November–December 2012 - Baltimore magazine

November– December 2012 

HAIRSS A AY 

HAIR 

Marin Alsop, Music Director 

A mAgAzine for the pAtrons of the BAltimore symphony orchestrA 

Y Strikes Strikes 

Again! Again! 

John Waters 

takes the stage 

for the BSO rebirth 

of the edgy classic. 

Madeline adkinS: 

FOStering a Future 

FOr FelineS 

the canadian 

tenOrS: tiMe Out 

With the StarS 

all the detailS 

On a terriFic 

hOliday OF MuSic

“MUSIC FOR THE 

NEXT 500 YEARS.” 

EDWARD POLOCHICK, Artistic Director 

THE MAESTRO SERIES 

for Orchestra and Chorus 

JANUARY 12, 2013 

Saturday | 8 pm 

Sponsored by the Peggy & Yale Gordon Trust 

Gordon Center For Performing Arts 

Copland: Appalachian Spring 

Copland: Three Old American Songs 

Barber: Adagio 

Respighi: Ancient Airs and Dances, 

Suite III 

Vaughan Williams: The Lark Ascending 

JOSÉ MIGUEL CUETO, Violin 

MARCH 23, 2013 

Saturday | 8 pm 

Spon. by the Adalman-Goodwin Foundation 

Miriam A. Friedberg Hall | Peabody 

Beethoven: Mass in C 

Saint-Saëns: Piano Concerto No. 2 

ERIC ZUBER, Piano 

TICKETS $28 ADULT $25 SENIOR/BALCONY 

visit cabalto.org to learn about CAB’s new series: 

THE LYCEUM SERIES FAMILY FUN SERIES 

THE MANSION SERIES 

Chamber Music at the Garrett-Jacobs Mansion 

FEBRUARY 17, 2013 

Sunday | 2:30 pm 

Sponsored by Mr. & Mrs. Charles H. Berry Jr. 

THE MENDELSSOHN TRIO 

Mozart: Piano Quartet in G minor 

Mozart: Piano Quartet in Eb Major 

PETER SIROTIN, Violin 

MICHAEL STEPNIAK, Viola (guest) 

FIONA THOMPSON, Cello 

YA-TING CHANG, Piano 

APRIL 7, 2013 

Sunday | 2:30 pm 

Sponsored by Mr. & Mrs. Charles H. Berry Jr. 

The Garrett-Jacobs Mansion The Garrett-Jacobs Mansion 

MILLER-PORFIRIS DUO 

Bruch: Eight Pieces 

Castelnuovo-Tedesco: Sonata for 

Violin and Viola 

Wallen: Five Postcards 

ANTON MILLER, Violin 

RITA PORFIRIS, Viola 

with EDWARD POLOCHICK, Piano 

TICKETS $22 ADULT $20 SENIOR 

SCAN THIS QR CODE AND BUY YOUR TICKETS NOW 

410.625.3525 | WWW.CABALTO.ORG

contents 

DePartmeNts 

2) Letter from the President & ceo 

4) In Tempo: News of Note 

6) bSo Live: calendar of events 

14) orchestra roster 

36) Donors List 

44) Impromptu: madeline Adkins, 

Associate concertmaster 

Program Notes 

15) beethoven’s Fifth 

November 8 & 11 

18) beethoven’s Fifth: off the cuff 

November 10 

19) 

Lyrical Dvorˇák & brahms 

November 15 & 16 

22) The canadian Tenors 

November 23, 24 & 25 

24) elgar cello concerto 

November 30 & December 1 

30) Handel’s messiah 

December 7 

33) vienna boys choir 

December 8 

34) Holiday Pops 

December 13, 14, 15 & 16 

8 

Features 

oN the Cover John Waters comes to the Meyerhoff. 

Photography by Cory Donovan. Make-up by Rachel Hirsch. 

Hair by Vanessa Moser. 

8) 

6 

{the CaNaDiaN teNors 

Breathing new life into an 

old genre of music. 

One on One: 

The Canadian Tenors 

by Christianna McCausland 

They’re classic plus contemporary plus a dash of charm. 

10) Hairspray Strikes Again 

by Martha thoMas 

Waters’ iconic story gets the full treatment by the BSO. 

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. 

10 

November–December 2012 | 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 

christianna mccausland 

martha Thomas 

Research 

rebecca Kirkman 

Advertising 

Account Representatives 

Anne miller 

amiller316us@yahoo.com 

443.465.1616 

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 

2 Overture | WWW.bSomuSIc.org 

{ From the President 

Welcome 

As we approach the end of the year, it is worth reflecting on the successes of 2012. From educational 

initiatives to captivating performances here at the Hall, the BSO has much to celebrate. 

June 2012 marked the third—and most successful—year of the BSO Academy. For a full week, 

the intensive program brought fresh new energy to the hall as 104 participants met, rehearsed and 

performed side by side with Orchestra members and Maestra Marin Alsop. Notably, the Academy 

garnered national coverage in The New York Times when writer Dan Wakin joined as a participant. Of 

his experience, Mr. Wakin, an amateur clarinetist, wrote: “The academy was a kind of fantasy camp, 

better known to rock and baseball fans. But unlike air-guitar- 

“we Are very 

AppreCiATive 

Of All THAT 

yOu dO.” 

ists or flabby softball players, we faced a high level of intensity 

from the start. The music was difficult, even for the pros many 

of us hoped to keep up with.” 

Earlier in the year, the BSO embarked on its first tour to 

the West Coast since 1988, performing first at the Segerstrom 

Center for the Arts in Costa Mesa and then at Zellerbach Hall 

for three concerts including an education residency presented 

by Cal Performances at the University of California in Berkeley. The final stop was a homecoming for 

Maestra Alsop in Eugene, Oregon, where she was music director in the 1990s. 

Additional successes include the release of Béla Bartók’s Music for Strings, 

Percussion, and Celesta and Gustav Mahler’s Symphony No. 1, “Titan,” on the 

NAXOS label. And, most recently, the OrchKids afterschool program was 

featured as part of PBS’s Arts and The Mind documentary, which explored the 

effects of the arts on human development and behavior. 

There is so much more to look forward to this season including upcoming 

performances of The Nutcracker (Dec. 21–22), a unique collaboration between 

the BSO, ballet dancers of Baltimore School for the Arts, student artists of 

MICA and The Modell Center for the Performing Arts at the Lyric. 

Of course, none of this would be possible without your patronage 

and generous financial support. These remain challenging financial 

times for non-profits and this is the time of year when we ask you 

please to consider a gift or additional gift by December 31. 

On behalf of Marin Alsop and the musicians of the BSO, 

we are very appreciative of all that you do. 

As always, we wish you and your family a safe and 

happy holiday season. 

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 21st 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

2012-2013 season 

DECEMBER 16 

Sun 6:30pm 

FEBRUARY 19 

7:30pm 

JANUARY 5 & 6 

Tickets Make a Great Gift! 

Smokey 

Robinson 

JANUARY 18 

Due to the nature of entertainment, all times and 

events subject to change without prior notice. 

Sat 8:00pm | Sun 1:00pm | Sun 5:30pm 

MARCH 22-24 

Fri 8:00pm | Sat 2:00pm & 8:00pm | Sun 1:00pm 

(410) 547-SEAT 

(410) 900-1150 

Box Office (M-F 10am-4pm) 

For a full listing, visit modellpac.com

{ 


in t e m p o 

news of note 

{In Play} 

reTurn of the ruStyS! 

the annual rusty Musicians with the BSo will return to the 

meyerhoff on Tuesday, november 13! This much-anticipated 

event provides community musicians with the opportunity 

to play side-by-side with the orchestra under music Director 

marin alsop. This year, approximately 90 un-auditioned 

string, brass, wind and percussion instrumentalists will 

participate in rehearsals and a performance of selections 

from Tchaikovsky’s Symphony no. 6 and Verdi’s Il Trovatore, 

Macbeth, Don Carlos and Messa da Requiem. 

of special note, for the first time ever, 50 rusty Singers will 

share the stage to rehearse and perform the iconic Verdi choral 

works. With no audition required, the BSo will bring together 

sopranos, altos, tenors and basses from across the community. 

BIll DennISon 

OrchKids 

{In Touch} 

DiD you 

kNow? 

The Rusty Musicians 

perform on Nov. 13 

This one-night only chorus will sing under the baton of maestra 

alsop and with the Baltimore Symphony, an experience often 

open only to professionals. Partnering with the Heritage 

Signature chorale and choral conductor Stanley Thurston, 

the BSo will provide the rusty Singers with an inspiring 

side-by-side choral experience. 

rusty musicians celebrates the BSo’s vibrant relationship 

with the community and musicians of all levels. as one participant 

described the on-stage experience with the BSo, “It is like jumping 

inside of a painting or work of art you have admired for years.” 

For registration information, please visit BSOmusic.org/rusty. 

On December 12, 2012, a group of the BSO’s OrchKids will perform 

at Carnegie Hall in New York City! As part of a national El Sistema 

summit, the students will participate in a day-long Seminario, an intensive, 

project-based musical retreat full of teaching and performance 

with members of the Simon Bolivar Symphony Orchestra of Venezuela. 

The day is presented in partnership with the Orchestra of St. Luke’s. 

Tracey BroWn

{In The SPIr IT} 

{In hISTory} 

on December 25, 1870, richard Wagner premiered his Siegfried idyll, as a 

gift to his wife, cosima. on that christmas morning, Hans richter played the trumpet and 

Wagner conducted an ensemble from the top of the staircase in their home. The piece 

was named for their six-month-old son, who also became a composer. 

BSo ParTnerS WITH 

ParSonS THe neW 

ScHool for DeSIgn 

IS a neW BSo look on THe Way? 

the Baltimore Symphony Orchestra and music Director marin alsop 

are passionate about breaking down barriers that separate orchestras 

from their audiences. In keeping with that vision, maestra alsop has 

funded a pilot partnership with Parsons The new School for Design to 

develop a re-imagining of traditional concert dress. This semester-long 

collaborative studio will investigate new fashions and wearable technologies 

that emphasize a networked world of musicians, audiences, the 

music being performed and the concert hall facility. 

Sixteen Parsons students are spending the fall 2012 semester 

exploring the intersection of fashion design and technology under the 

direction of faculty members Dr. Sabine Seymour and Scott Peterman. 

The final product will result in a December reveal of 5–10 prototypes 

of new concert attire for men and women. This project is the first stage 

in a long-term BSo-Parsons partnership that emphasizes new thinking 

and innovative design, from community programming to the concert hall 

environment, to help shape and advance an orchestra in the 21 st century. 

CuE uP ThE DESiGNERS 

On September 14, 2012, Parsons students and 

instructors traveled to the Meyerhoff to observe 

Orchestra musicians, analyze their motions and 

begin to conceptualize a fashionable attire that 

integrates new fabrics and wearable technologies. 

Below, dr. Sabine Seymour and Scott Peterman 

discuss their visions with the group, which included 

Maestra Marin alsop. 

{In STeP} 

BalTImore 

SymPHony 

aSSocIaTeS’ 

symPhony 

homes for the 

holidays 

Monkton Mill 

Get in the holiday spirit with the Baltimore 

Symphony Associates, who host their “Symphony 

Homes for the Holidays,” November 29 through 

December 1, 2012! Approximately 2,000 people 

attend this seasonal tour of Maryland’s most historic 

and elegant homes. Homeowners lend the use 

of the first floor to be decorated by local professional 

floral designers and talented amateur garden-club 

members for visitors to tour and enjoy. 

Guests can peruse the boutique located at the 

tour’s start to purchase seasonal gifts and specialty 

decorations, and visit the holiday snack shop for hot 

and cold drinks, pastries and other treats. All proceeds 

benefit the education programs of the BSO. 

Starting at The Monkton Mill, located at 2019 

Monkton Rd., Monkton, Md. 21111, guided tours 

are available from 10 a.m. to 4 p.m. daily. Tickets 

are $30 at the door or may be purchased off-site for 

$25 at Graul’s Markets and the BSO ticket office. 

For additional information, call the BSa office 

at 410.783.8023. 


BSolive 

Off the Cuff 

rachmaninoff’s 

third Piano concerto 

SAT, JAN 19, 2013, 7pm 

marin alsop, conductor 

Garrick ohlsson, piano 

upcoming key events 

January/February all concerts are held at the Joseph Meyerhoff Symphony hall unless otherwise noted. 

Prokofiev: 

Alexander Nevsky 

alexander nevsky 

FrI, JAN 11, 2013, 8pm 

SuN, JAN 13, 2013, 3pm 


irina tchistjakova, mezzo-soprano 

Baltimore Choral arts Society 

tom Hall, director 

Prokofiev: alexander Nevsky 

Sergei Prokofiev’s music for Sergei 

eisenstein’s classic motion picture 

alexander Nevsky is one of the most 

magnificent ever composed. The bSo 

and baltimore choral Arts Society 

accompany this historic film as they 

perform Prokofiev’s rousing score. 

ravishing 

rachmaninoff 

THurS, JAN 17, 2013, 8pm 

SuN, JAN 20, 2013, 3pm 


Garrick ohlsson, piano 

rachmaninoff: isle of the Dead 

rachmaninoff (orch. respighi): 

Cinq Études-tableaux 

rachmaninoff: Piano Concerto 

No. 3 

The music of rachmaninoff has 

touched the heart for generations. 

The phenomenal garrick ohlsson 

joins marin Alsop to perform 

rachmaninoff’s tour de force, 

the Third Piano concerto. 


Garrick Ohlsson 

rachmaninoff: Piano Concerto No. 3 

His music is at once romantic and 

modern. The russian master who 

spent his twilight years in America. 

Now, 70 years after his passing, 

marin Alsop explores how rachmaninoff’s 

music moves us more 

deeply than ever with the help of 

piano great garrick ohlsson. 

BSO SuperPops 

hairspray in concert 

FrI, JAN 25, 2013, 8pm 

SAT, JAN 26, 2013, 3pm; 8pm 

SuNDAy, JAN 27, 2013, 3pm 

Jack everly, conductor 

John Waters, narrator 

“you can’t stop the beat” in the world 

premiere of this semi-staged concert 

production featuring full orchestra, 

vocalists and baltimore’s own John 

Waters as narrator. relive this quirky 

classic through your favorite songs 

from the musical that follows a young 

girl’s dream to star in a dance show as 

she ends up changing the world. 

Pictures 

at an exhibition 

THurS, JAN 31, 2013, 8pm 

FrI, Feb 1, 2013 , 8pm 

Yan Pascal tortelier, conductor 

orion Weiss, piano 

Hindemith: Concert music for 

Strings and Brass 

mozart: Piano Concerto No. 27 

mussorgsky (arr. ravel): Pictures at 

an exhibition 

Few works can match Pictures at an 

exhibition for orchestral color, sonic 

impact or sheer excitement. experience 

it live along with mozart’s final 

piano concerto with orion Weiss in 

his eagerly-anticipated return. 

Stephen hough 

plays liszt 

FrI, Feb 8, 2013, 8pm 

SAT, Feb 9, 2013, 8pm 

Hannu lintu, conductor 

Stephen Hough, piano 

tchaikovsky: Francesca da rimini 

liszt: Piano Concerto No. 2 

Sibelius: Symphony No. 2 

“exhilarating,” says Classical CD of 

Stephen Hough. “Interpretations that 

demand to be heard.” experience the 

virtuosity of pianist Stephen Hough 

in Franz Liszt’s blistering Piano 

concerto No. 2. 

Wagner’s Walküre 

FrI, Feb 15, 2013, 8pm 

SuN, Feb 17, 2013, 3pm 


Heidi melton, Sieglinde 

Brandon Jovanovich, Siegmund 

eric owens, Hunding 

Wagner: Die meistersinger: Prelude 

to act i 

Wagner: tristan und isolde: Prelude 

and liebestod 

Wagner: Die Walküre: act i 

Wagner’s fiery First Act of Die 

Walküre is a drama unto itself, a selfcontained 

tale of vengeance waged, 

and love triumphantly won. 

BSO SuperPops 

the Best of Broadway 

with ashley Brown 

FrI, Feb 22, 2013, 8pm 

SAT, Feb 23, 2013, 8pm 

SuN, Feb 24, 2013, 3pm 

Jack everly, conductor 

ashley Brown, vocalist 

} 

broadway’s original mary Poppins 

performs selections from the great 

White Way. Ashley brown commands 

the stage, lending stunning richness 

to beloved broadway hits including 

“make Someone Happy,” “A Spoon 

Full of Sugar,” “Someday my Prince 

Will come,” “Le Jazz Hot” and more. 

Ashley Brown 

JImmy aSneS (BroWn); Paul BoDy (oHlSSon)

“ 

I’m a thrill-seeker: skiing, 

kayaking and performing 

live in front of 2,443 

music lovers...” 

Ivan Stefanovic, Assoc. Principal 2 nd Violin 

Read Ivan Stefanovic’s story at 

BSOmusic.org/IvanStefanovic

{oneonone} 

time out with 

the tenors 

Their bSo debut is just one stop on a meteoric rise for these young stars. 

by Christianna MCCausland 

Clifton Murray, Victor Micallef, Remigio Pereira and Fraser Walters, collectively 

The Canadian Tenors, are breathing new life into this traditional form of 

ensemble performance with their blend of classical and contemporary music, 

plus more than a dash of onstage charm. Their debut album went platinum 

in Canada, creating a groundswell of popularity that’s travelled south of the 

border. Their debut performance with the BSO is just one stop on a meteoric rise that has 

seen the young stars (who range in age from 25 to 33) performing for presidents, prime 

ministers and the general public around the world. Their PBS special will air in North 

America in December and their new album, Lead With Your Heart, debuts in the U.S. in 

January. Victor Micallef spoke to the BSO from his home in Toronto about the group’s 

unique approach to tenor music, as well as life on and off the road: 

8 Overture | WWW.bSomuSIc.org

You have each had successful solo 

careers, so what’s the appeal of singing 

as an ensemble? 

VICTOR: When you’re on the road, the 

road becomes a very lonely place. Last year, 

we were on the road about 300 days—it’s 

intense. Being away from loved ones is the 

hardest part of what we do. That’s when that 

brotherhood is amazing because it becomes 

your family away from home. Also, we still 

do a fair amount of soloing during the show. 

We all have strengths and different personalities, 

which makes the group that much 

stronger. You can be the best you can be [as a 

soloist], but when you have four people excelling 

in certain areas, that makes a rock-solid 

product. And there’s something there for 

everyone. There are two more operatic singers, 

as well as backgrounds in pop and classic 

styles, so we can vary the repertoire. 

how are you participating in the 

evolution of ensemble tenor singing? 

VICTOR: It’s a great question, because, 

at this very moment, we’re trying to make 

the point that we’re redefining what a 

tenor group is. When the general public 

thinks of tenors they automatically think 

of opera and the classic tenors—Pavarotti, 

Domingo, Carreras. However, Freddie 

Mercury and Sting are also tenors. We’re 

a group of tenors, but we don’t necessarily 

originate from the same genre. That’s what 

makes this group so different and interesting: 

We’re a cross between a vocal group 

and a band. We play instruments on stage, 

we write our own music, we’ve helped produce, 

we arrange our vocals and songs. 

We’re very much about music making and 

not only singing on stage. 

For someone who hasn’t seen you 

perform, what can the audience expect? 

VICTOR: We love performing and we 

like to have fun on stage and joke around. 

There’s something energizing about being 

in a performance hall and making that 

connection with the audience. Wherever 

we go, we build a new network of friends. 

It’s guaranteed there’s something in the 

show for everyone. We hit the entire gamut 

of what you think of when you think of a 

tenor group and beyond. We’ll sing a classical 

tune on stage and the next song will be 

something you hear on the radio. 

What musical influences have made an 

impact on the group? 

VICTOR: Generally, from the classical 

side, we’ve listened to the classic tenors like 

Pavarotti to even the older tenors, like Franco 

Corelli. From the rock or pop influences, we 

all have them because we’ve all performed 

in rock bands. We have influences like Bob 

Dylan, Leonard Cohen, groups like Queen 

and performers like Sting, all great artists in 

their own right. Even those as contemporary 

as Coldplay and Adele. You can learn from 

listening to artists like that. 

Are there certain pieces of music 

you particularly enjoy singing as 

an ensemble? 

VICTOR: Adagio, written from a pipe organ 

concerto, provides great dramatic, operatic 

effect. You and I (Vinceremo) from the new 

album is written in both Italian and English. 

It’s beautiful and powerful, like something 

from the classical repertoire. It’s based on a 

Bach cello suite. On the contemporary side, 

Hallelujah by Leonard Cohen is a winner, for 

sure. Even in a classical atmosphere, people 

love our version of that song. 

lead with your Heart is 

The Tenors' first album release 

in over two years. 

The Tenors perform 

at The Meyerhoff 

November 23 –25, 2012 

at 8 p.m. 

Given your rigorous performance 

schedule, how do you keep your voices 

in condition? 

VICTOR: It’s a challenge because we travel 

almost every day. We always seize opportunities 

to rest or even get a massage because 

after the traveling, singing, and standing on 

your feet for so long, your body is wrecked. 

We try to eat well, take vitamins, exercise, 

and keep the body as healthy as we can. 

People are surprised when we come to an 

after-party event and we say “no wine, 

please.” I love wine. I’m a wine guy. I lived 

in Tuscany for six years. However, when I’m 

singing, I have to be disciplined. 

When you leave the rigors of the road, 

what do you do with your down time? 

VICTOR: You take every moment at home 

as an opportunity to do your utmost for your 

family or your loved ones. For example, I’m 

married with a four-year-old son, Zac. Sometimes 

you only get a day or two to do it and 

it does get stressful. We’re all so lucky that 

our partners are so supportive. This is a very 

intense business, especially now as we build 

our brand. We fly them out to meet us as 

well. With all the disadvantages of the business 

on family life, there are some amazing 

advantages. Zac has seen more of the world 

in four years than I saw in my first 25. I think 

that’s great learning for him. 

You have performed for some truly 

incredible audiences recently. Are there 

certain performances that stand out as 

being particularly special? 

VICTOR: Singing for the Queen [of England] 

is pretty amazing. We’ve sung for her a 

few times now; it was the joke in the London 

papers that we were becoming the Buckingham 

Palace house band. At one big event for 

the Jubilee, there were 5,000 people in the 

stadium every night for nine nights and it 

was an event choreographed with horses—it 

was so regal. It was such a memorable night, 

but even more memorable was having tea in 

a small room with her and having the opportunity 

to talk with her over crumpets. It’s a 

moment when you pinch yourself. Americans 

need to remember we Canadians grew up 

seeing her on our dollar bills, so it was pretty 

remarkable. We did the Emmy awards last 

year and Oprah the year before. It just keeps 

getting better and better every year. 


HAIR HAIR 

S AY 

StrikesAgain! Again! 

Strikes 

the eDgy JohN waters ClassiC is reborN at the bso. 

by Martha thoMas. PhotograPhy by Cory donovan. 


In celebration of its 60 th Anniversary, gordon Feinblatt LLc 

is the Presenting Sponsor of Hairspray in concert.

“gordon Feinblatt is proud to support baltimore and 

the bSo, where, truly, ‘every sound’s like a symphony.’” 

— Barry F. rosen, Gordon Feinblatt Chairman and CEO

12 

Hairspray 

through 

time. 

B ack 

in the 1980s, when John Waters learned 

that his new film hairspray had received 

a Pg rating from the Motion Picture 

association of america, he feared his career was over. 

the mischievous maker of edgy films toyed with the idea 

of adding an expletive or two to sharpen the rating to at 

least Pg-13. but after some thought, he concluded, 

“the only way to really shock people was to make a Pg 

John Waters movie, which, at that point, was unheard of.” 

In January, Waters will take the stage at the Meyerhoff 

for another first, as his iconic story about lacquered 

beehive hairdos—and so much more—gets the full 

treatment by the Baltimore Symphony Orchestra. 

Since its 1988 debut, Hairspray has been adapted 

to a Broadway musical, and a cheerful film version of 

that musical, both mainstream departures from the cult 

classic original. And Waters says that each iteration has 

worked: “I’ve loved all the Hairsprays. They’ve all been 

successful because each one is a reinvention.” 

The story—of plump high schooler Tracy Turnblad 

who leverages her moves on a 1960s televised teen 

dance show to fight against racial segregation—has 

remained intact, but the texture and tone has adapted 

to each new medium. 

The latest production, arranged by Jack Everly, the 

BSO’s Principal Pops Conductor, promises to be an extravaganza. 

The cast features veterans of both Broadway 

(Marissa Perry, reprising the Tracy she played on Broadway, 

and Nick Adams of Priscilla, Queen of the Desert, as 

Tracy’s heartthrob Link) and pop culture (the Monkees’ 

1964 

Buddy deane Show, a 

teen dance program on 

Baltimore’s WJZ-tV, 

goes off the air after a 

seven-year run. 

1964 

John Waters 

graduates from 

calvert hall 

in Baltimore. 

Micky Dolenz as Tracy’s father, Wilbur). The format, 

says Everly, is “a musical in concert,” with costumes and 

staging. “We’ll have everything but scenery.” Waters will 

step in as narrator to bridge some of the scenes between 

songs, and will also play one of the characters, though he 

isn’t ready to reveal which one. 

The piece will premiere with the Indianapolis 

Symphony Orchestra, where Everly also runs the Pops 

program, January 11–13, before moving to Baltimore 

for four performances January 25–27. 

Turning a Broadway score created for 16 instruments 

and synthesizers into a work for a full orchestra, was a 

daunting job, says Everly. “It’s the oddest thing I’ve ever 

done. It was like working in reverse.” When a Broadway 

show takes to the road, Everly points out, it usually 

reduces the size of its musical ensemble, bolstering the 

instruments with a synthesizer. In the case of Hairspray, 

the Broadway original used single instruments on brass 

and strings. “The rest were artificially created in the 

sound mix by three synthesizers,” he says. “But that can 

sound like a roller rink. It wouldn’t work at the Baltimore 

Symphony.” Instead, Everly says he “scored our 

production as one of the classics of the 1950s, namely, 

for a full orchestra.” 

The story itself will also be embellished for this 

Maryland premiere. Waters has written original narration 

for the piece, weaving in his own memories to 

anchor the tale in real-life experiences that, up until 

now, haven’t been part of the Hairspray story. 

“It’s all new—unless, of course, you knew me personally,” 

says the 66-year-old Baltimore native. “If you grew 

up here, and are my age, you’ll remember how racially 

tense it was.” White kids listened to black radio, he says, 

while black performers were restricted from dancing. 

Black kids could only attend the Buddy Deane dance 

show twice a month, “on Negro day.” 

Waters himself, in fact, appeared on the program 

that inspired the Corny Collins show in Hairspray when 

it went live, he says. “My parents would never have 

allowed it.” But he does remember winning a twist contest 

with his friend, Mary Lou Raines (a regular on the 

television show) at a Buddy Deane record hop at the 

Valley Country Club—the prize was a Ray Charles 

album. Waters and another friend, Mary Vivian Pearce, 

1988 

Hairspray film debut starring ricky lake as tracy 

and divine as her mother edna. Other cast 

members include debbie harry, Sonny Bono, 

Jerry Stiller and Mink Stole. the movie is about 

a television program called the cornie collins 

Show, based on the Buddy deane Show. 

March 1988 

divine, born harris 

glenn Milstead, dies. 

he starred in 10 of 

Waters’ films, usually 

in a leading role. 

HaIrSPay (1988) lIcenSeD By: Warner BroS. enTerTaInmenT Inc. all rIgHTS reSerVeD. (DIVIne)

mIcHael Tammaro (eVerly) 

showed up when the show was filmed “live on location” 

at the Timonium Fair and Swim Club. They were asked 

to leave after dancing the Bodie Green, also known as 

the “dirty boogie,” a dance that, while avoiding physical 

contact, involves “hand gestures simulating sexually 

suggestive acts,” according to Waters. Along with its 

prudishness about dance moves, the Beaver Springs 

club, he recalls “was a hotbed of racial tension, and very 

much influenced Hairspray.” 

Another influence was, well, hair. The depiction of 

hair in the movies and musical, Waters says, “is almost 

a documentary. Those 14-year-old girls really looked 

that way—and it wasn’t a rebel look.” In Baltimore, 

which Waters has famously called the “hairdo capital 

of the world,” mothers and daughters would go to 

the beauty parlor together on a Saturday afternoon, 

emerging with hair piled and sprayed to “outrageous” 

heights, he says. And while Waters didn’t discover the 

August 2002 

Hairspray the musical, with 

music by Mark Shaiman and 

lyrics by Scott Wittman and 

Shaiman, opens on Broadway. 

Production is nominated for 

13 tony awards, and wins eight, 

including Best Musical. 

2007 

Film based on the 

Broadway musical 

Hairspray debuts, with 

nikki Blonski, John 

travolta, Michelle 

Pfeiffer and Zac efron. 

“ i’ve loveD 

all the 

hairsPrays. 

they’ve 

all beeN 

suCCessFul 

beCause eaCh 

oNe is a 

reiNveNtioN. 

” 

January 2009 

Broadway production 

closes after 2,500 

performances, though 

touring performances 

continue all over 

the world. 

Charm City cliche, he will take credit for helping to 

“turn hair into a huge icon.” 

When it debuts with the BSO, Hairspray will come 

home to Baltimore, where it was first conceived, in what 

is arguably its first homegrown production since the 

film debuted 25 years ago. The production has moved 

pretty far from the edgy 1988 film—which featured 

Ricki Lake as Tracy, and the John Waters’ regular, Divine, 

as Tracy’s mother Edna. Originally, says Waters, 

“Divine was supposed to play both Tracy and Edna, like 

The Parent Trap,” a plan that may well have precluded 

the mainstream path that followed. “It would have been 

a different kind of comedy,” Waters admits. 

The death of Divine shortly after the film was 

completed is the only sad element in what has been, 

for Waters, “wonderful from the very beginning.” 

Says Waters, “the irony of the whole thing is, I 

accidentally thought up a hit.” 

hairsPray: iN CoNCert! will be performed by the baltimore symphony orchestra January 24–27. 

the orchestra performs it at the Music center at Strathmore on thursday at 8 p.m., with performances 

at the Meyerhoff on Friday and Saturday at 8 p.m., Saturday and Sunday matinees at 3. 

For information on tickets, please contact the BSO ticket office, 410.783.8000 or BSOmusic.org. 

Jack Everly 

bso Principal Pops Conductor 

January 2012 

Jack everly, principal pops conductor for Baltimore 

and indianapolis Symphony Orchestras, premieres 

his arrangement for full orchestra in the two cities. 

the performance, with John Waters presenting original 

narration, features Marissa Parry as tracy, Micky 

dolenz as her father Wilbur, and nick adams as link. 

13

the baltimore symPhony orchestra 

{MuSIc DIr ecTor} 

MArin AlSOp 

Hailed as one of the world’s leading 

conductors for her artistic vision and 

commitment to accessibility in classical 

music, Marin Alsop made history with 

her appointment as the 12 th music 

director of the Baltimore Symphony 

Orchestra. 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, and is 

music director of the Cabrillo Festival 

of Contemporary Music in California. 

In 2005, Ms. Alsop was named a 

MacArthur Fellow, the first conductor 

ever to receive this prestigious award. In 

2007 she was honored with a European 

Women of Achievement Award, in 

2008 she was inducted as a fellow into 

the American Academy of Arts and 

Sciences and in 2009 Musical America 

named her “Conductor of the Year.” In 

November 2010 she was inducted into 

the Classical Music Hall of Fame. In 

February 2011 Marin Alsop was named 

the music director of the Orquestra Sinfônica 

do estado de São Paulo (OSESP), 

or the São Paulo Symphony Orchestra, 

effective for the 2012–13 season. Ms. 

Alsop was named to Guardian’s Top 

100 Women list in March 2011. In the 

spring of 2011, Marin Alsop was named 

an Artist-in-Residence at the Southbank 

Centre in London, England. 

Marin Alsop attended Yale University 

and received her master’s degree 

from The Juilliard School. In 1989, her 

conducting career was launched when 

she won the Koussevitzky Conducting 

Prize at Tanglewood where she studied 

with Leonard Bernstein. 


2012–2013 

SeASOn 

rOSTer 

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 

John Merrill 

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 

leonid Berkovich 

leonid Briskin 

Julie Parcells 

christina Scroggins 

Wayne c. taylor 

James umber 

charles underwood 

Melissa Zaraya 

ViOlaS 

richard Field 

Principal, Peggy 

meyerhoff Pearlstone 

chair 

noah chaves 


karin Brown 

acting assistant Principal 

Peter Minkler 

Sharon Pineo Myer 

delmar Stewart 

Jeffrey Stewart 

Mary Woehr 

cellOS 

dariusz Skoraczewski 

Principal 

chang Woo lee 


Bo li 

acting assistant 

Principal 

Seth low 

Susan evans 

esther Mellon 

kristin Ostling 

Paula Skolnick-childress 

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 

assistant Principal 

William Jenken 

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 

BaSS clarinet 

edward Palanker 

e-Flat clarinet 

christopher Wolfe 

BaSSOOnS 

Fei Xie 

Principal 

Julie green gregorian 


ellen connors** 

cOntraBaSSOOn 

david P. coombs 

hOrnS 

Philip Munds 

Principal, uSf&g 

foundation chair 

gabrielle Finck 


Beth graham* 


Mary c. Bisson 

Bruce Moore 

truMPetS 

andrew Balio 

Principal, Harvey m. and 

lyn P. meyerhoff chair 

rene hernandez 


thomas Bithell** 

trOMBOneS 

christopher dudley* 

Principal, alex. Brown 

& Sons chair 

Joseph rodriguez** 

acting Principal 

James Olin 

co-Principal 

John Vance 

BaSS trOMBOne 

randall S. campora 

tuBa 

david t. Fedderly 

Principal 

tiMPani 

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 

Frank Serruto 

Technical Director 

charles lamar 

Sound 

*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

Marin alsop, conductor 

ludwig van Beethoven overture to The Creatures of Prometheus, 

opus 43 

christopher rouse Symphony no. 3 

♪= 176 

Theme and Variations 

interMission 

ludwig van Beethoven Symphony no. 5 in c minor, opus 67 

allegro con brio 

andante con moto 

allegro 

allegro 

the concert will end at approximately 9:45 p.m. on thursday, and 4:45 p.m. on Sunday. 

Marin alsop 

For Marin Alsop’s bio., please see pg. 14. 

AbouT THe coNcerT: 

Joseph Meyerhoff Symphony Hall 

BaltiMOre SyMPhOny OrcheStra 

Overture to The CreaTures 

of PromeTheus, opus 43 

ludwig van Beethoven 

born in bonn, germany, December 16, 1770; 

died in vienna, Austria, march 26, 1827 

In the late 18 th century, Vienna was not only 

crazy for the latest keyboard virtuoso but also 

Marin alSOP 

music Director • Harvey m. and lyn P. meyerhoff chair 

Beethoven’s Fifth 

Thursday, november 8, 2012 — 8 p.m. 

Sunday, november 11, 2012 — 3 p.m. 

The BSO co-commission of Christopher Rouse’s Symphony No. 3 

is generously underwritten by the Solomon H. Snyder 

Department of Neuroscience of the Johns Hopkins University 

School of Medicine and Elaine and Solomon Snyder. 

for the ballet. And so, as Beethoven conquered 

the Viennese public with his extraordinary 

skills at the piano, as well as his provocative 

orchestral compositions, he also explored 

the world of dance with his first ballet score, 

The Creatures of Prometheus (Die Geschöpfe 

des Prometheus), set to a scenario inspired by 

Enlightenment ideals. With choreography by 

the admired Neapolitan ballet master Salvatore 

Viganò, the ballet premiered at Vienna’s 

Burgtheater on March 28, 1801 and was so 

successful that it received numerous additional 

performances that year and the following. 

Program notes} 

Prometheus was labeled as a “mythologicalallegorical” 

ballet. The adjective “heroic” was 

also appended in the premiere’s program, 

and the ballet’s allegory was described thus: 

“It portrays an exalted spirit, who found the 

people of his time in a state of ignorance and 

refined them through knowledge and art and 

brought them enlightenment.” Though the 

original scenario has been lost, we have some 

evidence of the plot. In Greek mythology, 

Prometheus is the semi-divine son of the Titans 

who brought fire to humankind and was 

cruelly punished by the gods for this. The 

ballet, however, presents a different, more 

positive story in which Prometheus creates 

two beings, male and female, and then brings 

them to Parnassus to be educated in the arts 

and sciences by Apollo’s muses. Such a plot 

would, of course, have appealed strongly to 

Beethoven, who deeply admired Enlightenment 

thinking and, in Barry Cooper’s words, 

“believed in the ability of art to uplift and 

ennoble mankind.” 

Beethoven wrote an overture and 17 other 

numbers for Prometheus, and this overture 

is, in fact, the first of his stage and concert 

overtures. It also might be considered the 

first of his heroic-period works, for he would 

begin the next year writing the “Eroica” 

Symphony—whose finale uses a theme from 

the ballet’s finale. The overture opens dramatically 

with a loud, dissonant chord definitely 

not in the home key of C major. Then a slow 

introduction unfurls a noble theme, led by the 

oboes, that corresponds to Prometheus’ higher 

nature. Shifting to a faster tempo, the main 

body of the piece is a whirling, rhythmically 

vivacious sonata-allegro form, full of zesty 

syncopations and some mildly heroic gestures, 

especially in its closing measures. 

Instrumentation: Two flutes, two oboes, two 

clarinets, two bassoons, two horns, two trumpets, 

timpani and strings. 

Symphony No. 3 

christopher rouse 

born in baltimore, maryland, February 15, 1949; 

now living in baltimore 

Since 1985, when The Infernal Machine 

introduced him here, and the three seasons 

of 1986–1989, when he served as the BSO’s 

composer-in-residence, Baltimore native 


{ Program notes 

Christopher Rouse has become a creative 

voice that Baltimore audience members 

know well. Or at least we think we do, 

because Rouse has continually shown a great 

capacity to grow, change, and surprise us 

with his music. 

Early in his career, he was renowned for 

writing very fast, intricate, dissonant, and 

often extremely loud music, such as The 

Infernal Machine and Gorgon—in what he 

called his “wild style.” With his Symphony 

No. 1, commissioned by the BSO, there 

was a shift to much slower and more serious 

music. For a time, Rouse’s dark, anguished 

works made him the contemporary singer of 

the tragedy of human existence. However, 

more recent works, such as his Concerto for 

Orchestra (performed here in 2008) and Rapture 

(2002), have revealed a more positive, 

even joyful orientation and a less complicated 

focus on showing off the sheer beauty 

and virtuosity of contemporary orchestral 

sound—a tendency to look “towards the 

light,” as Rouse calls it. What ties all these 

different styles together is what Rouse terms 

his “expressive urgency. I have to shout; I 

have to whisper. I want to write music that 

insists on being listened to.” 

His Symphony No. 3 seems to draw on 

elements both of his brighter, more virtuosic 

approach and his early fast and violent style. 

A joint commission from four orchestras on 

three continents—the Saint Louis Symphony, 

the Singapore Symphony, the Royal 

Stockholm Philharmonic, and the BSO—it 

received its world premiere by the SLSO 

under its music director David Robertson on 

May 5, 2011 and has its East Coast premiere 

at these concerts. In an interview in the St. 

Louis Post-Dispatch, Robertson commented 

on the extreme variety of expression to be 

found in this work: “He amazes with his 

unique blend of incredible force and flowerpetal-like 

delicacy …[The Symphony] has 

moments of subtle poetry and places where 

the orchestra becomes incandescent.” 

Rouse reports that each of his three 

symphonies has been “an homage to a composer. 

The First Symphony was an homage 

to Bruckner, the Second to [the German 

20 th -century composer] Karl Amadeus 

Hartmann, and the Third to Prokofiev.” 

Though all its music, “with a couple of 

tips of the cap to Prokofiev,” is Rouse’s own, 

the formal plan and emotional trajectory of 

this Symphony is based on Prokofiev’s littleperformed 

Second Symphony, which in 

turn was inspired by Beethoven’s formidable 

last piano sonata, opus 111. 


The composer explains the Prokofiev 

connection further in his own note: 

“Over the years I’ve often toyed with the 

concept of ‘rewriting’ a piece composed by 

someone else. By this, I do not mean ‘correcting’ 

or ‘improving’ it; rather, my idea has 

been to take some central aspect of an already 

composed work and consider it anew. 

“The unusual form of 

Prokofiev’s Symphony no. 2 

furnished the old bottle 

into which I have tried to 

pour new wine.” 

“My Third Symphony is an attempt to 

do just this. The unusual form of Prokofiev’s 

Symphony No. 2 furnished the old 

bottle into which I have tried to pour new 

wine. Among Prokofiev’s symphonies, this 

one is, I believe, of especially high caliber, 

though it is rarely programmed. He called 

it his ‘symphony of iron and steel,’ and it is 

unquestionably one of his more aggressive 

and uncompromising scores. Cast in two 

movements—an opening toccata-like Allegro 

followed by a set of variations—Prokofiev’s 

architecture was in turn influenced by that 

of Beethoven in his final piano sonata. I 

thus took this structure as my own and tried 

to maintain Prokofiev’s own proportions 

between the two movements. 

“There is little in the way of actual quotation 

from Prokofiev’s symphony. However, 

Prokofiev’s opening repeated-note trumpet 

blasts also begin my symphony, though 

Prokofiev’s D has been replaced by an F 

[the Symphony’s tonal center]. There is also 

a direct quote at the end of my first movement: 

The solo percussion passage at the 

end of Prokofiev’s first movement has been 

transferred here by way of homage. As in 

the Russian master’s score, the music of this 

movement is often savage and aggressive. 

“The second movement of Beethoven’s sonata 

consists of a theme with four variations 

and the equivalent movement in Prokofiev’s 

symphony is of a theme with six variations. 

I decided to split the difference and commit 

to a theme-with-five-variations form. The 

variations are of notably disparate character, 

and the musical language ranges from 

the dissonant and barbaric to the overtly 

tonal. After the statement of the theme [by 

the English horn], the bright and glittering 

first variation gives way to a highly 

romantic variation scored for strings and 

harp only. The third variation is moderate 

in tempo and mood, but the short 

fourth is a mostly quiet whirlwind in an 

extremely fast tempo. The final variation, 

which follows without pause, possesses a 

bacchanalian abandon. A final reprise of 

the theme, again a reference to Prokofiev’s 

form, brings the symphony to a close. 

“The work was completed in Baltimore on 

February 3, 2011. It is dedicated to my highschool 

music teacher, John Merrill; without 

his kindness and encouragement, I might 

never have found the fortitude to persevere in 

my dream of becoming a composer.” 

Born and raised in Baltimore, Christopher 

Rouse has now returned to live here again. 

He is a graduate of the Gilman School and 

Oberlin College and holds a doctorate from 

Cornell University. His numerous awards 

and honors have included the 1993 Pulitzer 

Prize for Music, the 2002 Grammy Award 

for Best Contemporary Composition, and 

being named as Musical America’s Composer 

of the Year in 2009. In addition to his 

extraordinarily busy composing career, he 

is currently a professor at New York City’s 

Juilliard School and this season begins a twoyear 

appointment as composer-in-residence 

with the New York Philharmonic. 

Instrumentation: Two flutes, piccolo, two oboes, 

english horn, two clarinets, bass clarinet, two 

bassoons, contrabassoon, four horns, four trumpets, 

four trombones, tuba, timpani, percussion, 

two harps and strings. 

Symphony No. 5 in C Minor 

ludwig van Beethoven 

For many generations, Beethoven’s Fifth has 

defined the symphonic experience in the 

popular imagination, just as Hamlet stands 

for classical drama and Swan Lake for the 

ballet. It established the dramatic scenario of 

the symphony as a heroic progression from 

tragedy to triumph—and musically here 

from the minor mode to the major—that 

was imitated by countless later composers 

from Brahms to Shostakovich. Moreover, 

it wages its epic battle with a breathtaking 

swiftness—less than 30 minutes in many 

performances—and a concentrated power its 

imitators could not match. 

Europe was a troubled place when 

Beethoven wrote this work between 1806

Ludwig van Beethoven 

and 1808. We tend to concentrate on 

Beethoven’s battle against his own deafness, 

forgetting that he was also caught up 

in external battles throughout his middle or 

“heroic” creative period (1802–1812). During 

this decade, the Napoleonic Wars surged 

across Europe, and the martial tone of many 

of the Fifth’s themes and the prominent role 

for trumpets and timpani reflected a society 

constantly on military alert. And, until Napoleon’s 

defeat in 1815, Beethoven lived on 

the losing side. In July 1807, when he was in 

his most intense phase of work on the Fifth, 

the signing of the Treaty of Tilsit brought 

a temporary truce in favor of the French 

emperor, with the capitulation of Prussia 

and the cession of all lands between the 

Rhine and Elbe to France. This humiliation 

stimulated an uprising of patriotic feeling 

among the German-speaking countries, and 

Beethoven shared in this fervor. Thus, it is 

not surprising that the triumphant song of 

the Fifth’s finale seems as much a military 

victory as a spiritual one. 

Beethoven himself gave the description of 

the four-note motive that pervades the Allegro 

con brio first movement: “Thus Fate knocks 

at the door!” he told his amanuensis Anton 

Schindler. This is the most famous of the 

pithy rhythmic ideas that animated many of 

Beethoven’s middle-period masterpieces; its 

dynamism as entrance is piled upon entrance 

drives this movement on its relentless course. 

The terseness and compression of this music 

are astonishing—conveying the maximum of 

expressive power with the minimum of notes. 

Beethoven only pauses for breath briefly as 

the violins introduce a gentler, more feminine 

second theme, and more tellingly later as the 

solo oboe interrupts the recapitulation of the 

Fate theme—brought back with pulverizing 

power by the entire orchestra—with a plaintive 

protest of a mini-cadenza. 

Program notes } 

The Andante con moto second movement 

might be called Beethoven’s War and Peace. 

In an original treatment of the double-variations 

form devised by Haydn (two different 

themes alternating in variations), he mixes 

variants on a peaceful, pastoral melody with 

episodes of martial might in C major that 

foretell the victory to come. Ultimately, even 

the pastoral music is trumpeted forth in 

military splendor. The movement closes with 

a haunting, visionary coda. 

E.M. Forster’s novel Howard’s End 

contains one of the most eloquent passages 

ever about classical music as it describes the 

Fifth’s quirkily ominous Scherzo. “The 

music started with a goblin walking quietly 

over the universe, from end to end. Others 

followed him. They were not aggressive creatures; 

it was that that made them so terrible 

to Helen. They merely observed in passing 

that there was no such thing as splendour or 

heroism in the world.” Horns respond to the 

cello goblins with a military fanfare derived 

from the Fate motive. After the comical trio 

section in which Beethoven for the first time 

asked double basses to be agile melodists (a 

feat beyond players’ capacities in his period 

though not today), the goblins return, even 

more eerily in bassoons and pizzicato strings. 

Then ensues one of Beethoven’s greatest 

passages: a dark, drum-filled journey groping 

toward the light. 

The music finally emerges into C-major 

daylight with the finale’s joyful trumpet 

theme. Here for the first time in a symphony, 

Beethoven adds the power of three trombones, 

plus contrabassoon and the military 

skirl of piccolo. This is the grandfather of all 

symphonic triumphant endings and remains 

the most exhilarating and convincing. In 

a masterstroke, Beethoven brings back the 

Scherzo music to shake us from any complacency. 

E.M. Forster again: “But the goblins 

were there. They could return. He had said 

so bravely, and that is why one can trust 

Beethoven when he says other things.” 


two clarinets, two bassoons, contrabassoon, two 

horns, two trumpets, three trombones, timpani 

and strings. 

Notes by Janet E. Bedell, Copyright ©2012 

Dinner 

and a 

Live Show 

Delight 

the Senses. 

There’s nothing like 

live music to get your 

spiritual juices flowing and 

your appetite pumping: 

From the sweet aromas at 

City Café to the perfect 

combination of craft beers 

and distinctive flavors at 

Brewers Art, there’s a little 

taste of heaven at each 

of Downtown’s dozens of 

great restaurants. 

Dining Downtown before 

— or after — a live show 

is the start or finish of the 

perfect night out. 

Make your dinner reservations 

today by visiting 

DineDowntownBaltimore.com 

An Initiative of Downtown Partnership of Baltimore 


Inspiring the best 

in every boy. 

IT STARTS AT THE BOYS’ LATIN 

SCHOOL OF MARYLAND 

VISITING 

DAYS 

(Parents Only) 

Come see our new Smith Center 

for Arts and Technology 

NOV 15, JAN 15, MAR 6, & APR 24 

8:00-9:30am, Grades K-12 

For more information, 

please call 410.377.5192 

x1137 or email admissions 

@boyslatinmd.com 

822 West Lake Avenue Baltimore, MD 21210 

www.boyslatinmd.com 

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 

Anne Miller: amiller316us@yahoo.com 

Julie P. Wittelsberger: gazellegrp@comcast.net 

Advertising proceeds go to the BSO, not Baltimore magazine 


granT leIgHTon 



Marin alSOP 


Beethoven’s Fifth: Off the Cuff 

Saturday, november 10, 2012 — 7 p.m. 

Series Presenting Sponsor: 


ludwig van Beethoven Symphony no. 5 in c minor, opus 67 


andante con moto 

allegro 

allegro 

the concert will end at approximately 8:00 p.m. 

Marin Alsop 

Marin alsop 



For notes on the program, see pg. 16. 

The Off the Cuff series is an opportunity 

for Alsop to explore the back story of some 

of the most celebrated works in classical 

music. The programs, which usually 

last about 90 minutes, begin with Alsop 

describing the chosen piece, its history, 

and its position within the broader world 

of classical music. She then breaks down 

passages, showing how themes and motifs 

carry through the work, often calling upon 

the orchestra to illustrate her points. Finally, 

the audience is treated to a performance of 

the piece in its entirety.

marco BorggreVe 



Marin alSOP 


Lyrical Dvorˇák & Brahms 

Thursday, november 15, 2012 — 8 p.m. 

friday, november 16, 2012 — 8 p.m. 

Marin alsop 


denis 

kozhukhin 

Denis Kozhukhin, who 

was born in Nizhni 

Novgorod in 1986, 

won First Prize in the 

Queen Elisabeth Competition in 2010, 

and was the winner of the 2009 Vendome 

Prize. He studied with Dmitri Bashkirov, 


denis kozhukhin, Piano 

antonín d v o rˇá k Symphony no. 8 in g major, opus 88 


adagio 

allegretto grazioso 

allegro ma non troppo 

interMission 

Johannes Brahms Piano concerto no. 2 in B-flat major, 

opus 83 

allegro non troppo 

allegro appassionato 

andante 

allegretto grazioso 

DenIS koZHukHIn 


Young Artist Sponsor: Peggy & yale gordon trust 

Supporting Sponsor: 

Media Sponsor: 

and subsequently with Kirill Gerstein, and 

has appeared at many of the most prestigious 

festivals and concert halls worldwide. 

This includes the Verbier Festival, where he 

won the Prix d’Honneur in 2003, Progetto 

Martha Argerich in Lugano, Klavier-Festival 

Ruhr, Rheingau Music Festival, Jerusalem 

International Chamber Music Festival, 

Santander International Festival, Carnegie 

Hall, Leipzig Gewandhaus, Munich Herkulessaal, 

Rotterdam De Doelen, Amsterdam 

Concertgebouw, Auditorio Nacional Madrid, 

Accademia Nazionale di Santa Cecilia Milan, 


Palau de la Musica Valencia, Théâtre du 

Châtelet and Auditorium du Louvre, Paris. 

Recent concerto highlights this season 

have included the complete cycle of 

Prokofiev piano concertos with the BBC 

Scottish Symphony Orchestra working 

with Jun Märkl, Xian Zhang, Lan Shui, 

Ludovic Morlot and Martyn Brabbins, 

visits to the St. Petersburg Philharmonic 

with Krivine, Bournemouth Symphony 

with Alsop, Orchestre National de Lille with 

Casadesus, Luxembourg Philharmonic with 

Sinaisky, Netherlands Philharmonic with 

Karabits, Belgian National Orchestra with 

Boreyko and Prague Philharmonia with 

Hrusa. Recent recital engagements have 

included return visits to the Verbier Festival, 

Auditorium du Louvre, Paris, and International 

Keyboard Institute and Festival, 

New York as well as his debut at the City of 

London Festival in July 2012. 

Concerto highlights of the 2012–13 

season include engagements with the Vienna 

Symphony, Baltimore Symphony, Seattle 

Symphony, Yomiuri Nippon Symphony, St. 

Petersburg Philharmonic and Royal Liverpool 

Philharmonic Orchestras. 

Denis Kozhukhin is making his BSO debut. 


Symphony No. 8 in G Major 

antonín dvorˇák 

born in Nelahozeves, bohemia 

(now czech republic), September 8, 1841; 

died in Prague, may 1, 1904 

Even after he had become an internationally 

famous composer, Dvořák remained 

close to his Bohemian roots: “a simple Czech 

musician,” in his own words. The son of a 

small-town innkeeper and butcher and originally 

destined for a butcher’s career himself, 

he remained largely unaffected by his fame. 

When his compositions had earned him 

some financial security, he used his money 

not for a grand townhouse in Prague, but to 

purchase a small farm in rural Vysoká. Here 

he soaked up the beauties and rhythms of 

the Czech countryside during the summer 

months, raised pigeons, and composed much 

of his mature music, including the Eighth 

Symphony. His mentor Johannes Brahms 

repeatedly urged him to move to Vienna, 

the capital of European music as well as of 

the Austro-Hungarian Empire, but Dvořák 

always refused. 



Brahms had persuaded his Viennese 

publisher Simrock to take on Dvořák’s music 

in the 1870s. But by the late 1880s, when the 

Eighth Symphony was written, relations between 

Dvořák and Simrock were becoming 

strained. The firm urged him to keep writing 

his popular Slavonic Dances and other 

shorter, lighter pieces, which they claimed 

were more lucrative than his symphonies and 

concertos. For his Eighth Symphony, they 

offered an insultingly low price, one-third 

of the fee for his Seventh Symphony. By 

then hugely popular in England, however, 

Dvořák was able to sell his new symphony 

to the London publisher Novello for a more 

attractive fee. 

Composed between August and November 

1889 and premiered on February 2, 1890 

under the composer’s baton in Prague, the 

Eighth Symphony reflects the world of 

Vysoká and of Czech folk song and dance. 

After his rather Germanic Seventh, Dvořák 

wrote that he wanted to create something 

“different from the other symphonies, with 

individual thoughts worked out in a new 

way.” In the first, second, and fourth movements 

of the Eighth, he used freer forms and 

a flexible mixing of major and minor modes 

to produce marvelous shadows and nuances 

in a fundamentally happy work. The Eighth 

is also the most melodious of his symphonies 

and wonderfully orchestrated, with the 

woodwind and string sections used throughout 

as contrasting color families. 

The first movement begins with a short 

introduction. Cellos, reinforced by clarinets, 

bassoons and horns, sing a gently melancholy 

theme in the minor. Then a piping-birdsong 

flute idea opens the main Allegro section in G 

major, and the orchestra gathers its forces in 

an exciting crescendo. Divided violas and cellos 

introduce a stately repeated-note theme, 

and the orchestra bursts into vivacious life. 

This unconventional yet highly effective 

opening could be a portrait of daybreak in 

the Czech countryside, with the flute-bird 

greeting the first rays of the sun and then 

daylight flooding the landscape as man and 

beast awaken to bustling activity. A second, 

more lyrical group of themes opens with a 

rocking melody in the violins, followed by an 

upward-leaping tune for woodwinds. 

The development section, launched by the 

flute birdcall, is full of rustic atmosphere and 

wit, rather than heavy-breathing dramatics. 

At its close, trumpets blaze forth the opening 

cello theme, giving it an altogether new character. 

The much-compressed recapitulation 

flows into an exuberant closing coda. 


An atmospheric mood piece, the Adagio 

second movement weaves between minor 

and major, lightheartedness and a sense of 

sadness, even tragedy. It opens in C minor 

with a dark, yearning melody in the strings, 

punctuated by more woodwind birdcalls. 

Then the picture brightens to C major, and 

solo oboe and flute sing a soaring, idyllic 

tune above delicate down-rushing strings; 

this section gradually grows weightier and 

more passionate. After a reprise of the opening 

music, horns introduce a tragic mood to 

funeral-march-like blows on the timpani. An 

airy coda gathers together all the contrasting 

emotional colors of this subtle movement. 

A delicately soaring waltz in G minor 

forms the third movement, surrounding 

a bucolic trio section in G major led by the 

woodwinds. So fertile are his powers of melodic 

invention that Dvořák even throws in a 

brand-new folk dance in duple meter to wrap 

up the movement. 

A trumpet fanfare opens the finale, which 

is, in Michael Steinberg’s words, a series of 

“footloose variations” on a warm, folksy 

theme introduced by the cellos. The most 

striking variations come in an exotic, earthy 

section in C minor, reminiscent of some of 

Dvořák’s Slavonic Dances. Toward the end, 

the tempo keeps accelerating as the whole 

orchestra—but the whooping horns most of 

all—cut loose in an uninhibited dance of joy. 


english horn, two clarinets, two bassoons, four 

horns, two trumpets, three trombones, tuba, 

timpani and strings. 

Piano Concerto No. 2 

in B-flat Major 

Johannes Brahms 

born in Hamburg, germany, may 7, 1833; 

died in vienna, Austria, April 13, 1897 

In April 1878, Johannes Brahms decided to 

treat himself to a vacation in Italy. And, like 

many travelers before and since, he fell in love 

with this land of sunshine, good living, and 

even greater art and would return there eight 

more times. To his longtime friend, the celebrated 

pianist Clara Schumann, he penned 

a “wish-you-were-here” letter: 

“How often do I not think of you, and 

wish that your eye and heart might know 

the delight which the eye and heart experiences 

here! If you stood for only one 

hour in front of the facade of the Cathe- 

dral of Siena, you would be overjoyed… 

On the following day, in Orvieto, you 

would be forced to acknowledge that the 

cathedral there was even more beautiful; 

and after all this to plunge into Rome is a 

joy beyond words…” 

Though his eyes were dazzled by what he 

saw in Italy, the composer found little in 

Italian music to please his German ears. But 

the rich visual stimulation did indeed inspire 

a new work, which would eventually become 

his Second Piano Concerto. 

The Second concerto is a 

truly symphonic conception 

in the manner of Beethoven’s 

concertos, with orchestra and 

pianist equal participants in 

the musical journey. 

In July 1881, he announced the concerto’s 

birth in a series of teasing letters to 

several friends. To Dr. Theodor Billroth, 

the companion of his Italian sightseeing, he 

sent a copy of the bulky score with a note 

identifying it as “a couple of little piano 

pieces.” To his current muse, the lovely and 

safely married Elizabeth von Herzogenberg, 

he revealed: “I have written a tiny little piano 

concerto with a tiny wisp of a scherzo.” 

More appropriately, the composer revealed 

the true nature of his newest creation to von 

Herzogenberg when he described it as “the 

long Terror.” 

For the Second Piano Concerto is long 

indeed: with four substantial movements lasting 

approximately 50 minutes, it is the size of 

two ordinary concertos put together. And it 

is monumental in its architecture, emotional 

scope, and the demands it places on the pianist 

(for many, this is a more difficult work to 

pull off successfully than the notorious Rachmaninoff 

Third). Brahms scholar Malcolm 

MacDonald describes its technical challenges 

well: “In its massive chording, wide [finger] 

stretches, vigor, richness and textural variety, 

the piano writing is the most elaborate result 

of his lifelong fascination with virtuoso 

technique. …Above all, the role of the soloist 

is fluid …he or she must …dominate with 

the utmost power at certain junctures, but 

other moments call for extreme delicacy and 

limpidity of touch, the reticence and self-

effacement of the ideal accompanist.” The 

successful interpreter of “the long Terror” 

must have limitless technique and stamina, 

but more importantly the brains of a scholar 

and the heart of a poet. 

And he or she must also be a colleague 

in the spirit of chamber music. For the 

Second Concerto is a truly symphonic 

conception in the manner of Beethoven’s 

concertos, with orchestra and pianist equal 

participants in the musical journey. Brahms 

ranges over a broad emotional territory, 

and he uses everything at his disposal: from 

the most massive orchestral sounds to the 

most intimate chamber effects, such as the 

dialogue between horn and piano that begins 

the work or the partnership of solo cello and 

oboe that glorifies the slow movement. Of his 

four concertos, this is his most mature and 

comprehensive masterpiece. 

Movement one: The concerto’s chambermusic 

opening is utterly unique. A solo horn 

sings out the gently rising principal theme, 

and the piano echoes each phrase. Suddenly, 

the pianist throws off his reserve and plunges 

into a titanic monologue, the first of many 

mini-cadenzas Brahms embeds throughout 

his structure rather than giving the soloist a 

single extended opportunity for display. This 

in turn galvanizes the orchestra into action, 

transforming the horn’s shy theme into a 

mighty march. And soon we hear the first 

suggestion of the movement’s second theme: 

a supple, swaying melody in D minor in the 

violins that is quickly broken off. 

The pianist now expands this thematic 

material, and when he comes to the swaying 

second theme he reveals its character as passionate 

rather than nostalgic, hardening its 

curves with stentorian chords. By now, the 

music has taken a very dramatic and even 

ominous turn from its tender beginning. 

It culminates in a fierce declamation of the 

principal theme by the full orchestra before 

the horn quietly sounds that theme again 

and the music merges into the development 

section proper. (In fact, Brahms has already 

been busy developing and transforming his 

themes from the very beginning.) 

The arrival home at the recapitulation 

section is one of Brahms’ most magical and 

moving. He keeps trying to get there by 

gestures of musical willpower. But finally 

only gentle acceptance succeeds, as the piano 

floats in shimmering arpeggios and the horn 

warmly welcomes it back. In his closing coda, 

Brahms combines mysterious reminiscences 

of the horn theme over a dark piano march, 

a last grand summing up of themes, and a 

Yuletide 

A T W I N T E R T H U R 

OPEN DAILY FOR HOLIDAY TOURS 

NOVEMBER 17– JANUARY 6 

Your family and friends will be inspired by Henry Francis du Pont’s 

dazzling home decorated in holiday style! 

For more information and a full schedule of special events, 

call 800.448.3883 or visit winterthur.org/yuletide. 

Open New Year’s Day. Closed Thanksgiving and Christmas Day. 

Sponsored by 

Winterthur is nestled in Delaware’s beautiful Brandywine Valley on Route 52, 

between I-95 and Route 1, midway between New York City and Washington, D.C. 

Take I-95 to Exit 7 in Delaware. 800.448.3883 • 302.888.4600 • winterthur.org 



heroic windup, accented by triumphantly 

trilling woodwinds. 

The “tiny wisp of a scherzo” in D minor 

forms the pianist-killer second movement, 

a fierce Allegro appassionato. Brahms’ friends 

asked him why he had added this extra 

component to the customary three-fold 

concerto formula; he replied—in another 

fit of ironic understatement—that he felt 

it was necessary because the first and third 

movements were so “harmless.” The pianist 

hurls out a boldly rhythmic first theme, and 

the strings contribute a contrasting sighing 

melody that the piano elaborates soulfully. 

This music is repeated, then rolls into a 

development section. But in this formal 

hybrid—part scherzo dance, part sonata 

form—the music suddenly shifts into a radiant 

tolling-bells episode in D major, which 

is the trio section. Note the piano’s ardently 

rhapsodic passage here. 

After two movements of almost unremitting 

intensity, Brahms at last provides 

repose with perhaps the most beautiful slow 

movement he ever composed. The pianist 

takes a needed rest while the solo cello sings 

a melody of heartbreaking loveliness; a solo 

oboe soon joins in, intensifying the poignancy. 

As in the slow movement of Brahms’ 

Violin Concerto, the soloist never sings this 

eloquent theme, but instead weaves marvelous 

variants on it. The movement’s most 

haunting moment occurs midway through 

when the piano—now stranded in the distant 

key of F-sharp major and accompanied 

by two clarinets—seems to float in some 

timeless, otherworldly realm. The cello’s 

reappearance with its glorious melody seems 

no intrusion. 

While some commentators have criticized 

the finale, Brahms showed sure instincts 

when he chose to crown his three imposing 

movements with a relaxing finale of 

light-hearted melodiousness. Beginning with 

the piano’s buoyantly skipping theme, he 

concocts a beguiling succession of melodies 

in the genial spirit of his Hungarian Dances. 

Notable among them is the lushly swaying 

Viennese dance shared by piano and strings. 

Throughout, the pianist’s virtuoso figurations 

sparkle like diamonds, especially in 

Brahms’ vivacious sped-up conclusion. 


two clarinets, two bassoons, four horns, two 

trumpets, timpani and strings. 






Marin alSOP 



friday, november 23, 2012 — 8 p.m. 

Saturday, november 24, 2012 — 8 p.m. 

Sunday, november 25, 2012 — 3 p.m. 


the canadian tenors, Vocalists 

Victor Micallef 

clifton Murray 

remigio Pereira 

Fraser Walters 

Michael rossi, conductor 

Baltimore Symphony Orchestra 

Program will be announced from the stage.

the canadian tenors 

The Tenors’ music is an exciting blend of 

classical and contemporary pop that is thrilling 

audiences of all ages around the world. 

The Tenors are the incredibly powerful voices 

of four gifted young men with diverse vocal 

styles, undeniable charm and international 

solo success. 

The Tenors have crisscrossed the globe, 

thrilling music lovers with their magical 

voices, wonderful sense of humor and memorable 

music. The foursome have received rave 

reviews from the Tel Aviv Opera house where 

they shared the stage with Andrea Bocelli; 

to Las Vegas’ Mandalay Bay Coliseum and 

NYC’s Madison Square Garden with David 

Foster and Friends Hitman Tour; to Toronto’s 

Air Canada Centre where they headlined 

at ONE NIGHT LIVE with Sting and 

Sheryl Crow; to Sarah McLachlan’s Summer 

Sessions concert with Neil Young; and in 

London with the legendary Paul McCartney 

at the Old Vic theatre. 

Their debut album has gone platinum 

in Canada and is being released around the 

world. Their holiday album, The Perfect 

Gift, also went gold in Canada in only three 

weeks, has since gone platinum and has 

been released in the U.S. as well. They have 

collaborated with world-renowned producers 

Quiz and Larossi in Sweden (Il Divo), Bob 

Ezrin (Peter Gabriel, Pink Floyd) Grammy 

Award-winner Steve Thompson (Madonna), 

Juno Award winner Jeff Wolpert (Loreena 

McKennitt) and Grammy Award winner 

Sarah McLachlan and David Foster. 

The Tenors have raised their voices to passionately 

support many children’s charities. 

They recently filmed a documentary in Africa, 

where their voices were united with local 

children’s to bring awareness to Bulembu, 

Swaziland, a town being reborn after years of 

suffering. They shared the stage with Matt 

Damon and Ben Affleck helping children at 

the ONEXONE galas and performed at Free 

the Children’s amazing “We Days,” performing 

alongside the Dalai Lama, the Jonas 

Brothers and many others. 

For more information, visit www. 

tenorsmusic.com. 

This holiday season, 


Indulge Yourself wIth the Best 

of JermYn street, exclusIvelY at 

samuel Parker. 

Since 2002, Samuel Parker has offered 

traditional, quality men’s apparel. Today, we 

remain committed to uncompromising service, 

fine fabrics and impeccable tailoring. 

Visit us today. 

Lake Falls Village 

6080 Falls Road 

Gentleman’s Outfitter 

Monday – Friday 

10 am – 6 pm 

samuelparker.com 

Saturday, 10 am – 5 pm 

410-372-0078 

A university thAt fits your life 

Notre Dame of Maryland University’s undergraduate and graduate 

programs for busy adults address marketplace needs and help you 

advance your career. 

Learn more at our monthly First thursdays events. Call 410-532-5500 or 

go to ndm.edu/Firstthursdays to register. 

Adult undergrAduAte StudieS: 

Business 

Corporate Communication 

Computer Information Systems 

Criminology 

Elementary Education/Liberal Studies 

Industrial/Organizational Psychology 

Liberal Arts 

Nursing 

Radiological Sciences 

Religious Studies 

grAduAte StudieS: 

Contemporary Communication 

Education 

English Literature 

Knowledge Management 

Leadership and Management 

Liberal Studies 

Nonprofit Management 

Nursing 

Pharmacy (Pharm.D.) 

NOtRE DAME Of MARyLAND UNIvERSIty 

4701 North Charles Street | Baltimore, Maryland 21210 | ndm.edu 


When our sign is on the lawn, 

Our name is on the line. 

When it comes to real estate in 

Baltimore, we’re the only name you 

need to know. Unlike larger, high 

volume realtors, we maintain the 

personal service and family atmosphere 

synonymous with the O’Conor name 

for so many years. Please call 

Tom Mooney, 410-913-8622 

the next time you plan to 

buy or sell a home. 

Now with these offices to serve you: 

Lutherville 

2333 West Joppa Road 410-321-8800 

Phoenix 

3457 Sweet Air Road 410-683-8800 

www.oconorhomes.com 

THE RE-BIRTH OF THE 

MODERN 

ITALIAN KITCHEN 

PRE-THEATRE DINNER 

ONLY $25 / 3-COURSE MEAL 

5–6:30 / SUNDAY – FRIDAY 

ALSO ON SELECT SUNDAYS 

LIVE OPERA! 

SEPT 23 OCT 21 NOV 18 

MULTI-COURSE DINNER 6:00 PM 

CALL FOR RESERVATIONS: 

410.625.0534 

OPENTABLE.COM 

Complimentary Valet Parking 

Friday & Saturday Nights 

WWW.SOTTOSOPRAINC.COM 


courTeSy of BSo 




Mario Venzago 

Mario Venzago was 

born in Zurich, studied 

in Zurich and Vienna 

with Hans Swarovsky 

and started his career 

as pianist of the Swiss broadcast station in 

Lugano. From 1986–1989, he was music 

director of the Heidelberg Opera House and 

Philharmonic Orchestra and later served as 

chief conductor of the German Kammerphilharmonie 

Bremen, Graz Opera, Basque 

National Orchestra, Basel Symphony Orchestra 

and the Swedish National Orchestra 

in Gothenburg. He was artistic director of 

the Baltimore Summer Music Fest and, from 

2002–2009, music director of the Indianapolis 

Symphony Orchestra. In 2010, he was 

Marin alSOP 


Elgar Cello Concerto 

friday, november 30, 2012 — 8:00 p.m. 

Saturday, December 1, 2012 — 8:00 p.m. 

Presenting Sponsor: 

Mario Venzago, conductor 

Sol gabetta, cello 

Franz liszt mephisto Waltz no. 1 

edward elgar cello concerto in e minor, opus 85 

adagio 

lento 

adagio 

allegro 

Sol gaBeTTa 

interMission 

césar Franck Symphony in D minor 

lento – allegro non troppo 

allegretto 

allegro non troppo 


named principal conductor of the Northern 

Sinfonia in Newcastle and in the same year 

was appointed chief conductor of the Bern 

Symphony Orchestra, as well as artist-inassociation 

with the Tapiola Sinfonietta. He 

is also Schumann Guest Conductor of the 

Düsseldorfer Symphoniker and holds the 

position of Conductor Laureate of the Basel 

Symphony Orchestra. 

Venzago’s distinguished conducting 

career includes engagements with the 

Berlin Philharmonic, Leipzig Gewandhaus 

Orchestra, Munich Philharmonic, London 

Philharmonic, BBC Symphony Orchestra, 

City of Birmingham Symphony Orchestra, 

Vienna Symphony, La Scala di Milano, Melbourne 

Symphony Orchestra and the NHK 

Symphony in Tokyo. In North America, he

marco BorggreVe 

has appeared with the Boston Symphony, 

The Philadelphia Orchestra, the Toronto 

Symphony, and the Baltimore Symphony. He 

has also conducted, among other prestigious 

festivals, at the Salzburg and Lucerne 

Festivals. 

Several of his CDs, which include orchestral 

works of Robert Schumann, Luigi 

Nono, Othmar Schoeck, Alban Berg and 

Maurice Ravel, have been awarded international 

prizes (including the Grand Prix du 

Disque, Diapason d’or and the Edison prize). 

Venzago has worked with famous stage directors 

Ruth Berghaus, Peter Kowitschny and 

Hans Neuenfels. At present, he is preparing a 

complete recording of Bruckner Symphonies 

for the CPO label. 

Mario Venzago last appeared with the 

BSO in March 2011, conducting Schubert’s 

Symphony No. 5, Berg’s Violin Concerto 

featuring Baiba Skride and Beethoven’s 

Symphony No. 5. 

Sol gabetta 

Internationally acclaimed 

since her 2004 

debut with the Wiener 

Philharmoniker and 

winner of the Crédit Suisse 

Young Artist Award, cellist Sol Gabetta 

already holds several impressive awards. 

Born in Cordoba, Argentina, she won her 

first competition at the age of 10. This was 

soon followed by the Natalia Gutman Award 

and commendations at the Moscow Tchaikovsky 

Competition. A Grammy Award 

nominee, Sol Gabetta became the youngest 

winner of the Aargau Kulturpreis in 2008. 

She has also been awarded Argentina’s Konex 

prize and, in 2010, received the renowned 

Gramophone Young Artist of the Year 

Award. Additionally, she has won three Echo 

Klassik Awards (2007, 2009, 2011). 

Gabetta’s performances include appearances 

with Bamberger Symphoniker, kammerorchesterbasel, 

Orchestre National de 

Radio France, and the Czech Philharmonic, 

City of Birmingham Symphony, Royal Philharmonic 

and Russian National orchestras. 

She has also played with the Bolshoi, Finnish 

Radio Symphony, The Philadelphia, Detroit 

Symphony and Seoul Philharmonic orchestras, 

plus the Orchestre National de Belgique 

and Orquesta Nacional de España. 

In addition to her career as a soloist, Sol 

Gabetta is a chamber musician and performs 

with distinguished partners such as Yo-Yo 

R.N.S ● L.P.N.S 

CALL US WHEN EXPERIENCED, 

COMPASSIONATE CARE MATTERS MOST 

CERTIFIED NURSING AIDES 

HOME NURSING CARE 

COMPANIONS 

ESCORT ● TRANSPORTATION 

PERSONAL ASSISTANCE 

HOURLY ● LIVE-IN 

EMERGENCY ● RESPITE 

SHORT ● LONG-TERM 

PRIVATE DUTY 

FLEXIBLE CARE OPTIONS 

CUSTOMIZED CARE 

CARING FOR FIVE 

Licensed & Bonded | Most Insurance and Credit Cards Accepted | 24-Hour Service 

410-323-1700 1-888-353-1700 

WWW.ELIZABETHCOONEYAGENCY.COM 

GENERATIONS OF FAMILIES 

TRUST, INTEGRITY & EXCELLENCE SINCE 1957 

Roland Park Place is a unique continuing care retirement 

community in the heart of northern Baltimore City. 


Traditional & 

contemporary trends 

in Italian cuisine. 

� 

local, seasonal 

ingredients 

� 

excellent 

wine selection 

3547 Chestnut Avenue 

Baltimore, Maryland 21211 

(443) 438-7521 

I want 

nothing better, 

more flexible, 

or more complete 

than the sonata 

form. 

Hear Victor Danchenko and Soovin Kim 

perform Prokofiev’s Sonata in C major 

for Two Violins on Tuesday, Jan. 29, 

at 8:00 pm in Miriam A. Friedberg Hall 

To purchase tickets, call the Peabody 

Box Office at 410-234-4800 

Visit www.peabody.jhu.edu/events 

for Audio Program Notes and 

the complete 2012-2013 

Peabody Concert Calendar 


AUDIO 

PROGRAM 


Ma, Patricia Kopatchinskaja and Hélène Grimaud. 

She has also founded her own chamber 

music festival “Solsberg” in Switzerland. 

Thanks to a generous stipend by the Rahn 

Kulturfonds, Sol Gabetta is in a position to 

play one of the very rare and precious cellos 

by G.B. Guadagnini from 1759. 

Sol Gabetta is making her BSO debut. 


Mephisto Waltz No. 1 

Franz liszt 

born in raiding, Hungary, october 22, 1811; 

died in bayreuth, germany, July 31, 1886 

The devil and his doings was a subject of 

great fascination for most Romantic artists, 

and Franz Liszt was as Romantic as 

they come. Like his colleagues Berlioz and 

Schumann, he adored Goethe’s Faust, in 

which the title character sells his soul to 

Mephistopheles in exchange for youth, 

pleasure, and knowledge. In 1854, he composed 

his monumental A Faust Symphony, 

in which the devil has his own lengthy 

movement. But another version of the Faust 

story also attracted him: the much darker, 

more nihilistic Faust written in 1836 by the 

Hungarian-German poet Nikolaus Lenau. 

Lenau was a tormented figure who briefly 

emigrated to America, living in Baltimore—which 

he declared an accursed place 

because it had no nightingales (the favorite 

bird of Romantic poets and musicians). 

In 1860, Liszt composed his orchestral 

Two Episodes from Lenau’s “Faust,” comprised 

of “The Night Procession” and “Dance in the 

Village Inn.” While the first of these movements 

is now largely forgotten, the second, 

now known as Mephisto Waltz No. 1, has 

become one of Liszt’s most popular works. 

Later he arranged it for piano and late in life 

added three more piano works under the 

same title. 

For Liszt, the devil apparently was 

associated with dancing. In this movement’s 

scenario, Faust and Mephistopheles 

eavesdrop on a dance at a country inn. 

Mephistopheles cries out that the musicians 

are too tame and, seizing a fiddle, plays a 

waltz tune to make the blood boil. We first 

hear the orchestra tuning up, its intervals 

piled on top of each other to create what 

were for Liszt’s era lurid dissonances. Then 

cellos and violas launch the wild and wayward 

waltz, embellished with macabre trills. 

Faust has spied a dark-eyed beauty whom he 

courts with a slower, more hesitant melody, 

also sung by the cellos. Soon he lures her 

away from the inn, and woodwind birds 

and eerie harmonies describe their amorous 

tryst in the forest. And Liszt doesn’t forget 

the nightingale that Lenau longed for in 

America: a solo flute imitates its call as the 

lovers embrace. The inventive orchestra and 

daring harmonies of this little tone poem 

splendidly evoke both demonic powers and 

human lust. 

Instrumentation: Three flutes, piccolo, two 

oboes, two clarinets, two bassoons, four horns, 

two trumpets, three trombones, tuba, timpani, 

percussion and strings. 

The concerto, with its 

mournful, elegiac quality, 

seems like a very personal 

war requiem, and elgar 

marked it with the enigmatic 

words “finis. r.I.P.” 

Cello Concerto in E Minor 

Sir edward elgar 

born in broadheath, england, June 2, 1857; 

died in Worcester, england, February 23, 1934 

One of the masterpieces of the cello literature, 

Sir Edward Elgar’s Cello Concerto is 

also a powerful, poignant farewell to an era 

irretrievably destroyed by World War I. Its 

creator was a true product of the late-Victorian 

and Edwardian age who needed the 

cushioned security of pre-war England 

in order to flourish as an artist. 

The war’s wanton slaughter horrified and 

depressed Elgar. He mourned the innocence 

of an earlier England. “Everything good & 

nice & clean & fresh & sweet is far away— 

never to return,” he wrote in 1917, during 

the war’s darkest days, to his friend Alice 

Stuart-Wortley, the inspiration for his Violin 

Concerto. And yet out of his despair came a 

final quartet of masterpieces, including three 

chamber works and the Cello Concerto. The 

Concerto, with its mournful, elegiac quality, 

seems like a very personal war requiem, and 

Elgar marked it with the enigmatic words 

“Finis. R.I.P.”

What Elgar couldn’t know as he completed 

the work on August 3, 1919 was that 

“R.I.P.” would soon apply to his beloved 

wife of 30 years and even to his career as 

a composer. Five months after the work’s 

premiere that October, Alice Elgar, eight 

years older than her husband, was dead. She 

had been his indispensable prop: supporting 

him with intelligent criticism, pushing him 

back into his study when he lost heart over a 

composition, and even ruling his score paper 

for him. After her death, Elgar’s creative life 

was over, though he lived on for another 14 

years. Without Alice, he seemed to lack the 

discipline to master his depressions and drive 

his musical inspirations through to completion. 

After the Cello Concerto, he wrote 

nothing of consequence. 

But what a swan song it is! Masterfully 

drawing on the cello’s power to speak with 

an almost human voice, it expresses all of 

Elgar’s regret and nostalgia for his lost past. 

Although he wrote the work for a fairly 

large orchestra, Elgar contrived to use this 

ensemble in such a spare and subtle way that 

the cello is nearly always in the foreground, 

singing its song of loss. 

First movement: The concerto begins 

with a grand rhetorical gesture from the soloist: 

a sweep of chords suggesting the opening 

of a bardic tale. Then the violas launch a 

wandering theme that is quickly passed to 

the soloist and eventually the entire orchestra. 

The mood and key brighten somewhat from 

E minor to E major in the movement’s pastoral 

middle section, introduced by a lilting 

theme in the clarinets and bassoons and 

a swaying response from the cello. 

The second movement, a scherzo predominantly 

in G major, is as nervous and 

high-strung as its creator and a challenge to 

the nimble fingers of the soloist. She begins 

with a recitative passage of agitated repeated 

notes, punctuated by pizzicato snaps. 

Eventually she flings himself into a flurry of 

sixteenth notes; these are periodically interrupted 

by a bold downward-upward leaping 

phrase that is a characteristically Elgarian assertion 

of selfhood and confidence. Abruptly, 

the movement bursts like a balloon, with a 

pizzicato pop. 

Although brief, the Adagio third movement 

in B-flat major is the emotional 

heart of the work. Here the soloist pours 

out a magnificent long-lined lament, while 

the orchestra is reduced to woodwinds 

and strings to throw the spotlight on the 

cello’s song. Upward leaps of an octave in 

the soloist’s melody gradually slip to leaps 

MOULES FRITES, 

MANTWO, 

OR MONTADITOS? 

1501 Bolton St. 

(410) 383-8600 

B-bistro.com 

EVERY TUESDAY 

1/2 PRICE WINE 

806 N. Charles St. 

(410) 752-0311 

Helmand.com 

EVERY TUESDAY 

1/2 PRICE WINE 

THERE’S 

NO 

WRONG 

ANSWER. 

1711 N. Charles St. 

(410) 332-0110 

Tapasteatro.com 

EVERY TUESDAY 

1/2 PRICE SANGRIA 

WITH LOCATIONS IN HISTORIC BOLTON HILL, MOUNT VERNON AND 

STATION NORTH, GOOD FOOD IS ALWAYS JUST AROUND THE CORNER. 

Baltimore Community Foundation | www.bcf.org | 410.332.4171 



of a seventh, making the mood yet more 

poignant as the cello is unable to reach its 

longed-for goal. 

In the rondo finale, the orchestra tries 

to launch the refrain theme, but is unable 

to budge the soloist from her mood of 

mourning. Eventually, she is willing to take 

up the quicker tempo and the rondo theme, 

which is very rhythmic and marked risoluto 

(resolute). This is bitter, dark music, and it 

becomes truly sardonic in a passage begun 

by the soloist and the cello section in unison, 

to which the rest of the orchestra gives 

savage commentary. 

The closing coda is the finale’s most 

remarkable feature. The tempo slows, and 

the cello descends into a world of grief, dragging 

the orchestra with it. A quotation of the 

third movement’s lament is followed by the 

dramatic chords of the Concerto’s opening. 

Then Elgar abruptly jerks the music back to 

Allegro for a frenzied, fast finish. 


two clarinets, two bassoons, four horns, two trumpets, 

three trombones, tuba, timpani and strings. 

Symphony in D Minor 

césar Franck 

born in Liège, then in belgium, December 10, 

1822; died in Paris, November 8, 1890 

Though he lived to nearly 70 and was one 

of the Paris Conservatoire’s most remarkable 

teachers, César Franck was largely ignored 

by the French musical establishment during 

his lifetime. His Belgian birth contributed 

to his outsider status; in order to become the 

Conservatoire’s professor of organ in 1871, 

he had to take out French citizenship. Moreover, 

Franck was a gentle, unworldly man— 

serious, sincere, and a fervent Catholic— 

and thus was poorly equipped to deal with 

the frivolous and highly politicized Parisian 

musical scene in the second half of the 19 th 

century. But if he was unable or unwilling 

to fight for recognition, his devoted pupils 

—among them men soon to become 

famous themselves, such as Vincent d’Indy, 

Henri Duparc, Paul Dukas, and Ernest 

Chausson—were eager to proclaim his 

greatness. To them, he was almost a living 

saint—“Pater seraphicus” they called him 

—and Beethoven’s true heir. Their proselytizing 

and the strength of his late works, 

including the D Minor Symphony, made 

him famous within a few years of his death 

in 1890. 


cHrIS lee 

Presiding for decades at the console at 

St. Clotilde’s Church in Paris, Franck 

contributed greatly to the celebrated French 

organ repertoire. A very late bloomer as a 

composer, he created all the works for which 

he is remembered during the last decade and 

a half of his life. His only symphony was 

written between 1886 and 1888 when he 

was in his mid-sixties. And one can hear the 

sumptuous sound of the organ, swelling rank 

by rank, in its rich orchestral textures and 

pealing brass climaxes. 

Franck’s musical idols were Bach, 

Beethoven, and Liszt. It was his reverence 

for Beethoven that inspired him to write 

a symphony, a form French composers of 

the 19 th century rarely attempted. Berlioz’s 

symphonies had been highly unconventional 

The BSO 

programmatic works, but Franck determined 

to write a “traditional” symphony, based on 

thematic development and following, though 

very freely, the established German symphonic 

forms. But it is Liszt’s influence we 

hear most. Franck prominently uses Liszt’s 

and Berlioz’s principle of a motto or “idée 

fixe”: a theme that recurs in different guises 

throughout the work. In Franck’s hands, 

several motives and themes return in later 

movements to unify the work. 

The first of these—a three-note questioning 

motive in the low strings—launches the 

opening movement. This question generates 

a lengthy slow introduction, brooding but 

also expectant. The questioning idea then 

erupts into a bold Allegro, but Franck immediately 

short circuits that and reprises the

slow introduction in a higher key. After this, 

the Allegro finally takes wing and soon introduces 

us to the second of the symphony’s 

motto themes: an optimistic tune rocking 

around the note A, which is introduced 

fortissimo by the full orchestra. After developing 

his materials, Franck recapitulates the 

slow introduction, its original brooding 

quality now transformed into a blaze of brass. 

A short but powerful coda decisively changes 

the question into a ringing affirmation in 

D major. 

It was (franck’s) 

reverence for Beethoven 

that inspired him to write 

a symphony, a form 

french composers of the 

19 th century rarely attempted. 

By contrast, the second movement 

is all French subtlety and delicate scoring, 

a combination of slow movement and 

scherzo. Harp and plucked strings outline 

the theme, then the English horn sings it in 

full: a grave and melancholy melody with an 

old-fashioned modal flavor. The remainder 

of the movement is devoted to variations on 

this theme. An extended section of rapid, 

fluttering string patterns contribute a scherzo 

lightness while retaining the theme’s outline. 

The finale opens boldly with an exultant 

tune that sounds oddly familiar. We find out 

why later in the movement when the first 

movement’s optimistic second theme returns 

and proves to be a close cousin. Reminiscences 

of earlier music keep reappearing, led off 

by the return of the second movement’s grave 

dance. The closing coda reprises the opening 

question motive, now combined with the 

optimistic theme and elevated by harps. But 

it is the finale’s own exultant theme that 

finally sweeps aside nostalgia for a joyous 

conclusion. 

Instrumentation: Two flutes, two oboes, english 

horn, two clarinets,bass clarinet, two bassoons, 

four horns, two trumpets, two cornets, three 

trombones, tuba, timpani, harp and strings. 


Restaurant, Banquets & Catering 

Making Special Events, Memorable Events 

15819 Old York Road | Monkton, MD 21111 

410-771-8155 | Catering@theManorTavern.com 






Marin alSOP 


handel’s Messiah 

friday, December 7, 2012 — 7:30 p.m. 

edward Polochick, conductor and Harpsichord 

yulia Van doren, Soprano 

abigail nims, mezzo-soprano 

Sean Panikkar, Tenor 

tyler duncan, Baritone 

concert artists of Baltimore Symphonic chorale, 

edward Polochick, artistic Director 

george Frederic handel Messiah 

Part I 

Intermission 

Part II 

Part III 

edward 

Polochick 

Edward Polochick 

is artistic director of 

Concert Artists of Baltimore, 

an all-professional 

orchestra and all-professional vocal ensemble 

of seventy musicians that is celebrating its 26 th 

season. 2012–2013 also marks his 15 th season 

as music director of Lincoln’s symphony 

orchestra in Nebraska. From 1979–1999 he 

was on the staff of the Baltimore Symphony 

as director of the Symphony Chorus and 

since 1979 he has been at the Peabody 

Conservatory as associate conductor of the 

orchestra, director of choral ensembles and 

opera conductor. An accomplished pianist 

and harpsichordist, he has appeared as piano 

soloist with the Philadelphia Orchestra and 

the Los Angeles Chamber Orchestra. 

Since winning the Leopold Stokowski 

Conducting Award and conducting the 


Media Sponsor: 

Philadelphia Orchestra, he has attracted 

attention as an orchestral, operatic and choral 

conductor. His appearances have included 

the Baltimore Symphony, Houston Symphony, 

Chautauqua Symphony, the Opera 

Company of Philadelphia, the Aalborg 

Symphony of Denmark, Omaha Symphony, 

Jacksonville Symphony, Daejeon Philharmonic 

in Korea, St. Petersburg Symphony in 

Russia and the State of Mexico Symphony 

Orchestra in Toluca, Mexico. 

Mr. Polochick resides in Baltimore, where 

he is often asked to share his knowledge and 

love of music at various lecture series, adjudications 

and radio broadcasts. He received the 

Peggy and Yale Gordon Achievement Award 

and in 2000 he was made an honorary member 

of the Baltimore Music Club. In 2002, he 

was awarded the Johns Hopkins University 

Distinguished Alumnus Award, one of only 

three Peabody alumni to be so honored. In 

2003–04, he was named Baldwin Scholar 

anDreW ScHaff 

at the College of Notre Dame of Maryland, 

where he held lectures, demonstrations and 

panels on the creative act of music. Maestro 

Polochick is also a regular panelist on Face 

The Music, a review of recordings hosted by 

Jonathan Palevsky of WBJC-FM. In 2011, he 

adjudicated an international vocal competition 

in Caiazzo, Italy. 

yulia Van doren 

Hailed as “a hugely 

appealing, obviously 

important talent,” 

Yulia Van Doren is 

sought after for her 

ability to tackle the most demanding and 

varied repertoire. In recent seasons, she 

debuted with Los Angeles Philharmonic 

in Shostakovich’s Orango; sang St. Theresa 

in Four Saints in Three Acts with the Mark 

Morris Dance Group; performed Nielsen’s 

Symphony No. 3 at the Bard Festival; and 

sang Bach’s B Minor Mass with Music of 

the Baroque. Recent opera performances 

include Dorinda in Orlando at the Mostly 

Mozart, Ravinia, and Tanglewood Festivals; 

Mereo in Scarlatti’s Tigrane for Opéra de 

Nice, and Betsy in Monsigny’s Le Roi et le 

Fermier at the Kennedy Center, Lincoln 

Center, and Opéra Royal de Versailles 

(recorded for Naxos). 

In the 2012–13 season, she will travel to 

the Netherlands for Handel’s Alexander’s 

Feast and Acis and Galatea and to Walt Disney 

Concert Hall to perform the Brahms 

Requiem with the Los Angeles Master 

Chorale. She will also debut with the Baltimore 

and Toronto Symphonies (Messiah), 

Nashville Symphony (Elijah), and Pasadena 

Symphony (Mahler Symphony No. 4). 

Yulia Van Doren is making her BSO debut. 

abigail nims 

Abigail Nims has 

established herself as a 

musician of integrity 

and versatility through 

her performances of 

repertoire spanning from Bach, Handel 

and Mozart to Crumb, Ligeti and contemporary 

premieres. In 2012–13, she debuts 

with the BSO, with Adrian Symphony in 

Berlioz’ Les Nuits d’ete, with Florentine 

Opera as Nancy in Britten’s Albert Herring 

and Virginia Opera as Prince Orlovsky 

in Die Fledermaus. She made her debut

krISTIna SHerk 

in season 2011–12 with Atlanta Opera 

as Veruca Salt in Peter Ash’s The Golden 

Ticket, a role which she created at the 

opera’s workshop performances in New 

York City through American Lyric Theater 

in the 2008–09 season. She also sang as 

soloist in Messiah at Carnegie Hall with the 

Masterwork Chorus and as Octavian in 

selections from Der Rosenkavalier in a 

return to Quad City Symphony Orchestra. 

Her discography includes performances 

of Martin Bresnick’s song cycle “Falling,” 

featured on the composer’s compilation 

album Every Thing Must Go (Albany 

Records, 2010) and the role of Veruca Salt 

in Peter Ash’s The Golden Ticket (Albany 

Records), fall 2012. 

Awards include second prize in the 2007 

Fritz and Lavinia Jensen Foundation Competition, 

the Anna Case MacKay Memorial 

Award from Santa Fe Opera, an honorable 

mention in the 2006 American Bach Society 

Competition, recipient of the 2007 Dean’s 

Prize from Yale School of Music and finalist 

in the Licia Albanese-Puccini Foundation. 

Abigail Nims is making her BSO debut. 

Sean Panikkar 

Sean Panikkar is known 

for his “surpassing 

musicality and passion, 

commanding self-confidence 

and gorgeous 

expression.” The American artist of Sri 

Lankan heritage made his Metropolitan 

Opera debut with James Levine in Manon 

Lescaut and his European operatic debut in 

Mozart’s Zaïde at the Aix-en-Provence 

Festival in a production directed by Peter 

Sellars and conducted by Louis Langrée. 

Highlights of the current season include 

The Magic Flute at Chicago Opera Theater, 

Don Giovanni at Pittsburgh Opera, Otello 

and La rondine at the Metropolitan Opera, 

and the artist’s first La bohème with Fort 

Worth Opera. 

Past appearances include Roméo et Juliette, 

Ariadne auf Naxos, and Lucia di Lammermoor 

at the Metropolitan, Béatrice et Bénédict 

at Opera Boston, Les pêcheurs de perles at 

Pittsburgh Opera, Nabucco with Washington 

National Opera, Eugene Onegin at Opera 

Theatre of Saint Louis, The Last Savage at 

Santa Fe Opera, and Salome at San Diego 

Opera and the Saito Kinen Festival. 

Sean Panikkar is making his BSO debut. 

colIn mIllS 

Tracey BroWn 

tyler duncan 

Tyler Duncan’s current 

season includes a New 

York Philharmonic 

debut (conducted by 

Masaaki Suzuki), joining 

the Metropolitan Opera roster and returning 

to Carnegie Hall for Mahler’s Eighth 

Symphony with the American Symphony. He 

has appeared at the Spoleto USA, Princeton, 

Halle, Bard, Lanaudière, Berkshire Choral, 

Chautauqua, Oregon Bach and Vancouver/ 

Boston Early Music Festivals, as well as with 

Pacific Opera Victoria (as Dandini in Rossini’s 

La Cenerentola). Concerts include the Québec, 

Toronto and Montreal symphonies; Calgary 

and Rochester philharmonics; Boston’s 

Händel and Haydn Society, San Francisco’s 

Philharmonia Baroque and Toronto’s Tafelmusik; 

collaborating with such conductors as 

Kent Nagano, Helmut Rilling, Christopher 

Seaman and Nicolas McGegan. 

The Canadian baritone has earned prizes 

from the Naumburg, Wigmore Hall, ARD/ 

Munich, Joy-in-Singing, New York Oratorio 

Competitions, and the Prix International Pro 

Musicis Award and the Bernard Diamant 

Prize from the Canada Council for the Arts. 

He is a founding member on the faculty of the 

Vancouver International Song Institute and 

has given acclaimed recitals in New York, Boston 

and Paris, as well as throughout Canada, 

Germany, Sweden, France and South Africa. 

Mr. Duncan’s recordings include Bach’s 

St. John Passion with Portland Baroque under 

Monica Huggett, and the title role of John 

Blow’s Venus and Adonis with the Boston 

Early Music Festival. 

Tyler Duncan is making his BSO debut. 

concert artists of Baltimore 

edward Polochick, artistic Director 

Founded by Edward Polochick and now in 

its 25 th season, Concert Artists of Baltimore 

(CAB) consists of a professional chamber 

orchestra and professional chamber chorus. 

The full ensembles are featured in the Classy 

Concert Artists 

of Baltimore 


Classics series, with performances at The 

Miriam A. Friedberg Hall at the Peabody 

Institute, and the Patricia and Arthur Modell 

Performing Arts Center at the Lyric. 

CAB also offers a chamber music series, 

Music at the Mansion, with performances at 

The Engineers Club, Garrett-Jacobs Mansion 

in Baltimore. This series showcases smaller 

forces, such as a quartet, and often features 

unique repertoire. 

CAB is frequently hired for performances 

throughout the region by other organizations, 

including the Lyric Opera Baltimore, 

Moscow Ballet, The Cathedral of Mary 

Our Queen, Temple Oheb Shalom, Johns 

Hopkins Medical Institutions, McDaniel 

College, St. Louis Church, The Holocaust 

Museum in Washington, D.C., The Visionary 

Arts Museum, Elizabethtown College, 

Catholic Charities and the Baltimore Symphony 

Orchestra. 

When larger forces are needed, such as 

when the singers of Concert Artists perform 

Messiah with the Baltimore Symphony Orchestra 

each year, the chorus expands to the 

Concert Artists Symphonic Chorale. 

The Concert Artists of Baltimore Symphonic 

Chorale last appeared with the BSO in 

December 2011, performing Messiah with 

Edward Polochick conducting. 


Messiah 

george Frideric handel 

born in Halle, Saxony (now germany), 

February 23, 1685; died in London, April 4, 1759 

Handel’s great oratorio Messiah has become 

such a beloved musical icon in the nearly 270 

years since its birth in 1741 that it is not at all 

surprising that many myths and legends have 

grown up around it. We have been told that 

Handel himself compiled its mostly Biblical 

text or, alternatively, that it was sent to him 

by a stranger; that its success transformed 

him overnight from a bankrupt operatic hasbeen 

to England’s most revered composer; 

that at its London premiere, the king himself 

rose during the “Hallelujah Chorus” to 

express his approbation. But Messiah’s real 

story is much more complicated, though no 

less fascinating. 

In the early 1740s, Handel was indeed in 

considerable professional and financial trouble. 

After emigrating from Germany to England 

as a young man, he had enjoyed a celebrated 


cHrIS lee 


career as the country’s leading composer of operas, 

mostly in Italian and enhanced by spectacular 

costumes and scenic effects. But by 

the end of the 1730s, Handel’s serious grand 

operas were falling out of fashion. The success 

of John Gay’s much simpler, English-language 

The Beggar’s Opera fueled a new enthusiasm 

for popular-style comic operas. Unable to fill 

London’s opera houses any more, Handel 

retreated from the field and turned his genius 

to sacred dramas or oratorios. 

He was not a novice in this genre. Even 

while busy writing operas, Handel had 

composed a number of oratorios, notable Israel 

in Egypt and Saul. Typically, his oratorios 

were not so very different from his operas: 

they told a dramatic story– in this case drawn 

from the Bible or other sacred literature–and 

their soloists played actual characters. They 

were performed in theatres and concert halls, 

not churches. But Israel in Egypt took a new 

musical approach in that the chorus now 

became the central character. And Messiah, 

while giving the soloists more to do, still emphasized 

the chorus for its climatic moments. 

Moreover, it broke with Baroque oratorio 

tradition in that it was a meditation on the 

coming of the Messiah and his promise for 

humanity rather than a narrative of events in 

his life. 

Handel himself did not compile the group 

of texts drawn from the Bible’s Old and 

New Testaments for Messiah. Instead, this 

was the work of Charles Jennens, a wealthy 

landowner and literary figure who was a 

longtime friend of the composer’s and had 

created texts for several other Handel oratorios. 

But Handel, devoutly religious as well 

as worldly, responded with a burst of almost 


handel 

Perhaps even exceeding 

“Hallelujah” in majesty and 

joy is the magnificent chorus 

“Worthy Is the lamb” that 

closes Part III. 

miraculous creative energy to the words 

Jennen’s had prepared for him. Beginning 

his work on August 22, 1741, he completed 

the two-and-a-half-hour oratorio in just over 

three weeks. Besides inspiration from God, 

he also had a little practical assistance in his 

huge task. Like more Baroque composers 

(Bach included), he did not hesitate to borrow 

from earlier works if they were suitable 

for use here. Three of the choruses in Part 

I—“He Shall Purify,” “His Yoke Is Easy,” 

and even the famous “For Unto Us a Child is 

Born”—are based on music he had originally 

composed as Italian vocal duets. 

Messiah was introduced to the world in 

Dublin, Ireland on April 13, 1743 during 

Holy Week (the tradition of performing it 

during the Christmas season is fairly recent). 

The BSO 

At the invitation of the Duke of Devonshire, 

the Lord Lieutenant of Ireland, Handel had 

been presenting the concerts of his works 

there since the previous November and 

winning the kind of warm response that had 

been eluding him in London. On that Tuesday, 

Neal’s Musick Hall was packed beyond 

its capacity; audience members had been 

specifically requested to leave their swords 

and hoop skirts at home in order to fit more 

people into the hall! 

The Dublin audience responded with 

enormous enthusiasm to the new work, and 

another performance was quickly scheduled. 

But when Handel brought Messiah 

to London in March 1743, attendance was 

disappointing and the critics unkind. A 

subsequent Handel oratorio, Samson, was 

much preferred. 

Much of Messiah’s failure was caused by a 

heated controversy that broke out in the city 

as to whether such a serious sacred subject 

ought to be presented as an “entertainment” 

in secular concert halls. Receiving few subsequent 

performances, the oratorio went back 

on Handel’s shelf. 

By 1749, when Handel was 64, the trustees 

of London’s Foundling Hospital invited 

him to present Messiah there at a charitable 

fundraising concert. This time, the oratorio 

aroused no controversy, more than 1,000 

people attended, and, for the first time, Messiah 

enjoyed a London triumph. From then 

on, annual performances during the Lenten 

season became a London tradition, soon 

spreading throughout Europe. Now Handel 

was finally acknowledged as England’s 

leading musical citizen, and he lived long 

enough–until 1759–to be able to savor the 

success of the work he loved so dearly. 

liStening tO MeSSiah 

Messiah’s heroic journey is divided into three 

parts. Part I revolves around the Old Testament 

prophecies (emphasizing the Book of 

Isaiah) of the Messiah’s coming and culminates 

with his birth as told in the Gospel of 

Luke. Indeed more of Messiah’s text is drawn 

from the Old Testament than the New, and, 

apart from the Nativity story, the Gospel 

histories are seldom used. Thus, the emphasis 

falls on the broader meaning of Christ’s 

redemption of the human race rather than on 

the details of Jesus’ life. 

Part II meditates on human sinfulness, 

the Messiah’s rejection and suffering, and his 

sacrifice to redeem humankind; it concludes 

with that famous song of praise and triumph, 

the “Hallelujah” Chorus. Finally moving

into the New Testament, Part III tells of 

the Messiah’s vanquishing of death and the 

promise of everlasting joy for the believer. 

Handel did not leave behind a definitive 

version of Messiah; instead, he reworked 

numbers and re-assigned arias to different 

voice categories depending on the soloists 

available for each performance. Messiah’s 

solo sections are divided between recitatives, 

which place greater emphasis on delivery of 

the words, and arias, in which musical values 

and the showcasing of the singer’s technical 

prowess take precedence. The tenor’s 

two opening numbers are a good example: 

“Comfort Ye, My People” is an accompanied 

recitative and “Every Valley” is an aria. 

Perhaps the most stunning sequence in 

Part I is the juxtaposition of the bass soloist’s 

aria “The People That Walked in Darkness” 

with the beloved chorus “For Unto Us 

a Child Is Born.” In a marvelous example 

of musical text painting, the bass literally 

wanders in a chromatically confused maze in 

the dark key of B minor. The “great light” for 

which he yearns is then joyfully revealed in G 

major as the chorus salutes Jesus’ birth. 

All the choruses, including the “Hallelujah,” 

demonstrate Handel’s exhilarating 

technique of mixing powerful homophonic 

or chordal utterances (“Mighty! Counselor!”) 

with a more intricate polyphonic style in 

which each voice part pursues its own elaborately 

decorates line (“For Unto Use a Child 

Is Born”). The origins of the ritual of standing 

for the “Hallelujah Chorus” are rather 

misty. Scholars believe that the Prince of 

Wales may have stood up when he attended 

that historic London performance in 1749, 

certainly by 1780, everyone in the audience 

was following King George III’s lead. Perhaps 

even exceeding “Hallelujah” in majesty and 

joy is the magnificent chorus “Worthy Is the 

Lamb” that closes Part III, the shortest of the 

three sections but also the one most densely 

packed with the oratorio’s greatest sequences 

(the soprano’s serenely beautiful statement of 

faith, “I Know That My Redeemer Liveth”; 

the bass’s hair-rising proclamation of the 

Final Judgment, based on First Corinthians, 

“The Trumpet Shall Sounds” with its 

gloriously realized trumpet accompaniment). 

“Worthy Is the Lamb” itself is capped with 

an “Amen” Chorus on an epic scale worthy 

of the masterpiece it closes—unfurling 

in grand sweeps some of the finest, most 

inspired choral counterpoint this Baroque 

master ever devised. 




Marin alSOP 


Vienna Boys Choir 

Saturday, December 8, 2012 — 7:30 p.m. 

Vienna Boys choir 

In 1498 Emperor Maximilian I moved his 

court and his court musicians to Vienna, 

and gave instructions that there were to 

be six singing boys among his musicians. 

Until 1918, the choir sang exclusively for 

the imperial court, at mass, private concerts 

and functions, and on state occasions. In 

1918 the Austrian government took over 

the court opera, its orchestra and the adult 

singers, but not the boys’ choir. The Vienna 

Boys Choir owes its survival to Josef Schnitt, 

who became Dean of the Imperial Chapel 

in 1921. Schnitt established the boys’ choir 

as a private institution. The former court 

choir boys became the Wiener Sängerknaben 

(Vienna Boys Choir); the imperial uniform 

was replaced by the sailor suit. Funding was 

not enough to pay for the boys’ upkeep, so in 

1926 the choir started to give public concerts, 

performing motets, secular works and 

children’s operas. 

Today there are around 100 choristers 

between the ages of 10 and 14, divided into 

four touring choirs. The four choirs give 

around 300 concerts and performances each 

year in front of almost half a million people. 

Each group spends nine to 11 weeks of the 

school year on tour. Together with members 

of the Vienna Philharmonic Orchestra and 

the Vienna State Opera Chorus, the Vienna 

Boys Choir maintains the tradition of the 

Vienna Boys choir 

Program to be announced from the stage. 


Note: The BSO does not perform on this program. 


imperial musicians: as Hofmusikkapelle they 

provide the music for the Sunday Mass in 

Vienna’s Imperial Chapel, as they have done 

since 1498. 

The choir’s repertoire includes everything 

from medieval to contemporary and experimental 

music. Motets and lieder for boys’ 

choir form the core of the touring repertoire, 

as do the choir’s own arrangements of quintessentially 

Viennese music, waltzes and polkas 

by Lehar, Lanner and Strauss. The choir 

also takes part in opera performances at the 

Vienna State Opera, the Vienna Volksoper 

and the Salzburg Festival. Choristers appear 

as three boys in Mozart’s The Magic Flute. 

Vienna Boys Choir 






Marin alSOP 


Jack eVerly 

Principal Pops conductor 

holiday Pops Celebration 

Thursday, December 13, 2012 — 2 p.m. 

friday, December 14, 2012 — 2 p.m. & 7:30 p.m. 

Saturday, December 15, 2012 — 2 p.m. & 7:30 p.m. 

Sunday, December 16, 2012 — 2 p.m. 

robert Bernhardt, conductor 

daniel narducci, Baritone 

Baltimore choral arts Society—tom hall, music Director 

anacrusis Bell choir 

arr. randol alan Bass Deck the Halls 

from Christmas Ornaments 

Vince guaraldi & Christmas Time Is Here 

lee mendelson 

arr. curtisWilson 


Piotr Iylich Tchakovsky Selections from The Nutcracker 

March 

Dance of the Sugar-Plum Fairy 

Russian Dance, “Trepak” 

edward Pola & george Wyle It’s the Most Wonderful Time 

arr. Scot Wooley of the Year 

DanIel narDuccI 

Jay livington & ray evans Silver Bells 

arr. Scot Wooley DanIel narDuccI 

arr. Scot Wooley Go Tell It On the Mountain 


John Williams & Three Holiday Songs 

leslie Bricusse from Home Alone 

Somewhere In My Memory 

Star of Bethlehem 

Merry Christmas, 

Merry Christmas! 

interMission 

arr. chris ridenhour We Wish You a Merry Christmas 

arr. mack Wilberg Joy to the World 

mykola leontovich Carol of the Bells 

arr. Barlow Bradford anacruSIS Bell cHoIr 

leroy anderson Sleigh Ride 

arr. John rutter Twelve Days of Christmas 

alan Silvestri & glen Ballard concert Suite from 

arr. Jerry Brubaker The Polar Express 

adolphe adam O Holy Night 

arr. Tim Berens DanIel narDuccI 

arr. randol alan Bass The Night Before Christmas 


arr. randol alan Bass Sing We Now of Christmas 

Oh Come All Ye Faithful 

Away in a Manger 

The First Noel 

Joy to the World 

Silent Night 

Hark, the Herald Angels Sing 

the concert will run approximately 2 hours 

including intermission. 

Media Sponsors:

anDreW ScHaff 

robert 

Bernhardt 

Conductor Robert 

Bernhardt brings a 

unique combination of 

infectious enthusiasm, 

a style of ease, and a depth of musicianship 

to the podium. Equally at home with 

symphonic masterworks, opera, and popular 

music in a variety of genres, Mr. Bernhardt’s 

conducting activity reflects his versatility 

and broad musical taste. He is Music Director 

Emeritus of the Chattanooga Symphony 

and Opera, having recently completed a 

19-year tenure as that orchestra’s music director. 

Mr. Bernhardt also holds the title of 

Principal Pops Conductor of the Louisville 

Orchestra where he celebrated his 30-year 

association with that orchestra during the 

2011–12 season. He has previously served as 

Artistic Director and Principal Conductor of 

the Rochester Philharmonic (1995–98), Music 

Director and Conductor of the Tucson 

Symphony (1987–95), and Principal Guest 

Conductor of Kentucky Opera (1991–96). 

Mr. Bernhardt began his professional career 

with the Louisville Orchestra in 1981 as 

Assistant Conductor, and has worked with 

the Orchestra every year since. For the past 

15 years, he has served as its Principal Pops 

Conductor, collaborating with a wide variety 

of artists and entertainers. In addition to 

conducting the Pops series, Mr. Bernhardt 

also hosts and conducts a three-concert series 

he founded in the late 1980s entitled “Night- 

Lites,” which presents themed programs 

of a variety of musical genres in a creative, 

informative and engaging format. 

Mr. Bernhardt’s recordings of the 

standard symphonic canon and works of 

contemporary composers are available on the 

Vanguard, First Edition, RPO and Carlton 

Classics labels. 

daniel 

narducci 

Baritone Daniel Narducci 

is a multi-faceted 

artist whose talents 

have been captured 

through live stage presentations, recordings, 

documentaries and television. Since 

his professional debut with the Cincinnati 

Pops Orchestra, Mr. Narducci has appeared 

with many of the world’s most prestigious orchestras, 

including the Cleveland Orchestra, 

Philadelphia Orchestra, Boston Pops, Naples 

Philharmonic, Chicago Symphony, Rochester 

Philharmonic, Toronto Symphony, Houston 

Symphony and the Detroit Symphony. 

Mr. Narducci’s television appearances 

have reached audiences worldwide. His historic 

performance with the Cincinnati Pops 

Orchestra at the Great Hall of the People in 

Beijing was filmed for nationwide broadcast 

in China. Other television appearances 

include co-starring with Frederica von Stade 

and the Naples Philharmonic Orchestra in a 

PBS broadcast program entitled Pops at the 

Phil: A Century of Broadway. He also appeared 

with Judy Kaye in the BBC television documentary 

Kurt Weill in America: I’m a Stranger 

Here Myself. 

Daniel Narducci’s combined talents have 

been seen on operetta and musical theatre 

stages throughout North America and 

Europe. He recently made his New York City 

debut at Alice Tully Hall with the Collegiate 

Chorale under the direction of Robert 

Bass in An Evening of American Operetta. 

He played the role of Lancelot during two 

national tours of Camelot and portrayed Old 

Deuteronomy in the 10 th anniversary production 

of Cats in Hamburg, Germany. 

An active recording artist, Daniel Narducci 

recently created the role of Captain Hook 

on the world premiere recording of Leonard 

Bernstein’s Peter Pan. This complete version 

of the musical co-stars Linda Eder, and was 

released by Koch International Records. 

tom hall and the Baltimore 

choral arts Society 

Led by Music Director Tom Hall, the Baltimore 

Choral Arts Society, now in its 46 th 

season, is one of Maryland’s premier cultural 

institutions. The Symphonic Chorus, Full 

Chorus, Orchestra, and Chamber Chorus 

perform throughout the mid-Atlantic region, 

as well as in Washington, D.C., New York, 

and in Europe. 

In the summer of 2007, Mr. Hall led the 

Chorus in a successful, three-city tour of 

France including sold-out performances in 

Paris and Aix-en-Provence, and the Chorus 

has also appeared at Spain’s prestigious Festival 

of the Costa del Sol. 

For the past 15 years, WMAR Television, 

the ABC network affiliate in 

Maryland, has featured Choral Arts in an 

hour-long special, “Christmas with Choral 

Arts,” which won an Emmy Award in 

2006. On local radio, Mr. Hall is the host 

of “Choral Arts Classics,” a monthly program 

on WYPR that features the Choral 

Arts Chorus and Orchestra, and he is the 

courTeSy of THe BSo 


Choral Arts Society 

Culture Editor on WYPR’s “Maryland 

Morning with Sheilah Kast.” 

Appointed Music Director in 1982, Mr. 

Hall has added more than 100 new works to 

the BCAS repertoire, and he has premiered 

works by contemporary composers including 

Peter Schickele, Libby Larsen, Robert Sirota, 

James Lee III, Rosephanye Dunn Powell, 

and many other internationally acclaimed 

composers. 

In addition to his position with BCAS, 

Mr. Hall is active as a guest conductor in 

the United States and in Europe, including 

appearances with the Handel and Haydn 

Society in Boston, the Choral Arts Society of 

Philadelphia, the Berkshire Choral Festival, 

Musica Sacra in New York, and Britten 

Sinfonia in Canterbury, England. 

anacrusis Bell choir 

Anacrusis is a professional handbell organization 

consisting of 8 musicians that 

specialize in small ensemble work. Located 

in the Chesapeake Bay Area of Maryland, 

the ensemble is extremely versatile, with the 

ability to perform handbell sextets, quintets, 

quartets, trios and duets, with optional 

accompaniment by harp, keyboards, and 

percussion instruments. They have been 

featured as performers and instructors at 

handbell conferences in the Mid-Atlantic 

region and perform the pre-concerts for the 

BSO Holiday Pops. Anacrusis's repertoire 

encompasses a wide variety of music, including 

Classical, Popular, Sacred, and music that 

is just plain fun! 


THe bALTImore SymPHoNy orcHeSTrA 

symPhony Fund honor roll 

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

gifts to the Annual Fund between July 18, 2011– September 18, 2012 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 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 city 

baltimore county executive, county 

council, and the commission on 

Arts and Sciences 

Joseph and Jean carando* 

individuals founders circle 

$50,000 or more 

The charles T. bauer Foundation 

Jessica and michael bronfein 

mr. and mrs. H. Thomas Howell 

mr. and mrs. mark Joseph 

esther and ben rosenbloom 

Foundation 

michelle g. and Howard 

rosenbloom 

Dr. and mrs. Solomon H. Snyder 

ms. ellen yankellow 

individuals maestra’s circle 

$15,000 or more 

Anonymous (2) 

Donna and Paul Amico 

The Kenneth S. battye charitable Trust 

“In honor of Kenneth S. battye* 

Herbert bearman Foundation, Inc. 

Dr. Sheldon and Arlene bearman 

The bozzuto Family charitable Fund 

The Dopkin-Singer-Dannenberg 

Foundation, Inc. 

mrs. margery Dannenberg 

george and Katherine Drastal 

Alan and carol edelman 

ms. Susan esserman and mr. Andrew 

marks 

mr. and mrs. Douglas Hamilton 

michael g. Hansen and 

Nancy e. randa 

beth J. Kaplan and bruce P. Sholk 

mr. and mrs. Stephen m. Lans 

Jon and Susan Levinson 

Susan and Jeffrey* Liss 


July 18, 2011 – september 18, 2012 

constellation 

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 

$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 

mr. Kenneth W. DeFontes, Jr. 

Dr. Perry A. eagle*, ryan m. eagle, and 

bradley S. eagle 

Sandra Levi gerstung 

Frances goelet charitable Trust 

Dr. and mrs. Philip goelet 

mr. and mrs. michael P. Pinto 

mr. and mrs. george A. roche 

Lainy Lebow-Sachs and 

Leonard r. Sachs 

mr. and mrs. William Wagner 

The zamoiski-barber-Segal Family 

Foundation 

$10,000 or more 

Liddy manson 

“In memory of James gavin manson” 

Anonymous (2) 

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 

ms. Kathleen A. chagnon and 

mr. Larry Nathans 

Judith and mark coplin 

mr. and mrs. H. chace Davis, Jr 

chapin Davis Investments 

Harvey m. meyerhoff 

Joseph & Harvey meyerhoff Family 

charitable Funds 

robert e. meyerhoff and rheda 

becker 

mr. and mrs.* Arthur b. modell 

Arts and Humanities council 

of montgomery county and 

montgomery county maryland 

National endowment for the Arts 

PNc 

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 

Sarellen and marshall Levine 

David and marla oros 

Dr. and *mrs. Thomas Pozefsky 

rosalee c. and richard Davison 

Foundation 

mr. and mrs. Anthony Deering 

mr. and mrs. James L. Dunbar 

Sara and Nelson Fishman 

ms. mary Haub 

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 

mr. richard e. Levine and 

mrs. Lori balter 

mr. and mrs. Samuel g. macfarlane 

Howard majev and Janet brandt majev 

Hilary b. miller and 

Dr. Katherine N. bent 

Sally S. and Decatur H. miller 

Drs. virginia and mark myerson 

mr. and mrs. bill Nerenberg 

Arnold and Diane Polinger 

mrs. violet g. raum 

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 

charles* and Shirley Wunder 

rifkin, Livingston, Levitan and Silver, 

LLc mr. and mrs. Alan m. rifkin 

bruce and Lori Laitman rosenblum 

mr. and mrs. richard rudman 

The Honorable Steven r. Schuh 

mr. and mrs. Stephen D. Shawe 

Jane and David Smith 

David and chris Wallace 

ellen W.P. Wasserman 

gar and migsie richlin 

Alison and Arnold richman 

rona and Arthur rosenbaum 

Dr. and mrs. charles I. Shubin 

Joanne gold and Andrew A. Stern 

mr. and mrs. gideon N. Stieff, Jr. 

The Louis b. Thalheimer and 

Juliet A. eurich Philanthropic Fund 

richard c. and Julie I. vogt 

Judy (Witt) Phares 

* Deceased 

Special thanks to 

for its generous support!

Barbara and tom Bozzuto meet 

world-famous Soprano renée Fleming 

at the gala 

governing Members 

Platinum, $7,500 or more 

Ms. Amy Elin Anderson 

Deborah and Howard M. Berman 

Drs. Sonia and Myrna Estruch 

Ms. Margaret Ann Fallon 

Mrs. Anne Hahn 

Mr. and Mrs. Neil Meyerhoff 

Dr. and Mrs. Anthony Perlman 

Helene and Bill Pittler 

Miss Joan M. Pristas 

Dr. and Mrs.* John H. Sadler 

Alena and David M. Schwaber 

Mr. and Mrs. W. Danforth Walker 


gold, $5,000 or more 

Anonymous (1) 

Mr. and Mrs. Edward J. Adkins 

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

Jean and John Bartlett 

Ms. Arlene S. Berkis 

Barry D. and Linda F. Berman 

John and Bonnie Boland 

Mr. and Mrs. Leland Brendsel 

The Eddie C. and C. Sylvia 

Brown Family Foundation 

Ellyn Brown and Carl J. Schramm 

Ms. Mary Catherine Bunting 

Mrs. Frances H. Burman* 

Mr. and Mrs. Robert Butler 

Nathan and Suzanne Cohen 

Foundation 

The Cordish Family Fund 

Suzi and David Cordish 

Mr. and Mrs. Albert R. 

Counselman, The RCM&D 

Foundation and RCM&D, Inc. 

Faith and Marvin Dean 

Ronald E. Dencker 

Mr. Mark Fetting 

Andrea and Samuel Fine 

John Gidwitz 

Sandra and Barry Glass 

Betty E. and Leonard H. 

Golombek 

Mr. and Mrs. Stewart 

Greenebaum 

Mrs. Catharine S. Hecht* 

Joel and Liz Helke 

Mr. and Mrs. J. Woodford 

Howard, Jr. 

Mr. and Mrs. Richard E. Hug 

Susan and Stephen Immelt 

Mr. and Mrs. Harry Kaplan 

Mr. William La Cholter 

Dr. David Leckrone and 

Marlene Berlin 

Eileen A. and Joseph H. Mason 

SymPHoNy FuND HoNor roLL 

Marin alsop welcomes Mayor Stephanie 

rawlings-Blake and her mother, nina 

rawlings, to the gala 

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 

Dr. A. Harry Oleynick 

Dr. and Mrs. David Paige 

Dr. and Mrs. Lawrence C. Pakula 

Linda and Stanley* Panitz 

Mrs. Margaret Penhallegon 

Dr. Todd Phillips and 

Ms. Denise Hargrove 

The Ross & Grace Pierpont 

Charitable Trust 

Dr. Scott and Frances Rifkin 

Mr. and Mrs. Richard Roca 

Jane S. Baum Rodbell and 

James R. Shapiro 

Mr. and Mrs. William Rogers 

Mike and Janet Rowan 

Neil J. and JoAnn N. Ruther 

Dr. John Rybock and Ms. Lee 

Kappelman 

Dr.* and Mrs. Marvin M. Sager 

Ms. Tara Santmire and 

Mr. Ben Turner 

Mr. and Mrs. J. Mark Schapiro 

M. Sigmund and Barbara K. 

Shapiro Philanthropic Fund 

Marilyn and Herb* Scher 

Ronald and Cathi Shapiro 

Francesca Siciliano and 

Mark Green 

Mr. and Mrs. Daniel Silver 

Mr. and Mrs. Harris J. 

Silverstone 

The Honorable and Mrs. James 

T. Smith, Jr. 

Ms. Patricia Stephens 

Dr. and Mrs. Carvel Tiekert 

Mr. and Mrs. Peter Van Dyke 

Mr. and Mrs. Loren Western 

Mr. Edward Wiese 

Mr. and Mrs. LeRoy A. 

Wilbur, Jr. 

Wolman Family Foundation 

Laurie S. Zabin 


Silver, $2,500 or more 

Mr. and Mrs. Arthur Chomas 

“In memory of Mrs. Gloria 

Chomas” 

“In memory of John T. 

Ricketts, III” 

“In memory of Reverend 

Howard G. Norton and 

Charles O. Norton” 

Anonymous (7) 

Diane and Martin* Abeloff 

Dr. and Mrs. Robert J. Adams 

Julianne and George Alderman 

Dr. and Mrs. Thomas E. Allen 

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 

Lynda and Kenneth Behnke 

Dr. and Mrs. Emile A. Bendit 

Max Berndorff and Annette Merz 

Alan and Bunny Bernstein 

Dr. and Mrs. Mordecai P. 

Blaustein 

Randy and Rochelle Blaustein 

Mr. Gilbert Bloom 

Dr. and Mrs. Paul Z. Bodnar 

Robert L. Bogomolny and Janice 

Toran 

Carolyn and John Boitnott 

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

Mr. and Mrs. Charles R. Booth 

Dr. and Mrs. Stuart H. Brager 

Dr. Helene Breazeale 

Dr. Rudiger and Robin 

Breitenecker 

Steven Brooks and Ann Loar 

Brooks 

Dr. and Mrs. Donald D. Brown 

Mrs. Elizabeth A. Bryan 

Dr. Robert P. Burchard 

Laura Burrows 

Loretta Cain 

Mr. and Mrs. S. Winfield Cain 

James N. Campbell M.D. and 

Regina Anderson M.D. 

Cape Foundation 

Turner and Judy Smith 

Michael and Kathy Carducci 

Ms. Susan Chouinard 

Mr. and Mrs. David S. 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 

Baltimore county School Superintendent 

dallas dance joins Marin alsop, along with 

Bob Meyerhoff and rheda Becker, and 

Freeman and Jackie hrabowski. 

Mr. and Mrs. Elbert Cole 

Mrs. Wandaleen Cole 

Mr. and Mrs. John W. 

Conrad, Jr. 

Dr. and Mrs. David Cooper 

Corckran Family 

Charitable Foundation 

Mr. and Mrs. 

John C. Corckran, Jr. 

Jane C. Corrigan 

Mrs. Rebecca M. Cowen-Hirsch 

Mr. and Mrs. William H. 

Cowie, Jr. 

Alan and Pamela Cressman 

Michael R. Crider 

Dr. and Mrs. George Curlin 

Mr. and Mrs. Edward A. 

Dahlka, Jr. 

Dr. and Mrs. Cornelius Darcy 

Mr. and Mrs. William F. Dausch 

Richard A. Davis and Edith 

Wolpoff-Davis 

James H. DeGraffenreidt 

and Mychelle Y. Farmer 

Kari Peterson, Benito R. and 

Ben DeLeon 

Arthur F. and Isadora 

Dellheim Foundation, Inc. 

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 

Mr. Joseph Fainberg 

Dr. and Mrs. Donald O. Fedder 

Dr. and Mrs. Arnold S. Feldman 

Mr. and Mrs. Maurice R. 

Feldman 

Sherry and Bruce 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. 

Ms. Lois Fussell 

Mr. and Ms. Denis C. Gagnon 

John Galleazzi and Elizabeth 

Hennessey 

Mr. Ralph A. Gaston 

Mr. and Mrs. Ramon* F. Getzov 

Mrs. Ellen Bruce Gibbs 

Mr. and Mrs. Joseph S. 

Gillespie, Jr. 

Attend OUR eXCLUSiVe MeMBeR eVentS! 

become a member and recieve exclusive benefits. calll 410.783.8124 or email membership@BSOmusic.org 

Sandi gerstung introduces guest violinist 

gil Shaham to Suzy katzenberg at the 

Opening night cast Party 

Mr. Robert Gillison and 

Ms. Laura L. Gamble 

Ms. Jean Goldsmith 

Evee and Bertram Goldstein 

Mr. Mark Goldstein, Paley 

Rothman 

Drs. Ronald and Barbara Gots 

Brian and Gina Gracie 

Mrs. Ann Greif 

Dr. Diana Griffiths 

Drs. Felix and Mary T. Gyi 

Ms. Louise A. Hager 

Carole Hamlin and C. Fraser 

Smith 

Melanie and Donald Heacock 

Mr. and Mrs. Edward Heine 

Sandra and Thomas Hess 

Mr. Thomas Hicks 

Betty Jean and Martin* S. 

Himeles, Sr. 

Mr. and Mrs. Samuel 

Himmelrich 

Bruce and Caren Beth Hoffberger 

Ms. Marilyn J. Hoffman 

Betsy and Len Homer 

Mr. Robert Honsa 

Mr. and Mrs. Jack* Hook 

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

Mr. and Mrs. William Hughes 

Elayne and Benno Hurwitz 

Susan and David Hutton 

Ms. Beverly McIntosh-Jackson 

and Family 

Madeleine and Joseph Jacobs 

Dr. Richard Johns 

Dr. Richard T. Johnson 

Richard and Brenda Johnson 

Carrie Johnston 

Dr. Robert Lee Justice and Marie 

Fujimura-Justice 

Barbara Katz 

Susan B. Katzenberg 

Louise and Richard Kemper 

Kent Family Foundation 

Suzan Russell Kiepper 

Mr. and Mrs. Young Kim 

Mr. Richard Kitson 

Dr. and Mrs. Richard A. Kline 

Paul and Susan Konka 

Mr. and Mrs. Steven S. Koren 

Barbara and David Kornblatt 

Dr. Morton D. Kramer 

Ms. Patricia Krenzke and 

Mr. Michael Hall 

Miss Dorothy B. Krug 

Marc E. Lackritz and Mary B. 

DeOreo 

Sandy and Mark Laken 

Dr. and Mrs. Donald Langenberg 


Membership Benefits 

2012 –2103 SeaSOn 

A contribution 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 


• 10% discount on tickets to bSo performances* 

• 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 

• Two additional complimentary drink vouchers 

• Four complimentary dessert vouchers 

• Invitation to opening Night celebration cast Party (r) 

• 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! opportunity to attend one governing members candlelight 

conversation per year 

• 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 

• NeW! 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 


THe bALTImore SymPHony SymPHoNy funD Honor orcHeSTrA 

roll 

Andrew Lapayowker and 

Sarah McCafferty 

Mr. and Mrs. Luigi Lavagnino 

Anna and George Lazar 

Mr. Kevin Lee 

Burt and Karen Leete 

Mr. and Mrs. Howard Lehrer 

Claus Leitherer and Irina 

Fedorova 

Ruth and Jay Lenrow 

Dr. and Mrs. Harry Letaw, Jr. 

C. Tilghman Levering 

Mr. and Mrs. Vernon L. Lidtke 

Dr. Frances and Mr. Edward 

Lieberman 

Darielle and Earl Linehan 

Mrs. June Linowitz and 

Dr. Howard Eisner 

Dr. James and Jill Lipton 

Dr. Diana Locke and 

Mr. Robert E. Toense 

Louise D. and Morton J. Macks 

Family Foundation, Inc. 

Genine Macks Fidler and 

Josh Fidler 

Steven and Susan Manekin 

Dr. Frank C. Marino Foundation 

Diane and Jerome Markman 

Mr. and Mrs. Abbott Martin 

Donald and Lenore Martin 

Linda and Howard Martin 

Maryland Charity Campaign 

Mr. Thomas Mayer 

Dr. Marilyn Maze and 

Dr. Holland Ford 

Drs. Edward and Lucille 

McCarthy 

Mrs. Kenneth A. McCord 

Mrs. Marie McCormack 

Mr. and Mrs. Gerald V. 

McDonald 

Paul Meecham and Laura Leach 

Ellen and Tom Mendelsohn 

John Meyerhoff, MD and Lenel 

Srochi-Meyerhoff 

Sheila J. Meyers 

Judy and Martin Mintz 

Northern Pharmacy and 

Medical Equipment 

Jacqueline and Sidney W. Mintz 

Mr. and Mrs. Humayun Mirza 

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 

Louise and Alvin Myerberg* / 

Wendy and Howard* Jachman 

Mr. and Mrs. Rex E. Myers 

Drs. Roy A. and Gillian Myers 

Phyllis Neuman, Ricka Neuman 

and Ted Niederman 

David Nickels and Gerri Hall 

Open Rehearsal 

Wednesday, November 14, 2012 

1:15pm — Light refreshments 

2:00pm —rehearsal 

Bach level Members and higher ($75+) 

Don’t miss this exclusive opportunity to watch the bSo 

rehearse brahms’ Piano concerto No. 2 with guest 

pianist Denis Kozhukhin under the baton of 

maestra marin Alsop. 

Mr. and Mrs. Roger F. Nordquist 

Number Ten Foundation 

Kevin and Diane O’Connor 

Drs. Erol and Julianne Oktay 

Mrs. Bodil Ottesen 

Olive L. Page Charitable Trust 

Mr. and Mrs. Frank Palulis 

Ellen and Stephen* Pattin 

Drs. Hans Pawlisch and 

Takayo Hatakeyama 

Michael Love Peace 

Mr. and Mrs. William Pence 

Beverly and Sam Penn 

Jan S. Peterson and Alison E. Cole 

Mr. and Mrs. James Piper 

Mr. Martin Poretsky and Mrs. 

Henriette Warfield 

Peter E. Quint 

Ms. Nancy Kohn Rabin 

Reverend and Mrs. Johnny 

Ramsey 

Dr. Jonas Rappeport and 

Alma Smith 

Mr. and Mrs. Frederick 

Rheinhardt 

Ms. Nancy Rice 

Nathan and Michelle Robertson 

Stephen L. Root 

and Nancy A. Greene 

Mr. and Mrs. John Rounsaville 

Mr. and Mrs. Charles Rowins 

Robert and Leila Russell 

T. Edgie Russell 

Norm and Joy St. Landau 

Ilene and Michael Salcman 

Dr. Henry Sanborn 

Ms. Doris Sanders 

Dr. Jeannine L. Saunders 

Lois Schenck and Tod Myers 

Dr. and Mrs. Horst K.A. Schirmer 

Mrs. Roy O. Scholz 

Mr. Jack Schwebel 

Carol and James Scott 

Cynthia Scott 

Ida & Joseph Shapiro Foundation 

and Diane and Albert* Shapiro 

Mr. Stephen Shepard and 

Ms. Peggy Hetrick 

Dr. and Mrs. Ronald F. Sher 

Mrs. Suzanne R. Sherwood 

Mr. Thom Shipley and 

Mr. Christopher Taylor 

Francine and Richard Shure 

Dr. and Mrs. Frederick Sieber 

The Sidney Silber Family 

Foundation 

Drs. Ruth and John Singer 

Mr. and Mrs. David Punshon- 

Smith 

Ms. Leslie J. Smith 

Ms. Nancy E. Smith 

Patricia Smith and Dr. Frances 

Lussier 

uPcoming member events 

Mr. and Mrs. Lee M. Snyder 

Diane L. Sondheimer and 

Peter E. Novick 

Dr. and Mrs. John Sorkin 

Dr. and Mrs. Charles S. Specht 

Joan and Thomas Spence 

Melissa and Philip Spevak 

Mr. George H. Steele* 

Anita and Mickey Steinberg 

Mr. Edward Steinhouse 

Mr. James Storey 

Mr. and Mrs. Dale Strait 

Mr. Alan Strasser and 

Ms. Patricia Hartge 

Ms. Mary K. Sturtevant 

Ms. Jean M. Suda and 

Mr. Kim Z. Golden 

Susan and Brian Sullam 

Mrs. Janis Swan 

Mr. and Mrs. Robert Taubman 

Dr. Bruce T. Taylor and 

Dr. Ellen Taylor 

Dr. Ronald J. Taylor 

Mr. and Mrs. Terence Taylor 

Sonia Tendler 

Ms. Susan B. Thomas 

Paul and Karen Tolzman 

Dr. Jean Townsend and 

Mr. Larry Townsend 

Donna Triptow and Michael 

Salsbury 

In Memory of Jeffrey F. Liss, 

Dr. and Mrs. Henry Tyrangiel 

John and Susan Warshawsky 

Martha and Stanley Weiman 

Peter Weinberg 

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 

Dr. Edward Whitman 

Mr. and Mrs. Barry F. Williams 

Mr. and Mrs. T. Winstead, Jr. 

Laura and Thomas Witt 

Mr. and Mrs. Richard Wolven 

Drs. Yaster and Zeitlin 

Chris and Carol Yoder 

Mr. and Mrs. Michael Young 

Paul A. and Peggy L. Young 

NOVA Research Company 

Dr. and Mrs. Robert E. Zadek 

Symphony Society 

gold, $1,500 or more 

David and Ursula Unnewehr 

“In memory of Laurel Jean 

Unnewehr” 

Anonymous (1) 

George and Frances Alderson 

Robert and Dorothy Bair 

Cast Party 

Saturday, December 15, 2012 

Immediately following the 

7:30pm performance 

Symphony Society Members and higher ($1,000+) 

celebrate the season with the bSo and the baltimore 

choral Arts Society! Join us in the meyerhoff Lounge 

to mingle with the musicians, soloists, and conductor, 

robert bernhardt, following the performance of the 

Holiday Pops celebration concert. 

events subject to change. Please rSVP to Memberevents@BSOmusic.org or 410.783.8074.

Monsignor Arthur W. Bastress 

Patricia and Michael J. Batza, Jr. 

Phebe W. Bauer 

The Becker Family Fund 

Mr. and Mrs. John W. Beckley 

Mr. and Mrs. Stanley Ber 

Mr. Edward Bersbach 

Mr. and Mrs. Albert Biondo 

Mr. Joseph G. Block 

Venable Foundation, Inc. 

Honorable and Mrs. Anthony 

Borwick 

Mr. Charles Cahn, II 

Donna and Joseph Camp 

Mr. Mark Chambers 

Mr. Robert M. Cheston 

Mr. and Mrs. Howard Cohen 

Mr. and Mrs. Jonas M.L. Cohen 

Ms. Sophie Dagenais 

Marcia Diehl and Julie Kurland 

Mrs. Marcia K. Dorst 

Donna Z. Eden and Henry 

Goldberg 

Mrs. Nancy S. Elson 

Deborah and Philip English 

Mr. and Mrs. Charles Fax 

Mr. Ken French 

Mr. and Mrs. Leland Gallup 

Dr. and Mrs. Donald S. Gann 

Mr. and Mrs. Stanford Gann, Sr. 

Mr. Louis Gitomer 

Mr. Jonathan Gottlieb 

Mr. Ronald Griffin and 

Mr. Shaun Carrick 

Mr. and Ms. William Gross 

Sandra and Edward J. Gutman 

Mrs. Ellen Halle 

Dr. Mary Harbeitner 

Mr. Gary C. Harn 

Mr. James F. Hart 

Mr.* and Mrs. E. Phillips 

Hathaway 

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

Nancy H. Hirsche 

Donald W. and Yvonne M. 

Hughes 

Mr. and Mrs. James G. Jones 

Mr. Max Jordan 

Gloria B. and Herbert M. 

Katzenberg Fund 

Ms. Margaret F. Keane 

Harriet* and Philip Klein 

Mrs. Elaine Lebar 

Colonel William R. Lee 

Mr. and Mrs. Jeffrey Legum 

Mr. and Mrs. Leonard M. 

Levering, III 

Ms. Susan Levine 

Dr. and Mrs. Michael O. Magan 

Mr. and Mrs. Luke Marbury 

Ms. Gail G. and F. Landis 

Markley 

The Estate of Ms. Lauretta R. 

Maisel 

Carol and George McGowan 

Bebe McMeekin 

Alvin Meltzer 

Mr. Charles Miller 

Mrs. Mildred S. Miller 

Mr. and Mrs. Robert C. Neiman 

Ms. Patricia Normile 

The Pennyghael Foundation, Inc. 

Mr. and Mrs. Richard Parsons 

Mr. and Mrs. Stephen Petrucci 

Mr. and Mrs. John Brentnall 

Powell 

Mr. Larry Prall 

Mr. Joseph L. Press 

Ms. Margaret K. Quigg 

Dr. Tedine Ranich and 

Dr. Christian Pavlovich 

Mr. and Mrs. Michael Renbaum 

Martha and Saul Roseman 

Dr. and Mrs. Saul D. Roskes 


Mr.* and Mrs. Nathan G. Rubin 

Beryl and Philip Sachs 

Mr. and Mrs. William Saxon, Jr. 

Mrs. Barbara K. Scherlis 

Ms. Phyllis Seidelson 

Mr. Jeffrey Sharkey 

Mr. and Mrs. Skillman 

Mr. and Mrs. Edgar Smith 

Mr. and Mrs. Richard D. Spero 

Mrs. Ann Stein 

Dr. John F. Strahan 

Harriet Stulman 

Mr. and Mrs. Albert Sun 

Ms. Sandra Sundeen 

Mr. and Mrs. Richard Swerdlow 

Dr. Martin Taubenfeld 

Dr. John K. Troyer and Ms. 

Ellen Pendleton-Troyer 

Mr. Robert Tung 

Ms. Elyse Vinitsky 

Dr. Robert F. Ward 

Janna Wehrle 

Mr. and Mrs. Sean Wharry 

Sylvia and Peter Winik 

Dr. Richard Worsham and Ms. 

Deborah Geisenkotter 

Ms. Anne Worthington 

Symphony Society 

Silver, $1,000 or more 

Dr. John Boronow and 

Ms. Adrienne Kols 

“In memory of John R.H. and 

Charlotte Boronow” 

Mrs. Frank A. Bosworth Jr. 

“In honor of Marin Alsop” 

Mr. Kevin F. Reed 

“In honor of Steven R. Schuh” 

Anonymous (19) 

Mr. and Mrs. Anthony Abell 

Mrs. Rachel Abraham 

Mr. and Mrs. Ronald Abrams 

Dr. and Mrs. Marshall Ackerman 

Virginia K. Adams and Neal M. 

Friedlander, M.D. 

Mr. and Mrs. Carter Adkinson 

Charles T. and Louise B. Albert 

Dr. Marilyn Albert 

Mr. Owen Applequist 

Mr. Paul Araujo 

Dr. Juan I. Arvelo 

Mr. Thomas Atkins 

Leonard and Phyllis Attman 

Mr. William J. Baer and Ms. 

Nancy H. Hendry 

Mrs. Jean Baker 

Mr. George Ball 

Mr. and Mrs. L. John Barnes 

Dr. and Mrs. Bruce Barnett 

Mr. and Mrs. Edward Barta 

Susan A. Battye 

Eric* and Claire Beissinger 

Ms. Elaine Belman 

Mr. and Mrs. Charles Berry, Jr. 

David and Sherry Berz 

Mr. Roy Birk 

Mr. and Mrs. Edwin and 

Catherine Blacka 

Reverend James Blackburn 

Dr. Lawrence Blank 

Nancy Patz Blaustein 

Ms. Dorothy Bloomfield 

Mr. and Mrs. Bruce I. Blum 

Mr. James D. Blum 

Ms. Carol Bogash 

Mr. and Mrs. Harry H. Boublitz 

Mr. Howard Bowen 

Ms. Betty Bowman 

David E. and Alice R. Brainerd 

M. Susan Brand and John Brand 

Drs. Joanna and Harry Brandt 

Dr. and Mrs. Mark J. Brenner 

Charles Brick 

Dr. Nancy Bridges 

The Broadus Family 

Barbara and Ed Brody 

Dr. Galen Brooks 

Gordon F. Brown 

Ms. Jean B. Brown 

Mr. Robert Brown 

Ms. Elizabeth J. Bruen 

Ms. Jeanne Brush 

Mr. Walter Budko 

Ms. Ronnie Buerger 

Bohdan and Constance Bulawka 

Mrs. Edward D. Burger 

Ms. Jennifer Burgy 

Frank and Karen Campbell 

Ms. Judy Campbell 

Mrs. Mary Jo Campbell 

Ms. Marla Caplan 

Mr. and Mrs. John Carey 

Russ and Beverly Carlson 

Jonathan and Ruthie Carney 

Marilyn and David Carp 

Mr. and Mrs. Claiborn Carr 

Catoctin Breeze Vineyard 

Mr. James T. Cavanaugh, III 

Mr. Richard Cerpa 

Mr. David P. Chadwick and Ms. 

Rosalie Lijinsky 

Bradley Christmas and 

Tara Flynn 

Dr. Mark Cinnamon and 

Ms. Doreen Kelly 

Ms. Dawna Cobb and Mr. Paul 

Hulleberg 

Mr. Harvey A. Cohen and 

Mr. Michael R. Tardif 

Mr. Herbert Cohen 

Jane E. Cohen 

Mr. and Mrs. Alan Colegrove 

Ms. Patricia Collins 

corPorate sPonsors 

$100,000 or more 

$50,000 or more 

$25,000 or more 

Ms. Kathleen Costlow 

Mr. and Mrs. Charles C. 

Counselman, Jr. 

Mr. and Mrs. Arthur C. Cox 

Mr. Matthew R. Coyne and Mr. 

Devon W. Hill 

Mr. and Mrs. Reagan Miller 

Crawford 

Mr. and Mrs. Jeffrey Crooks 

Mr. and Mrs. R. Gregory Cukor 

John and Kate D’Amore 

Mr. James Daily 

Beatrice Dane 

Mr. David O. Dardis 

Mr. and Mrs. Thomas Darr 

Mr. John Day and Mr. Peter 

Brehm 

Joan de Pontet 

Mr. and Mrs. William C. Dee 

Dr. and Mrs. Thomas DeKornfeld 

Mr. Duane Calvin DeVance 

Mr. and Mrs. Mathias J. DeVito 

Ms. Priscilla Diacont 

Jackson and Jean H. Diehl 

Ms. Maribeth Diemer 

Nicholas F. Diliello 

Walter B. Doggett, III 

Mr. and Mrs. Robert Duchesne 

Ms. Lynne Durbin 

Mr. Terence Ellen and 

Ms. Amy Boscov 

Mr. and Mrs. Stuart Elsberg and 

the Elsberg Family Foundation 

Ms. Marietta Ethier 

Sharon and Jerry Farber 

Kenneth and Diane Feinberg 

Mr. Mark Felder 

Dr. and Mrs. Marvin J. Feldman 

Mrs. Sandra Ferriter 

Dr. Edward Finn 

Joe and Laura Fitzgibbon 

Mr. and Mrs. Anthony Fitzpatrick 

Dr. Charles W. Flexner and 

Dr. Carol Trapnell 

Mr. and Mrs. Arthur P. Floor 

Mr. and Mrs. John Ford 

Dr. and Mrs. Nicholas J. Fortuin 

Dr. and Mrs. William Fox 

Kenneth Frank 

Dr. Neal M. Friedlander 

Mr. and Mrs. R. Friedlander 

Mr. and Mrs. Roberto B. 

Friedman 

William and Carol Fuentevilla 

Mr. and Mrs. Austin George 

Mr. Ron Gerstley and Ms. Amy 

Blank 

Dr. and Mrs. Frank A. 

Giargiana, Jr. 

Mr. and Mrs. William Gibb 

Mr. Price and Dr. Andrea Gielen 

Mr. Peter Gil 

Lori and Gene Gillespie 

Ms. Iva Gillet 

Dr. and Mrs. Sanford Glazer 

Mr. Harvey Gold 

Mr. and Mrs. Alan S. Goldberg 

Mr. Jonathan Goldblith 

Mr. Kim Z. Golden and 

Ms. Jean M. Suda 

William R. and Alice Goodman 

Dr. Joseph Gootenberg and 

Dr. Susan Leibenhaut 

Barry E. and Barbara Gordon 

Dr. and Mrs. Sheldon Gottlieb 

Mr. Alexander Graboski 

Larry D. Grant and Mary S. 

Grant 



legato circle 

The Board of Directors of the Baltimore Symphony Orchestra 

established The Legato Circle to honor those individuals who have included the 

BSo in their long-term financial plans, including gifts by bequest, life income, trust, 

Ira or retirement plan, life insurance, or real estate. as in a legato musical line, 

these special designations ensure the smooth transfer of musical values from this 

generation to the many following. 

over the years, these legacy gifts, both large and small, have played a significant 

role in the financial stability of the BSo, supporting the BSo commitment to perform 

the highest quality symphonic music of all eras that nurtures the human spirit. 

We gratefully acknowledge the 

following donors who have let us 

know that they have included the 

Baltimore Symphony Orchestra 

in their estate plans: 

Anonymous (5) 

Donna B. and Paul J. Amico 

Hellmut D.W. “Hank” Bauer 

Deborah R. Berman 

Mrs. Phyllis B. Brotman (F) 

Dr. Robert P. Burchard 

Katharine H. Caldwell (N) 

Mrs. Selma Carton 

Harvey A. Cohen, PhD 

Mark D. and Judith L. Coplin 


Cowie, Jr. 

James Davis 

Roberta L.* and Richard A. Davis 

Ronald E. Dencker 

Freda (Gordon) Dunn 

H. Lawrence Eiring, CRM 

Carol and Alan Edelman 

Anne “Shiny” and Robert M. 

Evans 

Mr. and Mrs. Maurice R. 

Feldman 

Gary and Debra Brown Felser (N) 

Winnie and Bill Flattery 

Haswell M. and Madeline S. 

Franklin 

Mr. Kenneth J. Freed 

Robert E. Greenfield 

Sue and Jan K. Guben 

Carole B. Hamlin 

Ms. Denise Hargrove 

Gwynne and Leonard Horwits 

Mr. and Mrs. H. Thomas Howell 


reACH OuT TO 

THe nexT generATiOn! 

If you have named the bSo in your estate plans, or would like 

further information about helping to sustain the bSo into the next 

century, please contact Kate caldwell, Director of Philanthropic Services 

at 410.783.8087 or kcaldwell@BSOmusic.org 


David and Susan Hutton (N) 

Dr. Phyllis R. Kaplan (N) 

Dr. and Mrs. Murray M. 

Kappelman 

Mrs. Jo Ansley B. Kendig (N) 

Suzan Russell Kiepper 

Miss Dorothy B. Krug 

Richard M. Lansburgh 

Ruth and Jay Lenrow 

Joe and Lynne Lentz, Jr. 

Joyce and Dr. Harry Letaw, Jr. 

Bernice S. Levinson 

Mrs. Jean M. Malkmus 

Mrs. George R. McClelland 

Carol O’Connell Minkin 

Mr. Roy E.* and Mrs. M. Moon 

Robert* and Marion Neiman 

Stanley* and Linda Hambleton 

Panitz 

Margaret Penhallegon (N) 

Beverly and Sam Penn (F) 

G. Edward Reahl, Jr. M.D. 

Nancy Rice 


Nancy E. Smith (N) 

Dr. and Mrs. Harry S. Stevens 

Mr. Michael R. Tardif 

Roy and Carol Thomas Fund for 

the Arts 

Dr. and Mrs. Carvel Tiekert 

Leonard Topper 

Mr.* and Mrs. William 

Volenick (N) 

Ingeborg B. Weinberger 

W. Owen and Nancy J. Williams 

Charles* and Shirley Wunder 

Mr. and Mrs.* Calman J. 

Zamoiski, Jr. 

We gratefully acknowledge the 

following donors, now deceased, 

who have provided a gift through 

their estate in support of the 

Baltimore Symphony Orchestra: 

Mrs. Alma T. Martien Bond 

W. George Bowles 

Mrs. Frances H. Burman 

Joseph and Jean Carando 

Clarence B. Coleman 

L. Patrick Deering (F) 

Dr. Perry A. Eagle (F) 

Douglas Goodwin 

Dailina Gorn (N) 

Samuel G. and Margaret A. 

Gorn (F) 

Mr. Joseph P. Hamper, Jr. 

Judith C. Johnson 

John Christian Larsen (N) 

Robert and Ryda H. Levi 

Ruby Loflin-Flaccoe 

Lauretta Maisel 

Ruth R. Marder 

Ralph W. Nichols 

Margaret Powell Payne 

Mrs. Margery Pozefsky 

Joan Marie Pristas (N) 

Mr. William G. Robertson, Jr. 

Randolph S. and Amalie R. 

Rothschild 

Eugene Scheffres and Richard E. 

Hartt 

Mrs. Muriel Schiller (F) 

Dr. Albert Shapiro 

George Steele 

Howard A. and Rena S. Sugar 

(F) Founding Member; (N) New; 

*Deceased 

Erwin and Stephanie Greenberg 

Mr. Robert Greenfield 

Dr. and Mrs. Geoffrey Greif 

Mr. Charles H. Griesacker 

Mark and Lynne Groban 

Mary and Joel Grossman 

Mr. and Mrs. Stuart Grossman 

Mrs. LaVerne Grove 

Mr. and Mrs. Donald Gundlach 

Mr. and Mrs. Norman M. 

Gurevich 

Mr. and Mrs. Henry L. Gutman 

Ms. Faith Hagerty 

Mr. and Mrs. J.M. Dryden 

Hall, Jr. 

Dr. Jane Halpern and 

Mr. James B. Pettit 

Ms. Lana Halpern 

Ms. Carole Finn Halverstadt 

Ms. Gloria Shaw Hamilton 

Ms. Paulette Hammond 

Mr. and Mrs. John Hanson 

Sara and James A. Harris, Jr. 

Dr. and Mrs. S. Elliott Harris 

Mr. Fred Hart and 

Ms. Elizabeth Knight 

Mr. Loring Hawes 

Mr. John Healy 

Mr. David Heckman 

Mr. and Mrs. Robert Helm 

Mr. Lloyd Helt 

Ms. Doris T. Hendricks 

Mr. and Mrs. Eugene Herman 

Ellen and Herb Herscowitz 

David A. and Barbara L. Heywood 

Dr. Stephen L. Hilbert 

Mr. Martin K.P. Hill 

Mr. and Mrs. Martin Himeles 

Ms. Jeannette Hobbins 

Edward Hoffman 

Mr. and Mrs. Gill Holland 

Dr. R. Gary Hollenbeck 

Fran and Bill Holmes 

Mr. and Mrs. John Hornady, III 

Ms. Irene Hornick 

Mr. Herbert H. Hubbard 

Ms. Elizabeth Huttar 

Drs. Paul and Deborah 

Young-Hyman 

Mr. David Imre and 

Mr. Thomas Crusse 

Carol Jantsch and David Murray 

Mrs. Janet Jeffein 

Dr. Helmut Jenkner and 

Ms. Rhea I. Arnot 

Betty W. Jensen 

Mrs. Kathy Johnson 

Mr. R. Tenney Johnson 

Mr. J. Lee Jones 

Mrs. Helen Jordahl 

Ms. Jennifer Jose 

Mrs. Amri Joyner 

Ann and Sam Kahan 

Dr. Henry Kahwaty 

Ms. Carolyn Kaplan 

Gail and Lenny Kaplan 

Mary Ellen and Leon Kaplan 

Dr. Phyllis R. Kaplan 

Mrs. Harry E. Karr 

Richard M. Kastendieck 

and Sally J. Miles 

Mr. and Mrs. William E. 

Kavanaugh 

Dr. and Mrs. Haiq Kazazian, Jr. 

Mr. Frank Keegan 

Mr. and Mrs. Charles Kelber 

Mr. John P. Keyser 

Virginia and Dale Kiesewetter 

William and Deborah Kissinger 

Mr. Andrew Klein 

George and Catherine Klein 

Mr. William Klemer 

Mr. and Mrs. Stewart Kohl 

Kohn Foundation 

Mr. and Mrs. Lawrence 

Koppelman 

Dr. and Mrs. Jeffrey Kremen 

Francine and Allan Krumholtz 

Mr. Charles Kuning 

Richard and Eileen Kwolek 

Mr. and Mrs. Charles Lamb 

Susan and Stephen Langley 

John and Diane Laughlin 

Ms. Rebecca Lawson 

Melvyn and Fluryanne Leach 

Mr. Peter Leffman 

Mr. and Mrs. Charles F. Legters 

Mr. and Mrs. Jeffrey Lemieux 

Mr. Ronald P. Lesser 

Sara and Elliot* Levi 

Bernice and Donald S. Levinson 

Dr. and Mrs. Bernard Levy 

Mr. Leon B. Levy 

Mr. Richard Ley 

Mrs. E.J. Libertini 

Ms. Joanne Linder 

Mr. Dennis Linnell 

George and Julie Littrell 

Mr. and Mrs. K. Wayne Lockard 

Carol Brody Luchs and Kenneth 

Luchs 

Dr. and Mrs. Peter C. Luchsinger 

Mr. and Mrs. Arthur Lynch 

Ms. Louise E. Lynch 

Ms. Mary MacDonald 

Michael and Judy Mael 

Ms. Janet L. Mahaney 

Mr. Richard Marriott 

Ms. Joan Martin 

Jane Marvine 

Mr. Joseph S. Massey 

Susan J. Mathias 

Dr. and Mrs. Robert D. 

Mathieson 

Mr. Winton Matthews 

Mr. and Mrs. Jordon Max 

Dr. and Mrs. Donald E. McBrien 

Mrs. Linda M. McCabe 

McCarthy Family Foundation 

Mr. Chris McGeachy 

Mr. Thomas B. McGee 

Mr. and Mrs. James McGill 

Mr. Michael J. McGinty 

Ms. Kathleen McGuire 

Mr. George McKinney 

Mr. Richard C. McShane 

Mr. and Mrs. Scott A. 

McWilliams 

Mr. and Mrs. David Meese 

Mr. and Mrs. David Menotti 

Mr. Timothy Meredith 

Mr. Alan Merenbloom 

Mr. and Mrs. Abel Merrill 

Daniel and Anne Messina 

Benjamin Michaelson, Jr. 

Mr. and Mrs. Robert E. Michel, Jr. 

Drs. Alan and Marilyn Miller 

Mrs. Anne Miller 

Mr. and Mrs. Charles R. Miller 

Mr. and Mrs. Gary Miller 

Mr. and Mrs. J. Jefferson Miller, II 

Mr. and Mrs. James D. Miller 

Mr. Lee Miller 

Mr. Louis Mills 

Dr. and Mrs. Stanley R. Milstein 

Noah and Carol C. O’Connell 

Minkin 

Ms. Adrianne Mitchell 

Lloyd E. Mitchell Foundation 

Mr. Nathan Mook 

Edwin H. Moot 

Delmon Curtis Morrison 

Lester and Sue Morss 

Dr. and Mrs. Hugo W. Moser 

Mr. Howard Moy 

Ms. Marguerite Mugge 

Dr. and Mrs. Donald Mullikin 

Dr. William W. Mullins

Mr. and Mrs. Gregory Murray 

Ms. Marita Murray 

Mr. Harish Neelakandan and 

Ms. Sunita Govind 

Mr. Irving Neuman 

Jessica and David Nizamoff 

Douglas and Barbara Norland 

Ms. Irene E. Norton and 

Dr. Heather T. Miller 

Anne M. O’Hare 

Mr. Garrick Ohlsson 

Mr. James O’Meara and Ms. 

Marianne O’Meara 

Ms. Margaret O’Rourke and 

Mr. Rudy Apodaca 

Mr. and Mrs. William Osborne 

Mrs. S. Kaufman Ottenheimer 

Mr. and Ms. Ralph Ottey 

Ms. Judith Pachino 

Ms. Janet Parente 

Mr. and Mrs. Thomas Parr 

Ms. Courtney C. Pastrick 

Dr. and Mrs. Arnall Patz 

Dr. and Mrs. Frederick Pearson 

Mrs. J. Stevenson Peck 

Jerry and Marie Perlet 

Mr. and Mrs. Peter Philipps 

Dr. and Mrs. Karl Pick 

Ms. Mary Carroll Plaine 

Mr. and Mrs. Morton B. Plant 

Herb and Rita Posner 

Thomas Powell 

Robert E. and Anne L. Prince 

Captain and Mrs. Carl 

Quanstrom 

Dr. and Mrs. Richard Radmer 

Mr. and Mrs. Terry Randall 

Ted and Stephanie Ranft 

Mr. and Mrs. William E. Ray 

Mr. Charles B. Reeves, Jr. 

Mr. Arend Reid 

Mr. Thomas Rhodes 

Mr. and Mrs. Thomas P. Rice 

Mr. and Mrs. Carl Richards 

David and Mary Jane Roberts 

Mrs. Randall S. Robinson 

Drs. Helena and David Rodbard 

Dr. and Mrs. Gerald Rogell 

Margaret and Lee Rome 

Joellen and Mark Roseman 

Ann and Frank Rosenberg 

Mr. and Mrs. Robert Rosenberg 

Joanne and Abraham Rosenthal 

Dr. Steven R. Rosenthal 

Mr. and Mrs. Randolph* S. 

Rothschild 

Colonel Joseph H. Rouse 

Mr. J. Kelly Russell 

John B. Sacci and Nancy 

Dodson Sacci 

Mr. Lee Sachs 

Ms. Andi Sacks 

Dr. and Mrs. Arthur Sagoskin 

Peggy and David Salazar 

Ms. Carolyn Samuels 

Ms. Vera Sanacore 

Mr. and Mrs. Gilbert Sandler 

Mr. and Mrs. Nathaniel Sandler 

Mr. and Mrs. Ace J. Sarich 

Mr. Thomas Scalea 

Mr. and Mrs. Benjamin Schapiro 

Mr. and Mrs. Albert S. 

Schlachtmeyer 

Ronald and Cynthia Schnaar 

Mr. and Mrs. Eugene H. 

Schreiber 

Estelle D. Schwalb 

Ken and Nancy Schwartz 

Mr. and Mrs. Roger Schwarz 

Bernard and Rita Segerman 

Mr. and Mrs. Norman A. 

Sensinger, Jr. 

Mr. Sanford Shapiro 

Mr. and Mrs. Robert W. Sharp 


Mr. and Mrs. Brian T. Sheffer 

Reverend Richard Wise Shreffler 

Mr. and Mrs. Daniel Shykind 

Mr. Richard Silbert 

Ronnie and Rachelle Silverstein 

Mr. Donald M. Simonds 

Ellwood and Thelma Sinsky 

Mr. Richard Sipes 

Ms. Elizabeth Skinner 

Marshall and Deborah Sluyter 

Mr. and Mrs. Robert Smelkinson 

Mr. and Mrs. Norman Smith 

Richard and Gayle Smith 

Mr. and Mrs. Scott Smith 

Mr. and Mrs. William J. 

Sneeringer, Jr. 

Mr. and Mrs. John Snyder 

Laurie M. Sokoloff 

Don Spero and Nancy Chasen 

Mr. and Mrs. Jeffrey L. Staley 

Jennifer Kosh Stern and 

William H. Turner 

Dr. and Mrs. F. Dylan Stewart 

Ms. Barbara Stricklin 

Ms. Dianne Summers 

Margot and Phil Sunshine 

Mr. James Sutherlin 

Mr. Brenan Swartz 

Ms. Margaret Taliaferro 

Lisa Tate 

Mr. Tim Teeter 

Mr. Harry Telegadas 

Mr. Marc J. Teller 

Patricia Thompson and 

Edward Sledge 

Reid and Elizabeth Thompson 

Mr. and Mrs. William Thompson 

Mr. Peter Threadgill 

Dr. Robert E. Trattner 

Mr. and Mrs. David Traub 

Mr. and Mrs. Israel S. Ungar 

Dr. and Mrs. Eli Velder 

Mr. and Mrs. Robert Vogel 

Ms. Mary Frances Wagley 

Ms. Joan Wah and 

Ms. Katherine Wah 

Mr. Robert Walker 

Dr. Philip D. Walls 

Mr. and Mrs. Guy T. Warfield 

Marilyn and David Warshawsky 

Mr. and Mrs. Jay Weinstein 

Dr. and Mrs. Matthew Weir 

Anne Weiss and Joseph E. 

Schwartz 

Drs. Susan and James Weiss 

Ms. Lisa Welchman 

David Wellman and Marjorie 

Coombs Wellman 

Ms. Susan Wellman 

Mr. and Mrs. Richard Westin 

Mrs. Margaret Wheeler 

Dr. Barbara White 

Jill and Douglas White 

Mr. Michael White 

Ms. Louise S. Widdup 

Mr. and Mrs. Stephen Wilcoxson 

Dr. and Mrs. E.F. Shaw Wilgis 

Mr. Barry Williams 

Mrs. Gerald H. Williams 

Ms. Ann Willis 

Mr. and Mrs. Judy Wilpon 

Dr. and Mrs. Donald E. Wilson 

Robert and Jean Wirth 

Mr. and Mrs. David K. Wise 

Mr. Orin Wise 

Marc and Amy Wish 

Dr. and Mrs. Frank R. Witter 

Mr. John W. Wood 

Eileen and Lee Woods 

Ms. Jean Wyman 

Mr. Alexander Yaffe 

Ms. Norma Yess 

H. Alan Young and Sharon 

Bob Young, Ph.D. 

Christine Zaharka 

Andrew Zaruba 

Robert and Antonette Zeiss 

Dr. Mildred Zindler 

the BaltiMOre SyMPhOny OrcheStra 

BOard OF directOrS 

oFFIcerS 

Chairman 

kenneth W. deFontes, Jr.* 

Secretary 

kathleen a. chagnon, esq.* 

Vice Chair 

lainy leBow-Sachs* 

President & Ceo 

Paul Meecham* 

treasurer 

the honorable Steven r. Schuh* 

boArD memberS 

Jimmy Berg 

a.g.W. Biddle, iii 

Barbara M. Bozzuto* 

constance r. caplan 

robert B. coutts 

george a. drastal 

alan S. edelman* 

Susan g. esserman* 

Michael g. hansen* 

Beth J. kaplan 

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. 

Britten level Members 

$500 or more 

Anonymous (6) 

Dr. and Mrs. Marshall Ackerman 

Dr. and Mrs. Aristides C. 

Alevizatos 

Mr. Richard E. Amick 

Mr. and Mrs. W. Michael 

Andrew 

Robert and Martha Armenti 

Mr. and Mrs. Maurice Arsenault 

AT&T 

Balder Foundation 

Mr. Joel Balsham 

Burke Barrett 

Mr. and Mrs. Edward Barta 

Mr. and Mrs. C. Marshall 

Barton, Jr. 

Mr. and Mrs. Gerard Baxter 

Dr. and Mrs. Barry Berman 

Mr. and Mrs. William Bettridge 

Ms. Gail Birdsong 

Reverend James Blackburn 

Dr. Lawrence Blank 


Mr. and Mrs. Perry Bolton 

Ms. Betty Bowman 

Mr. Browning and Mrs. Larsen 

David W. Buck Family 

Foundation 

Mr. Stephen Buckingham 

Mr. and Mrs. Charles Bullamore 

Dr. Sandra Butchart 

Mr. and Mrs. David Callahan 

Mr. and Mrs. Robert W. Catzen 

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 

kenneth W. deFontes, Jr. 

Mark r. Fetting 

Paul Meecham 

the honorable Steven r. Schuh 

calman J. Zamoiski, Jr. 

* Board executive committee 

† ex-Officio 

Cecil Chen and Betsy Haanes 

Mr. and Mrs. David H. Cohen 

Mrs. Caroline A. Coleman 

Ms. Rachel Green 

Ms. Loretta Coughlin 

Ernie and Linda Czyryca 

Mr. and Mrs. Ronald Davis 

Dr. Alfred J. DeRenzis 

Ms. Maribeth Diemer 

Mr. James Doran 

Mr. Stanley Dorman 

Mr. Stephen Dunham and Ms. 

Victoria Cass 

Mr. William Eddison Jr. 

Mr. Alan Levine and 

Ms. Kirsten Eland 

The Eliasberg Family 


Mr. and Mrs. R. Clayton Emory 

Ms. Marianne Faulstich 


the BaltiMOre SyMPhOny OrcheStra STAFF 

Paul Meecham 

President & Ceo 

leilani uttenreither 

executive assistant 

Beth Buck 

Vice President and CFo 

eileen andrews 

Vice President of marketing 

and Communications 

carol Bogash 

Vice President of education 

and Community engagement 

deborah Broder 

Vice President of BSo at 

Strathmore 

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 

anna harris 

operations assistant 

alicia lin 

Director of operations and 

Facilities 

chris Monte 

assistant Personnel manager 

Marilyn rife 

Director of orchestra Personnel 

and Human resources 

Meg Sippey 

artistic Planning manager 

DeveLoPmeNT 

Jennifer Barton 

individual Giving manager 

adrienne Bitting 

Development assistant 

Margaret Blake 

Development office manager 

allison Burr-livingstone 

Director of institutional Giving 

kate caldwell 

Director of Philanthropic 

Services 

Stephanie Johnson 

Donor relations manager, 

BSo at Strathmore 

Becky McMillen 

Donor Stewardship Coordinator 

rebecca Potter 

institutional Giving Specialist 

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 

tami lee hughes 

BSo Fellow 

hana Morford 

education associate 

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 

Mary Poling 

Conductor of Co 

Michael gamon 

Conductor of So 

alicia kosak 

operations manager 

FAcILITIeS 

oPerATIoNS 

Shirley caudle 

Housekeeper 

Bertha Jones 

Senior Housekeeper 

curtis Jones 

Building Services manager 

ivory Miller 

maintenance Facilities 

FINANce 

& INFormATIoN 

TecHNoLogy 

tom allan 

Controller 

Sophia Jacobs 

Senior accountant 

Janice Johnson 

Senior accountant 

evinz leigh 

administration associate 

chris Vallette 

Database and Web 

administrator 

Jeff Wright 

Director of information 

technology 

mArKeTINg 

& PubLIc reLATIoNS 

rika dixon 

Director of marketing and Sales 

laura Farmer 

Public relations manager 

derek a. Johnson 

manager of Single tickets 

theresa kopasek 

marketing and Pr associate 

Bryan Joseph lee 

Direct marketing Coordinator 

alyssa Porambo 

Pr and Publications 

Coordinator 

Michael Smith 

Digital marketing and 

e-Commerce Coordinator 

adeline Sutter 

Group Sales manager 

elisa Watson 

Graphic Designer 

TIcKeT ServIceS 

amy Bruce 

manager of Special events 

J. Morgan gullard 

ticket Services agent 

timothy lidard 

manager of ViP ticketing 

kathy Marciano 

Director of ticket Services 

Juliana Marin 

Senior ticket agent for 

Strathmore 

Peter Murphy 

ticket Services manager 

Michael Suit 


thomas treasure 


bALTImore 

SymPHoNy 

ASSocIATeS 

larry albrecht 

Symphony Store Volunteer 

manager 

louise reiner 

office manager 

Debra Brown and Gary Jay Felser 

Dr. and Mrs. John Ferriter 

Mr. and Mrs. Joseph C. Flynn 

Footlick Family Foundation 

Mr. and Mrs. John Ford 

Laura and Barrett Freedlander 

Mr. and Mrs. Francis French 

Mr. John S. Gallagher 

Mr. and Mrs. Frank A. Galloway 

Mr. George Garmer 

Lori and Gene Gillespie 

Mr. and Mrs. Robert S. Ginsburg 

Mitzi and Norman Glick 

Mr. Harvey Gold 

Dr. and Mrs. Morton Goldberg 

Larry D. Grant and Mary S. Grant 

Dr. and Mrs. Lawrence S.C. 

Griffith 

Ms. Stephanie Hack 

Dr. Jane Halpern and Mr. James 

B. Pettit 

Ms. Carole Finn Halverstadt 

Mr. and Mrs. Robert Hankin 

Mr. George Harrison 

Mr. David Heckman 

Mr. Lloyd Helt 

Ms. Marilyn Henderson and Mr. 

Paul Henderson 

Ms. Lee Hendler 

Mr. and Mrs. Richard Hirata 

Mr. Henry W. Hitzrot 

Mr. and Mrs. Thomas Hobbs 

Ms. Irene Hornick 

Dr. Hutton and Mr. Wissow 

Mr and Mrs. David A. Hutzler 

IBM Corporation 

Mrs. Iredell W. Iglehart 

Mr. and Mrs. Richard A. Intner 

Mr. and Mrs. Sanford G. Jacobson 

Ms. Mary Jeske 

Honor Johnson 

James M. and Julie B. Johnstone 

Ann and Sam* Kahan 

Gail and Lenny Kaplan 

Mrs. Harry E. Karr 

Dr. and Mrs. Haiq H. 

Kazazian, Jr. 

Elmer Klein 

Dr. and Mrs. Alfred Kronthal 

Francine and Allan Krumholtz 

Mr. Norman La Cholter 

Dr. James LaCalle 

Ms. Delia Lang 

Elaine and Ludwig Lankford 

Mr. and Mrs. Robert Lawrence 

Dr. and Mrs. George Lentz 

Ms. Delores G. Leppard 

Mr. and Mrs. Leonard M. 

Levering, III 


Mr. Leon B. Levy 

Mr. Richard Ley 

Mrs. E.J. Libertini 

Peter and Lina Leibhold 

Ms. Constance Lieder 

Mr. H.A. Lim 

Mr. and Mrs. Kennet Lobo 

Drs. David and Sharon Lockwood 

Mr. and Mrs. A. Lee Lundy, Jr. 

Mr. and Mrs. Jacob Matz 

Dr. and Mrs. Donald E. McBrien 

Mrs. Patricia McCall 

Mr. and Mrs. Russell McCally 

Mr. Bruce McPherson 

Ms. Sandra McWhirter 

Mr. and Mrs. Barry Menne 

Mr. and Mrs. Michael A. Meredith 

Dr. David L. Meyers and Ms. 

Roberta Strickler 

Ms. Linda L. Miller 

Mr. and Ms. Clare Milton 

Mr. Charles Morgan 

Mr. William Morgan 

Mr. and Mrs. James Morrison 

Lester and Sue Morss 

Mr. and Mrs. Gregory Murray 

Mr. James O'Meara and Ms. 

Marianne O'Meara 

Mr. and Mrs. William Osborne 

Dr. Ann Ouyang and 

Dr. Michael Rusli 

Dr. and Mrs. David Owen 

Mr. and Mrs. Norman Paget 

Mr. and Mrs. Harry P. Pappas 

Ms. Laura Pennell 

Dr. and Mrs. C. Michael Pfeifer, Jr. 

Mrs. Oveta Popjoy 

David A. and Kathleen Power 

Robert E. and Anne L. Prince 

Mr. and Mrs. Arthur R. 

Ransom, Jr. 

Ms. Barbara Rawlins 

Mr. and Mrs. William E. Ray 

Mr. Thomas Rhodes 

Mr. Jeff Rice 

Mr. and Mrs. William R. 

Richardson, Jr. 

Mr. and Mrs. Herbert Ridder 

Mr. James Risser 

Mr. Toumayan and Mrs. Trini 

Rodriguez 

Harold Rosen 

Mr. and Mrs. Lee B. Rosenberg 

Dr. and Mrs. Shalom Saar 

Dr. and Mrs. Maido Saarlas 

Ms. Kayleen Saucier and Mr. 

Richard Saucier 

Mr. and Mrs. Harold Schlenger 

Mr. and Mrs. Howard 

Schoenfeld 

Mr. and Mrs. Eugene H. 

Schreiber 

K.V. Shannahan and A.L. 

Gearhart 

Ms. Patricia E. Smeton 

Mr. and Mrs. Michael D. Smith 

Richard and Gayle Smith 

Mr. and Mrs. Ronald Smullian 

Dr. and Mrs. Donald B. Spangler 

Mr. Raymond J. Spitznas 

Dr. and Mrs. Harold Standiford 

Mr. and Mrs. Charles 

Steinecke, III 

Ms. Nell B. Strachan 

Mr. and Mrs. Bruce Stuart 

Ms. Sandra Sundeen 

Mrs. Kathleen A. Thompson 

Reverend Lowell Thompson 

Mr. and Mrs. William Thompson 

Mr. Peter Threadgill 

Mary Tod and Clavin 

Timmerman 

Ms. Ann Tognetti 

Mr. and Mrs. Richard Tullos 

Ms. Mildred L. Tyssowski 

Ms. Katherine Vaughns 

Mr. and Mrs. John Walden 

Mr. and Mrs. Kent Walker 

Wilbert L. Walker 

Dr. Philip D. Walls 

Mrs. Pearl Walsh 

Mr. and Mrs. Weldon W. 

Ward, Jr. 

Mr. Edward Warren 

Susan and Edward Weiss 

Kem and Susan White 

Jean M. Wilson 

Robert and Jean Wirth 

Dr. S. Lee Woods 

Mr. Alexander Yaffe 

Dr. and Mrs. Jeffrey S. Zaller 

Corporations 

$10,000 or more 

American Trading & Production 

Corporation

Robert W. Baird & Company 

Bank of America 

Beltway Fine Wines 

CareFirst BlueCross BlueShield 

DLA Piper US LLP 

IWIF 

McKesson 

Miles & Stockbridge 

Notre Dame of Maryland 

University 

Pandora Jewelry LLC 

Wells Fargo Foundation 

$5,000 or more 

D. F. Dent & Company 

Georgetown Paper Stock of 

Rockville 

Homewood at Crumland Farms 

Retirement Community 

McGuireWoods LLP 

Mister, Burton, Palisano & 

French, LLC 

P&G Fund of the Greater 

Cincinnati Foundation 

SECU 

Towson University 

Travelers Foundation 

Valley Motors 

Venable Foundation 

Zuckerman Spaeder LLP 


Federal Parking, Inc. 

S. Kann Sons Company 

Foundation 

Amelie and Bernei Burgunder 

Johns Hopkins Medicine 


Bedford Oak Advisors, LLC 

Delmarva Surety 

Eagle Coffee Company, Inc. 

Ellin & Tucker, Chartered 

Eyre Bus, Tour & Travel 

Harford Mutual Insurance 

Companies 

Independent Can Company 

J.G. Martin Company, Inc. 

Marshfield Associates, Inc. 

Mercer 

Offit Bank 

R&H Motor Cars 

Renaissance Charitable 


Rosenberg Martin Greenberg, LLP 

Rotary Club of Woodlawn- 

Westview 

Semmes, Bowen & Semmes 

Tower Bancorp 

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 Annie E. Casey Foundation 

The Hearst Foundation, Inc. 


Ryda H. Levi* and Sandra Levi 

Gerstung 

Harley W. Howell Charitable 

Foundation 

Ensign C. Markland Kelly, Jr. 

Memorial Foundation 

The Andrew W. Mellon 

Foundation 


Joseph & Harvey Meyerhoff 

Family Charitable Funds 

Henry and Ruth Blaustein 

Rosenberg Foundation and the 

Estate of Ruth Marder* 

$25,000 or more 

Paul M. Angell Family Foundation 

Jacob and Hilda Blaustein 

Foundation 

Ann and Gordon Getty 

Foundation 

The Goldsmith Family 


Peggy & Yale Gordon Trust 

Young Artist Sponsor 

Middendorf Foundation 

The Rouse Company Foundation 

The Salmon Foundation 

$10,000 or more 

Anonymous (1) 

The Arts Federation 

Baltimore Women’s Giving Circle 

Clayton Baker Trust 

Bunting Family Foundation 

The Morris and Gwendolyn 

Cafritz Foundation 

Ruth Carol Fund 

Degenstein Foundation 

Francis Goelet Charitable Lead 

Trusts 

Johns Hopkins Neighborhood 

Fund 

Betty Huse MD Charitable Trust 

Foundation 

The Abraham and Ruth Krieger 

Family Foundation 

Zanvyl & Isabelle Krieger Fund 

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) 

Edward Collins Fund for 

American Music 

The Charles Delmar Foundation 

Helen P. Denit Charitable Trust 

Edith and Herbert Lehman 


Rogers-Wilber Foundation, Inc. 

Ronald McDonald House 

Charities of Baltimore, Inc. 

Jim and Patty Rouse 

Charitable Foundation 


ALH Foundation, Inc. 

Baltimore Community 

Foundation 

The Campbell Foundation, Inc. 

The Aaron Copland Fund for 

Music 

The Harry L. Gladding 

Foundation 

Israel and Mollie Myers 

Foundation 

Judith and Herschel Langenthal 

Jonathan and Beverly Myers 

The Wiessner Foundation for 

Children, Inc. 


Anonymous (1) 

Cameron and Jane Baird 

Foundation 

Margaret O. Cromwell 

Family Fund 

Delaplaine Foundation 

Dimick Foundation 

Robert Wood Johnson Foundation 

Ethel M. Looram 


Mangione Family Enterprises 

Rathmann Family Foundation 

Share Our Strength 

Government Grants 

Mayor and City Council of 

Baltimore and the Baltimore 

Office of Promotion and the Arts 

Baltimore County Executive, 

County Council, and 

the Commission on 

Arts and Sciences 

Carroll County Government & 

the Carroll County Arts Council 

The Family League of Baltimore 

City, Inc. 

Howard County Government 

& the Howard County Arts 

Council 

The Maryland Emergency 

Management Agency 

Maryland State Arts Council 

Maryland State Department 

of Education 

Arts and Humanities Council 

of Montgomery County 

National Endowment for the Arts 

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 


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 

Constellation Energy 


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 


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 


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 

Maryland Department 

of Business & 

Economic Development 

The Maryland State Arts Council 

MD State Department of 

Education 

McCarthy Family Foundation 

McCormick & Company, Inc. 

ReCeiVe diSCOUntS tO BSO peRfORMAnCeS or At the SyMphOny StORe And An die MUSik! 

become a member and recieve exclusive benefits. calll 410.783.8124 or email membership@BSOmusic.org 

Mr. Wilbur McGill, Jr. 

MIE Properties, Inc. 

Mr. Edward St. John 

Mercantile-Safe Deposit & Trust 

Joseph & Harvey Meyerhoff 

Family Charitable Funds 

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. 


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 


{ imPromPtu 


Madeline adkins 

ASSocIATe coNcerTmASTer 

Fostering a future for felines. 

chrISTIanna MccauSlanD 

The only thing that rivals madeline Adkins’ 

passion for the violin is animals, an interest that 

began in childhood. Though raised with cats 

and dogs, “I have a special place in my heart 

for cats,” explains the 35-year-old associate 

concertmaster. “I appreciate that they’re unique 

and have a mind of their own.” 

given the large number of animals in need of 

homes, Adkins became particularly interested in 

working as a foster parent. She volunteers once 

a week at Small miracles cat and Dog rescue 

in ellicott city, where she lives, cleaning, socializing 

animals, and arranging adoptions. many 

cats arrive at the no-kill shelter with a brood 

of kittens in need of affection. If they’re raised 

by only their mothers, they won't be socialized 

to human contact, and may not be fit as pets. 

Adkins fosters and interacts with them until they 

are old enough to be adopted. over four years 

as a volunteer, Adkins and her husband have 

cared for and socialized more than 50 kittens. 

Adkins, who owns four cats of her own, encourages 

others to spay and neuter their pets and to 

adopt from a shelter. “There are so many cats, 

even specific breeds like Siamese, in every 

shelter,” she states. 

curbing the population of stray animals remains 

a challenge: “The animal-rescue world depends 

on volunteers and what I do is just a small part,” 

she says. “but if everyone chips in just a little bit, 

we can move toward a solution to the problem of 

homeless cats and dogs.” 

Playing mother to kittens is hardly a tough job, 

which makes it a nice counterpoint to Adkins’ 

demanding schedule of practice, rehearsals 

and performances with the symphony. “It’s so 

easy when you’re in a highly focused field like 

classical music to lose perspective that there’s 

a wider world out there that you can help with,” 

she states. “This helps keep me grounded.” 

mITro HooD

At the Sinai Rehabilitation Center, we help people regain lost independence. After suffering a traumatic brain injury in a bike accident, 

Doug Eby could not stand or walk and his memory was severely impaired. Our highly skilled team of therapists helped him regain 

his physical abilities and improve his cognitive skills. It hasn’t been easy, but Doug has made incredible progress and is working on 

returning to his job as a traffic engineer. Learn more at www.lifebridgehealth.org/sinairehab. 

410-601-WELL 

www.lifebridgehealth.org/sinairehab 

BY PLAYING A GAME, HE , S WINNING 

THE BIGGEST BATTLE OF HIS LIFE.

Unmatched Location, 

Unparalleled Lifestyle. 

Your future is waiting to unfold. Outside our doorstep lies Towson … 

an ideal place for launching a personal adventure every day. 

Situated on 40 acres within a prestigious neighborhood, Blakehurst 

is also just 15 minutes from Baltimore’s cosmopolitan offerings. So 

you’re close to its fi ne cuisine, exquisite shops and cultural scene. 

Come experience Blakehurst for yourself today. Call (410) 296-2900 

for more information or to schedule a personal tour. 

1055 West Joppa Road • Towson, MD 21204 

(410) 296-2900 • www.BlakehurstLCS.com 

693681

November–December 2012 - Baltimore magazine

Create successful ePaper yourself

Delete template?

Save as template?