View the September-October 2013 issue of Overture (PDF)

Marin Alsop, Music Director 

September–October 2013 

A magazine for the patrons of the Baltimore Symphony Orchestra 

The 

Harmony 

Benjamin Britten’s stirring 

War Requiem is 

part of the season’s theme of 

music written for healing. 

H PE 

Jean-Yves Thibaudet 

challenges 

classical music 

stereotypes 

Rheda Becker: 

Pay attention 

to the woman 

behind the curtain 

C. Fraser Smith 

on Scheherazade 

and transcendent 

moments

“ 

Being a musician 

is like being an 

elite athlete... 

You eat, breathe, 

and sleep music.” 

Madeline Adkins, Associate Concertmaster 

Read Madeline Adkins’ story at 

BSOmusic.org/MadelineAdkins

contents 

Departments 

2) Letter from the President & CEO 

4) In Tempo: News Of Note 

6) BSO Live: Calendar of Events 

12) Orchestra Roster 

37) Donors List 

44) Impromptu: Rheda Becker, 

BSO Narrator 

Program Notes 

13) Scheherazade 

& 1812 Overture 

September 20 & 22 

10 

{Hope Eternal. 

Benjamin Britten’s War Requiem was 

composed for St. Michael’s Cathedral 

in Coventry, England, which was 

bombed by the Germans in 1940. 

18) Thibaudet Plays Bernstein 

September 27 & 28 

22) The Streisand Songbook 

October 11, 12 & 13 

6 

44 

24) Romantic Tchaikovsky 

October 18 & 20 

30) Brahms’ Third Symphony 

October 25 & 26 

Features 

8) One on One: 

Jean-Yves Thibaudet 

by Christianna McCausland 

The award-winning pianist talks about fashion, films 

and his quest to find the perfect beach. 

10) Harmony of Hope 

by Martha Thomas 

Benjamin Britten’s stirring War Requiem is part of this season’s 

theme of music written for healing. 

On the Cover 

John Britten’s Waters piece is comes performed to the by Meyerhoff. the BSO Nov. 14–15 

Photography mark the anniversary by Cory Donovan. of the Coventry Make-up by bombing Rachel and Hirsch. the 

Hair centennial by Vanessa of the Moser. composer’s birth. 

Be Green: Recycle Your Program! 

Please return your gently used program to the Overture racks 

in the lobby. Want to keep reading at home? Please do! 

Just remember to recycle it when you’re through. 

September– October 2013 | Overture 1

overture 

The Baltimore 

Symphony Orchestra 

2012–2013 Season 

410.783.8000 

BSOmusic.org 

The Baltimore 

SyMphony ORchestra 

Marin Alsop 

Music Director 

Kenneth W. DeFontes, Jr. 

Chairman 

Paul Meecham 

President & CEO 

Eileen Andrews 

Vice President, Marketing 

& Communications 

Alyssa Porambo 

Public Relations & 

Publications Coordinator 

Janet E. Bedell 

Program Annotator 

Baltimore magazine 

Design and Print Division 

Director 

Ken Iglehart 

Art Director 

Vicki Dodson 

Senior Graphic Artist 

Michael Tranquillo 

Contributing Writers 

Laura Farmer 

Christianna McCausland 

Martha Thomas 

Research 

Rebecca Kirkman 

Advertising 

Account Representatives 

Lynn Talbert 

ltalbert58@gmail.com 

443.974.6892 

Julie Wittelsberger 

gazellegrp@comcast.net 

443.275.2687 

Baltimore magazine 

Design and Print Division 

1000 Lancaster Street, Suite 400 

Baltimore, MD 21202 

410 . 752. 4200 

{ From the President 

Welcome 

As always, it’s my great pleasure to welcome you to the start of another exciting BSO season. 

You’ll forgive me if I wax nostalgic for a moment … I still remember vividly the opening of 

Marin Alsop’s inaugural season in 2007. The Hall was packed with patrons and buzzing with 

media. The electricity in the air was palpable as the first female music director of a major American 

orchestra took the podium and led the BSO 

Such a commitment 

lends great 

stability to the 

BSO as we approach 

our centennial 

celebrations in 2016 

musicians in a riveting performance of Mahler’s 

Fifth Symphony. 

Fast-forward to 2013 as we begin Maestra 

Alsop’s seventh season as music director, which 

she opens with characteristic flair with a new 

saxophone concerto by the most-performed 

American composer, John Adams. As we have 

discovered, Marin Alsop’s inspiring leadership 

from the podium is matched by her passion to 

engage and invigorate our community through music. These multi-faceted qualities are rare 

and the BSO is fortunate to have secured her continued leadership through the 

2020–2021 season. Such a commitment lends great stability to the BSO as 

we approach our centennial celebrations in 2016 and beyond, and enables 

Marin Alsop to continue to shepherd the innovative landmark programs 

launched during her tenure, including OrchKids and the BSO Academy. 

And with Maestra Alsop at the helm, you can also expect more inspiring 

programming, such as Benjamin Britten’s profound War Requiem, which 

the BSO will perform this November. You can read more about this 

stirring work on page 10 of this issue. 

Finally, I want to encourage you to support one or more of the 

runners participating in the BOLT for the BSO run (or walk!) 

in the Baltimore Running Festival on October 12. You can 

visit BSOmusic.org/BOLT and make a donation to 

support your favorite BSO runner and its programs. 

We have so much to celebrate as we begin another 

season. I look forward to seeing you at the Meyerhoff! 

Paul Meecham 

President and CEO, Baltimore Symphony Orchestra 

Life is Better with Music. 

The BSO is actively redefining the role of an orchestra 

in the 21 st century, with an increased focus on access 

and relevance in the community. Your support is vital to 

the BSO’s continued progress. For more information on 

how to support the music that builds communities and 

transforms lives, please contact our membership office. 

410.783.8124 BSOmusic.org/donate 

Dean Alexander 

2 Overture | www.bsomusic.org

Art by renowned illustrator Alex nabaum. 

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{ 

in 

t e m p o 

news of note 

{In the Spir it} 

On Scheherazade and other transcendent moments 

C. Fraser Smith 

WYPR-FM 

One night several years ago, sitting in Row D, Seat 103 at 

the Joseph Meyerhoff Symphony Hall, I heard Scheherazade 

for the first time. 

Actually, I had heard the piece many times. But for some 

reason on this night I heard the melodies with every sensory 

portal open, every emotional receptor embracing the sound. 

If it wasn’t the music of the spheres, it was as close as I may 

get to that experience in this life. 

And there was more to the moment. 

It led to some not so magical thinking: Music like this could 

be an antidote to meanness and ill feeling—even violence. 

A big leap? Maybe, but isn’t this idea at the heart of the hopedfor 

connection between the arts and real life? We believe in this 

connection. We believe that music and painting and sculpture 

and literature improve the quality of life. We have to imagine 

we are making the world safe for the next Rimsky-Korsakov or 

Debussy or a Jay-Z or Piaf—or you and me? 

So whatever thoughts may follow your transcendent moments 

of BSO listening, you may want to have them as often as possible. 

It’s not a remote possibility when your orchestra is the BSO. 

I come with high expectations. I’m never disappointed. The 

quality—a reflection of professionalism and love of music at 

least as high as mine—is the guarantee. Even if the program is 

not entirely to my liking, I love the idea of an orchestra willing 

to stretch and experiment. It’s that arts thing again: I may 

not love the “Man-Woman” statue in front of Baltimore’s Penn 

Station (actually I do like it), but I do love the idea that our city 

welcomes the artist’s vision. 

A year or so ago, I stood in the middle of the Meyerhoff 

for a rehearsal of the Orch-Kids Nation, now the anthem of this 

program’s very own ode to joy. Commissioned by Maestra 

Marin Alsop, that short piece is based on the testimony of the 

kids themselves. I was there recording it for WYPR’s “The 

Signal.” A bonus for me, as it turns out: I have a CD to be played 

when the mood demands. 

In July, I heard Concertmaster Jonathan Carney and a 

Baroque-sized orchestra play two of Vivaldi’s Four Seasons, 

“Summer” and “Winter.” Carney led with his usual precision and 

flare. Another all-time session for me. 

We are, of course, blessed here in Baltimore to have such 

quality players. They are the ones who give us moments of 

incandescent brilliance. For 80 to 100 of us doing something 

so well and so uplifting is a phenomenon of human striving. 

It is the definition of symphony. 

Except for the brilliance, I have no idea why things come 

into alignment for me so on any given evening. You can’t know 

when that moment is coming for you. 

So you just have to be there. 

C. Fraser Smith is senior news analyst for WYPR-FM. He is a member of the BSO’s Governing Members. 


{In History} 

On October 6, 1869, Johannes Brahms’ Liebeslieder Waltzes made its 

premiere in Karlsruhe, Germany. Hermann Levi conducted and Clara Schumann, 

wife of composer Robert Schumann, performed as the pianist. 

{In Step} 

Musicians, Staff and Fans 

alike, Bolt for the BSO! 

Bolt for the BSO is a running team that will represent the Baltimore 

Symphony Orchestra for the fourth year in a row at the Baltimore 

Running Festival on October 12. The team consists of musicians, supporters, 

staff members, and fans who will give the BSO a running start 

to the 2013–2014 season. Funds raised from Bolt for the BSO contribute 

to the delivery of the BSO’s world-class artistry, affordable ticket pricing 

and immersive education and community programs for all ages. 

Pioneered by Cindy Renn, a BSO Governing Member, and the BSO’s development 

staff, last year’s Bolt team had 150 runners who raised more than $60,000, contributing 

to Bolt’s $125,000 fundraising total. This year, the team will be challenged to set their 

own fundraising goal with individual pledges from each participant. Much more than 

a fundraiser, Bolt has given fans the opportunity to engage with musicians and staff 

outside of the Meyerhoff, getting involved with the BSO on a personal level. 

Last year’s Bolt for the BSO events leading up to 

the race gave runners the chance to get to know 

the BSO’s musicians, as well as each other. 

The pinnacle of the team’s spirit was centralized 

at the tent in the celebration village on 

race day—all Bolt runners came together as 

they walked to the starting line and cheered 

each other on at the race’s end. 

How to Donate: 

Can’t make it to race day but still 

want to support Bolt? Go to 

www.Razoo.com/team/ 

Bolt-For-The-Bso2013 

to make a donation and see 

a full list of team members 

and musicians, or send a check 

to the BSO with “Bolt” written 

on the memo line. 

Contact Megan Beck 

at 410.783.8035 or 

mbeck@bsomusic.org with any 

questions or for more information. 

It's not too late to join the 2013 team! 

Races are available for all runner levels. 

Sign up at BSOmusic.org/bolt. 

{In Play} 

The Envelope, 

Please. 

Dariusz 

Skoraczewski 

BSO 

principal cellist 

For its fourth consecutive year, the Baker Artist Award celebrates 

Baltimore’s rich and diverse cultural achievements. Funded by the William J. Baker 

Jr. Memorial Fund, this $25,000 award is presented to three Baltimore artists and 

musicians who have proven their ability to stand out from the crowd. 

Among this year’s winners of the prize is Dariusz Skoraczewski, the BSO’s 

principal cellist, who has recently been working on a complete recording of the 

Bach Cello Suites. Going against convention, Skoraczewski is self-recording, 

producing and editing these suites in the basement of his own home, drawing on 

his self-taught expertise in audio production. 

Skoraczewski plans on using the funds to complete his recording of the 

suites, while also treating himself to a new cello. 

Along with the monetary prize, winners are also featured on the Baker Artist 

Award website and in a special exhibition at the Baltimore Museum of Art. 

For more information on these awards, visit bakerartistawards.org. 


BSOlive } 

upcoming key events 

November/December All concerts are held at the Joseph Meyerhoff Symphony Hall unless otherwise noted. 

Ryan McKinny 

The Planets 

THU, NOV 7, 2013, 8 pm 

SUN, NOV 10, 2013, 3 pm 

Marin Alsop, conductor 

Leila Josefowicz, violin 

Baltimore Choral Arts Society, 

women’s chorus 

J.S. Bach (arr. Stokowski): Toccata 

& Fugue in D Minor 

Stravinsky: Violin Concerto 

Holst: The Planets 

Majestic in its scope and dazzling in 

its sound, there is nothing to match 

the experience of hearing The 

Planets live in concert. Experience 

the ultimate trip through the galaxy 

as Marin Alsop conducts this sonic 

celestial showpiece, complete with 

high-definition imagery. Hailed as 

“a world-class player” by London’s 

The Observer, showstopper Leila 

Josefowicz performs Stravinsky’s 

exhilarating Violin Concerto. 

Off the Cuff 

The Planets 

SAT, NOV 9, 2013, 7pm 


Baltimore Choral Arts Society, 

women’s chorus 

Holst: The Planets 

The Planets influenced many recent 

composers including John Williams, 

Ralph Vaughan Williams and Howard 

Shore, and you can hear some of 

Holst’s influences in the music of Star 

Wars, The Lord of the Rings and 

The Gladiator. This program explores 

the ageless, timeless mystery of 

the planets through music and 

high-definition imagery — from the 

associations with ancient gods to 

The Planets’ powerful cinematic 

sound. It’s nothing short of epic! 

War Requiem 

THU, NOV 14, 2013, 8 pm 

FRI, NOV 15, 2013, 8 pm 


Tamara Wilson, soprano 

Nicholas Phan, tenor 

Ryan McKinny, baritone 

(BSO Debut) 

University of Maryland 

Concert Choir 

Peabody Children’s Chorus 

Britten: War Requiem 

The specter of two world wars, both 

the lives and the losses, would inspire 

Benjamin Britten’s most profound and 

powerful music. Marin Alsop leads 

Britten’s deeply affecting War Requiem, 

joined by gifted soloists and two 

choruses, in celebration of the 100th 

anniversary of the composer’s birth. 

BSO SuperPops: 

Preservation Hall 

Jazz Band 

FRI, NOV 29, 2013, 8 pm 

SAT, NOV 30, 2013, 8 pm 

SUN, DEC 1, 2013, 3 pm 

Preservation Hall Jazz Band 

Hailed as “the best jazz band in the 

land” by The San Francisco Examiner, 

Preservation Hall Jazz Band brings 

Preservation Hall 

Jazz Band 

their turn-of-the-century New 

Orleans sound to contemporary 

audiences nationwide! The musicians, 

who range in age from 29 

to 88, are known for their unique 

blend of traditional American spirit 

and high energy, crowd-satisfying 

arrangements. Note: The BSO does 

not perform on this program. 

Handel’s Messiah 

FRI, DEC 6, 2013 at 7:30 pm 

SAT, DEC 7, 2013 at 7:30 pm 

Edward Polochick, conductor 

Concert Artists of Baltimore 

Symphonic Chorale 

Handel: Messiah 

The greatest story ever told. 

The most magnificent music ever 

conceived. It wouldn’t be the holidays 

without Handel’s inspiring Messiah. 

The BSO continues its tradition of 

ushering in the holiday season with 

an all-star performance of Handel’s 

glorious oratorio featuring the 

“Hallelujah Chorus,” music’s most 

powerful message of faith. 

Family Series Concert 

The Snowman 

SAT, DEC 7, 2013, 11 am 

Ken Lam, conductor 

Rheda Becker, narrator 

A winter wonderland comes to life 

in this timeless story of a young boy’s 

magical friendship with a snowman. 

Get into the spirit of the holiday 

season and create lasting memories 

in this enchanting program featuring 

the BSO. 

Holiday Cirque 

WED, DEC 11, 2013, 2 pm 

FRI, DEC 13, 2013, 2 pm 

FRI, DEC 13, 2013, 7:30 pm 

SAT, DEC 14, 2013, 2 pm 

SAT, DEC 14, 2013, 7:30 pm 


Bob Bernhardt, conductor 

Cirque Musica (BSO Debut) 

Holiday Cirque will get you into 

the spirit of the season! Bring 

the entire family to hear holiday 

favorites while experiencing 

an awe-inspiring 

performance by the 

majestic Cirque Musica. 

Stunning aerial feats, strongmen 

and mind-boggling contortionists 

will take your 

breath away in this 

ultimate holiday 

extravaganza. 

Cirque Musica 

The Nutcracker 

Modell Center for the Performing 

Arts at the Lyric 

FRI, DEC 20, 2013, 7:30 pm 

SAT, DEC 21, 2013, 2 pm 

SAT, DEC 21, 2013, 7:30 pm 


Andrew Grams, conductor 

Barry Hughson, choreographer 

Baltimore School for the Arts, 

dancers 

Tchaikovsky: The Nutcracker 

Experience Tchaikovsky’s classic tale 

about a young girl who is whisked 

away by a dashing Nutcracker doll to 

magical lands of Sugar Plum Fairies! 

Shannon Brinkman Simon Pauly 


The 

The 

Clay Ball 

Gala & Art Auction 

B&O Railroad Museum 

Saturday, September 28 

6-11PM 

Dancing and live music by 

MaMbo CoMbo 

Named best Latin music group 2007 

$185 Ticket: includes 

open bar, seated dinner, live 

& silent auction 

$45 After-Party Ticket: 

includes wine, beer & silent 

auction 

For information and tickets 

visit baltimoreclayworks.org 

or call 410 578 1919 x10 

2013 Gala Sponsors:

{OneonOne} 

Piano Man 

From the keyboard to his wardrobe, Jean-Yves 

Thibaudet challenges classical-music stereotypes. 

by Christianna McCausland 

Jean-Yves Thibaudet, a native of Lyon, France who has 

played the piano since age five, has released more than 

50 albums and was the soloist on the Oscar and Golden 

Globe-award-winning soundtrack to the film Atonement 

and the Oscar-nominated Pride & Prejudice. Here he talks 

about fashion, films, and his quest to find the perfect beach, 

and why it’s important to “always be nice to your audience.” 

Your repertoire of work is so 

diverse. How has your interest 

in music evolved? 

Thibaudet: I like to discover and try 

new things. The worst that can happen 

is that if you don’t like something, you 

don’t do it again. With music, it’s the 

same. I’ve always been curious about 

every kind of music. When I was a child, 

classical music was what I knew with 

maybe a little pop because I would hear 

that in my older sister’s room. When I 

was a teenager, I discovered jazz, which 

became an important part of my musical 

life, and other music like world music. 

I started playing chamber music when 

I was 11, which was eye-opening for 

me because you have to listen to other 

musicians — as a pianist, you could very 

well spend life as just you and your piano. 

Accompanying singers came later in my 

life and I fell in love with that. I think 

it’s the most beautiful and intimate 

music-making experience. Then, out of 

the blue, a filmmaker asked me to play 

in one of his movies and I thought ‘Oh, 

that will be fun.’ I did it and became 

completely fascinated. 

What is unique about making 

music for film? 

Thibaudet: When you’re playing 

a concert, you play the way you want 

and follow your own story. You can be 

completely free to interpret the way you 

want. When you play for a soundtrack 

— I don’t like the pejorative, but the 

music becomes like a slave to the story. 

In fact, you play with a monitor in front 

of you, and we have a script we follow 

as well so you arrive at exactly the right 

time [in the scene]. Timing is the most 

important thing, but you also have to 

convey a feeling, an atmosphere, to 

add to what’s happening on the screen. 

When you watch a movie, a scene without 

music is so flat. 

Are there other reasons you find 

film scores rewarding? 

Thibaudet: It’s a unique way to reach 

© Decca/Kasskara 


a number of people we’d never reach 

with our classical careers. That’s terribly 

important. I see audience [members] at 

my concerts who will tell me, ‘We know 

you through Pride & Prejudice and we 

love that album. We saw you were playing 

in town and this is our first classical 

concert.’ That’s fantastic if you can bring, 

through the movies, new people to classical 

music concerts. And most of them 

are young people, which is what we are 

looking for because we need to attract 

younger audiences. 

Do you have a favorite composer? 

Thibaudet: Right now I’m attracted 

to the Romantic period, which was the 

richest and most successful period for 

piano literature. That embraces Chopin, 

Liszt, Brahms, Schumann and all the way 

to Rachmaninoff. And, of course, Ravel. 

I also love to commission composers to 

write pieces for me, which I think is very 

important. I try every two or three years 

to have a new concerto written for me 

that I premiere. We’ve actually done quite 

a bit of that with Marin [Alsop] because 

she’s also a pioneer of new music. 

Who have been some of your mentors? 

Thibaudet: If I could name only 

one, I would say Arthur Rubenstein. I 

was very lucky to meet him twice when 

I was a child. The second time, I spent 

15 minutes in his dressing room sitting 

on his lap. I was seven and it stayed with 

me my whole life. He was such an inspiration 

because he had that incredible joy 

of life, which I think is the most wonderful 

quality a human being can have. Of 

course, music and piano were his life, 

but he enjoyed having a good meal, 

good wine, a good cigar, and he had 

so many wives and mistresses. He 

really enjoyed life, and you could feel 

that in his music as well. 

Did he give you any advice? 

Thibaudet: He asked me what I 

wanted to do when I grew up and I, of 

course, said ‘Be a pianist like you.’ He 

said, ‘Remember to always be nice to 

your audience and make time for them, 

because, without our audience, we don’t 

exist.’ This is so true and I still think of 

that now. If they’re able to organize it, 

I’ll always have a table in the lobby after 

concerts and sign whatever people want 

and meet every person there who wants 

to meet me. Growing up, I loved to meet 

artists at a concert, and there was nothing 

worse for me than to go running backstage 

and say I want to meet Mr. So-and- 

So and be told he’s not receiving anyone 

because he’s tired. I said I would never 

do that. Sometimes, it could take just 

30 seconds to change the life of someone. 

Currently your performance 

wardrobe is by designer Vivienne 

Westwood. Do you see fashion as 

part of your performance? 

Thibaudet: I’ve always been interested 

in fashion, so it’s a pleasure for 

me, and I’ve done this for many years, 

with Versace and quite a few fantastic 

designers. It all started because I thought 

the dress code in the concert hall for 

men was so boring. For the last 300 

years, we’ve been wearing the same tails 

with white ties. It makes it so dusty 

and traditional. Again, how can young 

people relate? I thought this was one way 

to address them and give a more modern 

image to classical music. 

What is something unexpected the 

BSO audience might want to learn 

about you? 

Thibaudet: If I’m on holiday, I will 

be on the beach — not in the mountains 

or wherever. I love beaches and I’ve been 

to some incredible islands around the 

world, but I’m still looking for the perfect 

beach. The sand must be as white as 

possible, with no rocks, like sugar. And 

everything completely pristine. 

Jean-Yves Thibaudet joins Maestra Alsop 

and BSO on Friday, September 27 and 

Saturday, September 28 for ”Thibaudet 

Plays Bernstein.” 

WHERE THE 

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Sundays at 5:30 pm 

for our 2013–2014 

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October 6, 2013 

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December 15, 2013 

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February 23, 2014 

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March 16, 2014 

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May 11, 2014 

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The Harmony of 

Hope 

Benjamin Britten’s stirring War Requiem 

is part of the season’s theme 

of music written for healing. 

By Martha Thomas 

On November 14, 1940, the German Luftwaffe bombed 

St. Michael’s Cathedral in Coventry, England, leaving only 

the spire rising nearly 300 feet into the sky. But the preserved 

ruins remain in remembrance, the highest point in the city, and 

a new, modern structure was built adjacent to the original. It was consecrated 

in 1962, with Benjamin Britten’s War Requiem composed for the occasion. 

Britten’s piece (to be performed by the 

BSO Nov. 14–15 to mark the anniversary 

of the bombing and the centennial of the 

composer’s birth) uses a full orchestra with 

a mixed choir, soloists and children’s chorus. 

The Latin requiem mass is interspersed 

with poetry by Wilfred Owen, a British 

soldier who was killed in World War I. 

“The cathedral became a symbol 

of the purposeless destruction during 

World War II,” says Matthew Spivey, vice 

president of artistic operations for the 

BSO. And the Requiem, composed by a 

man who was a lifelong pacifist, was meant 

to symbolize the rebirth of the cathedral, 

at the same time reflecting the words that 

the provost at the time of the bombing had 

etched above the ruined altar in 1940: 

“Father Forgive.” 

The overarching theme of the Baltimore 

Symphony Orchestra’s current season, 

says Music Director Marin Alsop, is “music 

as solace and as a symbol of reconciliation.” 

She points to Leonard Bernstein’s Second 

Symphony “Age of Anxiety” (performed 

by the BSO Sept. 27–28) as a work that, 

like Britten’s, was written as a “quest for 

faith” in response to World War II. “When 

Grant Leighton (Alsop); Chris Lee (BSO). 

Music 

that 

Mends 

10 Overture | www.bsomusic.org 

Benjamin Britten’s War Requiem and John Adams’ Transmigration 

of Souls, both part of the BSO’s 2013–2014 season, were written with 

solace in mind, but many other compositions have come to serve 

—by design or not—as a means for healing. 

After consulting with a couple of colleagues, Judah E. Adashi, a 

composer as well as director and founder of the Evolution Contemporary 

Music Series at the Peabody Institute of the Johns Hopkins University, 

helped us put together a list of compositions with a similar purpose. 

◗ Samuel Barber’s Adagio 

for Strings is the subject of 

a book called “The Saddest 

Music Ever Written.” 

Composed in 1936, it began 

as the second movement of his 

String Quartet, opus 11, but 

has grown to become one of 

the most popular pieces of 

20 th century classical music.

Music Director 

Marin Alsop conducts 

Benjamin Britten’s War 

Requiem Nov. 14–15 

at the Meyerhoff. 

Counterclockwise from 

left: Maestra Alsop, 

St. Michaels Cathedral, 

Wilfred Owen, Benjamin 

Britten, the Baltimore 

Symphony Orchestra. 

people are hurting and need comfort,” 

Alsop says, “music can be a refuge.” Alsop 

herself says that some of her most memorable 

experiences in performance “have 

been in the wake of tragedy.” 

Music is “the language of emotions,” 

says Spivey. “It helps us to mourn, to honor 

those who have died. But most importantly, 

it helps us find hope.” 

The human response to a work like Britten’s 

War Requiem can happen on many 

levels. “The Britten piece is immersed in 

context,” says Spivey. “If you aren’t up to 

speed on its history,” he says, “a quick read 

of the program notes is all you need to 

appreciate what is happening.” 

At the same time, even without historical 

context, listeners may be moved 

emotionally. “The hallmark of a great 

composer is one who can create a musical 

language,” says Spivey, who understands 

that a sequence of chords can evoke 

tragedy or triumph, love or longing. 

Some of these responses happen at a 

purely neurological level, says Solomon 

Snyder, a professor of neuroscience 

at The Johns Hopkins 

Medical School and a member 

of the BSO board. Music, he 

says, “can affect you emotionally 

before you even realize what 

it’s doing.” Sound ranks high 

in the hierarchy of emotional 

triggers, says Snyder, coming 

in close on the heels of smell, 

taste—think Marcel Proust’s famous 

madeleines—and touch. 

Music can also go straight 

to the emotional center of the 

brain, bypassing the cognitive: 

Tests done with infants reveal that music 

composed to touch the emotions does just 

that. Says Snyder, “The emotional areas of 

their brains will light up.” 

Spivey points to another piece planned 

for this season that invokes an emotional 

response: Samuel Barber’s Adagio for 

Strings, (Jan. 9 and 12) with Maestra 

Alsop conducting. “There’s something in 

the sequence of harmonies, texture and 

“Music is 

the language 

of emotions, 

It helps us 

to mourn, to 

honor those 

who have died. 

But most 

importantly, 

it helps us 

find hope.” 

orchestration,” says Spivey, that “never fails 

to conjure tremendous emotion on the 

part of the listener.” 

When neurologist Snyder was five 

years old, he played a piano piece called 

Happy Days on an amateur radio show. 

He remembers the announcer calling out, 

“Here comes Solly, he’s walking like an old 

man!” when the little boy entered the studio. 

Snyder went on to study mandolin and 

classical guitar, and has been a supporter 

of the guitar department at Peabody Conservatory, 

where he serves on the board. 

“Whenever I hear that piece of music, it’s 

very moving,” says Snyder, “and it’s not 

a very good piece.” 

While Snyder’s connection to his piano 

piece is highly personal, other 

works can touch audiences 

collectively. John Adams’ On 

the Transmigration of Souls, 

(June 5–8), was commissioned 

by the New York Philharmonic 

in response to the attacks on 

the World Trade Center. It premiered 

in September 2002, 

a year after the twin towers 

fell. Like Britten, Adams uses 

words—in this case, recorded 

voices reading names of the 

victims—and, like the War 

Requiem, Transmigration uses 

both adult and children’s choruses. The 

piece is on the program with Beethoven’s 

Ninth, the composer’s last major symphony, 

completed in 1824. Also known 

as the “Choral,” the piece includes one of 

Beethoven’s best known melodies, “Ode 

to Joy,” based on a Frederich Schiller 

poem. The chorus, in the uplifting final 

movement, sings of an embrace to the 

world from an eternal creator. 

◗ The “Nimrod” movement 

from Elgar’s Enigma Variations 

is often cited as the English 

analogue to Barber’s Adagio. 

◗ Arvo Pärt’s Tabula Rasa, 

written in 1977, literally means 

“Clean Slate.” But according 

to the New Yorker’s Alex Ross, 

the piece has brought comfort 

to many who are terminally ill. 

In Ross’s words, Pärt uses “the 

power of music to obliterate the 

rigidities of space and time.” 

◗ John Corigliano wrote his 

Symphony No. 1 to commemorate 

friends lost to AIDS, 

and the piece was inspired by 

the AIDS Memorial Quilt. 

◗ Brian Eno recently created 

a work entitled “Quiet Room 

for Montefiore,” a fixed 

composition at the Montefiore 

hospital in Hove, England, as 

well as a soundscape inspired 

by Florence Nightingale in the 

hospital’s reception area. 

◗ Peabody faculty member and 

composer Kevin Puts was commissioned 

by the Míro Quartet 

to write about the lighter side 

of America, but Puts didn’t 

see how he could. His piece, 

Credo, is about “finding solace 

in the strangest places.” 

◗ Jennifer Higdon composed 

Blue Cathedral, a tonal poem 

in one movement, soon after 

her brother died of cancer. The 

piece has become one of the 

most often-performed works by 

a living composer. 


THe Baltimore Symphony Orchestra } 

2013–2014 

Season 

Roster 

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 

{Music Dir ector} 

Marin Alsop 

Marin Alsop is an inspiring and 

powerful voice in the international 

music scene, a music director of vision 

and distinction who passionately 

believes that “music has the power to 

change lives.” She is recognized across 

the world for her innovative approach 

to programming and for her deep 

commitment to education and to the 

development of audiences of all ages. 

Marin Alsop made history with her 

appointment as the 12 th music director 

of the Baltimore Symphony Orchestra 

(BSO). With her inaugural concerts in 

September 2007, she became the first 

woman to head a major American 

orchestra. She also holds the title of 

conductor emeritus at the Bournemouth 

Symphony in the United Kingdom, 

where she served as the principal 

conductor from 2002–2008. 

Her success as the BSO’s music 

director has garnered national and 

international attention for her innovative 

programming and artistry. Additionally, 

her success was recognized when, in 

2013, her tenure was extended to the 

2020–2021 season. Alsop took up the 

post of chief conductor of the São Paulo 

Symphony Orchestra in 2012, where 

she steers the orchestra in its artistic 

and creative programming, recording 

ventures and its education and 

outreach activities. 

In the summer of 2011, Maestra 

Alsop served her 20 th season as music 

director of the acclaimed Cabrillo 

Festival of Contemporary Music in 

California. Musical America, which 

named Maestra Alsop the 2009 

Conductor of the Year, recently said, 

“[Marin Alsop] connects to the public 

as few conductors today can.” 

First Violins 

Jonathan Carney 

Concertmaster, Ruth 

Blaustein Rosenberg 

Chair 

Madeline Adkins 

Associate 

Concertmaster, 

Wilhelmina Hahn 

Waidner Chair 

Igor Yuzefovich* 

Assistant Concertmaster 

Rui Du 

Acting Assistant 

Concertmaster 

James Boehm 

Kenneth Goldstein 

Wonju Kim 

Gregory Kuperstein 

Mari Matsumoto 

Gregory Mulligan 

Rebecca Nichols 

E. Craig Richmond 

Ellen Pendleton Troyer 

Andrew Wasyluszko 

Second Violins 

Qing Li 

Principal, E. Kirkbride 

and Ann H. Miller Chair 

Ivan Stefanovic 

Associate Principal 

Angela Lee 

Assistant Principal 

Leonid Berkovich 

Leonid Briskin 

Julie Parcells 

Christina Scroggins 

Wayne C. Taylor 

James Umber 

Charles Underwood 

Melissa Zaraya 

Minsun Choi** 

Violas 

Richard Field 

Principal, Peggy 

Meyerhoff Pearlstone 

Chair 

Noah Chaves 


Karin Brown 


Rebekah Newman 

Peter Minkler 

Sharon Pineo Myer 

Delmar Stewart 

Jeffrey Stewart 

Mary Woehr 

Cellos 

Dariusz Skoraczewski 

Acting Principal 

Chang Woo Lee 


Bo Li 

Acting Assistant 

Principal 

Seth Low 

Susan Evans 

Esther Mellon 

Kristin Ostling 

Paula Skolnick-Childress 

Pei Lu** 

Basses 

Robert Barney 

Principal, Willard and 

Lillian Hackerman 

Chair 

Hampton Childress 


Owen Cummings 

Arnold Gregorian 

Mark Huang 

Jonathan Jensen 

David Sheets 

Eric Stahl 

Flutes 

Emily Skala 

Principal, Dr. Clyde 

Alvin Clapp Chair 

Marcia Kämper 

Piccolo 

Laurie Sokoloff 

Oboes 

Katherine Needleman 

Principal, Robert H. 

and Ryda H. Levi Chair 

Michael Lisicky 

English Horn 

Jane Marvine 

Kenneth S. Battye and 

Legg Mason Chair 

Clarinets 

Steven Barta 

Principal, Anne Adalman 

Goodwin Chair 

Christopher Wolfe 


William Jenken 

E-flat Clarinet 

Christopher Wolfe 

Bassoons 

Fei Xie 

Principal 

Julie Green Gregorian 


Benjamin Greanya** 

Contrabassoon 

David P. Coombs 

Horns 

Philip Munds 

Principal, USF&G 

Foundation Chair 

Gabrielle Finck 


Lisa Bergman 

Mary C. Bisson 

Bruce Moore 

Trumpets 

Andrew Balio 

Principal, Harvey M. and 

Lyn P. Meyerhoff Chair 

Rene Hernandez 


Nathaniel Hepler 

Trombones 

Joseph Rodriguez** 

Acting Principal 

James Olin 

Co-Principal 

John Vance 

Bass Trombone 

Randall S. Campora 

Tuba 

David T. Fedderly 

Principal 

Timpani 

James Wyman 

Principal 

Christopher Williams 


Percussion 

Christopher Williams 

Principal, Lucille 

Schwilck Chair 

John Locke 

Brian Prechtl 

Harp 

Sarah Fuller** 

Piano 

Lura Johnson** 

Sidney M. and Miriam 

Friedberg Chair 

Director of 

Orchestra 

Personnel 

Marilyn Rife 

Assistant 

Personnel 

Manager 

Christopher Monte 

Librarians 

Mary Carroll Plaine 

Principal, Constance A. 

and Ramon F. Getzov 

Chair 

Raymond Kreuger 

Associate 

Stage Personnel 

Ennis Seibert 

Stage Manager 

Todd Price 

Assistant Stage 

Manager 

Charles Lamar 

Audio Engineer 

Mario Serruto 

Lighting Director 

*On leave 

**Guest Musician 

The musicians who perform 

for the Baltimore Symphony 

Orchestra do so under 

the terms of an agreement 

between the BSO and 

Local 40-543, AFM. 

Dean Alexander 


program notes} 

Marin Alsop 

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

Joseph Meyerhoff Symphony Hall 

Baltimore Symphony Orchestra 

Marin Alsop 

Music Director • Harvey M. And Lyn P. Meyerhoff Chair 

Scheherazade & 1812 Overture 

Friday, September 20, 2013 — 8 p.m. 

Sunday, September 22, 2013 — 3 p.m. 

Presenting Sponsor: 

Marin Alsop, Conductor 

Tim McAllister, Saxophone 

U.S. Navy Band Sea Chanters 

John Stafford Smith 

Arranged by James Lee III 

The Star Spangled Banner 

Arrangement commissioned 

by the Baltimore Symphony Orchestra 

nikolai Rimsky-Korsakov Scheherazade, opus 35 

largo e maestoso – Allegro non troppo 

lento – Allegro molto 

andantino quasi allegretto 

allegro molto 

John Adams 

Intermission 

Saxophone Concerto (U.S. Premiere) 

animato 

molvo vivace 

TIM MCALLISTER 

Piotr Ilyich Tchaikovsky 1812, Overture solonelle, opus 49 

u.S. NAVY BAND SEA CHANTERS 

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

John Adams' Saxophone Concerto is co-commissioned by 

the Baltimore Symphony Orchestra, Sydney Symphony Orchestra, 

Saint Louis Symphony and the Orchestra Sinfonica 

do Estado de São Paulo. 

Support for the BSO’s commissioning of new works is provided by 

a generous legacy gift from Mr. and Mrs. Randolph S. Rothschild. 

RR Jones 

Tim McAllister 

Acclaimed soloist 

and member of the 

renowned PRISM 

Quartet, Timothy 

McAllister is one of America’s premier 

concert saxophone performers and a 

champion of contemporary music. His 

solo, orchestral and chamber music 

recordings appear on the Naxos, Albany, 

Summit, OMM, New Focus, Centaur, 

Equilibrium and Innova labels. He has 

been featured on National Public Radio, 

Dutch National Radio, BBC, WQXR- 

NYC, WFMT-Chicago and various PBS 

affiliates throughout the U.S. Credited 

with more than 150 premieres of new 

compositions by eminent and emerging 

composers worldwide, his celebrated work 

is highlighted in the Deutsche Grammophon 

DVD release of the world premiere 

of John Adams’ City Noir, filmed as part 

of Gustavo Dudamel’s inaugural concert 

as music director of the Los Angeles Philharmonic. 

Prior to the U.S. Premiere with 

the Baltimore Symphony Orchestra, he 

gave the world premiere of John Adams’ 

Saxophone Concerto with the Sydney 

Symphony Orchestra under the baton of 

the composer in the Sydney Opera House. 

McAllister has recently appeared as 

soloist with the Albany Symphony Orchestra, 

Cabrillo Festival Orchestra, Reno 

Philharmonic, Boston Modern Orchestra 

Project, United States Navy Band, Dallas 

Wind Symphony, Hong Kong Wind 

Philharmonia, Pacific Symphony and 

the Nashville Symphony, among others. 

In 2010, he toured with the Los Angeles 

Philharmonic including performances in 

San Francisco, Phoenix, Chicago, Philadelphia, 

Washington, D.C. and New York’s 

Lincoln Center. 

He serves as professor of saxophone and 

co-director of the Institute for New Music 


{ Program Notes 

Proudly Staffing the 

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(301) 639-4929 

f 

What? 

you’re not in 

Overture? 

you’re 

missing out, 

hon. 

Reach over 100,000 educated, 

affluent patrons of the BSO five times 

a year in Overture, a program that’s 

about more than just beautiful music. 

Design 

Printing 

AD sAles 

to advertise, ContaCt: 

Ken Iglehart: iken@baltimoremagazine.net 

Lynn Talbert: ltalbert58@gmail.com 

Julie P. Wittelsberger: gazellegrp@comcast.net 

Advertising proceeds go to the BSO, not Baltimore magazine 

at Northwestern University’s Bienen 

School of Music, and has attained visiting 

positions at the University of Michigan 

School of Music, the Conservatoire National 

Supérieur de Musique of Paris, and 

Tokyo’s Kunitachi College of Music. 

Tim McAllister is making his 

BSO debut. 


The Navy Band Sea Chanters is the 

United States Navy’s official chorus. 

The ensemble performs a variety of 

music ranging from traditional choral 

music to opera, Broadway and contemporary 

music. Under the leadership 

of Chief Musician Adam Tyler, the 

Sea Chanters perform for the public 

throughout the United States. At home 

in Washington, they perform for the 

president, vice president and numerous 

congressional, military and foreign dignitaries. 

In 1956, Lt. Harold Fultz, then 

the band’s assistant leader, organized a 

group from the Navy School of Music 

to sing chanteys and patriotic songs 

for the State of the Nation dinner. An 

immediate success, Adm. Arleigh Burke 

transferred them to the Navy Band, 

named them the Sea Chanters and 

tasked this all-male chorus with perpetuating 

the songs of the sea. In 1980, 

the group added women to their ranks 

and expanded their repertoire to include 

everything from Brahms to Broadway. 

They have appeared at the Kennedy 

Center Honors and with the National 

Symphony Orchestra for the National 

Memorial Day Concerts at the U.S. 

Capitol. The group has also appeared on 

U.S. Navy Band 

Sea Chanters 

Larry King Live and CBS This Morning 

as well as at the premiere of the movie 

Pearl Harbor. In 2008, the Sea Chanters 

performed with the Mormon Tabernacle 

Choir under the direction of Mack Wilburg. 

Other notable orchestral appearances 

include the Kansas City Symphony, the 

Boston Pops Esplanade Orchestra, the Baltimore 

Symphony and the Cincinnati Pops 

Orchestra. The Sea Chanters have enjoyed 

a great reputation performing with such 

stars as Perry Como, Marian Anderson, 

Kenny Rogers and Lionel Richie. 

U.S. Navy Band Sea Chanters last 

appeared with the BSO in June 2012, 

performing at the Star-Spangled 

Symphony concert, as part of the 2912 

Star-Spangled Sailabration. 

About the concert: 

Scheherazade 

Nikolai Rimsky-Korsakov 

Born in Tikhvin, Russia, March 18, 1844; died in 

Lyubensk, near St. Petersburg, June 21, 1908 

Rimsky-Korsakov’s Scheherazade is as 

intoxicating and seductive as the alluring 

storyteller for whom it is named. A joy 

for both audiences and musicians, it is 

music to make one fall in love with the 

symphony orchestra itself: its power, 

its delicacy, and its limitless palette of 

instrumental colors. In fact, Scheherazade 

could well be called a “concerto for orchestra,” 

with the solo violin, representing 

the Persian enchantress, the leader 

of a company of individual soloists and 

sections playing as ensemble soloists. 

Rimsky—a leader among the St. 

Petersburg-based “Mighty Handful” of 

Russian nationalist composers—was 

indeed one of the greatest orchestrators 

in history and a major influence on 

orchestration in the 20 th century. Not 

only did he inspire his pupils Prokofiev 

and Stravinsky, but also Ravel, Debussy, 

and Respighi. 

Created during the summer of 1888, 

Scheherazade was inspired by the Persian 

legend of the cruel Sultan who ordered 

all his wives to be put to death after their 


wedding night, and of Scheherazade who 

so beguiled him with her 1,001 tales that 

he kept postponing her execution until 

finally she won his love. But Rimsky 

does not tell any of her stories in detail. 

And he urged audiences not to take his 

movement titles too literally: “I meant 

these hints to direct slightly the hearer’s 

imagination on the path which my own 

fancy had traveled, and to leave more … 

particular conceptions to the … mood of 

each [listener].” 

Rimsky used only a few exotic melodies 

to build this lengthy work, and, 

depending on their context, tempo, and 

orchestral guise, they play different roles 

in different movements. He did, however, 

set a framework around the work. 

At the beginning, we hear the Sultan 

gruffly ordering Scheherazade to begin 

her first story in a loud, harsh orchestral 

unison. After “once-upon-a-time” chords 

in the woodwinds, the solo violin enters 

as the voice of Scheherazade. Rimsky 

again returns to the violinist/heroine to 

open the second movement, and, as he 

begins the final one, we hear the Sultan’s 

voice, now rapid and impatient, begging 

for another story. At work’s end, the 

Sultan’s theme has been transformed: he 

is putty in Scheherazade’s hands as she 

floats a harmonic high E at the top of the 

violin’s range. 

The four movements are essentially 

self-explanatory. In the first, after Scheherazade’s 

introduction come surging 

arpeggios in the cellos and violas: we are 

on the high seas with Sinbad the Sailor. 

The second movement, “The Story of the 

Kalander Prince,” is built around an exotic 

Middle Eastern-style melody introduced 

by the solo bassoon; kalanders were 

magicians in Middle Eastern courts. The 

fourth movement is the most complex: it 

begins with the riotous color and swirling 

activity of “The Festival of Baghdad,” 

and then, at the festival’s height, sends us 

suddenly back to Sinbad’s seas, as the low 

strings billow and a fierce storm screams 

overhead in the woodwinds. With a huge 

timpani crash, the ship is wrecked, and we 

return to the Sultan ready to live happily 

ever after with Scheherazade and her 

marvelous stories. 

50th Annual Delaware Antiques Show 

N O V E M B E R 8 – 1 0 

Chase Center on the Riverfront 

Wilmington, Delaware 

Enjoy Tax-Free Shopping 

Details at winterthur.org/das or 800.448.3883. 

the 

LOOK of 

LOVEEYE 

MINIATURES 

FROM 

THE 

SKIER 

COLLECTION 

SEPTEMBER 21, 2013–JANUARY 5, 2014 

IN THE WINTERTHUR GALLERIES 

For information, call 800.448.3883 or visit winterthur.org/lookoflove. 

Organized by the Birmingham Museum of Art. The installation at Winterthur is sponsored by Dr. Richard C. Weiss and Dr. Sandra R. 

Harmon-Weiss, with additional assistance from Pam and Jim Alexander, Laurel Riegel, and Coleman and Susan Townsend. 

Winterthur is nestled in Delaware’s beautiful Brandywine Valley on Route 52, between I-95 and Route 1. Take I-95 to Exit 7 in Delaware. 



Instrumentation: Two flutes, two piccolos, 

two oboes, English horn, two clarinets, two 

bassoons, four horns, two trumpets, three 

trombones, tuba, timpani, percussion, 

harp and strings. 

Saxophone Concerto 

John Adams 

Born in Worcester, Massachusetts, February 15, 

1947; now living in Berkeley, California 

“My Saxophone Concerto was composed 

in early 2013, the first work to follow the 

huge, three-hour oratorio, “The Gospel 

According to the Other Mary.” Despite 

their very different atmospheres and 

subject matter, both “Other Mary” and 

the Saxophone Concerto share peculiar 

affinities, particularly in the use of 

modal scales and the way they color the 

emotional ambience of the music. Both 

works are launched by a series of ascending 

scales that energetically bounce back 

and forth among various modal harmonies. 

This new concerto has as its source 

my life-long exposure to the great jazz 

saxophonists, from the swing era through 

the likes of Coltrane, Eric Dolphy and 

Wayne Shorter. 

American audiences know the saxophone 

almost exclusively via its use in 

jazz, soul, and pop music. The instances 

of the saxophone in the classical repertory 

are rare, and the most famous appearances 

amount to only a handful of solos 

in works by Ravel, Milhaud, Prokofiev, 

Rachmaninoff, and Bernstein. It is ironic 

that an instrument so seldom encountered 

in classical music ended up as the transformative 

vehicle for vernacular music (jazz, 

rock, blues and funk) in the 20 th century. 

Having grown up hearing the sound of 

the saxophone virtually every day—my 

father had played alto in swing bands 

during the 1930’s and our family record 

collection was well stocked with albums 

by the great jazz masters—I never 

considered the saxophone an alien instrument. 

My 1987 opera Nixon in China is 

almost immediately recognizable by its 

sax quartet, which gives the orchestration 

its special timbre. I followed Nixon 

with another work, Fearful Symmetries, 

that also features a sax quartet in an even 

more salient role. In 2010, I composed 

City Noir, a jazz-inflected symphony that 

featured a fiendishly difficult solo part 

for alto sax: a trope indebted to the wild 

and skittish styles of the great bebop and 

post-bop artists such as Charlie Parker, 

Lennie Tristano, and Eric Dolphy. Finding 

a sax soloist who could play in this 

style but who was sufficiently trained to 

be able to sit in the middle of a modern 

symphony orchestra was a difficult 

assignment. But fortunately I met Tim 

McAllister, who is quite likely the reigning 

master of the classical saxophone — 

an artist who while rigorously trained is 

also aware of the jazz tradition. 

While the concerto is not 

meant to sound jazzy 

per se, its jazz influences 

lie only slightly below 

the surface. 

When one evening during a dinner 

conversation Tim mentioned that during 

high school he had been a champion stunt 

bicycle rider, I knew that I must compose 

a concerto for this fearless musician 

and risk-taker. His exceptional musical 

personality had been the key ingredient 

in performances and recordings of City 

Noir, and I felt that I’d only begun to 

scratch the surface of his capacities with 

that work. 

A composer writing a violin or piano 

concerto can access a gigantic repository 

of past models for reference, inspiration, 

or even cautionary models. But there 

are precious few worthy concertos for 

saxophone, and the extant ones did not 

especially speak to me. But I knew many 

great recordings from the jazz past that 

could form a basis for my compositional 

thinking, among them Focus, a 1961 

album by Stan Getz for tenor sax and an 

orchestra of harp and strings arranged by 

Eddie Sauter. Although clearly a “studio” 

creation, this album featured writing for 

the strings that referred to Stravinsky, 

Bartók and Ravel. Another album, Charlie 

Parker and Strings, from 1950, although 

more conventional in format, nonetheless 

helped to set a scenario in my mind 

for way the alto sax could float and soar 

above an orchestra. Another album that 

I’d known since I was a teenager, New 

Bottle Old Wine, with Canonball Adderley 

and that greatest of all jazz arrangers Gil 

Evans, remained in mind throughout the 

composing of the new concerto as a model 

to aspire to. 

Classical saxophonists are normally 

taught a “French” style of producing a 

sound with a fast vibrato very much at 

odds with the looser, grittier style of a 

jazz player. Needless to say, my preference 

is for the latter “jazz” style playing, 

and in the discussions we had during 

the creation of the piece, I returned over 

and over to the idea of an “American” 

sound for Tim to use as his model. Such 

a change is no small thing for a virtuoso 

schooled in an entirely different style of 

playing. It would be like asking a singer 

used to singing Bach cantatas to cover a 

Billy Holiday song. 

While the concerto is not meant to 

sound jazzy per se, its jazz influences lie 

only slightly below the surface. I make 

constant use of the instrument’s vaunted 

agility as well as its capacity for a lyrical 

utterance that is only a short step away 

from the human voice. The form of the 

concerto is a familiar one for those who 

know my orchestral pieces, as I’ve used it 

in my Violin Concerto, in City Noir and 

in my piano concerto Century Rolls. It 

begins with one long first part combining 

a fast movement with a slow, lyrical 

one. This is followed by a shorter second 

part: a species of funk-rondo with a fast, 

driving pulse. 

The concerto lasts roughly 32 minutes, 

making it an unusually expansive statement 

for an instrument that is still looking 

for its rightful place in the symphonic 

repertory.”— John Adams, July 2013 

Instrumentation: Two flutes, piccolo, three 

oboes, English horn, two clarinets, bass clarinet, 

two bassoons, three horns, two trumpets, 

harp, piano, celesta and strings. 


Program Notes } 

Festival Overture: The Year 1812 

Piotr Ilyich Tchaikovsky 

Born in Votkinsk, Russia, May 7, 1840; died in 

St. Petersburg, Russia, November 6, 1893 

The year 1812 was the beginning of the 

end for Napoleon Bonaparte and his 

dreams of conquering Europe, and the 

country that thwarted him was Russia. 

On September 7, 1812, Napoleon’s army 

met the massive Russian forces under 

General Kutuszov in the Battle of Borodino, 

which ended indecisively with more 

than 80,000 casualties. Kutusvov cleverly 

withdrew his forces behind Moscow, and 

when Napoleon arrived there, he found 

the city in flames, nothing to win, and no 

food or supplies for his troops. The brutal 

Russian winter did the rest of the work, 

and Napoleon limped out of Russia with 

his troops decimated. 

Nearly 70 years later in 1880, Tchaikovsky 

was asked by his friend Nikolai 

Rubinstein, director of the Moscow 

Conservatory, to write a patriotic piece 

for the opening of the Russian Exhibition 

of Industry and the Arts, and more 

specifically for the consecration of the 

Cathedral of Christ the Savior, which had 

been commissioned in 1812. But, though 

Tchaikovsky accepted the assignment, he 

wasn’t happy about it. “There is nothing 

less to my liking than composing for the 

sake of some festivities,” he wrote. “What, 

for instance, can you write on the occasion of 

the opening of an exhibition except banalities 

and generally noisy passages?” Begrudging 

the necessary labor, Tchaikovsky ripped the 

composition out in just a week and finished 

the orchestral scoring one month later. 

Though an outdoor setting complete with 

cannon fire was originally contemplated, 

it was ultimately premiered in a new hall 

built for the exhibition on August 20, 1882 

without the artillery contribution. 

Tchaikovsky’s speed in turning out what 

is probably today his most famous composition 

was aided by his stitching the work 

together from a number of pre-existing 

melodies. In a slow, brooding introduction, 

it opens with a beautiful, traditional 

Russian Orthodox chant “Save, Lord, Thy 

People,” deep in the strings. This opening 

section also introduces a dashing militarysignal-style 

tune representing the Russian 

army, which will play an important role in 

the work’s conclusion. The main Allegro 

section introduces the French national 

hymn “La Marseillaise,” which battles with 

the Russian themes. A quieter lyrical section 

uses a swaying melody from Tchaikovsky’s 

early opera The Voyevoda, as well 

as a traditional Russian folk-dance song “At 

the Gates.” Finally, a grandiose coda salutes 

the Russian victory with an imposing statement 

of the Russian imperial hymn “God 

Save the Tsar.” 

Instrumentation: Two flutes, piccolo, two oboes, 

English horn, two clarinets, two bassoons, four 

horns, four trumpets, three trombones, tuba, 

timpani, percussion and strings. 

Notes by Janet E. Bedell, Copyright ©2013 

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Marin Alsop 

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



Marin Alsop 


Thibaudet Plays Bernstein 

Friday, September 27, 2013 — 8 p.m. 

Saturday, September 28, 2013 — 8 p.m. 


Marin Alsop, Conductor 

Jean-Yves Thibaudet, Piano 

George Gershwin 

Leonard Bernstein 

Maurice Ravel 

Maurice Ravel 

Intermission 

Cuban Overture 

Symphony No. 2, The Age of Anxiety 

Part I: 

The Prologue: Lento moderato 

The Seven Ages: Variations 1–7 

The Seven Stages: Variations 8–14 

Part II: 

The Dirge: Largo 

The Masque: Extremely fast 

The Epilogue: 

l’istesso tempo – Adagio – 

andante - con moto 

JEAN-YVES THIBAUDET 

Piano Concerto in G Major 

allegramente 

adagio assai 

Presto 

JEAN-YVES THIBAUDET 

Suite No. 2 from Daphnis et Chloé 

lever du jour 

Pantomime 

Danse générale 

The concert will end at approximately 10 p.m. 

© Decca/Kasskara 

Jean-Yves 

Thibaudet 

Jean-Yves Thibaudet, 

“one of the best 

pianists of our time” 

(New York Sun), has the rare ability to 

combine poetic musical sensibilities with 

dazzling technical prowess. His talent at 

coaxing subtle and surprising colors and 

textures from even old favorites has led 

the New York Times to exclaim “ … every 

note he fashions is a pearl … the joy, brilliance 

and musicality of his performance 

could not be missed.” Thibaudet, who 

has performed around the world for more 

than 30 years and recorded more than 40 

albums, has a depth and natural charisma 

that have made him one of the most 

sought-after soloists by today’s foremost 

orchestras, conductors and festivals. In 

2010, the Hollywood Bowl honored 

Thibaudet for his musical achievements 

by inducting him into its Hall of Fame. 

A recording artist for Decca, he has 

won the Schallplattenpreis, the Diapason 

d’Or, Choc du Monde de la Musique, a 

Gramophone Award, two Echo Awards, 

and the Edison Prize. In 2010, Thibaudet 

released his latest CD, Gershwin, featuring 

“big jazz band” orchestrations of Rhapsody 

in Blue, Variations on “I Got Rhythm,” 

and Concerto in F live with the Baltimore 

Symphony and its music director, Marin 

Alsop. In 2012, Jean-Yves recorded the 

soundtrack of the film, Extremely Loud 

& Incredibly Close, composed by Alexandre 

Desplat. Known for his style and 

elegance, Thibaudet wears a concert wardrobe 

designed by Vivienne Westwood. 

Jean-Yves Thibaudet last appeared with 

the BSO in November 2009, performing 

Gershwin’s Rhapsody in Blue, Concerto 

in F and Liszt’s Totentanz, with Marin 

Alsop conducting. 




Cuban Overture 

George Gershwin 

Born in Brooklyn, New York, 

September 26, 1898; died in Beverly Hills, 

California, July 11, 1937 

George Gershwin was very conscious of 

his lack of early formal musical training 

and in adulthood studied with various 

teachers to remedy it whenever his frenetic 

schedule allowed. Although he’d allowed 

Ferde Grofé to score Rhapsody in Blue, he 

orchestrated all his subsequent concert 

pieces himself and bristled at journalists 

who periodically accused him of letting 

others polish his work. Just how sophisticated 

his mastery of the orchestra became 

can be heard in his Cuban Overture, 

written in 1932. 

At that time, Gershwin was studying 

theory and composition with Joseph 

Schillinger, a graduate of the St. Petersburg 

Conservatory, and this piece grew 

from his lessons in counterpoint (the art of 

weaving together multiple musical lines). 

It was also inspired by a vacation he’d 

taken in Cuba that winter; he became 

fascinated with Cuban dance music and 

returned with several Cuban percussion 

instruments in his luggage—bongo 

drums, Cuban sticks or claves, gourd, and 

maracas—that received prominent parts 

in his new work. By the summer of 1932, 

he was rapidly completing the Overture 

for a mammoth all-Gershwin concert 

held outdoors at New York’s Lewisohn 

Stadium on August 16. That concert 

was a spectacular success, with 18,000 in 

attendance and thousands more turned 

away at the gates. Gershwin called it “the 

most exciting night I ever had.” 

Cuban Overture is in three sections, 

opening and closing with the fast, intricate 

rumba music featuring the indigenous 

Cuban instruments. In the middle, a 

lengthy slow section shows Gershwin’s ability 

to create a subtle, haunting atmosphere 

conjuring a tropical night. The brilliant 

orchestration throughout suggests the 

composer had learned a thing or two from 

his friend Maurice Ravel, but the verve and 

melodic inspiration are pure Gershwin. 

Instrumentation: Three flutes, piccolo, two 

oboes, English horn, two clarinets, bass 

clarinet, two bassoons, contrabassoon, four 

horns, three trumpets, three trombones, tuba, 


Symphony No. 2, 

“The Age of Anxiety” 


Born in Lawrence, Massachusetts, August 25, 

1918; died in New York City, October 14, 1990 

None of the three works Leonard Bernstein 

labeled as symphonies in any way resembles 

a conventional orchestral symphony. 

Symphony No. 1, “Jeremiah,” includes 

a singer and chorus and is built around 

Old Testament texts in Hebrew. Symphony 

No. 3, “Kaddish,” which the BSO 

performed last season, combines choruses, 

vocal soloist, and a spoken text to express 

what is essentially Bernstein’s very personal 

argument with God. And inspired by W. 

H. Auden’s long poem of the same name, 

Symphony No. 2, “The Age of Anxiety,” 

which we will hear at these concerts, is a 

highly dramatic work that resembles both 

a tone poem and a piano concerto. As the 

composer himself candidly admitted: “If 

the charge of ‘theatricality’ in a symphonic 

work is a valid one, I am willing to plead 

guilty. I have a deep suspicion that every 

work I write, for whatever medium, is really 

theatre music in some way.” 

Though not a word is spoken or sung 

in the Second Symphony, it is as much 

tied to a literary text as are “Jeremiah” and 

“Kaddish.” Bernstein was an insatiable 

reader, and he was utterly captivated by 

Auden’s Pulitzer Prize-winning poem, 


The Leonard Bernstein Office 

which he discovered soon after its publication 

in 1947. “From that moment, the 

composition of a symphony … acquired 

an almost compulsive quality,” Bernstein 

remembered, “and I worked on it steadily 

… in Taos, in Philadelphia, in Richmond, 

Mass., in Tel Aviv, in planes, in hotel lobbies.” 

The orchestration was done in the 

midst of a tour with the Pittsburgh Symphony, 

during which Bernstein conducted 

25 concerts in 28 days. As was to happen 

throughout his life, the need to compose 

was already in conflict with the demands of 

his exploding conducting career. 

Bernstein based his hybrid work closely 

on the six-part format of the poem and its 

focus on the conversations of three men 

and a woman during a long, alcohol-fueled 

night in a wartime New York City bar. 

In his words, “The essential line of the 

poem (and of the music) is a record of our 

difficult search for faith. In the end, two 

of the characters enunciate the recognition 

of this faith … at the same time revealing 

an inability to relate to it in their daily 

lives, except through blind acceptance.” 

Bernstein explained that “the conception 

of a symphony with piano solo emerges 

from the personal indentification of myself 

with the poem. In this sense, the pianist 

provides an autobiographical protagonist, 

set against an orchestral mirror.” Appropriately, 

Bernstein himself played the solo part 

at “Age of Anxiety’s” premiere performance 

on April 8, 1949 with the Boston Symphony 

conducted by Serge Koussevitzky. 

Here are Bernstein’s own descriptions of the 

Symphony’s six sections: 

Part I: 

“The Prologue finds four lonely characters, 

a girl and three men, in a Third Avenue 

bar, all of them insecure and trying, 

through drink, to detach themselves from 

their conflicts or, at best, to resolve them. 

They … begin a kind of symposium on 

the state of man. Musically, the Prologue 

is a very short section consisting of a lonely 

improvisation by two clarinets … followed 

by a long descending scale which acts as a 

bridge into the realm of the unconscious, 

where most of the poem takes place. 

“The Seven Ages. The life of man is 

reviewed from the four personal points of 



view. This is a series of variations, which 

differ from conventional variations in that 

they do not vary any one common theme. 

Each variation seizes upon some feature 

of the preceding one and develops it, 

introducing … some counter-features upon 

which the next variation seizes. … 

“The Seven Stages. The variation form 

continues for another set of seven, in which 

the characters go on an inner symbolic 

journey … leading back to a point of comfort 

and security. The four try every means, 

going singly and in pairs, exchanging 

partners, and always missing the objective. 

When they awaken from this dreamodyssey, 

they are closely united through a 

common experience (and through alcohol) 

and begin to function as one organism. 

This set of variations begins to show activity 

and drive and leads to a hectic, though 

inconclusive, close.” 

Part II: 

“The Dirge is sung by the four as they sit 

in a cab en route to the girl’s apartment 

for a nightcap. They mourn the loss of the 

‘colossal Dad,’ the great leader who can 

alway give the right orders, find the right 

solution, shoulder the mass responsibility, 

and satisfy the universal need for a 

father-symbol. This section employs, in 

a harmonic way, a twelve-tone row out 

of which the main theme evolves. There 

is a contrasting middle section of almost 

Brahmsian romanticism, in which can 

be felt the self-indulgent aspect of this 

strangely pompous lamentation. 

“The Masque finds the group in the girl’s 

apartment, weary, guilty, determined to 

have a party, each one afraid of spoiling the 

others’ fun by admitting that he should be 

home in bed. This is a scherzo for piano 

and percussion alone … The party ends in 

anticlimax and the dispersal of the actors 

… Thus a kind of separation of the self 

from the guilt of escapist living has been 

effected, and the protagonist is free again to 

examine what is left beneath the emptiness. 

“The Epilogue. What is left, it turns out, 

is faith. The trumpet intrudes its statement 

of ‘something pure’ upon the dying pianino 

[upright piano in the orchestra]; the strings 

answer in a melancholy reminiscent of the 

Prologue … All at once, the strings accept 

the situation in a sudden statement of the 

newly recognized faith … The way is open, 

but at the conclusion, is still stretching long 

before the [protagonist].” 

Instrumentation: Three flutes, piccolo, two 

oboes, English horn, two clarinets, bass 

clarinet, two bassoons, contrabassoon, four 

horns, three trumpets, three trombones, tuba, 


An elegant demonstration 

of this belief, the Concerto 

in G was enormously 

successful at its premiere in 

Paris on January 14, 1932. 

Piano Concerto in G Major 

Daphnis et Chloé Suite No. 2 

Maurice Ravel 

Born in Ciboure, Basses-Pyrenées, 

France, March 7, 1875; died in Paris, 

December 28, 1937 

Maurice Ravel was a masterful composer 

for both the orchestra and the piano. 

Strangely he did not combine these sonorities 

until quite late in his career, when he 

wrote two remarkable concertos: the Concerto 

for the Left Hand and the Concerto 

in G Major for both hands. 

The impetus for the Concerto in G was 

Ravel’s need for a work to show off his 

performing skills during a North American 

tour in 1928, but this painstakingly slow 

creator did not manage to launch the concerto 

before his boat left. It was finally written 

between 1929 and 1931. Opposed to 

the heavy Teutonic approach of Beethoven 

and Brahms, Ravel declared: “The music 

of a concerto should, in my opinion, be 

light-hearted and brilliant, and not aim at 

profundity or at dramatic effects.” 

An elegant demonstration of this belief, 

the Concerto in G was enormously successful 

at its premiere in Paris on January 

14, 1932. Its first movement mixes a 

timeless exoticism, arrayed in Ravel’s most 

sparkling orchestral hues, with a percussive, 

jazz-driven 20 th -century pace. The 

opening is arresting: the crack of a whip 

sets off dazzling, bell-like music with the 

pianist playing white keys in the right hand 

against clashing black keys in the left. The 

piccolo whirls through a piquant melody, 

inspired by the folk melodies of Ravel’s native 

Basque country. Then the tempo slows 

to a bluesy mood, with wailing clarinet 

and muted trumpet melodies that George 

Gershwin himself might have penned. 

Jazz takes a rest during the delicately 

beautiful slow movement, which is in the 

antique style of the composer’s famous 

Pavane for a Dead Princess. Playing alone, 

the piano sings a long, pensive melody with 

sensitive woodwind commentary. Later the 

English horn reprises this melody while 

the piano shimmers around it. The finale 

brings back the world of jazz with a lighthearted, 

high-speed chase. 

Ravel’s score for the ballet Daphnis et 

Chloé is generally acknowledged to be 

his greatest work.Yet as the offspring of 

clashing artistic temperaments, it had a 

painful birth. 

In 1909, Sergei Diaghilev presented the 

first season of his Ballets Russes in Paris, 

and his spectacular dancers—including 

the incomparable male star Nijinsky— 

daring choreography, and eye-filling sets by 

Leon Bakst captivated the Parisian public. 

Thus when Diaghilev approached Ravel 

for a ballet score for the company’s next 

season, the composer readily agreed. Ravel, 

Diaghilev, and his brilliant choreographer 

Michel Fokine chose to set the story of the 

shepherd-lovers Daphnis and Chloé from 

the third-century A.D. pastoral romance by 

the Greek writer Longus. But there agreement 

ended. Fokine and Bakst envisioned 

a primitive Greece with imagery based on 

the stylized figures of ancient Greek pottery. 

Ravel instead saw the ancient setting 

in more idealized terms: “a vast musical 

fresco, concerning itself less with archaic 

fidelity, than with fidelity to the Greece of 

my dreams, which in many ways resembled 

that … depicted by the French artists of the 

18 th century.” 

This artistic conflict, combined with 

Ravel’s slow, meticulous method of composition 

and linguistic difficulties between 

Fokine who spoke little French and Ravel 

who claimed “I only know how to swear in 


Russian,” delayed the production for several 

seasons. The premiere finally came on 

June 8, 1912, with Nijinsky and the great 

Tamara Karsavina dancing the title roles 

and Pierre Monteux conducting. 

Ravel extracted two concert suites from 

the score, and the Second Suite —which 

comprises the ballet’s third and final tableau 

—is by far the more often performed. 

It has three interlocking movements: 

“Dawn,” “Pantomine,” and “Final Dance.” 

Earlier in the story, Daphnis and Chloé’s 

love has been tested by rivals, and Chloé 

has been abducted by pirates, but she is 

rescued by the miraculous intervention of 

the god Pan. 

The third act opens with “probably the 

most famous dawn in all music” (Robin 

Holloway). Master orchestrator that he 

was, Ravel paints the sunrise with all 

the Technicolor sounds he can conceive: 

the ripple of brooks, the chatter of birds, 

and from deep in the orchestral strings a 

magnificent song portraying the rising sun, 

finally gleaming aloft in the violins. Daphnis 

awakes, searches frantically for Chloé, 

and at the crest of the second crescendo 

sees her returning with a party of shepherdesses. 

Seeing the crown on her head, he 

realizes that Pan has saved her in memory 

of his love for the nymph Syrinx. Daphnis 

and Chloé then mime the courtship of Pan 

and Syrinx and Pan’s invention of the flute, 

celebrated in a glorious extended flute 

solo. The two lovers swear their eternal 

fidelity to solemn, brass-dominated music. 

Nymphs and shepherds surround them for 

a joyously pagan dance. Here Ravel’s 18 th - 

century ideal seems at last to yield to the 

full-blooded style of his Russian colleagues. 

Instrumentation for Concerto in G: Flute, piccolo, 

oboe, English horn, clarinet, piccolo clarinet, 

two bassoons, two horns, trumpet, trombone, 

timpani, percussion, harp and strings. 

Instrumentation for Daphpnis et Chloe Suite 

No. 2: Two flutes, two piccolos, alto flute, two 

oboes, English horn, two clarinets, bass clarinet, 

piccolo clarinet, three bassoons, contrabassoon, 

four horns, four trumpets, three trombones, tuba, 

timpani, percussion, two harps, celesta and strings. 

“I have been able to share my passion for 

the arts with others and explore new ways 

of expressing my creativity.” 

Fujie Twilling, Living at Willow Valley Since 2004 

Willow Valley is more than a senior living community. 

It’s a way of life. It’s a beautiful home, exceptional cuisine, 

lovely landscaping, and meticulously-maintained campuses. 

It’s also a mind-body-spirit approach to wellness and 

welcoming neighbors who make the most of every day. 

And it’s Lifecare, a wise and valuable investment that 

provides long-term care, should you need it. 

Visit us. Explore some of our 80+ floorplans. Get to know 

people from 37+ states who make Willow Valley home. 

Meet our team members who, for nearly 30 years, have 

created one of the region’s most innovative, financially 

strong, senior living communities. Willow Valley is a 

place to engage, learn, enjoy. 

800 770 5445 | Lancaster, PA | WillowValleyCommunities.org 

Life Lived Forward 




Michael Tammaro 



Marin Alsop 


Jack Everly, Conductor 

Ann Hampton Callaway, Vocalist 

Jon Kalbfleisch, Piano 

Hampton Childress, Rhythm Bass 

Steve Hanna, Drums 

Berlin 

arranged by Ades 

Porter 

arranged by Dragon 

Styne 

orchestrated by Spencer 

Jack Everly 

Principal Pops Conductor 

The Streisand Songbook 

with Ann Hampton Callaway 

Friday, October 11, 2013 — 8 p.m. 

Saturday, October 12, 2013 — 8 p.m. 

Sunday, October 13, 2013 — 3 p.m. 

Series Presenter: 

A Tribute to Irving Berlin 

“Just One of Those Things” 

Overture to Funny Girl 

Ms. Callaway will announce her program from the stage. 

Jack Everly 

Jack Everly is the principal 

pops conductor 

of the Baltimore and 

Indianapolis Symphony 

Orchestras, Naples Philharmonic 

Orchestra and National Arts Centre Orchestra 

(Ottawa), and the music director 

of the National Memorial Day Concert 

and A Capitol Fourth on PBS. He has been 

This program will include a 20 minute intermission. 

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

on stage with the Los Angeles Philharmonic 

at the Hollywood Bowl, the New 

York Pops at Carnegie Hall and appears 

regularly with The Cleveland Orchestra 

at Blossom Music Center. His frequent 

guest conducting engagements include 

the orchestras of Pittsburgh, Edmonton, 

Oklahoma City and this season with 

The Philadelphia Orchestra at The 

Mann Center. 

Bill Westmoreland 

Everly is the music director of Yuletide 

Celebration, now a 26-year tradition. 

These theatrical symphonic holiday concerts 

are presented annually in December 

in Indianapolis and are seen by more than 

40,000 concert-goers. He led the ISO in 

its first Pops recording, Yuletide Celebration, 

Volume One, that included three of 

his own arrangements. 

Originally appointed by Mikhail 

Baryshnikov, Everly was conductor of 

the American Ballet Theatre for 14 years, 

where he served as music director. In addition 

to his ABT tenure, he teamed with 

Marvin Hamlisch in Broadway shows that 

Hamlisch scored including, The Goodbye 

Girl, They’re Playing Our Song and A Chorus 

Line. He conducted Carol Channing 

hundreds of times in Hello, Dolly! in two 

separate Broadway productions. 

Everly has conducted the songs for 

Disney’s animated classic The Hunchback 

of Notre Dame and led the Czech 

Philharmonic on the recordings In the 

Presence, featuring tenor Daniel Rodriguez 

and Sandi Patty’s 2011 release Broadway 

Stories. He also conducted the criticallypraised 

Everything’s Coming Up Roses: 

The Complete Overtures of Broadway’s Jule 

Styne, and was music director for numerous 

Broadway cast recordings. 

In 1998, Everly created the Symphonic 

Pops Consortium, serving as music 

director. The Consortium, based in 

Indianapolis, produces new theatrical 

pops programs, and in the past 13 years, 

more than 250 performances of SPC 

programs have taken place across the 

U.S. and Canada. 

Maestro Everly holds an Honorary 

Doctorate of Arts from Franklin College 

in his home state of Indiana. When not on 

the podium or arranging, Maestro Everly 

indulges in his love for films, Häagen- 

Dazs and a pooch named Max. 

Ann Hampton 

Callaway 

One of the leading 

champions of 

the great American 

Songbook, Ann Hampton Callaway 

has made her mark as a singer, pianist, 


Featureflash / Shutterstock.com 

Barbra Streisand 

composer, lyricist, arranger, actress, 

educator, TV host and producer. She won 

the Theater World Award and received a 

Tony nomination for her starring role in 

the Broadway musical Swing! Callaway 

made her Hollywood screen debut in 

Robert DeNiro’s The Good Shepherd and 

was featured in the soundtrack of Queen 

Latifah’s Last Holiday. She’s written more 

than 250 songs, including two platinum 

award-winning hits for Barbra Streisand 

and the theme for the hit TV series The 

Nanny. Callaway produced and hosted 

two TV specials called “Singer’s Spotlight” 

with guests Liza Minnelli and 

Christine Ebersole and is in the planning 

stages for a radio series. 

She performs the critically acclaimed 

acts “Sibling Revelry” and “Boom!” with 

Broadway star and sister Liz Callaway 

and their CD Boom! Live at Birdland was 

released to rave reviews debuting at #25 

on The Billboard Jazz Chart. This year, 

Callaway has taken the symphony world 

by storm with her tribute to her legendary 

mentor in The Streisand Songbook 

which she premiered with The Boston 

Pops and will be touring nationwide 

throughout 2013–2014. Callaway has 

recorded 12 solo CDs including the 

celebrated “At Last” and is a guest artist 

on more than 45 CDs. 

For more information, see 

www.annhamptoncallaway.com. 

Ann Hampton Callaway 

last performed with the BSO in the 

December 2009 Holiday Spectacular, 

with Jack Everly conducting. 

EXPLOSIVE LIVE PERFORMANCES 

A L L T I C K E T S N O W $ 2 0 

MAESTRO SERIES FOR ORChEStRA & ChORuS 

POWER AND GLORY | Sat., Oct. 26, 2013 | 8pm * 

SPON. by thE hENRy ANd Ruth bLAuStEIN ROSENbERg FOuNdAtION 

SCHUBERT: Unfinished Symphony and Mass in G 

RACHMANINOFF: Selections from Vespers 

PROKOFIEV: Piano Concerto No. 3 

Mark Markham, Piano 

MANSION SERIES ChAMbER MuSIC At thE 

gARREtt-jACObS MANSION, thE ENgINEERS CLub 

SPONSOREd by MR. ANd MRS. ChARLES h. bERRy jR. 

CHRISTMAS CHEER 

Sat., Dec. 14, 2013 | 1pm & Sun., Dec. 15, 2013 | 2:30pm ° 

CO-SPONSOREd by kIM ANd FRANk FILLMORE, thE FILLMORE gROuP 

The annual sell-out performances continue in one of 

Baltimore’s most opulent mansions, with both classical and 

lighter arrangements of seasonal favorites. Come early for an 

optional brunch and stay late for a sing-a-long at the piano. 

FAMILY FUN CONCERT | Sun., Nov. 17, 2013 | 3pm * 

SPONSOREd by thE PEggy ANd yALE gORdON tRuSt 

Enjoy family activities and music for a fun learning experience about 

instruments and classical music for the young and young at heart. 

LYCEUM SERIES CONVERSAtIONS AbOut thE 

MuSIC hELd IN bEAutIFuL MOuNt VERNON hOMES 

SCHUBERT - FINISHED & UNFINISHED 

Thurs., Oct. 10, 2013 | 7pm 

VIVALDI AND THE FOUR SEASONS 

Thurs., Nov. 21, 2013 | 7pm 

* Gordon Center For Performing Arts, Owings Mills 

° The Engineers Club, 11 W. Mt. Vernon Place 

27TH SEASON 

EDWARD POLOCHICK 

Artistic Director 

FOR TICKETS 410.625.3525 

WWW.CABALTO.ORG 





Arild 

Remmereit 

In 2005, Norwegian 

conductor Arild 

Remmereit made 

five dramatic debuts with the Pittsburgh 

Symphony, Baltimore Symphony, Milan’s 

Filarmonica della Scala, Munich Philharmonic 

and the Vienna Symphony, quickly 

Marin Alsop 


Romantic Tchaikovsky 


Sunday, October 20, 2013 — 3 p.m. 


Edvard Grieg 

Karen Tanaka 

Arild Remmereit, Conductor 

Nobuyuki Tsujii, Piano 

Suite from Peer Gynt 

Prelude 

Ingrid's Lament 

arabian Dance 

morning Mood 

Åse’s Death 

Peer Gynt’s Homecoming 

Solveig’s Song 

anitra’s Dance 

In the Hall of the Mountain King 

Water of Life 

Intermission 

Piotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-Flat Minor, opus 23 

allegro non troppo e molto maestoso 

andantino semplice 

allegro con fuoco 

noBUYUKI TSUJII 

The concert will end at approximately 9:50 p.m. on Friday and 4:50 p.m. on Sunday. 

establishing himself as a major talent on 

the international scene. Remmereit was 

immediately re-engaged in Pittsburgh, Vienna, 

Milan and Baltimore and has since 

returned to a number of other prominent 

orchestras, including England’s Halle 

Orchestra, the Detroit Symphony, Dallas 

Symphony, Seattle Symphony, Rochester 

Philharmonic, New Jersey Symphony 

Yuji Hori 

and the Seoul Philharmonic, among 

many others. 

The 2012–2013 season included return 

engagements with the Pittsburgh Symphony 

and Ottawa's National Arts Centre 

Orchestra, in subscription and on tour, 

and debuts with the Naples Philharmonic, 

Orchestre Symphonique de Québec and 

Mexico National Symphony. Upcoming 

engagements include the Buffalo Philharmonic 

and the Baltimore Symphony. 

Born in Norway, Remmereit began 

piano lessons at the age of six, studied 

trumpet and performed as a boy soprano. 

In 1986, he graduated from the Norwegian 

Conservatory of Music, earning 

master degrees in voice, piano (jazz and 

classical) and composition. It was at a 

conducting seminar in 1985 at the Aspen 

Music Festival that he was inspired to 

change his focus. He has studied conducting 

under the direction of Prof. Karl 

Österreicher at the Hochschule für Musik 

und Darstellende Kunst, where he also 

participated in a master class with Zubin 

Mehta. Remmereit studied with Leonard 

Bernstein at the Orchestra dell’Accademia 

Nazionale di Santa Cecilia in Rome, 

and assisted him in several recordings in 

Vienna between 1987 and 1990. 

Arild Remmereit last appeared with the 

BSO in November 2007, performing 

Berwald's Tragic Overture from Estrella de 

Soria, Mendelssohn's Violin Concerto and 

Schumann's Symphony No. 1. 

Nobuyuki Tsujii 

Blind since birth, 

Nobuyuki Tsujii 

was joint Gold 

Medal winner at 

the 2009 Van Cliburn International 

Piano Competition. 

An inspirational musician with a formidable 

technique and a natural gift for 

pianistic colour, he has earned international 

recognition in recent years for the 

excitement of his live performances. 

As a concerto soloist, he has appeared 

with the Mariinsky Orchestra and Valery 

Gergiev, the Philharmonia Orchestra 

and Vladimir Ashkenazy, the BBC 


Philharmonic and Yutaka Sado and the 

Orchestra della Svizzera Italiana and 

Thierry Fischer among others. Future 

engagements include his Carnegie Hall 

orchestral debut with the Orpheus 

Chamber Orchestra, his debut with the 

Seattle Symphony under Ludovic Morlot 

and a major Japanese tour with the BBC 

Philharmonic, Yutaka Sado conducting. 

As a recitalist, he gave a sold-out solo 

performance at Carnegie Hall’s Stern 

Auditorium in 2011, and has also given 

recitals at the Aspen and Ravinia Festivals 

and in Washington, D.C, Boston, Berlin 

and Munich. 

In his home country, he has appeared 

as a soloist with all the major Japanese 

orchestras including NHK Symphony, 

Yomiuri Nippon Symphony, Tokyo Symphony, 

Japan Philharmonic and Orchestra 

Ensemble Kanazawa. He records exclusively 

for Avex Classics, and has made a 

number of best-selling discs in recent years 

including Rachmaninoff’s Piano Concerto 

No. 2 with DSO Berlin, an all-Chopin 

recital disc, Tchaikovsky's Piano Concerto 

No. 1 with Yukata Sado and the BBC 

Philharmonic, and Mussorgsky’s Pictures 

at an Exhibition. A live DVD recording of 

his 2011 Carnegie Hall recital has recently 

been released and is distributed by Naxos 

in the U.S. and Euroarts in Europe. 

Nobuyuki Tsujii’s international tours 

are supported by All Nippon Airways 

(ANA), and he gratefully acknowledges 

their assistance. 

Nobuyuki Tsujii is making his 

BSO Debut. 

Find out how to turn your assets into a charitable 

resource that will last forever. 

Call 410.332.4171 or visit www.bcf.org/dmitri to learn more. 

Baltimore Community Foundation 

2 East Read Street | Baltimore, MD | Tel. 410.332.4171 | www.bcf.org 

Peabody Conservatory Students and Faculty 

Shine in Orchestral Concerts in 2013-2014 

Don’t miss performances by 

the Peabody Symphony Orchestra, 

Peabody Concert Orchestra 

and Peabody Modern Orchestra, 

as well as the Adalman Faculty 

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Subscriptions as low as $40 and all 

new Flex Passes available now. 


Suite from Peer Gynt 

Edvard Grieg 

Born in Bergen, Norway, June 15, 1843; 

died in Bergen, September 4, 1907 

Edvard Grieg’s great-grandfather, Alexander 

Greig (as the family name was originally 

spelled) was an independent-minded 

Scotsman who emigrated to Norway 

from his native Aberdeen in the 1760s 

Visit 

www.peabody.jhu.edu 

or call 410-234-4800 

for more information. 


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after the Scottish clans were destroyed. 

There he prospered as a fish merchant, 

and 100 years later, his great-grandson 

became Norway’s greatest composer. 

In January 1874, Norway’s preeminent 

playwright, Henrik Ibsen 

(1828–1906), asked the now 30-year-old 

composer if he would be willing to compose 

incidental music for Ibsen’s latest 

drama Peer Gynt. Grieg at first hesitated 

—he initially declared the play “the 

most unmusical of all subjects”— but 

ultimately threw himself into the task of 

creating more than 20 musical numbers 

for the work’s theatrical premiere. Despite 

the fact that the two men’s creative 

styles were extremely different— 

Grieg was a Romantic master of lyrical 

melody while Ibsen wrote starkly 

uncompromising dramas with an almost 

contemporary viewpoint—their joint 

efforts triumphed at the play’s premiere 

on February 24, 1876. Eventually, the 

composer fashioned two suites of Peer 

Gynt music that rivaled his Piano Concerto 

in popularity. 

After his narrow escape 

from the trolls, Peer decides 

it’s time to get out of 

Norway, but first he visits 

home for the last time. 

With its fantastic globetrotting plot, 

Peer Gynt, despite Grieg’s early reservations, 

lends itself very well to musical 

treatment. Based on an actual person 

living in southwestern Norway in the early 

19 th century, Peer is no solid, hardworking 

Norwegian, but an unreliable yet lovable 

scamp who gets into plenty of trouble in 

his home village and then abandons his 

sweetheart, Solveig, to seek adventure in 

the wider world. 

Arild Remmereit has chosen nine excerpts, 

several of which may be discoveries 

for audience members. Though in this 

concert we will hear the individual numbers 

in a slightly different order, here they 

are listed as they occur in the story. 

The BSO 

Invited to a neighborhood wedding, 

Peer commits his first crime by abducting 

the bride, Ingrid. One of the most powerful 

yet poignant numbers, “The Abduction 

of the Bride — Ingrid’s Lament,” 

is the prelude to Act II. The furious music 

that frames this sequence represents Peer 

berating the hapless Ingrid before abandoning 

her on a mountain pass. 

Next Peer is attracted to a mysterious 

woman, who turns out to be the 

daughter of the King of the Trolls. He 

follows her to her subterranean home, 

where her father and a rowdy group of 

trolls are Her "Dance of the Mountain 

King's Daughter" is a comical mix of 

heavy, galumphing rhythms and exotically 

barbaric scoring. “In the Hall of 

the Mountain King” is rightfully one 

of Grieg’s most famous pieces. Starting 

pianissimo in the orchestra’s lowest instruments, 

this relentless dance uses one 

menacing little melody to build a steady 

acceleration and crescendo as the trolls 

threaten the intruder. 

After his narrow escape from the trolls, 

Peer decides it’s time to get out of Norway, 

but first he visits home for the last time. 

“Åsa’s Death” is the profoundly sorrowful 

music for the death of his adored 

mother. Built from a simple, poignant 

melody, it is scored for strings with mutes 

attached to veil their sound. 

Though “Morning Mood” may sound 

like morning dawning over a Norwegian 

fiord, this exquisite lyrical melody actually 

depicts sunrise shimmering on the sands 

of Northern Africa at the beginning of Act 

IV. Anitra is a desert beauty with whom 

Peer falls in love; she eventually abandons 

Chris Lee 



him after robbing him of all the riches he 

has acquired. She and her companions 

perform the “Arabian Dance” to lure 

him. Its prominent use of shrill piccolos 

and flutes, drums and tambourine makes 

use of an exotic style known as “Turkish 

music,” which Mozart and Beethoven also 

used in several of their scores. Anitra also 

performs a solo dance (“Anitra’s Dance”); 

pizzicato strings add to the delicacy of this 

alluringly feminine music. 

At the beginning of Act V, Peer, now a 

penniless old man, is returning at last to 

his homeland. But the North Sea throws 

one of its not uncommon tempests at him, 

and he barely escapes with his life. The 

brief tone poem “Peer Gynt’s Homecoming: 

Stormy Night at Sea” vividly 

describes the raging winds and waters. 

In Peer’s home village, the devoted 

Solveig loves Peer despite his many 

faults and has waited patiently over the 

decades for his return; at the play’s conclusion, 

they are reunited as old people 

near death. “Solveig’s Song,” originally 

scored for soprano and so characteristic 

of Grieg in its gentle melancholy, is a 

superb example of the composer’s gifts 

as a songwriter. 

Instrumentation: Two flutes, two piccolos, two 

oboes, two clarinets, two bassoons, four horns, 

two trumpets, three trombones, tuba, timpani, 

percussion, harp, piano and strings. 

Water of Life 

Karen Tanaka 

Born in Tokyo, Japan, April 7, 1961; now living 

in Los Angeles, California 

The beautiful, delicately colored music of 

Japanese composer Karen Tanaka makes 

its Baltimore Symphony debut at these concerts. 

Now living in Los Angeles and teaching 

composition at the California Institute 

of the Arts, Tanaka is a pianist as well as 

a composer, and many of her works have 

been created for the piano, among them her 

recent Our Planet Earth, a series of exquisite 

short pieces meditating on aspects of nature 

and designed expressly for young pianists. 

Indeed, Tanaka’s love of nature and concern 

for the environment have influenced 

many of her works, including Water of Life, 

which was commissioned by the Rochester 

Philharmonic and premiered in Rochester 

just this past May. 

Born in Tokyo, where she began formal 

piano and composition lessons as a child, 

Tanaka studied composition at Tokyo’s 

Gakuen School of Music. In 1986, she 

moved to Paris to study with Tristan 

Murail and work in electronic music at 

IRCAM. The next year, she won the 

Gaudeamus Prize at the International 

Music Week in Amsterdam. Her works 

have been commissioned and performed 

by distinguished orchestras and ensembles 

worldwide, including the Los Angeles 

Philharmonic, the BBC Symphony, the 

Finnish Radio Symphony, and the Kronos 

and Brodsky quartets. 

Karen Tanaka explains Water of Life 

as follows: 

A SeASon of 

Choral Masterworks 

2013-14 se ason 

Bach B Minor Mass 

Sunday, october 27, 2013 at 3 pm 

Kraushaar Auditorium at Goucher College 

Tom Hall leads the Chorus and Orchestra 

and vocal soloists in this beloved masterpiece. 

Christmas with Choral Arts 

Tuesday, December 10, 2013 at 7:30 pm 

Cathedral of Mary our Queen 

Tom Hall leads the Chorus and Orchestra 

in this festive holiday program. 

Sing-Along Messiah 

friday, December 20, 2013 at 7:30 pm 


Tom Hall will be your guide as you sing 

the choruses from Handel’s “Messiah.” 

Or just enjoy the surround-sound! 

Christmas for Kids 

Saturday, December 21, 2013 at 11 am 


A holiday family program featuring Ronnie 

the Reindeer, Pepito the Clown, and more! 

From Madrigals to Musicals 

Sunday, March 9, 2014 at 3 pm 

Towson United Methodist Church 

501 Hampton Lane 

Renowned soprano Janice Chandler Eteme 

is featured in this program which includes 

choral favorites from the 16th century to 

the modern musical. 

Call 410-523-7070 or visit BaltimoreChoralArts.org 

Tom Hall, Music Director 



Dave Hoffmann 

“When I was composing Water of 

Life, I had two things in mind. The first 

is biblical references about ‘water’ and 

‘water of life.’ I have served as a church 

organist for many years, and verses 

about life-giving water have always 

inspired me. 

“ ‘Then the angel showed me the river 

of the water of life, as clear as crystal, 

flowing from the throne of God and of 

the Lamb … ’—Revelations 22:1 

“The second is ‘water’ in nature. I 

wanted to project images of various phases 

of water and shimmering light with 

orchestral sounds. The music gradually 

changes just as the water flows continuously 

and never in the same phase. 

“The beginning of the piece played 

by harp and strings suggests the birth 

of pure water. The music then flows 

freely with a pleasant feeling of pulse. 

It gradually grows into turbulence and 

muddiness that, in the end, becomes 

filtered into purity. 

“Water of Life is a prayer for the tsunami 

victims in Japan.” 

Instrumentation: Two flutes, oboe, English 

horn, two clarinets, two bassoons, four horns, 

two trumpets, three trombones, percussion, 

harp, piano, celesta and strings. 

The BSO 

Piano Concerto No. 1 in B-flat 

Minor, opus 23 




If one had to pick one work that epitomizes 

the Romantic piano concerto, it 

would have to be Tchaikovsky’s First. 

Written in 1874–1875, it was the first 

Russian piano concerto to enter the 

standard concert repertoire, and it has 

remained perhaps the most popular 

concerto ever written. Even Rachmaninoff’s 

celebrated piano concertos 

were closely modeled on it. 

But the first person to hear it pronounced 

it a failure. This was Nikolai 

Rubinstein, renowned pianist and 

conductor, founder of the Moscow 

Conservatory, and usually Tchaikovsky’s 

staunch friend and supporter. 

Not being a concert pianist himself, 

Tchaikovsky had brought the concerto 

to Rubinstein on Christmas Eve, 1874 

for advice as to how to make the solo 

part most effective. This is how the 

composer remembered the occasion: 

“I played the first movement. Not a 

single word, not a single comment! 

… I summoned all my patience and 

played through to the end. Still silence. 

I stood up and asked, ‘Well?’ “ 

“Then a torrent poured forth from 

Nikolai Gregorievich’s mouth … My 

concerto, it turned out, was worthless 

and unplayable —passages so fragmented, 

so clumsy, so badly written as 

to be beyond rescue — the music itself 

was bad, vulgar —here and there I had 

stolen from other composers — only 

two or three pages were worth preserving 

—the rest must be thrown out or 

completely rewritten. … This was censure, 

indiscriminate, and deliberately 

designed to hurt me to the quick. … ‘I 

shall not alter a single note,’ I replied. 

‘I shall publish the work exactly as it 

stands!’ And this I did.” 

Although this episode threw Tchaikovsky 

into a depression, he still had 

energy and faith enough in his work 

to submit the concerto to Hans von 

Bülow, a German pianist-conductor as 

famous as Rubinstein who was looking 

for a new showpiece for his upcoming 

American tour. Von Bülow took on the 

work with enthusiasm and played its 

world premiere on October 25, 1875 

in Boston. The Bostonians gave it a 

tumultuous reception, and the First 

Piano Concerto never looked back. 

This is a concerto in which gorgeous, 

inventive orchestral writing meets one 

of the great virtuoso piano parts of 

the repertoire. And it is enriched by a 

cornucopia of marvelous Tchaikovskian 

melodies, the first of which forms 

the introduction to movement one. 

Launched by Tchaikovsky’s beloved 

horns, it sweeps grandly through the 

orchestra. The pianist makes his presence 

strongly felt with massive chords 

ringing from bottom to top of the 

keyboard. This big Romantic opening 

eventually fades, and a melody that 

most composers would kill for is gone, 

never to return. 

In the first of several dramatic mood 

shifts, the pianist now attacks a quick, 

skittish tune, based on a Ukrainian 

folksong, which is the movement’s actual 

principal theme. In another emotional 

shift, clarinets introduce a new melody, 


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Experience Baltimore County’s Premiere Performing Arts Center 

Tchaikovsky 

lovely and rather melancholy, which gives 

the pianist opportunity to show his poetic 

side. After the middle development 

section, this melancholy theme appears 

again, now soaring rhapsodically. 

Movement two rocks gently on a 

poignant, lullaby-like theme, introduced 

by the flute. Sparkling, high-speed music 

fills the movement’s middle section. 

Its rollicking tune, introduced by the 

violins, is from a French song popular 

in Russia at the time, “Il faut s’amuser, 

danser et rire” (“One should enjoy 

oneself, dance and laugh”). This was a 

favorite of the Belgian singer Désirée 

Artôt, the only woman Tchaikovsky 

ever fell in love with. 

The spirited rondo finale features a 

dashing refrain theme whose emphatic 

rhythms stress the second beat of each 

measure. It alternates with a rapturous 

waltz melody, introduced by the 

violins. A broad concluding coda energetically 

combines these themes, with 

the waltz ultimately dominating. And 

now comes one of the most famous of 

all virtuoso piano passages: a flight of 

fast double-fisted octaves, sweeping up 

and down the keyboard. This leads to 

a grand apotheosis of the waltz, before 

the pianist and orchestra urge each 

other on to a blazing finish. 

Instrumentation: Two flutes, two oboes, 

two clarinets, two bassoons, four horns, 

two trumpets, three trombones, timpani 

and strings. 


David Broza 

Fall 2013 season features: 

David Broza, Nov. 21 

Spanish, Hebrew & English music for the soul 

Cinefest, Oct. 3, 6, 9, & 14 

Jewish-themed films from around the world 

Shirlala, Oct. 20 

Mama Doni, Dec. 1 

Spirited music 

for young families 

Visit gordoncenter.com 

or call 410-356-7469 

Kaleidoscope 

Lifelong Learning at 

Roland Park Country School 

Fall programs for everyone 

who enjoys learning! 

oã 

Expand your horizons! 

Language Adventures 

Cultural Arts 

Culinary Arts 

Military History 

Fitness Classes 

Children/Family Matters 

Multi-Day Trips 

Book Talks 

Technology 

Creative Pursuits 

For information, please call 410-323-5500, ext. 3091 or 

visit us on-line at www.rpcs.org 

RPCS • 5204 RoLAnD Avenue • BALTiMoRe, MD 21210 





Marin Alsop 


Brahms’ Third Symphony 


Saturday, October 26, 2013 — 8 p.m. 

Jun Märkl, Conductor 

Johannes Moser, Cello 

Antonín Dvořák Serenade in E Major, opus 22 

moderato 

Tempo di valse 

Scherzo: Vivace 

larghetto 

Finale: Allegro vivace 

Piotr Ilyich Tchaikovsky Variations on a Rococo Theme, opus 33 

JOHANNES MOSER 

Intermission 

Johannes Brahms Symphony No. 3 in F Major, opus 90 

allegro con brio 

andante 

Poco allegretto 

allegro 

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

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Jean-Baptiste Millot 

Jun Märkl 

Jun Märkl has long 

been known as a 

highly respected 

interpreter of the 

core Germanic repertoire from both 

the symphonic and operatic traditions, 

and more recently for his refined and 

idiomatic Debussy, Ravel and Messiaen. 

His long-standing relationships at the 

state operas of Vienna, Berlin, Munich 

and Semperoper Dresden have in recent 

years been complemented by his music 

directorships of the Orchestre National de 

Lyon (2005–2011) and MDR Symphony 

Orchestra Leipzig (to 2012). He guests 

guest conducts with the world’s leading 

orchestras, including: Cleveland Orchestra, 

Philadelphia Orchestra, NHK Symphony 

Orchestra, Czech Philharmonic, 


Munich Philharmonic, Oslo Philharmonic 

and Tonhalle Orchester Zürich. 

Märkl is an accomplished recording 

artist, having recorded Mahler and the 

complete Schumann symphonies live 

with the NHK Symphony, Dvořák on 

Telarc, Mendelssohn with MDR and 

a highly acclaimed nine-disc Debussy 

set with ONL on Naxos. In recognition 

of his tenure in Lyon and his hugely 

successful recordings of French music, 

in 2012 he was honoured by the French 

Ministry of Culture with the Chevalier 

de l’Ordre des Arts et des Lettres. 

Jun Märkl last appeared with the BSO 

in April 2012, conducting von Weber’s 

Euryanthe Overture, Beethoven’s Violin 

Concerto with soloist Arabella Steinbacher, 

and Schumann’s Symphony No. 3. 

Johannes 

Moser 

Cellist Johannes 

Moser has performed 

with many of the 

world’s leading orchestras, including the 

Berlin Philharmonic, New York Philharmonic, 

Concertgebouw Orchestra, 

Tokyo Symphony and Israel Philharmonic. 

He works regularly with conductors 

of the highest level including Riccardo 

Muti, Lorin Maazel, Zubin Mehta and 

Paavo Jarvi. He has also performed with 

the Chamber Orchestra of Europe, the 

Frankfurt Radio Symphony Orchestra 

and will be returning to the Los Angeles 

Philharmonic. This season, Moser performs 

with the Baltimore Symphony 

Orchestra, Deutshces Symphonie-Orchester 

Berlin and is making his debut with 

the London Philharmonic Orchestra. 

Besides performing on his Andrea 

Guaneri Cello from the year 1694, Moser 

is an enthusiastic advocate for the electric 

cello. In 2011, he premiered the electric 

cello concerto Magnetar by Enrico Chapela 

with the Los Angeles Philharmonic. 

Also a dedicated chamber musician, 

Moser has performed with Emanuel Ax, 

James Ehnes, Midori and Jonathan Biss 

and at the Verbier, Colorado and Brevard 

music festivals, as well as the Mehta 

DON’T MISS THE FREE OPERA MUSICAL PREVIEW! SEPTEMBER 22 

LYRIC OPERA BALTIMORE 

ARTISTIC DIRECTOR, JAMES HARP 

NOVEMBER 1& 3m 2013 

Starring JILL GARDNER | DINYAR VANIA | ERIC OWENS | FRANÇOIS LOUP 

Featuring THE BALTIMORE SYMPHONY ORCHESTRA 

Conducted by STEVEN WHITE | Directed by JAMES HARP 

Sung in Italian with English surtitles 

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The BSO 

Dave Harp 

Chamber Music Festival. He combines 

almost every engagement with either 

outreach or masterclasses, reaching out 

to young audiences from kindergarten to 

college and beyond. 

Born into a musical family in 1979 as 

a dual citizen of Germany and Canada, 

Moser was the top prize winner at the 

2002 Tchaikovsky Competition. He 

now holds a professorship in Cologne, 

Germany. An avid outdoorsman, New 

York-based Johannes Moser has crossed 

the Alps on his mountain bike. 

Johannes Moser is making his 

BSO debut. 


Serenade for Strings in E Major, 

opus 22 

Antonín Dvořák 

Born in Nelahozeves, Bohemia, now Czech 

Republic, September 8, 1841; died in Prague, 

May 1, 1904 

Written in May 1875, 

Dvořák’s gorgeous 

Serenade for Strings 

reflects the joy of the new 

opportunities awaiting him. 

Antonín Dvořák might have languished 

far longer in Bohemian obscurity had he 

not come to the attention of Johannes 

Brahms in the mid-1870s. The wellestablished 

Brahms was then serving 

on a committee to award stipends to 

talented but undiscovered composers 

living in outlying provinces of the 

Austrian Empire. Deeply impressed by 

Dvořák’s submitted compositions, he 

not only voted for him to receive the 

prize money but also went to his own 

publisher Simrock to urge that it take 

on the young composer. Thus began a 

profitable relationship with the Berlin 

publishing house, and Dvořák was on 

his way to becoming a household name 

among European music lovers. 

Written in May 1875, Dvořák’s gorgeous 

Serenade for Strings reflects the 

joy of the new opportunities awaiting 

him. There are strong relationships 

between this work and Tchaikovsky’s 

better-known Serenade for Strings: 

both feature an enchanting waltz as a 

second movement and both bring back 

their beautiful first-movement themes 

in closing. But, in fact, Dvořák did it 

first, composing his Serenade five years 

before Tchaikovsky’s. 

Dvořák’s Serenade handsomely 

displays two of his finest compositional 

gifts. First, as an accomplished string 

player himself—for years he supported 

his family as principal violist of Prague’s 

opera house —he wrote superbly for 

string instruments. And, secondly, he 

was one of the greatest melodists classical 

music has ever produced. 

As a demonstration of this, the first 

movement, in a relaxed Moderato 

tempo, features a principal theme of 


warm, serene loveliness. Moving to C- 

sharp minor, the second movement is 

a gracefully spinning waltz. Somewhat 

surprisingly, its middle or trio section 

is more passionate, more emotionally 

complex, and— despite moving to a 

major key— darker in mood. 

In a Vivace tempo, the third movement 

is a high-spirited Scherzo, whose 

principal theme is chased in canon between 

the instruments. A lyrical ascending 

melody calms its vigorous dance, 

and a soaring trio section also provides 

luscious contrast. 

Loveliest of all is the wonderful 

fourth-movement Larghetto in A 

major: a dreaming nocturne that exploits 

the richness of string colors to the 

fullest. Its quick-silver middle section 

resembles Mendelssohn’s fairy music in 

his A Midsummer Night’s Dream. 

The Allegro vivace finale is the most 

rhythmically and thematically playful of 

the five movements. It is calmed briefly 

during the development section by a 

return of the Larghetto’s beautiful theme 

in the cellos. But the most important 

reprise is that of the first movement’s 

serene theme, which brings the Serenade 

to a satisfying full-circle close. 

Instrumentation: Strings only. 

Variations on a Rococo Theme 




The year 1876 was one of low spirits for 

Tchaikovsky. Restless and irritable, he 

traveled about Europe in search of the 

creative muse. The first work he finally 

wrote late in the year, the tempestuous 

tone poem Francesca da Rimini, reflected 

his mood, but the one that followed 

in December, Variations on a Rocco 

Theme for cello and orchestra, certainly 

did not. For in this lovely work the 

composer retreated to the 18 th -century 

world of his favorite composer Mozart 

and the quality of balance it always 

gave his spirit. “I don’t just like Mozart, 

I idolize him,” he wrote a little later to 

Reception 

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Free Post-Concert 

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OCT 27 


SUNDAYS AT 3:30PM 

SEPT 22 


Aspen Trio with 

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OCT 13 


Adam Brakel, organ 

NOV 10 


NOV 24 


Alon Goldstein, piano 

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Brahms 

SEPT 22 OCT 20 NOV 24 

Valet Seven Days A Week 

his patroness Nadezhda von Meck. “Perhaps 

it is just because — being a child of 

my time — I feel broken and spiritually 

out of joint, that I find consolation and 

rest in the music of Mozart, music in 

which he gives expression to that joy in 

life that was part of his sane and wholesome 

temperament.” 

“Rococo,” from the Italian word for 

“shell,” was originally the name for a 

shell-like ornament used for interior 

decoration in mid-18 th -century palaces; 

its popularity eventually gave name to 

an entire cultural style of delicate ornamentation 

and lightheartedness. Tchaikovsky 

adopted the rococo spirit here in 

his simple, graceful theme, in the charm 

and fancifulness of his variations, and in 

the use of a small 18 th -century orchestra, 

with only pairs of woodwinds plus 

strings to support the cello soloist. 

In the seven variations that follow the 

cello’s presentation of the theme, Tchaikovsky 

sticks closely to the melody so 

that we never forget its original shape. 

The heart of the work is the lengthy 

third variation: a soulful, slow-tempo 

song for the cello that is a masterpiece of 

heartfelt lyricism. Variation five shows 

off the soloist’s virtuosity with chains of 

trills, an extremely wide range (Tchaikovsky 

emphasizes the cello’s highest 

notes throughout this work), and rapid 

figurations. The sixth variation moves 

into the minor mode with a darkly 

melancholy Russian melody, exquisitely 


accompanied by pizzicato strings and 

woodwind solos. 

Instrumentation: Two flutes, two oboes, two 

clarinets, two bassoons, two horns and strings. 

The first movement opens 

with three rising chords that 

spell out F–A (flat)–F, 

a personal motto for 

Brahms that pervades much 

of the symphony. 

Symphony No. 3 in F Major 

Johannes Brahms 

Born in Hamburg, Germany, May 7, 1833; died 

in Vienna, Austria, April 3, 1897 

Most of the major works of Johannes 

Brahms’ maturity were composed in summertime 

in beautiful rural settings overlooking 

tranquil lakes and alpine peaks. 

But during the summer of 1883, his Third 

Symphony was written in a more urban 

location: a lofty studio overlooking the 

German Rhineland city of Wiesbaden. 

The urge to create this work had come on 

the composer while visiting Wiesbaden 

and, rather than lose inspiration traveling 

to a vacation retreat, he stayed on. 

And there was another compelling reason 

to stay: a rich-voiced contralto named 

Hermine Spies. Brahms had just met her 

and was captivated by her marvelous voice 

and vivacious personality. Another of this 

confirmed bachelor’s romantic friendships 

ensued, even though Fräulein Spies 

was young enough to be the 50-year-old 

Brahms’ daughter. He wrote many songs 

for her, and she became his favorite interpreter 

of the Alto Rhapsody. 

And so even without mountain views, 

the summer of 1883 was a particularly 

happy one, and the Third Symphony, his 

shortest, was born with ease. The least 

often performed of Brahms’ four, it is 

his most refined and densely constructed 

symphony: one in which he distills the 

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410.986.1803 

martha.lord@suntrust.com 

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DGD162912-13 



Inspiring the best 

in every boy. 

OPEN HOUSE 

October 20 at 11am 

Grades K–12, Parents & Students 

THE BOYS’ LATIN SCHOOL 

OF MARYLAND 

822 West Lake Avenue Baltimore, MD 21210 

www.boyslatinmd.com 

Chris Lee 

The BSO 

maximum possibilities from every 

motive and theme, even bringing them 

back in new guises in later movements. 

This sturdy intellectual foundation 

is overlaid with some of his loveliest 

melodies, clothed in exquisite orchestral 

colors. But it is easier for conductors and 

orchestras to dazzle audiences with the 

other symphonies than with this subtle 

creation, all four of whose movements 

end quietly. 

The first movement opens with 

three rising chords that spell out F-A 

(flat)-F, a personal motto for Brahms 

that pervades much of the symphony. 

Years earlier, Brahms and his close 

friend, violinist Joseph Joachim, had 

experimented with musical mottos 

symbolizing their bachelor status. 

Joachim’s was F-A-E for “Frei aber 

einsam” (“Free but lonely”), and he 

soon married. Brahms countered with 

F-A-F, “Frei aber froh” (“Free but 

happy”). But now in his Third Symphony, 

the A has become A-flat, shifting 

the F-major home tonality to minor. 

Is there perhaps a hint of ambiguity 

about his motto as Brahms pays court 

to Hermine Spies? 

The F-A-F motto spawns a ruggedly 

masculine principal theme, striding 

across a big range. But soon the music 

becomes more subdued and proposes 

a romantic waltz, led by clarinet and 

bassoon, as the second theme. This 

melody is later taken up in the development 

section, which also features a 

brooding treatment of the first theme 

led by the first horn. The movement’s 

concluding coda begins big, but surprisingly, 

the masculine theme turns 

tender and lyrical for a hushed close. 

Brahms scholar Malcolm MacDonald 

calls the second movement “one of 

Brahms’ most inspired sublimations of 

folksong style.” Clarinets and bassoons 

introduce the principal melody “of 

simple gravity and hymn-like seriousness.” 

But pay special attention to 

the second theme: a melancholy duet 

for clarinet and bassoon emphasizing 

triplet rhythms and accompanied by a 

persistent short-long rhythm; this 

music will appear again in the finale. 

The movement’s closing coda is exceedingly 

beautiful, exploiting the orchestra’s 

most diaphanous colors. 

Another intermezzo-style movement, 

the third-place Poco allegretto, 

features one of Brahms’ loveliest tunes, 

sung first by the cellos; it is a bittersweet 

mix of Romantic yearning and regret so 

characteristic of this composer. Brahms 

gives it many variants, with radiant 

new orchestrations. 

The struggle between minor and 

major becomes fierce in the sonataform 

finale, which resolves all that 

has gone before. It opens in F minor 

with a mysterious, scurrying theme. 

This is followed by a solemn new 

version of the clarinet-bassoon duet 

theme from movement two. The 

development section tackles the first 

theme in moods both meditative and 

heroic, but most of the drama is saved 

for the duet theme, its short-long 

rhythm grown monumental. In the 

closing coda, this theme is transformed 

yet again: played very slowly 

in the woodwinds over shimmering 

strings. From this miraculously floats 

the F-A-F motto and the work’s bold 

opening theme; serenely, it ripples 

down through the orchestra like a 

benediction. 

Instrumentation: Symphony No. 3: Two flutes, 

two oboes, two clarinets, two bassoons, 

contrabasoon, four horns, two trumpets, three 

trombones, timpani and strings. 



The Baltimore Symphony Orchestra 

Symphony fund Honor Roll 

April 27, 2012 – June 27, 2013 

We are proud to recognize the BSO’s Symphony Fund Members whose generous gifts 

to the Annual Fund between April 27, 2012 – June 27, 2013 helped the Baltimore 

Symphony Orchestra further its mission: “To make music of the highest quality, 

to enhance Baltimore and Maryland as a cultural center of interest, vitality and 

importance and to become a model of institutional strength.” 

The Century CLub 

The BSO is funded by an operating grant from the 

Maryland State Arts Council, and agency dedicated to 

cultivate a vibrant cultural community where the arts thrive. 

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative 

annual giving of $100,000 or more plays a vital role in sustaining the Orchestra’s magnificent tradition of musical excellence. 

Marin Alsop 

The Baltimore Orioles 

Georgia and Peter Angelos 

The Baltimore Symphony Associates 

Marge Penhallegon, President 

Mayor and City Council of Baltimore 

The Citizens of Baltimore County 

Joseph and Jean Carando* 

BGE 


and Donna C. DeFontes 

Adalman-Goodwin Foundation 

Hilda Perl and Douglas* Goodwin, 

Trustees 

Hecht-Levi Foundation 

Ryda H. Levi* and Sandra 

Levi Gerstung 

Maryland Department of Business 

and Economic Development 

Maryland State Arts Council 

The Andrew W. Mellon Foundation 

Harvey M. Meyerhoff 

Joseph & Harvey Meyerhoff 

Family Charitable Funds 

Robert E. Meyerhoff and 

Rheda Becker 

Arts and Humanities Council 

of Montgomery County and 

Montgomery County Maryland 

National Endowment 

for the Arts 

Linda and Stanley* Panitz 

PNC 

Henry and Ruth Blaustein Rosenberg 

Foundation and the Estate of Ruth 

Marder* 

Howard A. and Rena S. Sugar* 

The Whiting-Turner Contracting 

Company 

Mr. and Mrs. Willard Hackerman 

Individuals founders circle 

$50,000 or more 

The Bozzuto Family Charitable Fund 

Jessica and Michael Bronfein 

Mr. and Mrs. Mark Joseph 

Mr. and Mrs. William Mulligan 

Alison and Arnold Richman 

Esther and Ben Rosenbloom 

Foundation, Michelle G. and 

Howard Rosenbloom 

Mr. and Mrs. Stephen D. Shawe 

Dr. and Mrs. Solomon H. Snyder 

Ms. Ellen Yankellow 

$25,000 or more 

Mr. and Mrs. George L. Bunting, Jr. 

Caswell J. Caplan Charitable 

Income Trusts, Constance R. Caplan 

Mr. and Mrs. Robert Coutts 

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

Bradley S. Eagle 

Sandra Levi Gerstung 

Mr. and Mrs. Kingdon Gould 

Mr. and Mrs. Benjamin H. Griswold, IV 

Mr. Joseph P. Hamper, Jr.* 

Mr. Howard Hansen 

The Sandra and Fred Hittman 

Philanthropic Fund 

The Huether-McClelland Foundation 

George and Catherine McClelland 

David and Marla Oros 

Scott Phares and Judy Witt Phares 

Dr. and *Mrs. Thomas Pozefsky 

Rifkin, Livingston, Levitan 

and Silver, LLC 

Mr. and Mrs. Alan M. Rifkin 

Bruce and Lori Laitman Rosenblum 

The Honorable Steven R. Schuh 

David and Chris Wallace 

Ellen W.P. Wasserman 

Individuals maestra’s circle 

$15,000 or more 

Anonymous (2) 

Donna and Paul Amico 

Herbert Bearman Foundation, Inc. 

Dr. Sheldon and Arlene Bearman 

The Dopkin-Singer-Dannenberg 

Foundation, Inc. 

Mrs. Margery Dannenberg 

George and Katherine Drastal 

Alan and Carol Edelman 

Ms. Susan Esserman and 

Mr. Andrew Marks 

Sara and Nelson Fishman 

Mr. and Mrs. Douglas Hamilton 

Michael G. Hansen and 

Nancy E. Randa 

Barbara Katz 

Mr. and Mrs. Stephen M. Lans 

Sarellen and Marshall Levine 

Hilary B. Miller and 

Dr. Katherine N. Bent 

Mr. and Mrs. Michael P. Pinto 

Arnold and Alison Richman 

Mr. George A. Roche 

Lainy LeBow-Sachs and 

Leonard R. Sachs 

Dr. and Mrs. Charles I. Shubin 

Richard C. and Julie I. Vogt 

Mr. and Mrs. William Wagner 

$10,000 or more 

Diane Abeloff and Emile A. Bendit 

“In honor of Margery Pozefsky” 

In memory of James Gavin Manson 

Anonymous (4) 

A&R Development Corporation 

Mr. and Mrs. Douglas Becker 

Mr. and Mrs. James Berg 

Mr. and Mrs. Ed Bernard 

Mr. and Mrs. A.G.W. Biddle, III 

Mr. Robert H. Boublitz 

Diane and Leland Brendsel 

Ms. Kathleen A. Chagnon and 

Mr. Larry Nathans 

Judith and Mark Coplin 

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

Chapin Davis Investments 

Rosalee C. and Richard Davison 

Foundation 

Mr. and Mrs. Anthony Deering 

Mr. and Mrs. James L. Dunbar 

Ms. Mary Haub 

Mr. and Mrs. H. Thomas Howell 

Drs. Riva and Marc Kahn 

Dr. and *Mrs. Murray Kappelman 

Mrs. Barbara Kines 

Mrs. Mary H. Lambert 

Therese* and Richard Lansburgh 

Dr. and Mrs. Yuan C. Lee 

Susan Liss and Family 

Mr. and Mrs. Samuel G. Macfarlane 

Howard Majev and Janet Brandt Majev 

Sally S. and Decatur H. Miller 

Drs. Virginia and Mark Myerson 

Mr. and Mrs. Bill Nerenberg 

Dr. Selvin Passen 

Arnold and Diane Polinger 

Mrs. Violet G. Raum 

Gar and Migsie Richlin 

Rona and Arthur Rosenbaum 

Alena and David M. Schwaber 

The Honorable and Mrs. 

James T. Smith, Jr. 

Joanne Gold and Andrew A. Stern 

Mr. and Mrs. Gideon N. Stieff, Jr. 

The Louis B. Thalheimer and Juliet A. 

Eurich Philanthropic Fund 

The Zamoiski-Barber-Segal Family 

Foundation 

* Deceased 




Carolyn Mills and Anne O’Hare join 

BSO Contrabassoonist David Coombs 

at a donor event in June. 

New Governing Members Elizabeth Jones 

and Steven Collier at a BSO dinner in 

Howard County. 

Donors enjoy a pre-concert meal at the last 

Allegretto Dinner of the season. 

Beverly Sager, Kate Caldwell, and Charles and 

Bernice Kelber attend the post-concert reception 

after the BSO’s Carnegie Hall performance. 

Governing Members 

Platinum, $7,500 or more 

Ms. Amy Elin Anderson 

Deborah and Howard M. Berman 

Drs. Sonia and Myrna Estruch 

Mr. Walter Budko 

Ms. Margaret Ann Fallon 

Mrs. Anne Hahn 

Mr. William La Cholter 

Sayra and Neil Meyerhoff 

Dr. and Mrs. Lawrence C. Pakula 

Dr. and Mrs. Anthony Perlman 

Helene and Bill Pittler 

Miss Joan M. Pristas* 

Neil J. and JoAnn N. Ruther 

Dr. and Mrs.* John H. Sadler 

Mr. and Mrs. W. Danforth Walker 

Mr. and Mrs. Loren Western 


Gold, $5,000 or more 

“In Memory of Carole L. Maier, 

Artist” 

Anonymous (1) 

Dr. and Mrs. Thomas E. Allen 

Mr. Frederick Apfel and Ms. 

Meredith Pattin 

Dr. and Mrs.* Wilmot C. Ball, Jr. 

Barry D. and Linda F. Berman 

John and Bonnie Boland 

Steven and Ann Loar Brooks 

Ms. Mary Catherine Bunting 

Mr. and Mrs. Robert Butler 

Mr. and Mrs. Arthur Chomas 

Nathan and Suzanne Cohen 

Foundation 

Mr. and Mrs. Albert R. 

Counselman, The RCM&D 

Foundation and RCM&D, Inc. 

Mr. and Mrs. Bernard Davis 

Faith and Marvin Dean 

Ronald E. Dencker 

Mr. Mark Fetting 

Andrea and Samuel Fine 

Susan W. Flanigan 

John Gidwitz 

Mr. Robert Gillison and Ms. 

Laura L. Gamble 

Sandra and Barry Glass 

Frances Goelet Charitable Trust 

Dr. and Mrs. Philip Goelet 

Betty E. and Leonard H. 

Golombek 

Sandra and Thomas Hess 

Mr. and Mrs. Richard E. Hug* 

Susan and David Hutton 

Susan and Stephen Immelt 

F. Reed and Kathleen Johnson 

Beth J. Kaplan and Bruce P. Sholk 

Mr. and Mrs. Harry Kaplan 

Eileen A. and Joseph H. Mason 

Dan and Agnes Mazur 

Norfolk Southern Foundation 

Drs. William and Deborah 

McGuire 

Margot and Cleaveland Miller 

Jolie and John Mitchell 

Elizabeth Moser 

Mr. and Mrs. Peter Muncie 

Mrs. Joy Munster 

Louise and Alvin Myerberg* / 

Wendy and Howard* Jachman 

Dr. A. Harry Oleynick 

Dr. and Mrs. David Paige 

Mrs. Margaret Penhallegon 

Dr. Todd Phillips and Ms. Denise 

Hargrove 

Dr. Jonas Rappeport and Alma 

Smith 

Dr. Scott and Frances Rifkin 

Jacob S. Shapiro Foundation 

Jane and Stan Rodbell, and 

James Shapiro 

Dr. John Rybock and Ms. Lee 

Kappelman 

Dr.* and Mrs. Marvin M. Sager 

Mr. and Mrs. J. Mark Schapiro 

M. Sigmund and Barbara K. 

Shapiro Philanthropic Fund 

Francesca Siciliano and Mark 

Green 

The Sidney Silber Family 

Foundation 

Mr. and Mrs. Harris J. Silverstone 

Melissa and Philip Spevak 

Ms. Patricia Stephens 

Dr. and Mrs. Carvel Tiekert 

Mr. and Mrs. Peter Van Dyke 

Mr. Edward Wiese 

Susan Wolman 

Aaron and Joanie Young 

Laurie S. Zabin 

Danielle and Jeffrey Zoller 


Silver, $2,500 or more 

“In memory of John T. 

Ricketts, III” 

“In memory of Reverend Howard 

G. Norton and Charles O. 

Norton” 

Anonymous (4) 

Dr. and Mrs. Robert J. Adams 

Julianne and George Alderman 

Mr. and Mrs. Edward J. Adkins 

Ms. Susan Angell 

Mr.* and Mrs. Alexander 

Armstrong 

Jackie and Eugene Azzam 

Mr. and Mrs. Thomas H.G. 

Bailliere, Jr. 

Susan and David Balderson 

Ms. Penny Bank 

Donald L. Bartling 

Dr. and Mrs. Theodore M. 

Bayless 

Mr. and Mrs. Stanley Ber 

Max Berndorff and 

Annette Merz 

Alan and Bunny Bernstein 

Dr. and Mrs. Mordecai P. 

Blaustein 

Mr. James D. Blum 

Dr. and Mrs. Paul Z. Bodnar 

Ms. Carol Bogash 

Robert L. Bogomolny and 

Janice Toran 

Carolyn and John Boitnott 

Mr. and Mrs. John M. Bond, Jr. 

Ava Lias-Booker and Earl Booker 

Dr. Helene Breazeale 

Dr. Rudiger and Robin 

Breitenecker 

Mr. and Mrs. Thomas H. 

Broadus, III 

Dr. and Mrs. Donald D. Brown 

Laura Burrows 

Loretta Cain 

Mr. and Mrs. S. Winfield Cain 

Campbell & Company 

James N. Campbell M.D. and 

Regina Anderson M.D. 

Cape Foundation 

Turner and Judy Smith 

Michael and Kathy Carducci 

Mr. and Mrs. Arthur Chomas 

Ms. Susan Chouinard 

Geri and David Cohen 

Mr. Harvey L. Cohen and Ms. 

Martha Krach 

Mrs. Miriam M. Cohen and Dr. 

Martin Taubenfeld 

Joan Piven-Cohen and Samuel T. 

Cohen 

Dr. and Mrs. Stephen P. Cohen 

Mr. and Mrs. Elbert Cole 

Wandaleen and Emried Cole 

Mr. and Mrs. John W. Conrad, Jr. 

David and Ellen Cooper 

Mrs. Rebecca M. Cowen-Hirsch 

Mr. and Mrs. William H. 

Cowie, Jr. 

Alan and Pamela Cressman 

Michael R. Crider 

Mr. and Mrs. Edward A. 

Dahlka, Jr. 

Dr. and Mrs. Cornelius Darcy 

Mr. and Mrs. William F. Dausch 

Dr. Karlotta M. Davis 

Richard A. Davis and Edith 

Wolpoff-Davis 

James H. DeGraffenreidt and 

Mychelle Y. Farmer 

Kari Peterson, Benito R. 

and Ben DeLeon 

Ms. Geraldine Diamond 

Drs. Susan G. Dorsey and 

Cynthia L. Renn in honor of 

Doris A. and Paul J. Renn, III 

Mr. and Mrs. A. Eric Dott 

Dr. and Mrs. Daniel Drachman 

Mr. and Mrs. Larry D. Droppa 

Bill and Louise Duncan 

Mr. and Mrs. Laurence Dusold 

The Eddie C. and C. Sylvia 

Brown Family Foundation 

Donna Z. Eden and 

Henry Goldberg 

Michaeline Fedder and Susan 

Arisman 

Mr. and Mrs. Maurice R. Feldman 

Mr. Stephen W. Fisher 

Winnie and Bill Flattery 

Dr. and Mrs. Jerome L. Fleg 

Ms. Lois Flowers 

Mr. and Mrs. John C. Frederick 

Mr. and Mrs. Kenneth Freed 

Jo Ann and Jack Fruchtman, Jr. 

John Galleazzi and Elizabeth 

Hennessey 

Constance A. Getzov 

Mrs. Ellen Bruce Gibbs 

Mr. and Mrs. Joseph S. 

Gillespie, Jr. 

Mr. Louis Gitomer 

Evee and Bertram Goldstein 

Brian and Gina Gracie 

Mrs. Ann Greif 

Dr. Diana Griffiths 

William and Barbara Gross 

Ms. Mary Therese Gyi 

Carole Hamlin and C. Fraser 

Smith 

Mr. Gary C. Harn 

Mr. James F. Hart 

Melanie and Donald Heacock 

Mr. John Healy 

Mr. and Mrs. Edward Heine 

Mr. Thomas Hicks 

Betty Jean and Martin* S. 

Himeles, Sr. 

Barbara and Sam Himmelrich 

Gina and Daniel Hirschhorn 

Bruce and Caren Beth Hoffberger 

Ms. Marilyn J. Hoffman 

Betsy and Len Homer 

Mr. and Mrs. J. Woodford 

Howard, Jr. 

Mr. and Mrs. A.C. Hubbard, Jr. 

Donald W. and Yvonne M. 

Hughes 

Mr. and Mrs. William Hughes 

Elayne and Benno Hurwitz 

Mrs. Wendy Jachman 

Dr. Richard T. Johnson 

Richard and Brenda Johnson 

Carrie Johnston 

Susan B. Katzenberg 

Louise and Richard Kemper 

Kent Family Foundation 

Suzan Russell Kiepper 

Mr. and Mrs. Young Kim 

Ms. Deborah Kissinger 

Mr. Richard Kitson 

Mr. Daniel Klein 

Dr. and Mrs. Richard A. Kline 

Paul and Susan Konka 

Dr. Morton D. Kramer 

Ms. Patricia Krenzke and Mr. 

Michael Hall 

Miss Dorothy B. Krug 

Mrs. Elaine Lebar 

Sandy and Mark Laken 

Dr. and Mrs. Donald Langenberg 

Andrew Lapayowker and Sarah 

McCafferty 

The Lavagnino Family 

Anna and George Lazar 

Claus Leitherer and Irina 

Fedorova 

Receive discounts to BSO performances or at the Symphony store and An Die Musik! 

Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org 



Ruth and Jay Lenrow 

Dr. Harry Letaw, Jr. and Mrs. 

Joyce W. Letaw 

Mr. Richard W. Ley 

Mr. and Mrs. Vernon L. Lidtke 

Dr. Frances and Mr. Edward 

Lieberman 

Darielle and Earl Linehan 

Ms. Louise E. Lynch 

Louise D. and Morton J. Macks 

Family Foundation, Inc. 

Genine Macks Fidler 

and Josh Fidler 

Dr. Frank C. Marino Foundation 

Diane and Jerome Markman 

Mr. and Mrs. Abbott Martin 

Donald and Lenore Martin 

Dr. Marilyn Maze and Dr. 

Holland Ford 

Drs. Edward and Lucille 

McCarthy 

Mrs. Kenneth A. McCord 

Mr. and Mrs. Scott A. 

McWilliams 

Paul Meecham and Laura Leach 

John Meyerhoff, MD and Lenel 

Srochi-Meyerhoff 

Sheila J. Meyers 

Judy and Martin Mintz 

Northern Pharmacy and 

Medical Equipment 

Jacqueline and Sidney W. Mintz 

Ms. Patricia J. Mitchell 

Drs. Dalia and Alan Mitnick 

Mr. and Mrs. Charles O. Monk, II 

Dr. and Mrs. C.L. Moravec 

Dr. Mellasenah Y. Morris 

Mr. and Mrs. Rex E. Myers 

Roy and Gillian Myers 

Phyllis Neuman, Ricka Neuman 

and Ted Niederman 

David Nickels and Gerri Hall 

Mr. and Mrs. Roger F. 

Nordquist 

In memory of the Rev Howard G. 

Norton and Charles O. Norton 

Number Ten Foundation 

Kevin and Diane O’Connor 

Drs. Erol and Julianne Oktay 

Ms. Margaret O'Rourke and Mr. 

Rudy Apodaca 

Mrs. Bodil Ottesen 

Mr. and Mrs. Frank Palulis 

Ellen and Stephen* Pattin 

Drs. Hans Pawlisch and Takayo 

Hatakeyama 

William and Kathleen Pence 

Beverly and Sam Penn 

Mr. and Mrs. James Piper 

Peter E. Quint 

Ms. Nancy Kohn Rabin 

Reverend and Mrs. Johnny 

Ramsey 

Mr. and Mrs. Frederick 

Rheinhardt 

Nathan and Michelle Robertson 

Mr. and Mrs. Richard Roca 

Stephen Root and Nancy Greene 

Mr. and Mrs. Charles Rowins 

Robert and Leila Russell 

Norm and Joy St. Landau 

Ilene and Michael Salcman 

Dr. Henry N. Sanborn 

Ms. Doris Sanders 

Lois Schenck and Tod Myers 

Marilyn and Herb* Scher 

Carol and James Scott 

Cynthia Scott 

Ida & Joseph Shapiro Foundation 

and Diane and Albert* Shapiro 

Mr. Stephen Shepard 

Dr. and Mrs. Ronald F. Sher 

Mr. Thom Shipley and Mr. 

Christopher Taylor 

Francine and Richard Shure 

Dr. and Mrs. Frederick Sieber 

Drs. Ruth and John Singer 

Ellwood and Thelma Sinsky 

David and Lesley Punshon-Smith 

Ms. Leslie J. Smith 

Ms. Nancy E. Smith 

Mr. and Mrs. Lee M. Snyder 

Dr. and Mrs. John Sorkin 

Dr. and Mrs. Charles S. Specht 

Joan and Thomas Spence 

Anita and Mickey Steinberg 

Mr. Edward Steinhouse 

James Storey and Janice Collins 

Mr. and Mrs. Dale Strait 

Ms. Harriet Stulman 

Susan and Brian Sullam 

Mr. and Mrs. Robert Taubman 

Dr. Ronald J. Taylor 

Mr. and Mrs. Terence Taylor 

Ms. Susan B. Thomas 

Paul and Karen Tolzman 

Dr. Jean Townsend and Mr. 

Larry Townsend 

In Memory of Jeffrey F. Liss, 

Dr. and Mrs. Henry Tyrangiel 

Martha and Stanley Weiman 

Mr. and Mrs. David Weisenfreund 

Ms. Beverly Wendland and Mr. 

Michael McCaffery 

Mr. and Mrs. Christopher West 

Ms. Camille B. Wheeler and Mr. 

William B. Marshall 

Ms. Louise S. Widdup 

Mr. and Mrs. Barry F. Williams 

Mr. and Mrs. T. Winstead, Jr. 

Laura and Thomas Witt 

Mr. and Mrs. Richard Wolven 

Drs. Yaster and Zeitlin 

Chris and Carol Yoder 

Mr. and Mrs. Aaron Young 

Mr. and Mrs. Michael Young 

Dr. and Mrs. Robert E. Zadek 

Symphony Society 

Gold, $1,500 or more 

David and Ursula Unnewehr 

“In memory of Laurel Jean 

Unnewehr” 

Mrs. Frank A. Bosworth Jr. 

“In honor of Marin Alsop” 

Anonymous (3) 

George and Frances Alderson 

Robert and Dorothy Bair 

Monsignor Arthur W. Bastress 

Patricia and Michael J. Batza, Jr. 

The Becker Family Fund 

Mr. and Mrs. John W. Beckley 

Dr. Robert P. Burchard 

Mr. and Mrs. John Carey 

Marilyn and David Carp 

Ms. Dawna Cobb and Mr. Paul 

Hulleberg 

Mr. and Mrs. Jonas M.L. Cohen 

Dr. and Mrs. Robert A. Cordes 

Nicholas F. Diliello 

Ms. Lynne Durbin 

Mrs. Nancy S. Elson 

Deborah and Philip English 

Kenneth and Diane Feinberg 

Mr. Ken French 

Mr. and Mrs. Leland Gallup 

Mr. and Mrs. Stanford Gann, Sr. 

Mr. Jonathan Gottlieb 

Sandra and Edward J. Gutman 

Mr.* and Mrs. E. Phillips 

Hathaway 

Mr. and Mrs. George B. Hess, Jr. 

Dr. Helmut Jenkner and Ms. 

Rhea I. Arnot 

Mr. Max Jordan 

Gloria B. and Herbert M. 

Katzenberg Fund 

Ms. Margaret F. Keane 

Colonel William R. Lee 

Ms. Gail G. and F. Landis 

Markley 

The Estate of Ms. Lauretta R. 

Maisel 

Mr. and Mrs. Jordon Max 

Mrs. Anne Miller 

Mr. Charles Miller 

Mrs. Mildred S. Miller 

Ms. Marita Murray 

Howard Needleman 

Mr. and Mrs. Robert C. Neiman 

Ms. Irene E. Norton and Dr. 

Heather T. Miller 

Steven and Sherri O'Donnell 

Mr. and Mrs. Thomas Parr 

Mr. and Mrs. Richard Parsons 

Mrs. J. Stevenson Peck 

Mr. and Mrs. Stephen Petrucci 

Mr. and Mrs. John Brentnall 

Powell 

Thomas Powell, M.D. 

Mr. Charles B. Reeves, Jr. 

Ms. Dorothy Reynolds 

Margaret and Lee Rome 

Joellen and Mark Roseman 

Dr. and Mrs. Saul D. Roskes 

Mr.* and Mrs. Nathan G. Rubin 

John B. Sacci and Nancy Dodson 

Sacci 

Beryl and Philip Sachs 

Mrs. Barbara K. Scherlis 

Ronnie and Rachelle Silverstein 

Ms. Sandra Sundeen 

Mr. and Mrs. Richard Swerdlow 

Ms. Joan Wah and Ms. Katherine 

Wah 

Mr. Charles E. Walker 

Janna Wehrle 

Mr. and Mrs. Sean Wharry 

Dr. and Mrs. E.F. Shaw Wilgis 

Dr. Richard Worsham and Ms. 

Deborah Geisenkotter 

Symphony Society 

Silver, $1,000 or more 

Dr. John Boronow and Ms. 

Adrienne Kols 

“In memory of John R.H. and 

Charlotte Boronow” 

Anonymous (6) 

Mr. and Mrs. Ronald Abrams 

Virginia K. Adams and Neal M. 

Friedlander, M.D. 

David and Bonnie Allan 

Mr. Paul Araujo 

Mr. and Mrs. Maurice Arsenault 

Leonard and Phyllis Attman 

Mrs. Jean Baker 

Balder Foundation 

Dr. and Mrs. Bruce Barnett 

Mr. and Mrs. Charles Berry, Jr. 

Mr. and Mrs. Albert Biondo 

Mr. Roy Birk 

Mr. and Mrs. John Blodgett 

Mr. and Mrs. Charles R. Booth 

Ms. Elizabeth W. Botzler 

Mr. and Mrs. Harry H. Boublitz 

David E. and Alice R. Brainerd 

M. Susan Brand and John Brand 

Shirley Brandman and Howard 

Shapiro 

Dr. and Mrs. Mark J. Brenner 

Barbara and Ed Brody 

Jean B. Brown 

Mr. Robert Brown 

Ms. Elizabeth J. Bruen 

Ms. Jeanne Brush 

Membership Benefits 

2013–2014 season 

A contribution to the Baltimore Symphony Orchestra 

qualifies you to special events and exclusive opportunities 

to enhance your BSO experience throughout the season: 

$75+ Bach Level Members 

• Two complimentary tickets to the Annual Donor Appreciation Event (R) 

• Opportunity to purchase tickets prior to public sale* 

• BSO Membership Card – 10% discount on music, books and gifts 

at the Symphony Store and An Die Musik 

• Invitation to one Open Rehearsal (R) 

$150+ Beethoven Level Members 

All of the above, plus… 

• Invitation to an additional Open Rehearsal (R) 

• Two complimentary drink vouchers 

$250+ Brahms Level Members 


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• Two additional complimentary tickets to the Annual Donor 

Appreciation Event (R) 

$500+ Britten Level Members 


• Invitation to the Premium “Evening” Open Rehearsal (R) 

• Donor recognition in one issue of Overture magazine 

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• NEW! Exclusive access to Musician Appreciation Events 

$1,000+ Symphony Society Members 


• Invitations to all Cast Parties, featuring BSO musicians and guest artists (R) 

• Year-long donor recognition in Overture magazine 

• Two complimentary passes to the Baltimore Symphony Associates’ 

Decorators’ Show House 

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

Governing Members Lounge 

• Invitation to Season Opening Gala (R/$) 

• Invitation to a Musicians’ Appreciation Event 

• NEW! Reduce rates for select BSO events 

$2,500+ Governing Members 


• Invitations to Governing Members On-Stage Rehearsals (R) 

• Governing Member exclusive pre-concert Allegretto Dinners (R/$) 

• Complimentary parking upon request through the Ticket Office 

• Season-long access to the Georgia and Peter G. Angelos 

Governing Members Lounge 

• VIP Ticket Concierge service including complimentary ticket exchange 

• Opportunity to participate in exclusive Governing Member 

trips and upcoming domestic tours (R/$) 

• Candlelight Conversations, intimate pre-concert dinners 

with stars from the BSO family (R/$) 

• Invitation to join Music Director Marin Alsop and Board Chairman 

at the BSO Electoral Meeting 

• Priority Box Seating at the Annual Donor Appreciation Concert 

$5,000+ Governing Members Gold 


• Complimentary copy of upcoming BSO recording signed 

by Music Director (one per season) 

• Exclusive events including Meet & Greet opportunities with BSO musicians 

and guest artists 

$10,000+ Maestra’s Circle 


• Exclusive and intimate events catered to this special group including 

post-concert receptions with some of the top artists in the world who 

are performing with the BSO 

• Formal Salon Dinner- Be our guests at the Springtime Soiree: 

Chamber Music & Dinner with Maestra Alsop & the BSO. 

Enjoy an Exclusive Maestra Circle event at a very special location. 

• One complimentary use of the GM Lounge facilities for hosting 

personal or business hospitality events ($) 

Support BSO and make a donation today! 

Email membership@BSO music.org 

or Call 410.783.8124 

(R) Reservation required $ Admission Fee * Some and concerts excluded 



Bohdan and Constance Bulawka 

Mrs. Edward D. Burger 

Dr. and Mrs. Arthur L. Burnett 

Mr. and Mrs. Bradley Callahan 

Mr. and Mrs. David Callahan 

Ms. Judy Campbell 

Ms. Marla Caplan 

Mr. and Mrs. Claiborn Carr 

Mr. James T. Cavanaugh, III 

Mr. David P. Chadwick and Ms. 

Rosalie Lijinsky 

Carey and Ann Cohen 

John and Donna Cookson 

Ms. Claudia Copeland 

Mr. and Mrs. Charles C. 

Counselman, Jr. 

Ms. Sally Craig 

Mr. and Mrs. Reagan Miller 

Crawford 

Mr. and Mrs. Jeffrey Crooks 

Mr. James Daily 

Mr. David O. Dardis 

Mr. and Mrs. Thomas Darr 

Mr. and Mrs. William C. Dee 

Reverend and Ms. DeGarmo 

Dr. and Mrs. Thomas DeKornfeld 

Dr. Alfred J. DeRenzis 

Mr. and Mrs. Mathias J. DeVito 

Walter B. Doggett, III 

Mrs. Marcia K. Dorst 

Dr. Sylvester Dziuba 

Mr. and Mrs. Stuart Elsberg and 

the Elsberg Family Foundation 

Mr. John Farrell 

Mr. Roy Ferguson 

Mr. and Mrs. Arthur Flach 

Dr. Charles W. Flexner and Dr. 

Carol Trapnell 

Ms. Patricia Foerster 

Dr. and Mrs. William Fox 

Kenneth Frank 

Virginia K. Adams and Neal M. 

Friedlander, M.D. 

Ms. Ethel W. Galvin 

Mr. George Garmer 

Mr. and Mrs. Austin George 

Mr. Ron Gerstley and Ms. Amy 

Blank 

Dr. and Mrs. Frank A. 

Giargiana, Jr. 

Mr. Price and Dr. Andrea Gielen 

Dr. and Mrs. Morton Goldberg 

Mr. Bruce Yale Goldman 

Mr. David A. Goldner 

Patrick and Catherine Goles 

Ms. Judith A. Gottlieb 

Mr. Alexander Graboski 

Robert Greenfield 

Donna and Gary Greenwald 

Mr. Charles H. Griesacker 

Ms. Fredye Wright Gross 

Mary and Joel Grossman 

Mr. and Mrs. Stuart Grossman 

Mr. and Mrs. Donald Gundlach 

Ms. Stephanie Hack 

Kenneth and Arlene Haddock 

Ms. Louise A. Hager 

Ms. Faith Hagerty 

Ms. Mary Hambleton 

Ms. Gloria Shaw Hamilton 

Ms. Paulette Hammond 

Dr. and Mrs. S. Elliott Harris 

Alexander Harvey, II 

Mr. Loring Hawes 

Mr. David Heckman 

Lloyd Helt and Ruth Gray 

Dr. Stephen L. Hilbert 

Mr. and Mrs. Martin Himeles 

Dr. R. Gary Hollenbeck 

Mr. Herbert H. Hubbard 

Ms. Elizabeth Huttar 

Drs. Paul and Deborah 

Young-Hyman 

Mr. and Mrs. Scott Jacobs 

Ms. Cecilia Januszkiewicz and Mr. 

M. Albert Figinski 

Dr. Helmut Jenkner and Ms. 

Rhea I. Arnot 

Ann H. Kahan 

Elizabeth Kameen 

Leon and Mary Buckley Kaplan 

Mrs. Harry E. Karr* 

Richard M. Kastendieck and Sally 

J. Miles 

Mr. Andrew Klein 

George and Catherine Klein 

Barbara and Marcel Klik 

Mr. and Mrs. Stewart Kohl 

Mr. and Mrs. Lawrence Koppelman 

Dr. and Mrs. Jeffrey Kremen 

Francine and Allan Krumholtz 

Mr. Charles Kuning 

Ms. Bonnie D. Kutch 

Dr. and Mrs. James LaCalle 

Ms. Rebecca Lawson 

Mr. Peter Leffman 

Mr. and Mrs. Charles F. Legters 

Nkiambi J. Lema 

Mr. Ronald P. Lesser 

Len and Cindy Levering 

Bernice and Donald S. Levinson 

Dr. and Mrs. Bernard Levy 

Ms. Joanne Linder 

Mr. and Mrs. K. Wayne Lockard 

Drs. David and Sharon Lockwood 

Mr. and Mrs. Arthur Lynch 

Ms. Mary MacDonald 

Susan J. Mathias 

Mrs. Linda M. McCabe 

McCarthy Family Foundation 

Mr. Chris McGeachy 

Ms. Michael R. McMullan 

Mr. Richard C. McShane 

David and Betty Meese 

Mr. Timothy Meredith 

Mr. Alan Merenbloom 

Daniel and Anne Messina 

Benjamin Michaelson, Jr. 

Mr. and Mrs. Gary Miller 

Caroline B. Mills and Dr. John A. 

Snyder 

Noah and Carol C. O'Connell 

Minkin 

Lester and Sue Morss 

Mr. Howard Moy 

Dr. William W. Mullins 

Ms. Marita Murray 

Jessica and David Nizamoff 

Anne M. O'Hare 

Mr. Garrick Ohlsson 

Mrs. S. Kaufman Ottenheimer 

Ms. Janet Parente 

Dr. and Mrs. Arnall Patz 

Dr. and Mrs. Frederick Pearson 

Mr. and Mrs. Morton B. Plant 

Robert E. and Anne L. Prince 

The Progress Family 

Foundation Inc. 

Dr. and Mrs. Richard Radmer 

Dr. G. Edward Reahl, Jr. 

Mr. Arend Reid 

Mr.and Mrs. B. Preston Rich 

Mr. Thomas Rhodes 

Mr. and Mrs. Thomas P. Rice 

Preston and Pamela Rich 

Carl and Bonnie Richards 

Mrs. Randall S. Robinson 

Margaret and Lee Rome 

Ann and Frank Rosenberg 

Mr. and Mrs. Robert Rosenberg 

Colonel Joseph H. Rouse 

Mr. and Mrs. Gilbert Sandler 

Mr. and Mrs. Benjamin Schapiro 

Mr. and Mrs. Albert S. 

Schlachtmeyer 

Ronald and Cynthia Schnaar 

Dr. Deborah Schwengel 

Ronald and Cathi Shapiro 

Mr. and Mrs. Robert W. Sharp 

Ms. Martha K. Shelhoss 

Mr. and Mrs. Daniel Shykind 

Elizabeth A. Skinner 

Mr. and Mrs. Robert Smelkinson 

Mr. and Mrs. Miles T. Smith 

Mr. and Mrs. Norman Smith 

Mr. and Mrs. Scott Smith 

Karen and Richard Soisson 

Mr. and Mrs. Jeffrey L. Staley 

Mr. Allan E. Starkey 

Herb and Constance Stiles 

Mr. and Mrs. Bruce Stuart 

Mrs. Janis Swan 

Mr. Brenan Swartz 

Lisa Tate 

Patricia Thompson and Edward 

Sledge 

Reid and Elizabeth Thompson 

William and Rosemary Toohey 

Dr. Robert E. Trattner 

Mr. and Mrs. David Traub 

Mr. and Ms. August Treff 

Dr. and Mrs. Eli Velder 

Robert and Sharonlee Vogel 

Mr. Richard Wachter 

Ms. Mary Frances Wagley 

Mr. and Mrs. Kent Walker 

Dr. Philip D. Walls 

Dr. Robert F. Ward 

Marilyn and David 

Warshawsky 

Mr. and Mrs. Jay Weinstein 

Drs. Susan and James Weiss 

Mr. John Hunter Wells 

Mrs. Margaret Wheeler 

Dr. Barbara White 

Mr. Michael White 

Jennifer and Leonard Wilcox 

Fred and Judy Wilpon 

Dr. and Mrs. Donald E. Wilson 

Mr. John W. Wood 

Dr. S. Lee Woods 

Dr. Richard Worsham and Ms. 

Deborah Geisenkotter 

Ms. Anne Worthington 

Ms. Jean Wyman 

Upcoming Member Events 

Opening Night 

Cast Party 

Friday, September 20 

Immediately following 

the performance 

Symphony Society Silver Members 

and higher ($1,200+) 

Celebrate the opening of our season 

after the BSO performs 

Rimsky-Korsakov’s Scheherazade 

and Tchaikovsky’s 1812 Overture! 

Join Maestra Marin Alsop and the 


Chorus in the Meyerhoff Lounge. 

On-Stage Rehearsal 

Thursday, October 17 

1:15pm Light refreshments 

2pm Rehearsal 

Governing Members Silver 

and higher ($3,000+) 

Sit beside your favorite musicians 

as the Orchestra rehearses 

Tchaikovsky’s Piano Concerto No. 1, 

with Arild Remmereit conducting 

and Nobuyuki Tsujii on piano. 

Allegretto Dinner 

Saturday, October 26 

6pm Cocktails 

6:30pm Dinner 

in The Second Space 

Symphony Society Gold Members 

and higher ($2,000+), $50 per person 

Featuring more BSO musicians and 

a reduced price this concert season! 

Join us for an evening of cocktails 

and appetizers, an elegant dinner, 

and your favorite BSO musicians 

prior to the performance of 

Brahms’ Third Symphony. 

Events subject to change. Please RSVP to MemberEvents@BSOmusic.org or 410.783.8074. 



Drs. Paul and Deborah 

Young-Hyman 

Dr. and Mrs. Jeffrey Zaller 

Corporations 

$10,000 or more 

American Trading & Production 

Corporation 

Bank of America 

Beltway Fine Wines 

DLA Piper US LLP 

IWIF 

Macy’s Foundation 

Saul Ewing LLP 

Travelers Foundation 

Wells Fargo Foundation 

$25,000 or more 

Paul M. Angell Family 

Foundation 

Jacob and Hilda Blaustein 

Foundation 

The Morris and Gwendolyn 

Cafritz Foundation 

Ann and Gordon Getty 

Foundation 

The Goldsmith Family 


Peggy & Yale Gordon Trust 

Young Artist Sponsor 

The William J. and Dorothy 

O’Neill Foundation 

The Salmon Foundation 

Corporate SPonsors 

$100,000 or more 

$5,000 or more 

D. F. Dent & Company 

Venable Foundation 

Zuckerman Spaeder LLP 


Ellin + Tucker, Chartered 

Federal Parking, Inc. 

Georgetown Paper Stock of 

Rockville 

S. Kann Sons Company 

Foundation 

Amelie and Bernei Burgunder 

The Washington Post 


Constantine Commercial 

Construction 

Eagle Coffee Company, Inc. 

Eyre Bus, Tour & Travel 

Gailes’ Violin Shop 

Harford Mutual Insurance 

Companies 

Johns Hopkins University 

Independent Can Company 

J.G. Martin Company, Inc. 

Mercer 

PSA Insurance and Financial 

Services 

Rosenberg Martin Greenberg, LLP 

SC&H Group, LLC 

Towson University 

Von Paris Moving & Storage 

Foundations 

$50,000 or more 

William G. Baker, Jr. Memorial 

Fund, Creator of the Baker 

Artist Award 

www.bakerartistawards.org 

The Hearst Foundation, Inc. 


Ryda H. Levi* and Sandra 

Levi Gerstung 

Ensign C. Markland Kelly, Jr. 

Memorial Foundation 

The Andrew W. Mellon 

Foundation 



Henry and Ruth Blaustein 

Rosenberg Foundation and the 

Estate of Ruth Marder* 

The Sheridan Foundation 

The Charles T. Bauer Foundation 

The Kenneth S. Battye 

Charitable Trust 

“In Honor of 

Kenneth S. Battye*” 

$10,000 or more 

Anonymous (1) 

The Arts Federation 

Baltimore Women’s 

Giving Circle 

Clayton Baker Trust 

Bunting Family Foundation 

Ruth Carol Fund 

The Annie E. Casey 

Foundation 

Deering Family Foundation 

Degenstein Foundation 

The Getty Education and 

Community Investment Grant 

Program, Supported by The 

League of American Orchestras 

and The Ann and Gordon 

Getty Foundation 

Francis Goelet Charitable Lead 

Trusts 

Hoffberger Foundation 

Betty Huse MD Charitable Trust 

Foundation 

John J. Leidy Foundation, Inc. 

The Letaw Family Foundation 

Macht Philanthropic Fund of the 

AJC 

Cecilia Young Willard Helping 

Fund 

Clark Winchcole Foundation 

Wright Family Foundation 


Anonymous (1) 

Cameron and Jane Baird 

Foundation 

The Charles Delmar Foundation 

Helen P. Denit Charitable Trust 

Edith and Herbert Lehman 


Rogers-Wilbur Foundation, Inc. 

Ronald McDonald House 

Charities of Baltimore, Inc. 

Jim and Patty Rouse Charitable 

Foundation 


ALH Foundation, Inc. 

The Campbell Foundation, Inc. 

The Eddie C. and C. Sylvia 

Brown Family Foundation 

Dr. Nathan H. Carliner Fund of 

the BCF 

The Aaron Copland Fund for 

Music 

Margaret O. Cromwell 

Family Fund 

The Harry L. Gladding 

Foundation 

Israel and Mollie Myers 

Foundation 

Judith and Herschel Langenthal 

Jonathan and Beverly Myers 


Anonymous (1) 

ACMP Foundation 

Baltimore Community 

Foundation 

Dimick Foundation 

The Ralph & Shirley Klein 


Ethel M. Looram Foundation, Inc. 

Rathmann Family Foundation 

Government Grants 

Mayor and City Council of 

Baltimore 

The Citizens of Baltimore County 

Carroll County Government 

& the Carroll County 

Arts Council 

Commonweal Foundation Fund 

of The Community Foundation 

for the National Capital Region 

The Family League of Baltimore 

City, Inc. 

$50,000 or more 

$25,000 or more 

Howard County Government & 

the Howard County Arts 

Council 

Maryland State Arts Council 

Maryland State Department 

of Education 

Arts and Humanities Council 

of Montgomery County 

National Arts and Humanities 

Youth Program 

National Endowment for the Arts 


and Economic Development 

Endowment 

The BSO gratefully 

acknowledges the generosity 

of the following donors who 

have given Endowment Gifts 

to the Sustaining Greatness and / 

or the Heart of the Community 

campaigns. 

Anonymous (6) 

Diane and Martin* Abeloff 

AEGON USA 

Alex. Brown & Sons Charitable 

Foundation 

Dr. and Mrs. Thomas E. Allen 

Eva and Andy Anderson 

Anne Arundel County Recreation 

and Parks Department 

William G. Baker, Jr. Memorial 

Fund 

Mr. H. Furlong Baldwin 

Baltimore Community 

Foundation 

Baltimore County Executive, 

County Council, and 

the Commission on Arts 

and Sciences 

The Baltimore Orioles 

Georgia and Peter Angelos 

The Baltimore Symphony 

Associates, 

Marge Penhallegon, President 

Patricia and Michael J. Batza, Jr. 

Henry and Ruth Blaustein 

Rosenberg Foundation 

The Jacob and Hilda Blaustein 

Foundation 

Mr. and Mrs. Bruce I. Blum 

Dr. and Mrs. John E. Bordley* 

Jessica and Michael Bronfein 

Mr. and Mrs. George L. 

Bunting, Jr. 

Laura Burrows 

Dr. and Mrs. Oscar B.* Camp 

Carefirst BlueCross BlueShield 

CitiFinancial 

Attend OUR EXCLUSIVE MEMBER EVENTS! 

Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org 




Legato Circle 

Marge Penhallegon 

“I decided to include the BSO 

in my estate plans because 

I feel strongly that music 

education needs to be provided 

for all children now, and in the 

future —for my grandchildren, 

and for their children.” 

Growing up in Philadelphia, Marge enjoyed the wonderful Philadelphia 

Orchestra under Eugene Ormandy with her parents and grandmother. 

These concerts made a strong impression on Marge and started her 

life-long love of music. At Shenandoah University, Marge majored in music 

education, and was recruited to Baltimore County Public Schools to teach 

in the Towson area. She brought her elementary students to hear the BSO 

often at various local high schools and later, the Lyric. 

While raising a family of her own, Marge became involved with the BSO 

Music for Youth programs, and began working with BSO narrator and Board 

member Rheda Becker to help shape the programs for children. For the past 

25 years, Marge has been active with the Education Committee, and since 

2000, she has enjoyed being active in the Baltimore Symphony Associates, 

serving as Symphony Decorators’ Show House Chair and beginning her 

third year as President. Recently retired from her career as a music educator 

and consultant, Marge is able to focus fully on her three grandchildren and 

love of music. 

Make a Musical Difference 

in the Lives that Follow 

We welcome the opportunity to discuss your philanthropic goals in concert 

with your family needs and today’s financial challenges. 

For further information, or to let us know you have included 

the BSO in your will or trust, please contact 

Katharine H. Caldwell, Director of Philanthropic Services 

at 410 . 783 . 8087 or kcaldwell@BSOmusic.org. 

Constellation 

Mr. and Mrs. William H. 

Cowie, Jr. 

Richard A. Davis and Edith 

Wolpoff-Davis 

Rosalee C. and Richard Davison 

Foundation 

Mr. L. Patrick Deering*, Mr. and 

Mrs. Albert R. Counselman, 

The RCM&D Foundation 

and RCM&D, Inc. 

DLA Piper Rudnick Gray 

Cary US LLP 

Carol and Alan Edelman 

Dr. and Mrs. Robert Elkins 

Deborah and Philip English 

Esther and Ben Rosenbloom 

Foundation 

France-Merrick Foundation 

Ramon F.* and Constance A. 

Getzov 

John Gidwitz 

The Goldsmith Family 


Joanne Gold and Andrew A. Stern 

Jody and Martin Grass 

Louise and Bert Grunwald 

H&S Bakery 

Mr. John Paterakis 

Harford County 


Ryda H. Levi* and Sandra Levi 

Gerstung 

Betty Jean and Martin* S. 

Himeles, Sr. 

Hoffberger Foundation 

Howard County Arts Council 

Harley W. Howell Charitable 

Foundation 

The Huether-McClelland 

Foundation 

Mr. and Mrs. Richard E. Hug 

Independent Can Company 

Beth J. Kaplan and Bruce P. Sholk 

Dr. and Mrs. Murray M. 

Kappelman 

Susan B. Katzenberg 

Marion I. and Henry J. Knott 

Scholarship Fund 

The Zanvyl and Isabelle 

Krieger Fund 

Anne and Paul Lambdin 

Therese* and Richard Lansburgh 

Sara and Elliot* Levi 

Bernice and Donald S. Levinson 

Darielle and Earl Linehan 

Susan and Jeffrey* Liss 

Lockheed Martin 

E. J. Logan Foundation 

M&T Bank 

Macht Philanthropic Fund 

of the AJC 

Mrs. Clyde T. Marshall 


& Economic Development 

The Maryland State Arts Council 

MD State Department of 

Education 

McCarthy Family Foundation 

McCormick & Company, Inc. 

Mr. Wilbur McGill, Jr. 

MIE Properties, Inc. 

Mr. Edward St. John 

Mercantile-Safe Deposit & Trust 



Sally and Decatur Miller 

Ms. Michelle Moga 

Louise and Alvin Myerberg* / 

Wendy and Howard* Jachman 

National Endowment for the Arts 

Mr. and Mrs. Bill Nerenberg 

Mrs. Daniel M. O’Connell 

Mr. and Mrs. James P. O’Conor 

Stanley* and Linda Hambleton 

Panitz 

Cecile Pickford and John MacColl 

Dr. Thomas and *Mrs. Margery 

Pozefsky 

Mr. and Mrs. T. Michael Preston 

Alison and Arnold Richman 

The James G. Robinson Family 

Mr. and Mrs. Theo C. Rodgers 

Mr. and Mrs. Randolph S. 

Rothschild* 

The Rouse Company Foundation 

Nathan G.* and Edna J. Rubin 

The Rymland Foundation 

S. Kann Sons Company 


B. Bernei Burgunder, Jr. 

Dr. Henry Sanborn 

Saul Ewing LLP 

Mrs. Alexander J. Schaffer 

Mr. and Mrs. J. Mark Schapiro 

Eugene Scheffres and 

Richard E. Hartt* 

Mrs. Muriel Schiller 

Dorothy McIlvain Scott* 

Mrs. Clair Zamoiski Segal and Mr. 

Thomas Segal 

Ida & Joseph Shapiro Foundation 

and Diane and Albert Shapiro 

Mr. and Mrs. Earle K. Shawe 

The Sheridan Foundation 

Richard H. Shindell and Family 

Dr. and Mrs. Solomon H. Snyder 

The St. Paul Companies 

Barbara and Julian Stanley 

T. Rowe Price Associates 


The Alvin and Fanny Blaustein 

Thalheimer Guest Artist Fund 

Alvin and Fanny B. Thalheimer 


TravelersGroup 

The Aber and Louise Unger Fund 

Venable LLP 

Wachovia 

Robert A. Waidner Foundation 

The Whiting-Turner Contracting 

Company 

Mr. and Mrs. Willard 

Hackerman 

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

and Mrs. Bruce P. Wilson 

The Zamoiski-Barber-Segal Family 

Foundation 

* Deceased 




Board of Directors & Staff 

Board of Directors 

Officers 

Chairman 

Kenneth W. DeFontes, Jr.* 

Secretary 

Kathleen A. Chagnon, Esq.* 

Vice Chair 

Lainy LeBow-Sachs* 

President and CEO 

Paul Meecham* 

Treasurer 

The Honorable Steven R. Schuh* 

Board Members 

A.G.W. Biddle, III 

Barbara M. Bozzuto* 

Constance R. Caplan 

Robert B. Coutts 

Alan S. Edelman* 

Susan G. Esserman* 

Michael G. Hansen* 

Murray M. Kappelman, M.D. 

Stephen M. Lans 

Sandra Levi Gerstung 

Ava Lias-Booker, Esq. 

Susan M. Liss, Esq.* 

Howard Majev, Esq. 

Liddy Manson 

Hilary B. Miller 

David Oros 

Marge Penhallegon † 

President, Baltimore Symphony 

Associates 

Michael P. Pinto 

Cynthia Renn † 

Governing Members Chair 

Scott Rifkin, M.D. 

Ann L. Rosenberg 

Bruce E. Rosenblum* 

Stephen D. Shawe, Esq. 

The Honorable James T. Smith, Jr. 

Solomon H. Snyder, M.D.* 

Andrew A. Stern 

William R. Wagner 

Jeffrey Zoller † 

Chair, Baltimore Symphony Youth 

Orchestras 

Life Directors 

Peter G. Angelos, Esq. 

Willard Hackerman 

H. Thomas Howell, Esq. 

Yo-Yo Ma 

Harvey M. Meyerhoff 

Decatur H. Miller, Esq. 

Linda Hambleton Panitz 

Directors Emeriti 

Barry D. Berman, Esq. 

Richard E. Hug 

M. Sigmund Shapiro 

Chairman 

Laureate 

Michael G. Bronfein 

Calman J. Zamoiski, Jr. 

Board of Trustees 

Baltimore Symphony Endowment 

Trust 

Benjamin H. Griswold, IV 

Chairman 

Terry Meyerhoff Rubenstein 

Secretary 

Michael G. Bronfein 


Mark R. Fetting 

Paul Meecham 

The Honorable Steven R. Schuh 

Calman J. Zamoiski, Jr. 

* Board Executive Committee 

† Ex-Officio 

Staff 

Paul Meecham 

President and CEO 

Leilani Uttenreither 

Executive Assistant 

John Verdon 

Vice President and CFO 

Eileen Andrews 

Vice President of Marketing 

and Communications 

Carol Bogash 

Vice President of Education 

and Community Engagement 

Dale Hedding 

Vice President of Development 

Matthew Spivey 

Vice President of Artistic Operations 

ARTISTIC 

OPERATIONS 

Toby Blumenthal 

Manager of Facility Sales 

Tiffany Bryan 

Manager of Front of House 

Patrick Chamberlin 

Artistic Coordinator 

Anna Harris 

Operations Assistant 

Chris Monte 

Assistant Personnel Manager 

Tabitha Pfleger 

Director of Operations and Facilities 

Marilyn Rife 

Director of Orchestra Personnel 

and Human Resources 

Meg Sippey 

Artistic Planning Manager and Assistant 

to the Music Director 

DEVELOPMENT 

Megan Beck 

Donor Stewardship Coordinator 

Adrienne Bitting 

Development Assistant 

Allison Burr-Livingstone 

Director of the BSO Campaign 

for the Second Century 

Kate Caldwell 

Director of Philanthropic Services 

Stephanie Johnson 

Manager of Annual Giving, 

BSO at Strathmore 

Joanne M. Rosenthal 

Director of Major Gifts, 

Planned Giving and 

Government Relations 

Valerie Saba 

Institutional Giving Coordinator 

Rebecca Sach 

Director of the Annual Fund 

Richard Spero 

Community Liaison for BSO 

at Strathmore 

EDUCATION 

Nicholas Cohen 

Director of Community Engagement 

Annemarie Guzy 

Director of Education 

Larry Townsend 

Education Assistant 

OrchKids 

Dan Trahey 

Artistic Director 

Nick Skinner 

OrchKids Manager 

Rafaela Dreisin 

OrchKids Site Coordinator 

Kassandra Lord 

OrchKids Site Coordinator 

Baltimore Symphony 

Youth Orchestras 

Ken Lam 

Artistic Director and Conductor of YO 

MaryAnn Poling 

Conductor of CO 

Michael Gamon 

Conductor of SO 

Alicia Kosack 

Operations Manager 

FACILITIES 

OPERATIONS 

Shirley Caudle 

Housekeeper 

Bertha Jones 

Senior Housekeeper 

Curtis Jones 

Building Services Manager 

Ivory Miller 

Maintenance Facilities 

FINANCE 

and INFORMATION 

TECHNOLOGY 

Sarah Beckwith 

Director of Accounting 

Sophia Jacobs 

Senior Accountant 

Janice Johnson 

Senior Accountant 

Evinz Leigh 

Administration Associate 

Chris Vallette 

Database and Web Administrator 

Donna Waring 

Payroll Accountant 

Jeff Wright 

Director of Information Technology 

MARKETING 

and PUBLIC 

RELATIONS 

Rika Dixon 

Director of Marketing and Sales 

Laura Farmer 

Public Relations Manager 

Derek A. Johnson 

Manager of Single Tickets 

Bryan Joseph Lee 

Direct Marketing Coordinator 

Alyssa Porambo 

PR and Publications Coordinator 

Adeline Sutter 

Group Sales Manager 

Elisa Watson 

Graphic Designer 

TICKET SERVICES 

Amy Bruce 

Director of Ticket Services 

Timothy Lidard 

Manager of VIP Ticketing 

Juliana Marin 

Senior Ticket Agent for Strathmore 

Peter Murphy 

Ticket Services Manager 

Michael Suit 

Ticket Services Agent 

Thomas Treasure 

Ticket Services Agent 

BALTIMORE 

SYMPHONY 

ASSOCIATES 

Marge Penhallegon 

President 

Florence McLean 

Secretary 

Barbara Kelly 

Treasurer 

Kitty Allen 

Parliamentarian 

Winnie Flattery 

Immediate Past President 

Kitty Allen 

Vice President, Communications 

Regina Hartlove 

Vice President, Education 

Louise Higgins 

Vice President, Meetings/Programs 

Barbara Dent 

Vice President, Recruitment/ 

Membership 

Sandy Feldman 

Vice President, Special Services/Events 

Larry Albrecht 

Vice President, Symphony Store 

Louise Reiner 

Office Manager 

Theresa Kopasek 

Marketing and PR Associate 


{ Impromptu 

Laura Farmer 

Rheda Becker 

BSO Narrator 

For generations, she’s been the voice 

of the orchestra. 

As 40 bright-yellow school buses lined the street outside 

the Meyerhoff, hundreds of chattering, wide-eyed 

children began to pour into the concert hall. As the lights 

dimmed, the din of little voices coming from the more 

than 2,000 elementary school students gave way to an 

expectant silence and a warm, friendly voice was heard 

over the loudspeakers: “Good morning and welcome to 

the Joseph Meyerhoff Symphony Hall. I'm Rheda Becker 

and it is my pleasure to be your narrator this morning.” 

It’s a line that Becker has had a little while to perfect— 

this season, the BSO’s beloved narrator celebrates her 

40th anniversary. 

“I’ve seen and done so many interesting things with the 

BSO throughout these past 40 years,” says Becker. 

This list of “interesting things” includes touring with 

the orchestra to what was then East Germany and 

preparing regular trip updates for NPR’s All Things 

Considered, serving on the Education Committee, 

supporting the OrchKids program, and narrating 

more than 1,500 concerts, including everything from 

major classical works and the Oregon Ridge outdoor 

programs to the youth concerts for which today’s 

audiences know her best. 

In fact, it was Prokofiev’s sprightly Peter and the Wolf, a 

perennial youth-concert favorite, that initially piqued 

Becker’s interest in narration. “As a young child, I got a 

recording of Prokofiev’s Peter and Wolf and fell in love 

with it. I always dreamt of being the person who narrated 

this work.” And she worked hard to realize that dream. 

“I decided to go to Peabody to study narration. You 

see, nobody studied that at the time; narrators were 

merely actors or radio or television personalities. So I 

crafted my own program.” 

The dream came true in 1974 when former BSO 

Music Director Sergiu Comissiona was made aware 

of her work and in 1974 invited Becker to narrate 

Prokofiev’s vivid Peter and the Wolf. 

In addition to being the BSO’s narrator, Becker 

was one of the early supporters of the BSO’s 

OrchKids program. Shown with Becker are 

Alexia Redd on bass, Aaron Palmer on saxophone, 

Keyona Carrington on clarinet, Lowrider James 

on tuba, and Marvin Jones-Tobin on violin. 

And eventually, she gained some rather animated costars. 

“Now, we perform the work with the Bob Brown 

Puppets. Their delightful antics work perfectly with the 

music. This past season, the Bob Brown Puppets and I 

celebrated our 100th performance with the BSO! But 

no matter how many times I perform Peter and the Wolf, 

I still find the music enchanting. I remain under its spell.” 

Mitro Hood 


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