per-formances that are “powerful” and “thrilling.” The organization showcases world-renowned guest artists in symphonic masterpieces conducted by Maestro Gajewski, and monumental choral masterworks under Chorale Artistic Director Stan Engebretson, who “uncovers depth...structural coherence and visionary scope” (The Washington Post). The Philharmonic’s long-standing tradi-tion of reasonably priced tickets and free admission to all young people age 7-17 assures its place as an accessible and enriching part of life in Montgomery County and the greater Washing-ton area. The National Philharmonic also offers exceptional education programs for people of all ages. For more information, visit www.nationalphilharmonic.org.

! Washington Performing Arts Society For more than four decades, the Washington Performing Arts Society has created profound opportu-nities for connecting the community to artists through both education and performance. Through live events in venues across the D.C. metropolitan area, the careers of emerging artists are guided, and established artists who have close relationships with local audiences are invited to return. WPAS is one of the leading presenters in the nation. Set in the nation’s capital and reflecting a population that hails from around the globe, the company presents the highest caliber artists in classical music, jazz, gospel, contemporary dance and world music. For more information, visit www.WPAS.org.

! CityDance Ensemble CityDance provides the highest quality arts education and performances throughout the metropolitan area including at CityDance Center at Strathmore, where our School, pre-profes-sional Conservatory and Studio Theater are housed. The Resident & Guest Artist Program allows professional dancers and choreographers to create and perform works in a world-class theater. CityDance’s Community Programs provide free performances, after-school programs and camps to over 15,000 students a year in the region’s most under-resourced communities. Visit www.citydance.net.

! Maryland Classic Youth Orchestras Great music, artistry, plus the passion and exuberance of youth come together in one exceptional program—MCYO, the resident youth orchestra at the Music Center. Established in 1946, MCYO is the region’s premier orchestral training program, seating over 400 students in grades 4-12 in one of five quality orchestras. Concerts, chamber music, master classes and more. Discover MCYO. Hear the difference. Visit www.mcyo.org.

! Levine School of Music Levine School of Music, the Washington D.C. region’s preeminent community music school, provides a welcoming environment where children and adults find lifelong inspiration and joy through learning, performing and experiencing music. Our distinguished faculty serve more than 3,500 students of all stages and abilities at four campuses in Northwest and Southeast D.C., Strathmore Music Center and in Arlington, Va. Learn more at www.levineschool.org.

! interPLAY interPLAY company provides adults with cognitive differences with year-round rehearsals and concert experiences performing with traditional musicians. This activity results in a new personal language for those who have no musical education, and enlightened perspectives in the com-munity about who can play serious music. interPLAY is always open for new players, musicians and mentors. Please contact Artistic Director Paula Moore at 301-229-0829.

STRATHMORE

partners

Applauseat Strathmore

Publisher CEOEliot Pfanstiehl

Music Center at Strathmore Founding Partners

StrathmoreBaltimore Symphony Orchestra

Resident Artistic PartnersNational Philharmonic

Washington Performing Arts SocietyLevine School of Music

Maryland Classic Youth OrchestrasCityDance Ensemble

interPLAY

Published by

Editor and PublisherSteve Hull

Associate PublisherSusan Hull

Senior EditorCindy Murphy-Tofig

Design DirectorMaire McArdle

Art DirectorKaren Sulmonetti

Advertising Director Sherri Greeves

Advertising Account Executives

Paula Duggan, Penny Skarupa, LuAnne Spurrell

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Fax: 301-718-1875

Volume 9, Number 2 Applause is published five times a year by

the Music Center at Strathmore and Kohanza Media Ventures, LLC, publisher of Bethesda Magazine. Copyright 2010 Kohanza Media

Ventures. All rights reserved. Reproduction in whole or part without permission is prohibited.

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musings from Strathmore

a note from the BSO

Strathmore has the world on a string—a violin string to be exact. Following our previous successful explorations of the history of the piano and the guitar, Strathmore is embarking on Storied Strings: The Violin in America, an 11-concert series celebrating the foundational role of the violin.

Vice President of Programming and Artistic Director Shelley Brown, who has shepherded Storied Strings along from its inception, puts it beautifully: “The violin, or !ddle, is the common denominator in Native American, African American and European music, forming a link between classical and tradi-tional music.”

To explore the violin’s many in"ections and in"uences, Strathmore is convening masters of many stringed musical genres to the Mansion and Music Center to celebrate generations of American musical exploration and integration—and to glimpse into the future of the instrument—in the 2012-13 season.

The Music Center festivities kick off with Christmas in Cape Breton, featuring the frenetic and vi-vacious !ddlework of Natalie MacMaster. She’ll be illustrating the in"uence of her homeland’s music on New England styles on Dec. 6. The legendary violinist and composer Mark O’Connor takes over the

Concert Hall for a not-to-be-missed tribute to the traditional holiday music of his childhood on Dec. 13.The Music Center excite-ment continues into the New Year with a new program by Alasdair Fraser.

In the Mansion, exciting !rsts from The Carpe Diem String Quartet and Jennifer Koh— who will be making the Washington, D.C.-area debut of her “Bach and Beyond” series—nod to the future of the violin. The Aaron Weinstein Trio, violinist Kristin Lee, the Marian Anderson String Quartet and Artist in Residence alumna Chelsey Green—debuting a new work by composer Robert Miller—will continue the series into the spring.

May your holidays be bright with family and music this whole season long.

Eliot PfanstiehlCEO | Strathmore

Dear Friends,

What a wonderful fall we are enjoying with all of you at Strathmore! Having packed houses and en-thusiastic supporters means everything to us, and the musicians and I loved meeting and greeting you all in the lobby during the intermission of the Preview Concert. It was a fantastic way to kick off this exciting 2012-13 season.

The Baltimore Symphony Orchestra is in the midst of a busy few months, and we couldn’t be having a better time. I am thrilled to welcome two talented artists making their BSO debuts in November: impressive pianist Denis Kozhukhin, whom I will conduct alongside the orchestra in Brahms’ Piano Con-certo No. 2 (Nov. 17), and elegant cellist Sol Gabetta, led by Maestro Mario Venzago in Elgar’s Cello Concerto (Nov. 29). These young artists will electrify the Music Center—catch them while they are here!

Come December, the BSO SuperPops has a thrilling holiday celebration planned (Dec. 12). Featuring Maestro Robert Bernhardt, Daniel Narducci as host and vocalist, and the Baltimore Choral Arts Society

led by Tom Hall, classical favorites, carols and more will be sure to get you in the holiday spirit.

I hope you all have a safe and happy holiday season, and I’ll see you in 2013!

Marin AlsopMusic Director | Baltimore Symphony Orchestra

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Marin Alsop, conductorGarrick Ohlsson, piano

Rachmaninoff: Piano Concerto No. 3BSO Music Director Marin Alsop explores how Rachmaninoff’s music moves us more deeply than ever. SAT., JAN. 19, 8 P.M. The National Philharmonic Brian Ganz Chopin Project Brian Ganz, piano

Chopin: 5 Mazurkas, Op. 7 3 Ecossaises, Op. 72, No. 3 Nocturne in C-sharp minor (Posthu-mous) Prelude in A-flat Major, Op. 28 Ballade No. 1 in G minor, Op. 23 Ballade No. 3 In A-flat Major, Op. 47 24 Preludes, Op. 28 Pianist Brian Ganz’s third recital in his quest to perform all of Chopin’s works over the next decade.

TUES., JAN. 22, 8 P.M. Strathmore presents Sing the Truthwith Angélique Kidjo, Dianne Reeves and Lizz WrightCelebrate the legacies of Miriam Makeba, Odetta and other great female vocalists. Join the pre-concert lecture, Legendary Black Women in the Music Industry: Then and Now, at 6:30 p.m. in The Mansion at Strathmore. Free with concert ticket.

THUR., JAN. 24, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: Hairspray in ConcertJack Everly, conductor John Waters, narrator

This semi-staged concert production features full orchestra, vocalists and John Waters as narrator.

JANUARYSAT., JAN. 5, 8 P.M. SUN., JAN. 6, 3 P.M.The National PhilharmonicMozart and the Voice of the Viola Piotr Gajewski, conductor Stefan Jackiw, violin Victoria Chiang, viola

Telemann: Concerto for Viola Mendelssohn: String Symphony No. 9 Mozart: Sinfonia Concertante Violist Victoria Chiang lends her talents to Telemann’s Concerto for Viola. A free pre-concert lecture will be offered at 6:45 p.m. on Jan. 5 and 1:45 p.m. on Jan. 6. Sponsored by Ameriprise Financial

FRI., JAN. 11, 8 P.M.Strathmore presentsAlasdair Fraser and Natalie HaasJay Ungar and Molly Masonand Dirk PowellRenowned Scottish fiddler Alasdair Fraser leads a jour-ney of traditional American music. This performance is part of Strath-more’s series Storied Strings: The Violin in America. SAT., JAN. 12, 8 P.M. Baltimore Symphony Orchestra Alexander NevskyMarin Alsop, conductorIrina Tchistjakova, mezzo-sopranoBaltimore Choral Arts Society Tom Hall, director

Prokofiev: Alexander Nevsky The BSO and Baltimore Choral Arts Society perform the rousing score as the classic motion picture Alexander Nevsky is shown.

FRI., JAN. 18, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: Rachmaninoff’s Third Piano Concerto

FRI., JAN. 25, 8 P.M.Strathmore presentsLadysmith Black MambazoGrammy Award-winning Ladysmith Black Mambazo returns with music from the ensemble’s most recent album, Songs from a Zulu Farm.

SAT., JAN 26, 8 P.M. SUN., JAN. 27, 3 P.M.The National PhilharmonicLutos!awski’s 100th anniversary: Remembering Rostropovich Miroslaw Jacek Blaszczyk, conductor Dariusz Skoraczewski, cello

Tchaikovsky: Variations on a Rococo Theme Lutoslawski: Cello Concerto Tchaikovsky: Symphony No. 4 Dariusz Skoraczewski commemorates Russian cellist Mstislav Rostropovich and Polish composer Witold Lutos!awski. A free pre-concert lecture will be offered at 6:45 p.m. on Jan. 26 and 1:45 p.m. on Jan. 27. Sponsored by Ameriprise Financial

WED., JAN. 30, 8 P.M.Washington Performing Arts SocietyNadja Salerno-Sonnenberg, violin& New Century Chamber Orchestra

Mendelssohn: String Symphony No. 10Bach: Violin Concerto No. 1 in A minorVilla-Lobos: Bachianas Brasileiras, No. 5R. Strauss: Metamorphosen

Nadja Salerno-Sonnenberg joins the 19-member chamber orchestra for its Washington-area debut. This performance is made possible through the generous support of Bruce Rosenblum and Lori Laitman.

FEBRUARY FRI., FEB. 1, 8 P.M.Strathmore presentsChina National Symphony OrchestraEn Shao, conductorPeng Peng, piano

The program includes works by Chinese composers and Beethoven’s Symphony

[January/February]

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[January/February]

Piotr Gajewski, conductor Danielle Talamantes, soprano National Philharmonic Chorale

Ravel: Bolero Poulenc: Gloria Rimsky-Korsakov: Scheherazade Scheherazade is full of dazzling or-chestration and splendid violin solos. A free pre-concert lecture will be offered at 6:45 p.m.

THURS., FEB. 14, 8 P.M.Strathmore presentsFlamenco Vivo/Carlota SantanaLa Pasión FlamencaExperience the passion, energy and in-tensity of the folkloric fiesta of Flamenco.

SAT., FEB. 16, 8 P.M. Baltimore Symphony Orchestra Wagner’s Walküre Marin Alsop, conductorHeidi Melton, soprano

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No. 7. Join the pre-concert lecture, Western Music in a Changing China, at 6:30 p.m. in the Education Center, Room 402. Free with concert ticket.

SAT., FEB. 2, 8 P.M. Baltimore Symphony Orchestra Pictures at an ExhibitionYan Pascal Tortelier, conductor Orion Weiss, piano

Hindemith: Concert Music for Strings and BrassMozart: Piano Concerto No. 27Mussorgsky (arr. Ravel): Pictures at an ExhibitionOrion Weiss returns with Mozart’s final piano concerto.

THURS., FEB. 7, 8 P.M. Baltimore Symphony Orchestra Stephen Hough Plays LisztHannu Lintu, conductorStephen Hough, piano

Tchaikovsky: Francesca da RiminiLiszt: Piano Concerto No. 2Sibelius: Symphony No. 2Stephen Hough interprets the blistering Piano Concerto No. 2.

SAT., FEB. 9, 8 P.M.The National Philharmonic Philharmonic of Many Colors

Brandon Jovanovich, tenorEric Owens, bass-baritone

Wagner: Die Meistersinger: Prelude to Act IWagner: Tristan und Isolde: Prelude and LiebestodWagner: Die Walküre: Act IWagner’s fiery Act I of Die Walküre is a drama unto itself.

THUR., FEB. 21, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: The Best of Broadway with Ashley BrownJack Everly, conductorAshley Brown, vocalist

Ashley Brown lends stunning richness to beloved Broadway hits.

SAT., FEB. 23, 8 P.M.Strathmore presentsLUMA TheaterLUMA plunges audiences into dark-ness and entrances them with awe-inspiring creations of light.

SUN., FEB. 24, 7 P.M.Washington Performing Arts SocietySimone Dinnerstein, piano

Bach: The Goldberg VariationsHear the masterpiece that launched her career.

THUR., FEB. 28, 8 P.M. Baltimore Symphony Orchestra Mozart’s RequiemIgnat Solzhenitsyn, conductorMadeline Adkins, violinQing Li, violinSusanna Phillips, sopranoMarietta Simpson, mezzo-sopranoNorman Reinhardt, tenor Robert Gleadow, bass-baritone Baltimore Choral Arts Society Tom Hall, director

Arvo Pärt: Tabula RasaMozart: RequiemTabula Rasa features BSO associate concertmaster Madeline Adkins and principal second violinist Qing Li.

[beyond the stage]Strathmore

You Better Shop Around Museum Shop Around is Strathmore’s handmade and art-inspired holiday treasure hunt, where 18 of Washington, D.C.’s museums open pop-up shops in the Mansion at Strathmore. Hours are 10 a.m.- 8 p.m. Nov. 8 and 9, 10 a.m.-6 p.m. Nov. 10 and 10 a.m.-5 p.m. Nov. 11. The Mansion galleries will be bursting with heartfelt holiday gifts, toys, jewelry, one-of-a-kind art, décor and more from The John F. Kennedy Center for the Performing Arts, The Phillips Collection, National Geographic, Shakespeare Theatre Company Shop, the Popcorn Gallery at Glen Echo, President Lincoln’s Cottage, Hillwood Estate, Museum & Gardens and the Audubon Sanctuary Shop, among other museums. Admission is $9 each day; proceeds benefit arts and education programming at Strathmore.

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t came to the New World in the baggage of immi-grants —a link between

the land of opportunity and the old world they left be-

hind. But the story of the violin in America is a rich and complex saga—one that’s being examined in depth this season in Strathmore’s Storied Strings: The Violin in America series.

“We chose this theme and planned events to illuminate the significance of the violin in the American reper-toire,” says series creator Shelley Brown, Strathmore’s vice president of program-ming and artistic director.

Eleven concerts strong, the series ex-plores the versatile violin and the im-pact it’s had on the development of dif-ferent genres of music.

Storied Strings

By Chris Slattery


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MLooking back at American compos-ers such as the Gershwin brothers, Duke Ellington and Leonard Bernstein, Brown says, most people hear one instrument: the piano.

“But there is a violin component every step of the way; in every subculture and every geographical region,” Brown says. “And while this is not an exhaus-tive, thorough retrospective of the in-

THE FLIGHT VIOLIN


partitasand pairs them with works by modern composers.

“I want to come to an understand-ing of how these pieces written 200 years ago by Bach can be so visceral, so mov-ing,” she says. “How does this connect to the present day? It’s about creating a thread to the past.”

Part one of “Bach and Beyond” con-nects Bach’s Partitas Nos. 2 and 3 to works by Ysaÿe, Saariaho, Carter and Salonen. The second part of “Bach and Beyond”—“all about beginnings and who we be-come,” Koh says—features a new work for solo violin by Phil Kline and Bartók’s So-nata for solo violin, bookended by Bach’s Sonata No. 1 and Partita No. 1.

It’s that kind of circular connectivity that Shelley Brown looked for while pro-gramming the series.

“It’s not done on a timeline,” she ex-plains. “We’re trying to tell the stories of the performers, the composers; to repre-sent epochs and classes and tradition—and to surprise and inspire the violin en-thusiasts in our audience.”"

slaves on plantations not only shared their masters’ violins, they built replicas of an instrument they had played back in Africa: the banjo.

“In some ways,” says O’Connor, “It was at the meeting of these two instruments—the European violin and the African banjo—that American music was born.”

Mark O’Connor does a great job of explaining the American violin’s past, but Jennifer Koh illuminates its future.

“For me, music is my entire life,” says Koh. Her “Bach and Beyond” series has made her a champion of critics and au-diences, and it will be a key component of the Storied Strings series at Strathmore. “It’s a metaphor for how I live, and I think art in general is a re"ection of who we are as human beings.”

Koh is on a mission to expand the violin repertoire, something she does flawlessly with “Bach and Beyond.” The series, which is making its Wash-ington, D.C.-area debut at Strathmore, explores the history of the solo vio-lin repertoire from Bach’s sonatas and

strument, it is an effort to tell the sto-ries of the performers, the composers, the music itself.”

Like the stories Mark O’Connor has been immersed in ever since he can remember.

“I grew up around the legend of the music,” says the Seattle-born violinist, a child prodigy and teen virtuoso whose mentors include folk !ddler and innova-tor Benny Thomasson and French jazz violinist and improviser Stephane Grap-pelli. “It wasn’t something I found aca-demically later on: I kept on learning about the violin, yes, but a large part of it I experienced as a kid.”

Those experiences shaped his criti-cally acclaimed album, An Appalachian Christmas, and the live show O’Connor brings to the Music Center at Strath-more on Dec. 13.

O’Connor, who released his !rst pro-fessional recording at age 12, says that he has always been considered a practitio-ner of American music.

“Throughout my career I’ve been asked that question: What is American music?”

It’s a question O’Connor answers through his performances, his lectures and the instructional method he developed to nurture creativity in young violinists. American classical music, he believes, never really developed because composers didn’t receive the kind of financial sup-port European composers enjoyed.

“Take a look at [Charles] Ives,” he says. “His profession was insurance, but some-one with his talent in Vienna would have been commissioned by the Court.”

With no royal patronage, however, the American composers were left to their own devices, and O’Connor paints a vivid picture of how, almost unwitting-ly, a motley collection of pioneers, in-dentured servants, slaves, masters and gentrified landowners created a patch-work of related genres.

“The seeds of the American vio-lin were sown four centuries ago, soon after it arrived in the southern colonies,” O’Connor notes, adding that many

THE MUSIC CENTER AT STRATHMORETHURSDAY, DEC. 6, 2012, 8 P.M. Natalie MacMaster: Christmas In Cape Breton

THURSDAY, DEC. 13, 2012, 8 P.M.Mark O’Connor: An Appalachian Christmas

FRIDAY, JAN. 11, 2012, 8 P.M.Alasdair Fraser and Natalie HaasJay Ungar and Molly Masonand Dirk Powell

SATURDAY, MARCH 2, 2012, 8 P.M. National PhilharmonicThe American Virtuoso ViolinPiotr Gajewski, conductorElena Urioste, violin

THE MANSION AT STRATHMOREWEDNESDAY, NOV. 14, 2012, 7:30 P.M.“Bach and Beyond,” Part IJennifer Koh, violin

THURSDAY, DEC. 13, 2012, 2-3:30 P.M.Mark O’Connor Strings Method for String Teachers

THURSDAY, JAN. 10, 2013, 7-9 P.M.Fiddle Jam/Workshop with Alasdair Fraser

THURSDAY, JAN. 17, 2013, 7:30 P.M.Carpe Diem String Quartet

THURSDAY, FEB. 7, 2013, 7:30 P.M.Aaron Weinstein Trio

THURSDAY, FEB. 28, 2013, 7:30 P.M.“Bach and Beyond,” Part IIJennifer Koh, violin

THURSDAY, APRIL 4, 2013, 7:30 P.M.Kristin Lee, violin

THURSDAY, APRIL 25, 2013, 7:30 P.M.Marian Anderson String Quartet

THURSDAY, MAY 2, 2013, 7:30 P.M.Chelsey Green, violin

Storied Strings: The Violin in America

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Brandon Jovanovich

!BALTIMORE SYMPHONY ORCHESTRA

ichard Wagner not only wrote operas, he lived on an operatic scale, or, per-haps more accurately, on a soap-oper-atic scale. His peripatetic life seethed

with radical politics and romantic in-trigue, and he alternated living in sul-

tanic splendor with being on the lam from debt col-lectors and the law.

Wagner’s greatest patron, King Ludwig of Bavar-ia, was equally mercurial and extravagant. The young king’s !nancial support for the much older Wagner al-lowed the composer to complete his Der Ring des Nibe-lungen, or Ring Cycle, as well as Tristan und Isolde and other works.

Ludwig also bankrolled the construction and opera-tion of the Bayreuth Festival Theatre, which was and remains devoted solely to Wagner’s works. The the-ater, however, was the least of Ludwig’s building proj-ects, and his notorious, nonstop construction of ornate palaces and fantastic castles eventually led to his ouster and what is still considered his suspicious death.

This year marks the 200th anniversary of Wagner’s birth, and in honor of that occasion, on April 19, 2013 at the Music Center at Strathmore, the Baltimore Sym-phony Orchestra will present “A Composer Fit for a King,” which examines the tumultuous relationship be-tween the outsized personalities of Wagner and Ludwig. The evening, part of the BSO’s Off the Cuff series, will feature live theater combined with narrative by BSO Music Director Marin Alsop and the orchestra’s perfor-mance of excerpts from the Ring Cycle.

Writer-director Didi Balle has dubbed this hybrid-ized performance a “symphonic play,” and it is her fourth done in collaboration with Alsop. In 2010,

Wagner portrait by Caesar Willich -1862

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Baltimore Symphony Orchestra celebrates

composer’s work and

looks at his reality

TV-worthy lifestyle

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“Wagner’s life

Matthew Spivey

treat to perform with him.”A New York Times review of Jovanov-

ich’s recent performance as Don José in Carmen lauded the tenor as “theatrically potent” and a “full-blooded” singer, both qualities made to order for Die Walküre, which has a hyperbolic plot involving spousal abuse, abduction, incest and a re-ally big storm.

“The role is pretty darn tough for a tenor,” Jovanovich admits, and adds that singing it requires a lot of pacing. “It’s a real mental game,” he says.

But like Melton, Jovanovich is a big Wagner fan. “The music is raptur-ous,” he says, “one long arc of beauti-ful melody and the constant ratcheting up of emotion. It’s like riding on the water. The ebb and flow is stunning, and everyone is floating and getting swept up in it.”

Melton dittos that sentiment. “Buck-le in,” she warns the Strathmore audi-ences, “because it will be quite a ride.” "

scribed by GBOpera magazine as “a singer of huge potential who is already at home in demanding repertoire,” and Wagner’s repertoire obviously !ts the de-scription of “demanding.”

“In college, they say Wagner is too hard, that it will ruin your voice,” Melton says. “But the first time I sang it, it was like putting a hand in a glove. It !t.”

Melton will be giving her debut per-formance of Isolde’s aria at Strathmore. She !rst heard the music at age 18 and was “paralyzed at the first bar. Then I listened to it ad nauseum for three months,” she says. “I’ve been waiting to sing this aria for 12 years. It is daunting, scary, but incredibly thrilling.”

Sharing the stage with Jovanovich for Act I of Die Walküre should provide a level of comfort for Melton. The two debuted the roles of Sieglinde and Sieg-mund with the San Francisco Opera in 2011. “Brandon,” Melton says, “is the most lovely colleague and person. It’s a JO

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Alsop and Balle teamed up to present “Analyze This: Mahler & Freud,” a sym-phonic play that marked the 100th an-niversary of a meeting between the com-poser and the founder of psychoanalysis.

“Marin likes to get behind the scenes in an anecdotal way, and Wagner’s life has so much rich material to share with the audience,” says BSO Vice President for Artistic Operations Matthew Spiv-ey. “It could easily be the stuff of a reality TV show.”

“Wagner was deeply theatrical,” Balle explains, and supremely capable of “gen-erating backstage drama worthy of the Ring Cycle.” Thus, she explains, her big-gest challenge in writing “A Composer Fit for a King” was to condense a sprawl-ing life into a manageable length—a compunction famously disregarded by the composer himself, whose four-opera Ring Cycle clocks in at more than 15 hours.

Balle’s symphonic play won’t be the BSO’s only salute to Wagner’s 200th birthday. At 8 p.m. Feb. 16, the BSO will present soprano Heidi Melton, tenor Brandon Jovanovich and bass-baritone Eric Owens in an all-Teutonic evening featuring Wagner’s Prelude to Act I from Die Meistersinger von Nürnberg, the Pre-lude and Liebestod from Tristan und Isol-de and Act I from Die Walküre.

The young Melton has been de-

Brandon Jovanovich Heidi Melton


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hen is a tribute concert not a tribute concert?

When it’s Sing the Truth, an evening of searing, soulful music featuring Angélique

Kidjo, Dianne Reeves and Lizz Wright performing some of the most passionate songs ever written.

And while the concert has evolved to include songs by Billie Holiday, Tina Turner, Joni Mitchell, Sade, Tracy Chap-man and Lauryn Hill, Sing the Truth all started with Nina Simone.

“Back in ’04 I was asked to create a tribute to Nina Simone at Carnegie Hall,” says Danny Kapilian, the New

York-based music producer-program-mer behind Sing the Truth, which comes to the Music Center at Strathmore on Tuesday, Jan. 22, 2013. “Lo and behold: it was an enormous success!”

Kapilian decided to try re-creating that success with three of the original concert’s four performers, Kidjo, Reeves and Wright—and a stellar band.

“The three leads wanted to celebrate other great women of music for whom the title Sing the Truth rang true,” ex-plains Kapilian. “Multiple stars, multiple lead singers, 50 songs to choose from—this works from top to bottom.”

Mainly because of the chemistry, not just between the three singers but also

w

!STRATHMORE Strathmore presents

Sing the Truth Tuesday, Jan. 22, 2013, 8 P.M.

Angélique Kidjo, Dianne Reeves and Lizz Wright pay homage to legendary African American women in music with Sing the TruthBy Chris Slattery

sing out, SISTERS!

Lizz Wright, Angélique Kidjo and Dianne Reeves perform songs that speak to them in Sing the Truth.

Enjoy a pre-concert lecture, Legendary Black Women in the Music Industry: Then and Now, at 6:30 p.m. Jan. 22 in the Mansion at Strathmore. The lecture is free with your concert ticket, but seating is limited. For more information, go to www.strathmore.org.

between the entire band, the audience and the music itself.

“We choose what speaks to us,” says four-time Grammy Award winner Dianne Reeves. “Songs that address our hearts and souls, songs about every aspect of life. We do our own songs and the songs of others: songs that mean something. And we invite the audience to be a part of what we do.”

What they do, exactly, is explore the music of legendary African Ameri-can women (and a few legendary white women, too) with a program of classic songs of freedom, transcendence and love.

Reeves says her favorite performers “don’t just sing songs: they live them. Their very life becomes a song, a story.”

And in these stories, in the lives of Miriam Makeba and Odetta and Mar-ian Anderson and Etta James, Reeves and her fellow Sing the Truth stars have found their own voices.

“More than anything we enjoy working together,” she says. “We are right there with each other in the mo-ment, as we celebrate the music of the singers we love, celebrate their lives and legacies.” "


Marin Alsop,

!THE NATIONAL PHILHARMONIC

hough composed as a contemplation during the seasons of Easter and Passover, George Frideric Handel’s much beloved Messiah has

since become more strongly associated with Christmas—and loved the most in a country that didn’t even exist when he wrote it in 1741.

“The Messiah’s popularity is more American than European,” says Nation-al Philharmonic Chorale Artistic Direc-tor Stan Engebretson, who will conduct

the annual holiday concert with the National Philharmonic Orchestra and Chorale at the Music Center at Strath-more. It’s become such a popular Strath-more tradition that there will be three performances of it—8 p.m. on Dec. 8 and 22 and 3 p.m. on Dec. 23.

“My holidays are not complete with-out it,” Engebretson says. “It’s some-thing you come back to each year and it becomes more exciting. Like other pieces such as the Verdi Requiem or Mozart Requiem, each time you do them they become deeper.”

Part of the strength comes from the soloists, which include soprano Dani-elle Talamantes, mezzo-soprano Mag-dalena Wór, tenor Matthew Smith and bass Kevin Deas. The nearly 200-voice chorale is powerful as well, knowing the piece almost by heart.

What makes the audience embrace the work so?

“It’s the music, the clarity and the cleanliness of it,” Engebretson says. “We love Baroque music for its sym-metry. As with Baroque architecture, we see all the beauty and the care with how it all !ts together.”

The chorale will also be included for the !rst time in the annual “A Festive Evening with the Washington Sym-phonic Brass” at 7:30 p.m. on Dec. 18. The concert, partially led by Associ-ate Conductor Victoria Gau, will fea-ture the National Philharmonic Cho-

rale singing variations on Beethoven’s “Ode to Joy.”

“The audience is looking for a musi-cally satisfying experience, but they are also looking for a holiday experience, which has a certain emotional impact,” Gau says.

Phil Snedecor, artistic director of Washington Symphonic Brass, agrees. He’s excited about including “Ode to Joy” in the holiday program. “It’s a very unify-ing, uplifting, spiritual piece,” he says.

In addition to familiar tunes, Snede-cor has included some arrangements of international seasonal favorites from Finland, Norway, Poland and Africa amid more familiar works, such as the spiritual “Go Tell It on the Mountain,” an accompanied reading of “ ‘Twas the Night Before Christmas” and what he calls “a stream-of-consciousness type of medley that takes from our subcon-scious memories of Christmas.”

As with Messiah and all Nation-al Philharmonic concerts, the holiday brass concert will be free to kids age 7 through 17, a tradition that has meant a generation seeing the concerts annu-ally, Engebretson says.

“It’s like a favorite toy under the tree for some of them,” Engebretson says. “You’ll find some of these kids have grown up with the Messiah, saying many years later, ‘I remember the first time I saw it years ago.’ It’s become part of the fabric of their holiday tradition.” "

It’s not the holidays without Handel’s Messiah, Washington Symphonic Brass By Roger Catlin

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need a little CHRISTMAS?


For more information, call 202-686-8000, Ext. 1547.


Pre-concert lectures prepare listeners for Baltimore Symphony Orchestra performances By Roger Catlin

t happened last season at the Music Center at Strathmore, when a lecturer slated to speak before a Baltimore Symphony Orchestra

performance didn’t show up because of a schedule mix-up.

“I happened to be in the audience to attend the lecture and just when people were just starting to !le out and realize that there wasn’t going to be a lecture, I stood up and said, ‘Hey! I know a few things about Mahler!’ ” Jason McCool recalls.

Luckily for McCool and that audi-ence, “I had actually just lectured on him in Baltimore just a couple of days prior. So I went up to the white board, and took out a pen and improvised a 35-minute lecture on Mahler.”

It went over so well BSO of!cials im-mediately asked if he could do more. Thus McCool became host for a series of Strathmore Classical Saturdays. He’ll talk about Proko!ev’s Alexander Nevsky on Jan. 12, 2013, Wagner’s Die Walküre on Feb. 16, 2013, Rachmaninoff on March 23, 2013 and Proko!ev’s Romeo & Juliet on May 25, 2013. (Melin-da Baird will host a separate series of Strathmore Classical Saturdays as well).

The 45-minute classes are free to ticket holders of those performances and are an opportunity to delve into the his-

torical context and the composers. A Boston native who studied jazz

trumpet at the Eastman School of Music in Rochester, N.Y., McCool toured with the modern incarnation of the Tommy Dorsey Orchestra before moving to New York for an acting career. He came to the Washington, D.C. area to be a teaching assistant at the University of Maryland and work on a musicology degree.

A faculty lecturer at the Levine School of Music who has been teaching in recent years at Montgomery College, McCool has also kept active running the social media for the advocacy group theatreWashington.

Therefore, he says, “I know how to work a room.”

McCool’s presentations are super-charged and full of fast moving Pow-erPoint slides in a “TED talk” manner

that young people in particular seem attuned to.

“All too often we go to these con-certs, and we sort of let the music wash over us and we have no idea what we’re supposed to be listening to,” he says.

“Obviously, classical music can be an extremely intimidating thing to peo-ple who aren’t already familiar with it, which probably describes 99 percent of the people under the age of 50 in Ameri-can today.”

His job is to remove any barriers to the music itself and point out “the rel-evance to your life that this music might have.”

Given the success of last year’s im-promptu lecture, McCool says, “I only hope with preparation I can do as good of a job as I did without preparation.” "

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Violinist Madeline Adkins’ heart strings are pulled every time she cuddles kittens at an animal rescue center By Christianna McCausland

he only thing Madeline Adkins is more pas-sionate about than the violin is animals, an interest that began in childhood.

Though raised with cats and dogs, “I have a special place in my heart for cats,” explains the 35-year-old associate concertmaster of

the Baltimore Symphony Orchestra. “I appreciate that they’re unique and have a mind of their own.”

Given the large number of animals in need of homes, Adkins became particularly interested in working as a foster parent. She volunteers once a week at Small Miracles Cat and Dog Rescue in her hometown of Ellicott City, clean-ing, socializing animals and arranging adoptions. Many cats arrive at the no-kill shelter with a brood of kittens in need of affection. If they’re raised by their mothers in the shel-ter, they won’t be socialized to human contact—they’d be basically feral and not !t as pets. Adkins fosters and inter-acts with them until they’re old enough to be adopted. Over four years as a volunteer, Adkins and her husband have cared for and socialized more than 50 kittens.

Adkins, who owns four cats of her own, encourages oth-ers to spay and neuter their pets and to adopt from a shelter. “There are so many cats, even speci!c breeds like Siamese, in every shelter,” she states.

Curbing the population of stray animals remains a chal-lenge: “The animal-rescue world depends on volunteers and what I do is just a small part,” she says. “But if everyone chips in just a little bit, we can move toward a solution to the prob-lem of homeless cats and dogs.”

Playing mother to kittens is hardly a tough job, which makes it a nice counterpoint to Adkins’ demanding schedule of prac-tice, rehearsals and performances with the BSO. “It’s so easy when you’re in a highly focused !eld like classical music to lose perspective that there’s a wider world out there that you can help with,” she states. “This helps keep me grounded.” "

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a 125-seat theater that gives audiences the opportunity to see local, national and international performances.

“The theater is the hub of learning and performing for CityDance Con-servatory. Everything happens in that space—classes, performances, rehears-als, auditions, residencies and musical partnerships,” said Lorraine Spiegler, ar-tistic director of CityDance School and Conservatory. “This space has an inti-mate yet professional quality, allowing us to attract a spectrum of talented pro-fessional artists from all over the world.”

Since it opened in November 2011, the theater has hosted the CityDance Conservatory dancers in many perfor-mances, including an evening with the Baltimore Symphony Orchestra. In ad-dition several artists will hold class-es and residencies in the theater, giv-ing the students the opportunity to work with professionals in a real theater environment.

Such opportunities prepare young dancers for prestigious college pro-grams. CityDance alumni have gone on to the Ailey/Fordham B.F.A. Pro-gram, Point Park University’s Con-servatory of Performing Arts and the Conservatory of Dance at SUNY Pur-chase, among other schools.

“Because of this dynamic green space, a new generation of dance has found its home here at the Music Center at Strathmore,” Spiegler said. "

!STRATHMORE

ityDance has been nurturing students’ love of contempo-rary dance through its Strathmore pro-g r a m m i n g s i n c e

2005. Now, CityDance is giving back to Montgomery County and the global community with an eco-friendly black box theater, the CityDance Studio Theater at Strathmore.

The new theater features LED and HID lights, which decrease the amount of electricity needed to illuminate the space. Insulation shades over windows also reduce heating and cooling costs. In the next phase, CityDance will in-stall solar panels on Strathmore’s roof that will provide energy for the theater and dispatch surplus energy throughout the building.

“CityDance is constantly thinking of ways to give back to the community by providing transformative experienc-es that are both artistically meaning-ful and educational for audiences,” said Alexe Nowakowski, CityDance execu-tive director. “The green theater further ful!lls this goal by prompting conversa-tion and providing a new type of educa-tional opportunity for patrons.”

By day, the theater is used as a re-hearsal space for the more than 600 stu-dents enrolled at CityDance Center at Strathmore.

At night, the space transforms into

CityDance’s new theater marries performance, education and community service By Caroline Gerdes

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CITYDANCE STUDIO THEATER AT STRATHMORE

UPCOMING PERFORMANCESTicket prices range from $15 to $25. Tickets will be on sale at Strathmore’s box office.

FRIDAY, NOV. 2 AND SATURDAY, NOV. 3, 2012, 8 P.M. Hubbard Street 2 & CityDance Conservatory Dancers

SATURDAY, DEC. 1, 2012, 8 P.M. SUNDAY, DEC. 2, 2012, 7:30 P.M. Erica Rebollar/Rebollar Dance in Space Junk* MONDAY, FEB. 18, 2013 Discover Strathmore Open House per-formances featuring dancers from City-Dance School & Conservatory. The free performances take place throughout the day.

SATURDAY, FEB. 23, 2013, 5 P.M. and 8 P.M.SUNDAY, FEB. 24, 2013, 1 P.M. and 6 P.M.The CityDance Conservatory Dancers’ Creating the Magic Concert

SATURDAY, APRIL 27, 2013, 7:30 P.M. SUNDAY, APRIL 28, 2013, 6 P.M. Asanga DomaskNruthya Manjarie

* Tickets for this performance will be avail-able through www.CulturalDC.org and not Strathmore’s box office.

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!THE NATIONAL PHILHARMONIC

before a concert, and stretch their legs and enjoy snacks during intermission.

The National Philharmonic’s many programs include educational outreach programs to area students. That out-reach inspired Claysmith to step up her commitment to the Philharmonic.

“One of the greatest rewards for be-coming an annual National Philharmon-ic donor is the satisfaction of supporting local arts and local artists,” said Oldham. “By supporting The National Philhar-monic, you are supporting our roots in this community,’’ Oldham said. “It is the purist sense of community engagement and community involvement.’’ "

ongtime National Phil-harmonic donor Anne Claysmith knows the impact educational outreach can have.

While growing up in Arizona, one of Claysmith’s instructors, Sister Mary St. Donald, taught the !fth-graders a Gregorian chant and a Requi-em for infants in Latin. “I will never for-get her,’’ Claysmith said.

Claysmith sang throughout high school and in college. She joined the National Philharmonic Chorale 15 years ago when it was called Masterworks.

“I just love to be able to sing with oth-ers and to perform live in front of an au-dience,’’ Claysmith said. “I want to pre-serve that for myself and others.’’

This season, The National Philhar-monic is introducing new ways for do-nors and ticket subscribers to get more excited about and involved in the or-ganization. By leaving a legacy or long-term committed gift and naming a prin-cipal’s chair or concertmaster’s seat, donors will have the opportunity to etch their names into the structural frame-work of The National Philharmonic.

“The time to engage is now,” said Ken Oldham, president of The Nation-al Philharmonic. “The National Philhar-monic is in a period of change.”

Government funding is expected to be cut by $150,000, with the first year of the cuts beginning July 1, 2013. That

New initiatives help donors support The National Philharmonic’s missions to educate children and support artists By Meredith Carlson Daly

amounts to 6 percent of the organiza-tion’s $2.5 million annual budget, Old-ham said. Over six years, the cut will ac-cumulate to a 22 percent reduction.

“This presents a !nancial challenge,’’ Oldham said. “The need is crystal clear,’’ he added, “but one that is surmountable with the support of our donors.’’

“In this day and age, every single donor, whether they are a subscriber or donating back the value of one ticket, is invaluable to us,’’ said Leanne Ferfolia, director of development.

The National Philharmonic has more than 400 donors; about 35 percent of them are major donors, contributing $1,000 and above. Gifts of $125 or more are recognized in Applause magazine. Higher-level contributors receive bene!ts that include access to the private Com-cast Circles Lounge, where donors can often meet performers and special guests C

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Benefits to supporting The National Philharmonic include access to the Comcast Lounge before performances and during intermission.

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invest in the present, SHAPE THE FUTURE

For more information about contributing to The National Philharmonic, visit www.nationalphilharmonic.org or contact Leanne Ferfolia at [email protected].

!WASHINGTON PERFORMING ARTS SOCIETY

music

New Century Chamber Orchestra—led by

music director/violinist Nadja Salerno-Sonnenberg

—promises plenty of excitement during its

Washington, D.C.-area debut

By Pamela Toutant

Washington Performing Arts Society presentsNadja Salerno-Sonnenberg and New Century Chamber Orchestra Wednesday, Jan. 30, 2013, 8 P.M.

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here will be no con-ductor’s "ailing arms or excited gesticula-tions during the all-string New Century Chamber Orchestra’s

area debut later this season. But there will still be plenty of excitement.

The orchestra—led by music direc-tor, concertmaster and renowned vio-linist Nadja Salerno-Sonnenberg—is one of only a handful of conductorless ensembles in the world. “I do lead from the concertmaster chair, but do not conduct in the conventional sense,” ex-plains Salerno-Sonnenberg. This cre-ates the conditions for exciting musical collaborations, she says.

Launched in 1992 in the San Fran-cisco Bay area and directed since 2008 by Salerno-Sonnenberg, the 19-mem-ber orchestra has become one of the most impressive and increasingly pop-ular chamber orchestras at work today. The ensemble will make its Washing-ton, D.C.-area debut Jan. 30, 2013 at the Music Center at Strathmore. The performance will be presented by the Washington Performing Arts Society.

“When I began with the orches-tra,” says Salerno-Sonnenberg, “the or-chestra was known in the Bay area, but they didn’t know how good they were or how far they could reach. Now when we go on tour and hear the thunder-ous applause, they realize that they are a part of a unique and hot ensemble.”

And an ensemble where musicians feed off each other’s creativity.

“From the first rehearsal, making decisions about how to approach the music is a very democratic process,” says Salerno-Sonnenberg. “The musi-cians are very, very talkative. We have the intelligence and experience of all 19 musicians putting in their two cents. We have become a family and have built up a tremendous amount of trust.”

The collaborative process also pro-duces stellar individual and group per-

formances. “In a conductorless ensem-ble, the musicians have to be more alert; the level of concentration, pre-cision and playing all gets bumped up,” notes Salerno-Sonnenberg. “Given my background as a soloist, my challenge has been to lead but at the same time blend. On the other hand, as a soloist, I have no fear. Ultimately in our per-formances, they will follow me where I lead.”

Because the musicians have to rely on each other, performances are as much a visual experience as an audi-tory one. Salerno-Sonnenberg’s highly expressive—at times volcanic—perfor-mance style combined with the con-stant flow of eye contact and engage-ment between the musicians makes the orchestra’s excitement and joy particu-

larly contagious for audiences. “Our members are all excellent mu-

sicians who play in other ensembles and orchestras,” says Salerno-Sonnenberg. “But when they come to New Century practices and performances, they come with a very different mindset. It is like going from regular TV to HD.”

The January concert opens with Mendelssohn’s effervescent String Sym-phony No. 10. “This is a vibrant appetiz-er for the audience and it charges up the orchestra,” says Salerno-Sonnenberg. Bach’s lively Violin Concerto No. 1 in A Minor follows and showcases the virtuo-sic Salerno-Sonnenberg as soloist.

Twentieth-century Brazilian com-poser Heitor Villa-Lobos’ famous Ba-chianas Brasileiras No. 5 appears next on the program. Although this sublime piece was originally written for voice and cellos, the New Century Cham-

ber Orchestra had the work specially ar-ranged for the ensemble.

The program !nale features Strauss’ lush Metamorphosen, which is, accord-ing to Salerno-Sonnenberg, “the height of great string composition. It is one of the greatest pieces of music ever writ-ten—a masterpiece.” Strauss wrote the work for 24 solo instruments, which means that everyone in the orches-tra will have his or her own parts and moments.

In addition to playing well-known repertoire, the New Century Cham-ber Orchestra is committed to provid-ing audiences with a deeper under-standing of today’s living composers by commissioning and performing new works. Highlighted composers include Clarice Assad, William Bolcom, Mark

O’Connor and Ellen Taaffe Zwilich. Under Salerno-Sonnenberg’s leader-

ship during the past few years, the New Century Chamber Orchestra has record-ed several CDs and recently released a DVD titled, On Our Way, which fea-tures electrifying footage of the group’s performances and comments by Saler-no-Sonnenberg. “While the New Cen-tury Orchestra is an all-string ensemble, smaller than a symphonic string section, our sound is rich and grand. Nothing is missing,” she says.

“Playing with New Century is the most vibrant music-making experience I have had,” enthuses Salerno-Sonnen-berg. “While I’ve played Strathmore many times, I am particularly excited to be returning in January for New Centu-ry’s Washington-area debut. Get ready to experience the joy.” "

“While the New Century Orchestra is an all-string ensemble… our sound is rich and grand. Nothing is missing.”

Nadja Salerno-Sonnenberg

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THURSDAY, NOVEMBER 1, 2012, 8 P.M.

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Joshua Bell, violinSam Haywood, piano

Rondo brillant in B minor for Violin Franz Schubert and Piano, D.895

Violin Sonata in E-flat Major, Op. 18 Richard Strauss

INTERMISSION

Violin Sonata No. 2 in D Major, Op. 94bis Sergei Prokofiev

Additional works to be announced from the stage.

Joshua Bell, violin

Joshua Bell has enchanted audiences worldwide with his breathtaking virtu-osity and tone of rare beauty. Bell, an Avery Fisher Prize recipient and Mu-sical America’s 2010 Instrumentalist of the Year, is the new music director of The Academy of St. Martin in the Fields.

Bell came to national attention at age 14 in his debut with Riccardo Muti and the Philadelphia Orchestra. Today

he is equally at home as a soloist, cham-ber musician, orchestra leader and com-poser who performs his own cadenzas to several of the major concerto repertoire.

Bell’s 2012 summer appearances in-cluded the premiere of a new concer-to for violin and double bass by Edgar Meyer that was performed by them at Tanglewood, Aspen and the Hollywood Bowl. He kicked off the San Francisco Symphony’s fall season and is sched-uled to perform with the Philadelphia Orchestra and the Boston, Seattle, Omaha, Cincinnati and Detroit sym-phonies. Fall highlights also include a tour of South Africa, a European tour with the Academy of St. Martin in the Fields and a European recital tour with Sam Haywood.

In 2013 Bell will appear in a U.S. tour with the Cleveland Orchestra and a European tour with the New York Philharmonic, as well as performances with the Tucson, Pittsburgh, San Diego and Nashville symphony orchestras.

Bell released French Impressions, his new album of French sonatas with pia-nist Jeremy Denk, in January 2012. An exclusive Sony Classical artist, Bell has recorded more than 36 CDs garnering Mercury, Grammy, Gramophone and Echo Klassik awards. Recent releases include At Home With Friends, the De!-ance soundtrack, Vivaldi’s The Four Sea-sons and The Tchaikovsky Violin Concerto with the Berlin Philharmonic. His CD Romance of the Violin was named Bill-board’s 2004 Classical CD of the Year and Bell was named Classical Artist of the Year. He has recorded critical-ly acclaimed performances of Sibelius and Goldmark and the Beethoven and Mendelssohn concertos both featuring his own cadenzas; and the Oscar-win-ning soundtrack, The Red Violin.

In 1989, Bell received an artist diplo-ma in violin performance from Indiana University, where he currently serves as a senior lecturer at the Jacobs School of Music. His alma mater honored him with a Distinguished Alumni Service Award, and he has also received the In-diana Governor’s Arts Award.

Other honors include receiving the 2008 Academy of Achievement Award, BE

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given by the non-pro!t Education Through Music, for exceptional accom-plishment in the arts. In 2007 he was awarded the Avery Fisher Prize and was recognized as a young global leader by the World Economic Forum. He was in-ducted into the Hollywood Bowl Hall of Fame in 2005.

Bell serves on the artist committee of the Kennedy Center Honors and is on the board of directors of the New York Philharmonic. He has performed before President Barack Obama at Ford’s The-atre and at the White House. In addi-tion, he returned to Washington, D.C. in February 2012 to perform for Vice President Joe Biden and Xi Jinping, vice president of the People’s Republic of China.

Bell received his !rst violin at age 4 and by age 12 was serious about the in-strument thanks to violinist and ped-agogue Josef Gingold. He performs on the 1713 Gibson ex Huberman Stradivarius.

Sam Haywood, piano

Sam Haywood is a critical-ly acclaimed British pianist whose perfor-mances have thrilled audi-ences world-wide. Hay-

wood is a regular partner to violinist Joshua Bell, with whom he tours this season to China, Europe and the Unit-ed States. He also regularly appears with cellist Steven Isserlis.

Chopin has been a central theme throughout Haywood’s musical life. Haywood’s latest release, Chopin’s Own Piano, is the !rst to have been made on Chopin’s own 1846 Pleyel piano. To cel-ebrate the Chopin anniversary, he per-formed at Lancaster House with Isserlis in the presence of HRH Princess Alex-andra on the same day and at the same venue as Chopin’s own performance for Queen Victoria and Prince Albert in 1848.

Haywood has composed several small-scale works for solo piano and

various duos, including the “Song of the Penguins,” published by Emerson Edi-tions, which was inspired by the !lm March of the Penguins. He is also in-volved in educational projects and has co-written a children’s opera.

Haywood began playing the piano at age 4, inspired by evenings listening to crackly LPs of Beethoven sonatas with his grandmother. Following his success at age 13 in the BBC Young Musician of the Year competition, he received the Isserlis prize from the Royal Phil-harmonic Society and later studied with Paul Badura-Skoda, and at the Royal Academy of Music with the late Maria Curcio, a pupil of Artur Schnabel.

Haywood is keen to include lesser-known works in his solo recital pro-grams. Rosetti, Gade, Franz Xaver Mo-zart, Alkan, Field, Isserlis, McLeod (commission) and Hummel have re-cently been featured. He has also edited a new edition of piano works by Julius Isserlis and Carl Frühling’s Clarinet Trio, and a new solo piano transcription of the Romance from Chopin’s First Piano Concerto.

In addition to his solo and chamber music career and his work as a compos-er, Haywood also is a transcriber and ar-tistic director of the Solent Music Festi-val in England.

Outside his musical world he is pas-sionate about wildlife, hiking in his na-tive England’s Lake District, magic, lit-erature and technology.

Program NotesRondo brillant in B minor for Violin and Piano, D.895

Franz Schubert Born Jan. 31, 1797 in Vienna; died Nov. 19, 1828 in ViennaSchubert composed the Rondo brillant in B minor for Violin and Piano in Oc-tober 1826, and it was published the following year, one of his few works to appear in print during his lifetime. Schubert wrote this music for the Bo-hemian violinist Josef Slavik and pia-nist Karl von Bocklet, who were active in promoting Schubert’s music during

the !nal years of his all-too-brief life. Schubert played both violin and piano, so the graceful and idiomatic writing for the two instruments here is no surprise, but the unusual feature of this music is its dif!culty. Perhaps the knowledge that he was writing for virtuoso players encouraged Schubert to compose very demanding music, and one of the early reviewers in Vienna noted, “Both the pianoforte and the !ddle require a prac-ticed artist, who must be prepared for passages which have not by any means attained to their right of citizenship by endless use, but betoken a succession of new and inspired ideas.” The music’s publisher also recognized its dif!cul-ty: Schubert had himself called it only Rondo, but the publisher added the ad-jective brillant.

The Rondo brillant is in two parts: a slow introduction followed by the ani-mated rondo. The opening Andante alternates the piano’s pounding dot-ted chords with !ery runs from the vi-olin, and this music in turn frames a haunting middle section that Schubert marks dolce. The introduction con-cludes with an almost timid two-note cadence: B rising to C-sharp. But this restrained !gure promptly becomes the basis for the rondo itself, marked Alle-gro: both violin and piano hammer it out to launch the rondo, and this rising motif will !gure as an important the-matic element throughout. The rondo section itself combines equal parts vir-tuosity (busy passagework, high posi-tions, surprising accidentals and dif-!cult string-crossing) with the most melting lyricism, as Schubert breaks into the bustle of this music with gen-tle interludes. Along the way, he brings back reminiscences of the slow intro-duction before a più mosso coda drives this music to its spirited close.

Violin Sonata in E-flat Major, Op. 18

Richard Strauss Born June 11, 1864 in Munich; died Sept. 8, 1949 in Garmisch-Partenkirch-en, Germany

The Violin Sonata came at a pivot-al point in Richard Strauss’ career. He H

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sunniest compositions. There is no hint in this music of the war raging in Russia at this time, none of the pain that runs through the earlier sonata. The third movement is quietly wistful and the music is full of Proko!ev’s characteristi-cally pungent harmonies, but the sona-ta is generally serene, a retreat from the war rather than its mirror.

The sonata is in the four-movement slow-fast-slow-fast sequence of the Ba-roque sonata. The opening Moderato, in sonata form, begins with a beautifully poised melody for the violin, a theme of classical purity. The violin also has the second subject, a singing dotted melody. Proko!ev calls for an exposition repeat, and the vigorous development leads to a quiet close on a very high restatement of the opening idea.

The Presto sounds so brilliant and idiomatic on the violin that it is hard to imagine that it was not conceived origi-nally for that instrument. This move-ment was in fact marked Allegretto scher-zando in the "ute version, but—taking advantage of the violin’s greater ma-neuverability—Proko!ev increased the tempo to Presto in the violin version, making it a much more brilliant move-ment. It falls into the classical scher-zo-and-trio pattern, with two blazing themes in the scherzo and a wistful mel-ody in the trio. The end of this move-ment, with the violin driving toward the climactic pizzicato chord, is much more effective in the violin version than in the original.

The mood changes markedly at the Andante, which is a continuous "ow of melody on the opening violin theme. The violin part becomes more elabo-rate as the movement progresses, but the quiet close returns to the mood of the beginning. The Allegro con brio !nale is full of snap and drive, with the violin leaping throughout its range. At the cen-ter of this movement, over steady piano accompaniment, Proko!ev gives the vio-lin one of those bittersweet melodies so characteristic of his best music. Gradu-ally the music quickens, returns to the opening tempo, and the sonata "ies to its resounding close.

Program notes by Eric Bromberger

wrote it in 1887-88, when he was only 24 and just beginning work on the sym-phonic poem Don Juan. The success of Don Juan would lead Strauss to concen-trate on the symphonic poem and later on opera; the Violin Sonata, in fact, was his !nal piece of chamber music. Com-ing at so important an intersection in his career, the Violin Sonata shows fea-tures of both the world Strauss was leav-ing and the world he was about to enter. In its structure and harmonic language, the sonata looks back to the classical tradition of Brahms and Schumann, but in its dramatic scope and the sheer pa-nache of the writing, it looks ahead to the symphonic poems.

Not all listeners have found this com-bination convincing, and some have questioned whether Strauss’ Violin So-nata, full of volcanic fury and dense tex-tures, is chamber music at all. Strauss’ biographer Norman Del Mar notes that “the piano part resembles nothing so strongly as a Liszt Piano Concerto, while the violin line…rather suggests a full body of strings.” The fusion of styles in Strauss’ Violin Sonata can be jarring, but this is nevertheless brilliant, excit-ing music.

Strauss played both piano and vio-lin, and the writing for the two instru-ments is virtuosic. The piano opens the Allegro, ma non troppo, and its !rst !gure—immediately picked up the by the violin—contains the rhythmic cell that will animate the entire move-ment: a sixteenth-note pickup lead-ing into a triplet. This !gure, full of the rhythmic snap so typical of Strauss’ tone poems, recurs throughout the move-ment. The second theme soars through a range of two and a half octaves, while the third—marked appassionato—climbs into the violin’s highest register. This sonata-form movement, marked by an exceedingly active development, closes on a restatement of the !rst idea.

The Andante cantabile was written after the outer movements were com-pleted and published separately under the title Improvisation. It is in ABA form, with an opening section that has reminded many of Mendelssohn’s Songs Without Words. The interior sequence

is impassioned, with the violin line riding high above shimmering arpeg-gios of 64th-notes in the piano; Strauss quotes Schubert’s song Erlkönig in the turbulent middle section and the slow movement of Beethoven’s “Pathétique” Sonata in the coda.

Nowhere does the transitional na-ture of this sonata appear more clear-ly than at the opening of the "nale. After an Andante introduction that sounds as if it might have been writ-ten by Brahms, the !rst theme rockets upward at the Allegro, sounding very much like the great upward rush of or-chestral sound at the beginning of Don Juan, written at almost the same time. The !nale is much in the manner of the opening movement, with an espres-sivo second theme, a soaring third and a superheated development. The coda is a graceful and imaginative extension of the opening theme.

Violin Sonata No. 2 in D Major, Op. 94bis

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

This sonata, probably the most popu-lar violin sonata composed in the 20th century, was originally written for the "ute. But when David Oistrakh heard the premiere on Dec. 7, 1943, he imme-diately suggested to the composer that it was ideal music for the violin. Together, composer and violinist prepared a ver-sion for violin and piano, and Oistrakh gave the !rst performance of this ver-sion on June 17, 1944. The music re-mains very much the same (the piano part is identical in both versions), but Proko!ev altered several passages to eliminate awkward string crossings for the violinist and added certain violinis-tic features impossible on the "ute: piz-zicatos, doublestops, harmonics. Ironi-cally, the violin version, which pro!ts enormously from the "exibility and range of sound of the violin, has become much more popular than the original.

In contrast to the bleak First Violin Sonata (which the composer said should sound “like wind in a graveyard”), the Second Sonata is one of Proko!ev’s

Saturday, November 3, 2012, 8 p.m.


who became inspired by the force of African-American legacy. In the storied tradition of Muddy Waters (formerly McKinley Morgan!eld) and Taj Mahal (who began as Henry St. Clair Fredericks), Moore became known as Keb’ Mo’.

His music is also a purely post-mod-ern expression of the artistic and cul-tural journey that has transformed the blues, and his own point of view, over time. His distinctive sound embraces multiple eras and genres, including pop, rock, folk and jazz. Keb’ Mo’s sound owes as much to contemporary music’s singer-songwriter movement, encompassing his longtime friends and collaborators Bonnie Raitt and Jack-son Browne, as to the spirit of blues godfather Robert Johnson that dwells in his work. For Keb’ Mo’, the com-mon bond between these in"uences is the underlying storytelling ethic, the power of song to convey human experience and emotional weight.

Keb’ Mo’ is a three-time Grammy winner for Contemporary Blues Album and was Grammy-nominated for Country Song of the Year for “I Hope,” which he co-wrote with the Dixie Chicks. His songs have been covered by B.B. King, Wynonna Judd, Joe Cocker, Buddy Guy, Robert Palmer and Tom Jones, among oth-ers. On camera he has appeared and performed music for television shows including The West Wing and Memphis Beat, and in motion pictures including

SATURDAY, NOVEMBER 3, 2012, 8 P.M.

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Keb’ Mo’

Keb’ Mo’

Singer-songwriter and guitarist Keb’ Mo’s music is a living link to the seminal Delta blues that traveled up the Mississippi River and across the expanse of America, informing all of its musical roots before evolving into a universally-celebrated art form.

Born Kevin Moore in Los An-geles to parents originally from the Deep South, he adopted his stage name when he was a young player

John Sayles’ Honeydripper and Martin Scorcese’s PBS special Feel Like Going Home and concert documentary Light-ning in a Bottle.

The Re"ection is the !rst new studio album by Keb’ Mo’ since Suitcase in 2006. The record’s 12 songs are the product of an important period of personal and professional growth; in between albums he started a new fam-ily, moved from Los Angeles to Nash-ville, built a home studio and founded his own label, Yolabelle International, distributed by Ryko and the Warner Music Group.

“I worked on this record for the better part of two years,” Keb’ Mo’ says of The Re"ection. “It took me some time as this was an education-al process for me and my engineer John Schirmer. I didn’t want to let it go until I had something that I was proud to share with the public. It’s the culmination of all of my in"uences throughout my career.”

In sound and spirit, The Re"ection is closer to the work of African Amer-ican “folk soul” singer-songwriters such as Bill Withers, Bobby Womack and Terry Callier. The Re"ection brings together all of Keb’ Mo’s diverse in"u-ences, from pre-disco R&B to Ameri-can folk and gospel to rock and blues.

Through all the changes of the past several years, Keb’ Mo’ found time to play hundreds of shows on several con-tinents, all while writing for The Re"ec-tion. The album features notable guests including Vince Gill, India.Arie, Dave Koz and veteran session guitarist David T. Walker.

Other projects Keb’ Mo’ has worked on include soundtracks for the !lms One Fine Day, Tin Cup, Mad-eline, Who Do You Love and Down in the Delta. He also worked performed “I’m So Lonesome I Could Cry” on the album Timeless, a Hank Williams tribute, and hosted The Blues, a se-ries of 13 hour-long programs for Pub-lic Radio International. He also per-formed in In!nity Hall Live, a public television series that featured con-certs from the historic In!nity Hall in Connecticut.



Linda Eder

Showcasing one of the greatest con-temporary voices of our time, Linda Eder’s diverse repertoire spans Broad-way, standards, pop, country and jazz.


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“Songbirds” with Linda EderLinda Eder, vocalist

Program to be announced from the stagePlease note: The BSO does not perform on this program.

Most recently, Eder crowned her two-decade recording career with a new album, Now, which reunites Eder with Broadway and pop compos-er Frank Wildhorn. Eder auditioned before Wildhorn for the role of Lucy Harris in his production of Jekyll & Hyde. She appeared in that and in several other musicals by Wildhorn.

Her career soared after appear-ing on Star Search in the 1987 sea-son, where she won for an unprec-edented 12 consecutive weeks. This TV success led to a leading role on Broadway as Lucy Harris in Jekyll & Hyde, where she was nominated for a Drama Desk Award and an Outer Critics Circle Award. Other theater credits include the musicals Svengali, The Civil War and Camille Claudel.

Eder launched her recording ca-reer in 1991 with her self-titled debut album. She soon established her niche as an interpreter of pop stan-dards and theatrical songs with such releases as And So Much More, It’s No Secret Anymore, Christmas Stays the Same, Gold, Storybook, Broadway My C

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Way and By Myself: The Songs of Judy Garland. She followed up with The Other Side of Me, a country pop blend of contemporary music.

She also appears on the Broad-way cast recording for Jekyll & Hyde and the concept albums for The Scar-let Pimpernel, Cyrano de Bergerac and Tears of Heaven. Eder also sang the part of Wendy in the world premiere recording of Leonard Bernstein’s complete score for Peter Pan, released in 2005.

In the fall of 2010 Eder released Soundtrack. The 12 tracks span the last 50 years in cinema, from Henry Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Fall-ing Slowly,” which won an Academy Award for Best Original Song in 2007

In June 2010 Eder and Clay Aiken covered Roy Orbison’s “Crying” as a duet on Aiken’s new album Tried & True. Recently she was featured on the PBS specials Tried & True and Hallelujah Broadway.

The concert stage remains the mainstay of Eder’s career. She has performed for sold-out crowds and venues across the country and throughout Europe. Her concerts have been televised on Bravo and PBS. Trail Mix, her primetime Ani-mal Planet special, was a natural ex-tension of her love of animals. In addition, she has made frequent ap-pearances on Late Show With David Letterman, The Rosie O’Donnell Show and Live with Regis and Kathie Lee.

Eder has performed at many pres-tigious venues such as Carnegie Hall, the Kennedy Center, Davies Hall, Radio City Music Hall, Wolf Trap and the Ravinia Festival. Eder has collaborated with the late Acad-emy Award-winning composer pia-nist Marvin Hamlisch, Tony-winner Michael Feinstein and Keith Lock-hart, conductor of the Boston Pops Orchestra.

Eder has cited Barbra Streisand and soprano Eileen Farrell among her inspirations, and has called Judy Gar-land her greatest in"uence.

Friday, November 9, 2012, 8:15 p.m.


Marin Alsop, conductor

Hailed as one of the world’s leading con-ductors for her ar-tistic vision and commitment to ac-cessibility in classical music, Marin Alsop made history with her

appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in Septem-ber 2007, she became the !rst woman to head a major American orchestra. She also holds the title of conductor emeri-tus at the Bournemouth Symphony Or-chestra in the U.K., where she served as the principal conductor from 2002 to 2008, and is music director of the Ca-brillo Festival of Contemporary Music in California.

In 2005, Alsop was named a MacArthur Fellow, the !rst conductor ever to receive this prestigious award. In 2007, she was honored with a Euro-pean Women of Achievement Award.

FRIDAY, NOVEMBER 9, 2012, 8:15 P.M.

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Off the Cuff: Beethoven’s Fifth Marin Alsop, conductor

Symphony No. 5 in C Minor, Op. 67 Ludwig van Beethoven

In 2008, she was inducted as a fellow into the American Academy of Arts & Sciences, and in 2009 Musical Ameri-ca named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music director of the Orques-tra Sinfônica do Estado de São Paulo, or the São Paulo Symphony Orchestra, ef-fective for the 2012-13 season. And in March 2011, Alsop was named to The Guardian’s Top 100 Women list. She was also named an artist-in-residence at the Southbank Centre in London in 2011.

Alsop is a regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra and London Symphony Orchestra.

Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conduct-ing career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.D

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Program NotesSymphony No. 5 in C Minor

Ludwig van Beethoven Born Dec. 17, 1770 in Bonn, Germany; died March 26, 1827 in Vienna, Austria

For many generations, Beethoven’s Fifth has de!ned the symphonic experience in the popular imagination, just as Hamlet stands for classical drama and Swan Lake for the ballet. It established the dramatic scenario of the symphony as a heroic pro-gression from tragedy to triumph—and musically here from the minor mode to the major—that was imitated by count-less later composers from Brahms to Shostakovich.

Europe was a troubled place when Beethoven wrote this work. The Napole-onic Wars surged across Europe, and the martial tone of many of the Fifth’s themes and the prominent role for trumpets and timpani re"ected a society constantly on military alert. And, until Napoleon’s de-feat in 1815, Beethoven lived on the los-ing side. In July 1807, when he was in his most intense phase of work on the Fifth, the signing of the Treaty of Tilsit brought a temporary truce in favor of the French emperor, with the capitulation of Prus-sia and the cession of all lands between the Rhine and Elbe to France. This hu-miliation stimulated an uprising of patri-otic feeling among the German-speak-ing countries, and Beethoven shared in this fervor. Thus, it is not surprising that the triumphant song of the Fifth’s !nale seems as much a military victory as a spir-itual one.

Beethoven himself gave the descrip-tion of the four-note motive that per-vades the "rst movement: “Thus Fate knocks at the door!” This is the most fa-mous of the pithy rhythmic ideas that animated many of Beethoven’s mid-dle-period masterpieces; its dynamism as entrance is piled upon entrance drives this movement on its relentless course. Beethoven pauses for breath only brie"y as the violins introduce a gen-tler, more feminine second theme, and more tellingly later as the solo oboe in-terrupts the recapitulation of the Fate

Friday, November 9, 2012, 8:15 p.m.


Baltimore Symphony Orchestra

Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor

Yuri Temirkanov, Music Director Emeritus Alexandra Arrieche, BSO-Peabody Conducting Fellow

First Violins

Concertmaster, Ruth Blaustein Rosenberg Chair

Associate Concertmaster, Wilhelmina Hahn Waidner Chair

Assistant Concertmaster

Acting Assistant Concertmaster

Second Violins

Principal, E. Kirkbride and Ann H. Miller Chair

Assistant Principal

Violas

Principal, Peggy Meyerhoff Pearlstone Chair

Associate Principal

Acting Assistant Principal

Cellos

Principal

Associate Principal

Acting Assistant Principal

Paula

Basses

Principal, Willard and Lillian Hackerman Chair

Associate Principal

Flutes

Principal, Dr. Clyde Alvin Clapp Chair

Piccolo

Oboes

Principal, Robert H. and Ryda H. Levi Chair

English Horn

Kenneth S. Battye and Legg Mason Chair

Clarinets

Principal, Anne Adalman Goodwin Chair

Assistant Principal

Bass Clarinet

E-flat Clarinet

BassoonsFei Xie

Principal

Assistant Principal

Contrabassoon

Horns

Principal, USF&G Foundation Chair

Associate Principal

Assistant Principal

Trumpets

Principal, Harvey M. and Lyn P. Meyerhoff Chair

Assistant Principal

Trombones

Principal, Alex. Brown & Sons Chair

Acting Principal

Co-Principal

Bass Trombone

Tuba

Principal

Timpani

Assistant Principal

Percussion

Principal, Lucille Schwilck Chair

Harp

Piano

Sidney M. and Miriam Friedberg Chair

Director of Orchestra Personnel

Assistant Personnel Manager

Librarians

Principal, Constance A. and Ramon F. Getzov Chair

Associate

Stage Personnel

Stage Manager

Assistant Stage Manager

Technical Director

Sound

*on leave** Guest musician

theme—brought back with pulverizing power by the entire orchestra—with a plaintive protest of a mini-cadenza.

The second movement might be called Beethoven’s War and Peace. In an original treatment of the double-varia-tions form devised by Haydn (two dif-ferent themes alternating in variations), he mixes variants on a peaceful, pas-toral melody with episodes of martial might in C major that foretell the victo-ry to come. Ultimately, even the pasto-ral music is trumpeted forth in military splendor. The movement closes with a haunting, visionary coda.

E.M. Forster’s novel Howard’s End contains one of the most eloquent pas-sages ever about classical music as it describes the Fifth’s quirkily ominous scherzo. “The music started with a gob-lin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splen-dour or heroism in the world.” Horns respond to the cello goblins with a mili-tary fanfare derived from the Fate mo-tive. After the comical trio section in which Beethoven asks double basses to be agile melodists (a feat beyond play-ers’ capacities in his period though not today), the goblins return, even more eerily in bassoons and pizzicato strings. Then ensues one of Beethoven’s great-est passages: a dark, drum-!lled journey groping toward the light.

The music !nally emerges into C-major daylight with the "nale’s joyful trumpet theme. Here for the !rst time in a symphony, Beethoven adds the power of three trombones, plus contra-bassoon and the military skirl of piccolo. This is the grandfather of all symphon-ic triumphant endings and remains the most exhilarating and convincing. In a masterstroke, Beethoven brings back the scherzo music to shake us from any complacency.

Instrumentation: Two "utes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani and strings.

Notes by Janet E. Bedell copyright 2012

10TH ANNIVERSARY SAPPHIRE EXIBIT ION

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Prokofiev: Beyond Peter and the Wolf

Victoria Gau, conductorBrian Ganz, piano

Magdalena Wór, mezzo-sopranoNational Philharmonic Chorale

Suite from the film Lieutenant Kijé Sergei Prokofiev Op. 60

Concerto for Piano and Orchestra No. 3 in C Major, Op. 26

INTERMISSION

Alexander Nevsky Cantata, Op. 78

All Kids, All Free, All the Time The Gazette

Victoria Gau, conductorLauded by critics for her “strong sense of style and drama” and her “enthusias-tic and perceptive conducting,” Na-tional Philharmon-ic Associate Con-

ductor Victoria Gau is also artistic director and conductor of the Capital City Symphony. She is the former con-ductor and music director of the Rich-mond Philharmonic Orchestra.

Gau is a familiar face in the Wash-ington area, having conducted such groups as The Other Opera Company (which she co-founded), The Washing-ton Savoyards, the IN-Series and the Friday Morning Music Club Orchestra. Other guest conducting engagements include the Akron (Ohio) Sympho-ny and the Kennedy Center Messiah Sing-Along.

She is in demand as a conductor and string educator at youth orchestra festi-vals and workshops and has been con-ductor of the Young Virtuosi Chamber Orchestra of the D.C. Youth Orchestra Program, the Akron Youth Symphony and assistant conductor of the Northern Ohio Youth Orchestra.

Brian Ganz, pianoBrian Ganz is wide-ly regarded as one of the leading pia-nists of his genera-tion. A laureate of the Marguerite Long Jacques Thibaud and the

Queen Elisabeth of Belgium Interna-tional piano competitions, Ganz has appeared as soloist with such orchestras as the St. Louis Symphony, the St. Pe-tersburg Philharmonic, the National Philharmonic, the Baltimore Sympho-ny, the National Symphony and the City of London Sinfonia.

Ganz has embarked on a multi-year project with the National Philhar-monic in which he will perform the complete works of Chopin. The in-augural recital featured solo works of



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the romantic composer. Future recit-als will include all the chamber works and songs as well as the complete solo works.

Ganz has performed the Grieg piano concerto with the National Philhar-monic and Music Director Piotr Ga-jewski, and Beethoven with the Na-tional Symphony of Costa Rica under the baton of Mykola Diadiura.

Magdalena Wór, mezzo-soprano Magdalena Wór is the !rst place win-ner of the Heinz Rehfuss Vocal Competition (2005), a Metro-politan Opera Competition na-

tional !nalist (2002) and a winner of the Mozart Society of Atlanta Compe-tition. She also is an alumna of the San Francisco Opera’s Merola Summer Opera Program, Chautauqua Music Institution’s Marlena Malas Voice Pro-gram and St. Louis Opera Theatre’s Gerdine Young Artist Program.

Wór was a member of the Domin-go-Cafritz Young Artist Program at the Washington National Opera from 2006 to 2008. She has recently ap-peared with the Metropolitan Opera, National Symphony Orchestra, Atlan-ta Symphony Orchestra and New Trin-ity Baroque.

Program NotesSuite from the film Lieutenant Kijé, Op. 60

Sergei Prokofiev Born April 23, 1891 in Sontzovka, Ukraine; died March 5, 1953 in Moscow

Sergei Proko!ev, a 20th century Rus-sian composer, lived and worked in the West as well as in his homeland. He was born in a remote Ukraini-an village, where his agronomist fa-ther worked as manager of a large es-tate, and his mother gave him his !rst music lessons. Later, he studied at the Conservatory in St. Petersburg and became a brilliant pianist. After the

Russian Revolution, Proko!ev came to America; after some time, he set-tled in Paris, where he was an in"u-ential !gure, until his return to Russia in 1933. Of his homecoming to Rus-sia, Proko!ev wrote, “Foreign air does not suit my inspiration because I am a Russian, and that is to say the least suited of men to be an exile, to remain myself in a psychological climate that is not of my race.”

Proko!ev’s !rst major work after going back to Russia was the score for the !lm Lieutenant Kijé, writ-ten after years of self-imposed exile in the West. Proko!ev had passed through Hollywood during his time in the States, and there had learned much about the process of !lm mak-ing. He was able to draw on what he had learned in Lieutenant Kijé, a satiri-cal comedy set in the reign of the half mad Czar Paul I, from 1796 to 1801.

In the !lm, an imaginary soldier, Lieutenant Kijé, is created when the Russian czar misread a smudged name on one of his aide’s reports of his men. Since the courtiers do not dare to !nd their despotic ruler wrong, out of fear they create a persona and fabricate an entire life history for him. They in-vent a name constructed of the syl-lable ki, which ended the aide’s name, and a Russian expletive ji. Later, the czar and his clerk believe they have come upon an account of the bravery of a Lieutenant Kijé, even though no such person exists. When the czar asks that the mythical hero be presented to him at court, the courtiers realize that they have let things go too far, so they report that he has died in battle.

Proko!ev composed some of his most charming and witty music for this suite, and, in 1934, he arranged a !ve movement suite from the !lm. It was !rst performed on Feb. 20, 1937, in Paris, with the composer conducting.

The suite opens with a distant trumpet call and a little march that announces “The Birth of Kijé.” A contrasting lyrical theme is Kijé’s mu-sical motto. It is repeated again later. The second movement, “Romance,” is

based on an old Russian ballad, “The Little Gray Dove is Cooing.” In it, the !ctional lieutenant falls in love. It exists in two versions; a baritone sings one; the other is a purely orches-tral setting with double bass and tenor saxophone solos.

The third movement depicts “Ki-jé’s Wedding,” including the pomp of ceremony of the fake wedding the ad-ministrators arrange, as well as the festivities in a tavern afterwards, and leads directly into the fourth, a “Troi-ka Song,” that may be either sung or played. The rhythms and the bells of a three-horse sleigh accompany the rollicking song about the !ckleness of women. The trumpet call is heard again, introducing the last movement, “The Burial of Kijé.” This movement sums up the hero’s brief, but color-ful, existence by recalling fragments of themes heard earlier. The music’s character is one of mock sadness for the death of the non-existent lieu-tenant; it culminates in the trumpet sounding faintly from far away as Kijé is laid quietly to rest.

The score calls for an orchestra of piccolo, two "utes, two oboes, two clarinets, two bassoons, tenor saxo-phone (where there is no vocal solo-ist), four horns, two trumpets, three trombones, tuba, cornet, bass drum, military drum, cymbals, triangle, tam-bourine, sleigh bells, celesta, piano, harp and strings.

Concerto for Piano and Orchestra No. 3 in C Major, Op. 26

Sergei Prokofiev

Proko!ev accumulated ideas for this concerto over a period of years. Some originated as early as 1911, but he did not plan the work as a whole until 1917, a year of intense creative activ-ity, in which he also worked on his Violin Concerto No. 1, the Classical Symphony; two piano sonatas; and the opera, The Love of Three Oranges. In 1918, he was allowed to leave Rus-sia for a long trip across Asia and the Paci!c Ocean to the United States and, eventually, to Western Europe.



He !nished the concerto in France in October 1921, and on Dec. 16, he was the soloist in the !rst perfor-mance with the Chicago Symphony Orchestra. Piano Concerto No. 3 was a success in Chicago, with public and press, but failed in New York 10 days later. It soon made its way to London and Paris, however, and even to Mos-cow. Since then, it has become one of the most popular of the 20th century piano concertos.

Alfred Frankenstein, the distin-guished critic, who, as a young man, was present at the concerto’s Ameri-can premiere, wrote more than 40 years later, “To hear Proko!ev play the piano was an utterly shattering experi-ence. The piano seemed to bend and sway under the impact of Proko!ev’s assault, and, yet, his playing was mon-umental in its clarity and in the sharp, steely planes of sound. He created the pianistic style of the 20th century—a classically inspired style, in keeping with the character of the music, but one which over-whelmed the listener with its elemental force.”

The "rst movement begins with a slow introduction, Andante, in which a solo clarinet presents a lyric melody that will be transformed into the two contrasting subjects of the Allegro main section. The !rst sub-ject is vigorously athletic, while the second may be interpreted as either witty or grotesque, but Proko!ev also returns, in the course of the move-ment, to the opening clarinet theme, to be sure that the listener not forget it. The second movement presents a march-like theme, Andantino, a se-ries of !ve inventive variations on it, and a coda in which the theme is re-stated. The last movement is a bril-liant scherzo-!nale, Allegro ma non troppo, constructed, like the !rst, on the classical principle of contrast be-tween two themes.

The Concerto is scored for piccolo, two "utes, two oboes, two clarinets, two bassoons, four horns, cornet, two trumpets, three trombones, timpani, cymbals, tambourine, castanets and strings.

First ViolinsJustine Lamb-Budge,

ConcertmasterJody Gatwood,

Concertmaster emeritus

Brenda AnnaMichael BarbourEva Cappelletti-ChaoMaureen Conlon-

DoroshClaudia ChudacoffLisa CridgeDoug DubéLysiane Gravel-LacombeJennifer KimRegino MadridKim MillerJennifer RickardBenjamin ScottLeslie SilverfineChaerim SmithOlga Yanovich

Second ViolinsMayumi Pawel, PrincipalKatherine BudnerArminé GrahamJustin GopalJune HuangKarin KelleherAlexandra MikhlinLaura MillerJoanna OwenJean ProvineRachel SchenkerJennifer ShannonNing Ma ShiHilde SingerCathy StewartRachael Stockton

ViolasJulius Wirth, PrincipalJudy Silverman,

Associate PrincipalPhyllis FreemanNicholas HodgesLeonora KarasinaStephanie KnutsenMark PfannschmidtMargaret PrechtlJennifer RendeSarah ScanlonChris ShiehTam Tran

Cellos Lori Barnet, PrincipalApril ChisholmDanielle ChoKen DingAndrew HessePhilip von MaltzahnTodd ThielKerry Van Laanen

BassesRobert Kurz, PrincipalKelly AliShawn AlgerBarbara FitzgeraldWilliam HonesEd MalagaMichael RittlingMark Stephenson

FlutesDavid Whiteside, PrincipalNicolette OppeltDavid LaVorgna

PiccoloDavid LaVorgna

OboesMark Hill, Principal

Kathy Ceasar-SpallFatma Daglar

English HornRon Erler

ClarinetsCheryl Hill, PrincipalCarolyn Alvarez-AgriaSuzanne Gekker

Bass ClarinetCarolyn Alvarez-Agria

BassoonsErich Hecksher, PrincipalBenjamin GreanyaSandra SiskYing-Ting Chiu

ContrabassoonNicholas Cohen

French HornsMichael Hall, PrincipalMark WakefieldJustin DrewMark HughesKen Bell

TrumpetsChris Gekker, PrincipalRobert BirchCarl RoweJohn Abbraciamento

TrombonesDavid Sciannella,

PrincipalJim ArmstrongJeffrey Cortazzo

TubaWilliam Clark

Timpani & Percussion Tom Maloy, PrincipalAubrey AdamsCurt DuerRobert JenkinsBill Richards

Harp Rebecca SmithElizabeth Blakeslee

KeyboardWilliam NeilJeffery WatsonTheodore GuerrantSopranos Nancy Dryden BakerMarietta R. BalaanKelli BankardAhdia BavariMary Bentley*Jocelyn BondCheryl BranhamRosalind BreslowDara CanzanoRebecca Carlson**Anne P. ClaysmithNancy A. Coleman**Victoria CoronaEileen S. DeMarcoLauren DrinkwaterAlejandra Durán-BöhmeLisa EdgleyAmy EllsworthShirley J. FanSarah B. FormanCaitlin A. GarryDebbie HendersonJulie HudsonRobyn KleinerCarrie HendersonJessica Holden KlodaStephanie LinkKaelyn LowmasterSharon Majchrzak-Hong

Anaelise MartinezKathryn McKinleySara W. MosesKatherine Nelson-Tracey*Mary Beth NolanGloria NutzhornJuliana S. O’NeillLynette PosorskeMaggie RheinsteinCarlotta RichardLisa RomanoTheresa RoysAida L. SánchezKatherine SchnorrenbergShelly A. SchubertMichelle StruckeCarolyn J. SullivanChelsea ToledoEllen van ValkenburghSusanne VillemaretteLouise M. WagerAmy WennerEmily WildrickAlison WilliamsLynne Woods

Altos Marsha AdlerHelen R. AltmanSybil AmitayLynne Stein BenzionCarol BrunoErlinda C. DancerSandra L. DaughtonJenelle M. DennisCorinne ErasmusRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria A. FriedmanJulia C. FriendElizabeth Bishop

GemoetsJeanette GhatanSarah GilchristLois J. GoodsteinJacque GrenningStacey A. HenningJean HochronDebbi IwigSara M. Josey*Marilyn KatzCasey KeelerAlexandra KempIrene M. KirkpatrickMartha J. Krieger**Melissa J. Lieberman*Julie S. MacCarteeNansy MathewsCaitlin McLaughlinSusan E. MurrayDaryl NewhouseMartha NewmanPatricia PillsburyPatricia PittsElizabeth RiggsBeryl M. RothmanLisa RovinJan SchiavoneDeborah F. SilbermanElizabeth SolemLori J. SommerfieldCarol A. SternPattie Sullivan-StenBonnie S. TempleRenée TietjenSusan TrainorVirginia Van BruntChristine VockeSarah Jane Wagoner**

TenorsKenneth BailesPhilip BregstoneJ.I. CanizaresColin ChurchSpencer ClarkGregory DanielPaul J. DeMarcoRuth W. Faison*Greg GrossCarlos A. HerránDominick IzzoDon JanskyCurt JordanTyler A. LoertscherRyan LongJane LyleDavid MalloyMichael McClellanChantal McHaleEleanor McIntireWayne Meyer*Tom MilkeCarl MorganTom NessingerSteve NguyenAnita O’LearyE.J. PavyJoe RichterDrew RiggsJason SaffellRobert T. SaffellDennis Vander Tuig

BassesRussell BowersAlbert BradfordRonald CappellettiPete ChangDale S. CollinsonStephen CookClark V. CooperBopper DeytonJ. William GadzukRobert GerardMike HiltonChun-Hsien HuangJohn IobstWilliam W. Josey**Allan KirkpatrickIan KyleJack LeglerLarry MaloneyIan MatthewsAlan E. MayersDugald McConnellDavid J. McGoffKent Mikkelsen*John Milberg**Oliver MolesMark NelsonLeif NeveDevin OsborneTom PappasAnthony RadichHarry Ransom, Jr.Edward Rejuney*Frank RoysKevin SchellhaseHarold SeifriedCharles SerpanCarey W. SmithCharles SturrockAlun ThomasDonald A. TrayerWayne R. Williams

Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair

* section leader** asst. section leader

National Philharmonic Orchestra and Chorale



Alexander Nevsky Cantata, Op. 78

Sergei Prokofiev

In 1938, !ve years after Proko!ev had !nished the score for the !lm Lieu-tenant Kijé, Eisenstein, the greatest of Russian !lm directors, suggested collaborating on a !lm that would tell the tale of the Russian defense in 1242 of Novgorod against the in-vading Teutonic knights. Many !lm scholars consider the result of that collaboration, Alexander Nevsky, one of the best !lms ever made, un-matched in its ability to join pictures with music.

Writing of the composer, Eisen-stein said, “The Proko!ev of our time is a man of the screen...in that spe-cial sense which makes it possible for the screen to reveal not only the ap-pearances and subjects of objects, but also, and particularly, their special inner structure. Having grasped this structural secret of all phenomena, he clothes it in the tonal camera angles

of instrumentation, compelling it to gleam with shifts in timbre, and forces the whole in"exible structure to blos-som into the emotional fullness of orchestration.”

The national epic of Russia follows the invading German knights, who were originally an order of crusaders, and who periodically overran East-ern Europe, cruelly slaughtering thou-sands of people. This time, the Russian people called upon Prince Alexan-der Yaroslavich Nevsky to lead them against the enemy as he had against the Swedes two years before. Nevsky, who took his name from the Neva River on whose banks he had defeat-ed the Swedes, organized a large troop of militia to supplement the regular Army. On April 5, 1242, the people of Novgorod met the Germans on the ice of Lake Chud, near Pskov. In a !erce battle, they drove the Germans onto the ice, which broke underneath them and drowned the invading horde.

An enormous success in the Soviet

Union, the !lm was to have an un-usual history as the actual events in the Soviet Union developed in the late 1930s and early 1940s. The Sovi-et dictator, Stalin, was not displeased to have comparisons made between Nevsky and himself. However, when the U.S.S.R. and Germany signed a nonaggression pact, just nine months after the premiere, the !lm was with-drawn from distribution. The pact was short-lived and ended in June 1941, after which Alexander Nevsky was once again welcomed on the movie screens of the country in which it was set, serving as a rallying point against yet another German invasion, 700 years after the one portrayed on !lm.

The Cantata has seven sections: “Russia Under the Mongolian Yoke;” “Song About Alexander Nevsky;” “The Crusaders in Pskov;” “Arise, Ye Russian People;” “The Battle on the Ice;” “Field of the Dead;” and “Alex-ander’s Entry into Pskov.”

Copyright Susan Halpern, 2012

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as the lilting “Que L’Amour,” sung in French. He also does a soaring rendi-tion of “Now We Are Free,” from the 2001 Oscar-winning !lm Gladiator.

The Washington, D.C. native grew up listening to classic American pop. Pacheco developed a love for music as a child. His mother, a piano teacher, started Pacheco early on with piano and violin lessons. Though basketball was his focus for a while, by high school he was a serious student of voice.

There were other artists he loved—The Three Tenors, Andrea Bocelli and Josh Groban, each pioneers in pop-classical fusion. During his vocal studies at Brigham Young University he contemplated a similar path. After a mission to Brazil, the ancestral home of his grandfather, and a study-abroad program in Italy, Pacheco met with producer Ric Wake, who sought talented singers for a new project with Yanni. The audition led to him and three other singers writing, recording and ultimately performing 80 concerts across the U.S., Canada and Mexico.

That whirlwind led Pacheco to sign with Disney Pearl. His album was then recorded in Los Angeles and at London’s Air Lyndhurst Studios with The London Philharmonic Orchestra.

Pacheco appears in two new PBS concert specials, taped at Santa Monica’s Broad Theater, Introducing Nathan Pacheco: Live In Concert and Nathan Pacheco: Christmas, which airs in December.

SUNDAY, NOVEMBER 11, 2012, 4 P.M.

!

Introducing Nathan Pacheco

Nathan Pacheco

After making waves with the Voices project in 2009, rising vocal superstar Nathan Pacheco now takes the spot-light with his self-titled debut Disney Pearl album. Produced by Leo Z (Josh Groban, Andrea Bocelli, and Tom Hanks’ “Electric City”), the album showcases Pacheco’s remarkable versa-tility. Over the 12 tracks, he sings in four languages and multiple genres, from pop to folk to opera.

From the opening track, “Avatar,” which he co-wrote, Pacheco’s warm, passionate vocals convey tales of love, hope and glory. With his opera background, Italian comes naturally to Pacheco, as is clear in ballads “In!nito Amore,” “Caruso” and “La Scelta.” Keeping things Mediterranean, Pacheco sings “Perdona” and “Oyela,” both performed in Spanish, as well M

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Tuesday, November 13, 2012, 8 p.m.

Tuesday, November 13, 2012, 8 p.m.


festivals and for Jewish communities worldwide, and released multiplati-num albums. However it wasn’t until the year 2000 that she was to release another international album, Time for Peace. During the rest of the 2000s Rita toured Israel extensively and, with Rami Kleinstein, released a new live album that went triple platinum.

Rita also decided to bring a differ-ent kind of entertainment experience to Israel. Her show, One, was a musi-cal cabaret featuring dozens of dancers and acrobats, and attracted audiences of more than 90,000.

Over the years, Rita has performed with many orchestras including the Israel Philharmonic Orchestra, the Ra’anana Symphonette and the Bel-grade Philharmonic. In 2010 Rita was the closing act for the Israeli stand at the Shanghai world expo, where she performed to the delight of her many enthusiastic Chinese fans. In 2011 she represented Israel at the Istanbul Jazz Festival.

In recent years, Rita felt the need to reconnect with the Persian music of her childhood. To this end she performed with the Israeli band The Mind Church and produced “Stop the Pain,” a song based on a tradi-tional Iranian song. Rita also recently completed a world music-oriented album called My Joys. The album was released in December 2011, and had its debut at Tel Aviv’s Hangar 11 to an ecstatic audience including many from the Persian community.

TUESDAY, NOVEMBER 13, 2012, 8 P.M.

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Rita

Rita

Known to the world simply as Rita, Rita Yahan-Foruz emigrated from Iran to Israel in 1970 at age 8, and 15 years later became the most successful singer in the country. In 2008, after 25 years in the business, she was named “top female singer in the past 60 years” during a special countdown for Israel’s 60th anniversary.

Not only is she a huge star in Israel, Rita’s voice has also won her inter-national acclaim, with appearances across the globe. Her debut album was released in 1987 and went triple platinum, after which she launched her !rst international release, Break-ing Those Walls, which sold more than 50,000 copies. Rita’s career went into overdrive in the early 1990s after she released her version of The Police song “Roxanne,” selling more than 140,000 copies.

Throughout the 1990s Rita took to the stage thousands of times at

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For You,” co-produced by John Farrar, whom she continues to collaborate with today.

Newton-John’s U.S. album debut, Let Me Be There, produced her !rst top 10 single; she was honored by the Academy Of Country Music as Most Promising Female Vocalist and received a Grammy Award for Best Country Vocalist.

With more than 100 million albums sold, Newton-John’s successes include four Grammy Awards and numerous Country Music, American Music and Peoples Choice awards. Her 10 No. 1 hits include “Physical,” which topped the charts for 10 consecutive weeks, and she also has had more than 15 top 10 singles. In 1978, Newton-John’s co-starring role with John Travolta in Grease and the !lm’s best-selling soundtrack catapulted her into super-stardom. Other !lm credits include Toomorrow, Xanadu, Two Of A Kind, It’s My Party, Sordid Lives, Score: A Hockey Musical and A Few Best Men.

Newton-John overcame a battle with breast cancer in the 1990s and was inspired to write and produce the album GAIA. Her personal triumph over can-cer led her to announce her partnership with Austin Health and the creation of the Olivia Newton-John Cancer and Wellness Centre on the Austin Campus in Melbourne.

In April 2008, Newton-John led a team of cancer survivors, celebrities and

FRIDAY, NOVEMBER 16, 2012, 8 P.M.

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Olivia Newton-John

Olivia Newton-John

With a career spanning more than four decades, Olivia Newton-John shows that she is still a vibrant, creative individual who is adored by fans across the world.

Born in Cambridge, England in 1948, Newton-John and her family moved to Melbourne, Australia when she was 5. By age 15 she had formed an all-girl group called Sol Four. Later that year she won a talent contest that earned her a trip to London. By 1963, Newton-John was appearing on local daytime TV shows and weekly pop music pro-grams in Australia.

Her !rst single, a version of Jackie DeShannon’s “Till You Say You’ll Be Mine,” was cut in 1966. In 1971, she recorded a cover of Bob Dylan’s “If Not

Olympians on a trek along the Great Wall of China and raised more than $2 million toward treating cancer. A companion CD, Olivia Newton-John & Friends: A Celebration In Song, fea-tures duets with Keith Urban, Delta Goodrem, Sir Cliff Richard, Richard Marx, Amy Sky and Barry Gibb.

Newton-John earned an Emmy Award in 1999 for her songwriting and returned to work as a touring performer, touring for the !rst time in 17 years. Her 2007 holiday recording, Christmas Wish, features both new and classic holiday favorites and duets with Barry Manilow, Michael McDonald, David Foster and Jon Secada. In 2007, Newton-John premiered her !rst concert special for public television—Olivia Newton-John: Live From Sydney! was !lmed at the historic Sydney Opera House with the Sydney Symphony Orchestra. A DVD of the performance was released in Janu-ary 2008.

Newton-John’s other projects include appearing in two episodes of the televi-sion show, Glee and starring in the breast cancer docudrama 1 A Minute. She also has written the 2011 book Liv-Wise: Easy Recipes For A Healthy, Happy Life. In LivWise, Newton-John explains her belief in the importance of eating a healthy diet in order to maintain well-ness and balance. She also appears in and recorded music for the 2011 !lm A Few Best Men.

Newton-John also is active in humanitarian causes. She has served as goodwill ambassador to the United Nations Environment Programme and was a national spokeswoman for the Colette Chuda Environmental Fund / Children’s Health Environmental Coalition. Newton-John has also launched Liv Aid, a breast self-exam-ination aid that helps women perform breast self-exams correctly.

Newton-John also has created Gaia Retreat & Spa in Byron Bay, New South Wales, Australia, which she opened with business partners in 2005. She also has launched Koala Blue, a line of Australian wines that she cre-ated with friend and business partner Pat Farrar. M

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Marin Alsop, conductor

Hailed as one of the world’s leading con-ductors for her ar-tistic vision and commitment to ac-cessibility in classical music, Marin Alsop

made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugu-ral concerts in September 2007, she be-came the !rst woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bour-nemouth Symphony Orchestra in the


!

Lyrical Dvo!ák & Brahms Marin Alsop, conductor Denis Kozhukhin, piano

Symphony No. 8 in G Major, Op. 88 Antonín Dvo!ák

Piano Concerto No. 2 in B-flat Major, Johannes Brahms Op. 83

Denis Kozhukhin

U.K., where she served as the princi-pal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California.

In 2005, Alsop was named a MacArthur Fellow, the !rst conductor ever to receive this award. In 2007, she was honored with a European Women of Achievement Award. In 2008, she was inducted as a fellow into the Ameri-can Academy of Arts & Sciences, and in 2009 Musical America named her Con-ductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In Febru-ary 2011, Alsop was named the music A

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director of the Orquestra Sinfônica do Estado de São Paulo, or the São Paulo Symphony Orchestra, effective for the 2012-13 season.

Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conduct-ing career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

Denis Kozhukhin, pianoDenis Kozhukhin won !rst prize in the Queen Elisabeth Music Competition in 2010 and was the winner of the 2009 Vendome Prize.

He studied with Dmitri Bashkirov, and subsequently with Kirill Gerstein, and has appeared at many of the most prestigious concert halls worldwide.

Recent highlights have included the complete cycle of Proko!ev piano con-certos with the BBC Scottish Sympho-ny Orchestra, working with Jun Maerkl, Xian Zhang, Lan Shui, Ludovic Mor-lot and Martyn Brabbins; and visits to the St. Petersburg Philharmonic, Bour-nemouth Symphony, Orchestre Nation-al de Lille, Luxembourg Philharmonic and Netherlands Philharmonic.

Concerto highlights of the 2012-13 season include engagements with the Vienna Symphony, Baltimore Sympho-ny, Seattle Symphony, Yomiuri Nippon Symphony, St. Petersburg Philharmon-ic and Royal Liverpool Philharmonic orchestras.

Kozhukhin is making his BSO debut.

Program NotesSymphony No. 8 in G Major

Antonín Dvo!ák Born Sept. 8, 1841 in Nelahozeves, Bohemia (now Czech Republic); died May 1, 1904 Prague

Even after he had become an interna-tionally famous composer, Dvo!ák re-mained close to his Bohemian roots:



“a simple Czech musician” in his own words. The son of a small-town inn-keeper and butcher, and originally des-tined for a butcher’s career himself, he remained largely unaffected by his fame. When his compositions had earned him some !nancial security, he used his money not for a grand townhouse in Prague, but to purchase a small farm in rural Vysoká. Here, he soaked up the beauties and rhythms of the Czech countryside during the summer months, raised pigeons and composed much of his mature music, including the Sym-phony No. 8. His mentor, Johannes Brahms, repeatedly urged him to move to Vienna, the capital of European music, as well as of the Austro-Hungari-an Empire, but Dvo!ák always refused.

Brahms had persuaded his Viennese publisher Simrock to take on Dvo!ák’s music in the 1870s. But by the late 1880s when the Symphony No. 8 was written, relations between Dvo!ák and Simrock were becoming strained. The !rm urged him to keep writ-ing his popular Slavonic Dances and other shorter, lighter pieces, which they claimed were more lucrative than his symphonies and concertos. For his Symphony No. 8, they offered an in-sultingly low price, one-third of the fee for his Symphony No. 7. By then hugely popular in England, however, Dvo!ák was able to sell his new sym-phony to the London publisher No-vello for a more attractive fee.

Composed between August and No-vember 1889 and premiered on Feb. 2, 1890, under the composer’s baton in Prague, the Symphony No. 8 re"ects the world of Vysoká and of Czech folk song and dance. After his rather German-ic No. 7, Dvo!ák wrote that he want-ed to create something “different from the other symphonies, with individual thoughts worked out in a new way.” In the !rst, second and fourth movements of No. 8, he used freer forms and a "ex-ible mixing of major and minor modes to produce marvelous shadows and nu-ances in a fundamentally happy work. No. 8 is also the most melodious of his symphonies and wonderfully orches-trated, with the woodwind and string

sections used throughout as contrasting color families.

The "rst movement begins with a short introduction. Cellos, reinforced by clarinets, bassoons and horns, sing a gently melancholy theme in the minor. Then a piping-birdsong "ute idea opens the main Allegro section in G major, and the orchestra gathers its forces in an exciting crescendo. Divided violas and cellos introduce a stately repeated-note theme, and the orchestra bursts into vivacious life. This unconvention-al, yet highly effective, opening could be a portrait of daybreak in the Czech countryside, with the "ute-bird greet-ing the !rst rays of the sun and then daylight "ooding the landscape as man and beast awaken to bustling activity. A second, more lyrical group of themes opens with a rocking melody in the violins, followed by an upward-leaping tune for woodwinds.

The development section, launched by the "ute birdcall, is full of rustic at-mosphere and wit, rather than heavy-breathing dramatics. At its close, trum-pets blaze forth the opening cello theme, giving it an altogether new character. The much-compressed recapitulation "ows into an exuberant closing coda.

An atmospheric mood piece, the Adagio second movement weaves be-tween minor and major, lighthearted-ness and a sense of sadness, even trag-edy. It opens in C minor with a dark, yearning melody in the strings, punc-tuated by more woodwind birdcalls. Then the picture brightens to C major, and solo oboe and "ute sing a soaring, idyllic tune above delicate down-rush-ing strings; this section gradually grows weightier and more passionate. After a reprise of the opening music, horns introduce a tragic mood to funeral-march-like blows on the timpani. An airy coda gathers together all the con-trasting emotional colors of this subtle movement.

A delicately soaring waltz in G minor forms the third movement, surrounding a bucolic trio section in G major led by the woodwinds. So fertile are his powers of melodic invention that Dvo!ák even throws in a brand-new folk dance in

duple meter to wrap up the movement. A trumpet fanfare opens the "nale,

which is, in Michael Steinberg’s words, a series of “footloose variations” on a warm, folksy theme introduced by the cellos. The most striking variations come in an exotic, earthy section in C minor, reminiscent of some of Dvo!ák’s Slavonic Dances. Toward the end, the tempo keeps accelerating as the whole orchestra—but the whooping horns most of all—cut loose in an uninhibited dance of joy.

Instrumentation: Two "utes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings.

Piano Concerto No. 2 in B-flat Major

Johannes Brahms Born May 7, 1833 in Hamburg, Ger-many; died April 13, 1897 in Vienna, Austria

In April 1878, Johannes Brahms de-cided to treat himself to a vacation in Italy. And, like many travelers before and since, he fell in love with this land of sunshine, good living and even great-er art, and would return there eight more times. To his longtime friend, the celebrated pianist Clara Schumann, he penned a “wish you were here” let-ter: “How often do I not think of you, and wish that your eye and heart might know the delight which the eye and heart experiences here! If you stood for only one hour in front of the facade of the Cathedral of Siena, you would be overjoyed. …On the following day, in Orvieto, you would be forced to ac-knowledge that the cathedral there was even more beautiful; and after all this to plunge into Rome is a joy beyond words…”

Though his eyes were dazzled by what he saw in Italy, the composer found lit-tle in Italian music to please his Ger-man ears. But the rich visual stimula-tion did indeed inspire a new work, which would eventually become his Piano Concerto No. 2.

In July 1881, he announced the con-certo’s birth in a series of teasing letters



to several friends. To Dr. Theodor Bill-roth, the companion of his Italian sight-seeing, he sent a copy of the bulky score with a note identifying it as “a couple of little piano pieces.” To his current muse, the lovely and safely married Elizabeth von Herzogenberg, he revealed: “I have written a tiny little piano concerto with a tiny wisp of a scherzo.” More appro-priately, the composer revealed the true nature of his newest creation to von Herzogenberg when he described it as “the long Terror.”

For the Piano Concerto No. 2 is long indeed: with four substantial move-ments lasting approximately 50 minutes, it is the size of two ordinary concertos put together. And it is monumental in its architecture, emotional scope and the demands it places on the pianist (for many, this is a more dif!cult work to pull off successfully than the notorious Rachmaninoff No. 3). Brahms scholar Malcolm MacDonald describes its tech-nical challenges well: “In its massive chording, wide [!nger] stretches, vigor, richness and textural variety, the piano writing is the most elaborate result of his lifelong fascination with virtuoso tech-nique. …Above all, the role of the solo-ist is "uid… he or she must…dominate with the utmost power at certain junc-tures, but other moments call for ex-treme delicacy and limpidity of touch, the reticence and self-effacement of the ideal accompanist.” The successful in-terpreter of “the long Terror” must have limitless technique and stamina, but, more importantly, the brains of a scholar and the heart of a poet.

And he or she must also be a col-league in the spirit of chamber music, for the Concerto No. 2 is a truly sym-phonic conception in the manner of Beethoven’s concertos, with orches-tra and pianist equal participants in the musical journey. Brahms ranges over a broad emotional territory, and he uses everything at his disposal: from the most massive orchestral sounds to the most intimate chamber effects—such as the dialogue between horn and piano that begins the work, or the partnership of solo cello and oboe that glori!es the slow movement. Of his four concertos,

this is his most mature and comprehen-sive masterpiece.

Movement one: The concerto’s chamber-music opening is utterly unique. A solo horn sings out the gen-tly rising principal theme, and the piano echoes each phrase. Suddenly, the pia-nist throws off his reserve and plung-es into a titanic monologue, the !rst of many mini-cadenzas Brahms embeds throughout his structure rather than giving the soloist a single extended op-portunity for display. This, in turn, gal-vanizes the orchestra into action, trans-forming the horn’s shy theme into a mighty march. And soon we hear the !rst suggestion of the movement’s sec-ond theme: a supple, swaying melody in D minor in the violins that is quickly broken off.

The pianist now expands this the-matic material, and, when he comes to the swaying second theme, he reveals its character as passionate rather than nos-talgic, hardening its curves with sten-torian chords. By now, the music has taken a very dramatic and even omi-nous turn from its tender beginning. It culminates in a !erce declamation of the principal theme by the full orches-tra, before the horn quietly sounds that theme again, and the music merges into the development section proper. (In fact, Brahms has already been busy de-veloping and transforming his themes from the very beginning.)

The arrival home at the recapitu-lation section is one of Brahms’ most magical and moving. He keeps trying to get there by gestures of musical willpow-er. But !nally only gentle acceptance succeeds, as the piano "oats in shim-mering arpeggios, and the horn warmly welcomes it back. In his closing coda, Brahms combines mysterious reminis-cences of the horn theme over a dark piano march, a last grand summing up of themes, and a heroic windup, accent-ed by triumphantly trilling woodwinds.

The “tiny wisp of a scherzo” in D minor forms the pianist-killer second movement, a !erce Allegro appassion-ato. Brahms’ friends asked him why he had added this extra component to the customary three-fold concerto formula;

he replied—in another !t of ironic un-derstatement—that he felt it was nec-essary because the !rst and third move-ments were so “harmless.” The pianist hurls out a boldly rhythmic !rst theme, and the strings contribute a contrast-ing sighing melody that the piano elab-orates soulfully. This music is repeated, then rolls into a development section. But in this formal hybrid—part scherzo dance, part sonata form, the music sud-denly shifts into a radiant tolling-bells episode in D major, which is the trio sec-tion. Note the piano’s ardently rhapsodic passage here.

After two movements of almost un-remitting intensity, Brahms at last pro-vides repose with perhaps the most beautiful slow movement he ever com-posed. The pianist takes a needed rest while the solo cello sings a melody of heartbreaking loveliness; a solo oboe soon joins in, intensifying the poignan-cy. As in the slow movement of Brahms’ Violin Concerto, the soloist never sings this eloquent theme, but instead weaves marvelous variants on it. The move-ment’s most haunting moment occurs midway through when the piano—now stranded in the distant key of F-sharp major and accompanied by two clari-nets—seems to "oat in some timeless, otherworldly realm. The cello’s reap-pearance with its glorious melody seems no intrusion.

While some commentators have crit-icized the "nale, Brahms showed sure instincts when he chose to crown his three imposing movements with a re-laxing !nale of light-hearted melodious-ness. Beginning with the piano’s buoy-antly skipping theme, he concocts a beguiling succession of melodies in the genial spirit of his Hungarian Dances. Notable among them is the lushly sway-ing Viennese dance shared by piano and strings. Throughout, the pianist’s vir-tuoso !gurations sparkle like diamonds, especially in Brahms’ vivacious sped-up conclusion.

Instrumentation: Two "utes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.


Friday, November 23, 2012, 8 p.m.


mainstay in performing arts centers across North America.

The series has garnered a stellar reputation for its note-perfect recitals, performing more than 100 shows each year. Fans in Texas, Nevada, Florida, New York and in Canada have all continued to support the series and make it a sustaining, successful con-cert experience.

With hits like “Money,” “Wish You Were Here” and “Us and Them,” The Dark Side of the Moon was on

FRIDAY, NOVEMBER 23, 2012, 8 P.M.

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Classic Albums Live: Pink Floyd’s

Dark Side of the Moon

Classic Albums Live

Classic Albums Live takes clas-sic albums and re-creates them live onstage—note for note, cut for cut. Founded in 2003 by Craig Martin, Classic Albums Live has become the “ultimate destination for music lovers wanting to hear the greatest albums performed live” (BroadwayWorld.com) without all the gimmicks and cheesy impersonations. Relying only on the music, using “the world’s best musi-cians,” according to Martin, Classic Albums Live has de!ned itself as a

the Billboard charts longer than any other album in history. The Dark Side of the Moon was released in March 1973, and is Pink Floyd’s eighth studio album. The album traverses many genres, from ponderous, neo-psychedelic art rock to jazz-fusion and blues-rock.

The album’s iconic art—a prism with white light going through it and breaking into the spectrum—represents the band’s stage lighting, the record’s themes and keyboardist Richard Wright’s desire for a “simple and bold” design. Each side of the original record is a continuous piece of music, and the tracks on each side are meant to re"ect various stages of human life. It was recorded at Abbey Road Studios between May 1972 and January 1973.

The Dark Side of the Moon was an immediate success and remained on the Billboard charts for 741 weeks from 1973 to 1988. A 1973 review in Roll-ing Stone called The Dark Side of the Moon “a !ne album with a textural and conceptual richness that not only invites, but demands involvement.” With an estimated 50 million cop-ies sold, The Dark Side of the Moon is Pink Floyd’s most commercially successful album and has been re-mastered twice.

The Dark Side of the Moon’s release is often considered a pivotal point in the history of rock music, and music from the album has been covered by Adrian Belew, the band Phish and several other performers.

The Dark Side of the Moon is fre-quently ranked as one of the greatest albums of all time, and has been on greatest lists compiled by Rolling Stone, the Australian Broadcasting Corpora-tion, The Guardian and others.

Like a symphony orchestra per-forming the works of Mozart, Classic Albums Live forgoes the pageantry of costumes and impersonations, putting the music !rst. These world-class mu-sicians will tackle this iconic album, concentrating solely on re-creating it as it is so fondly remembered by audi-ences worldwide.

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Exquisite Brownstones adjoining The Music Center at Strathmore, in North Bethesda, Maryland. An internationally-inspired setting

focused on the arts, personal wellness and fi ne living. Call our sales gallery to schedule your personal tour. Elevator included for a limited time!*

THIS IS THE SHOW YOU DON’T WANT TO MISS

Saturday, November 24, 2012, 4 p.m. and 8 p.m.


James DoubtfireJames Doubt!re has been with Tap Dogs for 15 years as a performer, dance cap-tain and resident director, touring Eu-rope, Asia, Australia and London’s West End. This is Doubt!re’s !rst time touring the U.S. He has also performed in 42nd Street, Me & My Girl and Australian and U.K. tours of Hot Shoe Shuf"e. At age 12, he created the role of Laughing Boy in the original cast of Bugsy Malone at Her Majesty’s Theatre in London. Doubt!re is also choreographer for the

SATURDAY, NOVEMBER 24, 2012, 4 P.M. AND 8 P.M.

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Dein Perry’s Tap Dogs

Original design and direction by Nigel TriffittMusic composed by Andrew Wilkie

James Doubtfire, performerMackenzie Greenwell, performer

Donovan Helma, performerAnthony Locascio, performer

Dominic Mortezadeh, performerChaise Rossiello, performer

Anthony Joseph Russo, performerMatt Saffron, performer

Stephen Ferradino, percussionGavin Norris, lighting design

Darrel Lewis, original sound designShannon Slaton, tour sound design

Laurence Maddy, additional orchestrationsBridget K. Welty, production manager

Aldo Scrofani, executive producerDein Perry, creator and choreographer

Tap Dogs

England Team (Tap Attack) and Break The Beat.

Mackenzie GreenwellFollowing his passion for music and dance, MacKenzie Greenwell has been performing for audiences all over North America. Coming from Cochrane, Al-berta he is thrilled to be traveling the world and sharing his love of dance. His recent credits include Toronto Rhythm Initiative’s shows Ray, Oscar and Stevie, Tap Dogs, West Coast Tap Dance Collective’s Tap Day Show and the opening ceremonies of the 2010 Winter Olympic Games.

Donovan Helma Donovan Helma began dancing at age 3 at his mother’s dance studio, Mill-er’s Dance Studio in Denver, Colo. He currently continues his education in New York City. Credits include corpo-rate performances for General Motors, Charles Schwab and a Monday Night Football halftime performance with Big Bad Voodoo Daddy. Donovan per-formed for Montreal’s Danse Encore In-ternational Festival in a production with the group Tap’d Out. In 2009 and 2010, he toured with the new Gregory Hines tribute show, Thank You Gregory.

Anthony Locascio Anthony Locascio is a native New Yorker who resides in San Jose, Calif. An original New York cast member, and the !rst American to earn a role in the show, a large part of Locascio’s career has been spent playing the roles of Funky, The Enforcer and 2IC with, Tap Dogs. Dominic Mortezadeh Dominic Mortezadeh started dancing when he was only 6 years old. While working on Disney’s Harriet the Spy:Blog Wars, Mortezadeh received news that Tap Dogs wanted him on board for its North American tour in 2010.

Chaise Rossiello Chaise Rossiello started dancing and singing at age 5 in his hometown of Geelong, Australia. He joined Tap Dogs



in 2007 and has toured throughout the U.K., the Mediterranean and Europe.

Anthony Joseph Russo Anthony Joseph Russo had his feet in tap shoes at just 2 years old. Be-fore his senior year of high school, he was hired for a national tour of Tap Dogs and has continued with them for more than 10 years, performing all six roles in the show. National and inter-national performance credits include Tap Dogs, The Bad Boys of Dance and Cirque Du Soleil.

Matt SaffronMatt Saffron joined the cast of Tap Dogs in 2006. His stage credits include Guys and Dolls,The Will Rogers Follies, Oklahoma, 42nd Street, Beauty and the Beast and A Chorus Line.

Stephen Ferradino A student of the University of Nevada-Las Vegas, Stephen Ferradino per-forms regularly in Las Vegas for various

conventions and private functions. In 2005 Ferradino was a featured perform-er in Wally Eastwood’s Iron Beats at Busch Gardens in Tampa, Fla.

Dein Perry Dein Perry won the Laurence Olivier Award for best choreography in 1995 for Hot Shoe Shuf"e and in 1996 for Tap Dogs. In 1994 Dein conceived and choreographed Tap Dogs, which was the hit of the 1995 Sydney Festival and has since toured !ve continents and 300 cities worldwide.

Perry also directed and choreo-graphed the !lm Bootmen and choreo-graphed the !nal segment of the open-ing ceremonies of the 2000 Summer Olympic Games.

Nigel Triffitt Nigel Trif!tt was a leader in the !eld of visual theater in Australia and had shows that have toured to more than 20 countries. As a designer, devisor and di-rector of his own shows, Trif!tt created

Momma’s Little Horror Show, The Illus-trated History of Rock and Roll, The Fall of Singapore and Moby Dick.

Trif!t directed and designed the !nale of the opening ceremonies of the 2000 Summer Olympic Games. Trif!t passed away July 20, 2012.

Andrew Wilkie Andrew Wilkie’s involvement with musical theater began in 1982 when he was principal percussionist in the Queensland Theatre Company produc-tion of Anna. Since then he has been principal percussionist for the Sydney productions of Hot Shoe Shuf"e, Porgy and Bess, Me and My Girl, Nine, HMS Pinafore and I Do! I Do!

Shannon SlatonShannon Slaton is a sound designer and mixer and he has worked with Tap Dogs for the past 15 years. He designed the tours of Shrek, Hairspray, The Producers, Kiss Me Kate, Bring in ’da Noise, Bring in ’da Funk, The Full Monty, Contact, Tap

www.strathmore.org | (301) 581-5100Strathmore Ticket Office 5301 Tuckerman Lane, North Bethesda, MDGroups Save! (301) 581-5199

MICHAEL FEINSTEIN: THE GERSHWINS AND ME

SATURDAY, APRIL 20, 2013, 9PM

“Strike Up the Band” because the incomparable Michael Feinstein is coming to Strathmore! Dubbed “Ambassador of the Great American Songbook,”

the two time Emmy and five time Grammy Award nominee has collected a “S’Wonderful” evening of music celebrating the legacy of George and Ira

Gershwin. Feinstein doesn’t stop there, sharing personal stories from his recent book The Gershwins and Me about his six-year collaboration with Ira that

shaped his early career.

To purchase Gala Packages, which include the Gala dinner, premium concert seating and After Party, contact Sorelle Group at (202) 248-1930 or [email protected].

Single tickets to the concert include access to our After Party. Order at www.strathmore.org or (301) 581-5100

If you are interested in sponsoring the Gala, our signature fundraiser, please contact Bill Carey at (301) 581-5135 or [email protected]

By sponsoring or attending the 2013 Spring Gala at Strathmore, you give children, rising artists, and our community transcendent arts experiences through Strathmore’s

education and artistic programming, master classes, in-school outreach, Title I programs, Artist in Residence program, free community events and festivals.

2013 SPRING GALA AT

strathmore



Dogs, Aeros, Sweeney Todd, The Wizard of Oz, The Drowsy Chaperone and The Wedding Singer.

Bridget Welty Bridget Welty recently !nished tour-ing Merchant of Venice. Her prior tours include Camelot, Dirty Rotten Scoun-drels, Joseph and the Amazing Technicolor Dream Coat and Oliver! Her previous tours were Wonderful Town, Love Janis and Tap Dogs Rebooted.

Paul M. Rambacher Paul M. Rambacher has represented more than 110 productions for over 25 years. His credits include Merchant of Venice, Messiah Rocks, Dirty Rot-ten Scoundrels, Joseph and the Amazing Technicolor Dreamcoat, Oliver!, Wonder-ful Town, Love Janis, Nobody Don’t Like Yogi and Stand By Your Man. His credits also include the U.S. debut tours of the International Shakespeare Globe’s Merry Wives, Love’s Labour’s Lost, the

original practice productions of Mea-sure for Measure and Twelfth Night and Elaine Stritch At Liberty.

Theatre Management Associates/Aldo Scrofani Aldo Scrofani was one of the origi-nal producers who brought Tap Dogs to North American audiences in 1997

Scrofani has produced, co-produced and/or been associated with more than 100 productions on Broadway, London, national touring companies and in nu-merous foreign territories. Productions include Gone With The Wind, Dirty Rot-ten Scoundrels, Chita Rivera: The Danc-er’s Life, Lovemusik, STOMP, Stomp Out Loud, Tap Dogs, Grand Hotel di-rected by Tommy Tune, City of Angels directed by Michael Blakemore, You’re a Good Man Charlie Brown directed by Michael Mayer, M. Butter"y directed by John Dexter, Into the Woods, Gypsy with Tyne Daly, Cat On A Hot Tin Roof with Kathleen Turner and Big River.

Tap Dogs wear Blundstone Boots, Australia’s authentic work boots.

Staff members for Tap Dogs in-clude Tara Troutman, associate pro-ducer/ publicity; Bridget K. Welty, production manager; Heather Moss, company manager; Caskey Hunsad-er, production coordinator; Brian Ca-nonico, head sound; Daniel Ware, head carpenter; Jason Bielsker, head electrician; Brittany Deventer, swing technician.

General management services pro-vided by Theatre Management Asso-ciates, Professional Management Re-sources and Paul M. Rambacher. Staff members for Theatre Management As-sociates include Aldo Scrofani, Tara Troutman, Maria Di Dia, Joseph Polack and Alexandra Lau.

Additional services provided by Cas-tellana Services Inc. and Road Rebel Entertainment Touring.

Tour direction provided by Colum-bia Artists Theatricals.

MembersThe Remarkable

Of Ingleside

ill and Linda Ratcli! love their life at Ingleside at King Farm. !ey were drawn to Ingleside not only for the quality services and amenities or the great location and residential choices but for the residents and management. “We have a care-free lifestyle and we’ve made so many new friends with interesting life experiences and backgrounds—it’s fascinating and fun,” says Linda.

B

By volunteering as a raiser family for service dogs !e Ratcli"’s contribute to the greater community of King Farm. For 12 to 15 months they give time, energy and love to a future service dog.

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Young Robin Hood

November 28 – December 30, 2012

Swashbuckling new adventure for the whole family

Glengarry Glen Ross

February 6 – March 3, 2013

Powerhouse cast in a searing, award-winning comedy

How to Write a New

Book for the Bible

April 10 – May 5, 2013

Heartfelt, humorous family portrait from

the author of Equivocation

Becky ShawMay 29 – June 23, 2013

Smash hit Off-Broadway comedy

of romantic errors and

bad manners

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240.644.1100 roundhousetheatre.org

Young Robin Hood

November 28 – December 30, 2012

Swashbuckling new adventure for the whole family

Glengarry Glen Ross

February 6 – March 3, 2013

Powerhouse cast in a searing, award-winning comedy

How

2012/13 SEASONYoung Robin Hood

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Mario Venzago, conductor

Mario Venza-go was born in Zurich, studied in Zurich and Vienna with

Hans Swarowsky, and started his career as pianist of the Swiss broadcast station in Lugano. From 1986 to 1989, he was music director of the Heidelberg Opera House and Philharmonic Orchestra and later served as chief conductor of the German Kammerphilharmonie Bremen, Graz Opera, Basque National Orchestra,


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Elgar Cello Concerto Mario Venzago, conductor

Sol Gabetta, cello

Mephisto Waltz No. 1 Franz Liszt

Cello Concerto in E Minor, Op. 85 Edward Elgar

Sol Gabetta

INTERMISSION

Symphony in D Minor César Franck

Basel Symphony Orchestra and the Swedish National Orchestra in Gothen-burg. He was artistic director of the Bal-timore Summer Music Fest and from 2002 to 2009, music director of the In-dianapolis Symphony Orchestra.

In 2010, he was named principal conductor of the Northern Sinfonia in Newcastle and, in the same year, was appointed chief conductor of the Bern Symphony Orchestra, as well as artist-in-association with the Tapiola Sinfo-nietta. He is also Schumann guest con-ductor of the Düsseldorfer Symphoniker VE

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and holds the position of conductor laure-ate of the Basel Symphony Orchestra.

Venzago’s conducting career includes engagements with the Berlin Philhar-monic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, London Philhar-monic Orchestra, BBC Symphony Or-chestra, City of Birmingham Symphony Orchestra, Vienna Symphony, La Scala di Milano, Melbourne Symphony Orches-tra and the NHK Symphony in Tokyo. In North America, he has appeared with the symphony orchestras of Boston, Philadel-phia, Toronto and Baltimore.

Several of his CDs—which include orchestral works of Robert Schumann, Luigi Nono, Othmar Schoeck, Alban Berg and Maurice Ravel—have been awarded international prizes (including the Grand Prix du Disque, Diapason d’or and the Edison Award).

Venzago last appeared with the BSO in March 2011, conducting Schubert’s Symphony No. 5, Berg’s Violin Concerto featuring Baiba Skride and Beethoven’s Symphony No. 5.

Sol Gabetta, celloInternationally ac-claimed since her 2004 debut with the Wiener Philharmoni-ker and winner of the Credit Suisse Young Artist Award, cellist Sol Gabetta already

holds several impressive awards. Born in Cordoba, Argentina, she won

her !rst competition at age 10, soon fol-lowed by the Natalia Gutman Award and commendations at the Moscow Tchai-kovsky Competition. A Grammy Award nominee, Gabetta became the youngest winner of the Aargau Kulturpreis in 2008. She has also been awarded Argentina’s Konex prize and, in 2010, received the Gramophone Young Artist of the Year award. Additionally, she has won three ECHO Klassik awards (2007, 2009 and 2011).

Gabetta’s performances include ap-pearances with Bamberger Symphoni-ker, Kammerorchesterbasel, Orchestre National de Radio France, the Czech Philharmonic, City of Birmingham



Symphony, Royal Philharmonic and Russian National orchestras. She has also played with the Bolshoi, Finnish Radio Symphony and the Philadelphia, Detroit Symphony and Seoul Philhar-monic orchestras, plus the Orchestre National de Belgique and Orquesta Na-cional de España.

In addition to her career as a soloist, Gabetta is a chamber musician and per-forms with distinguished partners such as Yo-Yo Ma, Patricia Kopatchinskaja and Hélène Grimaud.

Thanks to a generous stipend by the Rahn Kulturfonds, Gabetta is in a posi-tion to play one of the very rare and pre-cious cellos by G.B. Guadagnini from 1759.

Gabetta is making her BSO debut.

Program NotesMephisto Waltz No. 1

Franz Liszt Born Oct. 22, 1811 in Raiding, Hungary; died July 31, 1886 in Bayreuth, Germany

The devil and his doings was a sub-ject of great fascination for most Ro-mantic artists, and Franz Liszt was as Romantic as they come. Like his col-leagues Berlioz and Schumann, he adored Goethe’s Faust, in which the title character sells his soul to Mephis-topheles in exchange for youth, pleasure and knowledge. In 1854, he composed his monumental A Faust Symphony, in which the devil has his own lengthy movement. But another version of the Faust story also attracted him: the much darker, more nihilistic Faust written in 1836 by the Hungarian-German poet Nikolaus Lenau. Lenau was a tormented !gure who brie"y emigrated to Ameri-ca, living in Baltimore—which he de-clared an accursed place because it had no nightingales (the favorite bird of Ro-mantic poets and musicians).

In 1860, Liszt composed his orches-tral Two Episodes from Lenau’s “Faust,” comprised of “The Night Proces-sion” and “Dance in the Village Inn.” While the !rst of these movements is now largely forgotten, the second, now

known as Mephisto Waltz No. 1, has be-come one of Liszt’s most popular works. Later, he arranged it for piano and, late in life, added three more piano works under the same title.

For Liszt, the devil apparently was as-sociated with dancing. In this move-ment’s scenario, Faust and Mephistoph-eles eavesdrop on a dance at a country inn. Mephistopheles cries out that the musicians are too tame and, seizing a !ddle, plays a waltz tune to make the blood boil. We !rst hear the orches-tra tuning up, its intervals piled on top of each other to create what were for Liszt’s era lurid dissonances. Then cel-los and violas launch the wild and way-ward waltz, embellished with macabre trills. Faust has spied a dark-eyed beau-ty, whom he courts with a slower, more hesitant melody, also sung by the cel-los. Soon he lures her away from the inn, and woodwind birds and eerie har-monies describe their amorous tryst in the forest. And Liszt doesn’t forget the nightingale that Lenau longed for in America: a solo "ute imitates its call as the lovers embrace. The inventive or-chestra and daring harmonies of this little tone poem splendidly evoke both demonic powers and human lust.

Instrumentation: Three "utes, pic-colo, two oboes, two clarinets, two bas-soons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.

Cello Concerto in E Minor

Sir Edward Elgar Born June 2, 1857 in Broadheath, Eng-land; died Feb. 23, 1934 in Worcester, England

One of the masterpieces of the cello lit-erature, Sir Edward Elgar’s Cello Con-certo is also a powerful, poignant fare-well to an era irretrievably destroyed by World War I. Its creator was a true prod-uct of the late-Victorian and Edwardian age who needed the cushioned security of pre-war England in order to "ourish as an artist.

The war’s wanton slaughter horri-!ed and depressed Elgar. He mourned the innocence of an earlier England.

“Everything good & nice & clean & fresh & sweet is far away—never to return,” he wrote in 1917, during the war’s darkest days, to his friend Alice Stuart-Wortley, the inspiration for his Violin Concerto. And yet out of his despair came a !nal quartet of masterpieces, including three chamber works and the Cello Concerto. The Concerto, with its mournful, elegiac quality, seems like a very personal war re-quiem, and Elgar marked it with the enig-matic words “Finis. R.I.P.”

What Elgar couldn’t know as he com-pleted the work on Aug. 3, 1919, was that “R.I.P.” would soon apply to his beloved wife of 30 years and even to his career as a composer. Five months after the work’s premiere that October, Alice Elgar, eight years older than her husband, was dead. She had been his indispensable prop: sup-porting him with intelligent criticism, pushing him back into his study when he lost heart over a composition, and even ruling his score paper for him. After her death, Elgar’s creative life was over, though he lived on for another 14 years. Without Alice, he seemed to lack the discipline to master his depressions and drive his musical inspirations through to completion. After the Cello Concerto, he wrote nothing of consequence.

But what a swan song it is! Masterful-ly drawing on the cello’s power to speak with an almost human voice, it expresses all of Elgar’s regret and nostalgia for his lost past. Although he wrote the work for a fairly large orchestra, Elgar contrived to use this ensemble in such a spare and sub-tle way that the cello is nearly always in the foreground, singing its song of loss.

First movement: The concerto be-gins with a grand rhetorical gesture from the soloist: a sweep of chords suggesting the opening of a bardic tale. Then the violas launch a wandering theme that is quickly passed to the soloist and eventu-ally the entire orchestra. The mood and key brighten somewhat from E minor to E major in the movement’s pastoral middle section, introduced by a lilting theme in the clarinets and bassoons and a swaying response from the cello.

The second movement, a scherzo pre-dominantly in G major, is as nervous and high-strung as its creator and a challenge



to the nimble !ngers of the soloist. She begins with a recitative passage of agi-tated repeated notes, punctuated by piz-zicato snaps. Eventually she "ings her-self into a "urry of sixteenth notes; these are periodically interrupted by a bold downward-upward leaping phrase that is a characteristically Elgarian assertion of selfhood and con!dence. Abruptly, the movement bursts like a balloon, with a pizzicato pop.

Although brief, the Adagio third movement in B-"at major is the emo-tional heart of the work. Here, the solo-ist pours out a magni!cent long-lined la-ment, while the orchestra is reduced to woodwinds and strings to throw the spot-light on the cello’s song. Upward leaps of an octave in the soloist’s melody gradu-ally slip to leaps of a seventh, making the mood yet more poignant as the cello is unable to reach its longed-for goal.

In the rondo "nale, the orchestra tries to launch the refrain theme, but is unable to budge the soloist from her mood of mourning. Eventually, she is willing to take up the quicker tempo and the rondo theme, which is very rhythmic and marked risoluto (resolute). This is bitter, dark music, and it be-comes truly sardonic in a passage begun by the soloist and the cello section in unison, to which the rest of the orches-tra gives savage commentary.

The closing coda is the !nale’s most remarkable feature. The tempo slows, and the cello descends into a world of grief, dragging the orchestra with it. A quotation of the third movement’s la-ment is followed by the dramatic chords of the Concerto’s opening. Then Elgar abruptly jerks the music back to Allegro for a frenzied, fast !nish.

Instrumentation: Two "utes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trom-bones, tuba, timpani and strings.

Symphony in D Minor

César Franck Born Dec. 10, 1822, in Liège, then in Belgium; died Nov. 8, 1890, in Paris

Though he lived to nearly 70 and was one of the Paris Conservatoire’s most

remarkable teachers, César Franck was largely ignored by the French musical establishment during his lifetime. His Belgian birth contributed to his outsid-er status; in order to become the Con-servatoire’s professor of organ in 1871, he had to take out French citizenship. Moreover, Franck was a gentle, un-worldly man—serious, sincere and a fervent Catholic—and, thus, was poor-ly equipped to deal with the frivolous and highly politicized Parisian musi-cal scene in the second half of the 19th century. But if he was unable or unwill-ing to !ght for recognition, his devoted pupils—among them men soon to be-come famous themselves, such as Vin-cent d’Indy, Henri Duparc, Paul Dukas and Ernest Chausson—were eager to proclaim his greatness. To them, he was almost a living saint—“Pater seraphi-cus” they called him—and Beethoven’s true heir. Their proselytizing and the strength of his late works, including the D Minor Symphony, made him famous within a few years of his death in 1890.

Presiding for decades at the console at St. Clotilde’s Church in Paris, Franck contributed greatly to the celebrated French organ repertoire. A very late bloomer as a composer, he created all the works for which he is remembered during the last decade and a half of his life. His only symphony was written between 1886 and 1888 when he was in his mid-60s. And one can hear the sumptuous sound of the organ, swelling rank by rank, in its rich orchestral tex-tures and pealing brass climaxes.

Franck’s musical idols were Bach, Beethoven and Liszt. It was his rever-ence for Beethoven that inspired him to write a symphony, a form French com-posers of the 19th century rarely at-tempted. Berlioz’s symphonies had been highly unconventional programmatic works, but Franck was determined to write a “traditional” symphony, based on thematic development and following, though very freely, the established Ger-man symphonic forms. But it is Liszt’s in"uence we hear most. Franck promi-nently uses Liszt’s and Berlioz’s principle of a motto or “idée !xe”: a theme that recurs in different guises throughout the

work. In Franck’s hands, several motives and themes return in later movements to unify the work.

The !rst of these—a three-note ques-tioning motive in the low strings—launches the opening movement. This question generates a lengthy slow intro-duction, brooding but also expectant. The questioning idea then erupts into a bold Allegro, but Franck immediately short-cir-cuits that and reprises the slow introduc-tion in a higher key. After this, the Alle-gro !nally takes wing and soon introduces us to the second of the symphony’s motto themes: an optimistic tune rocking around the note A, which is introduced fortissimo by the full orchestra. After developing his materials, Franck recapitulates the slow introduction, its original brooding quality now transformed into a blaze of brass. A short but powerful coda decisively changes the question into a ringing af!rmation in D major.

By contrast, the second movement is all French subtlety and delicate scoring, a combination of slow movement and scherzo. Harp and plucked strings outline the theme; then the English horn sings it in full: a grave and melancholy melody with an old-fashioned modal "avor. The remainder of the movement is devoted to variations on this theme. An extended section of rapid, "uttering string patterns contribute a scherzo lightness while re-taining the theme’s outline.

The "nale opens boldly with an exul-tant tune that sounds oddly familiar. We !nd out why later in the movement, when the !rst movement’s optimistic second theme returns and proves to be a close cousin. Reminiscences of earlier music keep reappearing, led off by the return of the second movement’s grave dance. The closing coda reprises the opening ques-tion motive, now combined with the op-timistic theme and elevated by harps. But it is the !nale’s own exultant theme that !nally sweeps aside nostalgia for a joyous conclusion.

Instrumentation: Two "utes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, harp and strings.


Monday, December 3, 2012, 8 p.m.


worthy follow-ups included the gold-certi!ed Lucky Man (1993) and Off the Beaten Path (1996). He’s also recorded the holiday albums December Makes Me Feel This Way (1997), Dave Koz & Friends: A Smooth Jazz Christmas (2001) and Memories of a Winter’s Night (2007).

The gold-certi!ed The Dance (1999) and Saxophonic (2003) each spawned !ve Top 5 hits on the contemporary jazz charts, and the latter album scored two Grammy nominations.

In addition to the 2007 Christmas album, Koz also released At the Mov-ies that same year. Koz’s celebration of timeless melodies from cinema spent 12 weeks at the top of Billboard’s Contem-porary Jazz chart and scored a second Grammy nomination for Best Pop Instrumental Album. A year later, Koz followed up with Dave Koz at the Mov-ies Double Feature CD + DVD, which included the original CD with two new bonus tracks, a new DVD and track-by-track commentary.

In addition to his discography, Koz also hosts a weekday afternoon radio program that’s nationally distributed on the Smooth Jazz Radio Network; on weekends, he hosts the syndicated Dave Koz Radio Show—now in its 15th year—in approximately 120 markets.

Koz is also the founder of Rendezvous Records and has served for 17 years

MONDAY, DECEMBER 3, 2012, 8 P.M.

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Dave Koz and Friends Christmas Tour 2012

starring David Benoit, Javier Colón, Sheila E. and introducing Margo Rey

Dave Koz In a career that spans 20 years and a dozen al-bums, saxophon-ist Dave Koz has established him-self as one of the most prominent

!gures in contemporary music. His latest album, Hello Tomorrow,

embraces the change he has noticed in the music landscape, as well as the promise and uncertainty of new begin-nings. Produced by Grammy-winners John Burk and Marcus Miller, the album features guest performers Herb Alpert, Jonathan Butler, Brian Cul-bertson, Sheila E., Boney James, Jeff Lorber, Keb’ Mo’, Ray Parker Jr., Lee Ritenour, Christian Scott and others.

Koz started playing saxophone in order to land a spot in his brother’s band, but along the way he unintentionally tapped into his life’s passion. After earn-ing a degree in mass communications from the University of California-Los Angeles, Koz took the leap into a career as a professional musician, a decision that immediately led to touring gigs with vocalist/multi-instrumentalist Bobby Caldwell, keyboardist Jeff Lorber and pop-singer Richard Marx. He released his self-titled solo debut in 1990. Note-

as global ambassador for the Starlight Children’s Foundation—an organization dedicated to improving the quality of life for children with chronic and life-threat-ening illnesses and life-altering injuries. He served on the Grammy Foundation Artists Committee for four years, has been a national trustee for the National Academy of Recording Arts & Sciences and is an ongoing member of the Board of Governors for the Grammy Foundation.

David BenoitSince launching his recording career in 1977, contemporary jazz pianist and com-poser David Benoit’s work has included more than 25 solo recordings. His 1980s releases This Side Up,

Freedom at Midnight and the Grammy-nom-inated Every Step of the Way are considered in"uential genre classics.

Among his other Grammy nominations are those for Best Instrumental Com-position and Best Large Jazz Ensemble Per-formance. His output since 2000 includes several Charlie Brown-related projects (including Here’s To You, Charlie Brown: 50 Great Years and the star-studded 40 Years: A Charlie Brown Christmas) that re"ect his lifelong passion for the music of original Peanuts composer Vince Guaral-di. Benoit has also released the albums Fuzzy Logic; Right Here, Right Now; Full Circle and Heroes.

Benoit’s ever-expanding slate of orchestral music endeavors include his ongoing role as conductor of the Asia America Symphony Orchestra. He also has led the Los Angeles Philhar-monic and the symphonies of London, Nuremberg, San Francisco, Atlanta, San Antonio and San Jose. Concurrent with his burgeoning career as a conductor, he recorded 1996’s American Landscape with the London Symphony Orchestra and 2005’s Orchestral Stories with members of the Asia America Symphony Orches-tra and the Czech National Symphony Orchestra. Orchestral Stories featured his !rst piano concerto, “The Centaur and the Sphinx,” and his acclaimed sym-BE

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an old-fashion soul croon and a Mayer-Mraz style sensitive-dude,” Colón is especially excited about this album, as it allows him to showcase his songwriting.

Colón found a wide audience with his victory as winner during the inau-gural season of NBC’s The Voice.

Prior to The Voice, Colón toured with the Derek Trucks Band for two years before releasing Javier (2003) and Left of Center (2006). Colón released The Truth – Acoustic EP on his own label, Javier Colón Music, in 2010.

Sheila E.Emmy-nominee Sheila E. picked up drumsticks and started making music at age 3, while watching her legendary father, percus-

sionist Pete Escovedo, rehearse. Sheila Escovedo delivered her !rst solo per-formance to a live audience two years

phonic piece “Kobe,” both of which he has performed in live settings across the country. In 2009, Benoit performed and conducted Leonard Bernstein’s West Side Story with the Asia America Symphony Orchestra in a show that included Broadway great Lea Salonga; he later conducted Beethoven’s Sym-phony No. 9 with the same orchestra in his critically acclaimed debut at Los Angeles’ Disney Hall.

Benoit’s notable !lm scores include The Stars Fell on Henrietta, produced by Clint Eastwood and starring Robert Du-vall; and The Christmas Tree, produced by Sally Field, voted Best Score of 1996 by Film Score Magazine. Benoit has also been a longtime guest educator with the Mr. Holland’s Opus Foundation.

In October 2008, Benoit headed up to the mountains near Saratoga, Calif., to become an artist-in-residence at the Montalvo Arts Center, where he wrote “Botswana Bossa Nova” and “Will’s Chill,” which became the foundation of his 2012 album, Earthglow.

On Oct. 29, 2010, the pianist/com-poser was honored with the Lifetime Achievement Award at the American Smooth Jazz Awards in Michigan City, Ind. His latest album, Conversation, was released May 2012.

Javier ColónSince the release of his debut album, Come Through For You, Javier Colón has been igniting a

worldwide buzz while touring the nation in support of his album. The New York Times hailed, “The album stays kindly, polished and simpering all the way through. …Mr. Colón’s skill as singer and songwriter is obvious.” Colón’s soulful voice and command of his guitar hypnotize music lovers of all genres. Described by Rolling Stone as “pure-toned tenor voice, sitting cozily between

A community must have music! Without it, there is no song, no dance, no harmony.

Maryland | Washington, DC | Virginiawww.eaglebankcorp.com | 301.986.1800



featured performer during the 2012 84th Annual Academy Awards.

Sheila E. appeared for three consecu-tive runs as drummer for Ringo Starr’s All Starr Band. She also appeared as one of the celebrity judges on Fox’s The Next Great American Band, and was the grand prize winner on Gone Country 3 on CMT.

She maintains a heavy involvement in charitable organizations as a philan-thropist and is co-founder and chair of the Elevate Hope Foundation, focusing on the needs of victims of child abuse by promoting music and arts education as an alternative form of therapy.

Margo ReyBorn in Acapul-co, Mexico, and raised in Fort Worth, Texas, singer/songwriter Margo Rey is an artist whose talents span

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later and has since established herself as one of the most talented percus-sionist/drummers and performers in the world. Best known to music fans as Sheila E., she became a top session and touring musician before age 19, per-forming and/or recording with George Duke, Herbie Hancock, Billy Cobham, Con Funk Shun and countless others, including stints with Marvin Gaye on his !nal world tour, Diana Ross, Lionel Richie, Gloria Estefan, Babyface, Patti LaBelle and Stevie Nicks.

In the 1980s, Sheila E.’s friend Prince helped catapult her to pop superstardom. Her obvious talent and hits like “The Glamorous Life” and “Love Bizarre,” plus her pivotal work on other Prince-related projects con-tributed to her international fame.

In recent years, she has served as musical director for Jennifer Lopez, Beyoncé and Prince. Her producing and arranging talents have been showcased on the Latin Grammy, ALMA and Image awards shows. She also was a

from musical theater and !lm acting to voiceovers and hit singles on the jazz, dance and pop charts. She has had two No. 1 dance hits, an original Christmas hit and an adult contemporary pop hit.

Rey spent the early part of her career in New York and !nally settled in Los Angeles to pursue and create music. She was signed by the Abrams Art-ist Agency and has a long roster of national commercial spots, as well as a role in the Disney movie, Beverly Hills Chihuahua.

Rey’s music caught the attention of two-time Grammy-nominated come-dian Ron White, television mogul Phil McGraw and !ve-time Grammy-nomi-nated record producer Michael Blakey. Together, they formed Organica Music Group and made Rey their !rst sign-ing. The record label is distributed by Fontana Distribution, a division of Universal Music Group.

The song, “Let The Rain,” which Rey co-wrote with John Oates, was released in August 2011.

Thursday, December 6, 2012, 8 p.m.


and strathspeys—with titles such as “Alex MacMaster’s Jig,” “My Brother Kevin” and “Stoney Lake Reels”—em-braces the values MacMaster holds dear: family, tradition, home and faith.

“Those are the things most impor-tant to me,” says MacMaster. “I work through my music, to strike a proper balance between life and work wher-ever possible.”

MacMaster’s honors include two Grammy nominations and one win for her contribution to Yo-Yo Ma’s Songs Of Joy & Peace, a Juno Award for Best Instrumental Album for In My Hands, eight Canadian Country Music Awards, 10 East Coast Music Awards, an honorary doctorate from St. Thomas University and honor-ary degrees from Niagara University and Trent University. She also has received the Arts & Letters Award from the Canadian Association of New York.

MacMaster has captivated audienc-es from Carnegie Hall in New York to Massey Hall in Toronto. She’s made radio appearances on CBC, Canada AM and Garrison Keillor’s A Prairie Home Companion, and TV appear-ances on Christmas specials like Rita MacNeil Christmas and Holiday Festival on Ice, with Olympic ice skaters Jamie Sale, David Pelletier, Kurt Browning

THURSDAY, DECEMBER 6, 2012, 8 P.M.

!

Natalie MacMaster:

Christmas in Cape Breton

Natalie MacMaster

Juno Award-winning !ddler Natalie MacMaster is a Cape Breton girl. Lest there be any reservation concern-ing this declaration, you’re invited to check out Cape Breton Girl, her 11th and latest collection of jubilant instrumental music. This invigorating collection of toe-tapping jigs, reels

and Jeffrey Buttle.MacMaster has contributed to

albums by Yo-Yo Ma, The Chieftains, Raf!, Béla Fleck, Alison Krauss, Mi-chael McDonald and Thomas Dolby, among others.

More recently, MacMaster’s talents have expanded to include authoring, co-writing and publishing the pic-turesque 161-page coffee-table book Natalie MacMaster’s Cape Breton Aire with Pulitzer Prize-winning wordsmith Eileen McNamara, and featuring Boston-based Eric Roth’s photography.

But music is as important as home and tradition, her beloved family now shapes and informs her musicianship as much as the jigs, reels and waltzes feed her soul.

“Not so much the sound as the delivery,” states MacMaster. “I am a mom now. I am a wife. Faith is also important. Those things are my priori-ties in life, and I think people get a sense of that—of that part of who I am—through my show. But my music itself hasn’t changed.”

MacMaster, though, has branched out somewhat. And she’s not simply sticking to her roots.

“I love music, and I don’t just love Cape Breton !ddling, although it’s my favorite: I love pop, rock, country, classical, jazz, bluegrass, Latin, and so on. I grew up listening to Michael Jackson, Whitney Houston, Def Lep-pard, AC/DC, Anne Murray. If I hear something I really like, like Bonnie Raitt’s ‘Good Man, Good Woman,’ I want to be a part of it.”

“That love spawned a few tunes like ‘Catharsis,’ which I recorded on No Boundaries—my !rst rock piece—and ‘Flamenco Fling’ on In My Hands. I heard "amenco guitar playing and I thought it was awesome, and thought I could put a !ddle tune over "amenco rhythms.”

“Being from Cape Breton has never made me feel restricted to playing only that tradition,” MacMaster says. “I’ve always felt I can be a part of any type of music. But certainly, no matter how it comes out, it always has the Cape Breton groove.”

Saturday, December 8, 2012, 8 p.m., Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.


SATURDAY, DECEMBER 8, 2012, 8 P.M. SATURDAY, DECEMBER 22, 2012, 8 P.M.

SUNDAY, DECEMBER 23, 2012, 3 P.M.

!

Handel’s Messiah

Stan Engebretson, conductorDanielle Talamantes, soprano

Magdalena Wór, mezzo-sopranoMatthew Smith, tenor

Kevin Deas, bassNational Philharmonic Chorale

Messiah George Frideric Handel Part I

INTERMISSION Part II

Part III


Saturday, December 8, 2012, 8 p.m. , Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.


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Stan Engebretson, conductorIn demand through-out the United States and Europe, Stan Engebretson has led choirs in Venice’s Cathedral of St. Mark and taught in Cologne,

Trier, St. Moritz and Barcelona. He has studied with the great masters of choral music, including Robert Shaw, Gregg Smith, Richard Westenburg, Roger Wagner and Eric Ericson.

After attending the University of North Dakota and earning his doctor-ate from Stanford University, Engebret-son taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic di-rector of the Midland-Odessa Sympho-ny Chorale and the associate conductor of the Minnesota Chorale.

In Washington since 1990, Engebret-son is professor of music and director of choral studies at George Mason Univer-sity and is the director of music at the historic New York Avenue Presbyterian Church. From 1993 to 2003, he was the artistic director of the predecessor to the National Philharmonic Chorale, the Masterworks Chorus, and the semi-pro-fessional National Chamber Singers.

Engebretson remains active in other areas, including performing as a profes-sional chorister and lecturer, and lead-ing the Smithsonian Institution’s Study Journeys at the Spoleto-USA Festival of the Arts.

Danielle Talamantes, sopranoHaving returned to her native Wash-ington, D.C. area, Danielle Talaman-tes has quickly be-come one of the regions most sought after soloists.

She recently debuted as Violetta in Verdi’s La Traviata with Fremont Opera to rave reviews. She was also thrilled to ful!ll her debut contract in the spring of 2011 with the Metropolitan Opera covering the role of Najade in Strauss’

Ariadne auf Naxos.Recent concert performances fea-

tured Talamantes as soprano soloist with the Nashville Symphony, Balti-more Symphony Orchestra, Choralis and the Oratorio Society of Virginia. She made her debut with the Balti-more Choral Arts Society in May 2012 in Mendelssohn’s Elijah and was sched-uled to perform with the New Domin-ion Chorale in an October 2012 pro-duction of Orff’s Carmina Burana. She also is scheduled to perform Poulenc’s Gloria with the National Philharmonic in February 2013.

Magdalena Wór, mezzo-soprano Magdalena Wór is the !rst place win-ner of the Heinz Rehfuss Vocal Competition (2005), a Metro-politan Opera Competition na-

tional !nalist (2002) and a winner of the Mozart Society of Atlanta Competi-tion. She also is an alumna of the San Francisco Opera’s Merola Summer Opera Program, Chautauqua Music In-stitution’s Marlena Malas Voice Pro-gram and St. Louis Opera Theatre’s Gerdine Young Artist Program.

Wór was a member of the Domin-go-Cafritz Young Artist Program at the Washington National Opera from 2006 to 2008. She has recently appeared with the Metropolitan Opera, National Sym-phony Orchestra, Atlanta Symphony Orchestra and New Trinity Baroque.

A native of Poland, Wór has lived in the United States since 1991. She re-ceived her bachelor’s and master’s de-grees in vocal performance from Geor-gia State University.

Matthew Loyal Smith, tenor Matthew Loyal Smith is an accom-plished tenor who has performed with many prestigious ensembles includ-ing the Washing-ton Bach Consort,

Cathedral Choral Society, Washing-ton Concert Opera, Niagara Symphony Orchestra, Pennsylvania Chamber Or-chestra and the Mendelssohn Club of Philadelphia.

His operetta and operatic roles have included Frederic in Pirates of Penzance, Baron Zsupàn in Countess Maritza, The Prologue in The Turn of the Screw, Kas-par in Amahl and the Night Visitors, the Mayor in Albert Herring and Torquema-da in L’heure Espagnol.

Smith received the Carmel Bach Fes-tival’s Adams Fellowship in 2008. He studied voice with Beverley Rinaldi and Christine Anderson while earning his bachelor’s degree in voice at the Cleve-land Institute of Music and a master’s degree in opera from Temple University. Smith serves with the Air Force Singing Sergeants in Washington, D.C.

Kevin Deas, bass American bass Kevin Deas is espe-cially celebrated for his riveting por-trayal of the title role in Porgy and Bess with the New York Philharmonic,

National Symphony, St. Paul Chamber Orchestra, Philadelphia Orchestra, the symphonies of San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore and Montreal, and at the Ravinia and Saratoga festivals.

His recent recordings include Die Meistersinger with the Chicago Sympho-ny under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO En-semble under Ricardo Chailly, both on Decca/London. Other releases include Bach’s B minor Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Cathedral Choral Society on the Telarc label.

Program NotesMessiah

George Frideric Handel Born Feb. 23, 1685 in Halle, Germany; died April 14, 1759 in London

Saturday, December 8, 2012, 8 p.m., Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.


During the last decades of his life, beginning in the 1730s, Handel began to turn away from the world of the opera in order to devote more and more of his effort to the oratorio.

The oratorio was a similar and closely related kind of musical pre-sentation to the opera; it differed lit-tle outwardly in structure and content from the opera musically, but it re-quired no costumes, scenery or stag-ing, and the subjects, generally elevat-ed and noble, were more often taken from the Bible, or classic myths or other legends.

Handel’s oratorios (and Messiah in particular) became the !rst “immor-tal masterpieces,” and were performed over and over again, long after their novelty was gone, even after their composer’s death.

Unlike now, until some 75 years after Handel’s death, novelty was a supremely important factor in musi-cal life. Music of the past, even of the recent past, was performed only with a sense of participating in a revival of something long gone. The then-cur-rent repertoire was always contempo-rary and, thus, always in "ux.

Immediately, Handel’s orato-rios captivated the English people. The fame of these oratorios inspired Haydn, Mozart and Beethoven when their popularity spread to the Europe-an continent.

Gradually, the oratorios established the new idea that some “old” music was too good to abandon, and that, in fact, sometimes, established pieces should actually be given precedence over the new.

Handel composed Messiah dur-ing the few weeks from Aug. 22 to Sept. 14, 1741. Presumably, his friend, Charles Jennens, assembled the text from the Bible, assisted by his private chaplain and in consultation with the composer. This theory is not de!ni-tive, and there are others who hold that the text was the careful work of Handel’s secretary, a clergyman named Pooley.

A few weeks after the score was complete, William Cavendish, duke

of Devonshire and lord lieutenant of Ireland, invited Handel to give some bene!t concerts of his music in Dublin for several charities. He left London early in November, spent a few days at Chester awaiting good weather for the Irish Sea crossing, and arrived on Nov. 18. In December, he began his suc-cessful series of subscription concerts.

On March 23, 1742, a notice ap-peared in two Dublin newspapers: “For the Relief of the Prisoners in the several Gaols, and for the Support of Mercer’s Hospital, in Stephen’s-street, and of the Charitable In!rmary on the Inn’s Quay, on Monday, the 12th of April, will be performed at the Musick Hall in Fishamble-street, Mr. Handel’s new Grand Oratorio, called the Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertos on the Organ, by Mr. Handel.”

A public rehearsal of the Messiah was held on April 8 before a large au-dience, and the next day a newspaper reported, “It was allowed by the great-est Judges to be the !nest Composi-tion of Musick that ever was heard.”

The paper also suggested that la-dies should come to the concert with-out hoops, and the gentlemen with-out swords, in order to make room for a larger than normal audience. The public cooperated and 700 people at-tended the premiere; although the hall really accommodated only 600.

Handel returned to London in the fall, and in March 1743, he began a series of performances of the Messiah at Covent Garden. London did not immediately share Dublin’s enthusi-asm, and the clergy even attempted to close the theater on the grounds that “any Work about the Omnipo-tent should never be performed in a playhouse.”

However, Handel’s old patron, George II, attended the London pre-miere, and legend has it that he was so moved by the Hallelujah Chorus that he rose and remained standing until its end.

Of course, when the king stood up, the rest of the audience stood, too,

and since that time, almost all audi-ences have traditionally risen at that point in the performance.

Handel said of the Hallelujah Cho-rus that while composing it, “I did think I did see all Heaven before me, and the great God Himself.” It is a glorious musical moment, but cynical historians think that if the reputed in-cident took place at all, the king prob-ably thought that intermission came before, not after it.

In 1749, Handel presented an organ to the chapel of the Foundling Hos-pital, a home for abandoned and mal-treated children founded in 1739 by a retired American sea captain. On May 1, 1750, he dedicated the organ with a revival of the Messiah that turned out to be the !rst in a series of annu-al bene!ts that continued long after his death, and that initiated Messiah’s great popular appeal.

Handel himself made many changes in both the text and music during his lifetime, and in the long years since his death, countless variants have crept into the score.

It is impossible now to hear the ora-torio exactly as it was originally con-ceived and as it was performed in Handel’s time. No one absolutely au-thentic version of the music has come down to us. The singers’ art of deco-rating the composer’s simple melodic lines with brilliant ornament was lost for about 200 years and is now being revived only tentatively, or some-times, clumsily. We no longer have the altered male sopranos and altos who sang the treble solos in Handel’s time.

In addition, we do not know Handel’s exact scoring. Thirty years after Handel’s death, Mozart com-pletely modernized the orchestration, and others have done so again and again since then.

Handel divided Messiah into three parts. Part I contains the prophecy and narrative of the Nativity. Part II is the passion and the resurrection. The !nal section, Part III, includes the res-urrection of all mankind to the glory of God. The portion being performed

Saturday, December 8, 2012, 8 p.m. , Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.


recording of Messiah, just before his death, he substituted other orchestra-tions for a number of the selections and although he used the Goosens or-chestration primarily, he did not pres-ent the whole work as Goosens envi-sioned it.

Sadly, Goosens never heard his or-chestration performed, and his man-uscript and orchestral material were never published, but held closely by Beecham’s widow.

Recently, the manuscript was mys-teriously sold to the University of Shef!eld in England, although ap-parently Beecham had never pur-chased it, but only commissioned the orchestration.

The present score was created from a poor quality photocopy, and the publisher, Theodore Presser Compa-ny, hopes to eventually print the com-plete score, even more precisely to Goosens’ speci!cations.


in this concert is the Christmas por-tion, which traditionally includes Part I, the Hallelujah Chorus from Part II and the Amen from Part III.

Handel’s Messiah is unique in that the text which the soloists and chorus sing are removed from outwardly dra-matic situations; unlike in opera, or even choral cantatas or dramas which Handel had written, in the Messiah, the singing is an extension of devo-tional contemplation.

Handel gives us the life of the Christ in all its phases covering the whole liturgical year. Yet Messiah is not liturgical music. Handel dealt with his subject as a non-sectarian hu-manist, glorifying the validity of just and moral action more than the dog-mas of Christianity.

A new edition, released in February 2000, incorporates orchestration by Sir Eugène Goossens. Goossens cre-ated the orchestration during the early months of 1959 at the invitation of

Sir Thomas Beecham, then the con-ductor of the Royal Philharmonic Orchestra.

Sir Thomas wished to record the Messiah with a 20th-century sized full orchestra and wanted Sir Eugène to create the mammoth score.

The precedent for the request had numerous historical antecedents. We know that Handel himself had, on var-ious occasions, considerably increased the choral and instrumental forces for performances by adding oboes, bas-soons, contrabassoon and horns.

The Handel commemoration perfor-mances in 1784 involved 500 singers and an orchestra including trombones, contrabassoon and four sets of timpani.

Subsequently, various musicians re-orchestrated Messiah for their own time; thus Sir Thomas Beecham’s idea to present the work with a 20th-cen-tury orchestra was not a wholly origi-nal, nor outlandish, idea.

When Beecham actually made the

COMING TO THE MANSION

ATstrathmore

www.strathmore.org | (301) 581-5100Strathmore Ticket Office 5301 Tuckerman Lane, North Bethesda, MD Groups Save! (301) 581-5199

Art Exhibitions And Fine Art Education

Music Classes and Workshops for Adults

79TH ANNUAL INTERNATIONAL EXHIBITION OF FINE ART IN MINIATURE NOVEMBER 17–DECEMBER 29While each piece in this amazing exhibition is produced in miniature, every one represents a massive amount of talent and tender loving care.Free Opening Reception: Sunday, November 18, 2–4PM

GRAYSCALENOVEMBER 17–DECEMBER 29Forget about fifty shades—the magic of grayscale is infinite! From white to black and back again, the art of Grayscale explores the connection of grayscale images to the past and their meaning in the present, and addresses viewers’ ability to ascribe color to a black and white image by assessing the intensity of light that is different for every color.Free Opening Reception: Tuesday, November 20, 7–9PM

KIDS TALK AND TOUR: MINIATURES AND GRAYSCALESATURDAY, DECEMBER 8, 10:15AMFree (reservations required)Ages 5 and up ADULT ART TALK MINIATURES AND GRAYSCALESATURDAY DECEMBER 8, 1PMFree (no reservations required) MASTERPIECES IN MINIATURE WORKSHOPTAUGHT BY BEV ABBOTTSATURDAY, DECEMBER 8, 10AM–3PMFor adultsTuition $75 (Stars $67.50) per person, includes materials

Kids Sunday Art WorkshopsARTIST TRADING CARDS: MINI-MASTERPIECES! TAUGHT BY LISA MURPHYSUNDAY, NOVEMBER 18, 9:30AM–12:30PMAges 7–11Tuition $45 (Stars $40.50) per child, includes materials

WHAT’S BLACK & WHITE AND FUN ALL OVER? PRINTMAKING AT STRATHMORE!TAUGHT BY LISA MURPHYSUNDAY, DECEMBER 9, 9:30AM–12:30PMAges 7–11Tuition $45 (Stars $40.50) per child, includes materials

SO YOU THINK YOU CAN’T SING—HARMONY EDITION TAUGHT BY JOHN HORMANMONDAYS, JANUARY 7, 14, 28 & FEBRUARY 4, 7:30–9PMTuition $140 (Stars $126) for four-session series JAZZ VOCAL INTENSIVES: SCAT SINGING 201TAUGHT BY CONNAITRE MILLERSATURDAY, DECEMBER 15, 10AM–3PMTuition $65 (Stars $58.50) MARK O’CONNOR STRING METHODS FOR STRING TEACHERSTHURSDAY, DECEMBER 13, 2–3PMFree, reservations required FIDDLE JAM/WORKSHOP WITH ALASDAIR FRASERTHURSDAY, JANUARY 10, 7–9PMTuition $15 (Stars $13.50)

Douglas Roy, Moonglow

Palma Brozzetti, Wyoming Sky

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Connaitre Miller

Mark O’Connor

Alasdair Fraser

EDU_Applause_Full.indd 1 10/10/12 4:16 PM

Wednesday, December 12, 2012, 8 p.m.


WEDNESDAY, DECEMBER 12, 2012, 8 P.M.

!

Holiday Pops Celebration Robert Bernhardt, conductor

Daniel Narducci, baritoneBaltimore Choral Arts Society

Tom Hall, director Anacrusis Bell Choir

“Deck the Halls” from Arr: Randol Alan Bass Christmas Ornaments

“Christmas Time Is Here” Vince Guaraldi Lee Mendelson arr: Wilson

Selections from The Nutcracker, Op. 71a Pyotr Ilyich Tchaikovsky (

“It’s the Most Wonderful Time of the Year” Edward Pola Daniel Narducci

George Wyle

arr: Scot Wooley

“Silver Bells” Jay Livingston Daniel Narducci and Ray Evans , arr: Scot Wooley

“Go Tell It on the Mountain” Arr: Scot Wooley Daniel Narducci

Three Holiday Songs from John Williams Home Alone Leslie

Bricusse

INTERMISSION

“We Wish You a Merry Christmas” Arr: Chris Ridenhour

“Joy to the World” Arr: Mack Wilberg

“Carol of the Bells” Mykola Leontovitch,

arr: Barlow Bradford

Sleigh Ride Leroy Anderson

“Twelve Days of Christmas” Arr: John Rutter

Concert Suite from The Polar Express Alan Silvestri Glen Ballard arr: Jerry Brubaker

“O Holy Night” Adolphe Adam, arr: Tim Berens

“The Night Before Christmas” Arr: Randol Alan Bass

Sing We Now of Christmas Arr: Randol Alan Bass

Wednesday, December 12, 2012, 8 p.m.


Daniel Narducci, baritone

Baritone Daniel Nar-ducci is a multi-fac-eted artist whose talents have been captured through live stage presentations, recordings, documen-

taries and television. Since his professional debut with

the Cincinnati Pops Orchestra, Nar-ducci has appeared with the Cleve-land Orchestra, Philadelphia Orches-tra, Boston Pops, Naples Philharmonic, Chicago Symphony, Rochester Phil-harmonic, Toronto Symphony, Hous-ton Symphony and the Detroit Sym-phony, among others.

Narducci’s performance with the Cin-cinnati Pops Orchestra at the Great Hall of the People in Beijing was !lmed for nationwide broadcast in China. Other television appearances include co-starring with Frederica von Stade and the Naples Philharmonic Orchestra in the PBS program Pops at the Phil: A Century of Broadway. He also appeared with Judy Kaye in the BBC television documentary Kurt Weill in America: I’m a Stranger Here Myself.

Narducci recently made his New York City debut at Alice Tully Hall with the Collegiate Chorale under the di-rection of Robert Bass in An Evening of American Operetta. He played the role of Lancelot during two national tours of Camelot and portrayed Old Deuterono-my in the 10th anniversary production of Cats in Hamburg, Germany.

An active recording artist, Narduc-ci recently created the role of Captain Hook on the world premiere recording of Leonard Bernstein’s Peter Pan.

The Baltimore Choral Arts SocietyThe Baltimore Choral Arts Society, now in its 46th season, is one of Mary-land’s premier cultural institutions.

In the summer of 2007, Tom Hall led the Chorus in a three-city tour of France, including sold-out performances in Paris and Aix-en-Provence.

For the past 15 years, WMAR-TV

Robert Bernhardt, conductor

Robert Bernhardt is music director emer-itus of the Chatta-nooga Symphony and Opera, having recently complet-ed a 19-year tenure as that orchestra’s

music director. He also serves as princi-pal pops conductor of the Louisville Or-chestra and has previously served as ar-tistic director and principal conductor of the Rochester Philharmonic (1995-98), music director and conductor of the Tucson Symphony (1987-95) and principal guest conductor of Kentucky Opera (1991-96).

Bernhardt began his profession-al career with the Louisville Orches-tra in 1981 as assistant conductor and has worked with the orchestra every year since. For the past 15 years he has served as its principal pops conductor. In addition to conducting the Pops series, Bernhardt also hosts and conducts a three-concert series, titled “NightLites,” which presents themed programs of a variety of musical genres.

Bernhardt is equally at home with symphonic masterwork, operatic, pops and educational performance formats. During his tenure with the Kentucky and Chattanooga opera companies, he conducted fully staged productions of more than 40 operas, including Don Giovanni, La Traviata, Rigoletto, La Bo-hème, Il Trovatore and The Flying Dutch-man. His conducting for staged pro-ductions has also led him to the opera companies of Nashville and Birming-ham, and the ballet companies of Louis-ville, North Carolina, Chattanooga and Jacksonville.

Bernhardt’s recordings of the stan-dard symphonic canon and works of contemporary composers are available on the Vanguard, First Edition, RPO and Carlton Classics labels.

Bernhardt holds a master’s degree with honors from the University of Southern California School of Music and a bachelor’s degree from Union College in New York.TH

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has featured the society in an hour-long special, Christmas with Choral Arts. Hall and the chorus were also featured in the PBS documentary Jews and Christians: A Journey of Faith. On local radio, Hall is the host of Choral Arts Classics, a monthly pro-gram on WYPR that features the Choral Arts Chorus and Orchestra, and he is the culture editor on WYPR’s Maryland Morn-ing with Sheilah Kast.

Baltimore Choral Arts’ latest CD is Christmas at America’s First Cathedral, re-leased on Gothic Records in September 2010. A recording with Dave Brubeck fea-turing his oratorio, The Gates of Justice, was released internationally on the NAXOS label in 2004. Choral Arts has two other recordings in current release: Christmas with Choral Arts and a live recording of the Rachmaninoff All-Night Vigil.

Hall is one of the most highly regard-ed performers in choral music today. Ap-pointed music director in 1982, Hall has added more than 100 new works to Cho-ral Arts’ repertoire, and he has premiered works by contemporary composers includ-ing Peter Schickele, Libby Larsen, Rob-ert Sirota, James Lee III and Rosephanye Dunn Powell.

Hall has prepared choruses for Leonard Bernstein, Robert Shaw and others, and he served for 10 years as the chorus master of the Baltimore Opera Company.

Anacrusis Bell Choir Anacrusis is a professional handbell orga-nization consisting of eight musicians that specialize in small ensemble work. Locat-ed in the Chesapeake Bay area of Mary-land, the ensemble also performs handbell sextets, quintets, quartets, trios and duets, with optional accompaniment by harp, keyboards and percussion instruments. The ensemble’s repertoire encompasses classical, popular, sacred and music that is just plain fun.

Thursday, December 13, 2012, 8 p.m.


sical record label, Appalachia Waltz, was in collaboration with Yo-Yo Ma and Edgar Meyer. The works O’Connor composed for the disc, including its title track, gained worldwide recognition for him as a leading proponent of a new American musical idiom. The follow-up release, Appalachian Journey, received a Grammy Award in February 2001.

With more than 200 performances, his !rst full-length orchestral score “Fid-dle” Concerto has become the most-per-formed modern violin concerto. Fanfare for the Volunteer, recorded with the Lon-don Philharmonic Orchestra under the baton of Steven Mercurio, was released by Sony Classical in October 1999.

In April 2000, O’Connor premiered his fourth violin concerto, “The Ameri-can Seasons: Seasons of an American Life,” at Troy Music Hall in Troy, N.Y. The work was commissioned to cel-ebrate the 20th anniversary of the hall’s concert series. “The American Seasons” was recorded with the Metamorphosen Chamber Orchestra and released in 2001. Following the work’s release, a 30- city national tour with Metamorphosen earned universally spectacular reviews. The work was nationally broadcast New Year’s Day 2002 on PBS stations, paired with Vivaldi’s Four Seasons.

In August 2000, O’Connor’s third concerto, Double Violin Concerto, received its premiere with Nadja Salerno-Sonnenberg and the Chicago

THURSDAY, DECEMBER 13, 2012, 8 P.M.

!

Mark O’Connor:

An Appalachian Christmas

Mark O’Connor

A product of America’s rich aural folk tradition, as well as classical and "amenco music, Mark O’Connor’s cre-ative journey began at the feet of a pair of musical giants. The !rst was the folk !ddler and innovator who created the modern era of American !ddling in the 1940s, Benny Thomasson; the second, French jazz violinist Stephane Grap-pelli, is considered one of the greatest improvisers in the history of the violin. O’Connor has melded and shaped these in"uences into a new American classical music. The Los Angeles Times has said O’Connor has “crossed over so many boundaries, that his style is purely personal.”

His !rst recording for the Sony Clas-

Symphony, with Christoph Eschen-bach conducting. In November 2003, O’Connor and Salerno-Sonnenberg recorded the work with Marin Alsop conducting the Colorado Orchestra.

In June 2001, O’Connor released Hot Swing!, a tribute to Grappelli. Released on his own OMAC label, the CD was recorded live with Frank Vignola on guitar and Jon Burr on bass.

In 2003, O’Connor completed his !fth concerto, Double Concerto for Violin and Cello, and often performs the piece with cellist Maya Beiser. Also in 2003, O’Connor was commissioned by the Academy of St. Martin in the Fields to compose a concerto for violin and chamber orchestra—“Old Brass” takes its inspiration from a Beaufort, S.C., plantation designed by Frank Lloyd Wright.

O’Connor and the Baltimore Sym-phony recorded Americana Symphony: Variations on Appalachia Waltz in 2009. David McGee of Rolling Stone said of the performance: “Americana Symphony may well be regarded one day as one of this country’s great gifts to the classical music canon, as well as being a pivotal moment in the rise of the new Ameri-can classical music.”

His 2010 recording, Jam Session, offers live acoustic recordings that com-bine bluegrass and gypsy jazz. O’Connor has also formed a piano trio to perform his “Poets and Prophets” composi-tion, which was commissioned by the Eroica Trio and inspired by the music of Johnny Cash. He often performs it with Cash’s daughter, Rosanne Cash. In addition, dance troupes such as Twyla Tharp Dance Co., the New York City Ballet and Alvin Ailey—among oth-ers—have staged and choreographed to O’Connor’s lyrical American music.

Music education is a large part of O’Connor’s work as well. O’Connor regularly conducts three-day residen-cies and conducts workshops. He also is founder and president of the Mark O’Connor String Camp, which is held each summer at East Tennessee State University in Johnson City, Tenn., and at Berklee College of Music in Boston.

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Saturday, December 15, 2012, 4 p.m. and 8 p.m.


released 16 more Christmas albums and compilations, including Christmas Song, which features Johnny Mathis, Olivia Newton-John and jazz legend Paul Winter.

The group recently received its 19th gold record for Mannheim Steamroller Christmas – 25th Anniversary Collec-tion. The two-CD set features 25 of the group’s famous holiday classics. With 19 gold, eight multi-platinum and four platinum certi!ed records, Davis and Mannheim Steamroller are among an elite group of artists—including U2, Jay-Z, The Beach Boys and Michael Jackson—with the most certi!cations among all recording artists.

SATURDAY, DECEMBER 15, 2012, 4 P.M. AND 8 P.M.

!

Mannheim Steamroller Christmas

by Chip Davis

Mannheim Steamroller

Over 25 years ago, Mannheim Steam-roller released Mannheim Steamroller Christmas, an album that changed the Christmas music industry. Already a multi-platinum recording artist through his Fresh Aire series, founder Chip Davis decided to record an album of Christmas music combining the group’s signature mix of renaissance instruments with rock ‘n’ roll beats. The resulting album was a runaway hit and propelled Mannheim Steamroller to become the No. 1 Christmas music artist in history.

Since the success of Mannheim Steamroller Christmas, the band has

About Chip DavisChip Davis is founder of Mannheim Steamroller and the driving force of American Gramaphone, the largest inde-pendent record label in the country. His Fresh Aire series and the multi-platinum Christmas albums have brought him international renown. Davis combines musical mastery and technical wizardry to create a style often described as 18th century rock ‘n’ roll. He named the band Mannheim Steamroller for the 18th century musical technique known today as the crescendo.

Davis recently changed the Mannheim Steamroller Christmas Tour since he can no longer participate as a performer because of cervical disc surgery. He created two traveling troupes composed of both original band mem-bers and young musicians. Between the two bands Mannheim Steamroller will perform more than 90 shows in 77 cities.

In addition to his work with Mannheim Steamroller, Davis has also captured technical audio recordings of space shuttle launches and land-ing, written !ve children’s books and expanded the Mannheim brand with food, apparel and other items. Davis has also invented a psychoacoustic technol-ogy that is being used in hospitals such as the Mayo Clinic.

The son of a music teacher father and a mother who performed with an all-girl orchestra, Davis studied bassoon and percussion. After working as a high school music teacher, Davis became a jingle writer for a Nebraska advertising agency. He and another advertising executive created a character named C.W. McCall for a series of television commercials. That character led to Davis’ big break. The TV spots were so popular that Davis and his partner produced songs under the name C.W. McCall; one song, “Convoy,” sold millions and became the basis of a !lm by the same name that starred Kris Kristofferson.

Davis operates from his home base in Omaha, Neb., where he resides on a 140-acre farm with two timber wolves, nine horses, a pet duck and a pet turkey.

Tuesday, December 18, 2012, 7:30 p.m.


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TUESDAY, DECEMBER 18, 2012, 7:30 P.M.

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A Festive Evening with the Washington Symphonic Brass

Washington Symphonic BrassPhil Snedecor, artistic director National Philharmonic Chorale

Victoria Gau, conductor

(All arrangements by Phil Snedecor unless otherwise noted.)

“Quelle est cette odeur agréable?” (“What is the Lovely Fragrance?”)

“O Jul med din glede” (“O Christmas, you season of delight”)

“Go Tell It on the Mountain”

“This Little Babe” from A Ceremony of Carols

“Divinum Mysterium” (“Of the Father’s Love Begotten”)

“Noël Nouvelet” (“Sing We Now of Christmas”)

Christmas Memories with the National Philharmonic Chorale

INTERMISSION

“Troika” from Lieutenant Kijé Suite, Op. 60

“I Wonder As I Wander”

“Tonttu” (Christmas gnome)

“Carol of the Bells”/ “God Rest Ye Merry, Gentlemen” Mykola Leontovich

“’Twas the Night Before Christmas”

“In the Bleak Midwinter”Gustav Holst

“Infant holy, Infant lowly”

“Ode to Joy” from Symphony No. 9 Ludwig van Beethoven


Victoria Gau, conductorLauded by critics for her “strong sense of style and drama” and her “enthusias-tic and perceptive conducting,” Na-tional Philharmon-ic Associate Con-

ductor Victoria Gau is also artistic director and conductor of the Capital City Symphony.

Gau is a familiar face in the Washing-ton area, having conducted such groups as The Other Opera Company (which she co-founded), The Washington Sa-voyards, the IN-Series and the Friday Morning Music Club Orchestra.

She is in demand as a conductor and string educator at youth orchestra festi-vals and workshops and has been con-ductor of the Young Virtuosi Chamber Orchestra of the D.C. Youth Orchestra Program, the Akron Youth Symphony and assistant conductor of the Northern Ohio Youth Orchestra.

The Washington Symphonic Brass

The Washington Symphonic Brass, founded in 1993, is dedicated to enrich-ing the cultural life of the Washington, D.C., Maryland and Virginia region with world-class performances of music for modern brass ensemble. Founders Milton Stevens and Phil Snedecor formed the group in order to challenge traditional performance boundaries with fresh interpretations of the standard brass repertoire, and to create innova-tive arrangements of classical literature.

Individually, Washington Symphon-ic Brass members have performed with many of the nation’s best orchestras, such as the National Symphony and the Baltimore Symphony, in addition to the nation’s top military bands.



Program Notes“Quelle est cette odeur agréable?” (“What is the Lovely Fragrance?”)

Traditional French “Quelle est cette odeur agréable?” is a traditional French Christmas carol about the Nativity. It was set to music written by John Gay for his famous Beg-gar’s Opera in 1728, when he used it as a variant for the drinking song “Fill Every Glass.” The melody of this song has been used for other French carols, and scholars feel it most likely originated in France during the 17th century.

“O Jul med din glede” (“O Christmas, you season of delight”)

Traditional Norwegian Carol“O Jul med din glede,” is a traditional Norwegian carol, sung even today by children in Norway while dancing in a ring around the Christmas tree. “O Christmas, You season of delight—we clap our hands and sing and dance, so happy we are.”

“Go Tell It on the Mountain”

19th century African- American spiritual, arr. Luther Henderson“Go Tell It on the Mountain” is an Afri-can American spiritual dating back to at least 1865 and has been sung and record-ed by many gospel and secular performers. Some consider it a Christmas carol be-cause its original lyrics celebrate the birth of Christ: “Go tell it on the mountain, over the hills and everywhere; go tell it on the mountain, that Jesus Christ is born.” In the 1960s, folk singers Peter, Paul and Mary rewrote some of the lyrics, renaming it “Tell it on the Mountain,” and record-ing it as a civil rights song.

“This Little Babe” from A Ceremony of Carols

Benjamin Britten Born Nov. 22, 1913 in Lowestoft, England; died Dec. 4, 1976, in Aldeburgh, England One of England’s greatest 20th century composers, Benjamin Britten was born on the feast day of Saint Cecilia, the patron saint of music. Britten called A Ceremony of Carols “a ceremony” because he gave it a formal structure with processional and

recessional movements. Britten’s reading of The English Galaxy of Shorter Poems, the work of 15th and 16th century poets, inspired his A Ceremony of Carols. “This Little Babe,” the sixth of eight move-ments in A Ceremony of Carols, originat-ed in Robert Southwell’s “Newe Heaven, Newe Warre,” in 1595. His text outlined the preparations God made, including the birth of the Babe, for battle with the forces of Satan. The metaphors juxtapose images of the helpless infant with martial images of weapons and battles.

Britten gave “This Little Babe” a martial sounding accompaniment, building intensity by increasing the voices of a canon progressively with each verse, moving from unison to two parts and then three parts.

“Divinum Mysterium” (“Of the Father’s Love Begotten”)

16th century Finnisharr: Phil Snedecor & Sterling ProctorThe melody of “Divinum Mysteri-um” was combined with the lyrics of the Roman poet Aurelius Prudentius’ (348- 410) Latin poem “Corde natus,” translated as “Of the Father’s Heart/Love Begotten” (alternatively known as “Of the Father’s Love Begotten”) from his Liber Cathemerinon (Hymn no. IX). The medieval plainchant melody “Divinum Mysterium,” is a “Sanctus trope” that over the years had become musically embellished. “Divinum mys-terium” !rst appeared in print in 1582 in the Finnish songbook Piae Cantiones, a collection of 74 sacred and secular church and school songs of medieval Europe compiled by Jaakko Suomalain-en and published by Theodoric Petri.

“Noël Nouvelet” (“Sing We Now of Christmas”)

15th century French “Noël Nouvelet” (“Sing We Now of Christmas”) is a 15th century French carol, whose well-known English lyrics were written in the 19th century. The words “nouvelet” and “noël” are both related to the French word for “news,” and it could be that the word “nouve-let” is a shortening of “nouvel ans,” New Year, at which time carols were

originally most frequently sung in France. By the 16th century, “noël” had come to mean ”Christmas song.” The carol’s title proclaims a new noël, sung to the “roi nouvelet,” the newborn king.

Christmas Memories

Christmas Memories is a collection of tunes from American popular culture that we all associate with the holiday season. It includes “Frosty the Snowman; “Some-where in my Memory,” from the 1990 !lm Home Alone and “You’re a Mean One, Mr. Grinch,” written and composed in 1966 for the animated television special How the Grinch Stole Christmas!

Snedecor re"ects, “Hopefully many of these tunes will bring with it some mem-ory of a season spent with friends and family celebrating the season.”

“Troika” from Lieutenant Kijé Suite, Op. 60

Sergei Prokofiev Born April 23, 1891 in Sontzovka, Russia; died March 5, 1953 in MoscowProko!ev’s !rst major work on his re-turn to Russia in 1933 after years of self-imposed exile in the West was the score for the !lm Lieutenant Kijé,. In the !lm, the czar misreads the report of one of his aides and creates a name out of the sylla-ble ki, which ended the aide’s name, and the Russian expletive ji. (Some of us may feel this name creation may bear some re-semblance to the artistic creation of some of the Ellis Island of!cials with Ameri-can immigrants’ names.) The czar and his clerk misread the records of a military unit and were led to think they had come upon an account of the bravery of a cer-tain Lieutenant Kijé but no such person existed. Since the courtiers did not dare to !nd their despotic ruler wrong, they cre-ated one and fabricated a life history for him. When the czar asked that the mythi-cal hero be presented to him at court, they realize that they have allowed things to go too far, and they report that he has died in battle.

Proko!ev composed some of his most charming and witty music for Lieutenant Kijé, and in 1934, arranged a !ve move-ment suite from the !lm that traces the central incidents of the adventures of the !ctitious hero. The fourth movement is a



“Troika Song.” It captures the rhythms and the sounds of the bells of the three-horse sleigh accompanying the rollick-ing song about the !ckleness of women. This sleigh song undeniably evokes the season of Christmas.

“I Wonder as I Wander”

Traditional Appalachian“I Wonder as I Wander” is a Christ-mas carol that originated in a song fragment collected on July 16, 1933 by folklorist and singer John Jacob Niles. While in the Appalachians of North Carolina, Niles attended a fund-rais-ing meeting held by evangelicals; he wrote of hearing the song: “A girl had stepped out to the edge of the little platform attached to the automobile. She began to sing. ...But, best of all, she was beautiful, and in her untu-tored way, she could sing.” Niles heard and wrote down “three lines of verse, a garbled fragment of melodic materi-al—and a magni!cent idea.” Based on

this fragment, he composed the ver-sion of “I Wonder as I Wander” that we know today.

“Tonttu” (“Christmas Gnome”)

Traditional Finnish Carol “Tonttu,” also known as “Christmas gnome,” is a traditional Finnish carol. A tonttu is a humanoid mythical crea-ture of Scandinavian folklore. It was believed that the creature took care of farmers’ homes and children, especial-ly when it was dark, protecting them from misfortune while they slept. The Swedish mythical character turned into a white-bearded, red-capped !gure who started bringing presents.

“Carol of the Bells”/ “God Rest Ye Merry, Gentlemen”

Mykola Leontovich Born Dec. 13, 1877 in Monastyrok, Ukraine; died Jan. 23 1921 in Tulchyn, UkraineTraditional English

In 1916, Mykola Dmytrovich Leontov-ich, who was born in the Ukraine and composed much music based on tradi-tional Ukrainian folk music, was commis-sioned to write a song based on local folk melodies. Leontovich created “Shche-dryk,” pairing a folk song and a separate four-note folk tune, a winter “luck song.” The song is an adaptation of an old shche-drivka, a song traditionally sung on New Year’s Eve, expressing hopes for good for-tune in the year to come. In 1936, Peter Wilhousky added the lyrics of the “Carol of the Bells” to the original folk music. This popular Christmas song has been paired here with the English traditional carol “God Rest Ye Merry, Gentlemen.” Like many early Christmas songs, “God Rest Ye Merry, Gentlemen,” it is believed, was written in reaction to the music of the 15th century church, yet in its earli-est known publication on a broadsheet published around 1760, it is described as a “new Christmas carol,” suggesting its ori-gin in the mid-18th century.

MÓNIKA FISCHL soprano (Budapest) MICHAEL HEIM tenor (Vienna)

THE STRAUSS SYMPHONY of AMERICAMIKA EICHENHOLZ conductor (Stockholm)

Dancers from KIEV-ANIKO BALLET of UKRAINE

SUNDAY, DEC. 30, 2012 – 3:00 PM

NEW YEAR’SCONCERT 2013

Presented by Attila Glatz Concert Productions

Tickets: (301) 581-5100 strathmore.org

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to Joy by the contemporary German playwright and poet, Friedrich Schil-ler, to music, but it took almost 30 years before Beethoven outlined the last movement of the sympho-ny. After much working and rework-ing, Beethoven decided not to set the exact poem to music, but to rearrange the text to suit his musical and dra-matic intentions.

In tonight’s arrangement only the large choral sections of Beethoven’s masterpiece will be heard. Snede-cor explains: “When I was on a tour of Japan with Baltimore Symphony a number of years ago in late November, I was struck by how many performanc-es of Symphony No.9 were scheduled throughout the month of December. I was told by a relative who had lived there for a number of years that this was their Messiah—the work that to them signi!ed the holidays more than any other.”


“’Twas the Night Before Christmas”

arr. Anthony DiLorenzo “’Twas the Night Before Christmas” is perhaps one of the most well-known verses in English literature. Its origi-nal title is “A Visit from Saint Nicho-las.” It was written by either Clement Clarke Moore or Henry Livingston, Jr., and published in 1823. This adaptation mixes familiar styles and tunes with original material.

“In the Bleak Midwinter”

Gustav Holst Born Sept. 21, 1874 in Cheltenham, England; died May 23, 1934 in London arr. Ed HirschmanThe lyrics to “In The Bleak Midwin-ter” originated as a poem by Christina Rossetti, published posthumously in 1904. The text of this Christmas poem has been set to music many times, most famously in a setting by Gustav Holst, who set the words to music in the 1906 English Hymnal.

“Infant Holy, Infant Lowly”

Traditional Polish Carol “Infant Holy, Infant Lowly” is based on a traditional Polish Christmas carol, “W "#obie le"y” (“He lies in the cra-dle”). It was !rst published in 1908 in a book of Polish carols. Edith M. Reed created the English-language version of it in 1921. With a hymn-like spirit, it has a stately character but nevertheless is able to convey its joyousness.

“Ode to Joy” from Symphony No. 9

Ludwig van Beethoven Born Dec. 16, 1770 in Bonn, Germany; died March 26, 1827 in Vienna, AustriaBeethoven’s Symphony No. 9, a paean to the brotherhood of man and a work of great optimism, is one of the cor-nerstones of the history of European music.

The earliest mention of what would become this symphony oc-curred in 1793 when Beethoven an-nounced he wanted to set the Ode

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SPECIAL ADVERTISING SECTION PROFILES | Senior Services

Built on eight acres bordering Rock Creek Hills Park, Kensington Park has the ambiance of a country resort, yet it’s in the heart of Kens-ington, just off Connecticut Avenue.

“We say that it’s more than a home; it’s an engaging way of life,” says Tanya Walker, executive director. “Our goal for our residents is that they thrive, waking up each day with a sense of joy.”

Typical activities include tai chi, bird watching, visiting beautiful gardens, educational opportuni-ties, entertainment and trips into the District.

To meet changing needs, Kensington Park offers a continuum of services that include inde-pendent living, assisted living, and memory sup-port with Alzheimer’s and dementia specialists. “At Kensington Park, we have serving hearts for all our residents,” says Linda Pierce, RN.

Kensington Park Retirement Community3620 Littledale Road, Kensington, MD 20895301-946-7700 | www.kensingtonretirement.com

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In six distinct communities on a beautiful campus in Rock-ville, this not-for-profit organization offers a variety of services and life environments suited to individual needs. New kitchens at Ring House, with granite countertops, stainless steel appli-ances and washer-dryers, are perfect for baking cookies for the grandchildren. Pet-friendly Revitz House is unique for its affordable, supportive independent living services.

Assisted living at Landow House offers personalized services. Each year, hundreds of patients recover and move back to their own homes thanks to outstanding rehabilitation at the Hebrew Home. The new Cohen-Rosen House will soon welcome its first residents, who will receive warm, personal memory-assisted care.

Living on this campus in Rockville is enriched by Jewish heritage, on-site, full-time medical staff and extensive recre-ation and cultural programs.

Charles E. Smith Life CommunitiesCohen-Rosen House | Hebrew Home | Hirsh Health CenterLandow House | Revitz House | Ring House6121 Montrose Road, Rockville, MD 20852301-816-5052 | www.smithlifecommunities.org

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SPECIAL ADVERTISING SECTION PROFILES | Senior Services

When Claire Machlin, a retired professor from American University, moved to Maplewood with her husband in 2007, she never imagined that one day she would chair the Resident Food & Beverage Committee. Mrs. Machlin says with great pride, “Maplewood’s dining program offers something special for everyone’s tastes: casual lunches, elegant dinners, international buffets, even a lively Hawaiian luau. The culinary experience is first class.”

Sylvia Weiss, a committee member who moved to Maplewood 16 years ago, adds, “Maplewood has always been able to attract and maintain a top notch culinary team. Together, our committee works with management to create a dining program that would make most country clubs envious.” Sylvia and Claire agree that variety and resident input keep the menu interesting.

Enjoying the luau, Maggie Johnston, another food commit-tee member, says, “I try to attend all the special events, such as

Mardi Gras and Kentucky Derby parties. I also enjoy the weekly TGIF Happy Hours. There’s no better way to kick off the weekend than relaxing with my friends over drinks and hors d'oeuvres, listening to live music.”

Life at Maplewood offers a wide variety of activities and events based on residents’ feedback. Executive Director Scott McAlister, who was responsible for roasting the luau pig, points out that Maplewood Park Place is the only senior living commu-nity in Bethesda that offers all the benefits of home ownership in addition to the full continuum of health-care services. “Retire-ment living just does not get any better,” he says.

Maplewood Park Place9707 Old Georgetown Road, Bethesda, MD 20814301-530-0500 | www.maplewoodparkplace.com

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“Life at Maplewood offers a wide variety of activities and events based on residents’ feedback.”


STRATHMORE HALL FOUNDATION, INC. BOARD OF DIRECTORS

EXECUTIVE COMMITTEENancy E. Hardwick ChairWilliam G. Robertson Vice ChairDale S. Rosenthal TreasurerRobert G. Brewer, Jr., Esq. Secretary

BOARD OF DIRECTORSJoseph F. BeachDickie S. CarterDavid M.W. DentonHope B. Eastman, Esq.Suzanne Brennan FirstenbergWilliam R. FordHon. Nancy Floreen

Barbara Goldberg GoldmanSol GrahamThomas H. GrahamPaul L. HatchettDelia K. LangCarolyn P. LeonardHon. Laurence LevitanJ. Alberto Martinez, MDCaroline Huang McLaughlinThomas A. NatelliKenneth O’BrienDeRionne P. PollardDonna Rattley WashingtonGraciela Rivera-OvenWendy J. SussweinCarol A. TrawickRegina Brady VasanJames S. Whang

DONORS

$250,000+Arts and Humanities Council of

Montgomery CountyMaryland State Arts CouncilPost-Newsweek Media, Inc.

(includes in-kind)Carol Trawick

$100,000+Booz Allen Hamilton

$50,000+Delia and Marvin LangLockheed Martin Corporation

$25,000+Alban Inspections, Inc.Asbury Methodist Village GEICOJordan Kitt’s Music Carolyn and Jeffrey LeonardThe Morris and Gwendolyn Cafritz

FoundationMid-Atlantic Arts FoundationNational Endowment for the Arts PEPCOEmily Wei Rales and Mitchell Rales Symphony Park LLC

$15,000+Capital One, N.A. Jonita and Richard S. CarterKiplinger FoundationMARPAT FoundationNatelli Communities LPRestaurant Associates

$10,000+Adventist Health CarePaul M. Angell Family FoundationClark Construction Group, LLCClark-Winchcole FoundationComcast Elizabeth W. Culp The Max and Victoria Dreyfus

Foundation, Inc.EagleBankStarr and Fred Ezra Federal Realty Investment TrustSuzanne and Douglas FirstenbergGlenstone Foundation Giant Food LLC Dorothy and Sol GrahamNancy and Raymond HardwickJoel and Liz HelkeEffie and John MacklinMontgomery County Department of

Economic Development Janine and Phillip O’BrienLeon and Deborah SneadHailin and James WhangLien and S. Bing Yao

$5,000+Rona and Jeffrey AbramsonPennie and Gary AbramsonMary and Greg BruchDallas Morse Coors Foundation for the

Performing ArtsEllen and Michael GoldJulie and John HamreVicki Hawkins-Jones and Michael Jones

Yanqiu He and Kenneth O’BrienBridget and Joseph JudgeDianne KayLerch, Early & Brewer, CharteredSharon and David LockwoodConstance Lohse and Robert Brewer J. Alberto MartinezKatherine and William ParsonsSusan and Brian PenfieldDella and William RobertsonCarol Salzman and Michael MannTheresa and George SchuJohn Sherman, in memory of

Deane ShermanAnn and Jim SimpsonJane and Richard StokerUBS Financial Services, Inc.Meredith Weiser and

Michael RosenbaumEllen and Bernard YoungPaul and Peggy Young,

NOVA Research Co.Washington Post. Co.

$2,500+ AnonymousLouise AppellArtsite, Inc.BB&T BankBarbara BensonVicki Britt and Robert SelzerFrances and Leonard BurkaPeter Yale ChenJane CohenAlison Cole and Jan PetersonMargaret and James ConleyCarin and Bruce CooperCORTCarolyn DegrootHope EastmanVivan Escobar-Stack and Robert StackMichelle FeaginCarolyn Goldman and Sydney PolakoffLana HalpernLaura HendersonCheryl and Richard HoffmanA. Eileen HoranIgersheim Family FoundationAlexine and Aaron (deceased) JacksonJohnson’s Landscaping Service, Inc.

(in-kind)Peter S. Kimmel, in memory of

Martin S. KimmelTeri Hanna Knowles and

John M. KnowlesJudie and Harry LinowesJill and Jim LiptonLoiederman Soltesz Associates, Inc.M&T BankJanet L. MahaneyDelores MaloneyMarsh USA Inc.

Caroline and John Patrick McLaughlinPatricia and Roscoe MooreSusan NordeenPaley, Rothman, Goldstein, Rosenberg,

Eig & Cooper ChtdCarole and Jerry PeroneCharlotte and Charles PerretMindy and Charles PostalPRM Consulting, Inc. Restaurant Associates at Strathmore Tasneem Robin-BhattiLorraine and Barry Rogstad Dale S. RosenthalElaine and Stuart RothenbergJanet and Michael Rowan Barbara and Ted Rothstein Phyllis and Ken SchwartzTanya and Stephen SpanoWendy and Don SussweinPaulette and Larry WalkerWard & Klein, CharteredSusan WellmanRonald WestAnne Witkowsky and John Barker

$1,000+AnonymousSwati AgrawalSusan and Brian BaylyCarole and Maurice BerkDeborah Berkowitz and Geoff GarinGary BlockHarriet and Jerome BreslowCarol and Scott BrewerDian and Richard BrownEllen ByingtonLinda and James CafritzEileen CahillLucie and Guy CampbellEleanor and Oscar CaroglanianAllen ClarkApril and John Delaney Carrie DixonE. Bryce and Harriet Alpern FoundationEaglestone Wealth AdvisorsFidelity InvestmentsEileen and Michael FitzgeraldMarlies and Karl FlickerTheresa and William FordSenator Jennie Forehand and

William E. Forehand, Jr. Sally and John FreemanNoreen and Michael FriedmanSuzanne and Mark FriisNancy Frohman and James LaTorreCarol FrombolutiPamela Gates and Robert SchultzLoreen and Thomas GehlSusan and Allen GreenbergGreene-Milstein Family FoundationJudy and Sheldon GrosbergMarla Grossman and Eric Steinmiller

Strathmore Circles members Adele and Roy Igersheim with Adele Igersheim’s mother, Estelle Fox, at Patti LuPone’s performance, Matters of the Heart.


At left: Montgomery County Chief of Police J. Thomas Manger and Jacqueline Manger, immediate past chair of the board of directors for the Arts and Humanities Council of Montgomery County, with Anna Laszlo in the Comcast Circles Lounge during Patti LuPone’s Matters of the Heart concert. At right: Strathmore President Monica Jeffries Hazangeles, Rick and Nancy Farren, Connie Lohse, Pat McGee—Strathmore’s 2012-2013 season-opening musician—Shelley Brown, vice president of programming and Strathmore’s artistic director, and Strathmore board member Robby Brewer.

STRATHMORE STAFFEliot Pfanstiehl

Chief Executive OfficerMonica Jeffries Hazangeles

PresidentCarol Maryman

Executive Assistant to the President & CEO

Mary Kay AlmyExecutive Board Assistant

DEVELOPMENTBianca Beckham

Director of Institutional GivingBill Carey

Director of Donor and Community Relations

Lauren CampbellDevelopment & Education Manager

Julie HamreDevelopment Associate

PROGRAMMINGShelley Brown VP/Artistic DirectorGeorgina Javor Director of ProgrammingHarriet Lesser Visual Arts CuratorSam Younes Visual Arts AssistantSarah Jenny Hospitality Coordinator

EDUCATIONBetty Scott

Education Coordinator

OPERATIONSMark J. Grabowski Executive VP of Operations Miriam Teitel

Director of OperationsAllen V. McCallum, Jr.

Director of Patron ServicesJasper Cox

Director of FinanceIra Daniel

Staff AccountantMarco Vasquez

Operations Manager

Phoebe Anderson DanaOperations Assistant

Allen C. ClarkManager of Information Services

Kristin LobiondoRentals Manager

Christopher S. InmanManager of Security

Chadwick SandsTicket Office Manager

Will JohnsonAssistant Ticket Office Manager

Christian Simmelink Ticket Services Coordinator Christopher A. Dunn

IT TechnicianJohnathon Fuentes

Operations SpecialistBrandon Gowan

Operations SpecialistJon Foster

Production Stage ManagerWilliam Kassman

Lead Stage TechnicianLyle Jaeger

Lead Lighting TechnicianCaldwell Gray

Lead Audio Technician

THE SHOPS AT STRATHMORECharlene McClelland

Director of Retail MerchandisingLorie Wickert

Director of Retail Operations and Online Sales

MARKETING AND COMMUNICATIONSJennifer A. Buzzell

VP, Marketing and CommunicationsJerry Hasard

Director of MarketingJenn German

Marketing ManagerJulia Allal

Group Sales and Outreach ManagerMichael Fila

Manager of Media Relations

STRATHMORE TEA ROOMMary Mendoza Godbout

Tea Room Manager

Linda and John HansonMonica Jeffries Hazangeles and

John HazangelesLinda and I. Robert HorowitzRandy Hostetler Living Room FundLinda and Van HubbardPatricia and Christopher JonesJoan and Howard KatzRenee Korda and Mark OlsonCarole and Robert KurmanLeadership MontgomeryBarbara and Laurence LevitanNancy and Dan LongoSandra and Charles Lyons Jacqueline and J. Thomas MangerPamela and Douglas MarksPaul MasonMathis Harper GroupJanice McCallVirginia and Robert McCloskeyAnn G. Miller (in memory of Jesse I. Miller)Denise and Thomas MurphyLissa Muscatine and Bradley GrahamNew England Foundation for the ArtsKaren O’Connell and Tim MartinsGloria Paul and Robert AtlasCynthia and Eliot PfanstiehlCharla and David PhillipsGregory ProctorJane and Paul RiceKaren Rosenthal and M. Alexander

StiffmanLeaAnn and Tom SandersCharlotte and Hank SchlosbergRichard SilbertJames SmithSpectrum Printing (in-kind)Mary Talarico and Michael SundermeyerMarilyn and Mark TenenbaumMyra Turoff and Kenneth WeinerRebecca UnderhillJudith WelchJudy Whalley and Henry OttoKaren and Roger WinstonJean and Ken WirschingSusan and Jack Yanovski

$500+Mary Kay and Dave AlmyJudy and Joseph AntonucciJeff AslenLaura Baptiste and Brian KildeeMary BellBen & Jerry’sBethesda Travel Center LLCMichelle and Lester BorodinskyTrish and Timothy CarricoKathy and C. Bennett ChamberlinDorothy FitzgeraldWinifred and Anthony FitzpatrickGail FlederJohn Fluke

Joanne FortMichael FrankhuizenVictor FrattaliJuan GaddisNancy and Peter GalloSandra and Steven Gichner Mr. and Mrs. Alan GourleyGerri Hall and David NickelsDiana and Paul HatchettFred HiattHilary and Robert HoopesCarol and Larry HornBootsie and David Humenansky Barbara and David Humpton Beth JessupCheryl JukesMr. and Mrs. Anthony KamerickZorina and John KeiserBarbara and Jack KayHenrietta and Christopher KellerDeloise and Lewis KellertIris and Louis KormanSusan and Gary LabovichJulia and James LangleyCatherine and Isiah LeggettThe Leon FoundationLerner EnterprisesDorothy LinowesSusan and Eric LuseMaryland Classic Youth OrchestrasLynne MayoNancy McGinness and Thomas TarabrellaJohn and James MeiburgerCynthia and Toufic MelhiVijaya and Daniel MelnickWilliam OakcrumGrace Rivera Oven and Mark OvenMargie Pearson and Richard LamplPhyllis Peres and Rajat SenRose PorrasDr. and Mrs. William PowellStephanie RenziMarylouise and Harold RoachChristine Schreve and Thomas BowersoxHenry SchalizkiEstelle SchwalbBetty Scott and Jim McMullenRoberta and Lawrence ShulmanDiane and Jay SilhanekDonald SimondsCora and Murray SimpsonTina SmallValerye and Adam StrochakChris SyllabaReginald TaylorMarion and Dennis TorchiaPeter Vance TreibleyAnne and James TysonLinda and Irving WeinbergJ. Lynn WestergaardIrene and Steven White

Penelope WilliamsJean and Robert Wirth

Con Brio Society Securing the future of Strathmore through a planned gift.Louise Appell John Cahill Jonita and Richard S. CarterIrene Cooperman Trudie Cushing and Neil Beskin Julie and John HamreYanqiu He and Kenneth O’Brien A. Eileen Horan

Vivian and Peter Hsueh Tina and Art Lazerow Diana Locke and Robert ToenseJanet L. Mahaney Carol and Alan Mowbray Barbara and David RonisHenry Schalizki Phyllis and Ken SchwartzAnnie Simonian Totah and Sami TotahMaryellen Trautman and Darrell Lemke Carol Trawick Peter Vance Treibley Myra Turoff and Kenneth WeinerJulie Zignego

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BALTIMORE SYMPHONY ORCHESTRA

OFFICERSKenneth W. DeFontes, Jr.*, ChairmanKathleen A. Chagnon, Esq.*, SecretaryLainy LeBow-Sachs*, Vice ChairPaul Meecham*, President & CEOThe Honorable Steven R. Schuh*,

Treasurer

BOARD MEMBERSJimmy BergA.G.W. Biddle, IIIBarbara M. Bozzuto *Constance R. CaplanRobert B. CouttsGeorge A. DrastalAlan S. Edelman*Susan G. Esserman*Michael G. Hansen*Beth J. KaplanMurray M. Kappelman, M.D.Stephen M. LansSandra Levi Gerstung Ava Lias-Booker, Esq.Susan M. Liss, Esq.*Howard Majev, Esq.Liddy MansonHilary B. MillerDavid OrosMarge Penhallegon^, President,

Baltimore Symphony AssociatesMichael P. PintoCynthia Renn^, Governing Member ChairScott Rifkin, M.D.Ann L. RosenbergBruce E. Rosenblum*Stephen D. Shawe, Esq.The Honorable James T. Smith, Jr.

Solomon H. Snyder, M.D. *Andrew A. SternWilliam R. WagnerJeffrey Zoller^, BSYO Chair

LIFE DIRECTORSPeter G. Angelos, Esq.Willard HackermanH. Thomas Howell, Esq.Yo-Yo MaHarvey M. MeyerhoffDecatur H. Miller, Esq.Linda Hambleton Panitz

DIRECTORS EMERITIBarry D. Berman, Esq.Richard HugM. Sigmund Shapiro

CHAIRMAN LAUREATEMichael G. BronfeinCalman J. Zamoiski, Jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUSTBenjamin H. Griswold, IV, ChairmanTerry Meyerhoff Rubenstein, SecretaryMichael G. BronfeinKenneth W. DeFontes, Jr. Mark R. FettingPaul MeechamThe Honorable Steven R. SchuhCalman J. Zamoiski, Jr.

*Board Executive Committee ^ ex-officio

BOARD OF DIRECTORS

SUPPORTERS OF THE BALTIMORE SYMPHONY ORCHESTRA

LEADERSHIP CIRCLEArts and Humanities Council of

Montgomery CountyThe Andrew W. Mellon FoundationThe Maryland State Arts CouncilNational Endowment for the Arts

CHAIRMAN’S CIRCLE PARTNERS($25,000 AND ABOVE)M&T BankPNCLori Laitman and Bruce Rosenblum

MAESTRA’S CIRCLE($10,000 AND ABOVE)AnonymousMr. and Mrs. A. G. W. Biddle IIIThe Morris and Gwendolyn Cafritz

FoundationGeorge and Katherine DrastalMs. Susan Esserman and

Mr. Andrew MarksMichael G. Hansen and Nancy E. Randa

Mrs. Mary H. LambertMr. and Mrs. Stephen LansSusan Liss and FamilyLiddy Manson in memory of

James Gavin MansonHilary B. Miller and Dr. Katherine N. BentMr. and Mrs. Arnold PolingerClark Wincole FoundationTotal Wine and More

CORPORATE PARTNERS ($2,500-$9,999)Georgetown Paper Stock of Rockville, IncHomewood at Crumland Farms

Retirement CommunityS. Kann Sons Company FoundationAmelie and Bernei Burgunder

GOVERNING MEMBERS GOLD($5,000-$9,999)The Charles Delmar FoundationJoel and Liz HelkeMr David Leckrone and Marlene Berlin

Mr. and Mrs. William RogersMike and Janet RowanDaniel and Sybil SilverMs. Deborah Wise/Edith and Herbert

Lehman Foundation, Inc.

GOVERNING MEMBERS SILVER($2,500-$4,999)AnonymousMr. Gilbert BloomJane C. CorriganKari Peterson and Benito R. and

Ben De LeonMr. Joseph FainbergSherry and Bruce FeldmanDrs. Ronald and Barbara GotsMadeleine and Joseph JacobsDr. Robert Lee Justice and Marie

Fujimura-JusticeMarc E. Lackritz & Mary B. DeOreoBurt & Karen LeeteMr. & Mrs. Howard LehrerMrs. June Linowitz & Dr. Howard EisnerDr. James & Jill LiptonDr. Diana Locke & Mr. Robert E. ToenseLinda & Howard MartinMarie McCormackMr. & Mrs. Humayun MirzaDavid Nickels & Gerri HallJan S. Peterson & Alison E. ColeMr. Martin Poretsky and

Ms. Henriette WarfieldMs. Nancy RiceMr. and Mrs. John RounsavillePatricia Smith and Dr. Frances LussierMr. Alan Strasser & Ms. Patricia HartgeMs. Mary K. SturtevantJohn & Susan WarshawskyDr. Edward WhitmanPaul A. & Peggy L. Young,

NOVA Research Company

SYMPHONY SOCIETY($1,000-$2,499)Anonymous (4)Mr. and Mrs. Anthony AbellMrs. Rachel AbrahamAsbury Retirement CommunitiesMr. William J. Baer and

Ms. Nancy H. HendryPhebe W. BauerMs. Elaine BelmanDavid and Sherry BerzMr. Lawrence BlankHon. & Mrs. Anthony BorwickDr. Nancy BridgesGordon F. BrownFrank and Karen CampbellDr. Mark Cinnamon & Ms. Doreen KellyMr. Harvey A. Cohen and

Mr. Michael R. TardifMr. Herbert CohenMr. and Mrs. Arthur C. CoxDelaplaine FoundationJoan de PontetJackson and Jean H. DiehlMarcia Diehl and Julie KurlandDimick FoundationMs. Marietta EthierSharon and Jerry FarberMr. and Mrs. Charles FaxKenneth and Diane FeinbergDr. Edward FinnMr. and Mrs. Anthony FitzpatrickCatoctin Breeze VineyardMr. and Mrs. Arthur P. FloorMr. and Mrs. Roberto B. FriedmanCarol & William FuentevillaMary and Bill GibbPeter GilDr. and Mrs. Sanford GlazerAlan and Joanne GoldbergDrs. Joseph Gootenberg

& Susan LeibenhautDr. and Mrs. Sheldon GottliebMark & Lynne GrobanMr. & Mrs. Norman M. GurevichMs. Lana HalpernMs. Gloria Shaw HamiltonMr. & Mrs. John HansonSara and James A. Harris, Jr.Dr. Phyllis KaplanMr. Fred Hart and Ms. Elizabeth KnightMr. and Mrs. Eugene Herman

Ellen & Herb HerscowitzDavid A. & Barbara L. HeywoodMr. Aaron HoagBetty W. JensenDr. Henry KahwatyMs. Carolyn KaplanMr. and Mrs. Charles KelberVirginia and Dale KiesewetterDr. and Mrs. Peter C. LuchsingerMichael & Judy MaelMs. Janet L. MahaneyMr. Winton MatthewsBebe McMeekinMr. and Mrs. Anne MenottiDr. & Mrs. Stanley R. MilsteinMs. Zareen T. MirzaEdwin H. MootDelmon Curtis MorrisonTeresa and Don MullikinDouglas and Barbara NorlandMs. Patricia NormileJerry and Marie PerletMr. and Mrs. Peter PhilippsHerb and Rita PosnerDr. and Mrs. Gerald RogellMr. and Mrs. William RookerDr. and Mrs. Arthur SagoskinPeggy and David SalazarEstelle D. SchwalbAnne Weiss & Joseph E. SchwartzMr. and Mrs. Roger SchwarzMs. Phyllis SeidelsonMr. Donald M. SimondsMarshall and Deborah SluyterMr. and Mrs. Richard D. SperoJennifer Kosh Stern and William H. TurnerMargot & Phil SunshineMr. and Mrs. Richard SwerdlowVenable Foundation, Inc.David Wellman &

Marjorie Coombs WellmanMs. Susan WellmanMr. and Mrs. Richard WestinMs. Ann WillisSylvia and Peter WinikMr. and Mrs. David K. WiseMarc and Amy WishEileen and Lee WoodsH. Alan Young & Sharon Bob Young, Ph.D.Robert & Antonette Zeiss

BRITTEN LEVEL MEMBERS($500-$999)AnonymousDr. and Mrs. Marshall AckermanMs. Barbara K. AtrosticThomas and Mary AylwardDonald BakerLeonard and Gabriela BebchickMr. Donald BerlinMs. Cynthia L. Bowman-GholstonMs. Judith A. BrahamMr. Kurt Thomas BrintzenhofeMr. Richard H. Broun & Ms. Karen E. DalyMr. & Mrs. Leonard BurkaMs. Lynn ButlerCecil Chen & Betsy HaanesBradley Christmas and Tara FlynnBarbara & John ClaryMr. & Mrs. Jim CooperMr. Harvey GoldMs. Alisa GoldsteinFrank & Susan GrefsheimMs. Haesoon HahnKeith and Linda HartmanDr. Liana HarvathMr. Jeff D. Harvell & Mr. Ken MontgomeryMr. Lloyd HaughMrs. Patricia HoeflerMs. Daryl KaufmanDr. Birgit KovacsMs. Delia LangMs. Pat Larrabee and Ms. Lauren MarkleyMr. Darrell H. Lemke &

Ms. Maryellen TrautmanMr. Richard LeyHarry and Carolyn LincolnDrs. David and Sharon LockwoodW. David MannDavid and Kay McGoffMerle and Thelma MeyerMs. Ellen MilesMr. William MorganEugene and Dorothy Mulligan


Mr. and Mrs. Philip PadgettMr. and Ms. Donald RegnellMr. Richard D. ReichardMr. James RisserMs. Trini Rodriquez and

Mr. Eric ToumayanMr. & Mrs. Barry RogstadHarold RosenMs. Ellen RyeDr. & Mrs. Jerome SandlerMr. and Mrs. William SchaeferMr. Allen ShawMs. Terry Shuch and Mr. Neal MeiselmanMs. Sonja SolengMr. and Mrs. Charles Steinecke IIIMr. Peter ThomsonMs. Ann TognettiJohn A. and Julia W. TossellMr. & Mrs. Richard TullosDr. and Ms. George UrbanLinda and Irving WeinbergRobert and Jean Wirth

BRAHMS LEVEL MEMBERS($250-$499)Anonymous (5)Ms. Kathryn AbellRhoda and Herman AldermanSharon Allender and John TreziseMr. and Mrs. Charles C. AlstonMr. Bill ApterPearl and Maurice AxelradMr. and Mrs. James BaileyDrs. Richard and Patricia BakerMr. Robert BarashMr. and Mrs. John W. BarrettMr. & Mrs. John W. BeckwithMelvin BellAlan H. Bergstein and Carol A. JoffeMr. Neal BienMr. and Mrs. Jeffrey BinckesNancy and Don BlissMr. & Mrs. John BlodgettMs. Carol BrayMr. & Mrs. Ronald BrotmanDr. William Dickinson BurrowsMr. and Mrs. Serefino CambareriMs. Miranda ChiuMr. Steven CoeMs. June ColillaMs. Marion ConnellMr. and Mrs. Herbert CooperMs. Louise CraneMs. Margaret CusackDr. & Mrs. James R. DavidMr. David S. DavidsonMr. Ahmed El-HoshyLionel and Sandra EpsteinMr. and Mrs. Robert FauverMr. Michael FinkelsteinDr. & Mrs. David FirestoneMr. & Mrs. Marvin FreedenbergMr. & Mrs. Michael Scott FriedmanLucian & Lynn M. FurrowDr. Joel and Rhoda Ganz

Roberta GeierIrwin GerdukMr. and Mrs. Stephen GiddingsMs. Maran GlucksteinRev. Therisia HallBrian and Mary Ann HarrisMrs. Jean N. HayesJoel and Linda HertzMr. & Mrs. William L. HickmanMr. Myron L. HoffmannMr. Frank HopkinsMr. John HowesMr. & Mrs. Paul HymanMs. Susan IrwinDr. Richard H. IsraelDr. and Mrs. Herbert JosephMr. Peter KaplanDr. & Mrs. Robert W. KarpLawrence & Jean KatzMr. & Mrs. Christopher KellerMr. & Mrs. James KempfMr. & Mrs. Anthony KernMr. William and Ms. Ellen D. KominersMs. Nancy KoppDr. Arlin J. KruegerMr. and Mrs. Eugene LambertMr. and Mrs. Francis LeahyMs. Marie Lerch and Mr. Jeff KolbMr. and Mrs. Craig LevyAlan and Judith LewisLois and Walter LiggettMs. Julie E. LimricLTC David Lindauer, U.S. Army (Ret’d)Dr. Richard E. and Susan Papp LippmanMr. Gene LodgeLucinda Low and Daniel MagrawMr. and Mrs. William MacBainThomas and Elizabeth MaestriMr. James MagnoMr. David MarcosMr. and Mrs. Charles H. MattersonMr. Mark MattucciMs. Susan McGeeMs. Anna McGowanMr. and Mrs. Michael MerchlinskyMr. Steve MetalitzMrs. Rita MeyersMr. & Mrs. Walter MillerMs. Marlene C. MitchellMs. Caren NovickMr. & Mrs. Robert ObenrederAmanda & Robert OgrenMrs. Judy OliverMr. Jerome OstrovMrs. Jane PapishMr. Kevin ParkerMs. Frances L. PfliegerDr. Jeffrey PhillipsThomas Plotz and Catherine KlionMarie Pogozelski and Richard BelleMs. Carol PolandAndrew and Melissa PolottMr. and Mrs. Edward PortnerMr. and Ms. Richard PrattMs. Laura Ramirez-Ramos

Dr. and Mrs. Bernard ReichMr. Thomas ReichmannDr. Joan Rittenhouse &

Mr. Jack RittenhouseMs. Leeann Rock & Mr. Brian AndersonMr. and Mrs. David SacksMr. & Mrs. Robert SandlerMs. Beatrice SchiffDavid and Louise SchmeltzerMr. J. Kenneth SchwartzMr. and Mrs. David ScottMr. Paul SeidmanMs. Debra ShapiroDonna and Steven ShriverMr. & Mrs. Larry ShulmanMr. and Mrs. Micheal D. SlackMs. Deborah SmithRichard Sniffin

Gloria and David SolomonMs. Rochelle Stanfield and

Mr. Edward GrossmanTimothy Stranges and Rosanna CoffeyMr. and Mrs. Duane StraubMr. Alan ThomasMr. John TownsleyMs. Jane TriniteMr. and Mrs. Robert WeinMs. Roslyn WeinsteinAlan WhiteMr. David M. WilsonMs. Carol WolfeDr. Charlotte WordDr. & Mrs. Richard N. WrightMr. Daniel ZaharevitzMs. MaryAnn ZamulaMr. Warren Zwicky

Paul Meecham, President & CEOLeilani Uttenreither, Executive AssistantBeth Buck, Vice President and CFOEileen Andrews, Vice President of Marketing

and CommunicationsCarol Bogash, Vice President of Education

and Community EngagementDeborah Broder, Vice President of BSO

at StrathmoreDale Hedding, Vice President of DevelopmentMatthew Spivey, Vice President of Artistic

Operations

ARTISTIC OPERATIONSToby Blumenthal, Manager of Facility SalesTiffany Bryan, Manager of Front of HouseAnna Harris, Operations AssistantAlicia Lin, Director of Operations and

FacilitiesChris Monte, Assistant Personnel ManagerMarilyn Rife, Director of Orchestra Personnel

and Human ResourcesMeg Sippey, Artistic Planning Manager

EDUCATIONNicholas Cohen, Director of Community

EngagementAnnemarie Guzy, Director of EducationHana Morford, Education AssociateNick Skinner, OrchKids Site ManagerLarry Townsend, Education AssistantDan Trahey, OrchKids Director of Artistic

Program Development

DEVELOPMENTJennifer Barton, Individual Giving ManagerAdrienne Bitting, Development Assistant Margaret Blake, Development Office

ManagerAllison Burr-Livingstone, Director of

Institutional GivingKate Caldwell, Director of Philanthropic

ServicesStephanie Johnson, Donor Relations Manager,

BSO at StrathmoreBecky McMillen, Donor Stewardship CoordinatorRebecca Potter, Institutional Giving Specialist

Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations

Rebecca Sach, Director of the Annual FundRichard Spero, Community Liaison for BSO

at Strathmore

FACILITIES OPERATIONSShirley Caudle, HousekeeperBertha Jones, Senior HousekeeperCurtis Jones, Building Services ManagerIvory Miller, Maintenance Facilities

FINANCE AND INFORMATION TECHNOLOGYTom Allan, ControllerSophia Jacobs, Senior AccountantJanice Johnson, Senior AccountantEvinz Leigh, Administration AssociateChris Vallette, Database and Web AdministratorJeff Wright, Director of Information Technology

MARKETING AND PUBLIC RELATIONSRika Dixon, Director of Marketing and SalesLaura Farmer, Public Relations ManagerDerek A. Johnson, Manager of Single TicketsTheresa Kopasek, Marketing and PR AssociateBryan Joseph Lee, Direct Marketing Coordinator Alyssa Porambo, PR and Publications

CoordinatorMichael Smith, Digital Marketing and

E-Commerce CoordinatorElisa Watson, Graphic Designer

TICKET SERVICESAmy Bruce, Manager of Special EventsJ. Morgan Gullard, Ticket Services AgentTimothy Lidard, Manager of VIP TicketingKathy Marciano, Director of Ticket ServicesJuliana Marin, Senior Ticket Agent for StrathmorePeter Murphy, Ticket Services ManagerMichael Suit, Ticket Services AgentThomas Treasure, Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATESLarry Albrecht, Symphony Store Volunteer

ManagerLouise Reiner, Office Manager

BALTIMORE SYMPHONY ORCHESTRA STAFF

BENEFITS OF MEMBERSHIP WITH THE BSO


NATIONAL PHILHARMONIC BOARD OF DIRECTORSBOARD OF DIRECTORSRobert BeizerRuth BermanRabbi Leonard CahanCarol EvansRuth FaisonDr. Bill GadzukKen HurwitzDieneke JohnsonWilliam LascelleGreg LawsonJoan LevensonDr. Wayne MeyerKent MikkelsenDr. Roscoe M. Moore, Jr.Dr. Kenneth Moritsugu*Robin C. PeritoJaLynn PrincePeter Ryan

Dr. Charles Toner

BOARD OFFICERS*Todd R. Eskelsen, Chair*Albert Lampert, First Vice Chair*Mark Williams, Treasurer*Paul Dudek, Secretary* Joel Alper, Chair Emeritus

BOARD OF ADVISORSJoel AlperWilliam D. EnglishJoseph A. HuntAlbert LampertChuck LyonsRoger TitusJerry D. Weast

As of September 2012 *Executive Committee

As of September 1, 2012

SUPPORTERS OF THE NATIONAL PHILHARMONIC

Maestro Circle $10,000+Concertmaster Circle $7,500 to $9,999Principal Circle $5,000 to $7,499Philharmonic Circle $3,500 to $4,999Benefactor Circle $2,500 to $3,499Sustainer Circle $1,000 to $2,499Patron $500 to $999Contributor $250 to $499Member $125 to $249

ORGANIZATIONSMAESTRO CIRCLEAmeriprise FinancialArts and Humanities Council

of Montgomery CountyMorris and Gwendolyn Cafritz FoundationIngleside at King FarmMaryland State Arts CouncilMontgomery County, MDMontgomery County Public SchoolsNOVA Research CompanySchiff Hardin, LLPThe State of Maryland

CONCERTMASTER CIRCLEClark-Winchcole FoundationThe Gazette

PRINCIPAL CIRCLEAnn and Gordon Getty FoundationHarris Family FoundationJohnson & JohnsonJim and Carol Trawick Foundation, Inc.

PHILHARMONIC CIRCLENational Philharmonic/ MCYO Educational PartnershipThe Washington Post Company

BENEFACTOR CIRCLECorina Higginson TrustDimick FoundationHenry B. & Jessie W. Keiser Foundation, Inc.Rockville Christian Church,

for donation of spaceTD Charitable Foundation

SUSTAINER CIRCLEAmerican Federation of Musicians,

DC Local 161-170Bettina Baruch FoundationCardinal BankEmbassy of PolandExecutive Ball for the ArtsKPMG FoundationLucas-Spindletop Foundation

PATRONAmerican String Teachers’ Association

DC/MD ChapterBoeingGailes Violin Shop, Inc.GE FoundationIBMLashof ViolinsThe Potter Violin CompanyThe Stempler Family FoundationViolin House of WeaverWashington Music Center

CONTRIBUTORBank of AmericaThe Italian Cultural Society, Inc.

INDIVIDUALSMAESTRO CIRCLEMrs. Margaret MakrisDr. Kenneth P. Moritsugu, Emily Moritsugu

& Ms. Lisa R. Kory includes match by Johnson & Johnson

Paul A. & Peggy L. YoungNOVA Research Company

CONCERTMASTER CIRCLEMs. Anne ClaysmithMr. and Mrs. Paul Dudek

PRINCIPAL CIRCLEMr. & Mrs. Joel AlperMr. & Mrs. Todd R. EskelsenDr. & Mrs. Val G. HemmingMs. Dieneke Johnson includes match by Washington PostMr. & Mrs. Albert LampertPaul & Robin Perito

PHILHARMONIC CIRCLEMrs. Nancy Dryden Baker, in memory of

Lt. Cmdr William F. Baker, Jr. Mr. Robert BeizerMr. Steven C. Decker &

Ms. Deborah W. DavisDr. & Mrs. John V. EvansDr. Ryszard GajewskiDr. Robert Gerard & Ms. Carol Goldberg *Mr. Ken HurwitzMr. William A. Lascelle & Ms. Blanche JohnsonDr. Roscoe M. Moore &

Mrs. Patricia Haywood MooreMr. & Mrs. Peter RyanDrs. Charles and Cecile TonerMr. & Mrs. Mark Williams includes match by Ameriprise Financial

BENEFACTOR CIRCLEMrs. Ruth BermanMr. Edward Brinker & Ms. Jane LiuMr. Dale Collinson *Dr. Lawrence Deyton & Dr. Jeffrey Levi *Mr. & Mrs. John L. DonaldsonJ. William & Anita Gadzuk *Mr. & Mrs. Joseph A. HuntMr. Greg Lawson, Includes match by Bank of AmericaMr. Larry Maloney *Nancy and J. ParkerMichael & Janet Rowan

SUSTAINER CIRCLEAnonymous (3)Mrs. Helen Altman *Ms. Sybil Amitay *Ms. Nurit Bar-JosefElizabeth Bishop & Darren Gemoets *Dr. Ronald Cappelletti *Ms. Nancy Coleman *Dr. Mark Cinnamon & Ms. Doreen KellyDrs. Eileen & Paul DeMarco*Dr. Stan Engebretson *Mr. William E. Fogle & Ms. Marilyn Wun-FogleDr. Maria A. Friedman *Ms. Sarah Gilchrist *Mr. Barry GoldbergDr. Joseph Gootenberg & Dr. Susan LeibenhautMr. and Mrs. David Henderson *Dr. Stacey Henning *Mrs. Joan M. LevensonMr. & Mrs. Leslie LevineMr. & Mrs. Charles A. LyonsMr. Winton MatthewsMrs. Eleanor D. McIntire *Mr. & Mrs. Richard McMillan, Jr.Dr. Wayne Meyer *

Mr. & Mrs. Kent Mikkelsen *Mr. Robert MisbinSusan & Jim Murray *Mr. & Mrs. Charles NaftalinMr. Thomas Nessinger*Ms. Martha Newman *Dr. & Mrs. Goetz OertelMr. & Mrs. Jerome Pinson,

includes match by GE FoundationMs. Aida Sanchez *Ms. Kathryn Senn,

in honor of Dieneke JohnsonMrs. Jan Schiavone *Ms. Carol A. Stern *Sternbach Family FundDr. & Mrs. Robert Temple *Mr. & Mrs. Scott UlleryMs. Ellen van Valkenburgh *Mr. & Mrs. Robert Vocke *Mr. & Mrs. Royce WatsonMr. & Mrs. Bernard J. Young

PATRONMary Bentley & David Kleiner *Mr. & Mrs. Leonard CahanMs. Linda EdwardsMr. John EklundMs. Kimberly ElliottMr. Joseph FainbergMs. Ruth Faison *Mr. & Mrs. William HickmanMr. David HofstadWilliam W. & Sara M. Josey*Mr. Robert Justice &

Mrs. Marie Fujimura-JusticeMs. May LesarMs. Jane Lyle *Dr. & Mrs. Oliver Moles Jr. *Mr. & Mrs. Raymond MountainMr. Larz Pearson & Mr. Rick TrevinoDr. Michael SapkoDr. John ShermanMs. Lori J. Sommerfield *Mr. Gerald StemplerMr. John I. Stewart &

Ms. Sharon S. StoliaroffMr. Robert StewartMr. & Mrs. John F. WingMr. & Mrs. Jack Yanovski

CONTRIBUTORAnonymous (2)Ms. Ann AlbertsonMr. Robert B. AndersonMike & Cecilia BallentineMr. and Mrs. Thomas BechertMs. Michelle BeneckeMr. & Mrs. Gilbert BloomMs. Patricia BulhackMr. John ChoiMrs. Patsy ClarkMs. Irene CoopermanMr. Dean CullerMr.& Mrs. J. Steed EdwardsMr. & Mrs. William EnglishMr. & Mrs. Elliott Fein

includes match by IBMMr. Eliot FeldmanMr. & Mrs. Joe FerfoliaDr. & Mrs. John H. FergusonDavid & Berdie FirestoneMr. & Mrs. Mayo FriedlisMr. & Mrs. Piotr GajewskiMr. Dean GatwoodMr. Steven GerberMr. Carolyn GuthrieMr. & Mrs. William GibbDr. Karl HabermeierDr. William HatcherFrances HanckelMrs. Rue HelselDr. Roger HerdmanMr. & Mrs. James Hochron *Dr. Elke JordanMs. Anne KanterDr. & Mrs. Charles Kelber


Ms. Martha Jacoby Krieger *Ms. Joanna LamMr. & Mrs. John R. LarueMr. & Mrs. Paul LegendreMr. & Mrs. Herbert J. LernerMr. & Mrs. Eliot Lieberman *Mr. Frederick LorimerMr. Kevin MacKenzieMr. Jerald MaddoxMr. Tom MaloyMr. David E. Malloy & Mr. John P. Crockett *Mr. & Mrs. Andrew MannesMr. David McGoff *Jim & Marge McMannMs. Cecilia Muñoz and Mr. Amit PandyaMr. Stamatios MylonakisMs. Katherine Nelson-Tracey *David Nickels & Gerri HallMrs. Jeanne NoelMs. Anita O’Leary *Mr. and Mrs. Kenneth A. Oldham, Jr.Mr. & Mrs. Alan PeterkofskyMs. Cindy PikulDr. & Mrs. Manuel PorresMrs. Dorothy PratsMr. & Mrs. Clark Rheinstein *Ms. Lisa Rovin *Ms. Joyce SauvagerMs. Sandi SavilleMr. Charles SerpanMr. & Ms. Kevin ShannonMr. & Mrs. Greg WagerDr. & Mrs. Richard WrightMr. & Mrs. Philip Yaffee

MEMBERAnonymousMr. & Mrs. Donald AbbottMrs. Fran AbramsMr. & Mrs. Nabil AzzamMs. Marietta Balaan *Mr. Mikhail BalachovMr. Robert BarashMs. Michelle BeneckeMr. & Mrs. Richard BenderMrs. Barbara BotsfordMr. & Mrs. Jerome BreslowMr. & Mrs. Frederick BrownMrs. Dolores J. BryanMr. & Mrs. Stan BrylaMr. John BuckleyMr. J. Michael Rowe & Ms. Nancy ChesserDr. F. Lawrence ClareMr. and Mrs. Johnny ClarkDr. & Mrs. Gordon M. CraggMs. Louise CraneMs. Margaret CusackDr. & Mrs. James B. D’AlboraMr. Carl DeVoreMr. Jian Ding

Mr. Paul DragoumisMr. & Mrs. Tom DunlapMr. Charles EisenhauerMr. Philip FlemingMr. Harold FreemanMs. Phyllis FreemanMr. Brian GanzMs. Rebecca GatwoodMr. Bernard GelbMs. Frances GipsonMr. Tom GiraMs. Lisa HelmsMs. Nina HelmsenMr. Robert HenryDr. & Mrs. Donald HensonMr. J. Terrell HoffeldMr. & Mrs. Nelson HsingMrs. Deborah Iwig *Mr. & Mrs. Donald Jansky *Ms. Katharine Cox JonesMs. Elizabeth KingMrs. Rosalie KingMr. Mark A. KnepperMs. Marge KoblinskyMs. Cherie KrugMr. Dale KrumviedeMs. S. Victoria KrusiewskiMs. Andrea Leahy-FucheckDr. David LockwoodMs. Sharon F. Majchrzak*Mr. & Mrs. Forbes ManerMr. and Mrs. James MasonMr. Alan Mayers *Mr. Steven MazerMr. Michael McClellanMr. & Mrs. Robert McGuireMr. Michael MerchlinskyMr. & Mrs. David MillerMr. Edward MillsMs. Stephanie MurphyNational Philharmonic Chorale

in honor of Kenneth Oldham, Jr.Mrs. Gillian NaveMr. Leif Neve*

includes match by AquilentDr. Ruth S. NewhouseMr. & Mrs. Kenneth OldhamMr. Thomas PappasDr. & Mrs. David PawelDolly Perkins & Larry NovakEvelyn & Peter PhilippsMr. Charles A. O’Connor &Ms. Susan F. PlaegerDr. Morris PulliamDrs. Dena & Jerome PuskinMs. Phyllis RatteyMr. Drew RiggsMr. Sydney SchneiderMs. Katherine Schnorrenberg *Mr. and Mrs. John Schnorrenberg

HERITAGE SOCIETY

Mr. David Abraham* Mrs. Rachel Abraham Mr. Joel Alper Ms. Ruth Berman Ms. Anne Claysmith Mr. Todd Eskelsen Mrs. Wendy Hoffman,

in honor of Leslie SilverfineMs. Dieneke Johnson

Mr. & Mrs. Albert Lampert Mrs. Margaret Makris Mr. Robert MisbinMr. Kenneth A. Oldham, Jr. Mr. W. Larz Pearson Ms. Carol A. SternMr. Mark Williams

*Deceased

NATIONAL PHILHARMONIC STAFFPiotr Gajewski, Music Director & ConductorStan Engebretson, Artistic Director,

National Philharmonic ChoraleVictoria Gau, Associate ConductorKenneth A. Oldham, Jr., PresidentFilbert Hong, Director of Artistic OperationsDeborah Birnbaum, Director of Marketing

& PR

Leanne Ferfolia, Director of DevelopmentDan Abbott, Manager of Development

Operations

Auxiliary StaffAmy Salsbury, Graphic DesignerLauren Aycock, Graphic Designer

Ms. Bessie ShayDr. Alan SheffMr. Charles ShortDr. & Mrs. Paul SilvermanMs. Rita SloanMr. Carey Smith*Mr. Charles Sturrock*Dr. & Mrs. Szymon SuckewerMs. Sarah ThomasMs. Renee Tietjen*

Ms. Virginia W. Van Brunt *Mr. Sid VernerMr. Gerald VogelMs. Anastasia WalshMr. David B. WardMr. Raymond WattsMs. Joan WikstromMr. Robert E. WilliamsDr. Nicholas Zill* Chorale members

CHORALE SUSTAINERS CIRCLE Mr. & Mrs. Fred AltmanMs. Sybil AmitayMrs. William F. Baker, Jr.Elizabeth Bishop & Darrin GemoetsDr. Ronald CappellettiMs. Anne ClaysmithMs. Nancy ColemanMr. Dale CollinsonDrs. Eileen and Paul DeMarcoDr. Lawrence Deyton & Dr. Jeffrey LeviDr. Maria A. FriedmanDr. & Mrs. Bill GadzukDr. Robert Gerard & Ms. Carol GoldbergMs. Sarah Gilchrist

Mr. & Mrs. David HendersenDr. Stacey HenningMr. Larry MaloneyMr. & Mrs. Carl McIntireDr. Wayne MeyerMr. & Mrs. Kent MikkelsenMr. & Mrs. James E. MurrayMr. Thomas NessingerMs. Martha NewmanMs. Aida SanchezMrs. Jan SchiavoneMs. Carol A. SternDr. & Mrs. Robert TempleMs. Ellen van ValkenburghMr. & Mrs. Robert Vocke


Reginald Van Lee, Chairman* (c)

James J. Sandman, Vice Chair* (c)

Christina Co Mather, Secretary* (c)

Steven Kaplan, Esq. Treasurer* (c)

Burton J. Fishman, Esq., General Counsel* +

Neale Perl, President and CEO*

Douglas H. Wheeler, President Emeritus

Patrick Hayes, Founder †

Gina F. Adams*Katherine M. AndersonAlison Arnold-SimmonsArturo E. Brillembourg*Hans Bruland (c)Rima CalderonCharlotte Cameron*Karen I. Campbell*Yolanda CarawayLee ChristopherEric D. CollinsJosephine S. CooperDebbie DingellPamela FarrRobert Feinberg*Norma Lee FungerBruce Gates*Olivier GoudetFelecia Love Greer, Esq.Jay M. Hammer* (c)Maria J. HankersonBrian HardieGrace Hobelman (c)Jake JonesDavid Kamenetzky*Jerome B. Libin, Esq. (c) Rachel Tinsley Pearson* (c)Joseph M. Rigby

Irene RothYvonne SabineCharlotte SchlosbergSamuel A. SchreiberJohn SedmakIrene F. SimpkinsRuth Sorenson* (c)Wendy Thompson-MarquezMary Jo Veverka*Gladys Watkins*Carol W. Wilner

HONORARY DIRECTORSNancy G. BarnumRoselyn Payne Epps, M.D.Michelle Cross FentySophie P. FlemingEric R. FoxPeter Ladd Gilsey †Barbara W. GordonFrance K. GraageJames M. Harkless, Esq.ViCurtis G. Hinton †Sherman E. KatzMarvin C. Korengold, M.D.Peter L. KreegerRobert G. LiberatoreDennis G. LyonsGilbert D. Mead †Gerson Nordlinger †John F. Olson, Esq. (c)Susan PorterFrank H. RichAlbert H. SmallShirley SmallThe Honorable James W. SymingtonStefan F. Tucker, Esq. (c)Paul Martin Wolff

PAST CHAIRSTodd Duncan †,

Past Chairman LaureateWilliam N. CafritzAldus H. Chapin †Kenneth M. Crosby †Jean Head Sisco †

Kent T. Cushenberry †Harry M. LinowesEdward A. FoxHugh H. SmithAlexine Clement JacksonLydia Micheaux MarshallStephen W. Porter, Esq.Elliott S. HallLena Ingegerd Scott (c)James F. LafondBruce E. RosenblumDaniel L. KorengoldSusan B. HepnerJay M. Hammer

WOMEN’S COMMITTEE OFFICERSGladys Manigault Watkins, PresidentAnnette A. Morchower, First Vice PresidentLorraine P. Adams, Second Vice PresidentCynthea M. Warman, Recording SecretaryRuth R. Hodges, Assistant Recording SecretaryErnestine Arnold, Corresponding SecretaryAnna Faith Jones, TreasurerGlendonia McKinney, Assistant TreasurerCharlotte Cameron, Immediate Past PresidentBarbara Mackenzie Gordon,

Founder

LAWYERS’ COMMITTEE CO-CHAIRSJerome B. Libin, Esq.James J. Sandman, Esq.

* Executive Committee+ Ex Officio† Deceased(c) Committee Chair

As of Oct. 1, 2012

BOARD OF DIRECTORS

WPAS ANNUAL FUND

Dimick FoundationMs. Pamela FarrMr. and Mrs. Morton FungerMr. and Mrs. Bruce GatesMr. and Mrs. Jay M. HammerThe Hay-Adams HotelMr. and Mrs. Terry JonesMr. and Mrs. Steven KaplanMrs. Elizabeth KefferKiplinger Foundation Inc.KPMG LLPJudith A. Lee, Esq. (L)June and Jerry Libin (L)Mr. and Mrs. John Marshall Dan

Cameron Family Foundation, Inc.Nancy Peery Marriott Foundation,

Inc.Mr. James J. Sandman and

Ms. Elizabeth D. Mullin (L)Roger and Vicki SantMr. and Mrs. Hubert M.

Schlosberg (L) (W)Mr. and Mrs. Daniel SimpkinsVerizon Washington, DCMs. Mary Jo VeverkaWashington Gas Light CompanyWells Fargo Bank

$10,000-$14,999Avid Partners, LLCBET NetworksDCI GroupErnst and YoungGeorge Wasserman Family

Foundation, Inc.Ms. Carolyn GuthrieMr. Jake Jones and Ms. Veronica

Nyhan-JonesRobert P. and Arlene R. Kogod

Family FoundationMr. and Mrs. Peter L. KreegerMr. and Mrs. Steve LansMacy’sThe Max and Victoria Dreyfus

Foundation, Inc.The Honorable Bonnie McElveen-

HunterMr. and Mrs. Herbert MilsteinJohn F. Olson, Esq. (L)Prince Charitable TrustsQinetiQ North America, Inc.Sid Stolz and David HatfieldMs. Wendy Thompson-MarquezMr. Marvin F. Weissberg and

Ms. Judith MorrisMr. and Mrs. Bernard Young

$7,500-$9,999AT&T FoundationGeicoThe Meredith FoundationThe Hon. Mary V. Mochary and

Dr. Philip E. WineOurisman Automotive of VAMs. Aileen Richards and

Mr. Russell JonesDr. Irene RothSutherland Asbill & Brennan

$5,000-$7,499Dr. and Mrs. Clement C. AlpertMr. and Mrs. Joseph BrodeckiCapitol Tax PartnersMs. Dolly ChapinBob and Jennifer FeinsteinMr. and Mrs. Robert S. GilesMr. and Mrs. Stephen GrahamMr. and Mrs. Carlos GutierrezMr. and Mrs. Brian J. HardieMs. Sandy LernerMr. and Mrs. David O. MaxwellDr. Robert MisbinMr. and Mrs. Glenn A. MitchellMs. Rachel Tinsley PearsonMs. Diane Tachmindji

Mr. and Mrs. John V. ThomasVenable FoundationThe Washington Post Company

$2,500-$4,999Anonymous (3)Mr. and Mrs. Ricardo AndradeMr. and Mrs. Barry BarbashMr. Joseph BrandtMr. and Mrs. Boris BrevnovMs. Beverly J. BurkeMr. and Mrs. William N. CafritzThe Charles Delmar FoundationDr. and Mrs. Abe CherrickMs. Nadine CohodasMr. and Mrs. J. Bradley DavisMr. and Mrs. James DavisDr. Morgan Delaney and

Mr. Osborne P. MackieMr. and Mrs. Guy O. Dove IIIMr. and Mrs. Melvin Eagle (L)Linda R. Fannin, Esq. (L)Mr. and Mrs. Burton J. FishmanMr. Gregory I. FlowersMr. and Mrs. David FrederickMr. and Mrs. Wayne GibbensDr. and Mrs. Michael S. GoldJames R. GoldenMr. and Mrs. Rolf GraageDr. Maria J. Hankerson, Systems

Assessment & ResearchMs. Dena Henry and

Mr. John AhremMr. and Mrs. Allen IzadpanahAlexine and Aaron# Jackson (W)Mr. and Mrs. Joseph JacobsMr. and Mrs. Merritt JonesMs. Danielle Kazmier and

Mr. Ronald M. BradleyMr. and Mrs. David T. KenneyArleen and Edward Kessler (W)Mr. Daniel L. Korengold and Ms.

Martha DippellMrs. Stephen K. KwassMr. and Mrs. Harry M. LinowesJames M. Loots, Esq. and Barbara

Dougherty, Esq. (L)Mr. and Mrs. Christoph E. Mahle (W)The Honorable and Mrs. Rafat

MahmoodMr. and Mrs. Ralph ManakerMarshall B. Coyne FoundationMrs. Joan McAvoyMr. Robert Meyerhoff and

Ms. Rheda BeckerMr. Larry L. MitchellMr. and Mrs. Robert MonkDr. William Mullins and

Dr. Patricia PetrickMs. Catherine NelsonMrs. Muriel Miller Pear#Jerry and Carol PeroneMs. Nicky Perry and

Mr. Andrew StiflerMr. Trevor Potter and

Mr. Dana WestringAdam Clayton Powell IIIMr. and Mrs. Robert RamsayDr. and Mrs. Douglas RathbunMrs. Lynn RhombergMr. and Mrs. Peter RichMr. and Mrs. David RouxMs. Christine C. Ryan and

Mr. Tom GrahamMr. Claude SchochMr. and Mrs. Samuel A. SchreiberLena Ingegerd Scott and Lennart

LundhMr. and Mrs. Albert H. SmallMr. Eric SteinerMs. Mary SturtevantMr. and Mrs. George R. Thompson Jr.Mr. and Mrs. R. Moses ThompsonMr. Richard M. Tuckerman

$100,000+Altria Group, Inc.Booz Allen HamiltonMs. Christina Co Mather and Dr.

Gary MatherBetsy and Robert FeinbergMars, IncorporatedMs. Jacqueline Badger MarsThe Morris & Gwendolyn Cafritz

FoundationNational Capital Arts and Cultural

Affairs Program/The US Commission of Fine Arts

Mr. Reginald Van Lee

$50,000-$99,999DaimlerDallas Morse Coors Foundation

for the Performing ArtsFedEx Corporation

Mr. and Mrs. Joseph F. Horning The Horning Family Fund

MVM, Inc.Park Foundation, Inc.Mr. Bruce Rosenblum and

Ms. Lori LaitmanDr. Paul G. SternWells Fargo Bank

$35,000-$49,999DC Commission on the Arts and

HumanitiesCarl D. † and Grace P. HobelmanMs. Marcia MacArthur

$25,000-$34,999AnonymousAbramson Family FoundationBank of AmericaBB&T Private Financial Services

Billy Rose FoundationMrs. Ryna CohenMark and Terry McLeodNational Endowment for the ArtsPEPCOPricewaterhouseCoopers LLPThe Rocksprings FoundationNoraLee and Jon SedmakRuth and Arne SorensonMr. and Mrs. Stefan F. Tucker (L)

$15,000-$24,999AnonymousAmbassador and Mrs. Tom

AndersonArcana FoundationMs. Adrienne ArshtDiane and Norman BernsteinMr. and Mrs. Arturo E.

Brillembourg


Dr. and Mrs. Herbert D. WeintraubMr. and Mrs. Stanley WeissDr. Sidney Werkman and

Ms. Nancy FolgerMr. and Mrs. James J. WilsonDr. and Mrs. William B. WolfMr. Bruce Wolff and Ms. Linda MillerMr. and Mrs. Paul A. Young, NOVA

Research Company

$1,500-$2,499Anonymous (4)Ms. Lisa AbeelMrs. Rachel AbrahamMrs. Arthur ArundelDr. and Mrs. James BaughRobert and Arlene BeinMr. and Mrs. Robert S. BennettJane C. Bergner, Esq. (L)Mr. and Mrs. Josiah BuntingMr. Peter Buscemi and

Ms. Judith MillerDr. C. Wayne Callaway and Ms.

Jackie ChalkleyMs. Karen I. CampbellDr. and Mrs. Purnell W. ChoppinDrs. Judith and Thomas ChusedDr. Mark Cinnamon and

Ms. Doreen KellyMr. and Mrs. Douglas CookMr. Paul D. CroninMr. and Mrs. Sidney DicksteinMs. Lisa Egbuonu-DavisMrs. Sophie P. FlemingFriday Morning Music Club, Inc.Ms. Wendy Frieman and

Dr. David E. JohnsonMrs. Paula Seigle Goldman (W)Mrs. Barbara GoldmuntzMrs. Barbara W. Gordon (W)James McConnell Harkless, Esq.Ms. Gail HarmonDr. and Mrs. Joseph E. Harris (W)Ms. Leslie HazelMs. Gertraud HechlMr. and Mrs. Carl F. Hicks, Jr.Mrs. Enid T. Johnson (W)Dr. and Mrs. Elliott KaganMr. E. Scott KasprowiczMr. and Mrs. Sherman E. Katz (L)Stephen and Mary Kitchen (L)Ms. Betsy Scott KleeblattMr. and Mrs. Steven LambMr. and Mrs. Richard F. LarkinDr. and Mrs. Lee V. Leak (W)Mr. James LynchMr. and Mrs. Michael MarshallHoward T. and Linda R. MartinMr. Scott MartinMrs. Gail MathesonMs. Katherine G. McLeodMs. Kristine MorrisLt. Gen. and Mrs. Michael A. NelsonMs. Michelle NewberryThe Nora Roberts FoundationDr. Michael OldingMr. and Mrs. Jack H. OlenderMr. and Mrs. Gerald W. PadweDr. and Mrs. Ron PaulMs. Jean PerinMr. Sydney PolakoffThe Honorable and Mrs. Stephen

PorterMr. James RichMr. and Mrs. Martin RitterMrs. Norman W. ScharpfMs. Mary B. SchwabDr. Deborah J. SherrillMrs. Nadia StanfieldCita and Irwin StelzerMr. Richard StrotherMs. Loki van RoijenMs. Viviane WarrenA. Duncan Whitaker, Esq. (L)CDR and Mrs. Otto A. Zipf

$1,000-$1,499AnonymousRuth and Henry AaronMr. John B. AdamsMr. and Mrs. James B. AdlerMr. and Mrs. Dave AldrichMs. Carolyn S. AlperMs. Carol A. BogashMr. A Scott BoldenMs. Ossie BoroshS. Kann Sons Company Fdn. Inc.

Amelie and Bernei Burgunder, Directors

Mr. and Mrs. Calvin CafritzMr. Arthur CirulnickMr. Jules CohenMs. Josephine S. CooperDr. Ronald M. Costell and

Ms. Marsha E. SwissMr. David D’AlessioDr. and Mrs. Joseph H. DanksMr. and Mrs. Gregory DavisEdison W. Dick, Esq. (L)Mr. Anthony E. DiResta (L)Ms. Nancy Ruyle DodgeDyal CompassMr. Stanley Ebner and

Ms. Toni SidleyMs. Lynda EllisMrs. John G. EssweinMarietta Ethier, Esq. (L)Dr. Irene Farkas-ConnJames A. Feldman and

Natalie WexlerFierce, Isakowitz & Blalock, LLCMs. Gloria GarciaMr. Donald and Mrs. Irene GavinThe Hon. Ruth Bader GinsburgMr. and Mrs. William L. Goldman (W)Mr. Michael HagerMr. and Mrs. James Harris, Jr.Mr. Charles E. Hoyt and

Ms. Deborah Weinberger (L)Drs. Frederick Jacobsen and

Lillian Comas-DiazMr. Michael JohnsonMs. Anna F. Jones (W)Mr. and Mrs. John E. KilcarrMs. Elizabeth L. KleeDr. Marvin C. KorengoldSimeon M. Kriesberg and

Martha L. KahnSandra and James LafondMr. and Mrs. Eugene I. Lambert (L)Mr. and Mrs. Gene Lange (L)Mr. Lance MangumMiss Shirley Marcus AllenMs. Patricia MarvilMaster Print, Inc.John C. McCoy, Esq. (L)Carol and Douglas MelamedDr. Jeanne-Marie A. MillerMr. and Mrs. Adrian L. Morchower (W)Mr. Richard MoxleyMr. and Mrs. Daniel MulcahyMr. and Mrs. Samuel MuscarellaMr. and Mrs. Lawrence C.

NussdorfMr. and Mrs. John OberdorferMrs. Elsie O’Grady (W)Tom and Thea Papoian, with

Mr. SmoochyMr. and Mrs. Neale PerlDr. Gerald PermanMr. and Mrs. Arnold PolingerReznick GroupMr. and Mrs. Robert RosenfeldMr. Lincoln Ross and Changamire (W)Mr. and Mrs. Michael RowanSteven and Gretchen SeilerMr. and Mrs. Arman SimoneMr. and Mrs. Thomas StrongChris SyllabaThe Manny & Ruthy Cohen

Foundation, Inc.Mr. and Mrs. Tom TinsleyMr. and Mrs. Aaron TomaresMr. J. Rock Tonkel, Jr.Mr. and Mrs. Sami TotahG. Duane Vieth, Esq. (L)Mr. John Warren McGarry (L)Drs. Anthony and Gladys Watkins (W)Drs. Irene and John WhiteMr. and Mrs. Robert H. WinterChristopher Wolf, Esq. (L)Mr. and Mrs. Dennis R. Wraase

$500-$999Anonymous (4)Mr. Andrew AdairMs. and Mrs. Edward Adams (W)Mr. Donald R. AllenMr. Jerome Andersen and

June HajjarArgy, Wiltse & Robinson, P.C.Ms. Amy BallardHon. and Mrs. John W. BarnumMiss Lucile E. BeaverDr. and Mrs. Devaughn Belton (W)Mrs. Joan S. BeneschMs. Patricia N. Bonds (W)Mr. and Mrs. Charles BothMrs. Elsie Bryant (W)Mr. and Mrs. Leonard BurkaMr. Robert BuslerMrs. Gloria Butland (W)Mr. and Mrs. Jordan CasteelMs. Claire CherryMs. Deborah Clements and

Mr. Jon MooreDr. Warren Coats, Jr.Compass Point Research and

Trading, LLCMr. John W. CookMr. and Mrs. Doug Cowart (W)Mr. John DassoulasDr. and Mrs. Chester W. De LongMr. and Mrs. James B. Deerin (W)Mr. and Mrs. Carlos Del ToroMrs. Rita DonaldsonMr. and Mrs. Marc DuberMs. Sayre E. DykesMrs. Yoko EguchiMr. and Mrs. Harold FingerDr. and Mrs. Robert Gagosian (W)Dr. Melvin GaskinsJack E. Hairston Jr.Dr. and Mrs. Harry Handelsman (W)Jack and Janis HansonMrs. Robert A. HarperMr. Lloyd HaughMr. and Mrs. Louis HeringMr. and Mrs. Franklin Hodges (W)Mr. and Mrs. Laszlo HogyeMr. and Mrs. James K. HolmanMr. and Mrs. Ernest Drew JarvisRalph N. Johanson, Jr., Esq. (L)Mr. and Mrs. Charles JonesMrs. Carol KaplanMs. Janet Kaufman (W)Mr. Daniel Kazzaz and

Mrs. Audrey CorsonDr. Rebecca Klemm, Ph.D.Mr. and Mrs. John KoskinenMr. and Mrs. Nick KotzMs. Debra LadwigMs. Albertina D. Lane (W)Mr. William Lascelle and Blanche

JohnsonDr. J. Martin LebowitzMr. and Mrs. Christopher LernerJack L. Lipson, Esq. (L)The Honorable and Mrs. Jan LodalMr. and Mrs. David Maginnes (W)Shaila ManyamRear Adm. and Mrs. Daniel P.

MarchMs. Hope McGowanMr. and Mrs. Rufus W. McKinney (W)

Ms. Cheryl C. McQueen (W)Dr. and Mrs. Larry MedskerMrs. G. William MillerMr. and Mrs. Bruce D. MoretonMs. Dee Dodson MorrisMr. Charles NaftalinMr. and Mrs. David NealMr. John OsborneMs. Christine PieperMr. and Mrs. Herbert PosnerMs. Susan Rao and

Mr. Firoze Rao (W)Ms. Nicola RenisonMr. and Mrs. Dave RiggsMs. Elaine RoseMr. Burton RothlederDr. and Mrs. Jerome SandlerMr. and Mrs. Michael Schultz

In memory of Mr. H. Marc Moyens

Mrs. Zelda Segal (W)Dr. Deborah Sewell (W)Mr. Peter ShieldsDaniel and Sybil SilverMr. and Mrs. Robert SilvermanMr. and Mrs. John SlaybaughVirginia Sloss (W)Mr. and Mrs. L. Bradley StanfordDana B. StebbinsDr. and Mrs. Moises N. SterenMr. and Mrs. David SternSternbach Family FundMr. Daniel TarulloMs. Julie Vass (W)Mr. Craig Williams and

Ms. Kimberly SchenckMr. and Mrs. James D. Wilson (W)Ms. Christina WitsbergerMs. Bette Davis Wooden (W)

Dr. Saul YanovichMr. James YapPaul Yarowsky and Kathryn

Grumbach

IN-KIND DONORSArnold & Porter LLPThe Beacon HotelBooz Allen HamiltonMs. Ossie BoroshMr. and Mrs. Charles BothThe Capital Grille Chevy ChaseEmbassy of MexicoEmbassy of SpainJamalFelder Music Productions

LLCThe Hay-Adams HotelMr. Daniel L. Korengold and Ms.

Martha DippellDr. and Mrs. Marc E. LelandMs. Sandy LernerThe Honorable and Mrs. Jan LodalLord & TaylorMars, IncorporatedMs. Jacqueline Badger MarsMr. Neale PerlDr. Irene RothMr. Claude SchochSt. Gregory Luxury Hotels &

SuitesMr. Anthony WilliamsKathe and Ed WilliamsonMr. John C. WohlstetterElizabeth and Bill Wolf

KEY:(W) Women’s Committee(L) Lawyers’ Committee# Deceased

Neale Perl President & CEODouglas H. Wheeler President Emeritus

Development Murray Horwitz Director of DevelopmentMeiyu Tsung Assistant Director of Develop-

ment/Director of Major GiftsDaren Thomas Director of Leadership and

Institutional GiftsMichael SyphaxDirector of Foundation and

Government RelationsRebecca Talisman Donor Records and Database

Coordinator Helen AbergerMembership Coordinator and

Tessitura Applications Specialist

Lauren Ward Development Intern

Education Michelle Hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/

Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Bradley Evans Education InternChase Maggiano Education Intern

Finance and Administration Allen Lassinger Director of Finance Lorna Mulvaney Accounting Associate Robert Ferguson Database Administrator

Marketing and Communications Jonathan Kerr Director of Marketing and

Communications Hannah Grove-DeJarnett Assistant Director of Marketing

and Communications Scott Thureen Audience Development Manager Corinne Baker Audience Engagement ManagerCelia Anderson Graphic Designer Brenda Kean Tabor Publicist

Programming Samantha Pollack Director of ProgrammingTorrey Butler Production Manager Wynsor Taylor Programming ManagerStanley J. Thurston Artistic Director, WPAS Gospel

Choirs

Ticket Services Office Folashade Oyegbola Ticket Services Manager Edward Kerrick Group Sales Coordinator

WASHINGTON PERFORMING ARTS SOCIETY STAFF


Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs

Mr. Stefan F. Tucker, Chair

Anonymous (6)Mr. David G.† and Mrs. Rachel AbrahamDr. and Mrs. Clement C. AlpertMr. and Mrs. George A. AveryMr. James H. Berkson †Ms. Lorna Bridenstine †Ms. Christina Co MatherMr. and Mrs. Douglas CookMr. and Mrs. F. Robert CookMs. Josephine CooperMr. and Mrs. James DeerinMrs. Luna E. Diamond †Mr. Edison W. Dick andMrs. Sally N. DickMr. and Mrs. Sidney Dickstein

WPAS LEGACY SOCIETY

Ms. Carol M. DreherMr. and Mrs. Melvin EagleMs. Eve Epstein †Mr. and Mrs. Burton FishmanMrs. Charlotte G. Frank †Mr. Ezra Glaser †Dr. and Mrs. Michael L. GoldMs. Paula GoldmanMrs. Barbara GordonMr. James HarklessMs. Susan B. HepnerMr. Carl Hobelman † and

Mrs. Grace HobelmanMr. Craig M. Hosmer and Ms. Daryl ReinkeCharles E. HoytJosephine Huang, Ph.D.Dr. † and Mrs. Aaron JacksonMrs. Enid Tucker JohnsonMr. and Mrs. Charles Jones

Mr. Sherman E. KatzMr. and Mrs. Bruce KimbleMr. Daniel L. KorengoldDr. Marvin C. KorengoldMr. and Mrs. James LafondMs. Evelyn Lear † and Mr. Thomas Stewart†Mrs. Marion Lewis †Mr. Herbert Lindow †Mr. and Mrs. Harry LinowesMr. and Mrs. David MaginnesMs. Doris McClory †Mrs. Carol MelamedRobert I. MisbinMr. Glenn A. MitchellMs. Viola MusherMr. Jeffrey T. NealThe Alessandro Niccoli Scholarship AwardThe Pola Nirenska Memorial AwardMr. Gerson Nordlinger †Mrs. Linda Parisi and Mr. J.J. FinkelsteinMr. and Mrs. Neale PerlDr. W. Stephen and Mrs. Diane PiperMrs. Mildred Poretsky †The Hon. and Mrs. Stephen PorterMrs. Betryce Prosterman †

Miriam Rose †Mr. James J. Sandman and

Ms. Elizabeth D. MullinMrs. Ann ScheinMr. and Mrs. Hubert (Hank) SchlosbergMs. Lena Ingegerd ScottMrs. Zelda SegalMr. Sidney SeidenmanMs. Jean Head Sisco †Mr. and Mrs. Sanford L. SlavinMr. and Mrs. Albert H. SmallMr. Robert Smith and

Mrs. Natalie Moffett SmithMrs. Isaac SternMr. Leonard TopperMr. Hector TorresMr. and Mrs. Stefan TuckerMr. Ulric † and Mrs. Frederica WeilMr. and Mrs. Douglas WheelerMr. and Mrs. Robert H. WinterMs. Margaret S. Wu In memory of Y. H. and T. F. Wu

For more information, please contact Douglas H. Wheeler at (202) 533-1874, or e-mail [email protected].

Thursday, November 8 and Friday, November 9, 10AM–8PMSaturday, November 10, 10AM–6PMSunday, November 11, 10AM–5PM

Admission $9 (Stars $8) Pre-Order Admission Passes Online at www.strathmore.org or Cash Only at Door

No strollers please

The art of giving, simplified: that’s the Museum Shop Around at Strathmore. Browse the gift shops of more than 17 of the D.C. area’s greatest museums—the National Museum of Women in the Arts, the John F. Kennedy Center for the Performing Arts, U.S. Senate Gift Shop, Shakespeare Theatre Shop, the Audubon Naturalist Society, The Shop at Strathmore and many, many more—without leaving the comfort of the Mansion. It’s the fun, convenient, enjoyable way to find perfectly delightful gifts for everyone on your list.

23rd AnnualMUSEUM SHOP AROUND

AT STRATHMORE

Proceeds support Strathmore’s artistic and

educational programming!


IMPORTANT INFORMATION5301 Tuckerman Lane North Bethesda, MD 20852-3385 www.strathmore.org Email: [email protected] Ticket Office Phone: (301) 581-5100 Ticket Office Fax: (301) 581-5101 Via Maryland Relay Services for MD residents at 711 or out of state at 1(800) 735-2258

TICKET OFFICE HOURSMonday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the Music Center through intermission.

GROUP SALES, FUNDRAISERS

For information, call (301) 581-5199 or email [email protected].

TICKET POLICIESUnlike many venues, Strathmore allows tickets to be exchanged. Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets.

If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

All tickets are prepaid and non-refundable.

WILL CALLPatrons must present the credit card used to purchase tickets or a valid ID to obtain will call tickets.

TICKET DONATION If you are unable to use your tickets, they may be returned for a tax-deductible donation prior to the performance. Donations can be made by mail, fax or in person by 5 p.m. the day of the performance.

MISPLACED TICKETS If you have misplaced your tickets to any performance at Strathmore,

please contact the Ticket Office for replacements.

CHILDREN

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others. Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

PARKING FACILITIESConcert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the Metro attendant to exit at no cost. For all non-ticketed events, Monday – Friday, parking in the garage is $4.75 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the Grosvenor-Strathmore Metro garage, walk across the glass-enclosed sky bridge located on the 4th level.

PUBLIC TRANSPORTATIONStrathmore is located immediately adjacent to the Grosvenor-Strathmore Metro station on the Red Line and is served by several Metro and Ride-On bus routes. See www.strathmore.org, or the Guide to the Music Center at Strathmore for detailed directions.

DROP-OFFThere is a patron drop-off circle off Tuckerman Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is allowed in the circle, cars must be moved to the Metro garage after dropping off

patrons. Both main entrances have power- assisted doors.

GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

COAT CHECKLocated in the Promenade across from the Ticket Office. As weather requires, the coat check will be available as a complimentary service to our patrons. If you would like to keep your coat or other belongings with you, please place them under your seat. Coats may not be placed over seats or railings.

THE PRELUDE CAFÉThe Prelude Café in the Promenade of the Music Center at Strathmore, operated by Restaurant Associates, features a wide variety of snacks, sandwiches, entrees, beverages and desserts. It is open for lunch and dinner and seats up to 134 patrons.

CONCESSIONSThe Interlude intermission bars offer beverages and snacks on all levels before the show and during intermission. There are permanent bars on the Orchestra, Promenade and Grand Tier levels.

LOST AND FOUNDDuring a show, please see an usher. All other times, please call (301) 581-5100.

LOUNGES AND RESTROOMSLocated on all seating levels, except in the Upper Tier.

PUBLIC TELEPHONESCourtesy telephones for local calls are located around the corner from the Ticket Office, in the Plaza Level Lobby, and at the Promenade Right Boxes.

ACCESSIBLE SEATINGAccessible seating is available on all levels. Elevators, ramps, specially designed and designated seating, designated parking and many other features make the Music Center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert Hall, please call the Ticket Office at (301) 581-5100.

ASSISTIVE LISTENINGThe Music Center at Strathmore is equipped with a Radio Frequency Assistive Listening System for patrons who are hard of hearing. Patrons can pick up assistive listening devices at no charge on a first-come, first-served basis prior to the performance at the coatroom when open, or at the ticket taking location as you enter the Concert Hall with a driver’s license or other acceptable photo ID. For other accessibility requests, please call (301) 581-5100.

ELEVATOR SERVICEThere is elevator service for all levels of the Music Center at Strathmore.

EMERGENCY CALLSIf there is an urgent need to contact a patron attending a Music Center concert, please call (301) 581-5112 and give the patron’s name and exact seating location, and telephone number for a return call. The patron will be contacted by the ushering staff and the message relayed left with Head Usher.

LATECOMER POLICYLatecomers will be seated at the first appropriate break in the performance as not to disturb the performers or audience members. The decision as to when patrons will be seated is set by the presenting organization for that night.

FIRE NOTICEThe exit sign nearest to your seat is the shortest route to the street. In the event of fire or other emergency, please WALK to that exit. Do not run. In the case of fire, use the stairs, not the elevators.

WARNINGS

Music Center at

Strathmore


encoreby Sandy Fleishman

MIC

HA

EL V

ENTU

RA

National Philharmonic Chorale Members and Volunteers

Jan Schiavone & Ellen van Valkenburgh

L ongtime Philharmonic volunteers Ellen van Valkenburgh and Jan Schiavone !rst met years ago in the choir of Rockville’s Christ Episcopal Church. Both in time became members of the Masterworks Chorus, which merged with the National Cham-

ber Orchestra in 2003 to become the National Philharmonic Orches-tra and Chorale. Both also serve as ushers for Strathmore. And both enjoy traveling. They have explored rural France and parts of Spain on self-guided trips and in addition, have traveled as part of group tours.

Q. Why did you start volunteering? Ellen: I began when I was a young Navy wife in Portsmouth, Va., and I have continued in one form or another ever since. After my husband, Wood, died in 1979, choral singing became a focal point and has remained that way.

With the move to Strathmore, a Philhar-monic staff member asked for my help in co-ordinating volunteers for pre-concert activi-ties. About the same time in 2006, I started helping with arrangements for the twice-a-year concerts by the National Philharmonic Singers at Christ Church.

Jan: I have been a member of the Christ Episcopal Church choir since I was 26, have served as the church choir librarian for a very long time, and I have been active in many other church activities. I also help with the accounting for the Philharmonic Singers concerts.

Q. Is the music itself a big part of the attraction? What’s your favorite? Ellen: All types of music have been a part of my life from childhood, and I love just about all types. Classical music is a great love, but my earliest memories are of hearing the popu-lar patriotic songs of World War II.

Jan: I remember the words to those songs so well!

Ellen: In general, as Chorale singers, we come to love all the works as we learn them.

Q. How do you account for your great friendship? Ellen: After my husband died, I invited Jan to come with me to Myrtle Beach, and we discovered we traveled well together. One thing has led to another, and our paths continue in a world of music and common interests at National Philharmonic and Strathmore.

Jan: We like doing interesting things. And it’s a lot of fun.

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