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TABLE OF CONTENTS 7 9 10 11 12 15 17 19 26 28 31 38 39 40 43 50 51 52 55 64 65 68 69 70 A Note from Music Director Eckart Preu A Note from Board President and General Manager Eckart Preu Music Director Isaac Selya Resident Conductor MusikArt Support Us Members of the Orchestra British Invasion An Afternoon with Jane Austen MicroBrass Fretboard The Four Seasons Reimagined Postcards from the Sky Film Screening The Red Violin American Souvenirs Voyage of the Red Violin Balkan Rhythms The Roaring 20s Alt Rock The Redmoor The Hero Within Our Sponsors and Partners Benefactors Board of Trustees Honorary Trustees and Emeritus Board Staff Summermusik Festival Map S U M M E R M U S I K F E S T I VA L 2 0 1 8 3
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Dear friends of the CCO A heartfelt welcome to our 2018 Summermusik season I am excited to present to you a series of unique concerts that will blow any potential boredom of summer away As always we have three distinct series each with its own feel and set of venues The Mainstage series consists of four Saturday night concerts Here we play major symphonies by Beethoven Haydn and Mozart These symphonies represent the heartbeat of Classical music the highlights of their time as well as the point of departure for all future generations And so starting with this core repertoire we spread thematically out to explore countries composers and styles The first concert British Invasion ties to recent political events Brexit and the Royal Wedding We showcase music in England over three centuries from Boyce to Elgar bookended by the German composers Handel and Haydn who had extraordinary influence on English music of their time Our second Mainstage concert The Four Seasons Reimagined focuses on the stimulating relationship of music and nature We mix the sensational original Four Seasons with a brilliant re working recomposed by Max Richter Richter creates a new journey through a familiar landscape This concert will feature our new concertmaster Celeste Golden Boyer A brilliant soloist herself she will be an important part in defining the future sound of the CCO The premise of Voyage of the Red Violin is that each instrument has a life story an autobiography that shapes its sound and color We will tell some of the stories from many countries through the instrument that inspired the movie the original Red Violin the red Mendelssohn Stradivarius A special treat will be the presentation of the first concerto competition winner of the CCO SCPA collaboration the exceptional violinist Mable Lecrone In our last Mainstage event we will explore the idea of heroism through music Here we hear stories of heroism and humanity in war and in daily life told by Shostakovich Barber and Beethoven We will hear some voices of our day the talented young composers and musicians of The Music Resource Center Chaya Jones Grace Mouch Roberto Parker and Jacob Strom each with their own individual voice and style have created compositions celebrating their personal hero bringing the abstract concept of heroism to real life The joyful performances of the Little Afternoon Musik series are thematically connected to the Mainstage concerts From Jane Austen to music inspired by nature to the intoxicating rhythms of the Romani music these are colorful showcases of our soloists and musicians in surprising venues Chamber Crawls are extremely popular concert events so don t hesitate to treat yourself to these innovative and entertaining affairs We strive to make your summer memorable Enjoy some music and have some fun with us Sincerely yours Eckart Preu A V E RY S P E C I A L T H A N K YO U TO ROBERT DEBRA CHAVEZ FOR SPONSORING SUMMERMUSIK 2018 S U M M E R M U S I K F E S T I VA L 2 0 1 8 7
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Welcome to the Cincinnati Chamber Orchestra s fourth annual festival season Summermusik This season our talented musicians and artists are ready to thrill move and entertain you with a variety of diverse programs in unique venues stretching from Blue Ash to Newport We can t wait to share Summermusik 2018 with all of you Eckart has once again crafted a multi dimensional Mainstage series at our home venue the School for Creative Performing Arts We will celebrate Britain welcome our new concertmaster hear the famous Red Violin and celebrate our personal and military heroes this summer so prepare to be inspired Also join us in the lobby after our Mainstage concerts to have a drink and free light bites with Eckart our musicians and our fantastic guest artists We will present once again our two chamber ensemble series A Little Afternoon Musik and Chamber Crawl These one hour concerts are the perfect musical interludes to your day featuring CCO musicians in intimate chamber music settings Thematically tied to the previous evening s SCPA performances A Little Afternoon Musik events take place Sundays at 4pm To round out our festival programming Chamber Crawls at bars and restaurants across the Tri State are interactive musical experiences that have become a fan favorite series This season Eckart has done it again and put together a distinct and engaging lineup We are certain that his passion for creating memorable and enlightening musical experiences for audiences combines perfectly with the mission of the CCO to create intimate transformative experiences that connect the musically curious We are proud to impact the community through our year round musical and educational programming and we would not be able to make that possible without your loyal support We would like to extend a warm thank you to our supporters Truly without you we could not bring the beauty and joy of music to so many of your friends and neighbors Thank you for being a part of the CCO family We hope you will say hello to the person next to you that you leave this performance inspired and that you share that curiosity and love of music with those in your life Sincerely Wesley H Needham Board President LeAnne Anklan General Manager S U M M E R M U S I K F E S T I VA L 2 0 1 8 9
Eckart Preu is music director of the Spokane Symphony the Long Beach Symphony and the Cincinnati Chamber Orchestra Previously he held the positions of music director of the Stamford Symphony associate conductor of the Richmond Symphony and resident conductor of the American Symphony Orchestra In Europe Eckart served as music director of the Orchestre International de Paris 1993 5 A passionate performer of the core repertoire Eckart also believes in presenting neglected works Past seasons featured compositions by Bloch Berio Markevich Kabalevsky Weinberger and Schreker As supporter of contemporary music he has presented compositions by Arvo P rt Carlos Surinach Anna Clyne Clint Needham Avner Dorman Pierre Jalbert and others Promoting and furthering the performance of American music Eckart conducted the world and New York premieres of William Thomas McKinley s Clarinet Concerto No 4 with soloist Richard Stoltzman Prayer for Peace by Roger Davidson the Connecticut premiere of Made in America by Joan Tower and the world premiere of Lewis and Clark by Leigh Baxter with the Richmond Symphony Recent and upcoming guest conducting engagements include concerts with the Orquesta Filarmonica de Jalisco Mexico the Auckland Philharmonia New Zealand the Christchurch Symphony New Zealand the Symphony Orchestra of Tenerife Spain the Philharmonie Baden Baden and the Staatstheater Cottbus Germany Career highlights include performances at Carnegie Hall the Sorbonne in Paris and his first commercial recording of the world premiere of Letters from Lincoln a work commissioned by the Spokane Symphony from Michael Daugherty featuring baritone soloist Thomas Hampson A native of Germany Eckart came to the United States as winner of the National Conducting Competition of the German Academic Exchange Service 1996 for graduate studies with Harold Farberman at the Hartt School of Music where he also received the Karl Boehm Scholarship In Germany he earned a masters degree in conducting from the Hochschule f r Musik in Weimar studying under Gunter Kahlert and Nicolas Pasquet He also studied under Jean Sebastien Bereau at the Conservatoire National Sup rieur de Musique de Paris in France Eckart s education was made possible by scholarships from the Herbert von Karajan Foundation the Konrad Adenauer Foundation and the French Ministry of Culture Eckart s early musical training was in piano and voice At the age of 10 he became a member of the Boys Choir Dresdner Kreuzchor and went on to work with them as soloist rehearsal pianist and assistant conductor He subsequently served as a vocal coach with the Altenburg Opera and the Erfurt Opera House in Germany Mr Preu was a Visiting Assistant Professor at Bard College NY 1999 2000 and in summers 2000 and 2001 he served on the guest faculty of the C W Post Chamber Music Festival 1 0 S U M M E R M U S I K F E S T I VA L 2 0 1 8 photo by Michael Wilson ECKART PREU MUSIC DIRECTOR
ISAAC SELYA RESIDENT CONDUCTOR A musician of remarkable versatility Isaac Selya has extensive experience as a conductor vocal coach and entrepreneur He is the founder and artistic director of Queen City Opera where he has led acclaimed performances that combine highcaliber opera with contemporary relevance including a production of Mozart s Don Giovanni that featured workshops on sexual assault and consent He is one of the few conductors in the world who has conducted all of Mozart s German language operas He has led Ohio premieres of Wagner s Siegfried Tchaikovsky s Iolanta and Mozart s Zaide In recognition of his talent and entrepreneurialism Musical America featured him as a Spotlight Artist Committed to ensuring that music education is accessible to everyone Isaac serves as Conductor and Cello Teaching Artist at the MYCincinnati Youth Orchestra an El Sistema inspired program in Cincinnati As an operatic guest conductor Isaac s engagements include Pacific Opera Project and Opera Memphis Equally skilled in the symphonic repertoire Isaac has conducted the Xiamen Philharmonic the Dayton Philharmonic the National Symphony of Guatemala the Chelsea Symphony and the Cincinnati Chamber Orchestra where he serves as Resident Conductor He has served as assistant conductor for Cincinnati Opera and the Glimmerglass Festival where he conducted the first ever reading of the revised version of Philip Glass s Appomattox with the composer present Isaac started his professional music career at the age of 18 singing in the chorus of the Great Synagogue in Jerusalem He holds a BA from Yale College where he was principal cellist of the Yale Symphony and sang in Yale s Schola Cantorum He completed an MM in conducting at Mannes College where he won a competitive grant from the New School Green Fund to present a concert dealing with environmental advocacy And he holds a doctorate from the University of Cincinnati College Conservatory of Music where his research focused on Mozart s use of the baritone voice He has two cats named Tosca and Aida S U M M E R M U S I K F E S T I VA L 2 0 1 8 1 1
We hope you will support Cincinnati Chamber Orchestra s MusikArt collaboration an auction of 5 violin based fine art pieces created by top local artists Violins may be viewed at CCO Mainstage concerts and at Wash Park Art Gallery www washparkart com for directions and hours Current high bids will be announced daily on Wash Park Art Gallery s website www washparkart com TIMING and PICK UP Bidding opened July 12 2018 and closes at midnight August 25 2018 The current high bid will be announced daily on Wash Park Art Gallery s website Winning bidders will be notified August 26 2018 and may pick up their violins at Wash Park Art Gallery at a mutually agreed time Shipping available at buyer s expense BIDDING Bidding starts at 300 and advances in 50 increments Bids may be submitted online or written in person when the violins are on view at CCO mainstage concerts and at Wash Park Art Gallery during regular business hours and special events ONLINE BIDS Online bids may be submitted at https tinyurl com MusikArt2018 Online bids will be accepted if they are the then highest bid in the proper increment and the form is complete Maximum bids will be incrementally applied Online bidders will NOT receive any reply or receipt confirming their bid or its acceptance however the current high bid will be announced daily on Wash Park Art Gallery s website TERMS By placing your bid you accept the foregoing information and acknowledge that you are at least 18 years of age and otherwise qualified to enter into an agreement to purchase that your bid is a binding offer to purchase that your bid is based on your own determination of value without reliance on representations or warranties by CCO the artists or Wash Park Art Gallery beyond the provided provenance for each art piece that you release and indemnify CCO the artists and Wash Park Art Gallery from all liability associated with the bidding process or purchase 1 2 S U M M E R M U S I K F E S T I VA L 2 0 1 8
THE VIOLINS by Cedric Michael Cox by Sara Pearce by David Laug by Thomas Towhey by Nicole Trimble S U M M E R M U S I K F E S T I VA L 2 0 1 8 1 3
THE ARTISTS Sara Caswell Pearce Sare Pearce s violin defines CCO s Summermusik Festival August with her masterful collage work of 17th century German botanicals Pearce brings together the spirit of Summermusik as stated by CCO music director Eckart Preu The known the unknown and the unexpected Pearce artist in residence at the Mercantile Library is a former librarian and arts writer for the paper who now reimagines such media through her Paper With A Past studio work Thomas Hieronymus Towhey aka 2E Tom Towhey s kinetic sculpture surrounds a red violin with fantastic metaphors for CCO Mainstage concert Voyage of the Red Violin Just as the concert and its namesake movie threads our humanity through times trends and cultures Towhey puts his own spin on the journey Towhey himself may be a time traveler his widely recognized work is exhibited in galleries from here to Australia Concert August 18th 7 30 pm SCPA Cedric Michael Cox Cedric Cox s violin visually responds to CCO Mainstage concert British Invasion with passages of distinctive cubist and soft landscape styles echoing the concert s traditional selections interpreted by current artists like cello soloist Coleman Itzkoff The concert experience includes visual commentary by Taft Museum of Art where Cox was a solo exhibitor 2017 Cox a musician and former fellow of the Glasgow School of Art Scotland is the perfect collaborator for this fresh iteration of classic British Isle material Concert August 4th 7 30 pm SCPA photo by Michael Wilson David Laug David Laug brings his experience as a veteran as well as an artist to his violin creation for the CCO Mainstage concert The Hero Within Laug s violin includes symbolic elements honoring the service and sacrifice made for our greater good A sweeping visual piece echoing the CCO program of Beethoven s Eroica symphony concert piano soloist Christopher O Riley and young musicians from Music Resource Center Concert August 25 7 30 pm SCPA Nicole Trimble Nicole Trimble s violin captures the austere beauty of Iceland the Dreamland that contemporary composer Sigurdsson s work musically discusses in CCO Mainstage concert The Four Seasons Reimagined Trimble visualizes the vanishing volcanic landscape chilled by glittering ice Trimble s mural designs can be seen around the region including Annie Oakley Oakley neighborhood Cinti she is a co founding muralist at Bright Wall Collective and teaches at Miami University and Baker Hunt Covington Ky Concert August 11th 7 30 pm SCPA 1 4 S U M M E R M U S I K F E S T I VA L 2 0 1 8
H E L P C O M P O S E C I N C I N N AT I S F U T U R E Please make a donation to the Cincinnati Chamber Orchestra s annual Crescendo Campaign YOUR DONATION brings together audiences and artists to share in an intimate and creative concert experience helps us expand the boundaries of what a chamber orchestra can do facilitates collaborations across genres and art forms that lead to inspiration and innovation allows us to make these concerts affordable for all will be an investment in the CCO s future THERE ARE MANY WAYS TO GIVE with the enclosed donation envelope online at http tinyurl com CCOCrescendo2018 call Ralf Ehrhardt at 513 723 1182 x102 S U M M E R M U S I K F E S T I VA L 2 0 1 8 1 5
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ORCHESTRA MEMBERS Eckart Preu Music Director sponsored by Robert and Debra Chavez Isaac Selya Resident Conductor sponsored by A Friend of the CCO VIOLINS Celeste Golden Boyer FLUTE Rebecca Tryon Andres Amy Kiradjieff Susan Magg Sujean Kim OBOE Christopher Philpotts Concertmaster Mr Brian L Tiffany 2018 Sponsor Associate Concertmaster Ms Linda Holthaus 2018 Sponsor Assistant Concertmaster Mr Eric J Allen 2018 Sponsor Manami White Principal Second Ms Ruth Schwallie and Mr Mark Silbersack 2018 Sponsor Kiki Bussell Mr Kaoru Suzuki 2018 Sponsor Jacquie Fennell Ms Marina Abanto 2018 Sponsor Kristin Frankenfeld Sarah Gannon Lois Reid Johnson Junqi Tang VIOLA Heidi L Yenney Principal Mr Michael Moore 2018 Sponsor Belinda Reuning Burge Mr Peter Hsi 2018 Sponsor Wendy VanderMolen Dan Wang Principal Mr and Mrs James Bushman 2018 Sponsor The Vicki Reif Memorial Fund 2018 Sponsor Principal Mr and Mrs Wesley H Needham 2018 Sponsor Lorraine Dorsey CLARINET John Kurokawa Principal Mr Johnnie B Carroll 2018 Sponsor Miriam Culley Dr Reena Dhanda Patil 2018 Sponsor BASSOON T Hugh Michie Principal Mrs Terri Reyering Abare 2018 Sponsor Amy Pollard FRENCH HORN Aaron Brant Principal Mr and Mrs Gregory Coons and GE Aviation 2018 Sponsors TRUMPET Ashley Hall Tighe Principal Ms Roxanne Qualls 2018 Sponsor CELLO Patrick Binford Wesley Woolard Nat Chaitkin TIMPANI PERCUSSION Scott Lang Schlachter Family Principal Cello Chair Mr and Mrs William Tscacalis 2018 Sponsor Thomas Guth BASS Deborah Taylor Mr Daniel Pfahl 2018 Sponsor Principal Mr and Mrs Jonathan Lippincott 2018 Sponsor Principal Mr Christopher G Sparks 2018 Sponsor designates alphabetical listing of players who rotate between violin 1 and violin 2 designates rotating player designates leave of absence S U M M E R M U S I K F E S T I VA L 2 0 1 8 1 7
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BRITISH I N VA S I O N SATURDAY AUGUST 4 7 30 pm SCPA Corbett Theater Prelude Talk 6 45pm SCPA Mayerson Theater Eckart Preu conductor GEORGE FRIDERIC HANDEL FROM Solomon HWV 67 The Arrival of the Queen of Sheba SUMMERMUSIK SPONSORED BY Robert and Debra Chavez WILLIAM BOYCE Symphony No 5 in D Major CCO Premiere Today s performance sponsored by I Allegro ma non troppo Adagio ad lib Allegro Chavez Properties assai II Tempo di Gavotta Coleman Itzkoff sponsored by the Tom Margaret III Tempo di Minuetto Osterman Foundation Fund of The Greater Cincinnati Foundation Jeanine Bruce Aronow EDWARD ELGAR ARR IAIN FARRINGTON and Beth Whelan Larry Holt Cello Concerto in E Minor Op 85 I Adagio Moderato Concert Sheet Music sponsored by II Lento Allegro molto Thompson Hine III Adagio IV Allegro Moderato Allegro ma non troppo Post concert reception sponsored by Coleman Itzkoff cello B A Street Kitchen e INTERMISSION f JOHN LUNN Downton Abbey The Suite CCO Premiere Donor and Passholder reception sponsored by Holly Doan Spraul and Wash Park Art Gallery FRANZ JOSEPH HAYDN Symphony No 104 in D Major Hob I 104 London I Adagio Allegro II Andante III Menuet Allegro IV Spiritoso Approximately 2 hours and 15 minutes Wine will be available for purchase S U M M E R M U S I K F E S T I VA L 2 0 1 8 1 9
COLEMAN ITZKOFF Hailed by the Alex Ross and The New Yorker for his flawless technique and keen musicality cellist Coleman Itzkoff enjoys a diverse career as a soloist chamber musician and educator Originally from Cincinnati Ohio Coleman was born into a musical family both parents are professional violinists and began playing cello at the age of five Principal cellist of the Cincinnati Symphony Eric Kim was Coleman s first primary teacher Further studies have included his undergraduate work with Desmond Hoebig at the Shepherd School Rice University Houston TX and more recently he achieved his Master s degree at the University of Southern California s Thornton School of Music while a member of the studio of Ralph Kirshbaum Gold Medalist in the 2017 International Berliner Music Competition Coleman was a multiple prize winner at the 2016 Irving Klein Competition and in the 2016 Boulder International Chamber Music Competition He has also taken prizes at the Fischoff Johansen Blount Slawson and Young Texas Artist Competitions In January 2013 Coleman was a featured guest artist for a weeklong residency on NPR s Performance Today recording interviews with host Fred Child and a full recital program He has been guest soloist with numerous orchestras across the nation A recent career highlight was his acclaimed Walt Disney Concert Hall concerto debut performing the epic cello solo in Heaven Earth and Mankind by Tan Dun An avid chamber musician Coleman has collaborated with such distinguished artists as Pamela Frank Shmuel Ashkenasi Cho Liang Lin David Finckel Johannes Moser James Dunham John O Connor and Peter Frankl Coleman is a regular performer at the Brooklyn concert series Bargemusic and has appeared at festivals around the country including Aspen Music Festival and School the International Heifetz Institute La Jolla SummerFest YellowBarn Caramoor and Music Menlo Coleman is also a passionate proponent of new music and recently joined the newly founded ensemble American Modern Opera Company AMOC In 2014 as a graduate student at the University of Southern California Coleman was introduced to the Armenian American pianist Alin Melik Adamyan and a musical collaboration was born The duo swiftly achieved success in their first local competition the Beverly Hills National Auditions subsequently making their debut in recital at the Greystone Mansion in Beverly Hills This past November the duo traveled to Colorado for their first International competition the Boulder International Chamber Music Competition s The Art of Duo and from an applicant pool of over 150 duos were awarded Second Prize and the special prize for the commissioned work Future Amicus Duo engagements include recital appearances in cities in Ohio Colorado and California Aside from his performing career Coleman is a devoted and dynamic educator and communicator teaching and performing outreach concerts in schools community centers and hospitals around the county His inspiring work has earned him kudos wherever he appears and in 2015 the Cleveland Clinic Arts and Medicine Award for his engaging talks and accessible performances for clinic patients Coleman holds a BM from Rice University and his Master s Degree at the Thornton School of Music at USC under the tutelage of Ralph Kirshbaum He performs on a Paul Siefried bow on loan to him from the Maestro Foundation and on a 1740 Carlo Antonio Testore Cello generously loaned to him by the Newman family of Los Angeles Ellen Stedtefeld commentary Senior Manager of Adult Programs Taft Museum of Art Ellen Stedtefeld is the Senior Manager of Adult Programs at the Taft Museum of Art For the past two years Stedtefeld has provided high quality tours talks workshops music programs and special events for the Taft s adult audiences Prior to working at the Taft Ellen shared her art historical expertise with audiences at the Whitney Museum of American Art the Smithsonian National Portrait Gallery and the Phillips Collection and flexed her studio art skills as an art teacher for middle and high school students in Washington DC She has a Masters in Art History and Museum Studies from Case Western Reserve University and an undergraduate degree in Fine Arts from Ohio Wesleyan University 2 0 S U M M E R M U S I K F E S T I VA L 2 0 1 8
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PROGRAM NOTES by Gavin Borchert George Frideric Handel 1685 1759 Entrance of the Queen of Sheba from Solomon 1748 In one of the more famous examples of composerly pragmatism in music history Handel switched horses midstream so to speak when in 1741 thanks to a change in public taste he gave up composing operas in favor of oratorios His musical style and his skill in wringing drama out of a story barely changed at all but the packaging did His operas are in Italian based on myth and tales of antiquity his oratorios are in English and almost always taken from the Bible Even here the distinction is blurry One work Semele from 1744 Handel classified as an oratorio though it s based on the Greek myth of the mother of Bacchus and her affair with Jupiter and has been staged as an opera Star turns for solo singers were in demand in both forms but his oratorios contain many more choruses q v Handel s most famous composition of all the Hallelujah chorus from Messiah Until recently history sided with the oratorios Messiah has never been out of the repertory since its 1742 premiere but his operas were neglected as indeed were practically all pre Mozart operas until the period instrument movement revived interest in the vigor color and sheer thrills composers like Handel poured into their scores He fell into the habit of composing over the summer pieces for the following Lenten concert season Solomon and Susanna were his projects for 1748 He wrote the former from May 5 to June 13 and it was first heard on March 17 1749 It was performed only three times that season but made Handel 300 pounds This brisk orchestral intermezzo opens Act 3 labeled only Sinfonia in the score it seems to have been given its present nickname by Sir Thomas Beecham the first conductor to record the oratorio complete Handel was a very frequent reuser of other people s music not scrupling to adapt or simply copy something when deadlines pressed this Sinfonia seems to have come in part from an opera called Numitore by Giovanni Porta which had been performed in London in 1720 Certain passages in Numitore also bear similarities closer than could plausibly be coincidental to Handel s aria Let the bright Seraphim from Samson and the La rejouissance movement in his Royal Fireworks Music Porta by the way was for some time the chorus master at the Ospedale della Piet the Venetian girls school and thus a colleague of Vivaldi William Boyce 1710 79 Symphony No 5 in D Major fp 1739 Like Bach s Brandenburg concertos Boyce s eight symphonies or as it was spelled on the title page of the first edition Symphonys were presented to the world as a set but not originally intended as one Among his duties as Master of the King s Musick the most prestigious post England could offer a musician which he assumed in 1755 was to compose odes annually for New Year s Day and for the king s birthday George II until 1760 then George III In fact Boyce s composition of ceremonial odes predated his appointment His predecessor Maurice Greene was often in ill health and often called on Boyce to fill in Boyce later collected his best orchestral music for publication eight symphonies in 1760 and 12 overtures in 1770 Most of the pieces in these two sets came from his celebratory odes for the King but this Symphony No 5 did not it was written for a St Cecilia Ode first performed in 1739 A generation younger than Handel Boyce remained faithful to the baroque style he had been trained in and mastered but had the misfortune to outlive it His set of 12 trio sonatas published in 1747 was extremely popular in its day Music historian Charles Burney reported that they were more generally purchased performed and admired than any productions of the kind in this kingdom except those of Corelli They were not only in constant use as chamber music in private concerts for which they were originally arranged but in our theatres as act tunes and public gardens as favorite pieces during many years But by 1770 a new style was popular a tune accompaniment texture lighter than baroque complexity exemplified by two German composers Johann Christian Bach and Karl Friedrich Abel who 2 2 S U M M E R M U S I K F E S T I VA L 2 0 1 8
disseminated it in London via a wealth of symphonies operas chamber music and keyboard music J C Bach met the child Mozart during his visit to England and inspired the 8 year old boy to write his first symphony It is said that Boyce was so disappointed by the indifferent reception to his overtures that he published nothing in his last nine years These symphonys too lay ignored until they were republished in a modern edition in 1928 Edward Elgar 1857 1934 Cello Concerto in E Minor Op 85 1919 arr Farrington The seed of this concerto was planted as far back as 1900 when Carl Fuchs the cellist of the Brodsky Quartet suggested that Elgar write one But not for years did the composer pursue the idea seriously and it was born of depression over World War I among other things and illness Tonsillitis struck him in December 1917 necessitating months of bed rest and a tonsillectomy and in March the night he returned home he jotted down a flowing melody his first composition of any kind in nine months He was in the mood for chamber music of which he had written comparatively little and in the rest of 1918 came a string quartet begun in March a violin sonata in August and a piano quintet in September It seems significant that to commemorate the Armistice despite his stature as England s greatest living composer he wrote nothing All three of these works were played in a concert the following April and a young man named Felix Salmond was the cellist on that occasion Elgar then recalled his long ago promise and the melody from a year earlier that had seemed to represent his recovery from illness and began work on a cello concerto for Salmond Salmond tried out passages as Elgar worked on it through May and June The premiere was offered to him and scheduled for October 27 at the opening concert of the London Symphony s first postwar season For this grand occasion the orchestra s new conductor Albert Coates became overambitious programming Wagner s Forest Murmurs from Siegfried Borodin s Second Symphony so far so good and Scriabin s immense and complex Poem of Ecstasy which ate up the bulk of the rehearsal time to the fury of Elgar s wife Alice Elgar himself conducted his concerto but given the mismanaged rehearsal time a new and tricky work and a nervous young soloist the performance only barely hung together Critic Ernest Newman wrote Never in all probability has so great an orchestra made so lamentable a public exhibition of itself the orchestra was often virtually inaudible and when just audible was merely a muddle As with all cello concertos issues of balance are paramount so much more so with an untested work and careful rehearsal is vital Newman though heard through the muddle and discerned what Elgar was getting at calling the concerto the realisation in tone of a fine spirit s lifelong wistful brooding upon the loveliness of the earth As it happened this would be Elgar s last major piece and the last performance his wife would attend she died at age 71 in April 1920 After the cello s opening statement the flowing post illness melody is spotlighted in the violas alone then taken up and dwelled upon by the soloist Neither a show off work nor cast on a grand scale this concerto continues the introspection and bittersweetness of the chamber music of 1918 Thus it seemed not inappropriate to reduce the scoring to make an alternate version performable by chamber orchestras Elgar s original scoring though requiring a full orchestra is used with restraint providing dashes of color rather than sweeping opulence Musicologist Iain Farrington editor of the Elgar Complete Edition did so using one each of winds and brass rather than the two or three each Elgar called for John Lunn b 1956 Downton Abbey The Suite 2012 Were you like me and millions of others around the world a Downton Abbey fanatic Did you cancel everything for the first eight Sunday evenings of the year for six years Did you relish the Dowager Duchess s bons mots deplore Robert s financial incompetence wring your hands over Edith hiss O Brien and get all fluttery when Branson or Sybil were onscreen Did you burst into tears at any one of dozens of plot twists over the series six seasons and have very strong opinions about whether Vera Bates was murdered or a suicide S U M M E R M U S I K F E S T I VA L 2 0 1 8 2 3
Scottish composer John Lunn arranged this seven minute movement from his incidental music to the series first season primarily featuring the evocative opening title music This he revealed in a 2016 interview on NPR was not at first intended as such In series one there was no main title in the first episode They just started with a telegram and then we cut to a train and then it cuts to a guy alone in a train looking sort of forlornly out of the window And so the train kept going And then I got this sort of single piano tune that picked out this guy It s quite lonely Franz Josef Haydn 1732 1809 Symphony No 104 in D Major London 1795 Johann Peter Salomon the impresario who commissioned Haydn s 12 last and greatest symphonies was one of the more colorful footnote characters in music history Born in Bonn in 1745 in the exact same house where Beethoven was born 25 years later he moved to London in 1781 and established himself as a violinist and teacher He in fact originated the tradition of the concertmaster entering the stage alone to applause to launch a concert He was also a respected composer Haydn pronounced his opera Windsor Castle in the fractured English of his journal ganz quite passabel Salomon added concert organizer to his resume when in 1786 he quarreled with the Professional Concerts his first employers and established his own series at the Hanover Square Rooms During the 1780s the Professional Concerts had made several overtures to Haydn the most renowned composer of the day who comfortable with his post as Kapellmeister to Prince Nicolaus Esterhazy rejected them all Nicolaus s death in the fall of 1790 and his successor Anton s indifference to music relieved Haydn of almost all his responsibilities Salomon grasped the opportunity and rushed to Austria to try himself to engage Haydn who at last agreed to visit London to perform and compose The managers of the Professional Concerts were of course furious at their rivals coup They were responsible for some catty notices in London s Morning Chronicle Upon the arrival of Haydn it was discovered that he no longer possessed his former powers Pity it is that the discovery did not possess the merit of novelty What less could have been expected of his presence A few weeks later The nine days wonder about Haydn begins to abate the truth is this wonderful composer is but a very poor performer The article goes on to compare Haydn unfavorably as a composer to his pupil Ignaz Pleyel and to make a crack about the proverbial avarice of Germany The brilliant popular success of Haydn s music and presence at these Hanover Square concerts led Salomon to re engage him for the 1794 95 season and ask for another set of six symphonies May 4 1795 marked the climax of his London stay historian H C Robbins Landon calls it perhaps the greatest concert of Haydn s life It featured the Symphony No 100 the most popular of them all already repeated by demand several times since its March 1794 premiere and two new works the cantata Scena di Berenice and what was to be Haydn s last symphony The Morning Chronicle s correspondent apparently no longer in the employ of the Professional Concerts wrote warmly of the work which for fullness richness and majesty in all its parts is thought by some of the best judges to surpass all his other compositions A Gentleman eminent for his musical knowledge taste and sound criticism declared that for 50 years to come Musical Composers would be little better than imitators of Haydn Probability seems to confirm the prediction Haydn s journal preserves his own laconic comments On Madame Banti the soprano soloist in the cantata he writes She song very scanty But this was a small complaint in light of the concert s success I made four thousand Gulden on this evening Such a thing is only possible in England 2 4 S U M M E R M U S I K F E S T I VA L 2 0 1 8
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A Little Afternoon Musik Series Sponsors ROSEMARY AND MARK SCHLACHTER S U N D AY A U G U S T 5 2 P M a n d 4 P M TA F T M U S E U M O F A R T BOTH SOLD OUT AN AFTERNOON WITH JANE AUSTEN DARIO MARIANELLI ARR JOHN MOSS Music from Pride and Prejudice PERFORMANCE CURATOR MANAMI WHITE CCO principal second violin NICOLAS DALAYRAC FROM String Quartet No 5 in E flat Major I Allegro Commodo FRANZ JOSEPH HAYDN ARR CH PAVLOV V MITSOV Divertimento in D Major Hob XVI 19 for Solo Cello and Strings I Adagio II Menuet III Allegro di molto Coleman Itzkoff cello COLEMAN ITZKOFF cello Artist Sponsor Donald W Fritz Ph D Event Sponsor Dr Max C Reif 2 6 S U M M E R M U S I K F E S T I VA L 2 0 1 8 Approximately 1 hour and 10 minutes
Barbara Britton Wenner Narrator and Jane Austen expert An Associate Professor Emerita of the University of Cincinnati Barbara focused much of her career teaching and researching the nineteenth century British novel with a special interest in the work of Jane Austen She published a book and many articles on Austen and has lectured extensively on her work Barbara is a participant in a theatrical group the Pemberley Players performing plays based on Austen s juvenile works She also continues to do Jane Austen impersonations Barbara is a long time member of the Jane Austen Society of North America and volunteers as a docent at the Taft Museum of Art S U M M E R M U S I K F E S T I VA L 2 0 1 8 2 7
T U E S D A Y A U G U S T 7 7 3 0 P M FRETBOARD BREWING MICROBRASS FRETBOARD CLAUDIO MONTEVERDI ARR WOOLARD FROM L Orfeo SV 318 Toccata Ritornello HENRY PURCELL ARR LAWRENCE DAVID EDEN Suite from The Fairy Queen I Canzona II Largo III Allegro PERFORMANCE CURATOR WESLEY WOOLARD CCO second trumpet WOLFGANG AMADEUS MOZART ARR WOOLARD FROM Die Zauberfl te K 620 The Magic Flute Der H lle Rache Queen of the Night aria Melissa Harvey soprano Event Sponsors Lucy Allen Liz John Dye Allison Brett Evans Lori Bob Fregolle PIETRO MASCAGNI ARR J D SHAW FROM Cavalleria Rusticana Intermezzo GIACOMO PUCCINI ARR MARCO PIEROBON Suite from La Boh me RICHARD WAGNER ARR NATE HELPER FROM Lohengrin for Brass Quintet Prelude to Act III Melissa Harvey Sponsors The Music Minions GEORGE GERSHWIN DUBOSE HEYWARD IRA GERSHWIN ARR JACK GALE Selections from Porgy and Bess FREDDIE MERCURY ARR JOHN WASSON Bohemian Rhapsody 28 S U M M E R M1 U S I Kand F E 15 S Tminutes I VA L 2 0 1 8 Approximately hour S U M M E R M U S I K F E S T I VA L 2 0 1 7 2 8
MELISSA HARVEY Soprano Melissa Harvey s impressive stylistic versatility can be heard in operatic and concert repertoire spanning over four centuries Her recent activity in 20th and 21st century opera includes the world premiere of Douglas Pew s Lo the Bridegroom Comes Alice in Unsuk Chin s Alice in Wonderland covering the role of Flora in New York City Opera s production of The Turn of the Screw and world premieres of three operas with the Cincinnati based NANOWorks Opera Ms Harvey joined both Gotham Chamber Opera and Opera Philadelphia for the world premiere production of Nico Muhly s Dark Sisters in which she covered the role of Lucinda On the other end of the spectrum Ms Harvey s prodigious activity in early music has made her invaluable to concert organizations such as Catacoustic Consort Collegium Cincinnati Bourbon Baroque Cincinnati Vocal Arts Ensemble and St Peter in Chains Cathedral With these organizations she has performed such works as Bach Cantatas BWV 04 71 106 196 Magnificat and Christmas Oratorio Buxtehude BuxWV 750 Handel Dixit Dominus and various duets Haydn Lord Nelson Mass Monteverdi various duets Mozart Mass in c minor Poulenc Gloria and Steffani Stabat Mater In 2016 she rejoined Collegium Cincinnati for Bach s St John Passion and Catacoustic Consort for two works of Marc Antoine Charpentier Le reniement de St Pierre and the world premiere of a never beforeperformed opera from 1685 La f te du Ruel Ms Harvey also performed as the Soprano Soloist Ms Harvey s 2017 2018 Season includes performances of Monteverdi s L incoronazione di Poppea Drusilla with Cincinnati Opera two CD recordings with Cincinnati based Catacoustic Consort the premiere of a contemporary opera by composer Justin West and several engagements with Catacoustic Consort St Peter in Chains Cathedral and St Thomas Episcopal Church During the 2016 2017 season Ms Harvey participated in Cincinnati Opera s Frida by Robert Xavier Rodr guez and Missy Mazzoli s Song from the Uproar as well as the Bach Society of Dayton s St John Passion soprano soloist Ms Harvey received her BM and MM in Voice from the University of Cincinnati College Conservatory of Music CCM At CCM her operatic repertoire included Sister Constance Dialogues of the Carmelites Eurydice Orpheus in the Underworld Lucia The Rape of Lucretia Papagena Die Zauberfl te and Amore L incoronazione di Poppea Her concert repertoire include Bach s Cantatas BWV 78 79 Faur s Requiem Mendelssohn s Elijah Haydn Missa Sancti Nicolai and Mass in Time of War and Steve Reich s Tehillim Among the scholarships and awards Ms Harvey has received are the Dieterle Vocal Scholarship the Baur Powell Scholarship the Mercer Scholarship for language study Freiburg Germany and a 2009 Encouragement Award from the Metropolitan Opera National Council Regional Auditions S U M M E R M U S I K F E S T I VA L 2 0 1 8 2 9
the four seasons REIMAGINED 3 0 S U M M E R M U S I K F E S T I VA L 2 0 1 8
THE FOUR SEASONS REIMAGINED SATURDAY AUGUST 11 7 30pm SCPA Corbett Theater Prelude Talk 6 45pm SCPA Mayerson Theater Eckart Preu conductor VALGEIR SIGUR SSON FROM Draumalandi Dreamland CCO Premiere Gr lukv i Helter Smelter Cold Ground Hot Dreamland Laxness I Offer Prosperity And Eternal Life Past Tundra e INTERMISSION f MAX RICHTER FROM Recomposed by Max Richter Vivaldi The Four Seasons CCO Premiere ANTONIO VIVALDI FROM Violin Concertos Op 8 Nos 1 4 The Four Seasons SUMMERMUSIK SPONSORED BY Robert and Debra Chavez Today s performance is sponsored by USA Eagle Company Celeste Golden Boyer is sponsored by Florette Hoffheimer and Oliver Joan Baily Concert Sheet Music sponsored by members of The Emeritus Board Post concert reception sponsored by Seasons 52 Donor and Passholder reception sponsored by Holly Doan Spraul and Wash Park Art Gallery Spring Richter I Vivaldi II and III Summer Richter I and II Vivaldi III Autumn Richter I Vivaldi II Richter III Winter Richter I Vivaldi II and III Celeste Golden Boyer violin Approximately 1 hour and 30 minutes Wine will be available for purchase S U M M E R M U S I K F E S T I VA L 2 0 1 8 3 1
CELESTE GOLDEN BOYER Celeste Golden Boyer became the second associate concertmaster of the Saint Louis Symphony Orchestra in 2011 Celeste began her musical studies at three years of age When she was nine years old she became a student of Arkady Fomin violinist in the Dallas Symphony and at fifteen Celeste was accepted into the Curtis Institute of Music studying with Jaime Laredo and Ida Kavafian She completed her Bachelor of Music degree at Curtis in 2005 and in 2007 she received a Master of Music degree from the Cleveland Institute of Music where she studied with David Cerone and Paul Kantor Celeste is a laureate of several national and international competitions Most notably she was the Bronze Medalist at the International Violin Competition of Indianapolis in 2006 Celeste has appeared as soloist with numerous symphony orchestras around the world including the St Louis Symphony the Latvian Chamber Orchestra in Riga Latvia the Dallas Symphony Orchestra and the Indianapolis Symphony Orchestra As a chamber musician she has appeared in series and festivals such as the Jupiter Symphony Chamber Players the Festival de San Miguel de Allende the Chamber Music Festival of Lexington the Innsbrook Institute Music Festival the Aspen Music Festival and School and the Marlboro Music Festival Celeste was the concertmaster of the New York String Orchestra Seminar in 2005 with concerts at Carnegie Hall She also performed as concertmaster for the Orchestra of St Luke s in the New York City premiere of John Adams opera A Flowering Tree at Lincoln Center in 2009 She is thrilled to be joining the Cincinnati Chamber Orchestra as concertmaster Ms Boyer resides in St Louis MO with her husband of seven years Brandon Boyer and their children Charlotte who is 4 years old and Benjamin who is 2 Michael Tittel photography Michael earned a BFA in Photography from Ohio University in 1992 He uses photography to tell a global universal story His creative explorations contain themes of disconnectedness emotional change and human behavior He uses traditional photographic directions like documentary portraiture landscape and street photography to tell new personal stories Michael s photographs have been published in The Photographic Journal Fraction Ain t Bad Lenscratch aCurator ISP International Street Photography Leica Magazine and reside in the permanent collection of Ohio University in Athens Ohio and in numerous private collections When he is not photographing he raises his two daughters works at gyro as Executive Creative Director and performs and creates music in New Sincerity Works as well as the Roger Klug Power Trio More information on Michael can be found at www michaeltittel com or www newsincerityworks com T H E C I N C I N N AT I C H A M B E R O R C H E S T R A T H A N K S ROSEMARY MARK SCHLACHTER FOR SPONSORING A LITTLE AFTERNOON MUSIK 3 2 S U M M E R M U S I K F E S T I VA L 2 0 1 8
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PROGRAM NOTES by Gavin Borchert Valgeir Sigur sson b 1971 Dreamland 2013 A record producer multi instrumentalist and frequent collaborator with Bjork Valgeir composed the soundtrack to Dreamland a 2009 documentary examining the environmental impact on his home country of the aluminum industry specifically the government s plan to provide energy for them by damming Iceland s rivers His soundtrack was arranged into a half hour suite for full orchestra in 2011 and for chamber orchestra in 2013 both with optional electronics Andri Sn r Magnason the author of the book on which the doc is based reflected on Valgeir s music How would it all sound What leitmotifs would bring the chapters of the film together what feeling would the music evoke What resonates with a Caterpillar digger a private jet and flying over a beautiful doomed landscape It was clear that the music needed to span a vast territory melancholic strings and deep sonorous electro vibes could act as a foreshadowing of impending disaster One could say that the essence of their approach to the score can be found in the Icelandic folksong Gr lukv i something is off and it s hard to pinpoint exactly what There is a distortion a din and a defamiliarizing quality that is difficult to put into words Flying over the Flj tsdalur waterfalls that are no longer there a solitary viola is our guide and we can sense the threat The music creates an intense atmosphere when we fly over the sand pyramids on Vatnaj kull in the direction of an area that is to be destroyed because of a short term gold rush The shrill brass tones resonate and contrast the heavy impenetrable silence Max Richter b 1966 Recomposed by Max Richter Vivaldi The Four Seasons 2012 Born in West Germany and raised in Britain Richter studied in Florence with Luciano Berio 1925 2003 who was fascinated by the concept of reworking older music in modernist contexts One movement of his Sinfonia layers a collage of quotations atop the scherzo from Mahler s Second Symphony while his Rendering expands on a fragment of an unfinished Schubert symphony not the Unfinished but a different one Similarly Richter built this work by subjecting ideas hooks if you will from Vivaldi s set of four concertos to repetitive minimalist techniques of looping and phasing producing a new string orchestra work with a contemporary flavor containing easily recognizable fragments of the popular original He dissected one example of his approach in an interview with NPR I took the opening motif which I always thought was a dazzling moment in the Vivaldi but in the original it s only four bars I thought Well why don t I just treat this like a loop like something you might hear in dance music and just loop it and intensify it and cut and paste jump cut around in that texture but keep that groove going For me the record and the project are trying to reclaim the piece to fall in love with it again Antonio Vivaldi 1685 1750 Violin Concertos Op 8 Nos 1 4 The Four Seasons 1716 17 Possibly the most hotly debated topic in all of music history is the expressive potential of music how music can depict or refer to anything outside itself whether emotional states verbal descriptions or visual images One thing music can do quite effectively is to depict or refer to other sounds natural or manmade and in this set of four violin concertos part of a set of 12 published together as his Op 8 Vivaldi often called upon the orchestra to imitate sounds of nature Perhaps the most striking passages in the Four Seasons are his evocations of storms with strings alone high sparkling violin figuration 3 4 S U M M E R M U S I K F E S T I VA L 2 0 1 8
and string tremolos Vivaldi draws startling effects He evokes birdsong too specifying particular varieties and even adds a barking dog the gruff viola notes in the slow movement of Spring As a Seattleite my favorite bit of imitation occurs in the slow movement of Winter where pizzicato notes represent the plop of raindrops Music can also imitate other kinds of music Vivaldi evokes peasant dances in the first movement of Autumn and puts hunting horn calls in his finale Another kind of musical expression evokes physical motion or the lack thereof as when Vivaldi marks the opening of Summer with the phrase languishing in the heat the tiny drooping figures separated by pauses are a clear musical analogue to breathlessness or portrays sleeping or resting in all four slow movements We hear shivering chattering teeth and the stamping of feet in Winter Going slightly further afield Vivaldi creates the feeling of drunkenness in musical terms in the capricious stream of consciousness flow of ideas in the first movement of Autumn Though Vivaldi remained connected to Venice all his life his music was popular throughout Europe he was acquainted with Count Ferdinand Morzin 1693 1763 and in 1725 dedicated the Op 8 concertos to him The Count s orchestra in Prague virtuossissima in Vivaldi s words must have played them Either Count Ferdinand or his son Karl was the Count Morzin who gave Haydn his first Kapellmeister job But the end of the 18th century was unkind to the composers of the beginning Baroque music became unfashionable and these concertos by Vivaldi lay untouched until the middle of the 20th century when they awoke and became four of the most popular classical works ever written S U M M E R M U S I K F E S T I VA L 2 0 1 8 3 5
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A Little Afternoon Musik Series Sponsors Photo Credit Michael Tittel ROSEMARY AND MARK SCHLACHTER S U N D A Y A U G U S T 1 2 4 P M C A R N E G I E H A L L AT N E W P O R T POSTCARDS FROM THE SKY GIACOMO PUCCINI I Crisantemi MARJAN MOZETICH FROM Postcards from the Sky I Unfolding Sky III A Messenger PERFORMANCE CURATOR ECKART PREU ANTONIO VIVALDI Flute Concerto in F Major RV 433 La tempesta di mare CCO Music Director ALAN HOVHANESS Sonata for Harp and Guitar Op 374 The Spirit of Trees MAX RICHTER On the Nature of Daylight CELESTE GOLDEN BOYER CCO concertmaster ANTONIO VIVALDI Concerto in A Major for Violin Strings and Cembalo RV 335 The Cuckoo Celeste Golden Boyer violin Artist Sponsors Ruth Schwallie Mark Silbersack 3 8 S U M M E R M U S I K F E S T I VA L 2 0 1 8 Approximately 1 hour and 10 minutes
T H U R S D A Y A U G U S T 1 6 7 3 0 P M E S Q U I R E T H E AT R E SPECIAL EVENT HISTORICAL COMMENTARY FILM SCREENING OF THE RED VIOLIN T I C K E TS A R E AVA I L A B L E D I R E C T LY THROUGH ESQUIRE T H E AT R E esquiretheatre com See and hear the famous Red Violin at our Summermusik 2018 film screening This once in a lifetime evening will allow you to ask questions of the Red Violin s owner Elizabeth Pitcairn Hear commentary about the film from CCO music director Eckart Preu as you get a sneak peek of the magni cent Mendelssohn Stradivarius that inspired the 1998 Academy Award winning drama The Red Violin The lm traces the story of the violin from its maker in 17th century Italy to an auction room in modern Montreal and is the perfect prelude to a weekend of intrigue enchantment and musical delights as the famous instrument visits Cincinnati Please be aware This lm is rated R and not appropriate for little movie bu s COMMENTATOR ECKART PREU CCO Music Director Approximately 2 hours and 30 minutes COMMENTATOR VIOLIN EXCERPTS ELIZABETH PITCAIRN 7 39 S U M M E R M U S I K F E S T I VA L 2 0 1 8
F R I D A Y A U G U S T 1 7 7 3 0 P M LIBERTY EXHIBITION HALL AMERICAN SOUVENIRS GEORGE GERSHWIN TRANS JASCHA HEIFETZ Preludes ANTONIN DVO K String Quartet No 12 in F Major Op 96 American GEORGE GERSHWIN ARR JULIAN MILONE It Ain t Necessarily So PERFORMANCE CURATOR CELESTE GOLDEN BOYER IRVING BERLIN ARR JULIAN MILONE Anything You Can Do CCO concertmaster GEORGE GERSHWIN ARR JULIAN MILONE Summertime BEN BERNIE MACEO PINKARD ARR JULIAN MILONE Sweet Georgia Brown Celeste Golden Boyer Sponsors The Music Minions HENRI VIEUXTEMPS Souvenir D Am rique Op 17 Variations Burlesques on Yankee Doodle 4400 SSUUMMMMEERRMMUUSSI IKK FFEESSTTI IVVAALL 22001 188 Approximately 1 hour and 10 minutes
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red violin VOYAGE OF THE 4 2 S U M M E R M U S I K F E S T I VA L 2 0 1 8
V O YA G E O F T H E RED VIOLIN SATURDAY AUGUST 18 7 30pm SCPA Corbett Theater Prelude Talk 6 45pm SCPA Mayerson Theater Eckart Preu conductor TAN DUN FROM Death and Fire Dialogue with Paul Klee CCO Premiere SUMMERMUSIK SPONSORED BY Robert and Debra Chavez II Self Portrait CHEN YI FROM Chinese Folk Dance Suite II Yangko Today s performance and Elizabeth Pitcairn are sponsored by The Austin E Knowlton Foundation Elizabeth Pitcairn violin Concert Sheet Music sponsored by Brian L Tiffany Co JOHN CORIGLIANO Suite from The Red Violin CCO Premiere Elizabeth Pitcairn violin Post concert reception sponsored by the Greater Cincinnati Chinese Chamber of Commerce e INTERMISSION f Donor and Passholder reception sponsored by Holly Doan Spraul and Wash Park Art Gallery JOHANN SEBASTIAN BACH 1685 1750 Violin Concerto 1 in A Minor BWV 1041 I Allegro moderato II Andante III Allegro assai Mable Lecrone violin WOLFGANG AMADEUS MOZART Symphony No 35 in D Major K 385 Haffner I Allegro con spirito II Andante III Menuetto IV Presto Approximately 2 hours Wine will be available for purchase S U M M E R M U S I K F E S T I VA L 2 0 1 8 4 3
ELIZABETH PITCAIRN American violin virtuoso Elizabeth Pitcairn is passionate about youth and education She serves as president and artistic director of the Luzerne Music Center which provides training for gifted young musicians ages 9 18 in the Adirondack Mountains of upstate New York The artist performs with one of the world s most legendary instruments the Red Mendelssohn Stradivarius violin of 1720 said to have inspired the Academy Award winning film The Red Violin Pitcairn is featured on the 10th Anniversary edition of The Red Violin DVD in a special feature called The Auction Block Named the Red Stradivarius violin while in the possession of Joseph Joachim it was a gift from her grandfather in 1990 at Christie s Auction in London Born in 1973 in Bucks County Pennsylvania to a closely knit musical family her mother is a Juilliard trained cellist Pitcairn began playing the violin at age three and made her debut with orchestra at 14 Her path led her to Los Angeles to study with preeminent violin professor Robert Lipsett at the University of Southern California Her former teachers include Julian Meyer Sylvia Ahramjian Jascha Brodsky Robert Lipsett and Shmuel Ashkenasi She was a member of the distinguished faculty of both USC and the Colburn School for 10 years 2000 2010 taught at the Encore School for Strings and is an alumna of the Marlboro Music Festival the National Repertory Orchestra Luzerne Music Center Temple University s Center for Gifted Young Musicians the Philadelphia Youth Orchestra the Meadowmount School Point Counter Point the Encore School for Strings the YMF Debut Orchestra and the American Youth Symphony under the direction of Mehli Mehta She served as concertmaster of the New West Symphony under the direction of Boris Brott for 11 years 2000 2011 With Maestro Brott she appeared with the McGill Chamber Orchestra of Montr al the National Academy Orchestra in Ontario and the New West Symphony She has appeared in recital for the Philadelphia Chamber Music Society and for a special event at the Aspen Music Festival with President and CEO Alan Fletcher and soloist Robert McDuffie She believes strongly in philanthropy and is a frequent performer for charitable events such as the American Cancer Society the Breast Cancer Research Foundation the Helping Hands and Hearts Foundation and the Nakashima Foundation for Peace A champion of new music Pitcairn commissioned Sweden s renowned composer Tommie Haglund to compose the violin concerto tone poem Hymnen an die Nacht Hymns to the Night receiving a Swedish Grammi nomination in 2009 Other commissions include a sonata for violin and piano by Russian composer David Finko and The Blue Vishuddha 2014 by Sara Carina Graef which was composed for her Fisher Center recital at Bard College Pitcairn made her debut with orchestra at age 14 performing the Saint Sa ns concerto and has since appeared as soloist with the Philadelphia Orchestra at the Academy of Music and at Lincoln Center s Alice Tully Hall in the year 2000 with the New York String Orchestra in her New York debut She has since performed at Carnegie Hall Walt Disney Concert Hall the Kimmel Center Saratoga Performing Arts Center and the Fisher Center at Bard College She has given performances of the Mendelssohn Violin Concerto with the Shenzhen Symphony Orchestra of China and with conductor Wagner Politschuk in S o Paulo Brazil Under the baton of Finnish conductor Hannu Koivula Pitcairn has performed the Barber concerto with the Vaasa City Symphony the J nkopping Symphony of Sweden and given the premiere of eminent Swedish composer s Hymnen an die Nacht with the Helsingborg Symphony She gave a nationally televised broadcast of the Bruch Violin Concerto with the Classic FM Radio Symphony Orchestra of Bulgaria conducted by Maxim Eshkenazy She has also concertized in Italy France Germany the British Isles Hungary Brazil Canada Mexico the U S Virgin Islands Cayman Islands the French West Indies Austria Romania and the Czech Republic She has appeared in recital at the Cayman Arts Festival with pianist Glen Inanga and with the Arkansas Philharmonic and the North Mississippi Symphonies conducted by Steven Byess She has appeared with the Fort Collins Symphony conducted by Wes Kenney the Allentown Symphony with Diane Wittry the Bucks County Symphony Ridgewood Symphony and Knickerbocker Chamber Orchestra of New York led by Gary Fagin the Marin Symphony conducted by Alasdair Neale and the USC and Richardson Symphonies conducted by Anshel Brusilow 4 4 S U M M E R M U S I K F E S T I VA L 2 0 1 8
The Austin E Knowlton Foundation is a proud sponsor of Elizabeth Pitcairn and the Cincinnati Chamber Orchestra S U M M E R M U S I K F E S T I VA L 2 0 1 8 4 5
She performed the Brahms Double Concerto with Ronald Leonard under the baton of Yehuda Gilad and Carlo Ponti Jr She has performed the Tchaikovsky Violin Concerto with the San Luis Obispo Symphony music director Michael Nowak and the Beethoven Violin Concerto with Lara Webber and the Livermore Symphony In 2010 on the 20th anniversary of the auction of the Red Mendelssohn Stradivarius she gave a commemorative recital in Cremona Italy with pianist Igor Longato whom she met at the International Tchaikovsky Competition in Moscow in 1998 She has toured northern Italy with the TOCCATA Tahoe Orchestra performing Vivaldi s Four Seasons and in 2017 she will tour Vienna Salzburg and Prague as well as Romania and Serbia Also in 2017 she will perform The Red Violin Chaconne with Maestro Jung Ho Pak and the Cape Symphony and record the Sibelius Violin Concerto which will be released together with the Mendelssohn Violin Concerto Her discography includes the Tchaikovsky and Mozart A Major Concerti with the Slovenia Radio Television Orchestra Hymnen an die Nacht Hymns to the Night by Tommie Haglund with the Helsingborg Symphony for Phono Suecia the Bruch Scottish Fantasy and Sarasate Carmen Fantasy with the Sofia Philharmonic the Beethoven and Bruch Concerti 2015 the Brahms and Mendelssohn Violin Concerti 2016 and the Sibelius Concerto 2017 with the Classic FM Radio Orchestra of Bulgaria conducted by Maxim Eshkenazy The Red Mendelssohn Stradivarius is fitted with Wittner Finetune Pegs and travels in a titanium case by GEWA Her favorite activities are skiing tennis horseback riding and wine tasting For her concert schedule and history of the Red Mendelssohn Stradivarius violin please visit www redviolin com Mable Lecrone Mable is a recent graduate of the School for Creative and Performing Arts SCPA where she served as concertmaster for the school s Chamber and Symphony Orchestras As a Junior at SCPA Mable was one of the winners of the esteemed Corbett Mayerson Competition She has been a member of the Cincinnati Symphony Youth Orchestra Philharmonic for the past three years In 2017 Mable was a winner of the Encore Clermont Concerto Competition awarded by the Clermont Philharmonic Orchestra Mable began playing the violin at age 7 and studied most recently with Marion Peraza de Webb of the Peraza Music Workshop PMW With the PMW ensemble Mable performed at Carnegie Hall and was a featured soloist on a piece for three solo violins and orchestra composed especially for the group Mable also enjoys composing music and plans to pursue both violin performance and music composition in college While performing Mable enjoys making a connection with her audience through the music she plays because it brings her a great amount of joy and a sense of accomplishment Russell Ihrig commentary Associate Director of Interpretive Programming Cincinnati Art Museum Russell s museum career began in 2000 as a student assistant in the Mary R Schiff Library while he was studying fine art at the then adjacent Art Academy of Cincinnati Russell graduated from the Academy in 2003 with a Bachelor of Fine Art with an emphasis in drawing and began working for Happen Inc a local non profit arts organization After working closely with children and families at Happen Inc for 10 years Russell returned to the Art Museum in 2013 to assume the role of coordinator of interpretive programming In 2015 Russell took on the position of assistant director of interpretive programming and in 2016 he started the museum s first podcast Art Palace which he hosts and produces Russell became the associate director of interpretive programming in 2017 4 6 S U M M E R M U S I K F E S T I VA L 2 0 1 8
PROGRAM NOTES by Gavin Borchert Tan Dun b 1957 Death and Fire Dialogue with Paul Klee Self Portrait 1993 As eclectic as he is prolific Tan Dun s resume is a bracingly non doctrinaire mix of the experimental and the populist It includes the score for Crouching Tiger Hidden Dragon for which he won an Oscar concertos incorporating water paper and stones as percussion instruments The Last Emperor written for Placido Domingo and the Metropolitan Opera commissions from the New York Philharmonic and from YouTube and music for the 2008 Beijing Olympics and the Shanghai Disney Resort Born in a village in China s Hunan province his musical talents eventually led him to Columbia University where his dissertation piece was this 10 movement suite inspired by the paintings of Swiss German surrealist Paul Klee Self Portrait for strings only is the fifth movement though the title is one Klee himself used in a painting Tan Dun may also have considered this to some extent a portrait of himself combining as it does the Polish School avant garde styles of composers like Penderecki and Lutoslawski among the many musics of which he got his first taste at Columbia with hints of traditional Chinese instruments and idioms Of the suite Tan Dun wrote I went to an exhibition on the painter Paul Klee at the Museum of Modern Art in New York City I was extremely moved and wanted to write a symphony This became a discussion a dialogue between myself and Klee s paintings not in any sense a musical description of particular works Chen Yi b 1953 Chinese Folk Dance Suite II YangKo 2000 Of the same generation of Chinese composers as Tan Dun Chen Yi s studies took her too from the Central Conservatory of Music in Beijing where she was the first woman to receive a master s in composition to Columbia Her Chinese Folk Dance Suite is basically a concerto for violin Chen s own instrument Flanked by two energetic and driving movements YangKo is by contrast a serene flowing melody for solo violin set against the accompaniment of an orchestra doing something it very rarely does Chen writes Originated in northern China it s a major folk dance form in mass performance popularized in the country In YangKo performance people always play rhythmic patterns on the drums hung around their waists while singing and dancing In my second movement I have imagined a warm scene of YangKo dancing in distance The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non pitch syllables in different layers as the soft background to imitate the percussion sound which produces the evergoing pulse John Corigliano b 1938 The Red Violin Suite 1999 Corigliano s score for the 1998 film The Red Violin is a wonderfully deft combination a virtuoso vehicle for the title instrument a romantic throwback with hints of the sweeping melodramatic scores of Hollywood s Golden Age and a moody atmospheric exploitation of modernist techniques and styles Bach Bartok Berg and Bernard Herrmann all seem to make cameo appearances in the music which helps tell the story of a cursed violin from its manufacture in 1681 to the present day and which won an Academy Award It s scored for solo violin percussion and strings Corigliano extracted no fewer than six concert works from this score As he explains This suite is drawn directly from the film score Both the Chaconne for Violin and Orchestra and the Violin Concerto 2003 were written for full symphony orchestra and were developed from the themes but not the cues of the film score the suite proceeds through the journey of the film offering the soloist a series of bristling solo etudes that wind their way through the plot In addition there s also a version of the Chaconne for violin and piano The Red Violin Caprices for solo violin and The Red Violin Anna s Theme for solo piano S U M M E R M U S I K F E S T I VA L 2 0 1 8 4 7
Johann Sebastian Bach 1685 1750 Violin Concerto in A Minor BWV 1041 1717 23 Original manuscripts for very few of Bach s works exist but scholars best guess is that his three violin concertos two for one violin one for a pair came from his tenure as Kapellmeister at C then 1717 23 when he had an orchestra at his disposal But during his time in Leipzig where he stayed for the rest of his life he was employed not only at St Thomas s Cathedral but also as director of the Collegium Musicum where there was plenty of call for orchestral music A set of orchestra parts in Bach s hand for this Concerto in A minor dates from 1730 just after the beginning of his association with the Collegium 1729 41 indicating that the work was performed but not necessarily composed there The question arises too when and why the keyboard arrangements of this work and of its companion the Concerto in E Major were made Bach reused and reworked pieces constantly not only because of his posts demand for music but surely also because he realized an idea worth using once was worth using twice By eshing out a left hand part for these treble solo lines Bach turned these two violin concertos into harpsichord concertos no less beautiful and e ective For our sake it was good that Bach made these alternate versions some of his dozen odd harpsichord concertos are the only remains of an original work now lost In this concert Bach extends the usual Vivaldian concerto from which alternates passages for the soloist with interludes called ritornellos for the full orchestra Here once the soloist enters he or she never drops out the opening ritornello does return but always with the soloist dancing above spinning decorations In the slow movement the viola and the cello bass lines trade o steadily trudging eighth notes above which the solo violin wanders poignantly in triplets More triplets occur in the jig like nale one of the gayest and wittiest minor key movements anywhere in the repertory Wolfgang Amadeus Mozart 1756 91 Symphony No 35 in D Major K 385 Haffner 1782 How many symphonies did Mozart write For no other composer is the question nearly as complex A composer as proli c and pragmatic as Mozart never hesitated to ransack his own catalog when he needed music in a hurry which complicates the very de nition of symphony On at least four occasions he cobbled one together simply by adding movements to an existing opera overture on others he removed movements from a longer orchestral serenade It seems the number of movements was the only thing di erentiating these genres Sigmund Ha ner senior and junior family friends of the Mozarts while they lived in Salzburg gave two of Mozart s major orchestral works their nicknames First in the summer of 1776 the elder Ha ner mayor of Salzburg commissioned a serenade for a gathering on the eve of his daughter Maria Elizabeth s wedding Its eight movements make this Ha ner Serenade one of Mozart s longest instrumental works When six years later Sigmund Jr was ennobled Mozart s father Leopold wrote to him Wolfgang had moved to Vienna by then and asked for another celebratory piece The timing was less than ideal his opera The Abduction from the Seraglio premiered on July 16 and he got married on August 4 The ceremony was July 26 As he wrote to his father in Robert Spaethling s translation At the moment I m extremely busy A week from Sunday I have to be done with arranging my opera for wind instruments otherwise someone else will do it for me and collect the pro ts instead of me and now you want me to write a new symphony how can I do that but I will make this sacri ce for you dearest father I ll be sending you something for sure every post day and I ll write as fast as I possibly can It seems Mozart originally planned a work in six movements i e a serenade On July 27 the day after the ceremony he wrote You may not want to believe you eyes when you see that I m sending you only the First Allegro but there simply wasn t enough time to do more I had to compose a Night Musique in a great hurry but one for winds otherwise I could have used it for you as well This was the Serenade in C Minor K 388 On Wednesday the 31st I ll be sending you the 2 minuets the Andante and the last movement if I can do it I ll be sending you also a March 4 8 S U M M E R M U S I K F E S T I VA L 2 0 1 8
Vocal Music Dance Instrumental Music DramaVisual ArtsTheatreVocal Music Dance Instrumental Music DramaVisual Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre ArtsTheatreVocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual ArtsTheatre Vocal Music Dance Instrumental Music DramaVisual S U M M E R M U S I K F E S T I VA L 2 0 1 8 4 9
A Little Afternoon Musik Series Sponsors ROSEMARY AND MARK SCHLACHTER S U N D A Y A U G U S T 1 9 4 P M C I N C I N N AT I A R T M U S E U M BALKAN RHYTHMS JOHANNES BRAHMS Hungarian Dance No 5 in F sharp Minor PABLO DE SARASATE Gypsy Airs Elizabeth Pitcairn violin B LA BART K Selections from Romanian Folk Dances PERFORMANCE CURATOR ECKART PREU CCO Music Director JOHANNES BRAHMS ARR MATTHEW NAUGHTIN FROM Piano Quartet No 1 in G Minor Op 25 IV Rondo alla Zingarese Gypsy Rondo JO KN MANN Balkan ARKO JOVANOVI Djelem Djelem Romani Anthem Elizabeth Pitcairn violin VITTORIO MONTI Cs rd s Elizabeth Pitcairn violin GRIGORA DINICU ARR JASCHA HEIFETZ Hora Staccato Elizabeth Pitcairn violin 5 0 S U M M E R M U S I K F E S T I VA L 2 0 1 8 ELIZABETH PITCAIRN violin Eckart Preu Sponsor Donald W Fritz Ph D Elizabeth Pitcairn Sponsors Ann Meranus Marcia Philipps Lib Stone Approximately 1 hour and 10 minutes
T U E S D AY A U G U S T 2 1 7 30PM S O L D O U T and 9 15PM T H E L I B R A R Y V I P L O U N G E AT J A C K C A S I N O THE ROARING 20s IRVING BERLIN ARR BILL HOLCOMBE Alexander s Ragtime Band GEORGE GERSHWIN ARR ERNST THILO KALKE Selections from An American in Paris SCOTT JOPLIN ARR EARL C NORTH Solace a Mexican Serenade SCOTT JOPLIN ARR FRANK SACCI The Entertainer PERFORMANCE CURATOR REBECCA ANDRES CCO principal flute PAUL HINDEMITH FROM Kleine Kammermusik Op 24 No 2 I Lustig M ig schnell Viertel II Walzer Durchweg sehr leise V Sehr lebhaft JEROME KERN ARR BILL HOLCOMBE Selections from Showboat KURT WEILL ARR ALAN R KAY FROM Threepenny Opera Ballad of Gracious Living Song of the Insu ciency of Human Endeavor Ballad of Mack the Knife Event Sponsor Anthony Cole GEORGE GERSHWIN Walking the Dog Approximately 1 hour and 10 minutes S U M M E R M U S I K F E S T I VA L 2 0 1 8 5 1
Photo by Daniele Civello Cologne F R I D A Y A U G U S T 2 4 THE REDMOOR 7 30PM ALT ROCK THE REDMOOR PERFORMANCE CURATOR HEIDI YENNEY CCO principal viola Arrangements and transcriptions of titles by Radiohead such as Paranoid Android House of Cards True Love Waits and Creep and Sun Kil Moon will be performed by Christopher O Riley and a CCO quartet Additional repertoire will be announced from the stage CHRISTOPHER O RILEY piano Event Sponsors Nancy Jonathan Lippincott Approximately 1 hour and 15 minutes M SM UM MM EU RS MIU I KE SFTEI S 52 5 2S U ER KS F VT AILV A 2L 0 1280 1 8 Heidi Yenney Sponsors Kimberly Starbuck and Kevin Pape
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the hero WITHIN 5 4 S U M M E R M U S I K F E S T I VA L 2 0 1 8
T H E H E RO WITHIN SATURDAY AUGUST 25 7 30pm SCPA Corbett Theater Prelude Talk 6 45pm SCPA Mayerson Theater Eckart Preu conductor SAMUEL BARBER Adagio for Strings DMITRI SHOSTAKOVICH Concerto No 1 in C Minor Op 35 for Piano Trumpet and String Orchestra I Allegro moderato II Lento III Moderato IV Allegro brio Christopher O Riley piano Ashley Hall trumpet CHAYA JONES GRACE MOUCH ROBERTO PARKER JACOB STROM ARR SCOT WOOLLEY Heroes World Premiere I Saved My Life Chaya Jones vocals II Goddess Grace Mouch vocals III War Peace of Mind Roberto Parker vocals IV Forward Mission Jacob Strom vocals and piano SUMMERMUSIK SPONSORED BY Robert and Debra Chavez Christopher O Riley is sponsored by Fort Washington Private Client Group Music Resource Center sponsored by Ellen Jon Zipperstein and The Wohlgemuth Herschede Foundation Concert Sheet Music sponsored by Barbara Gould Commission sponsored by Summerfair Cincinnati Post concert reception sponsored by The Mercer Donor and Passholder reception sponsored by Holly Doan Spraul and Wash Park Art Gallery e INTERMISSION f LUDWIG VAN BEETHOVEN Symphony No 3 in E flat Major Op 55 Eroica I Allegro con brio II Marcia funebre Adagio assai III Scherzo Allegro vivace IV Finale Allegro molto Approximately 2 hours and 15 minutes Wine will be available for purchase S U M M E R M U S I K F E S T I VA L 2 0 1 8 5 5
CHRISTOPHER O RILEY Acclaimed for his engaging and deeply committed performances the pianist Christopher O Riley is known to millions as the former host of NPR s From the Top His repertoire spans a kaleidoscopic array of music from the pre baroque to present day He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences During his fifteen years on air Christopher O Riley introduced the next generation of classical music stars to almost a million listeners each week on From the Top broadcast by 250 stations across the United States O Riley also hosted the Emmy Award winning television series From the Top at Carnegie Hall and has collaborated with Yo Yo Ma Bobby McFerrin Midori B la Fleck Joshua Bell Hilary Hahn Sir James Galway Michael Feinstein and many more Christopher O Riley has performed as a soloist with virtually all of the major American orchestras including the New York Philharmonic Los Angeles Philharmonic Philadelphia Orchestra Chicago Symphony National Symphony and San Francisco Symphony He led the Academy of St Martin in the Fields on a two week tour of 10 American cities performing concertos by Bach Mozart and Liszt He also performed G recki and Michael Daugherty s Le Tombeau de Liberace in a series of concerts with the St Paul Chamber Orchestra and toured throughout the United Kingdom with the Moscow Philharmonic He has worked with such renowned conductors as Alan Gilbert David Robertson Leonard Slatkin Neeme J rvi Marin Alsop Semyon Bychkov Hugh Wolff and many others In addition O Riley has performed recitals throughout North America Europe and Australia Living by the Duke Ellington adage There are only two kinds of music good music and bad O Riley a proponent of the former in all of its guises has received the prestigious Avery Fisher Career Grant and an equally coveted four star review from Rolling Stone magazine O Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead Elliott Smith Pink Floyd and Nirvana alongside traditional classical repertoire He has performed recitals featuring these arrangements at such diverse venues as the Istanbul Jazz Festival Highline Ballroom NYC the Knitting Factory LA and South by Southwest Austin TX O Riley also tours with a program called Shuffle Play Listen together with the cellist Matt Haimovitz that combines classical and contemporary repertoire a program called Two to Tango together with Pablo Ziegler featuring new compositions and arrangements based on the music of Astor Piazzolla and one called Out of My Hands featuring music from many genres in a program that is announced from the stage He has collaborated for many years in recitals with the flutist Sir James Galway and cellist Carter Brey A prolific recording artist O Riley has recorded the music of Beethoven Stravinsky Scriabin Liszt Ravel Gershwin Debussy and John Adams for Sony Classical Oxingale Records RCA Red Seal Decca and Harmonia Mundi His most recent solo recording featured two discs of Liszt s transcriptions including songs by Schumann and Schubert the opera paraphrase on Mozart s Don Giovanni the Don Juan Fantasy and Liszt s own transcription of Berlioz s Symphonie Fantastique liberally re imagined by O Riley Also a voracious reader Christopher O Riley has developed a number of projects combining music and literature He has composed scores for works of Mark Z Danielewski and Kris Saknussemm Most recently O Riley collaborated with the choreographer Martha Clarke on Vers la Flamme a fully staged production with six dancers based on short stories of Anton Chekhov set to the music of Alexander Scriabin This program was performed at Lincoln Center The American Dance Festival Jacob s Pillow Festival and the Kennedy Center Christopher O Riley splits his time between Los Angeles and rural Ohio Visit him online at www christopheroriley com 5 6 S U M M E R M U S I K F E S T I VA L 2 0 1 8
ASHLEY HALL Ashley Hall is an internationally renowned trumpet soloist chamber musician and clinician From small rural villages in the developing world to grand concert halls both personally and professionally Ashley has engaged in her passion for building community and inviting people into the experience of music as a tool for connection As the principal trumpet of the Cincinnati Chamber Orchestra Ashley enjoys regular cross discipline artistic collaborations in untraditional and traditional performance spaces in connection with their highly successful Summermusik Festival She also held the position of third trumpet with the Dayton Philharmonic Orchestra from 2003 2012 and has performed with the Sydney Symphony Orchestra Cincinnati Symphony Orchestra Charlotte Symphony Chamber Orchestra of the Triangle Winston Salem Symphony Greensboro Symphony Asheville Symphony New World Symphony Orchestra and Sinfonia Gulf Coast Her work as a soloist and recitalist has taken her around the globe including performances in Taiwan South Korea New Zealand Australia Germany Mexico and China Recent career highlights include solo appearances in Taipei Taiwan with the Grace Orchestra multiple performances of B Minor Mass and cornet solos with the North Carolina Brass Band and the Sheldon Theatre Brass Band As concertmaster of the North Carolina Brass Band member of Carolina Brass and associate artist with the Rodney Marsalis Philadelphia Big Brass Mrs Hall enjoys a busy and diverse performance calendar 2017 season highlights include multiple solo recital tours touring with Stiletto Brass Quintet an Asia tour with the Rodney Marsalis Philadelphia Big Brass returning as guest artist to the Great American Brass Band Festival and being the featured trumpet solo artist at the International Women s Brass Conference Ashley served as the Interim Professor of Trumpet at the University of North Carolina School of the Arts from 2016 2017 and has held collegiate teaching positions at St Olaf College and the University of Dayton With vast experience in Arts Education Ashley served on the board of directors for the Rochester Symphony MN helping the Symphony reimagine its Educational Outreach programming In collaboration with the Dayton Arts Institute she and her husband developed Art and Music Making the Connection an educational program helping students to see the connections between visual art and music as they evolved over time In the fall of 2007 Ashley released her debut album entitled Behold Him a collection of hymns for solo trumpet As a committed follower of Jesus she has given ministry concerts worldwide Mrs Hall has also recorded two CD s with EUROBRASS Give Thanks to the Lord and Worthy is the Lord Ashley holds a bachelor s degree in trumpet performance from the University of Cincinnati College Conservatory of Music and an artist diploma from the Longy School of Music When not traveling and performing she enjoys her second career as a mother to two incredible children Morgan and Kevin and as a wife best friend to Nathan Tighe She proudly endorses GR Mouthpieces S U M M E R M U S I K F E S T I VA L 2 0 1 8 5 7
MUSIC RESOURCE CENTER The Music Resource Center Cincinnati is a multifaceted teen center that uses recording and performing arts as well as life skills mentoring to create a sense of empowerment and accomplishment in the urban community The mission of the Music Resource Center Cincinnati is to inspire teenagers in a culturally diverse and musically focused setting to elevate lifetime photo and academic achievement While stopping at an art store in Over The Rhine local artist Karen D Agostino noticed that the streets were full of kids hanging out appearing as they had no agenda beyond loitering She discussed with friends and family that there was a real need for after school programs for inner city kids If kids don t have something fun to do that would keep them busy they re likely to get into trouble She remembered that a few years earlier in 2003 Dave Matthews Band had done a charity concert in Central Park and donated some of the money raised to an organization in their hometown of Charlottesville VA She did some research and learned of the Music Resource Center founded 1995 Karen contacted the Executive Director Sibley Johns and discussed their program Soon after she would visit their center and instantly fell in love with their program and its effects in the surrounding community Teens from around the city could record and produce their own music take lessons in an instrument of their choice and perform their music for a nominal membership fee The offerings at MRC were at once an answer to the issues affecting Cincinnati s adolescents and an accessible activity that would speak immediately to just about any teen Karen decided Cincinnati needed an MRC After further talks with Sibley and Fritz Berry Board President it was decided that Cincinnati would be MRC s first sister organization using their name philosophy and programs In 2007 the Music Resource Center Cincinnati was officially created and earned its 501 c 3 status The first year was spent conducting focus groups with teens and establishing connections with local non profits educators and funders The feedback generated from the over 200 local teens surveyed indicated both the need and excitement for MRC s programming While a permanent facility was still underway MRC began conducting outreach programming to local schools and recreation centers 5 8 S U M M E R M U S I K F E S T I VA L 2 0 1 8
The first outreach endeavors were funded by grants from Artswave The Mayerson Foundation and The Duke Energy Foundation in 2008 Computers and recording equipment were purchased to offer workshops that would enable teens to make their own recorded music to keep on CD With the support of the staff from MRC C ville Karen conducted four trial Into to Digital Recording outreach programs at local schools Students teachers and administrators all thought this program was successful and it would continue under the direction of newly hired Program Manager Josh Elstro an Electronic Media graduate from CCM Chaya Jones composition and vocals Chaya Jones is a fifteen year old high school student who started writing her own songs in the summer of 2017 Born and raised in Cincinnati Ohio she has always had a love for music Chaya was formally trained through the Suzuki method for violin at the age of three and has taught herself several other instruments since then When she was assigned this project she was ecstatic but had a hard time picking a hero because she wanted to write a tribute to someone who had overcome adversity so she was assigned a Navy veteran who had spent over 20 years in the service She has worked hard and vigorously these last few months with the arrangers and Music Resource Center to properly honor this veteran for his service She wants to thank everyone who gave her this opportunity and hopes everyone will enjoy her song Grace Mouch composition and vocals Grace Mouch is a 16 year old singer songwriter and performer who has lived in the Cincinnati area for her whole life Music is what she intends to dedicate the rest of her life to She is currently learning to produce music through the Music Resource Center and wants to continue to expand her knowledge about music production and engineering In the future she hopes to be preforming and inspiring other people through her melodies and lyrics Roberto Parker composition and vocals Roberto Parker is best known for his numerous experimental ventures in fusing hip hop with other genres of music However Roberto is also a student at the University of Cincinnati CollegeConservatory of Music an assistant sound engineer at Ultrasuede Studios and KL Studios Inc and a visual artist In these ventures Roberto acquires a means to find solace in life and through his work hopes to inspire the same in others Jacob Strom composition piano and vocals Jacob Strom is an avid singer songwriter multi instrumentalist and producer Having started on classical piano at a very young age it was not long before Jacob found himself surrounded by music in his daily life He first started writing songs when he picked up the guitar in 5th grade and formed a rock band with elementary school friends This led Jacob to the Music Resource Center MRC where he had his first opportunities to record music and to play shows around the city Over the years he has made friends with the great family of staff and student musicians at the MRC and this has led to many great musical opportunities Jacob s band opened for MKTO in front of a thousand fans at the Q102 Christmas party in December 2014 Between 2016 2017 he helped fellow member Roberto record a full length album and performed with him during his album showcase at MRC During the start of the New Year Jacob has been working on his own projects and finished a full length album of his own Jacob looks to music not only as a means of bringing joy into lives but also as a platform to send messages that might be harder to get across any other way He is grateful for the opportunity given by MRC to partner with the Cincinnati Chamber Orchestra S U M M E R M U S I K F E S T I VA L 2 0 1 8 5 9
PROGRAM NOTES by Gavin Borchert Samuel Barber 1910 81 Adagio for Strings Op 11 1936 As a young man Barber spent a great deal of time in Europe staying in Italy at the home of his good friend and fellow composition student at the Curtis Institute in Philadelphia Gian Carlo Menotti living off the proceeds of various composition prizes and scholarships Among these was the most prestigious award a young composer could earn the Prix de Rome which entitled its winner to two years study at the American Academy in Rome Barber s term there began in October 1935 Prix de Rome winners were expected to turn out some substantial work during their stay and the director of the Academy suggested a string quartet This would be Barber s first work of that title though he d earlier composed a Serenade for string quartet Op 2 The quartet in residence at Curtis was planning a European tour Barber heard so he contacted them in the spring of 1936 offering to write a new piece for them promising it by that August But the work went slowly Europe understandably provided many a distraction and the last movement was barely finished just before the first performance by a different quartet as it happened in December Barber withdrew this makeshift finale and over the years revised it three times before he was finally satisfied No such qualms attended the second movement which he called a knockout in a letter to a friend just after completing it that September All this time Barber had been worrying over how to respond to Arturo Toscanini s request for a piece Some composers have it so tough The great conductor was already a legend when Barber first met him in 1933 he and Menotti had simply knocked on the door of Toscanini s villa on the Isola di San Giovanni and were greeted with a warmth that soon became a true friendship but he was known for an antipathy to both modern music and American music Finally in 1938 Barber came up with two works he felt were worthy of Toscanini his First Essay for Orchestra and an arrangement for full string orchestra of the string quartet s second movement entitled Adagio for Strings The composer still in his 20s was flabbergasted by the news that Toscanini had decided to perform them both Toscanini premiered the Adagio in November 1938 and conducted both works on tour in England and South America The Adagio of course went on to become Barber s greatest hit and one of the most popular pieces of the 20th century As composer Ned Rorem once put it Even as you read these words somewhere in the world Samuel Barber s Adagio for Strings in being played an Adagio whose strings thank God are still and always twining about our world Dmitri Shostakovich 1906 1975 Piano Concerto No 1 in C Minor Op 35 1932 During most of 1932 Shostakovich was hard at work on Lady Macbeth of Mtsensk the opera that would draw such a serious and chilling denunciation from Stalin in the years to come He took a break March to July from that brutally intense work to compose a light and sparkling concerto for the piano his own instrument On the occasion of a performance in 1933 Shostakovich contributed to a Soviet newspaper an oddly cold and distant account of the piece quite at odds with the work s brilliance This was my first attempt at filling an important gap in Soviet instrumental music which lacks fullscale concerto type works What is the basic artistic theme of this concerto I do not consider it necessary to follow the example of many composers who try to explain the content of their works by means of extraneous definitions borrowed from related fields of art I cannot describe the content of my concerto by any means other than those I used to write the concerto I am a Soviet composer Our age as I perceive it is heroic spirited and joyful This is what I wanted to convey in my concerto It is for the audience and possibly the music critics to judge whether or not I succeeded The reader may well be suspicious of this official sounding pronouncement For a Soviet composer in the 30s i e the years of Stalin s terror to say anything about his music other than I tried to convey 6 0 S U M M E R M U S I K F E S T I VA L 2 0 1 8
the heroic spirit of our time was to put it mildly ill advised But the Concerto No 1 is not merely heroic and joyous it runs the gamut of moods from desolation to an outrageous madcap gaiety However his dig at his colleagues probably does reflect a certain impatience with the heavy handed political preaching then current in Soviet art with its May Day symphonies and tone poems apotheosizing Lenin and the workers Yet Shostakovich wrote a few such pieces himself Another surprising statement about this concerto came during an interview with American television in 1973 when Shostakovich said it was written under the influence of American folk music That s one way to hear it Part of the fascination of Shostakovich s music for contemporary musicians and audiences is its rich ambiguity the range of creative choices it offers Do you want to read the piano s opening statement in spare two part counterpoint as simple and pastoral or stark and empty The Lento an extremely slow waltz wistful and bittersweet or black and despairing The galloping finale exuberant and good natured or edgy satirical and frenzied The addition of the trumpet to the ensemble was a brilliant imaginative stroke Used exactly the right amount in precisely the most effective places it and the piano make a splendidly complementary pair of protagonists Chaya Jones Saved My Life 2018 This song inspired by a Navy vet has a powerful message based around simplicity I wrote this song not to be too descriptive I wanted some things to be left to the imagination When I spoke with the Navy vet Patrick he gave me a number of events and details but never went in depth about what happened So I wanted this song to encompass how he spoke but still get across the message I tried to convey Sit down relax and enjoy the story of some extremely brave and amazing people notes by Chaya Jones Grace Mouch Goddess 2018 Goddess An indestructible strong loving happy fierce immortal force When we are young we see our role models parents and grandparents as this We think that they know all and fear nothing They feel no pain they are always happy always truthful and will always stay the same As we grow older we begin to see that this simply is not true We start to see that some are chained to their wine bottles and others are held captive by their own minds that show them nothing but darkness We start to see that these people who we for so long thought to be perfect are in fact HUMAN This song is meant to honor their flaws and strength Despite their struggles they raised us taught us the best they could and made us believe that everything would be okay Margaret is someone I saw as a fierce all knowing indestructible goddess She was and is someone I will strive my best to be like Not because of the perfection I saw when I was a child but because of the flaws and pain that I see she had the strength to endure She has taught me to love unconditionally and imperfectly because that is what makes us human notes by Grace Mouch S U M M E R M U S I K F E S T I VA L 2 0 1 8 6 1
Roberto Parker War and Peace of Mind 2018 War and Peace of Mind is a song written to bring honor and attention to my cousin a veteran of the Iraq War and recipient of a Purple Heart as well as to call attention to issues which I know that he and I both hold important Through the use of ominous chords and the juxtaposed aggressive tone of the song I deliver a heartfelt message that covers the trials of being a veteran suffering from PTSD and feeling like an unwanted immigrant in a country where one is a citizen notes by Roberto Parker Jacob Strom Forward Mission 2018 Forward Mission follows the life of Michael Mathers a veteran of the US army During his time in the army Michael was delegated to the position of forward observer which meant that he and his comrades would go out before the army before even the scouts beyond the frontier of battle to gather intel and determine the next plan of action for the army During one of these forward missions Michael was shot in the neck and severely wounded The situation was life or death and for a short while indeterminate Fortunately Michael is here today to tell his story Though his career in the military may have ended prematurely he is now becoming active in politics and drawing from his experiences in the military to advocate for change In a sense Michael s story can serve as a microcosm to our larger forward mission of ensuring that people are recognized for their service and for their lives Michael s story is unique and touching but Michael s story could be anybody s story Michael s story has been the story of thousands even millions before us I think our mission going forward should be to care a little more and to be as compassionate to human lives everywhere as possible This is what the song is really about notes by Jacob Strom Ludwig van Beethoven 1770 1827 Symphony No 3 in E flat Major Eroica 1803 It s one of the best known legends in the Beethoven hagiography the story of Beethoven s furious re titling of his Third Symphony His friend Ferdinand Ries recollected the scene In this symphony Beethoven had Buonaparte in mind Beethoven esteemed him greatly and likened him to the greatest Roman consuls I was the first to bring him the intelligence that Buonaparte had proclaimed himself Emperor whereupon he flew into a rage and cried out Is he then too nothing more than an ordinary human being Now he too will trample on all the rights of man and indulge only his ambition He will exalt himself above all others become a tyrant Beethoven went to the table took hold of the title page of the symphony s manuscript score by the top tore it in two and threw it on the floor The first page was rewritten and only then did the symphony receive the title Sinfonia eroica The title page dated August 1804 still exists not torn in two but with the name Bonaparte scratched out so vigorously that Beethoven s quill tore a hole in the paper But Maynard Solomon in his masterful biography of the composer devotes a fascinating chapter to the legend entitled Bonaparte The Crisis of Belief Of course there s much more to the story than Ries s anecdote Beethoven went back and forth in his attitude toward Napoleon A few points Solomon raises 1 Beethoven had in 1796 and 1797 composed a couple pro Habsburg anti Napoleonic patriotic songs 2 When in 1802 the publisher Hoffmeister suggested that Beethoven compose a sonata in honor of Napoleon the composer responded dismissively Has the devil got hold of you all Gentlemen Perhaps at the time of the Revolutionary fever such a thing might have been possible but now that Buonaparte has concluded his Concordat with the Pope reestablishing Catholicism as the official state religion of France you won t get anything from me 6 2 S U M M E R M U S I K F E S T I VA L 2 0 1 8
3 Beethoven thought at one point of dedicating the symphony to Bonaparte but when he learned that his patron Prince Lobkowitz wanted to give 400 ducats for the performing rights for six months Beethoven honored the Frenchman with a different gesture putting his name in the title and gave the dedication to Lobkowitz 4 Shortly after this Beethoven was thinking about a concert tour to Paris which never panned out Solomon observes rather cynically The Bonaparte symphony may have been intended to smooth Beethoven s entry into the French capital And the cancellation of the tour coincided rather closely with the final removal of Bonaparte s name from the Third Symphony 5 Beethoven sometime later re penciled in on his title page the words Geschrieben written auf Bonaparte and mentioned to his publisher The title of the symphony really is Bonaparte 6 Later in 1809 when Napoleon s troops were again laying siege to Vienna the city was occupied from May to November of that year Beethoven became friendly with one Baron de Tremont one of Napoleon s councilors and sounded him out about the possibility of visiting Paris and being received by the Emperor 7 Beethoven apparently considered but later declined an offer of the post of Kapellmeister at the court of Westphalia where Napoleon had installed his brother Jerome as King 8 Beethoven led a performance of the Third Symphony on Sept 8 1809 perhaps expecting Napoleon s attendance and notice 9 In 1810 Beethoven considered dedicating his Mass in C to Napoleon 10 Years later in 1824 Beethoven remarked to his pupil Carl Czerny Napoleon I could not tolerate him earlier Now I think quite differently Also don t forget Beethoven s descriptive battle piece for orchestra entitled Wellington s Victory In case you were wondering about the nickname for his Piano Concerto No 5 Emperor that wasn t Beethoven s homage to Napoleon the piece acquired the nickname later in the 19th century His shifting political sympathies were perhaps like those of Casablanca s prefect of police Renault I blow with the wind Napoleon the republican and anti monarchist was one thing Napoleon the war monger who attacked his hometown was another Beethoven s final inscription on the symphony reads In memory of a great man thus he speaks in general terms rather than specifically about Napoleon The symphony s second movement a funeral march leads many commentators to see this as a lament for a fallen hero and the work as a whole as a sort of biography But I wonder if it might not be more valuable to read the work not as Beethoven s portrait of Napoleon or of anyone but as a record of his own conflicted feelings toward the leader The storms of the first movement might be heard as Beethoven s own struggles with his social conscience the funeral march mourns not the death of a man but the death of ideals feelings of disillusionment in memory of a great man i e one who was great but who fell in Beethoven s esteem And listening to the rustic scherzo and the exhilarating grandeur of the themeand variations finale I m reminded of what Tchaikovsky said about his own Fourth Symphony which also features a tempestuous first movement a tragic second and a boisterous finale If you cannot find reasons for happiness in yourself look at others Get out among the people Oh how gay they are Life is bearable after all Beethoven might almost have been presaging Tchaikovsky s subtext when he chose as the movement s theme a tune he d used in a set of dances and in his ballet The Creatures of Prometheus S U M M E R M U S I K F E S T I VA L 2 0 1 8 6 3
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The Cincinnati Chamber Orchestra wishes to thank the following individuals corporations and foundations for their generous financial support between August 5 2017 and July 25 2018 If a name has been inadvertently omitted please contact Ralf Ehrhardt at 513 723 1182 x102 or email ehrhardt ccocincinnati org so we can correct our records Festival 5 000 up A Friend of the CCO ArtsWave Mr and Mrs James Bushman Mr and Mrs Martin Chavez Mr and Mrs Robert Chavez Chavez Properties The Charles H Dater Foundation The Louise Dieterle Nippert Musical Arts Fund The Thomas J Emery Memorial of The Greater Cincinnati Foundation Fort Washington Private Client Group The Austin E Knowlton Foundation Mr and Mrs Jonathan Lippincott Ohio Arts Council Ms Eugenie Redman Dr and Mrs G James Sammarco Mr and Mrs Mark Schlachter The Sutphin Family Foundation Mr Brian L Tiffany USA Eagle US Bank US Bank Private Wealth Management Group The Maxwell C Weaver Foundation The Wohlgemuth Herschede Foundation Conductor 3 000 4 999 A Friend of the CCO Mr Donald W Fritz Ph D Ms Linda Holthaus Betsy C B and Paul G Sittenfeld Mr and Mrs Christopher Sparks Concertmaster 1 500 2 999 Mr and Mrs Thomas Abare Ms Lucy Allen Ms Melanie Chavez and Mr Jeremy Campbell Duke Energy Ms Diane Dunkelman Electronauts Ms Barbara Gould The Jewish Foundation of Cincinnati The Robert A and Marion K Kennedy Charitable Trust The Mayerson Foundation Mr Michael Moore Mr and Mrs Michael Motch Dr Reena Dhanda Patil Mr Daniel Pfahl M Ruth Schwallie and Mr Mark Silbersack Summerfair Cincinnati Thompson Hine LLP Mr and Mrs William Tsacalis Mr and Mrs Jon Zipperstein Orchestra 750 1 499 Ms Marina Abanto Mr Eric Allen Mr and Mrs Frederick Bryan III Mr and Mrs Johnnie Carroll Mr Anthony Cole Mr and Mrs Gregory Coons Mr and Mrs David Davis Mr and Mrs Ashley Ford The Friedlander Family Fund GE Aviation Mr Clifford Goosman Mr and Mrs John Hayden Mr Peter Hsi and Dr Jocelyn Wang Mr and Mrs Glenn Larsen Ms Judith Lucas Mr Larry S Magnesen Mr and Mrs David Motch Mr and Mrs Wesley H Needham Tom and Margaret Osterman Foundation Fund of The Greater Cincinnati Foundation Ms Marcia Philipps Mr and Mrs Joseph Pichler Ms Roxanne Qualls Dr Max Reif Mr and Mrs Kaoru Suzuki Ms Karen Tully Mr and Mrs William Zeck Benefactor 500 749 Mr and Mrs Richard N Aft Ph D Mr Bruce Aronow Ms Diane Babcock Mr and Mrs John Boorn in honor of Barbara Bushman CT Consultants Mr Eric Dauer Mr and Mrs John Dye Ms Joyce Elkus Mr and Mrs Davis Griffin Ms Jessica Guarnaschelli Ms Florette Hoffheimer Ms Kathryn Shahani Ms Kimberly Starbuck and Mr Kevin Pape Ms Sue Ellen Stuebing Mr and Mrs Timothy Tepe Mr and Mrs David Warner Patron 200 499 A Friend of the CCO Mr and Mrs Michael Andres Mr and Mrs Christopher Barnes Ms Rachelle Bruno and Mr Stephen Bondurant Mr and Mrs William Butler Mr David Merrill Carter S U M M E R M U S I K F E S T I VA L 2 0 1 8 6 5
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In Memory of Geraldine Chavez Betsy and Paul Sittenfeld Ellen Smith Carol Ted Striker Marcella Michael Vilardo Leslie Wayne Westland Investment Co Peninah Frankel Nancy Morris Tara Noland Mark Palazzo Luke Mary Robinson Sandra Salmans Rosemary Mark Schlachter Christopher Shrivers A Friend of the CCO Marina Abanto Robert Betagole Alison Bushman Vicki Calonge Shawn Compton CT Consultants Kathryn Fortlage The Vicki Reif Memorial Fund est 2017 Anna Joe Backer Ralf Ehrhardt Natalie Endres Zack Germain Cliff Goosman Jessica Hendrickson Helene Herbert Tyler Roe Mary Keith Herbert Kat Keers Rachel Kirley Joe Jaquette Kristi Dan Reed Rosemary Schlachter Taj Seyal Sofia Luc Szari Angela Williamson JR Cassidy Jenn Wilt Music Minions Cindy Lewis Michael Moore Dan Pfahl Emeritus Board Music Sponsors Dick Aft Barbara Bushman Paul G SIttenfeld Julie Washington G James Ruthann Sammarco Amahl Scholarship Fund est 2013 Mr Mrs Richard N Aft Ph D Ms Ruth Bosley Mr James Brady Mr Emmanuel Briquet Mrs Barbara Bushman Mr Mrs Jean Robert de Cavel Mr Brad Denham Mr Kenneth Dunn Ms Mary Ann Gardner Mr Edward Givens Mr and Mrs Brendon Hansford Ms Ashley Hood In Kind 18 8 Fine Mens Salons Artichoke Artworks The BMW Store at Stewart Road Boca Restaurant Gavin Borchert Barbara Bushman Nat Chaitkin Christopher Marcus at the Madison Cincinnati Public Radio UC College Conservatory of Music DIGS Donlin Associates Hyde Park Bethlehem UMC Mr Emmit and Ms Erika Jones Ms Tomoko Kanamaru Ms Sujean Kim Ms Alicia Krall Ms Maria Gardner Lara Ms Debbie LaVoie Mr Russell McNamara Mr Charles McOsker Ms Julia Nicholson Ms Danielle Niemeier Ms Mary Ohlinger Pray Ms Germaine Overman Ms Sandra Pineau Mr George Ragland Mr Karl Ranne Mr Tim Reeves Dr Mrs G James Sammarco Mrs Rosemary Schlachter Ms Kathleen Simon Mr Andrew Speno Mr Tom Syzek Ms Barbara van Doren Kristi Reed Fig Leaf Rhinegeist Brewery Fit Philosophie Robert Sala Architect Folchi s Soho Boutique Harmony Fund Solway Gallery John L Harrison Switch Lighting Design Helene Herbert Ten Thousand Villages Hyde Park Gourmet US Bank Tom Kereiakas Wash Park Art Gallery Nancy Lippincott Michael Wilson Malton Gallery Hilton Cincinnati Netherland Plaza Yoga Ah Zula Restaurant Reena Patil Dan Pfahl Jeffrey Ramirez S U M M E R M U S I K F E S T I VA L 2 0 1 8 6 7
CCO Board of Trustees Officers Wesley H Needham Nancy Lippincott Christopher Sparks Ruth Schwallie Rosemary Schlachter Daniel Pfahl President and Chair Marketing Chair Community Engagement Education Treasurer and Chair Finance Vice President Chair Development Secretary William Tsacalis Chair Governance Trustees Marina Abanto Terri Abare Eric J Allen Johnnie B Carroll Robert Chavez Gregory Coons Linda Holthaus Peter Hsi Scott Lang Michael Moore Reena Dhanda Patil Roxanne Qualls Kaoru Suzuki Brian Tiffany Wesley Woolard Honorary Trustees Richard N Aft Ph D Boris Auerbach Barbara Bushman Sally Connelly Dr G James Sammarco Mrs Ruthann Sammarco Paul G Sittenfeld Emeritus Board Michael Abney James Adams Richard N Aft Ph D Jeffrey Anderson Boris Auerbach William Balzano Carol Beddie Paul Bernish Jo Ann Bobbitt John R Brooks Paul Brunner Thomas Buck Susan Buse Barbara Bushman Kenneth Butler Brook Chertock Rebekah Chesnes Michael A Cioffi William Clark Stephen Conaton Sally Connelly Robert Conway Jr Scott Cook Joel C Cornette Jeffrey Craig Wilfrid Daly Amy Darrah Rafael de Acha Robert Elias Bettina Engelmann Jerome Ewers Julie Farkas Thomas W Filardo Josef E Fischer Katharine Frank Donald W Fritz Ph D Nicholas L Fry Jennifer Funk Linda Goodroe David Habisch William Hahn Emily Harbold Mort Harshman Colleen Hauser Betsy Hodges Margaret Hoffman Helle Banner Hoermann Daniel Hoffheimer Richard Isgrig Carol Iwasaki Paul Jakubowksi Katherine Janson Paul Jetter Florence Kaufman David A Klingshirn Florence Koetters 6 8 S U M M E R M U S I K F E S T I VA L 2 0 1 8 Marvin Kolodzik Mark Kroeger Ronald Kuzma Erin Lombardi Joanie Lotts Larry S Magnesen Randolph McAusland Karen McKim Cortland Meader Rajani Menon Michael Motch Vicky Motch Dean Moulas Christine E Neyer Cora Ogle Laurence Olivier John Palmer Albert Peter Sally Krefting Phillips Jane Pope Joyce Re Melody Sawyer Richardson William Riggs Jack Rouse Ruth Sawyer George A Schaefer David B Schwartz Thomas Schwartz Art Shriberg Linda Siekmann Paul G Sittenfeld Edward Spaeth Shane Starkey Cindy Starr Brett Stover Timothy Tepe Richard Tripp Serena Tsuang Karen Tully Alice Rogers Uhl Steven Vamosi Denise Vandersall Stephanie Allgeyer Vest Rea Waldon Julie Washington Gail W Wells Duncan White Shelby Wood
CCO Staff LeAnne Anklan Jon S Noworyta Ann Stewart Lyndsay Coleman Eckart Preu Manami White Ralf Ehrhardt Laura Sabo Stacha Yundt Lorna Hayes Isaac Selya General Manager Assistant Conductor Development Manager Business Grants Manager Production Associate Music Director Stage Manager Communications Manager Orchestra Personnel Manager Marketing Associate Resident Conductor CCO Legacy Society Legacy commitments support the Orchestra s endowment A legacy gift is an ideal opportunity to support chamber orchestra music in our community The CCO Legacy Society was established to recognize those who have chosen to help benefit future generations of concertgoers and students For more information on how you can create your own CCO legacy by becoming a member of the CCO Legacy Society or by making a gift to the endowment please contact Lyndsay Coleman at 513 723 1182 or coleman ccocincinnati org Legacy Society Members Michael T Moore Jr Rosemary and Mark Schlachter Mark Silbersack and Ruth Schwallie HOW TO CONTACT US Cincinnati Chamber Orchestra 4046 Hamilton Avenue Suite 200 Cincinnati OH 45223 Ticketing Office 513 723 1182 x102 info ccocincinnati org www ccocincinnati org TICKETS Please don t allow your seat to go empty If you can t use your tickets for an upcoming concert you have numerous options We encourage you to give them to a friend it s a great way to introduce others to the CCO You can exchange your tickets for another performance Or you can return them to the CCO for a tax refund For ticket returns and exchanges please be sure to contact the office no later than 48 hours prior to the concert for which you hold tickets CONCERT COURTESY Stuck in traffic Please note that latecomers will be asked to remain in the lobby so as not to disturb other patrons At an appropriate musical break ushers will assist latecomers into the hall Rrring Please turn off all watches cell phones and pagers prior to the start of the performance The use of photographic and recording devices is strictly prohibited in the hall during performances Concerts are recorded professionally for archival purposes only Smoking is prohibited in all performance venues S U M M E R M U S I K F E S T I VA L 2 0 1 8 6 9
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