pageturn.onstagepublications.com...HARTFORD SYMPHONY ORCHESTRA About the Symphony T he mission of the Hartford Symphony Orchestra is to enrich lives and community through great music.

H A R T F O R D S Y M P H O N Y O R C H E S T R A

Table of Contents

HARTFORD SYMPHONY ORCHESTRA166 Capitol Ave. Hartford, CT 06106Phone: 860-246-8742 | Fax: 860-247-1720Ticket Services: 860-244-2999 | Fax: 860-249-5430www.hartfordsymphony.orgBright Lights Design, Cover Art

The programs of the Hartford Symphony Orchestra are funded in part by donors to the Greater Hartford Arts Council’s United Arts Campaign, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

About the Hartford Symphony Orchestra | 7Carolyn Kuan, Music Director | 8

Adam Boyles, Assistant Conductor | 9The Orchestra | 10

Administrative Staff | 11Board of Directors | 12

Letter from the Chairman and Executive Director | 13Latin Lovers | 14

Land, Sea, Sky | 22National Geographic - Symphony for Our World | 30

Mozart Meets Klezmer | 32HSO Contributors | 40Patron Information | 53

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About the Symphony

The mission of the Hartford Symphony Orchestra is to enrich lives and

community through great music. Marking its 75th Anniversary Season in 2018-2019, the HSO is Connecticut’s premier musical organization, the second largest orchestra in New England, and widely recognized as one of America’s leading regional orchestras.

HSO captivates and inspires audiences of all ages by presenting more than 100 concerts annually, including the Masterworks Series, POPS! Series, HSO: Intermix, Sunday Serenades, Discovery Concerts, Symphony in Schools, Musical Dialogues, the Talcott Mountain Music Festival at the Simsbury Meadows Performing Arts Center, and more. The HSO aims to deliver uniquely powerful and emotional experiences that lift and transform the spirit, and to give back and help create vibrant communities in the Greater Hartford area.

The Hartford Symphony Orchestra named Carolyn Kuan as its tenth music director in January 2011; she is the first woman and youngest person to hold this title. Since beginning her tenure in 2011, she has led the HSO to new artistic heights with community-minded concerts and innovative programming. In 2015, Kuan signed a new, six-year contract, extending her commitment to the orchestra until May, 2022.

The Hartford Symphony Orchestra was founded in 1934 and formally established as the Symphony Society of Greater Hartford in 1936. Angelo Coniglione, Jacques Gordon, Leon Barzin, Moshe Paranov, and George Heck were the Orchestra’s first music directors. With the appointment of Fritz Mahler in 1953, the HSO began its Young People’s Concerts and made several highly acclaimed recordings for Vanguard. In 1964, Arthur Winograd became music director and the Orchestra grew in artistic stature, performing at Carnegie Hall and other New York locations to highly favorable reviews. Under the artistic leadership of Michael

Lankester from 1985–2000, the HSO received national recognition for its programming innovations, including the popular Classical Conversations and Family Matinees, as well as a series of landmark theatrical productions. From 2001–2011, Edward Cumming led the HSO to new levels of artistic excellence and innovative programming.

Each season, the HSO plays to audiences numbering approximately 75,000 statewide. The Hartford Symphony Orchestra’s extensive array of Education and Community Activities serves more than 15,000 individuals in Hartford and surrounding communities annually.

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Music Director

Recognized as a conductor of extraordinary versatility Carolyn Kuan has

enjoyed successful associations with top tier orchestras, opera companies, ballet companies, and festivals worldwide. Her commitment to contemporary music has defined her approach to programming, and established her as an international resource for new music and world premieres. Appointed Music Director of the Hartford Symphony Orchestra in 2011, she has signed a six-year contract extending their creative collaboration through May, 2022.

Ms. Kuan’s North American engagements have included performances with the symphonies of Baltimore, Detroit, Milwaukee, Omaha, San Francisco, Seattle, and Toronto; the Florida and Louisville orchestras; the New York City Ballet; the Colorado Music Festival and Glimmerglass Festival; the New York City Opera, Santa Fe Opera, and Washington National Opera. Recent international engagements have included concerts with the Bournemouth Symphony, Hong Kong Philharmonic, National Symphony of Taiwan, Orchestre de la Suisse Romande, Residentie Orkest, Orquesta Sinfonica de Yucatan, Royal Danish Ballet, and the West Australian Symphony. Highlights of the 2018/2019 season include debuts with the Singapore Symphony; Santa Barbara Symphony, featuring John Corigliano’s Red Violin; and the Portland Opera, conducting a production of Rossini’s La Cenerentola.

Carolyn Kuan’s 2016-2017 season began with a project sponsored by Beth Morrison Projects, called Ouroboros Trilogy, a three-part exploration of life, death, and rebirth as symbolized by the ancient Greek icon of a serpent eating its own tail. Working with composer Scott Wheeler, she directed Naga, one of the three operas commissioned for the trilogy. The season ended with the sensational premiere of Philip Glass’s opera The Trial with the Opera Theatre of

St. Louis. Reviewer for Opera Today wrote: “And speaking of a ‘high caliber of ensemble playing,’ conductor Carolyn Kuan worked equal magic in the pit. Maestra Kuan elicited the all-important, pulsating, rhythmically precise orchestral execution, to be sure. She also drew an abundance of color from her players and singers alike, achieving a varied palette of satisfying musical effects.”

During the 2014-2015 season, Ms. Kuan made a summer-long debut with the Santa Fe Opera. Working closely with composer Huang Ruo and director James

Robinson, and a mixed cast of east and west singers and instrumentalists, she conducted the premiere of Dr. Sun Yet-Sen to great critical acclaim. Other highlights of that season included her debut with the Washington National Opera at the Kennedy Center in Daniel Catan’s Florencia en el Amazonas, directed by Francesca Zambello; her return to the Seattle Symphony to lead works by Tan Dun, Yugo Kanno (U.S. Premiere), and Unsuk Chin; and her return to Brazil to work with Orquestra Sinfônica do Estado de São Paulo in a program of Britten, Turnage, and Bernstein.

While maintaining a solid connection with traditional repertoire, Carolyn Kuan has cultivated a unique expertise in Asian music and contemporary works. From 2007 to 2012, she directed the annual San Francisco Symphony Chinese New Year concert. For the Seattle Symphony, Ms. Kuan helped launch the hugely successful Celebrate Asia! program with community leaders representing eight Asian cultures, and led sold-out performances for three consecutive years. She has led world premieres for Music from Japan, and has conducted multimedia productions of the Butterfly Lovers Concerto and A Monkey’s Tale as part of Detroit Symphony’s World Music Series.

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Assistant Conductor

A dynamic and versatile conductor, adam Boyles is a notable figure in

the musical life of the Boston area. Boyles is currently Director of Orchestras at the Massachusetts Institute of Technology, and Assistant Conductor of the Hartford Symphony Orchestra. Previous Music Director positions include six seasons with the Brookline Symphony Orchestra, three seasons with the Southern Arizona Symphony Orchestra, five seasons with Opera in the Ozarks, and five seasons with MetroWest Opera. Boyles served on the faculty at The University of Texas at Austin and The University of Arizona.

Recent engagements include performances with the Hartford Symphony Orchestra, On Site Opera, Grand Harmonie, Muncie Symphony Orchestra, Oregon Bach Festival, Austin Chamber Ensemble, Audio Inversions, Michigan State University, Rhode Island College, and three operas with Boston Opera Collaborative. Boyles also served as a cover conductor with the Phoenix Symphony Orchestra in 2007.

He has worked with many notable conductors such as Gustavo Dudamel, Sir Roger Norrington, Kurt Masur, and Gunther Schuller.

An accomplished vocalist, Boyles performed in numerous operas with the Indiana University Opera Theater, and in Arizona Opera’s first complete presentation of Wagner’s Der Ring des Nibelungen. He has sung with many professional choral ensembles across the country such as Conspirare, True Concord, Apollo’s Voice, Mon Choeur, Cantique, and the

Tucson Chamber Artists. In 2010, Boyles was featured as a guest soloist with the Tanglewood Festival Chorus.

Boyles received his Doctor of Music in Orchestral Conducting degree from The University of Texas at Austin, his Master of Music in Orchestral Conducting degree from The University of Arizona, and his Bachelor of Music in Vocal Performance degree from Indiana University.

Adam is currently on the roster of Couret & Werner Artist Management.

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FIRST VIOLINLeonid Sigal,

concertmaster In memory of Paul Rosenblum, HSO Concertmaster, by Karl & Muriel Fleischmann, Gabriel Halevi

Lisa Rautenberg, associate concertmaster

Karin Fagerburg, assistant concertmaster

Linda BeersPerry ElliotJung Eun KangRomina KostareNuri LimAllyson MichalMillie PiekosMickey ReismanCyrus StevensDeborah TylerKatalin Viragh

SECOND VIOLINJaroslaw Lis,

acting principalMartha Kayser,

acting assistant principalLu Sun FriedmanSimon BilykGary CapozzielloDiane FredericksonKrzysztof GadawskiYuri Kharenko-GolduberVirginia KramerAleksandra Labinska+Candace M. LammersMarcia Lehninger+Alicia RattinYue Sun

VIOLAMichael Wheeler,

principalSharon Dennison,

assistant principalPatricia Daly VanceAnn Drinan

Sponsored by The Verney Family

Gretchen FrazierJames GustafsonBethany HargreavesAekyung KimMartha KnieriemCharlotte MalinArthur MasiGeorgina Rossi

Sponsored by Chloe & Wes Horton

CELLOJeffrey Krieger,

principalPeter Zay

acting assistant principalCarole OlefskyLaura KaneFran BardCara CheungJennifer CombsMiriam Eckelhoefer+Mina KimTom Hudson

BASSEdward R. Rozie, Jr.,

principal The Claire & Millard Pryor Orchestra Committee Chair Sponsored by Brook & Charlotte Jason

Robert Groff, assistant principal

James CarrollTony ConnawayJoseph MessinaJulianne RussellMark Zechel

FLUTEEmma Resmini,

principalBarbara A. Hopkins,

assistant principal

PICCOLOJeanne Wilson

OBOEHeather Taylor,

principalStephen Wade,

assistant principal

ENGLISH HORNMarilyn Krentzman

CLARINETCurt Blood,

principalRonald Krentzman*,

assistant principalEddie Sundra,

acting assistant principal

BASS CLARINET

BASSOONYeh-Chi Wang,

principalThomas Reynolds,

assistant principal

CONTRABASSOONRebecca Noreen

HORNBarbara Hill,

principalJohn Michael Adair,

assistant principal Sponsored by Bernard and Gale Kosto

Hilary LedebuhrNick RubensteinJoshua Michal

TRUMPETScott McIntosh,

principalJohn Charles Thomas,

assistant principalJerry Bryant

TROMBONEBrian L. Diehl,

principalGeorge Sanders,

assistant principal

BASS TROMBONE

TUBAStephen B. Perry,

principal

TIMPANIEugene Bozzi,

principal Sponsored by Carlotta & Bob Garthwait, Jr.

PERCUSSIONRobert McEwan,

principalMartin J. Elster

HARP

PIANOMargreet Francis

Sponsored by Jerry & Barbara Hess

STAGE MANAGERJeremy Philbin, I.A.T.S.E.*On Leave for the 2018-19 Season+Indicates one-year appointment

for the 2018-19 Season

After the first two desks of violins and cellos, and the first desk of violas and basses, the remaining string musicians participate in rotational seating and are listed

in alphabetical order.

The musicians of the Hartford Symphony Orchestra are members of the American

Federation of Musicians of the United States and Canada.

Stagehands Local 84 The Stagehands of the Hartford

Symphony Orchestra are members of the International Alliance of Theatrical Stage

Employees (I.A.T.S.E.).


The Orchestra

MUSIC DIRECTORCarolyn Kuan

Endowed by the Beatrice Fox Auerbach Foundation at the Hartford Foundation for Public Giving

ASSISTANT CONDUCTORAdam Boyles

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Administrative Staff

Stephen Collins, Executive Director

ARTISTIC OPERATIONSDr. Colette Hall, Artistic Operations ManagerDoug Donato, Assistant Manager, ProductionJaroslaw Lis, Personnel ManagerScott Switzer, Librarian

DEVELOPMENTRuth Sovronsky, Director of DevelopmentTed Bruttomesso, Jr.,

Capital Campaign ManagerJennifer Galante,

Annual Fund and Special Events ManagerJoyce Hodgson, Corporate and

Foundation Relations ManagerEmily Holowczak, Development Assistant

EDUCATION & COMMUNITY ENGAGEMENT

Miriam Engel, Assistant Manager, Education and Community Engagement

EXECUTIVEJulie Jarvis, Assistant Manager,

Executive and Board Relations

FINANCESteve West, Senior Accountant

MARKETINGAmanda Savio,

Marketing and Public Relations ManagerAlyssa Figueiredo, Marketing Assistant

TICKET SERVICESJennifer Berman,

Ticket Services RepresentativeCharles Feierabend,

Ticket Services Representative

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Board of Directors

Jeffery Verney Chairman

Mathew P. Jasinski, Esq. Vice Chair

Diane W. Whitney, Vice Chair

Mark Hayes Chair – Development

Gerald L. Hess Chair – Finance

Bernard Clark, M.D. Chair – Governance

John H. Beers, Esq. Chair – Administration & Human Resources; Secretary

Matthew H. Lynch Chair – Investment

Edwin Shirley Chair – Audit

Pamela Lucas Chair – Education and Community Engagement

Bruce Barth, Esq.Robert C. BausmithJohn H. Beers, Esq.Suzanne BourdeauxD. Weston BoydAlfred R. CasellaBernard Clark, M.D.Abraham L. DavisLuis FedericoDiez-Morales, M.D.

Rosemary A. GaidosBob Garthwait, Jr.Angela D. GriffinMark Hayes

Gerald L. HessKenneth A. Jacobson, Esq. Mathew P. Jasinski, Esq.Brook R. JasonHarvey KellyRebecca K.C. LoreePamela LucasMatthew H. LynchRobert MurrayEsther A. PryorStephen F. RocheDavid M. RothAndrew L. Salner, M.D. Edwin S. ShirleyKaren J. SproutJeffery R. VerneyDiane W. Whitney

DIRECTORSEMERITUSColeman H. Casey, Esq.Hermine J. DreznerMuriel FleischmannRobinson A. Grover*Pierre GuertinMorton E. HandelJohn K. Jepson, Esq.Dwight A. Johnson, Esq.Christopher LarsenCharles B. Milliken, Esq.Mrs. Millard H. Pryor, Jr.James S. RemisMary SargentMargery SteinbergStephen J. Raffay*H. Alex Vance, Jr.Robert J. von DohlenThomas R. Wildman, Esq.

*deceased

CONDUCTORLAUREATEArthur Winograd

PAST BOARDPRESIDENTS/CHAIR1937–41 Francis Goodwin II1941–51 Willard B. Rogers1951–53 John E. Ellsworth1951–55 Henry P. Bakewell1955–56 Albert E. Holland1956–58 Edward N. Allen1958–60 Charles A. Spoerl1960–62 Francis Goodwin II1962–64 Charles B. Milliken1964–65 Henry S. Beers1965–68 Charles E. Lord1968–71 Gordon N. Farquhar1971–73 Paul A. Benke1973–75 Christopher Larsen1975–78 Henry S. Robinson, Jr.1978–79 Harold C. Kraus1978–81 Robert J. von Dohlen1981–83 John C. Parish1983–85 Robert J. Birnbaum1985–87 Coleman H. Casey1987–89 Morton E. Handel1989–91 Arthur L. Handman1991–93 Peter S. Burgess1993–94 Arthur L. Handman1994–96 Dwight Johnson1996–99 Margery S. Steinberg1999–02 Millard H. Pryor2002–04 Thomas R. Wildman, Esq.2004–07 David M. Roth2007–09 Kenneth A. Jacobson, Esq.2009–10 Pierre H. Guertin2010–11 David M. Roth2011–15 James S. Remis

Board list through 1/30/19.1 2

Dear Friends:

We are thrilled to introduce to you Listen, Share, Celebrate! Making Music Together, a community education project several years in the making!

Listen, Share, Celebrate! is HSO’s collaborative initiative to learn about and celebrate the music of the Greater Hartford region — its history, since the beginnings of the HSO in 1934, and a snapshot of its present, as explored by a group of middle school students reflecting on how music shapes their own lives and communities.

We are thrilled to embark on this partnership with the Connecticut Historical Society, whose phenomenal staff is currently researching and planning an exhibit that will celebrate the vibrant 75-year history of the HSO. The exhibit, which will open on May 20 at CHS, will highlight the decades-long history of the HSO, the people behind the music, and the important collaborations that have musically shaped the Greater Hartford community. We are so eager to share the rich history of the HSO with the public during this monumental year.

Beginning this spring, a class of students and aspiring musicians at McDonough Middle School in Hartford will develop music that reflects how they see themselves and their place in the Greater Hartford community, to be performed by the students side-by-side with HSO musicians at a showcase in May 2019.

The students will meet weekly, interview each other and family members about their musical heritage and traditions, then using their findings to work with HSO musicians, as well as composers from the Hartt School of Music, to develop their compositions. As students learn more about themselves as musicians, members of the HSO staff will share their expertise about career paths in music and ways to be involved in the arts.

Stay tuned to hartfordsymphony.org for updates on Listen, Share, Celebrate! – and thanks for celebrating with us!

Sincerely,

Jeff VerneyChairman, Hartford Symphony Orchestra Board of Directors

Steve CollinsExecutive Director, Hartford Symphony Orchestra


Letter from the Chairman and Executive Director

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Masterworks SeriesHARTFORD SYMPHONY ORCHESTRA

Carolyn Kuan, Music Director

LATIN LOVERSFriday, February 15, 2019 / 8:00 p.m.

Saturday, February 16, 2019 / 8:00 p.m.Sunday, February 17, 2019 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

ADAM BOYLES, conductorJULIEN LABRO, bandoneón

The post of Music Director is endowed by The Beatrice Fox Auerbach Foundation.Cameras and recording equipment are not permitted during the performance.

As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office

of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

AARON COPLAND El Salón México (1900-1990)

ASTOR PIAZZOLLA Libertango (1921-1992) Julien Labro, bandoneón

ASTOR PIAZZOLLA Aconcagua, Concerto for Bandoneón (1921-1992) I. Allegro marcato II. Moderato III. Presto Julien Labro, bandoneón

-INTERMISSION-

GABRIELA LENA FRANK Three Latin American Dances (b. 1972) I. Introduction: Jungle Jaunt II. Highland Harawi III. The Mestizo Waltz

ARTURO MÁRQUEZ Danzón No. 2 (b. 1950)

The 75th Anniversary Season Supporting Sponsor is

The 2018-19 Masterworks Series is presented by

The 75th Anniversary Season Lead Sponsor is

Latin Lovers is the Alexander Campbell McNally and Tina Mahar McNally memorial concert.

Heralded as “the next accordion star” by Howard Reich of the

Chicago Tribune, French-born Julien Labro has established himself as one of the foremost accordion and bandoneón players in the classical and jazz genres. Deemed to be “a triple threat: brilliant technician, poetic melodist and cunning arranger,” his artistry, virtuosity, and creativity as a musician, composer and arranger have earned him international acclaim and continue to astonish audiences worldwide.

Piazzolla, a major influence and the reason Labro picked up the bandoneón, is also the title of his album with classical guitarist and Grammy-award winner Jason Vieaux and A Far Cry chamber orchestra. His latest recordings, From this Point Forward (2014), Infusion (2016) and Rise and Grind (2017) all feature original compositions and arrangements by Labro, and have been lauded by critics as innovative and genre-bending. Labro has released over 10 albums under projects that he has led, and guested on recordings for artists such as Cassandra Wilson, Frank Vignola and more.

Labro’s musical journey has taken him all across North America, Europe, the Middle East and South America. His long list of classical collaborations include A Far Cry, Spektral Quartet, Detroit Symphony Orchestra, Orchestra of St Luke’s, New World Symphony, the Qatar Philharmonic Orchestra, Pulitzer prize winning composer Du Yun, Bryce Dessner, Avner Dorman and many more. Labro’s jazz projects include the Julien Labro Quartet, Hot Club of Detroit, and collaborations with Grammy award winning composer Maria Schneider, Brazilian pianist João

Donato, Argentinean Grammy winning composer and pianist Fernando Otero, clarinetist Anat Cohen, Lebanese oud master Marcel Khalife, saxophonists Paquito D’Rivera, Miguel Zenón, James Carter, and Jon Irabagon, and guitarists Larry Coryell, Tommy Emmanuel, and John and Bucky Pizzarelli.

In his free time, Labro is working on composing a new bandoneón concerto that will be a sequel to his accordion concerto Apricity. To learn more about Labro, visit julienlabro.com.


About the Artist

JULIEN LABRO, bandoneón

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Notes on the Program

AARON COPLAND(born November 14, 1900 in Brooklyn, New York;

died December 2, 1990 in North Tarrytown, New York)

El Sálon México (1933-1936)

“Other tourists will pull out their snapshots to show you what a country looks like, but a composer wants to show you what a country sounds like.” As may be surmised from these words of his, Aaron Copland was no ordinary tourist when he went to Mexico in 1932. He had already garnered a reputation as a brash, young composer for his thorny Organ Symphony and the jazzy Music for the Theater, and had traveled to Europe and “even ventured as far as old Fez in Morocco,” he recalled. He not only hoped to find a secluded place to work in the Mexican countryside, but also wanted to spend some time with Carlos Chávez, the great native composer, educator and conductor whose career paralleled that of Copland in their searches for distinctive national musical styles. Chávez saw that Copland was installed in a suitable casa in a sleepy, distant suburb of Mexico City, and then acted as his guide to not only the sights, but also the sounds of Mexico.

Copland was easily impressed by the sun-warmed pleasures of the country, especially the manner in which music seemed such an integral part of daily life. The clement weather allowed indoor and outdoor life to flow easily together, and the more formal division of “inside” and “outside” activities he knew in New York — and

the separation he perceived between music and the people — was less pronounced in Mexico. Copland was just coming to the awareness at that time that he wanted to create a style of “imposed simplicity,” one which could be more easily assimilated by a large audience than many recent concert works allowed. The trip to Mexico, with its exposure to the wealth of folk and popular music, proved an important element in forging his “new style” — a style which was to form the basis for such later masterpieces as Billy the Kid, Appalachian Spring and Rodeo.

In an annotation for the first performance of El Sálon México in Boston, Copland described the inspiration that lay behind the work:

“Perhaps my piece might never have been written if it hadn’t been for the existence of the ‘Sálon México.’ I remember reading about it for the first time in Anita Brenner’s guide book. Under ‘Entertainment’ she had this entry: ‘Harlem type nightclub for the peepul [sic], grand Cuban orchestra, Sálon México. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ Miss Brenner forgot to mention the sign on the wall which said: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’ The unsuspecting tourist should also have been warned that a guard stationed at the bottom of the steps leading to the ‘three halls’ would nonchalantly frisk you as you started up the stairs just to be sure that you had checked all your ‘artillery’ at the door. One other curious custom, special to the Sálon México, might as well be mentioned here: when the dance hall closed its doors at 5:00 a.m. it hardly seemed worthwhile for the overalled patrons to travel all the way home, so they curled themselves up on the chairs around the walls for a quick two-hour snooze before getting to a seven o’clock job in the morning.

“It wasn’t the music that I heard there, or the dances that attracted me, so much as the spirit of the place. In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people — the electric sense one sometimes gets in far-off places, of suddenly knowing the essence of a people —

World Premiere: August 27, 1937Most Recent HSO Performance: April 14, 1999Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani, snare drum, woodblock, guiro, bass drum, xylophone, cymbals, suspended cymbal, temple blocks, tambourine provençal and strings: violin I, violin II, viola, cello, and bassDuration: 11’

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their humanity, their separate shyness, their dignity and unique charm.... At any rate, I soon found myself looking for suitable folk material for El Sálon México....

“There is nothing very remarkable about a Mexican popular melody. My purpose was not merely to quote them literally, but to heighten without in any way falsifying their natural simplicity. Most of my tunes were taken from an unpretentious little collection [Cancionero Mexicano] gathered together and published by Frances Toor, resident American in the capital. Others I added later from the erudite book of Ruben M. Campos, El Folk-lore y la Musica Mexicana. To both authors I owe thanks.... The use of folk material in a composition always brings with it a formal problem. Composers have found that there is little that can be done with a folk tune except repeat it. Inevitably there is the danger of producing a mere string of unrelated ‘melodic gems.’ In the end I adopted a form which is a kind of modified potpourri, in which the Mexican themes and their extension are sometimes inextricably mixed for the sake of conciseness and coherence.”

In his preface to the orchestral score, Gerald Abraham commented further on Copland’s technique in this work: “Though admittedly based on Mexican themes, El Sálon México differs fundamentally from the ordinary type of overture or fantasia on folk-tunes. Although the material is practically all derived from three or four melodies printed in the collections of Campos and Toor, none of these is quoted completely in its original form. The operative word is ‘derived.’ Copland has mentally absorbed the spirit and the characteristic idioms of Mexican folk music in general, and of these three or four tunes in particular, and reproduced them in music that is in all essentials his own. The original melodies have been altered both melodically and rhythmically, and always subtilized in the process. Sometimes even fragments of two different tunes are welded into a fresh idea.”

Of El Sálon México, the work which brought Copland his first great popularity with its immediate success in Mexico and elsewhere,

G. Baqueiro Forster, critic of the Mexico City Excelsior wrote, “[Copland did not take away] one whit of the freshness and beauty of Mexican song — he embodied the very elements of our folk song in the purest and most perfect form.”

ASTOR PIAZZOLLA(born March 11, 1921 in Mar Del Plata, Argentina;

died July 5, 1992 in Buenos Aires)

Libertango (1974)

The Argentinean tango, like American ragtime and jazz, is music with a shady past. Its deepest roots extend to Africa and the fiery dances of Spain, but it seems to have evolved most directly from a slower Cuban dance, the habanera (whose name honors that nation’s capital), and a faster native Argentinean song form, the milonga, both in duple meter and both sensuously syncopated in rhythm. These influences met at the end of the 19th century in the docklands and seamier neighborhoods of Buenos Aires, where they found fertile ground for gestation as the influx of workers streaming in from Europe to seek their fortunes in the pampas and cities of South America came into contact with the exotic Latin cultures. The tango — its name may have been derived from a word of African origin meaning simply “dance,” or from the old Castilian taño (“to play an instrument”), or from a type of drum used by black slaves, or from none of these — came to embody the longing and hard lives of the lower classes of Buenos Aires, where it was chiefly fostered in bawdy houses and back-alley bars by usually untutored musicians. The texts, where they existed, dealt with such forlorn urban topics as faithless women, social injustice and broken dreams. In the years around World

World Premiere: Released on the record “Libertango” in 1974Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: Solo bandoneon and strings: violin I, violin II, viola, cello, and bassDuration: 5’

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War I, the tango migrated out of the seedier neighborhoods of Argentina, leaped across the Atlantic to be discovered by the French, and then went on to invade the rest of Europe and North America. International repute elevated its social status, and, spurred by the glamorous images of Rudolph Valentino and Vernon and Irene Castle, the tango became the dance craze of the 1930s. Tango bands, comprising four to six players (usually piano, accordion, guitar and strings) with or without a vocalist, flourished during the years between the Wars, and influenced not just the world’s popular music but also that of serious composers: one of Isaac Albéniz’s most famous works is his Tango in D; William Walton inserted a tango into his “Entertainment with Poems” for speaker and instruments, Façade; and Igor Stravinsky had the Devil in The Soldier’s Tale dance a tango and composed a Tango for Piano, which he also arranged for full orchestra and for winds with guitar and bass.

The greatest master of the modern tango was Astor Piazzolla, born in Mar Del Plata, Argentina, a resort town south of Buenos Aires, on March 11, 1921, and raised in New York City, where he lived with his father from 1924 to 1937. Before Astor was ten years old, his musical talents had been discovered by Carlos Gardel, then the most famous of all performers and composers of tangos and a cultural hero in Argentina. At Gardel’s urging, the young Astor moved to Buenos Aires in 1937, and joined the popular tango orchestra of Anibal Troilo as arranger and bandoneón player. Piazzolla studied classical composition with Alberto Ginastera in Buenos Aires, and in 1954, he wrote a symphony for the Buenos Aires Philharmonic that earned him a scholarship to study in Paris with Nadia Boulanger, the renowned teacher of Copland, Thomson, Carter and many other of the best American composers. Boulanger, as was her method, grounded Piazzolla in the classical European repertory, but then encouraged him to follow his genius for the tango rather than write in the traditional concert genres. When Piazzolla returned to Buenos Aires in 1956, he founded his own performing group, and began to create a modern style for the tango

that combined elements of traditional tango, Argentinean folk music and contemporary classical, jazz and popular techniques into a “Nuevo Tango” that was as suitable for the concert hall as for the dance floor. He was sharply criticized at first by government officials and advocates of the traditional tango alike for his path-breaking creations. “Traditional tango listeners hated me,” he recalled. “I introduced fugues, counterpoint and other irreverences: people thought I was crazy. All the tango critics and radio stations of Buenos Aires called me a clown, they said my music was ‘paranoiac.’ And they made me popular. The young people who had lost interest in the tango started listening to me. It was a war of one against all, but in ten years, the war was won.” In 1974, Piazzolla settled again in Paris, winning innumerable enthusiasts for both his Nuevo Tango and for the traditional tango with his many appearances, recordings and compositions. By the time that he returned to Buenos Aires in 1985, he was regarded as the musician who had revitalized one of the quintessential genres of Latin music, and he received awards from Down Beat and other international music magazines and from the city of Buenos Aires, as well as a Grammy nomination for his composition Oblivion. Piazzolla continued to tour widely, record frequently and compose incessantly until he suffered a stroke in Paris in August 1990. He died in Buenos Aires on July 5, 1992.

In 1974, Piazzolla moved to Rome, claiming that “I’m sure I’m going to write better there than in Buenos Aires.” His European agent, Aldo Pagani, set him up with an apartment near the Piazza Navona, guaranteed him $500 a month for living expenses, and started arranging appearances and recordings, beginning with a program on Italian television with Charles Aznavour on March 25, 1974. When Pagani urged him to compose pieces that were short enough to be easily programmed on the radio, Piazzolla protested, “But Beethoven wrote …” “Beethoven died deaf and poor,” the agent told his client. “Up to this point, you are neither deaf nor poor.” Piazzolla took Pagani’s point, and wrote a series of short instrumental pieces during

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the following months, including the hard-driving Libertango, which the composer called “a sort of song of liberty,” a release of new ideas inspired by a new place. Piazzolla included Libertango on his first Italian LP (which he titled Libertango), and the number became a hit in vocal versions recorded by the French singer Guy Marchard and the Jamaican performer Grace Jones.

ASTOR PIAZZOLLA

Concerto for Bandoneón, String Orchestra and Percussion, “Aconcagua” (1979)

The unique fusion of European classical music and Argentinean tango that Piazzolla achieved in his later works is seen nowhere better than in the concerto that he composed for his own instrument, the bandoneón, late in 1979 on a commission from the Banco de la Provincia de Buenos Aires; he was soloist in the premiere, on December 15, 1979 at the Auditorio de Belgrano, conducted by Simón Blech. The publisher Aldo Pagani also titled the work “Aconcagua” because, he said, “this is the peak of Astor’s oeuvre, and the [highest mountain] peak in South America is Aconcagua [on the Argentina-Chile border, due west of Buenos Aires].” The opening Allegro marcato treats a scintillating, strongly rhythmic strain in the outer sections of its three-part form (A–B–A); a smoky, sensual theme provides contrast in the central episode. The sections are connected by solo cadenzas. The second movement is a poignant, richly melodic threnody for the soloist floated upon a delicate cushion of orchestral sound. The finale, based on a tango that Piazzolla first used in his soundtrack for the film Con alma y vida, embodies the quintessential allure of the tango, which Pablo Ziegler, Astor Piazzolla’s

pianist, described in these words: “The tango has many elements such as the melancholy of an oppressed urban population. It has been called a sad feeling that is danced. It also contains the nostalgia of an immigrant people who are never going back to the places they came from. But I think the greatest power of the tango lies in the beauty of its melodies and the sensuality of its strong basic rhythm.”

GABRIELA LENA FRANK(born September 26, 1972 in Berkeley, California)

Three Latin American Dances (2003-2004)

The fact that Gabriela Lena Frank was born in 1972 in Berkeley, California of Peruvian heritage forms the basis of her creative personality, which draws together musical qualities from both North and Latin America. Frank, gifted as a composer, pianist and speaker, earned her bachelor’s and master’s degrees at Rice University in Houston and her doctorate at the University of Michigan; her principal teachers have included William Albright, Leslie Bassett, William Bolcom and Samuel Jones in composition, and Jeanne Kierman Fischer and Logan Skelton in piano. As a pianist, Frank has recorded the complete solo piano and violin/piano compositions of her teacher, Pulitzer Prize-winning composer Leslie Bassett.

World Premiere: December 15, 1979Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: Solo bandoneon, harp, piano, timpani, bass drum, triangle, guiro, and strings: violin I, violin II, viola, cello, and bassDuration: 20’

World Premiere: April 23, 2004Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 3 flutes with third doubling piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, harp, piano, timpani, bass drum, cymbals, snare drum, tambourine, tamtam, xylophone, chimes, woodblock, temple blocks, whip, bongos, congas, thundersheet, castanets, claves, shekere, 2 triangles, 2 suspended cymbals, 2 marimbas, rainstick, and strings: violin I, violin II, viola, cello, and bassDuration: 20’

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The compositions of Gabriela Lena Frank incorporate elements of Latino/Latin American mythology, archeology, art, poetry and folk music into traditional Classical forms in works for orchestra, chamber ensembles, piano, chorus and vocal solo. She has received commissions, grants and awards from the orchestras of Cleveland, Philadelphia, Albany, Utah, St. Paul and Seattle, Van Cliburn International Piano Competition, ASCAP, National Endowment for the Arts, American Academy of Arts and Letters, Marilyn Horne Foundation, Carnegie Hall, Guggenheim Foundation, National Public Radio, Meet the Composer, Aspen Festival, MacDowell Colony, Banff Centre for the Arts, International Music Council of UNESCO and many others; she won the inaugural Sackler Music Composition Prize of the University of Connecticut in 2002. Frank has held residencies with the Detroit Symphony, Houston Symphony, University of Missouri-St. Louis, Peabody Conservatory, UCLA, Rice University, University of Southern California, University of Kansas, Cornell University and Composers’ Forum at Vermont’s Bennington College, and is a frequent guest at schools and festivals in North America and throughout Latin America; she was Creative Advisor to the Berkeley Symphony Orchestra from 2009 to 2012. Frank received the 2009 Latin Grammy Award for Best Classical Music Composition (Inca Dances) and a Grammy nomination for Best Classical Crossover Album as one of the composers who contributed to Yo-Yo Ma’s Silk Road Ensemble 2011 CD, Off the Map. In 2017, she founded the Gabriela Lena Frank Creative Academy of Music, a non-profit training institution that offers emerging composers short-term retreats at her farms in California, and was included in the Washington Post’s list of the “35 Most Significant Women Composers in History.” During the 2019-2020

season, Fort Worth Opera premieres Frank’s first opera, The Last Dream of Frida, with a libretto by Pulitzer Prize-winning playwright Nilo Cruz.

Gabriela Lena Frank wrote of her Three Latin American Dances: “Introduction: Jungle Jaunt. This introductory scherzo opens as an unabashed tribute to the Symphonic Dances from ‘West Side Story’ by Leonard Bernstein before turning to harmonies and rhythms derived from various pan-Amazonian dance forms. These jungle references are sped through (so as to be largely hidden) while echoing the energy of the Argentinean composer Alberto Ginastera, who was long fascinated with indigenous Latin American cultures.

“Highland Harawi. This movement, the heart of Three Latin American Dances, evokes the Andean ‘harawi,’ a melancholy adagio traditionally played by a bamboo ‘quena’ flute to accompany a single dancer. As mountain music, the ambiance of mystery, vastness and echo is evoked. The fast middle section simulates what I imagine to be the ‘zumballyu of Illapa’ — a great spinning top belonging to Illapa, the Peruvian-Inca weather deity of thunder, lightning and rain. Illapa spins his great top in the highland valleys of the Andes before allowing a return to the more staid harawi. The music alludes to that of the Hungarian composer Béla Bartók.

“The Mestizo Waltz. As if in relief to the gravity of the previous movement, this final movement is a lighthearted tribute to the ‘mestizo’ or mixed- race music of the South American Pacific coast. In particular, it evokes the ‘romancero’ tradition of popular songs and dances that blend influences from indigenous Indian cultures, African slave cultures and western brass bands.

“This work is dedicated to Aaron Lin Lockhart, born August 24, 2003.”

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ARTURO MÁRQUEZ(born December 20, 1950, in Alamos Sonora, Mexico)

Danzón No. 2 (1994)

Arturo Márquez was born in 1950 in Alamos in the northwestern Mexican state of Sonora, where his father was a mariachi violinist. Arturo, Sr. introduced his son to music and when the family moved to Los Angeles in 1962, young Arturo was ready to begin studying violin and immersing himself in a variety of musical styles — “I spent my adolescence,” he recalled, “listening to [Mexican singer] Javier Solis, sounds of mariachi, the Beatles, Doors, Carlos Santana and Chopin.” By the time the family returned to Sonora when he was seventeen, he had started to compose and was ready to become director of the municipal band in Navojoa the following year. Márquez went to Mexico City in 1970 to begin his professional studies at the Conservatorio Nacional de Música, where he majored in piano and composition. From 1976 to 1979, he studied at the Institute of Fine Arts of Mexico with Joaquín Gutiérrez Heras, Hector Quintanar and Federico Ibarra, and a French government grant in 1980 enabled him to study in Paris with Jacques Castérède for two years; he then did his academic graduate work on a Fulbright scholarship at the California Institute of the Arts with Morton Subotnick, Stephen Mosko, Mel Powell and James Newton. Arturo Márquez, today one of Mexico’s most respected musicians, has taught at the National University of Mexico, held a residency at the National Center of Research, Documentation and Information of Mexican Music,

fulfilled commissions from the Organization of American States, Universidad Metropolitana de México, Universidad Nacional Autónoma de México, Festival del Caribe, Festival de la Ciudad de México, 1992 Seville World’s Fair and Rockefeller Foundation, and received, among many distinctions, Mexico’s National Prize for Arts and Sciences, the Austrian Embassy’s Medalla Mozart, and the Gold Medal of Fine Arts of Mexico, the first musician so honored with the country’s highest award for artists.

Márquez has composed nine works for varied instrumentation titled Danzón. In 1942, after a good-will visit to Cuba, Aaron Copland wrote his Danzón Cubano, and gave the following description of the form: “The popular Cuban dance style known as danzón has a very special character. It is a stately dance, quite different from the rhumba, conga and tango, and one that fulfills a function rather similar to that of the waltz in our own music, providing contrast to some of the more animated dances. The danzón is not the familiar hectic, flashy and rhythmically complicated type of Cuban dance. It is more elegant and curt and is very precise, as dance music goes. The dance itself seemed especially amusing to me because it has a touch of unconscious grotesquerie, as if it were an impression of ‘high-life’ as seen through the eyes of the populace — elegance perceived by the inelegant.” Of his colorful and melodic Danzón No. 2, commissioned by the Music Department of Mexico’s National University, Márquez noted, “I discovered that the apparent lightness of the danzón hides a music full of sensuality and rigor, music of nostalgia and joy that our old folks live with, a world that we can still grasp in the dance music of Veracruz and the dance halls of Mexico City. Danzón No. 2 is a tribute to the world that nurtured it. It tries to get as close as possible to the dance, to its nostalgic melodies and its monotonous rhythms, and although it desecrates its intimacy, form and harmonic vocabulary, it is a personal way of expressing my admiration and feelings towards real Mexican popular music.”

©2018 Dr. Richard E. Rodda

World Premiere: March 5, 1994Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 2 flutes with second doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, suspended cymbal, snare drum, guiro, claves, 3 tomtoms, and strings: violin I, violin II, viola, cello, and bassDuration: 10’

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Sunday Serenades

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director

Sunday Serenades at the Wadsworth AtheneumLeonid Sigal, Artistic Director

LAND, SEA, SKYSunday, February 24, 2019 / 2:00 p.m.Wadsworth Atheneum Museum of Art

LEONID SIGAL, violin BARBARA HOPKINS, fluteHEATHER TAYLOR, oboe

CURT BLOOD, clarinetYEH-CHI WANG, bassoon

BARBARA HILL, hornMICHAEL WHEELER, viola

PETER ZAY, cello TBD, bass

MARGREET FRANCIS, piano & celeste

Cameras and recording equipment are not permitted during the performance.As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.

The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office


This concert is made possible, in part, by The Saunders Foundation Music Endowment at the Wadsworth Atheneum.

WOLFGANG AMADEUS MOZART Adagio and Rondo in C minor, K. 617 (1756-1791)

SERGEI PROKOFIEV Quintet, Op. 39 (1891-1953) I. Tema con variazioni II. Andante energico III. Allegro sostenuto, ma con brio IV. Adagio pesante V. Allegro precipitato, ma non troppo presto VI. Andantino

-PAUSE-

LOUIS SPOHR Septet, Op. 147 (1784-1859) I. Allegro vivace II. Pastorale. Larghetto III. Scherzo. Vivace IV. Finale. Molto allegro

HSO Concertmaster Leonid Sigal has enjoyed a multi-faceted career

as recitalist, chamber musician and orchestra leader. Since early performances he was praised by audiences and critics for his virtuosity and musical sensitivity. Miami Herald wrote: “Sigal demonstrated what a fine violinist he is, playing passionately and cleanly with a soaring tone”; and the Hartford Courant echoes: “His tone was consistently sweet. He brought a clear sense of phrasing, articulation and effortless virtuosity”.

Born in Moscow, Russia, he began violin studies at the age 5, and was accepted to the renowned Gnessin School of Music. He went on attending and graduating with excellence from the Tchaikovsky Conservatory.

Winner of several violin competitions and recipient of the 1993 Meadows Artistic Scholarship Award, he moved to the U.S., where he had also studied with Erick Friedman and had taken masterclasses with Isaac Stern and Pinchas Zukerman. In 1995 he was invited by Michael Tilson Thomas to a prestigious fellowship at the New World Symphony, where he was one of the principals and also coached as conductor.

His experience includes recitals, chamber music, festival and orchestral appearances in the US, Canada, Brazil, Germany, Great Britain, France, Italy, Austria, Switzerland, Russia, Japan and South Korea. He had performed under Sir Georg Solti, Leonard Bernstein, Christoph Eschenbach, Michael Tilson Thomas, James Levine, Herbert Blomstedt to name a few. A passionate chamber musician, he collaborated with Mstislav Rostropovich, Evgeny Kissin, Edgar Meyer, Joseph Silverstein, James Ehnes, Roberto Diaz and William Wolfram among others.

In 2007 he inaugurated and became Artistic Director of the celebrated Sunday Serenades, a chamber music series at the Wadsworth Atheneum.

Mr. Sigal’s annual appearances as soloist with the HSO include highly acclaimed performances of Vivaldi’s The Four Seasons, concertos by Mozart, Brahms, Sibelius, Barber, Shostakovich, and Waxman’s Carmen Fantasy. In 2011 Mr. Sigal performed, and later recorded, a world premiere of Stephen Michael Gryc’ Violin Concerto Harmonia Mundi, written for him and commissioned by the HSO. Recent and upcoming season

highlights include Brahms’ Double Concerto with cellist David Finckel, Concertos by Mozart, Beethoven, Mendelssohn, Brahms, Glazunov as well as Leonard Bernstein’s Serenade after Plato’s Symposium to commemorate the composer’s Centennial in 2018.

Also concertmaster and assistant conductor of the Atlantic Classical Orchestra, Mr. Sigal was previously Associate Concertmaster of the Florida Philharmonic and had performed with San Diego Symphony and Boston Symphony Orchestra. He had served as Artistic Director of the Miami Chamber Symphony, as well as violin faculty at the University of Florida and University of Hartford’s The Hartt School. Since August of 2012, at the invitation of Music Director Gerard Schwarz, he has been part of the Emmy Award winning and nationally syndicated program All Star Orchestra alongside fellow concertmasters and principals from the Philadelphia Orchestra, New York Philharmonic, The Met Orchestra, Boston, San Francisco, Cincinnati, Minnesota and other major American orchestras.


About the Artists

LEONID SIGAL artistic director

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Award winning flutist Barbara Hopkins enjoys national recognition for

her performances. She has released three CDs including Telemann Methodical Sonatas, Vol. 1, and Short Concert Pieces for Flute and Piano and Andersen Etudes, opus 15. Flute Talk magazine recommends her Andersen CD, writing, “Hopkins plays these virtuoso etudes with taste and a technical ease that many students work for years to never achieve.” The Flute Network praised her Telemann recording as, “full, rich, and highly musical.” She has appeared as soloist in New York, Boston, Albuquerque, Seattle, Phoenix, Atlanta, Dallas, Alaska, Florida, Connecticut, and throughout her home state of Pennsylvania. Composer Edward Diemente has written several works for her, and she has also worked with Joan Tower, Chinary Ung, and Shirish Korde.

A cousin of nineteenth century Connecticut flute maker Asa Hopkins, Barbara is very involved with early flutes and music. She has acquired several flutes by Asa Hopkins, and has had them restored to playing condition. She founded The Rosewood Chamber Ensemble with guitarist Judy Handler, which specializes in concerts of early music performed on period instruments. The Greater Boston Flute Association Gazette wrote of their Boston concert, “The pieces were played with style and joy, resulting in a

captivating performance.” Their first CD, Songs and Dances of Early America, will be released this year.

Barbara serves as assistant principal flute with the Hartford Symphony Orchestra and teaches at the Hartt Community Division of the University of Hartford. Other orchestras she has performed with include the Minnesota Orchestra, Buffalo Philharmonic, and Sarasota Orchestra. She was first prize winner in the National Flute Association Orchestral Audition Competition, has been a top prize winner in the New York

Flute Club Young Artist Competition, and was awarded a fellowship to Tanglewood Music Center, where she had the honor of playing principal flute under Leonard Bernstein.

Dr. Hopkins received her Doctor of Musical Arts degree from the Stony Brook University, where she studied with Samuel Baron. She earned her Master of Music from The Mannes College of Music under Thomas Nyfenger, and her Bachelor of Music at The Hartt School with John Wion. Always seeking to refine her skills, she has also studied piccolo with Geralyn Coticone of the Boston Symphony, new music with Robert Dick, and Baroque flute with Na’ama Lion.

More information about Dr. Hopkins is available at www.BarbaraHopkins.com.


About the Artists

BARBARA HOPKINS flute

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Heather Taylor received her Bachelor of Music degree from The Juilliard

School as a student of Elaine Douvas, Principal Oboist of The Metropolitan Opera and her Master’s Degree from The Cleveland Institute of Music as a student of the late John Mack, former Principal Oboist with the Cleveland Orchestra.

Ms. Taylor performed the Vaughan Williams Oboe Concerto as a Concerto competition winner with the Cleveland Institute Orchestra. She has performed as Principal Oboist with The Hartford Symphony since 1993. Prior solo appearances with the Hartford Symphony include 1994 performances of the Handel Concerto in g minor, the 1996 performance of the Riley Fantasy for Oboe and String Orchestra during the premiere summer season of the Talcott Mountain Music Festival, and the 2002 performances of the Bach Concerto

for oboe and violin with Joseph Silverstein.

Ms. Taylor has performed as guest Principal Oboist with the San Diego and Florida Symphony Orchestras, Principal oboist with The Richmond Symphony, The Grant Park Orchestra of Chicago, IRIS Orchestra, and The Robert Shaw Institute tour of Southwest France. She has substituted with the Metropolitan Opera and as Associate Principal Oboist with the St. Louis Symphony.

Ms. Taylor was Principal oboist in the American premiere complete performances of Elliott Carter’s “Symphonia” with

Monadnock Music in Sanders Theatre, Boston. She can be heard on the Grammy nominated recording of works by Robert Kurka with The Grant Park Orchestra on Cedille Records and the recording of music by Stephen Hartke with the IRIS Orchestra on Naxos Records: The New York Times Best Classical CD listing for 2003.


About the Artists

HEATHER TAYLOR, oboe

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Curt Blood has held the principal clarinet chair in the Hartford Symphony

since 1982, and has been an active teacher and performer in the Northeast since that time. He joined the faculty of The Hartt School in the fall of 2006. Blood has performed with many of the area’s finest ensembles. Among these are the Springfield Symphony, Northeast Pennsylvania Philharmonic, Connecticut Orchestra at Harkness Park, The Rhode Island Philharmonic, the New Haven Symphony, and Worcester Symphony. Blood has toured internationally, performing at the International Music Festival at Santander, Spain. Each summer he serves as principal clarinetist with the Buzzard’s Bay Musicfest in Marion, MA. Blood has been on the faculties of several universities and colleges in Connecticut. He has been the lecturer in clarinet at the University of Connecticut since 1990, and has also taught at Wesleyan University. His past students have performed with ensembles around the country including the United States Coast Guard Band, the Albany Symphony, Glimmerglass Opera, and the Minnesota Orchestra. Blood earned a Bachelor of Music in clarinet performance with distinction from New England Conservatory of Music. He studied clarinet with William Wrzesien.

Yeh-Chi Wang is currently the principal bassoonist of the Hartford Symphony

Orchestra and the Springfield Symphony Orchestra. He holds a Doctor of Musical Arts degree from Michigan State University where he studied with Professor Michael Kroth. Previously, he received his Bachelor and Master of Music degrees from the Cleveland Institute of Music. His teachers were John Clouser, Principal Bassoon of the Cleveland Orchestra, and Barrick Stees, Assistant Principal Bassoon of the Cleveland Orchestra.

Mr. Wang has performed with many orchestras including the Utah Symphony, the Grand Rapids Symphony, the Virginia Symphony, the Toledo Symphony, the Lansing Symphony, the Ann Arbor Symphony, the Harrisburg Symphony, the Rhode Island Philharmonic, and the Wheeling Symphony. He has also participated in music festivals such as the Tanglewood Music Festival, National Repertory Orchestra, Music Academy of the West, American Institute of Musical Studies (Graz), Thy Chamber Music Festival (Denmark), Kent-Blossom Music Festival, Spoleto USA

Festival, Sarasota Music Festival, and National Orchestral Institute.

Besides performing, Mr. Wang is a devoted teacher. He was an adjunct faculty member at Westfield State University and the Hartt School Community Division, and currently maintains a studio of private students.

CURT BLOOD, clarinet

YEH-CHI WANG, bassoon


About the Artists

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Barbara Hill has been Principal Horn with the Hartford Symphony since

2008. While with the HSO, she has been featured as a soloist during Carolyn Kuan’s inaugural concert performing Mozart’s Horn Concerto No. 4, K. 495, and has played alongside her HSO colleagues in previous Sunday Serenades, performing music of Debussy, Brahms, Ravel, and Dohnányi. In November 2018, she and her horn colleagues in the HSO performed Schumann’s heroic Concertstück for Four Horns. Barbara has been a guest performer with many North American ensembles, including Calgary Philharmonic, Pittsburgh Symphony, Utah Symphony, Rhode Island Philharmonic, and Boston Philharmonic, and was Acting Principal and Second Horn with the Vancouver Symphony Orchestra (2000-2002). She received her Master of Music from The Juilliard School studying with Jerome Ashby, and her Bachelor of Music from The University of Western Ontario studying with Derek Conrod. Barbara is on Faculty at The Hartt School, Hartt Community Division, and CCSU.

Michael Wheeler, currently the HSO Principal Viola, began

his professional career in the New World Symphony in Miami under the leadership of Michael Tilson Thomas. He was a frequent participant in the chamber music series as well as section leader there. Following his tenure in New World, he returned to New England where he was Assistant Principal Viola in the Portland Symphony as well as Assistant Principal Viola of the Boston Classical Orchestra. Prior to joining the HSO in 1995-96 season he was a member of the San Antonio Symphony.

In addition to the Wadsworth Atheneum series, Michael has been a recitalist and chamber music collaborator throughout Connecticut including performances at Wesleyan University, Central Connecticut State University, Simsbury and Cheshire Libraries, The American Museum of Art in New Britian and the Hill-Stead Museum. He is a faculty member of the Hartt School Community Division.

He studied at Indiana University, Juilliard, and the New England Conservatory and lives in West Hartford with pianist,

Ruriko Kagiyama, and their three daughters.


About the Artists

BARBARA HILL, horn

MICHAEL WHEELER, viola

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Cellist Peter Zay’s musical achievements have taken him to concert halls

throughout the United States, Europe and Central America. He appears regularly at the International Musical Arts Institute chamber music concerts in Fryeburg, Maine, and travels frequently to Spain to perform as a guest of the Quartetto Saravasti. As a member of the American Sinfonietta, he has toured many of Europe’s leading venues, including Vienna’s “Musikverein”, Frankfurt’s “Alte Oper”, and Stuttgart’s “Beethoven Saal”. He has performed at the Yellow Barn Chamber Music Festival (VT), the Taos Chamber Music Festival, the Aspen Music Festival, and the Bellingham (WA) and Wintergreen (VA) Festivals of Music. He has been featured live on WFCR and WAMC Public Radio and has been heard on radio broadcasts across the United States and in Europe. Mr. Zay performs frequently in recital with pianist Anne Chamberlain.

In addition to being a member of the Hartford Symphony Orchestra, Mr. Zay has performed regularly with many other organizations including the Boston Lyric Opera, the Pro Arte Chamber Orchestra of Boston, the Boston Modern Orchestra, the New World Symphony, the New Haven and Springfield (MA) Symphonies, and the Barrington Stage Company. As a backing musician Mr. Zay has toured with Diana Krall, Linda Ronstadt and Andrea Bocelli, and he has appeared with Luciano Pavarotti, Barry Manilow, Arlo Guthrie, Frankie Valli, the Beach

Boys, Aretha Franklin and many others. He has recorded for New World Records, Natural Soundfields, Gamut Records and Moving Together Productions.

Mr. Zay first began studying the cello with his mother at the age of six. He earned his Bachelor of Music from the Hartt School of Music magna cum laude, and a Master of Music Degree from the Manhattan School of Music. His teachers and coaches included members of the American, Emerson, Guarneri and Muir String Quartets, and the Beaux Arts Trio.

PETER ZAY, cello


About the Artists

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Margreet Francis studied at the Eastman School, The New England

Conservatory and The Hartt School of Music, where she graduated summa cum laude with a degree in Piano Performance. She was the recipient of the Irene Kahn Piano Award and a two time prize winner in the Westport Young Artists Competition. Ms. Francis has been an active performer ever since, with her performances taking her throughout the USA and Europe. She has been a member of the Hartford Symphony for 38 years, where she plays piano, harpsichord and celesta.

As a soloist, Ms. Francis has appeared with many orchestras throughout the Eastern United States including the Hartford Symphony, the Manchester Symphony and the Baroque Arts Chamber Orchestra of D.C. performing a wide variety of literature including piano concerti, harpsichord concerti, two piano concerti as well as all of the Bach Brandenburg Concerti. In the collaborative arena, Ms. Francis regularly performs with leading instrumentalists, including many of the Hartt

faculty members, and members of the Miami String Quartet, Lark String Quartet, Lions Gate Trio, Adaskin String Trio and the Hartford Symphony. She also spent several years playing piano with the New World Chamber Ensemble, a chamber group known for its championing of works by contemporary composers. Other chamber music performances have included appearances with Chamber Music Plus, the Soni Fidelis Woodwind Quintet and Trio ARIOSO. As an accompanist, she works regularly with world renowned instrumentalists

including performances at the National Flute Convention and the International French Horn Convention. Her performances have been recorded for the Centaur label and regularly broadcast over radio and TV.

Ms. Francis is at present on the collegiate faculty of The Hartt School where she serves as the Chair of the Piano Department, as well as serving as the Chair of the Piano Department of The Hartt School Community Division.


About the Artists

MARGREET FRANCIS, piano & celeste

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Pops! Series


NATIONAL GEOGRAPHIC: SYMPHONY FOR OUR WORLD

Thursday, March 7, 2019 / 7:30 p.m.Mortensen Hall, The Bushnell Center for the Performing Arts

KELLY CORCORAN, conductorCONCORA

CHRISTOPHER SHEPARD, artistic director

BLEEDING FINGERS MUSIC Symphony for Our World

Symphony for Our World is officially licensed by National Geographic and produced by Jason Michael Paul Entertainment with support from Innovation Arts & Entertainment.

Special Event


As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office




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Masterworks Series


MOZART MEETS KLEZMERFriday, March 15, 2019 / 8:00 p.m.

Saturday, March 16, 2019 / 8:00 p.m.Sunday, March 17, 2019 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorDAVID KRAKAUER, klezmer clarinet


As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones.The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford

Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency

WOLFGANG AMADEUS MOZART Overture to Lucio Silla, K. 135 (1756-1791)

OSVALDO GOLIJOV The Dreams and Prayers of Isaac the Blind (b. 1960) Prelude: Calmo, sospeso I. Agitato, minaccioso II. Graceful, densely slow III. K’vakarat Postlude: Rubato sempre; lento, liberamente David Krakauer, klezmer clarinet

-INTERMISSION-

WOLFGANG AMADEUS MOZART Symphony No. 39 in E-flat Major, K. 543 (1756-1791) I. Adagio – Allegro II. Andante con moto III. Menuetto: Allegretto IV. Allegro


The 2018-19 Masterworks Series is presented by


Internationally acclaimed clarinetist DAVID KRAKAUER redefines the notion of a

concert artist. Known for his mastery of myriad styles, he occupies the unique position of being one of the world’s leading exponents of Eastern European Jewish klezmer music, and at the same time is a major voice in classical music. As one of the foremost musicians of the vital new wave of klezmer, David Krakauer tours the globe with his celebrated Klezmer Madness! ensemble. While firmly rooted in traditional klezmer folk tunes, the band “hurls the tradition of klezmer music into the rock era” (Jon Pareles, The New York Times).

In addition to his annual European tours to major international festivals and jazz clubs, recent seasons brought Krakauer and his band to the Library of Congress, Stanford Lively Arts, San Francisco Performances, the Krannert Center, Carnegie’s Zankel Hall, the Venice Biennale, Krakow Jewish Culture Festival, BBC Proms, Saalfelden Jazz Festival, Transmusicales de Rennes, La Cigale, New Morning in Paris, and many others. His newest project, The Big Picture, re-imagines familiar themes by such renowned film music composers as John Williams, Marvin Hamlisch, Randy Newman, Wojciech Kilar and Vangelis, and interprets melodic gems by the likes of Sidney Bechet, Sergei Prokofiev, Mel Brooks, Ralph Burns, John Kander & Fred Ebb and Jerry Bock that have appeared in popular films.

In addition, Krakauer is in demand worldwide as a guest soloist with the finest ensembles including the Emerson, Orion and Kronos String Quartets, as well as orchestras including the Amsterdam Sinfonietta, the Detroit Symphony, the Weimar Staatskapelle, the Phoenix Symphony, the Dresdener Philharmonie, and the Seattle Symphony. Krakauer’s discography contains some of the most important klezmer recordings of the past decade including six CDs under his own name: two on John Zorn’s Tzadik Label and four on Label Bleu; plus collaborations

with the Klezmatics, Itzak Perlman, the Kronos Quartet/Osvaldo Golijov and Socalled. Abraham Inc’s “Tweet-Tweet” on his own label, Table Pounding Records (and Label Bleu in Europe) was released in early 2010.

Composers who have written major pieces for him include David del Tredici, Paul Moravec, Ofer Ben-Amots, Jean Philippe Calvin, George Tsontakis, Anthony Coleman and Wlad Marhulets.

David Krakauer is on the clarinet and chamber music faculties of Mannes College of Music, the Manhattan School of Music, NYU and the Bard College Conservatory of Music. His unique sound can be heard as soloist in Danny Elfman’s score for the film “Taking Woodstock” and throughout “The Tango Lesson”.www.davidkrakauer.com


About the Artist

DAVID KRAKAUER, klezmer clarinet

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WOLFGANG AMADEUS MOZART(born January 27, 1756 in Salzburg;died December 5, 1791 in Vienna)

Overture to Lucio Silla, K. 135 (1772)

Mozart’s first trip to Italy was climaxed on December 26, 1770, one month before his fifteenth birthday, by the splendid reception awarded his opera Mitridate (K. 87) by the music lovers of Milan. On March 4, 1771, shortly before he and his father, Leopold, returned to Salzburg, Mozart signed another contract with Milan’s Teatro Regio Ducale to provide an opera seria titled Lucio Silla for the Carnival season the following year. Except for a trip back to Milan in the fall of 1771 to produce the “theatrical serenade” Ascanio in Alba in honor of the marriage of the Archduke Ferdinand to Princess Maria Beatrice Ricciarda, Mozart spent the intervening months at home in Salzburg tending to his duties as violinist, organist and composer in the Archbishop’s musical establishment. His contract called for him to prepare the recitatives for Lucio Silla before arriving in Milan in early November 1772, so he duly began work on the libretto supplied to him before he and Leopold departed from Salzburg on October 24th. (The arias were to be tailored precisely to the tastes and tessituras of the solo singers, so they could not be composed in advance.) The pair traveled by way of Innsbruck, Bolzano and Verona, and reached Milan on November 4th, young Wolfgang “killing time” during the journey, as his father reported home, by writing the Quartet in D major, K. 155. Mozart discovered upon his arrival that the work he had done on the recitatives was largely for nought, since the librettist, Giovanni de Gamerra, newly converted to a writing career

after stints as a priest and a soldier, had submitted his book to the venerable poet and master librettist Pietro Metastasio for criticism, and had received some. The text of Lucio Silla was revised under Metastasio’s supervision sufficiently that Mozart could not fit his recitatives to it, and had to start again. Since the soloists were delayed in arriving in Milan, Mozart polished off the choruses, ballet music and overture first, leaving the vocal writing until he could evaluate the qualities of his singers.

With the opera finally completed, Mozart was able to begin rehearsals on December 12th, though the preparation process was hampered by frequent cast changes and difficulties with facilities. The problems continued right through the premiere on December 26, 1772, which began at 8:00 p.m., three hours after the appointed time, and ended some six hours later. Lucio Silla received a mixed reception at its first performance, but proved popular enough with the Milanese audiences (many of whom were Austrian, or at least would-be Austrian, and in tune with Mozart’s expressive northern musical language) that the work was repeated no fewer than 25 times during the Carnival season. (It was for the eminent Roman castrato Venanzio Rauzzini, who sang the role of Cecilio, that the well-known motet Exsultate, jubilate, K. 165 was composed the following month.) Mozart père and fils lingered in Milan until March (Leopold feigned illness because his leave from his Salzburg post expired directly after the New Year) in the hope that the Grand Duke of Tuscany would offer Wolfgang regular employment in his household in Florence. No such offer materialized, however, and the travelers left for home on March 4, 1773 to bring the young Mozart’s third and last trip to Italy to a close on a note of disappointment. Though Mozart occasionally borrowed arias from Lucio Silla for his concert performances in later years, the opera was not revived during his lifetime, and remained unheard again until 1955, when it was produced in Dresden.

Alfred Einstein summarized the plot of Lucio Silla: “Lucio Silla, the dictator of Rome, desires as his wife Giunia, who is betrothed to the banished Cecilio. Cecilio has secretly returned to

World Premiere: December 26, 1772Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 2 oboes, 2 horns, 2 trumpets, timpani and strings: violin I, violin II, viola, cello, and bassDuration: 9’

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Rome; the first act ends with the reunion of the lovers. The second act is devoted to a conspiracy against Silla, in which Cecilio takes part. The conspiracy fails, and Cecilio is arrested. In the third act, Cecilio is condemned to death — a fate that Giunia is prepared to share with him. But at the end, after a pathetic accusation of Silla by Giunia before the assembled senate and people, Silla, suddenly showing himself to be a man of noble heart, transforms himself from a dictator into a citizen, and gives up any objections to a wedding.” The genre of opera seria was slipping quickly from fashion by the time that Mozart composed Lucio Silla, and Gamerra’s stuffy and unlikely libretto did not draw from the composer the subtlety of drama and characterization that mark his later masterworks, though the score does contain several attractive numbers. The Overture, modeled on the old Italian overture form (fast–slow–fast), is, in its structure and style, a miniature three-movement symphony. A tiny sonata form occupies the first Allegro: martial main theme proclaimed by the full orchestra; delicate subsidiary subject given after a pause by the violins; compact development section; and recapitulation. The Andante is a melodious episode for oboes and strings suspended upon a sonatina structure. The finale is a vivacious rondo.

OSVALDO GOLIJOV(born December 5, 1960 in La Playa, Argentina)

The Dreams and Prayers of Isaac the Blind for Klezmer Clarinet and String

Orchestra (1994)

In our increasingly interconnected world, the multi-cultural music of Osvaldo Golijov speaks in a voice that is powerful yet touching, contemporary yet timeless. Golijov’s parents,

a piano teacher mother and a physician father, emigrated from Russia to Argentina, where Osvaldo was born on December 5, 1960 in La Playa, thirty miles from Buenos Aires, into a rich artistic environment in which he was exposed from infancy to such varied musical experiences as classical chamber music, Jewish liturgical and klezmer music, and the tango nuevo of Astor Piazzolla. He studied piano and composition at the local conservatory before moving in 1983 to Jerusalem, where he entered the Rubin Academy as a composition student of Mark Kopytman and immersed himself in the colliding musical traditions of that city.

Golijov came to the United States in 1986 to do his doctoral work with George Crumb at the University of Pennsylvania, and spent summers at Tanglewood on fellowship studying with Lukas Foss and Oliver Knussen. In 1990, he won Tanglewood’s Fromm Commission, which resulted in Yiddishbbuk, premiered by the St. Lawrence String Quartet at Tanglewood’s Festival of Contemporary Music in July 1992 and winner the following year of the prestigious Kennedy Center Friedheim Award. Golijov came to wide public notice in 2000 with the Pasión según San Marcos (“Passion According to Saint Mark”), commissioned in remembrance of the 250th anniversary of Johann Sebastian Bach’s death by German conductor Helmut Rilling and the International Bach Academy of Stuttgart. The Passion integrates popular and classical idioms in a work that embraces multiple manifestations of the Christian faith in Latin America (and Golijov’s own Jewish heritage), and subsequent performances have been received with a tumultuous enthusiasm rarely seen in the concert hall; the recording (on Hänssler Classic) earned a Grammy nomination.

Golijov’s works, with their syntheses of European, American and Latin secular cultures and their deep spirituality drawn from both Judaism and Christianity, have brought him international notoriety and, in 2003, a coveted MacArthur Foundation “Genius Award.” He was named Musical America’s “2005 Composer of the Year,” and in 2006, Lincoln Center

World Premiere: March 29, 1879Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: Solo clarinet and strings: violin I, violin II, viola, cello, and bassDuration: 34’

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presented a festival called “The Passion of Osvaldo Golijov,” featuring performances of his large works (including the St. Mark Passion and the opera Ainadamar), chamber music and film scores. In 2008, he received a Vilcek Foundation Prize, which annually recognizes “foreign-born individuals for extraordinary contributions to society in the United States” in the fields of arts and biomedical research. His recent compositions include: the opera Ainadamar (“Fountain of Tears”), with a libretto by Tony Award-winning playwright David Henry Hwang (M. Butterfly) inspired by the life of Spanish poet and playwright Federico García Lorca, which was commissioned by the Boston Symphony Orchestra for the Tanglewood Music Center and performed in concert at Tanglewood in August 2003 and given its stage premiere in July 2005 by Santa Fe Opera; Azul for Cello and Orchestra, a 125th Anniversary Commission from the Boston Symphony Orchestra, premiered at Tanglewood in August 2006 by Yo-Yo Ma and conductor Donald Runnicles; the scores for Francis Ford Coppola’s films Youth Without Youth (2007) and Tetro (2009); Rose of the Winds, premiered by the Silk Road Ensemble and the Chicago Symphony (2007); She Was Here (2008), a work based on Schubert lieder premiered by Dawn Upshaw and the Saint Paul Chamber Orchestra; and Sidereus (“Star,” 2010), a chamber orchestra piece commissioned by a consortium of 35 American orchestras in honor of Henry Fogel, former President of the Chicago Symphony Orchestra Association and recently retired as President and CEO of the League of American Orchestras. Golijov is currently at work on a commission for the Metropolitan Opera.

Osvaldo Golijov is Loyola Professor of Music at College of the Holy Cross in Worcester, Massachusetts, where he has been on the faculty since 1991; he has also taught at the Boston Conservatory, Tanglewood Music Center and Sundance Composers Lab. Golijov has served residencies with the Marlboro, Ravinia, Spoleto USA and Cape and Islands music festivals, Chicago Symphony Orchestra, Merkin Hall and the Los Angeles Philharmonic’s Music Alive

series, and held the Richard and Barbara Debs Composer’s Chair at Carnegie Hall in 2012-2013.

Golijov wrote of The Dreams and Prayers of Isaac the Blind, “About 800 years ago, Isaac the Blind, the great Kabbalist rabbi of Provence, dictated a manuscript in which he asserted that all things and events in the universe are the product of combinations of the Hebrew alphabet’s letters. His conviction still resonates today: don’t we have scientists who believe that the clue to our life and fate is hidden in other codes?

“Isaac’s lifelong devotion to his art is as striking as that of string quartets and klezmer musicians. In their search for something that arises from tangible elements but transcends them, they are all reaching for a state of communion. Gershom Scholem, the preeminent scholar of Jewish mysticism, says that ‘Isaac and his disciples do not speak of ecstasy, of a unique act of stepping outside oneself in which human consciousness abolishes itself. Debhequth (communion) is a constant state, nurtured and renewed through meditation.’ If communion is not the reason, how else would one explain the strange life that Isaac led, or the decades during which groups of four musical souls dissolve their individuality into single, higher organisms called string quartets? How would one explain the chain of klezmer generations that, while blessing births, weddings and burials, were trying to discover the melody that could be set free from itself and become only air, spirit, ruakh?

“The movements of this work sound to me as if written in three of the different languages spoken by the Jewish people throughout our history. This somehow reflects the composition’s epic nature. I hear the prelude and the first movement, the most ancient, in Aramaic; the second movement is in Yiddish, the rich and fragile language of a long exile; the third movement and the postlude are in sacred Hebrew.

“The prelude and the first movement simultaneously explore two prayers in different ways: the quartet plays the first part of the central prayer of the High Holidays — ‘We will observe the mighty holiness of this day ...’ — while the clarinet dreams the motifs from ‘Our Father, Our

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King.’ In the prelude, the music is like a celestial accordion, rising and falling like breathing, like praying ... like air ... then the air is transformed into a pulse and heart. The whole first movement is a heartbeat that accelerates wildly ... becoming frantic. It’s built on a single chord, rotating like a monolith. The quartet obsesses in eighth notes, the clarinet starts a huge line in long notes, but zooms in and is caught up in the gravitational spin. Like the forces of God and man, they never unite, but they do commune; you can hear the dybbuk [the malevolent spirit of a dead person] and the shofar [the ram’s horn blown in synagogue on holy days] searching for a revelation that is always out of reach.

“The second movement is based on The Old Klezmer Band, a traditional dance tune, which is surrounded here by contrasting manifestations of its own halo. It opens with a hesitating, irregular pulse: a skipping heartbeat, the rhythm of death. The violin and the clarinet hold forth in monologue at the same time, like those Bashevis Singer stories told in a poorhouse on a winter night. The same four notes, the same theme, plays in endless combinations.

“The string quartet is an accordion in the prelude, a klezmer band in the second movement; now, in the third movement, it’s a shepherd’s magic flute. This last movement is a purely instrumental version of K’vakarat [a prayer of Yom Kippur — As a shepherd musters his sheep and causes them to pass beneath his staff, so dost Thou pass and record, count and visit, every living soul, appointing the measure of every creature’s life and decreeing its destiny], a work I wrote in 1994 for the Kronos Quartet and Cantor Misha Alexandrovich. Here the klezmer clarinet (klezmer means ‘instrument of song’) takes the cantor’s part. Hope is present here, but out of reach. This movement together with the postlude bring to conclusion the prayer left open in the first movement: ‘... Thou pass and record, count and visit, every living soul, appointing the measure of every creature’s life and decreeing its destiny.’

“But blindness is as important in this work as dreaming and praying. I always had the intuition that, in order to achieve the highest possible

intensity in performance, musicians should play, metaphorically speaking, ‘blind.’ That is why, I think, all legendary bards in cultures around the world, starting with Homer, are said to be blind. ‘Blindness’ is probably the secret of great string quartets, those who don’t need their eyes to communicate among themselves, with the music or with the audience. My homage to all of them and to Isaac of Provence is this work for ‘blind’ musicians, so they can play it directly from the heart. Blindness, then, reminded me of how to compose music as it was in the beginning: an art that springs from and relies on our ability to sing and to hear, with the power to build castles of sound in our memories.”

WOLFGANG AMADEUS MOZART

Symphony No. 39 in E-flat major, K. 543 (1788)

The city of Prague fell in love with Mozart in January 1787. His Figaro met with a resounding success when he conducted it there on January 17th, and so great was the acclaim that was awarded his Symphony in D major (K. 504) when it was heard only two days later that it has since borne the name of the Bohemian capital. He returned to Vienna in early February with a signed contract to provide Prague with a new opera for its next season. The opera was Don Giovanni, and Mozart returned to Prague on October 1st to oversee its production. Again, he triumphed. He was invited to take up residence in Prague, and he must have been tempted to abandon Vienna, where his career seemed stymied and the bill-collectors harassed him incessantly, but, after six weeks away, he returned to the Imperial city for at least two pressing reasons. Personally, his wife, Constanze, was due to deliver their fourth child in December, and

World Premiere: Date unknownMost Recent HSO Performance: February 14, 2005Instrumentation: 1 flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings: violin I, violin II, viola, cello, and bassDuration: 29’

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she wished to be close to her family for the birth. (A girl, Theresa, was born on December 27th.) Professionally, the venerable Christoph Willibald Gluck was reported near death, and Mozart, who had been lobbying to obtain a position at the Habsburg court such as Gluck held, wanted to be at hand when the job, as seemed imminent, came open.

Mozart arrived back in Vienna on November 15th, one day after Gluck died. Three weeks later, he was named Court Chamber Music Composer by Emperor Joseph II, though he was disappointed with both the salary and the duties. He was to receive only 800 florins a year, less than half the 2,000 florins that Gluck had earned, and rather than requiring him to compose operas, a form in which he had proven his eminence and to which he longed to fully devote himself, the contract specified he would write only dances for the Imperial balls. Still, the income from the court position, the generous amount he had been paid for Don Giovanni and his fees for various free-lance jobs should have been enough to adequately support his family. However, his desire to put up a good front in public with elegant clothes, expensive entertaining and even loans to needy (or conniving) musicians, largely to prove to the world that he could handle his affairs after the death of his father the preceding year, drained his resources.

He pinned his hopes for the amelioration of his financial debacle on the introduction of Don Giovanni to Vienna. This production took place on May 7, 1788, but the piece was received coolly. “The opera is divine, finer perhaps than Figaro,” allowed the Emperor, “but it is not the meat for my Viennese.” Within a month began the pathetic series of dunning letters to his well-to-do fellow Mason Michael Puchberg requesting loans. To his credit, Puchberg responded faithfully, though he was certainly a shrewd enough businessman to realize that repayment was unlikely. Only two weeks after the first letter, Mozart was back asking for more money to settle his overdue rent. “My landlord was so pressing that I was obliged to pay him on the spot (in order to avoid any unpleasantness),

which caused me great embarrassment,” he confided to his benefactor. On June 17th, his bill settled, he moved out of his apartment in Vienna to cheaper lodgings in the suburb of Währing. “I have worked more during the ten days that I have lived here than in the two months in my former apartment,” he explained to Puchberg on June 27th. “If dismal thoughts did not so often intrude (which I strive forcibly to dismiss), I should be very well off here, for I live agreeably, comfortably and, above all, cheaply.”

Despite the disappointments inflicted upon him by the fickle tastes of the Viennese, his precarious pecuniary position, and an alarming decline in his health and that of his wife, Mozart was still working miracles in his music. On June 26th, just a week after he had settled in Währing, he finished the E-flat Symphony (K. 543), the first of the incomparable trilogy that he produced within two months during that unsettling summer of 1788. It is unknown how long he had been working on, or even considering, these pieces, since not a single sketch for them is known to exist. The reason that he wrote the E-flat, G minor and C major (“Jupiter”) Symphonies has never come to light. If they were composed on some flight of pure inspiration, with no upcoming performance or publication in prospect, they would be unique in that respect in his entire output. At a time when he was desperate for money, it seems unlikely that he would have spent precious hours on one, much less three, jeux d’esprit. The only mention he made of them was in the catalog of his works, where he noted the completion date of each one. They are referred to nowhere in his correspondence, which had declined sharply in volume after the death of his father a year earlier. One explanation is that they might have been written for a series of concerts he planned originally for June and July, but which was several times postponed for lack of subscribers and eventually cancelled completely. (For the rest of his life, he was unable to muster enough support among the Viennese to present a concert of his own in that city.) A second possibility is that the three symphonies were written on speculation to be published as

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a set. Haydn had enjoyed excellent success with such a venture in Paris only two years before, and Mozart may have been encouraged to try his luck in a similar venture. A third consideration might have been the trip Mozart was trying to arrange at that time to London, a town where a composer could make more money than on the Continent. Should the tour materialize, he reasoned, these symphonies would make a fine introduction to the British public. None of these three situations came about, however, and the genesis of Mozart’s last three symphonies will probably always remain a mystery.

In refutation of the long-held theory that Mozart never heard his Symphonies Nos. 39, 40 and 41, it now seems likely that he used them for several occasions. In 1789 he undertook a German tour hoping to secure patronage or, perhaps, a permanent post. The program listings for the concerts in Dresden on April 14th and in Leipzig on May 12th mention a “grand new symphony” by Mozart, but do not give specifics. Somewhat more than a year later, on October 15, 1790, he was in Frankfurt to give a concert as part of the festivities surrounding the coronation of Leopold II. He hoped (vainly) to reap some benefit from the assembled nobles by presenting “a grand symphony” and a piano concerto (No. 26 in D, K. 537, “Coronation”). On April 16 and 17, 1791, the Vienna

Tonkünstler Society, a charitable organization of professional musicians, played “a new great symphony by Herr Mozart.” For each of these occasions, Mozart would have offered his most impressive, most recent works in the form, and would almost certainly have chosen one or more of the 1788 symphonies.

“A veritable triumph of euphony” (Otto Jahn); “the most limpid and lyrical music in existence” (Eric Blom); “the most purely joyous utterance in musical literature” (Donald N. Ferguson) — thus have these learned commentators characterized Mozart’s sumptuous E-flat Symphony. The work opens with a large introduction bearing a surprising emotional weight. The remainder of the movement, however, uses its sonata-allegro form as the basis of a lovely extended song rather than as an intense drama. The halcyon mood carries into the second movement, a sonatina in form (sonata-allegro without development section) and a sunbeam in spirit. The Minuet, with its sweet Trio led by the woodwinds, is a vivacious dance of grace, elegance and, at the swift Allegretto tempo indicated, a certain prescient Romantic vigor. The finale combines Haydn’s wit and verve with Mozart’s suavity of style and harmonic felicity.

©2018 Dr. Richard E. Rodda

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Douglas H. Robins*Hon. Howard Scheinblum &

Ms. Susan R. Fierberg*Mr. & Mrs. Edwin S. ShirleyMr. & Mrs. James B.

Slimmon, Jr.**Karen & Howard Sprout*Bill & Judy ThompsonDr. & Mrs. Dean F. Uphoff*Martin & Karen WandElizabeth White**Gary & Diane Whitney*Thomas & Patricia Wildman**

Helen & Alfred G. WilkeKatharine S. WinterJessica & Eric Zachs*Anonymous

Concertmaster’s Club($1,000-$2,499)Acorn Alcinda Foundation, Inc.Mr. & Mrs. Bryant AndrewsNora B. AnthonyJane & Daniel ArnoldDuffield Ashmead and

Eric D. OrtThomas and Melanie BarnesNikali and Lisa BenkertJim & Joan Betts**Dr. & Mrs. Jack BlechnerRobert & Christine BoginoLinda P. and Theodore J.

Bruttomesso, Jr.Shari G. CantorJared ChaseChristopher and Joanne ChiulliSteve and Kim CollinsMary J. ConverseMichele & Halsey CookTim CresswellKim CurtinThe Dauber Memorial FundBarry & Pauline DicksteinKate & Jon DixonBetty DomerHollis G. DormanDan EisenbachDrs. Geoffrey and

Karan EmerickMr. Jason Faller and

Ms. Karen WagnerPeggy Beley and David FayDan & Joni FineMr. Lawrence R. Fish*Eve & Edward FishmanAnne FitzgeraldMike FoleyPaul & Mary FoxAlan & Margreet Francis*William Fuller

Aaron & Sandy GerstenPeter & Connie GilliesDr. Sid & Joy GlassmanJean Cadogan & Alden GordonCate & John Grady-BensonAngela D. GriffinPeter Grzybala &

Diane KorntheuerMs. Joyce HallGail & Kenneth HamblettCharles & Bette-Jane HardersenLawrence & Roberta Harris**April Haskell & Jerry PassmanLouise HealeyThe David & Francie Horvitz

Family FoundationRichard & Beverly HughesDon & Helen HughlettJackie & Albert IlgMr. & Dr. Richard JohnstonDavid & Carol JordanBrooks & Carol Lee JoslinAnne & George KanMr. & Mrs. Stanley KemmererMark & Janet KeoughBarbara & Paul KieferNancy Kline & James TrailDr. Jeffrey & Virginia KlugerCarol & Yves KrausLisa Kugelman, M.D. &

Roy WisemanAlice KugelmanIrma C. LangeBette & Larry LaPentaMargaret W. LawsonNancy & Jerry LemegaDavid R. LesieurMrs. Louise P. LostoccoHenry & Wei Low**Gerry Lupacchino &

Lynn BeaulieuMs. Bonnie MalleyAnita & William MancollBarri Marks and Woody Exley*Mrs. Leta MarksWalter & Anne MayoAnn M. McKinney



* 10+ years of consecutive giving** 20+ years of consecutive giving4 2

Peggy and Alan MendelsonMr. & Mrs. George W. MerrowJudith and Jeffrey MoeckelBob & Ami Montstream**Lois Muraro and

Carl Elsishans*Giuliana Musilli &

Scott SchooleyAnthony MyersReba & Arthur NassauRichard NorgaardPaul & Arlene NormanSara Cree NorrisDiane L. Northrop**Ms. Jill O’HaganMrs. John C. OwenRay & Liz Payne**Mr. and Mrs. Brewster PerkinsMary and Charles PetrasMrs. Emily W. RankinDr. Wayne Rawlins &

Janet FlaggLucia & James ReesLinda & Stephen RevisMrs. Belle K. RibicoffMr. & Mrs. John H. Riege**Blair ChildsDr. and Mr. Elisabeth RobinsonJohn & Laura RocheMr. and Mrs. Stephen F. RocheJune Miller RosenblattDr. James C. RoumanThe family of Julie & Ken SaffirDoug & Liz SansomMax and Ginny SchellerRonald & Judy SchlossbergJeanne & Erling SchmidtDr. Alan Schwartz &

Ms. Sheila SweenyCeleste & John SenechalPeter & Barbara SetlowPeggy & Ruben ShapiroAmy Lynn Silverman**Bradford and Cara SmithElizabeth SnowRuth & Howard SovronskyMark D. & Linda L. Sperry

Henry “Skip” Steiner*Keith & Catherine StevensonCarrie and Mike StockmanAllan & Sally TaylorJ & K Thomas Foundation*Mrs. Beverly ThomasEdith & Jim TresnerDougie & Tom TrumbleBetsy & Matthew UdalJames D. and Susan VincentLyn Walker & Tyler SmithDr. and Mrs. Thomas WardDr. & Mrs. Dudley T. WatkinsJon and Marilyn WebberJoseph and Sandra WeicherStacy R. Nerenstone, M.D. &

Mr. Morton WeinsteinRuth WoodfordAnonymous

Principal’s Club($500-$999)Chris & Gay AdamsVicki & Leonard AlbertMs. Virginia Allen and

Mr. Zean GassmannMr. and Mrs. Alfred F. AshMorris W. BanksJoanne E. Beers &

Earl C. Cree, IIJames & Dana BennettJenefer & Frank BerallLarry and Corinne BerglundDr. & Mrs. Abraham BernsteinDoris B. Johnson &

Charles BillmyerMrs. Arthur BlumbergDrs. Scott Boden & Mary AyreDr. Nelson & Mrs. Sandra

BondhusRebecca BowersAnn & David BrandweinMs. Nancy A. BrennanAnne & Kenneth Brock Fund

of the Cape Cod FoundationSarah & Jeffrey BurnsMrs. Miriam B. Butterworth

Mr. & Mrs. Peter G. CareyAlicia & Bruce LevyElizabeth B. CasasnovasBob & Judy ChusmirPatricia A. Ciccone &

JoAnn FreibergMr. & Mrs. Kevin CirilloHenry Coelho and Debra RizzoCiara CohenNaomi & Michael CohenMr. & Mrs. Robert CollinsDonna A. CollinsAlan & Marcia CornellDr. Roger D. CoutantMary H. Crary**David & Margaret CrombieCheryl CzubaJohn & Sheila D’AgostinoDonald DavidsonPaul & Nancy DeanGuy and Lori DeFrancesJoseph & Rachel DePaoloDr. Leslie and Gertrude

DesmanglesMr. Richard DonDrs. Peter & Ellen DonshikPhil DoyleJoan E. DurhamJoseph & Virginia EdelsonDonna & Kevin EdwardsEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Gilda S. Brock & Robert M. Fechtor

Linda & John FiskeSean & Candace FitzpatrickThomas C. FlaniganLarry & Beverly FlemingLynne & Richard FletcherJerry & Ida FranklinMr. & Mrs. Jay G. FromerDan GabreeSuzanne GatesJoan & David GeetterDr. John A. GettierThe Goldbas Family




Mr. & Mrs. David GoldbergMr. & Mrs. Robert B. Goode, Jr.Donald C. & Carolyn D. GrayDiane & Larry GreenfieldOz GriebelJanna S. and Jeffrey B. GrossKristine Barbara Guest

Memorial FundMr. & Mrs. Martin D. GuyerAndrew R. Hahn &

Cathy J. HitchcockSteve & Ellen HarrisMerle & David HarrisMs. Laura R. HarrisEdie and John HathornMeghan HenriquesMarcia D. & Samuel T.

HinckleyShepherd M. Holcombe, Jr.Jay & Mimi HostetterJames & Mary HourdequinDon & Joanne HuelsmanPatti and Dave JacksonJackie JamsheedMr. & Mrs. S. Edward JeterThe Joseloff-Kaufman FamilyMr. Michael KasperskiChristopher KehoeMs. Karen A. KelleherJohn & Sharon Kelly Bob and Candace KillianZadelle Krasow GreenblattDavid & Ruth KrugmanJeff LamoMr. & Mrs. Martin LegaultDr. Carolyn W. LesterMs. Helen LewtanMeredith E. LibbeyDr. and Mrs. Edison LiuTed and Adlyn LoewenthalElaine Title Lowengard**Mary & Dick LoyerMrs. Sarah Heflin LynnDr. V. Everett LyonsWilliam A. MacDonnell, D.D.S.Sandra MacGregorCatherine Mahoney

Alec MandiaTom Martin & Susan SpiggleChristine MartynSteven & Pamela MaynardNancy McEwanSteve & Nancy MetcalfTimothy and Barbara MichaelsFrances MoultonDrs. Robert and Marnie

MuellerMrs. Sarmite F. NielsenDon & Brad NoelMark & Dianne OrensteinDouglas & Stacie OsberKatherine PapathanasisSarah & Samuel PaulConstance & Robert PorterScott & Beth PowellMr. and Mrs. Bruce PowellMs. Felicia PrattoDrs. Steven & Priscilla PriceDr. Peter ProwdaEdward C. RaymondGeorge & Carol ReiderAlvin B. ReinerJames S. & Nancy

Taggart Remis**Martey RhineDale & Sally RichterLinda & Ian RickardLouis & Mary RodierBuck Rogers & Jack KellyIrene & Paul RomanelliRobert & Marguerite RoseDr. Jeffrey Rudikoff and

Edee TenserMarshall & Sandra RulnickPhilip & Starr SayresTerry & Judy SchmittTerry & Andrea SchnureJeffrey Alan JohnsonVillage Auto Repair LLCThe Shulansky

Foundation, Inc.**John & Nancy SilanderAnne F. & Gordon Stagg

Michael Steinberg & Felice Heller

Jonas V. Strimaitis, Esq.Eleanor A. SulstonKathryn TabachnickMr. and Mrs. Richard ThomasMerle & David TragerGuy and Julie VerneyUsha and Stephen WadeM. D. Walsh BellinghamCynthia & David WardDr. & Mrs. John R. WatermanJudith & Joel WeismanGreg & Kay WerkDr. & Mrs. James WickwireEleanor Wight and

Rayda BoumaRichard C. & Carla S. WildeCarlisle WildemanMr. Michael S. WilderRaymond & Sarah WinterJill & Jack Woodilla**Mr. William H. WulftangeDr. Harold T. Yamase, M.D.Soohyung Yoo and

Jeremy HwangMr. Jeffrey A. ZyjeskiAnonymous

Player’s Club($250-$499)Cynthia AbramsWilliam & Susan AckermanMr. and Mrs. Manuel D. AguiarThe Alamar FamilyGaetano & Jayne Dean AlbaniDr. and Mrs. David J. AndersonMr. & Mrs. James N. BagnallKathy & Keith BaksaJane M. BartlettMargaret BeersMr. & Mrs. Edward H.

BengelsdorfDr. & Mrs. Robert BerlandDr. & Mrs. Bert B. BerlinSeymour Bloom &

Deborah Elcock




Phillip & Ellen BlumbergJohn & Susan BolandMr. & Mrs. Robert H. BooneJulie & Terry BoucherNancy Boynton &

Robert LangeDr. John Brancato &

Mr. Thomas RichardsonMike BraytonThe Breinan FamilyDr. & Mrs. James BrodeyThe Honorable Luke &

Sara BroninJohn & Arlene BuckeyInga BuhrmannAllison L. CappuccioDr. & Mrs. J.T. CardoneMr. Joseph R. CarlsonAlfred & Karen CasellaBetsy ChaffetPolly U. ChampPatricia J. Checko &

Edward CaffreyMrs. Jenny ChereGregory ChicaresJohn K. Clark &

Judith M. StoughtonDon & Nancy ClarkMs. Thomasina ClemonsJonathan and Sarah CluneJoyce ColemanMoira and Dominic ConlanAlan & Marcia CornellBret and Nina CoughlinFrank F. Coulom, Jr.Cox FamilyMs. Judith G. CramerCarol CrossetRobert and Julia DakersPeter K. DaneBarbara Davis Howard*Joe & Carolyn DawkinsBill and Joan DelaneyGail and Barry DeutschJennifer and Marc DiBellaMs. Karen DiMennaJohn & Carolyn DiVenere

Mr. & Mrs. John DolanMr. Richard DonAnne M. DoolittleJames and Mindy DorazioBrenda A. DraghiRobert & Gretchen DroeschMrs. Nathan DubinWilliam & Elaine EllisBen & Joan EngelJean EnslingJean EsselinkMs. Janet EvelethSteve and Emmy FastBella & Judd FinkDr. Christine Bartus and

Mr. Clark FinleyMary-Jane FosterKaren L. FritscheDarcie FullerMr. and Mrs. John J. GaffneyLinda Gardiner &

Gerald RaulinaitisJanice D. GauthierJoan & David GeetterRobert & Shirley GerrolOscar Peyser FoundationMrs. Carolyn GiffordChip GlanovskySarah & Jim GobesMs. Carol D. GouldJohn M. GraffDelores P. GrahamMr. & Mrs. Patrick GreenMr. & Mrs. Joseph E. GreenKaren GrossJohn & Ann GrybkoDoris & Ray GuenterLillian & Welles GuilmartinDr. and Mrs. Thomas J. GworekMrs. Joan K. HaganDr. Colette HallMs. Joyce HallDr. & Mrs. Robert S. HallWendy M. HallerJessica HamptonJane A. HarrisRobert Harris

Charles and Mary HarvellCaroline TrippJo Ann HewettRhea Padis HigginsDavid M. Hilyard and

Virginia S. HilyardMarcia & John HincksMs. Joan Hultquist*Priscilla HurleyStephen & Jacqueline JacobyDaraka JaraScott and Karen Kaeser*Harriet and Bill KatzDavid & Barbara KelleyElizabeth Kennard and

Douglas PeaseMs. Phyllis KeyesThe Kimball FamilyRalph & Lin KlumbJim & Deb KnorrJane & James KnoxHannie O. KowalNancy A. KramerMs. Judy KulickDavid C. LacossSandra & Richard LadieuMr. and Mrs. Michael

LaFrancisLauren LangReverend Roland M. LaPlanteDr. & Mrs. Charles N. Leach, Jr.David & Alison LeedsMs. Elizabeth LeeteRob Lentz and Anita CarpeneDoreen Linton &

Larry StevensonAurelle & Art LockePeter & Rosemary LombardoKen & Karen LovelandStephen LucasTeresa & Barry LukeMrs. Sarah Heflin LynnLinda and Mark MacGouganPatricia Manning &

Brad BurdickGerald & Janet MarcumWilliam & Barbara Maron






Justin MayCandida McKayGavin McKayJohn McNabneyEdward MeigsMr. & Mrs. Richard C. MeyerLorraine MeyerRafael Mora-Dejesus PHDThe Moreland FamilyRebecca MorrisMr. & Mrs. Richard C. MurphyLawrence & Donna MyersJudith T. NellenMr. & Mrs. Howard

NeuschaeferMaria NickleIlse M. NigroMs. Jenifer NobleKarl & Jan NorrisJulia & Jim O’BrienWarren & Florence PackardLeonaMae PageNancy Macy & Robert PainterMike PazosBrian PendergastDr. Daniel E. PetashnickDr. and Mrs. Arthur O.

Phinney Jr.Mr. & Mrs. Michael PorterShari L. PrattMr. Mark R. PrisloeMr. Robert ProctorDougla Pyrke & Jack FairchildJohn & Rebecca RaffertyRobert Raupach &

Deborah Agrella

Susan & Gary ReisineBob & Carol RentzYolanda & Emmanuel RiveraCelia Ann RobertsMr. John RoseMs. Michele L. RosenbergMs. Patricia SagalCheryl & Nild SansoneJudith & David SatlofJacqueline ScheibRuth SchlossDr. & Mrs. J. David SchnatzJohn R. Schroeder, AIALynn & Sharon ScullJanet & Steven SeldenSusan SellarsDr. & Mrs. Gerard SelzerJeffrey Alan JohnsonMichael J. and Jennifer F.

SheehanMr. and Mrs. Robert ShepardSara L. Bernstein &

Joseph M. ShortallKamal Shoukri &

Marlene HaddadLawrence SilvermanMr. & Mrs. Nelson A. SlyStuart & Arline Small Sadaka

Foundation, Inc.Winthrop & Anne SmithMr. Joseph SpadaAndrew & Feather SpearmanJudith StearnsRonni G. Stein, M.D.Mary E. StoughtonJack Summers

Marcia & James SuttonStephen & Margery SwigertDr. & Mrs. John SziklasDr. & Mrs. William R. TaylorE Renee Tehi & Jeffrey HughesJim & Colburn ThompsonDr. and Mrs. Richard C. TiltonChris and Kathy TolsdorfDan & Jan TracyDouglas and Mildred UnfriedMr. Anthony L. UrilloElizabeth Van GemerenMariana P. WagonerHans WalserJohn Weikart & Jennifer ChuMr. and Mrs. Jeffrey WelchSteve WestCarol & Lee WestCurtis & Joyce WeybrightCaroline WhiteRichard C. & Carla S. WildeRoyden WilkinsonKaren & Philip WillMr. & Mrs. Eliot WilliamsMr. and Mrs. Lynn WillseyDavid & Phyllis Winer*Mr. and Mrs. Robert G.

WoodwardDonald and Jane WorkmanMr. Steven YauDavid A. & Martha R. YutzeyDaniel ZakinDiane ZannoniDavid & Sabine ZellAnonymous



Music Builds Community

Symphony $1,000,000 and aboveAnonymousThe Edgemer Foundation, Inc.Rhapsody $500,000–$999,999Hermine J. Drezner and Jan Winkler*David M. and Linda RothStanley Black & DeckerTravelers Concerto $250,000–$499,999Hartford Foundation for

Public GivingOverture $100,000–$249,000AnonymousRuth Ann and Joel* DavisEversourceIn memory of Paul Rosenblum,

HSO Concertmaster by Karl and Muriel Fleischmann, Gabriel Halevi

Robert and Francine GoldfarbPierre and Mary Ellen GuertinMort and Irma HandelGerald and Barbara HessThe Elizabeth M. Landon and

Harriette M. Landon Charitable Foundation

The Jim and Rebecca Loree FoundationMatthew Lynch and Susan BanksCharles B. MillikenRobert and Lynn MurraySaint Francis Hospital and

Medical CenterThe Bushnell Center for the

Performing ArtsThe Saunders FoundationSharon and Frank Travis and

The Travis FoundationAlex and Patricia VanceJeff and Pam VerneySerenade $50,000–$99,999AnonymousBruce Barth and

Pamela Yeomans BarthColeman H. and Jo Champlin CaseyArnold and Beverly GreenbergHerbert Hirsch

in memory of Ilana HirschIn memory of Isador Janowsky -

HSO Principal Bass from 1939-1974

Brook and Charlotte JasonJohn and Gail LangenusPaul F. and Linda S. PendergastAudree E. Raffay*Gary and Diane Ransom Mrs. Peter RussellZachs Family Foundation

Capriccio $25,000–$49,999Thomas and Melanie Barnes Family

Fund at Main Street Community Foundation

Barnes Group Foundation, Inc.Robert Bausmith and

Jill Peters-Gee, M.D. Jay S.and Jeanne BenetJoyce and Harold BuckinghamKaren Saunders and David CassRichard P. Garmany Fund at the


Dr. and Mrs. Arthur C. DeGraff, Jr. Nancy D. Grover in Memory of

Robinson A. GroverSteven M. Konover Fund at

Vanguard CharitableCarolyn KuanChristopher and Janet* LarsenPamela Lucas and John NealonJim and Nancy RemisPatricia and Andrew SalnerMary T. SargentWebster Private BankSonata $15,000–$24,999D. Weston and Joann H. BoydAndrea and Bernie ClarkMarta and Luis Diez-MoralesRosemary and Scott GaidosRona GollobMark and Marianne HayesNeale and Carol HaussBernard and Gale KostoSylvia and Harvey KellyThe Katharine K. McLane and

Henry R. McLane Charitable TrustMarshall and Sandra RulnickJudith A. StearnsTom and Dougie TrumbleCadenza $5,000–$14,999AnonymousKeane and Rebecca AuresJohn and Susan BeersLinda P. and Theodore J.

Bruttomesso, Jr.Eleanor CaplanJared ChaseRobert H. Connell and

Michelle DuffyAnita and Anthony FerranteLawrence R. FishRichard and Ruth GrobeAngela D. GriffinBob Hewey and Carol SimpsonMarcia and John HincksKen and Ruth JacobsonMathew and Valerie JasinskiDavid and Sharon JepsonElliot and Carolyn JosephMark and Janet KeoughMr. Arthur Masi and Dr. Brian HentzLois Muraro and Carl ElsishansWilliam H. and Nancy E. Narwold

Sam PaulBrewster and Judith PerkinsAndrew Ricci, Jr., M.D. and

Jacqueline Ann MuschianoEdwin S. and Patricia C. ShirleyLinda Bland SonnenblickKaren and Howard SproutJan and Dan TracyGary and Diane WhitneyThomas and Patricia WildmanMinuet $1–$4,999AnonymousAlexander AponteJillian BakerJennifer BermanSimon BilykAdam and Abby BoylesJohn F. and Marla ByrnesAlfred R. CasellaThe CLSJ FoundationThe Collins FamilyRebecca DerbyDoug DonatoAnn Drinan & Algis KaupasPatrick and Christine EganMiriam EngelKarin FagerburgDr. and Mrs. R. L. FisherFrench CleanersDr. Colette HallJoyce HodgsonPatti and Dave JacksonJulie JarvisJohn K and Andi JepsonDr. Jeffrey and Llyn KaimowitzDiana J. KellyJack Kelly and Buck RogersJames and Jane KnoxGerald and Nancy LemegaIrene LorettoNicholas and Cornelia MasonJoanne and David MarriottCarle and Larry Mowell in honor of

Dr. and Mrs. Andrew SalnerLois Muraro and Carl ElsishansBrad and Don Noel Family FundWarren and Florence PackardKatherine PapathanasisStephen Perry and Sharon DennisonJeremy PhilbinCarole A. OlefskyJanet Flagg and Wayne RawlinsDr. James C. RoumanGeorge J. SandersAmanda SavioMarina and Leonid M. SigalHoward and Ruth SovronskyLewis Steinberg - Viking Fuel Oil Co. Cyrus StevensMargery and Stephen SwigertDavid P. and Cynthia D. WardDavid and Phyllis WinerSteve WestMichael and Ruriko Wheeler

MUSIC BUILDS COMMUNITY DONOR LISTThe Hartford Symphony Orchestra gratefully acknowledges

and thanks all the donors to Music Builds Community.

This list represents commitments made as of December 1, 2018. For more information, kindly contact Ted Bruttomesso, Jr. at 860-760-7309 or [email protected].


Encore Society

Mr. Sheldon Agdens*Ivan BackerSusan Block*G. P. BodozianLori Poggi Bourret and

Robert L. Bourret, Sr.Nancy Braender*Joseph R. CarlsonColeman H. &

Jo Champlin CaseyNaomi & Michael CohenJoseph CohnRuth Ann & Joel DavisAnn Drinan & Algis KaupasVirginia Farquhar*

Muriel FleischmannKaren L. FritscheDr. Sid & Joy GlassmanIrma & Mort HandelJerry & Barbara HessJohn & Sharon KellyMr. and Mrs. Christopher

LarsenEllis & Marjorie LevensonConcettina L. LewisDorothy K. McCarty*Mr. Charles B. MillikenCarole A. OlefskyLeonaMae Page

David & Christa PannorfiDr. Peter M. ProwdaAndrew Ricci, Jr., M.D. &

Ms. Jacqueline Ann Muschiano

Marshall & Sandra RulnickCarol Wills ScovilleKaren & Howard SproutMargery and Lewis SteinbergCarol & Lee WestHelen S. Wills*Louise Willson*Susan L. Winter*Henry M. Zachs

Planned gifts are the resources that help preserve and ensure the successful future for the Hartford Symphony Orchestra. We acknowledge our friends who make a planned gift to

us through our Encore Society. We thank the following Encore Society Members:

Contributors as of December 1, 2018

*deceased

High Note SupportersD. Weston and Joann H. BoydRonald and Nancy ComptonThe Edgemer Foundation, Inc.Lawrence Harris


Gerald and Barbara HessMathew and Valerie JasinskiBrook and Charlotte Jason

Robert E. and Margaret PatricelliClaire M. PryorDavid M. and Linda RothDr. Andrew and Patricia SalnerJeff and Pam Verney

The High Note campaign, an essential predecessor to Music Builds Community, created a vital stabilization fund for the Hartford Symphony Orchestra. We gratefully

acknowledge the following generous donors for their support of High Note.


High Note Supporters

Wes & Joann BoydColeman H. and

Jo Champlin Casey

Gregory & Elizabeth ChicaresSheila & John D’AgostinoNancy GroverStephen and Ellen Guest

Martha & Ozzie IngleseMarilyn MehrAnonymous


Chamber Music Society

4 8


Tributes

IN HONOR OFKim Beckford’s Birthday,

HSO’s Hall Host Volunteer Coordinator

Ruth & Howard Sovronsky

Harald and Marj Bender’s 50th Wedding Anniversary

Dick and Jeannie Parker

Jennifer BermanDennis & Donna Randall

Curt BloodJanice & Steve Barshay

Joann Boyd’s BirthdayIrene J. Loretto

Kenneth BrooksKatherine Brooks Jeannotte

Suzanne Bourdeaux’s Board Service

Adobe

Dr. John Cardone’s RetirementWillard & Vivian Gombert

Steve CollinsMs. Mary-Jane Foster

Maite CoyotlJeffrey Alan Johnson

Carol CrossetKaren & Jeffrey Welch

Marti CurtissMr. and Mrs. Richard Palatine

Her FamilyElizabeth White

Muriel FleischmanDorothy Silverherz Rosenberg

Rosemary GaidosDavid Barnes

Pierre and Mary Ellen GuertinJoseph F. Brennan

Jerry and Barbara HessMs. Constance Clark

Music Director Carolyn Kuan, For Her Superb Artistry and Leadership

The Alsop Family FoundationRuth & Howard Sovronsky

Jeff KriegerPeggy & Bob Clark

Scott Kluger and Katherine OrtizDr. Jeffrey & Virginia Kluger

Ron Krentzman’s RetirementDr. Sid & Joy Glassman

Our wonderful orchestra and Carolyn Kuan

Martha B. Curtiss

Stuart and Phyllis Lehman’s 50th Wedding Anniversary

Mr. and Mrs. Malcolm Galen

Jarek Lis’ 50th BirthdayRorie Rueckert

Irene LorettoMargaret Winters

Anita & Bill Mancoll’s 50th Anniversary

Dr. Burton and Carol Cunin

Mrs. Elene Needelman’s 90th birthday

Andy, Lauren, Deanna & Sam Lieberman

Diane NorthropMarti CurtissDella Schultz

Cynthia RedmanMelanie Redman

Dara RibicoffMrs. Belle K. Ribicoff

David Roth’s BirthdayDavid and Francie Horvitz

Family Foundation, Inc.

The David Roth Family for the Holidays

River Oaks Foundation, Inc.

Dr. and Mr. Andrew SalnerMr. & Mrs. Lawrence Mowell

Ruth SovronskyDennis & Donna Randall

Ruth & Howard Sovronsky’s Wedding Anniversary

Miriam Oelbaum

Anhared Stowe on her retirement from The Hartford Symphony

Dr. Sid & Joy Glassman

Jeff VerneyMr. and Mrs. Dan Eisenbach

Rachel WhelanMargaret Furey

Elizabeth WhiteChristopher White

IN MEMORY OF Gerry and Barbara ArbetterDeanne Shapiro &

Ted Diesenhaus

Alfred F. AshWilliam BorchertPhil DoyleEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Albert HahnRuth & Howard SovronskyMr. and Mrs. George D.

Van Wormer

Maureen BardwellEdward Welsh

Susan and Donald BlockThe family of Peter & Lisa BlockThe family of Julie & Ken Saffier

Anona BroadmanSt. Mary’s Bridge GroupMr. & Mrs. Robert W. Smith

James ChrisoulisAnonymous

Ruth Crossan ReederAnonymous

We thank the following individuals who contributed to the HSO’s Annual Fund between 12/1/2017-12/1/2018.

4 9


Tributes

Eric DahlinCarol Henry BennettMs. Felice GoldmanDr. Carolyn W. LesterGerry Lupacchino &

Lynn BeaulieuDr. & Mrs. Allan ReiskinDavid & Linda RothRuth & Howard SovronskyAndrew & Feather SpearmanCarrie and Mike StockmanJack SummersLynn & John WadhamsDavid & Phyllis Winer

In memory of our beloved colleague, Eric Dahlin

The Musicians of the Hartford Symphony Orchestra

Joel N. DavisRuth Ann Davis

Jean- Claude DesmanglesDr. Leslie and Gertrude

Desmangles

Maria DigirolamoClaire M. Friedman

Bruce FraserRichard M. Ratzan

Tracey GabreeDan Gabree

Richard and Joanne GatesSuzanne Gates

Robinson A. GroverNancy Grover

Bruce C. HallLouann W. Hall

Bruce and Susie HaydenLynn & John Wadhams

Louise B. HerringThe Family of Louise Herring

Ilana HirschHerbert HirschRuth & Howard Sovronsky

Ruth and Winton HoogShirley S. Schiller

Ruth E. HoogAnonymous Max and Dixie NicholsonJoan Smith & Laurence PaulinTerry & Andy PignatareKaren RenschlerGeorge and Jackie Smith

Pastor Robert W. HowardBarbara Davis Howard

Edward D. HurleyPriscilla Hurley

Isador JanowskyRobert AndersonBrook & Charlotte Jason

Attorney and Mrs. Hugh M. Joseloff

The Joseloff-Kaufman Family

Alice KarlowitschJon Van Allen

Patricia KeplerMr. and Mrs. Rocco DiCensoMr. and Mrs. Walter KleinMr. and Mrs. Richard PalatineMr. and Mrs. Ted Slaiby

Dr. Robert A. KramerNancy A. Kramer

Ted LabedzkiDiane Labedzki

Janet LarsenRuth & Howard Sovronsky

Bruce H. Levy, MDFrancis and Marilyn CosgroveBarry LevineCarole A. OlefskyChase RomanoDeborah Shapiro

George MerrowMs. Virginia Allen and

Mr. Zean GassmannMr. & Mrs. Edward BirchJoyce & Harold BuckinghamNaomi & Michael CohenJoseph & Virginia EdelsonCharles HeadSusan JansenMr. & Mrs. John MooreRuth & Howard SovronskyLynn & John Wadhams

Robert L. MullaneyJenifer MacGillvary

Eugene Norman HackelSerene N. Hackel

Audree RaffayJane M. BartlettMuriel & Karl FleischmannCarrie & Jonathan HammondJerry & Barbara HessRuth & Howard SovronskyJeff and Pam Verney

Paul RosenblumMuriel & Karl Fleischmann

Dr. Robert S. RossonMs. Judith Pitt

Mary Kathleen Russ, music will help to ease the pain of loss of your mother

Ms. Mildred Conlon

David SpicerAnonymous

Ronald Steven, MDKatherine Steven

Michael SuismanElsa Daspin Suisman

Raquel ThomisonJoanna S. Gerber, M.D.

Jennie M. UrilloAnthony J. Urillo

Mr. & Mrs. Luis and Jeanne WeiTeresa & Barry Luke

Dr. Steven WernickGail BensonBeverly Thomas

Sally WilliamsDavid & Margaret CrombieMs. Jean Wahlstrom

Jan WinklerRuth & Howard Sovronsky

Susan L. WinterKatharine S. Winter

5 0

H A R T F O R D S Y M P H O N Y O R C H E S T R APatron Information

HSO Ticket Services, at 166 Capitol Avenue in Hartford, is open Monday through Friday, 10 a.m. to 5 p.m. Telephone (860) 987-5900, Fax (860) 249-5430. Tickets are also available online at www.hartfordsymphony.org.

Tickets are available for purchase at an on-site box office in the 60 minutes immediately before each concert.

At every location, the box office is open until one-half hour after the start of the concert.

Parking: Secure and well-lighted parking is available in the State of Connecticut parking lots along Capitol Avenue. For patrons displaying a valid accessible parking permit, there are a number of parking spaces available within the State of Connecticut Public Health Laboratory parking lot. Please look for prominently displayed signage. Spaces are available on a first-come first-served basis. In addition, valet parking is available for most evening and weekend performances at a cost of $9 per vehicle. The valet parking service is located on Trinity Street. Excludes weekday matinees.

Accessibility: The Bushnell is equipped with ramps, restrooms, elevators and seating areas that can accommodate patrons with disabilities. When ordering your tickets, be sure to tell the Box Office of any special requirements. Access guides are available at the Customer Relations Desk. -Persons who are Hearing-Impaired: Infrared (ILS) headsets and neck induction loops are available at the Customer Relations Desk to assist with sound amplification and clarity. A driver’s license or other form of photo ID must be presented.

For Hearing Impaired Patrons: Infra-red Listening System (ILS) headsets are available to assist with sound amplification and clarity. There is NO charge; however a $2 donation is appreciated. A driver’s license or other form of ID must be presented. See any usher for assistance.

In Case of an Emergency: Exits are indicated by signs located above the theater entrances. For your safety, please check the location of the exit nearest your seat. In the event of an evacuation, Bushnell staff and volunteers are available to assist you.

Restaurant Discounts: Look for updates on the HSO website about the latest discounts offered by wonderful restaurants in Greater Hartford. We thank them for their support of the HSO and for making your concert night an extra special event!

Late Arrival and Late Seating: Hartford Symphony concerts will start at the time stated on your ticket. Lobby doors open one hour prior to the performance time. Auditorium seating begins one half hour prior to the performance. Out of respect to patrons who are in their seats at the start of each part of the concert, patrons arriving after the start of a performance or after the end of an Intermission will be seated at the discretion of the Hartford Symphony Orchestra. Late arrivals will be permitted to enter the hall at times determined by the conductor. Based on the time made available for late seating by the conductor, patrons may or may not be able to go to their purchased seats at those times. Patrons arriving late may also be offered alternative seating in the rear of the hall/theatre or in the available standing room only area as a result of the late seating policy. This will be offered as determined by the conductor.

End of Performance: For your safety and the safety of your fellow patrons, please do not leave your seat until the house lights have been turned on. Not only is it dark, but it is inconsiderate to others, including the performers.

Performance Cancellation: Hartford Symphony Orchestra performances are rarely cancelled, and only in the case of severe weather. If a performance is cancelled the following radio and television stations will be notified: WTIC-AM (1080), WDRC-AM (1360), WFCR-FM (88.5), WFSB-TV 3, and the stations of Connecticut Public Radio/WNPR (90.5 FM). Performance cancellations will also be listed on the HSO Ticket Services phone line and on the HSO website. If there is bad weather and a performance is postponed, patrons can use their original tickets for the rescheduled performance, or they may exchange into another concert during the same season if they cannot attend on the rescheduled date. All exchanges are based on availability.

Children: At the Hartford Symphony, we love kids—that is why we offer a myriad of education programs and perform so often in area schools. Please visit our info table located in the lobby for more information. Children may attend any Hartford Symphony concert as long as they have a ticket. We regret we cannot allow any babies without a paid ticket, and no lap seats.

Bushnell or Symphony staff reserve the right to ask parents to take disruptive children out of the concert hall.

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IMPROVING LIFE FOR ALL MIGRATORY ANIMALS.

THE BIKE PATH. YOUR OFFICE. THE BACKYARD. The environment isn’t just

some far off place. It’s the asphalt beneath your bike, the coffee that

fuels your commute, and the park where you walk your dog. And it’s why

the Natural Resources Defense Council is working to protect the most

important places on Earth. For easy ways to help protect your environment,

go to NRDC’s how-to website, SimpleSteps.org.

Because the environment is everywhere.

pageturn.onstagepublications.com...HARTFORD SYMPHONY ORCHESTRA About the Symphony T he mission of the Hartford Symphony Orchestra is to enrich lives and community through great music.

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