WHAT’S INSIDE

CONCERTS

Masterworks Chamber
36 Royal Fireworks 33 Chamber Music at the
City Gallery
43 Romeo & Juliet
40 Magnetic South:
59 Mozart’s Requiem Stravinsky and Foss
68 Russian Romantics 56 CSO Brass Quintet
and Organ

Pops
30 Around the World in Special Events
80 Minutes
66 Charlton With Strings
52 Masquerade!

Charleston Symphony Youth Orchestra

48 Side by Side Concert

4...........House Notes 18.........CSO Chorus

8...........Musicians 22........Charleston Symphony
10.........Guest Musician Sponsors Orchestra League, Inc.
11...........Board of Directors 26........Educational Programs
12.........Administration 29........Musician Roster
13..........Letter from Executive Director 73.........Membership Benefits
14..........Music Director 74.........Donor Recognition
16.........Principal Pops Conductor 77.........In Honor/In Memory
17..........From the Symphony 80........Guest Musician Hosts/In-Kind Gifts

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C h a r l est on Sy m ph on y.or g 3
 HOUSE NOTES

Thank you for attending this performance of the Charleston Symphony. Here
are some tips and suggestions to enhance the concert experience for everyone.

TICKET INFORMATION STUDENT DISCOUNTS

INDIVIDUAL CONCERT TICKETS
Online:
www.CharlestonSymphony.org
In Person:
Charleston Symphony Office: 2133 N. Hillside
Drive (West Ashley) Monday thru Thursday, 9am
to 5pm and Friday 9am to 12pm and beginning two
hours prior to a performance at the concert venue.
Gaillard Center Box Office (for Masterworks and
Pops concerts only): Monday through Friday,
11am to 6pm and beginning two hours prior to
a performance.
Will Call closes 30 minutes after
performance begins.
By Phone:
Charleston Symphony...............................(843) 723-7528
The Gaillard Center Box Office..............(843) 242-3099
Students ages 6-22 may take advantage of the
following discounts. Some concerts are excluded
or have special pricing noted on the Charleston
Symphony website. Purchase student discount
tickets at the Charleston Symphony box office
(not Gaillard). College students must show their
valid college ID card.
$80 Gold Student Membership to attend

8 Masterworks, 4 Pops, and 3 Chamber
Music concerts.
Half Price Student Tickets when purchased
in advance. 

$10 Student Rush Tickets (subject to availability,
at the box office on night of concert only.) 

FOR THE ENJOYMENT OF ALL
ELECTRONIC DEVICES
Please refrain from using personal electronic
devices during the performances.
LATE SEATING
In consideration of both artists and audiences,
latecomers will be seated at the discretion of the
staff. Doors open one hour before the beginning
of concerts and Will Call closes 30 minutes after
concert starts.

As an added benefit for our subscribers, if you are unable to

SUBSCRIBER attend one of your subscription concerts, visit the Charleston
Symphony offices at 2133 N. Hillside Drive no less than 48 hours
EXCHANGES prior to the performance to exchange tickets for a future concert
(subject to availability, some exclusions apply).

4 Charl estonSympho ny.o r g

FOR YOUR COMFORT, PLEASE HELP US RECYCLE
CONVENIENCE, & SAFETY
Please keep your program guide if you wish. We
also encourage patrons to place your program
PARKING
guide in the recycle baskets outside the entrances
Two paid parking garages are located near the
to the hall as you leave this performance for use at
Gaillard Center: the Gaillard Parking Garage (flat
future performances.
$5 fee) adjacent to the hall and the parking garage
located at the end of Calhoun Street near the South
Concerts, performers, dates, times, and locations
Carolina Aquarium.
are subject to change.
The Cumberland Street Parking Garage is near the
Your attendance constitutes consent for use of
Dock Street Theatre.
your likeness and/or voice on all video and/or
audio recordings and in photographs made during
ACCESSIBILITY Charleston Symphony events.
To purchase wheelchair-accessible tickets, please
call Patron Services at (843) 723-7528 x110.
IMPORTANT INFO
RESTROOMS
All restrooms in The Gaillard Center are handicap CHARLESTON SYMPHONY
accessible. Restrooms are available on all levels, PATRON SERVICES
with the exception of the Dress Circle. (843) 723-7528, ext. 110

CONCESSIONS ADDRESS
Concessions are available for purchase before Mail: PO Box 30818 Charleston, SC 29417
concerts and during intermission. Food is not Physical: 2133 N. Hillside Drive Charleston, SC 29407
allowed inside either performance hall.
OFFICE HOURS
FOR YOUR SAFETY Monday-Thursday: 9am - 5pm
Friday: 9am - 12pm
In the event of an emergency, please use the exit
nearest your seat. This is your shortest route out of WEBSITE
the hall. Charleston Symphony staff members are www.CharlestonSymphony.org
onsite at all performances.
DEVELOPMENT
(843) 723-7528, ext. 115

CHARLESTON SYMPHONY E-NEWS

Receive the latest news, information and special
pricing opportunities by signing up for the CSO’s
e-news at www.CharlestonSymphony.org.

Concerts, performers, dates, times,
and locations are subject to change.
Your attendance constitutes consent for use of
your likeness and/or voice on all video and/or audio
recordings and in photographs made during CSO events.
SOCIAL MEDIA
Facebook: www.facebook.com/CharlestonSymphony
Instagram: CharlestonSymphonyOrchestra
Twitter: @ChsSymphony
YouTube: www.youtube.com/user/ChasSymphony
Use hashtag #CharlestonSymphony throughout
the season!

C h a r l est on Sy m ph on y.or g 5
6 Ch a rl e sto nSymp hony.o rg
 MUSICIANS
CONDUCTORS

Ken Lam Yuriy Bekker Kellen Gray

Music Director Principal Pops Conductor Assistant Conductor
Sponsored by Herzman-Fishman Charitable Fund Sponsored by Valerie and John Luther
and Carol H. Fishman

CORE MUSICIANS

Yuriy Bekker Micah Gangwer Asako Kremer Alexander Boissonnault

Concertmaster Assistant Concertmaster Assistant Principal Violin
Sponsored by Mrs. Andrea Volpe Sponsored by Second Violin Sponsored by
Stuart and Sheila Christie Sponsored by Albert and Caroline Thibault
Dr. and Mrs. Mariano La Via

Jan-Marie Joyce Alexander Agrest Norbert Lewandowski Damian Kremer

Principal Viola Viola Principal Cello Assistant Principal Cello
Sponsored by Sponsored by Sponsored by The Gray Foundation Sponsored by
Ted and Joan Halkyard Dr. Jeffery and Mrs. Tammy Dorociak Principal Cello Chair Permanently Barbara Chapman
endowed by the CSOL®

8 Ch a rl e stonSympho ny.o rg
Jessica Hull-Dambaugh Regina Helcher Yost Zachary Hammond Kari Kistler
Principal Flute Second Flute & Piccolo Principal Oboe Second Oboe & English Horn
Sponsored by Sponsored by Co-Sponsored by Miriam DeAntonio Sponsored in loving memory of
Roger and Vivian Steel Paul and Becky Hilstad and Nicholas and Eileen D’Agostino, Jr. John Frampton Maybank

Charles Messersmith Gretchen Roper Joshua Baker (On Leave) Katherine St. John
Principal Clarinet Second Clarinet Principal Bassoon Second Bassoon
Sponsored by Sponsored by Sponsored by Sponsored by
Ilse Calcagno Ann and Henry Fralix Dr. and Mrs. William T. Creasman Rajan and Suman Govindan

Brandon Nichols Anne Holmi Christopher Lindgren Thomas Joyce

Principal Horn Second Horn Principal Trombone Bass Trombone
Sponsored by Sponsored by Sponsored by Sponsored by
Cindy and George Hartley Ted and Tricia Legasey Dr. Cynthia Cleland Austin Robert and Helen Siedell

Thomas Bresnick Antonio Marti Beth Albert Ryan Leveille

Principal Bass Principal Trumpet Principal Timpani Principal Percussion
Sponsored by Sponsored by Sponsored by Sponsored by
Dr. James and Claire Allen Mr. and Mrs. Burton Schools Dr. S. Dwane Thomas Anne P. Olsen

C h a r l est on Sy m ph on y.or g 9
 GUEST MUSICIAN
SPONSORS

T
he Charleston Symphony is very fortunate to have talented guest musicians who
supplement our core orchestra to provide you with the best symphonic experience.
We are also fortunate to have exceptionally generous donors who help make it
possible for us to engage these talented musicans.

For a gift of $5,000 or more, you too can sponsor one of these available guest musician chairs.

Flute Merinda Smith Percussion Available

Available Piano Mr. David Savard

Clarinet Available Violin William and Corinne Khouri

Oboe Ms. Katherine M. Huger Michael and Barbara Moody

Available Available

Bassoon Available Viola Ann and Lee Higdon

Horn Ike and Betsy Smith Available

Available Cello Mr. and Mrs. Wayland H. Cato, Jr.

MacDonald Carew
Trumpet * Friend of the CSO
Family Fund

Available Sue and Ken Ingram

Trombone Available Elizabeth Rivers Lewine

Tuba Available Available

Harp Available Bass Frank and Kathy Cassidy

Dr. and Mrs. Fritz Lorscheider

Available

To participate, please contact the Developmet Office at (843) 723-7528 ext. 115.

10 Ch a rl estonSympho ny.o r g
 BOARD OF DIRECTORS
EXECUTIVE COMMITTEE
President: Robert Siedell – President, Japan and Australia/New Zealand Region Head,
American Express International, Inc. (Retired)
Treasurer: Lenna Macdonald – Chairman/Finance & Administration, MedTrust Medical Transport, LLC
Vice President, Artistic: Edward Hart – Chair, Department of Music, College of Charleston, Composer
Vice President, Development: Lee Higdon – President of Connecticut College (Retired)
Vice President, Nominating & Governance: Carol H. Fishman – Attorney (Retired) and
Community Volunteer
Paul Hilstad – Partner and General Counsel, Lord, Abbett & Co, LLC (Retired)
Norbert Lewandowski – Principal Cello, Charleston Symphony
Kathleen Reid – President of the Charleston Symphony Orchestra League, Inc.

DIRECTORS
Judy E. Chitwood – Charleston Symphony Advocate
Jerry Hudson Evans – Partner Attorney, Richardson, Patrick, Westbrook & Brickman, LLC
Ann Hurd Fralix – Fundraising Professional (Retired), Charleston Symphony Advocate
Natalie Ham – General Counsel for Charleston County School District
Eddie Irions, M.D. – Partner, Charleston GI
Cynthia Mabry – Charleston Symphony Advocate
Jon W. Olson – Sr. Vice President & General Counsel, Blackbaud, Inc.
Roy Owen – Partner, Deloitte Consulting (Retired)
David Savard – Charleston Symphony, Charleston Symphony Orchestra League, Inc., and Artistic
Community Advocate, Eaton Corporation (Retired)
Byron Stahl – Financial Advisor, Partner, Coastal Wealth Management

VOTING EX-OFFICIO MEMBERS

Bob Hill – Banker (Retired)

NON-VOTING EX-OFFICIO MEMBERS

Rick Goldmeyer – President, Charleston Symphony Orchestra Chorus
Becky Hilstad – Past President, Charleston Symphony Orchestra League, Inc.
Kyle Lahm – Cultural Arts Director, City of North Charleston
Jennifer Luiken – Professor of Voice, Charleston Southern University
Valerie Morris – Dean, School of the Arts, College of Charleston
Mike Whack – Special Assistant to the Mayor, City of Charleston

LIFE MEMBERS
James Allen Max Hill, Jr. Marianne Mead Burt Schools
Ted Halkyard Ted Legasey Eloise Pingry

HONORARY TRUSTEE
Ellen Dressler-Moryl

C h a r l est on Sy m ph on y.or g 11
 ADMINISTRATION

Executive Director FINANCE OPERATIONS MARKETING

Michael Smith Director of Finance General Manager Director of Marketing
Jeff Irwin Kyle Lane Kate Gray
Executive Assistant
and Board Liaison DEVELOPMENT Personnel Manager Marketing Coordinator
Karen Piraneo Director of Development Thomas Joyce Seda Avdan
Alana Morrall
PATRON SERVICES Production Manager Marketing Coordinator
Director of Patron Development Mason Wills Mandie Ronick
Services Coordinator
Cynthia Branch Hannah Charney Music Librarian EDUCATION
Rachel Gangwer Director of Education
and Community
Engagement
Mitsuko Flynn

12 Ch a rl estonSympho ny.o r g
 EXECUTIVE DIRECTOR
Michael Smith
Dear Patrons,
I am excited and humbled to welcome each one of you into
the hall tonight. This is our 82nd season as a symphony
orchestra, and we could not be here without your support.

I could talk at length about this season’s beautiful repertoire,

but I will allow Ken to do that on the next page over. Instead,
I would like to share with you some highlights we’ve
experienced over the last year, and why I believe that the
Charleston Symphony has never been stronger.

I am thrilled to report that the Charleston Symphony is as

financially healthy as ever. We have just completed an industry-
leading eighth consecutive season with a modest operating
surplus, devoting 84% of our expenses directly into our artistic
and educational programs. Additionally, thanks to the Donnelly
Foundation and some very generous patrons/donors, we have
established the Symphony’s first-ever Operating Reserve Fund, a rainy-day fund designed to
support the Symphony in case of economic downturn. We aim to grow this fund every year so as to
ensure that we can always provide Charleston with world class orchestral music.

Last fall, the Charleston Symphony officially acquired the Charleston Symphony Youth Orchestra
(CSYO), which has allowed us to deepen and strengthen our involvement in the education of
young musicians from all around the tri-county area. The CSYO will operate under the direction
of our new Assistant Conductor, Kellen Gray, whom we are delighted to welcome to the
Charleston Symphony family.

Finally, I am happy to share that the Charleston Symphony has added more new subscribers
than any year since 2011, thanks in part to our flexible new subscription option, Pick 6. In a time
when many orchestras are experiencing declines in attendance, we are extremely grateful to
witness our audience grow. I see the Symphony as a cornerstone not only of Charleston’s
performing arts scene, but of Charleston as a whole, and I am very thankful to see this notion
reflected within the community.

I look forward to another season of wonderful music, exciting new initiatives, and growing patron
support. I thank the musicians for their incredible artistry and dedication, the staff for their diligent
hard work behind the scenes, the board of directors, volunteers, CSOL and CSO Chorus for
their generous support, and most of all you, our patrons, for your presence here this evening.
Please enjoy the show!

Sincerely,

Michael A. Smith
Executive Director

C h a r l est on Sy m ph on y.or g 13
 ABOUT THE
Music Director

K
en Lam was appointed Music Director of the
Charleston Symphony in 2014 and began his first full
season with the orchestra in September 2015.

Winner of the 2011 Memphis Symphony Orchestra’s

International Conducting Competition and a featured
conductor in the League of American Orchestra’s 2009
Bruno Walter National Conductors Preview with the
Nashville Symphony, Maestro Lam made his US professional
debut with the National Symphony Orchestra at the
Kennedy Center in June 2008 as one of four conductors
invited by Leonard Slatkin. In recent seasons he has led
performances with the symphony orchestras of Cincinnati,
Baltimore, Detroit, Hawaii, Memphis, Illinois and Meridian, as
well as the Hong Kong Sinfonietta, Hong Kong Philharmonic,
Guiyang Symphony and the Taipei Symphony Orchestra.

A keen operatic conductor, Maestro Lam has led numerous productions of the Janiec
Opera Company at Brevard Music Center and was Assistant Conductor at Cincinnati
Opera, Baltimore Lyric Opera and at the Castleton Festival in Virginia. He has led
critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and
at the Luminato Festival in Canada. His performance run of Massenet’s Manon at the
Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in
the Washington/Baltimore area in 2010.

Maestro Lam also holds the posts of Music Director of the Illinois Symphony Orchestra,
Resident Conductor of the Brevard Music Center in North Carolina, Artistic Director of
Hong Kong Voices and Conductor Laureate of the Baltimore Symphony Youth Orchestras.
Previous positions have included posts as Associate Conductor for Education of the
Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra
and Principal Conductor of the Hong Kong Chamber Orchestra.

Maestro Lam studied conducting with Gustav Meier and Markand Thakar at Peabody
Conservatory. David Zinman and Murry Sidlin at the American Academy of Conducting
at Aspen and Leonard Slatkin at the National Conducting Institute. He read economics at
St. John’s College, Cambridge University and was an attorney specializing in international
finance for ten years before becoming a conductor.

Maestro Lam is the recipient of the 2015 Johns Hopkins University Global Achievement
Award, given to alumni who exemplify the university’s tradition of excellence and who
have brought credit to the university and their profession in the international arena through
their professional achievements.
14 Ch a rl estonSympho ny.o rg
 MUSIC DIRECTOR
Ken Lam
Dear CSO Patrons,
In the words of Aldous Huxley, “That which comes nearest to expressing the
inexpressible is music.” I believe I can speak for all our musicians when I say that
we create, interpret and play music not simply to make a living, but to make ourselves—
our spirits and our minds—whole. We play, as Huxley so aptly said, to express the
inexpressible, both for ourselves and for our audience.

I have designed each concert in this season’s program to bring to life that which I feel
cannot be expressed in words alone. Some pieces, like Aaron Copland’s Third Symphony
and Beethoven’s 5th, may inspire and uplift, while others, like Daugherty’s Raise the
Roof and Richter’s The Four Seasons Recomposed, may challenge and provoke. While
Rachmaninoff’s Piano Concerto No. 3 may charm some with its musical virtuosity, it
will captivate others through its sweeping Russian melodies. Of course, some works
will exhilarate you while others will soothe—all of which is testament to the inherent
power of the music.

It is our life’s work, and indeed our life’s pleasure, to bring our interpretation of
these magnificent works to you: to add texture and depth to your daily life, to fill
your soul as it has ours, and to express a part of the human experience that would
otherwise go unwritten and unspoken. I hope that you will join us for what will surely be a
transcendent season.

Sincerely,

Ken Lam

C h a r l est on Sy m ph on y.or g 15
 PRINCIPAL POPS CONDUCTOR
Yuriy Bekker

Y uriy Bekker, critically-acclaimed violinist and

conductor, has led the Charleston Symphony as
Concertmaster since 2007 and was named its
Principal Pops Conductor in 2016. Bekker served as the
orchestra’s Acting Artistic Director from 2010-2014 and
Director of Chamber Orchestra from 2014-2015, playing
a major role in the orchestra’s successful resurgence.
Mr. Bekker has served on faculty as a violinist and
conductor for the Miami Music Festival in Miami, Florida
since 2014. He is also an adjunct faculty member of
the College of Charleston School of the Arts as a violin
professor and as conductor of the College of Charleston
Orchestra. He is Music Director of Piccolo Spoleto Festival’s
Spotlight Chamber Music Series and co-founder of the
Charleston Chamber Music Institute. Mr. Bekker was
given the Outstanding Artistic Achievement award from
the city of Charleston to honor his cultural contributions.
Bekker has also held the position of concertmaster for
the Orlando Philharmonic Orchestra and the AIMS Festival in Graz, Austria, and has held
additional positions with the Houston Symphony and the Houston Grand Opera and
Ballet Orchestras.


Bekker has performed worldwide as a celebrated guest concertmaster, avid chamber
musician, and critically-acclaimed soloist. In addition to over a dozen concertos with
the Charleston Symphony, he has performed with the Vancouver Symphony (British
Columbia), Ulster Orchestra (Northern Ireland), Buffalo Philharmonic, Chicago Chamber
Music Society, European Music Festival Stuttgart (Germany), Pacific Music Festival
(Japan), Spoleto Festival USA, Piccolo Spoleto Festival, Aspen Music Festival, at the
Kennedy Center, and in cities including New York City, Chicago, Miami, Orlando,
Amarillo, Missoula, Asheville, Flagstaff, Scottsdale, Barcelona, and Graz. He has
collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andres
Cardenes, Andrew Armstrong, Robert DeMaine, Sara Chang, Gil Shaham, Ilya Kaler,
Joshua Roman, JoAnn Falletta, and Andrew Litton. As Principal Pops Conductor of the
Charleston Symphony, Bekker has worked with notable guests artists such as Ben Folds,
Tony Desare, Ellis Hall, and Cirque de la Symphonie.
Bekker’s recent and upcoming engagements include conductor and violinist with the
Amarillo Symphony, violinist on Tchaikovsky’s and Bruch’s Concertos for Violin with the
Charleston Symphony, conductor of Mahler’s Symphony No. 6 at the Miami Music Festival,
a chamber music appearance with the Fort-Worth Chamber Music Society, and a busy
upcoming pops season packed with exciting repertoire and guest artists.
Bekker earned a Graduate Performance Diploma from the Peabody Conservatory under
the tutelage of Herbert Greenberg. He also holds bachelor’s and master’s degrees from the
Indiana University School of Music, where he studied violin with Nelli Shkolnikova and Ilya
Kaler. Mr. Bekker has studied conducting with Christopher Wilkins, David Zinman, Imre Pallo
and David Effron. His debut CD, Twentieth Century Duos, received world-wide acclaim
and a nomination for the International Classical Music Awards. Born in Minsk, Belarus,
Bekker is now a United States citizen, and is a proud husband and father to his wife,
Jenny, and their toddler son, Nathanael. Visit www.YuriyBekker.com for more information.

16 Ch a rl estonSympho ny.o r g
 FROM THE
Symphony

G
ood evening and welcome to the 2018-19 season
of the Charleston Symphony! My name is Zac
Hammond and I am the principal oboist of the
CS. This year marks my fourth season as a member of
this outstanding ensemble, and the past four years have
flown by. It feels like just yesterday I was sitting down for
my first rehearsal in Charleston. Anytime you play with a
new orchestra, it takes a while to overcome your nerves
and really begin to feel comfortable. In Charleston
however, I found that I was comfortable almost immediately.
Every musician, staff member, and even audience member
was so warm and supportive, I felt completely welcome
from my first day.

There are many things about the CSO that I think set it
apart from other groups. The extremely high-level music
making of this orchestra of course cannot be overstated.
Whenever I travel to play with another group and I come back to play in Charleston,
I am always reminded of just how talented this group of musicians is. Another less
noticeable, but I think equally impressive, strength of the CSO is its collaborative
attitude. Whether it is my fellow musicians, the staff, the board, or even the community,
everyone has an open mind and a willingness to work on new projects or try something
different. This is something that I have found is really rare among orchestras and a
unique feature of the Charleston Symphony.

A project that I think really illustrates this collaborative spirit is the new solo piece that I
am premiering this season. I feel so honored to be performing a completely new oboe
concerto with the CSO in January. While playing a concerto is always exciting, this one
holds very special significance because the piece is being written by local composer,
Yiorgos Vassilandonakis, who is a faculty member at the College of Charleston. I view
this as a really important project, not only because it demonstrates the huge pool of
talent and experience that exists in Charleston, but also because I think it is the duty of
classical musicians to support the music of living composers. It is a crucial aspect of being
a musician that I believe will contribute to the future and longevity of orchestral music.

We are looking forward to a great season full of exciting and innovative concerts at
the CSO. None of that would be possible without your continued support, so on behalf
of all of the musicians of the Charleston Symphony, thank you!

Sincerely,
Zachary Hammond
Principal Oboe

C h a r l est on Sy m ph on y.or g 17
 CSO CHORUS
Dr. Robert Taylor, Director

T
he Charleston Symphony Orchestra Chorus is the premier all-
volunteer chorus in Lowcountry South Carolina. Composed
of auditioned volunteers drawn from the greater Charleston
metropolitan area, the Chorus is an independent, non-profit
organization under the direction of Dr. Robert Taylor, the Director
of Choral Activities for the College of Charleston. Dedicated to the
promotion, enjoyment, and appreciation of choral music, the Chorus
performs a diverse choral repertoire presented in concerts of the highest
musical excellence that seek to entertain and educate audiences
of all generations as well as nurture and encourage young singers.

Founded by Emily Remington as the Charleston Singers Guild, the

full, 120-voice Chorus has provided the choral component for a
broad range of classical and modern choral Masterworks, Pops, and
Spoleto USA concerts for the City of Charleston for four decades.
Major work performances routinely include the voices of the College
of Charleston Concert Choir and more recently the Charleston
Southern Singers as well as area children’s choirs. The Chorus Chamber
Singers, a select sub-division of the CSO Chorus, provides a smaller
ensemble to perform works in the chamber repertoire, including
three annual performances of Handel’s Messiah.

The 2017–2018 season included two Charleston Symphony Masterworks appearances: Beethoven’s
Ninth Symphony and Ralph Vaughn Williams Toward the Unknown Region; the ever-popular Holiday Pops;
and a full evening of Italian opera music which included presentations of six well known Italian opera
choruses. The Chamber Chorus sang a chamber music program in the Dock Street Theatre for Shubert’s
Standchen and excerpts from Brahms’ Zigeunerlieder as well as the traditional and popular Holy City
Messiah performances. The Chorus concluded the symphony concert season to excellent critical reviews
performing Carl Orff’s popular Carmina Burana in collaboration with the Charleston Symphony, the Gaillard
Performing Arts Center, and the Nashville Ballet. The Chorus’ performance season climaxed with an
appearance in Spoleto USA along with the Westminster College Choir singing Brahms German Requiem
to rave reviews: “The chorus was the undisputed star.”

The Chorus continues to seek skilled, experienced vocal talent and offers audition opportunities routinely
in August and January. For additional information about the CSO Chorus or to register for an audition,
please visit www.CSOChorus.com.

18 Charl esto nSymp hony.o r g

 CHORUS ROSTER

SOPRANOS Silke Sida Nancy Pellegrini BASSES

Starr Acheson Danielle Simonian* Kourtnee Pierson Tom Bracewell
Inga Agrest Cathy Sippell Rachel Premo Stanley Chepenik
Mary Bell Sharon Spruell Lauren Reynolds Kevin Crenshaw
Pat Benzien Sharon Steffan Jessica Schlotfeld Bill Flack
Ali Berry Libby Summerford Taylor Seman Marlon Fox
Susan Borick Sarah Tuley Marybeth Sgambelluri Joe Gamboa
Jenny Brennan Meta Van Sickle Jenna Tobin Rick Goldmeyer
Susan Chagrin Samantha Vandapuye Eileen Vanhorn David Hunt
Katherine Clifton Lena Vennstrom Rachel Walls Stuart Kaufman
Lilly Cooper Lorraine West Judy Warren Lee Kohlenberg
Gail Corvette Leah Whatley Charlene Whalen Wei-Kai Lai
Casey Cross Sarah Woods Sarah Woodall Doug Ludlum
Maryileen Cumbaa Sophia Zimmermann Christina Wynn Scott McBroom
Erin Danly Nate Medford
Libby Davis ALTOS TENORS Ed Mitchell
Helena Dilling Rennie All Philip Amarendran Walter Moser
Ruth Dombrowski Jean Breza Kirk Beckstrom Gary Nichols
Tammy Dorociak Eloise Brooks Jason Bendezu Dick Pekruhn
Anna Doyle Susan Cheves Celeste Carlson Jack Pitzer*
Debbie Fox Mary Ellen Doyle Gabriel Chavarria Brandon Szustakowski
Linda Gast Logan Doyle Jeff Collins Stuart Terry
Michelle Graham Julie Fenimore Bill Gesin Keith Timmons
Janice Grant Sue Findlay Terry Goans Dwight Williams
Janet Hildebrand Jaimie Flack Stevenson Griggs
Susan Hoskins Melody Flowers Steve Gurry
Laura Irick Jiska Ford Wayne Heckrotte
Phyllis Jestice Savannah Gignac Mark Lazzaro* * section leaders
Annie Kouba Carol Heckrotte Hank Martin
Donna Mastrandrea Patricia Hoff Mike Mout
Mendy McGuire-Gray Celia Johnson Richard Rathmann
Sabrina McIntyre Judith Johnson Mark Rippe
Yon Meyer Janice Kisling Theresa Robards
Bethany Moebs Jean Kuhn Jordan Stoner
Ru Monsell Amanda Mazzaro Bill Thornby
Aimie Morris Lisa McClure McIver Watson
Mary Moser Christe McCoy- Curtis Worthington
Martina Mueller Lawrence
Alyssa Nestman Sarah Napier
Kay Nickel Sally Newell
Ally Noone Tara Noone
Emily Payton Marianne Nubel
Rebecca Peters Donna Padgette
Carlen Quinn Joyce Peach*
Meghan Ravenel Faith Pecorella

C h a r l est on Sy m ph on y.or g 19
 PROTECTING THE WILDEST
JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND.

The environment isn’t just some far off place. It’s
the lawn beneath our feet, the food on our plate, and
the air we breathe. And it’s why the Natural Resources
Defense Council is working to protect the most important
places on Earth. Whether it’s the rainforest, the arctic,
or your living room. To learn more, go to NRDC.org.
And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

20 Ch a rl estonSympho ny.o r g
24 Ch a rl estonSympho ny.o r g
 EDUCATION AND
COMMUNITY
ENGAGEMENT

D id you know the CSO offers a multitude of education programs for students and teachers
to foster lifelong relationships with music? The CSO believes in the immense value
of education through music, and it is our goal to reflect this belief in the mission of
our educational programs—to inspire, challenge, and educate students through musical
experiences. To fulfill our mission, the CSO invests over $350,000 annually towards our
educational initiatives.

ABOUT OUR INITIATIVES:

Charleston Symphony Youth Orchestra: The CSYO
is the core of our educational programs. Over seventy
young musicians from the Lowcountry ranging in
ages 13-18 rehearse weekly and perform three
concerts throughout the season with CSO Assistant
Conductor, Kellen Gray. These students work closely
with CSO musicians in sectionals and side-by-side
events, enriching their musical education and creating
impactful experiences.
Young Peoples Concert: The Orchestra Swings The
CSO partners with Carnegie Hall’s Link Up program
to present The Orchestra Swings, a highly interactive
and participatory concert for students in grades K-5,
where they sing and play recorder alongside the CSO.
All participating teachers attend a district accredited
teacher workshop lead by CSO Director of Education
and Community Engagement, Mitsuko Flynn, and
Charleston Jazz’s Director of Education and Outreach,
David Carter, and receive free teacher and student
curriculum guides. CSO ensembles give In-School
performances at participating schools to connect musical
elements and concepts they are learning through
The Orchestra Swings curriculum to further prepare
students for the culminating concert!
In-School Program: CSO Musicians perform at local
schools throughout the tri-county region free of charge,
eliminating barriers of access such as affordability and
transportation. For many students, this is their first
experience and only opportunity to see a live musical
performance. Last season, CSO ensembles gave 124
performances at 75 schools, reaching over 18,500
students, many of whom are from Title I schools.
Residency Program: Throughout the season, CSO
Principal Timpanist, Beth Albert, and Principal
Percussionist, Ryan Leveille visit the Allegro Charter
School of Music as part of an on-site residency program
that collaborates with music teachers to enhance
classroom curricula and aims to create long lasting
impact of mentorship through music.

26 Ch a rl estonSympho ny.o rg
Professional Learning: The CSO offers district SPECIAL THANKS TO OUR
accredited workshops for educators throughout
the tri-county to enhance their curricula. Last season, EDUCATION SPONSORS
Ken Lam and the CSO String Quartet held a conducting
workshop for 15 Charleston County School District Anonymous
music teachers. Six teachers were selected to prepare Mr. and Mrs. Frank L. Barkley, Jr.
a score and conduct the quartet to receive feedback Bihun Family Foundation
from Maestro Lam on subjects such as score study,
conducting technique, and rehearsal technique. Boomtown
BlueCross BlueShield of
Community performances: The CSO partners with a South Carolina
variety of local organizations to bring the community
performances such as Saltwater Sounds at the South City of Charleston
Carolina Aquarium, Rush Hour concerts at the Gibbes County of Charleston
Museum of Art, and Story Time at the Charleston County Charleston Symphony
Public Library.
Orchestra League
Student Ticket Options: Steeply discounted student Michael Griffith and Donna Reyburn
tickets are available including $10 Student Rush tickets Robert and Catherine Hill
on the evening of all CSO performances, making Town of Kiawah
musical experiences more accessible and affordable for
young people. Kiawah Seabrook Exchange Club
Ellen Moryl
CSOgo: The CSO offers a monthly membership, giving The Mark Elliott Motley Foundation
young professionals affordable access to Charleston’s
best music as well as to networking events, where Publix Super Markets Charities
the Lowcountry’s most driven young professionals Mr. and Mrs. G. Richard Query
can collaborate with one another and socialize with Harriet Ripinsky
Charleston’s business leaders. South Carolina Arts Commission
HOW DO WE DO IT? SCE&G
The CSO is committed to serving our community and offers Speedwell Foundation
meaningful musical experiences to students through
the generous support of donors, corporate sponsors,
Additional thanks to the Robert Bosch
and community partners. To learn more about how you
can support these programs, please contact the CSO’s Corporation for their support of the
Director of Education and Community Engagement, David Stahl Education though Music
Mitsuko Flynn, at mflynn@charlestonsymphony.org or Endowment Fund.
call (843) 723-7528 ext. 103.

C h a r l est on Sy m ph on y.or g 27
 MUSICIAN ROSTER
SPRING 2019

VIOLIN VIOLA OBOE TRUMPET

Yuriy Bekker* Jan-Marie Joyce* Zachary Hammond* Antonio Marti*
Alexander Boissonnault* Alexander Agrest* Kari Kistler* James Ackley
Micah Gangwer* Kathryn Dark Martha Kleiner Timothy Hudson
Asako Kremer* Sadie deWall Megan Kyle Kyle Lane
Karel Abo Rachel Gangwer Rachel Maczko Susan Messersmith
Kathleen Beard Zoe Harbison Rebecca Nagel Greg Schoonover
Corine Brouwer Jeremy Keinbaum Alexandra Shatalov
Chi-Yin Chen Nicole Moler TROMBONE
Lydia Chernicoff Taliaferro Nash ENGLISH HORN Christopher Lindgren*
Rex Conner Scott Rawls Kari Kistler* Carrie Bates
David Edwards Daniel Urbanowicz David Roode
Andrew Emmett Benjamin Weiss CLARINET Brian Santero
Tracy Ensley Charles Messersmith*
Shannon Fitzhenry CELLO Gretchen Roper* BASS TROMBONE
Seth Gangwer Norbert Lewandowski* Thomas Joyce*
Christen Greer Damian Kremer* BASS CLARINET
Catherine Hazan Alvaro Angulo Jeffrey Brooks TUBA
Pam Hentges Christopher Glansdorp Chris Bluemel
Frances Hsieh Ismar Gomes BASSOON Carson McTeer
Tomas Jakubek Daniel Mumm Katherine St. John*
Ha-Young Kim Elizabeth Murphy John Kriewall TIMPANI
Lenora Leggatt Joshua Nakazawa Joseph Merchant Beth Albert*
Patrick Lin Daniel Pereira Jacob Thonis
Mayumi Nakamura Stephen Thomas PERCUSSION
Liviu Onofrei Dusan Vukajlovic CONTRABASSOON Ryan Leveille*
Nina Sandberg Cameron Williams Sean Gordon Robert Burrows
Lauren Scott Ashley Hedrick Michael Haldeman
Stephanie Silvestri BASS Jeffrey Handel
Michael Sutton Thomas Bresnick* SAXOPHONE Mathew Masie
Marius Tabacila Michael Ashton Jonathan Kammer Diana Sharpe
Mary Taylor Peter Berquist Robert Lewis
Ryo Usami Mark Chesanow Mark Sterbank HARP
Jenny Weiss Joseph Farley Kathleen Wilson
Shr-Han Wu Ben Jensen HORN Andrea Mumm
Christian Zamora Jan Mixter Brandon Nichols*
Cody Rex Anne Holmi* KEYBOARD
Paul Sharpe Debra Sherrill-Ward Michael Braz
Katharine Caliendo Julia Harlow
FLUTE/PICCOLO Michael Daly Chee Hang See
Jessica Hull-Dambaugh* Alex Depew Ghadi Shayban
Regina Yost* Andrew Fierova
*Core musician Tacy Edwards Chris Komer
Jeanna Melilli Grace Salyards

C h a r l est on Sy m ph on y.or g 29
 POPS
January 17, 2019 • 7:30pm
Gaillard Center

AROUND THE WORLD IN 80 MINUTES

Taiko Charleston, Tracy Bush Traver, Director
Gino Castillo, Percussion
Chee-Hang See, Erhu
Yuriy Bekker, Conductor

Piotr Ilych Tchaikovsky Capriccio Italien, Op. 45

Johannes Brahms Hungarian Dance No. 1 in G minor
Johann Strauss, Jr. Radetzky March
George Gershwin An American in Paris

INTERMISSION

Arturo Márquez Danzon No. 2

Tan Dun “Eternal Vow” from Crouching Tiger,

Hidden Dragon
Taiko Charleston Chichibu Yatai Bayashi

Maurice Ravel Bolero

30 Ch a rl esto nSymp hony.o rg

 ABOUT THE ARTISTS
Gino Castillo
Percussion

G
ino Castillo is a recording artist, music educator, composer, singer,
and Clinician Percussionist. His percussion studies include the Caturla
Conservatory and Felix Varela Conservatory.

He was named Jazz Artist of the Year by the City Paper Music Awards in
2013 and 2014, and Jazz Artist of the Year by the Independent Tone Awards
in 2015 and 2016.

Castillo has performed and collaborated with a number of international artists,

including Earl Klugh, Al Turner, Michael Mossman, Quentin Baxter, Etienne
Charles, Horacio el Negro Hernández, Oscarito Valdés, Eddie Venegas,
Charleston Jazz Orchestra, Charleston Smooth Jazz Orchestra, Lowcountry
Latin Jazz Collective, Charleston Latin Jazz Collective, Jose Pepito Gomez,
John Benítez, Pascoal Meirelles, Paulo Moura, Alex Alvear, Jessy J, Zacai Curtis,
Ymelda Marie-Louisa, and more.

Castillo has taught at the Berklee College of Music International Network, Centro de Percusión Latina GC,
the George Gershwin Conservatory, and in more than 200 workshops with Sabian Cymbals and Pearl Drums.

C h a r l est on Sy m ph on y.or g 31
 ABOUT THE ARTISTS
Taiko Charleston

T
aiko drumming is a Japanese musical art form grounded in core aspects
of martial arts, dance and percussion.

The rhythms of the heavy wooden Taiko drum have figured prominently in
traditional roles from ancient times in Japan. During times of war, the Taiko’s
resonating pulse echoed through vast distances as both a call to battle and a
tool of intimidation against the enemy. Taiko was also as a component within
the regional Japanese cycles of festival life rooted in the agricultural seasons.
Within these festivals known as Matsuri, its role ranged from a pulse to sustain
the tempo of celebration to an astounding range of elaborate and intricate
forms of drumming and dance traditions.

During the last fifty years, Taiko has gone far beyond it’s traditional role and
emerged as one of the most energizing and innovative of Japanese art forms.
Taiko has come into it’s own as it exemplifies passionate musical expression,
precision, power and grace.

Since 2009, the drummers of Taiko Charleston led by Sensei Tracy Bush Traver have inspired audiences
with their high intensity and passionate performances and established themselves as a leading Taiko
ensemble in the southeast. We strive to honor the Japanese culture in which it is grounded and to connect and
inspire across cultural lines through the power of this unique and vibrant art form.

ABOUT THE DIRECTOR

T
racy Bush Traver performed internationally as the only foreign member of various professional Japanese
troupes as well as receiving the Japanese Ministry of Culture grant for her studies in folk performing arts.
She has taught and performed Taiko for over ten years.

32 Ch a rl esto nSymp hony.o r g

 CHAMBER
January 25 and 26, 2019 • 7:00pm
City Gallery at Waterfront Park

CHAMBER MUSIC AT THE CITY GALLERY

Paul Schoenfield (b.1947)

Café Music
Jihye Chang, Piano; Yuriy Bekker, Violin; Norbert Lewandowski, Violoncello
I. Allegro con fuoco
II. Andante moderato
III. Presto

Ernő Dohnányi (1877-1960)

Serenade for String Trio, Op.10
Asako Kremer, Violin; Jan-Marie Joyce, Viola; Damian Kremer, Violoncello
I. Marcia: Allegro
II. Romanza: Adagio non troppo
III. Scherzo: Vivace
IV. Tema con variazioni: Andante con moto
V. Finale: Rondo

W. A. Mozart (1756-1791)
Quintet for Piano and Winds in E Major, K.452
Jihye Chang, Piano; Kari Kistler, Oboe; Gretchen Schneider Roper, Clarinet;
Katherine St. John, Bassoon; Brandon Nichols, Horn
I. Largo – Allegro moderato
II. Larghetto
III. Allegretto

C h a r l est on Sy m ph on y.or g 33
34 Ch a rl esto nSymp hony.o rg
 MASTERWORKS
February 1 and 2, 2019 • 7:30pm
Gaillard Center

ROYAL FIREWORKS
Yuriy Bekker, Violin and Conductor

George Frideric Handel (1685-1759)

Royal Fireworks Music, HWV 351
I. Overture
II. Bourrée
III. La Paix
IV. La Réjouissance
V. Menuet I & II
Sponsored by Dr. William D. Gudger

Johann Sebastian Bach (1685-1750)

Orchestral Suite No. 3 in D Major, BWV 1068
I. Overture
II. Air
III. Gavotte I & II
IV. Bourrée
V. Gigue

INTERMISSION

Max Richter (b. 1966)

The Four Seasons Recomposed
Spring 1
Spring 2
Spring 3

Summer 1
Summer 2
Summer 3

Autumn 1
Autumn 2
Autumn 3

Winter 1
Winter 2
Winter 3
Sponsored by Gerald and Gretchen Tanenbaum

36 Ch a rl esto nSymp hony.o r g

 PROGRAM NOTES
MASTERWORKS
George Frideric Handel (1685-1759)
Royal Fireworks Music, HWV 351
In the eighteenth century world of George Frideric
Handel, composers were craftsmen, skilled artisans
producing beautiful goods primarily for those
wealthy patrons who could afford them. Rather than
spending time crafting timeless art works to be
enjoyed in perpetuity, composers were often simply
filling an order. For Handel, those orders tended to
come from his patron, King George. The King would
inform Handel that he wished to have some new
music at a party, event, or state function, and the
composer would dutifully comply, creating music that
met whatever conditions the King had requested. In
April 1749, King George II planned a massive public
fireworks display to celebrate the end of the War of
the Austrian Succession. The celebration was to take
place in Green Park, just across the mall from George’s
residence in St. James’s Palace, and would feature
new musical accompaniment written by Handel, the
same composer who had famously provided the
“Water Music” soundtrack to King George I’s boat trip
down the Thames more than 30 years prior.
By the time of Royal Fireworks Music, Handel had
been composing for British monarchs for nearly
four decades, and enjoyed a phenomenal level
of celebrity. Perhaps the best evidence of this are
the stories surrounding the public “rehearsal” of
the Royal Fireworks Music, which took place in
Vauxhall Gardens the week prior to the official debut.
Vauxhall is located on the South Bank of the Thames
River and the only accessible route led interested
concertgoers through a bottleneck across the London
Bridge. More than twelve thousand Londoners made
the trek, each paying two-and-a-half shillings for a
ticket (about $20 in today’s money), and causing a
nearly three-hour traffic jam on the London Bridge.
In contrast to the April 21st rehearsal, the actual
premiere six days later was a bit of a fiasco. The
rainy conditions and poor planning on the part of the
organizers meant that many of the fireworks actually
misfired, including several that started a small blaze
inside the specially-designed pavilion that housed
the musicians playing Handel’s score. Despite the
difficult premiere, however, this piece quickly became
one of Handel’s most popular scores, and he himself
conducted a second performance just weeks later at
a benefit concert.
The occasional function of music during this period—
namely, the fact that pieces were written for one
specific occasion rather than for the eternal gaze
of posterity—makes it all the more incredible that
Handel was able to come up with such magnificent
music under such bizarre circumstances. The aptly-
titled “Royal Fireworks Music” is a collection of short
movements designed around several of the most
popular dance forms of the eighteenth century,
including the French minuet and bourrée. The piece
opens with a stately French overture and is anchored
around a pair of movements to celebrate the
occasion: first “Peace” (La Paix) and then “Rejoicing”
(La Réjouissance). As you listen, you might imagine
how this elegant collection of dances might have
sounded from a common Londoner’s perspective,
drifting across the traffic-jammed lanes of London
Bridge or reverberating along the southern banks of
the Thames.
Johann Sebastian Bach (1685-1750)
Orchestral Suite No. 3 in D Major,
BWV 1068
When asked about what message we might send to
an extraterrestrial civilization, physician and former
dean of the Yale and NYU medical schools Lewis
Thomas remarked, “I would vote for Bach, all of
Bach, streamed out into space, over and over again.
We would be bragging of course.” After more than
two-and-a-half centuries since his death in 1750, the
music of Johann Sebastian Bach continues to serve
as a high watermark for many musicians, composers,
conductors, and music fans. Mozart, Beethoven,
and Mendelssohn regarded J.S. Bach as the giant
on whose shoulders they stood, and it was his
spectacular vision and intricate craftsmanship that
inspired them to create masterpieces of their own.
In 1977, the first movement of Bach’s Brandenburg
Concerto No. 2 was chosen as the first musical
piece to be played on the Voyager Golden Record,
a phonograph record containing a broad sample
of Earth’s common sounds, languages, and music
C h a r l est on Sy m ph on y.or g 37
 PROGRAM NOTES
MASTERWORKS
sent into outer space with the two Voyager space
probes. Perhaps someday, an alien civilization will
acknowledge our “bragging” by sending along some
music by a Bach of their own.
The “suite” or “partita” was one of the most popular
instrumental forms during the Baroque period (roughly
1600 to 1750). The format consisted of a prelude or
overture followed by a series of contemporary dances
drawn from the high societies of Europe. In fact, many
of the names of these dances still bear the names of
their countries of origin, such as Allemande (from the
French for “German”) or Polonaise (from the French
for “Polish”). Bach’s Orchestral Suite No. 3 begins
with an overture in the French style and concludes
with a set of three lively, if somewhat restrained
dances. The Gavotte and Bourrée are both originally
French folk dances that were adapted and highly-
stylized in the many ballets and dance performances
at the court of Louis XIV. Though originally directed
from the humble Irish “jig,” the Gigue too is a French
creation, stylized through the French theatre and
“grand opera” traditions, and subsequently included
in many Baroque dance suites. The most famous
movement of Orchestral Suite No. 3 is undoubtedly
the second, the so-called “Air on the G String” made
famous in a nineteenth-century arrangement by
German violinist August Wilhelmj. This movement is
modeled on earlier French and English “airs,” which
typically consisted of lament ballads with simple,
folk-inspired melodies.
Max Richter (b. 1966)
The Four Seasons Recomposed
Few composers in the past 50 years have cultivated
such a diverse output as the German-born British
composer Max Richter. He has written traditional
concert works for ballets, operas, and symphony
orchestras, composed scores for film and television,
produced albums for popular recording artists, made
his own solo albums of angular electronic music, and
even undertaken a massive project called “Sleep,”
38 CharlestonSympho ny.o rg
in which he composed an eight-and-a-half hour
long listening experience designed with the help of
neuroscientist David Eagleman to accompany a good
night’s rest. So, it is perhaps surprising that Richter
would undertake a project based on one of the most
conventional and ubiquitous pieces in the classical
repertoire, Vivaldi’s Four Seasons.
Richter is careful not to identify this work as an
arrangement or a brand-new piece written in
response to Vivaldi’s original. Rather, he refers to it as
a “recomposition,” attempting to transpose the original
materials of the Four Seasons into a contemporary
compositional context. For example, Richter takes
the famous opening bars of “Spring”—which seem to
have been endlessly used and reused in advertising,
muzak, and telephone hold music—and he treats them
as a kind of tape loop, allowing them to repeat freely
over a warm bed of newly-composed accompaniment
in the low strings. In an interview with NPR, which
recorded and live-streamed the American premiere of
the piece, Richter commented that sometimes during
the compositional process, he actually didn’t know
where Vivaldi’s creativity ended and his own began.
“The first thing that was sort of difficult—and I wasn’t
expecting this, actually—was trying to understand
who I was at each moment of writing it. That sounds
a bit crazy, but in the piece, there are sections which
are just Vivaldi, where I’ve left it alone. I’ve done sort
of a production on ‘Autumn,’ but I’ve left the notes.
And there other bits where there’s basically only
a homeopathic dose of Vivaldi in this completely
new music. So I have to figure out how much
Max and how much Vivaldi there was going on at
every moment.”
At the end of the process, Richter estimates that he
ditched about 75% of Vivaldi’s original score, while
the ideas he retained are often re-contextualized
through looping and phasing techniques. However,
the piece is 100% original in its conception, and its
ability to join together the musical thought processes
of composers separated by nearly three centuries.
 CHAMBER
February 8, 2019 • 7:30pm
Simons Center Recital Hall

MAGNETIC SOUTH: STRAVINSKY AND FOSS

Kayleen Sanchez, Soprano
Dr. Robert Taylor, Narrator
Evan Perry, Devil
TBD, Soldier
Ken Lam and Yiorgos Vassilandonakis, Conductors

Lukas Foss (1922-2009)

Thirteen Ways Of Looking At A Blackbird
Igor Stravinsky (1882-1971)
Histoire du Soldat
Part One
The Soldier’s March
Scene One
Airs by a Stream
Narration
The Soldier’s March
Scene Two
Pastorale
Narration
Interlude
Narration
Airs by a Stream
Scene Three
Airs by a Stream
Part Two
The Soldier’s March
Narration
The Royal March
Scene Four
The Little Concert
Scene Five
Three Dances: Tango, Waltz, Ragtime
Narration
The Devil’s Dance
Narration
Little Chorale
Narration
The Devil’s Song
Great Chorale
Scene Six
Triumphal March of the Devil

40 Ch a rl estonSympho ny.o r g
 ABOUT THE ARTISTS
Yiorgos Vassilandonakis
Conductor

D
riven by a strong dramatic and formal sense, Yiorgos Vassilandonakis’
music is emotionally engaging and cerebral at the same time. Venturing
into chamber, vocal, orchestral, opera, film, electronic & multimedia
genres, his works reveal a mastery of timbre, sonority and temporal space, and
a deep interest in sound itself as a physical entity.

Vassilandonakis’ music is frequently programmed on both sides of the Atlantic,

and has been commissioned and performed, among others, by the New York
New Music Ensemble, the San Francisco Contemporary Music Players, the
Nouvel Ensemble Moderne, the Juilliard Percussion Ensemble, ALEA III, the
Del Sol String Quartet, Ensemble Cairn, Meridian Arts Ensemble, Ensemble
In Extensio, the Athens Camerata and the Hellenic Contemporary Ensemble.
It has been supported by grants from Meet-the-Composer, the American Music
Center and the French Ministry of Culture, and featured in the Aspen, Ernest
Bloch, Domaine Forget, Wellesley and Patras International Festivals.

Yiorgos holds advanced degrees from the University of California, Berkeley, where his principal composition
teachers were Edmund Campion, Richard Felciano, John Thow, Jorge Liderman and Cindy Cox. As the recipient
of the George Ladd Prix de Paris, he spent two years in Paris, studying advanced composition, orchestration
and electronic music with Philippe Leroux, at the École Nationale de Musique et de Danse, Erik Satie. He also
studied composition with Paul Reale and Ian Krouse, and Film Music with the legendary Jerry Goldsmith,
Paul Chihara & Don Ray. His conducting teachers were David Milnes and Jeffrey Schindler.

A dedicated educator, Dr. Vassilandonakis has taught Composition and Music Theory at the University
of California, Berkeley and the University of Virginia, as well as electronic music at the Centre de Création
Musicale, Iannis Xenakis, in Paris, before joining the faculty at the College of Charleston in 2010.

Also active as a conductor and proponent of contemporary music, he has conducted the GuitArte Ensemble,
the Young People’s Symphony Orchestra, the Prometheus Symphony Orchestra, the UCLA Philharmonia, and
the UC Berkeley Symphony. He was the Music Director at the Oakland Cathedral of the Ascension, and is
the Composer-In-Residence with the Worn Chamber Ensemble in San Francisco.

C h a r l est on Sy m ph on y.or g 41
Thirteen Ways of Looking At A Blackbird
Lukas Foss (1922-2009)
Text by Wallace Stevens (1879-1955)
“Thirteen Ways of Looking at a Blackbird” from Harmonium

I. VIII.
Among twenty snowy mountains, I know noble accents
The only moving thing And lucid, inescapable rhythms;
Was the eye of the blackbird But I know, too,
That the blackbird is involved
II. In what I know.
I was of three minds.
Like a tree IX.
In which there are three blackbirds. When the blackbird flew out of sight
It marked the edge
III. Of one of many circles.
The blackbird whirled in the autumn winds.
It was a small part of the pantomime. X.
At the sight of blackbirds
IV. Flying in the green light,
A man and a woman Even the bawds of euphony
Are one. Would cry out sharply.
A man and a woman and a blackbird
Are one. XI.
He rode over Connecticut
V. In a glass coach.
I do not know which to prefer, Once, a fear pierced him,
The beauty of inflections In that he mistook
Or the beauty of innuendoes, The shadow of his equipage
The blackbird whistling For blackbirds.
Or just after.
XII.
VI. The river is moving.
Icicles filled the long window The blackbirds must be flying.
With barbaric glass.
The shadow of the blackbird XIII.
Crossed it, to and fro. It was evening all afternoon.
The mood It was snowing
Traced in the shadow And it was going to snow.
An indecipherable cause. The blackbirds sat
In the cedar-limbs.
VII.
O thin men of Haddam
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?

42 Ch a rl estonSympho ny.o r g
 MASTERWORKS
March 1 and 2, 2019 • 7:30pm
Gaillard Center

ROMEO & JULIET

Robyn Bollinger, Violin
Ken Lam, Conductor

Charles Gounod (1818-1893)

Ballet Music from Faust
I. Dance of the Nubian Slaves
IV. Dance of Cleopatra and Her Slaves
V. Dance of the Trojan Maidens
VI. Mirror Dance
VII. Dance of the Phryne

Nicolò Paganini (1782-1840)

Violin Concerto No. 1 in D Major, Op. 6
I. Allegro maestoso
II. Adagio
III. Rondo: Allegro spiritoso
Sponsored by Gerald and Gretchen Tanenbaum

INTERMISSION

Sergei Prokofiev (1891-1953)

Selections from Romeo and Juliet
Montagues and Capulets
Morning Serenade
The Child Juliet
Scene
Morning Dance
Masks
Dance
Death of Tybalt
Romeo and Juliet Before Parting
Romeo at the Grave of Juliet
The Death of Juliet

C h a r l est on Sy m ph on y.or g 43
 ABOUT THE ARTISTS
Robyn Bollinger
Violin

D
aring, versatile, charismatic and passionate, violinist Robyn Bollinger
is a young artist on the rise. Having made her Philadelphia Orchestra
debut at age twelve, Ms. Bollinger has since performed with orchestras
and at festivals nationwide. 2018-19 season highlights include debuts with
the symphony orchestras of Knoxville, Helena, Charleston, Bakersfield and
California, performances with String Theory at the Hunter, a six-city tour of
the East Coast with the Musicians from Marlboro, a recital with pianist Sergey
Schepkin, as well as concerts with A Far Cry and Chameleon Arts Ensemble.
Last season, Ms. Bollinger released her debut solo CD and DVD, both titled
“CIACCONA: The Bass of Time” on Crier Records. As a member of A Far Cry,
she has recorded the Grammy nominated “Dreams and Prayers” and “Visions
and Variations,” an all-premieres CD. A sought-after collaborator, Ms. Bollinger
is a popular figure on the chamber music stage, both as a member of the
renowned, Grammy-nominated Boston-based ensemble A Far Cry, and for
her work at festivals and on chamber music series. A recipient of top prizes at
many international competitions, including Vienna’s International Fritz Kreisler Competition, France’s Yehudi
Menuhin International Competition for Young Violinists, and Germany’s Louis Spohr International Competition,
Robyn was honored with a prestigious 2016 Fellowship from the Leonore Annenberg Arts Fellowship Fund
for her multimedia performance project entitled “CIACCONA: The Bass of Time,” which she began touring
in 2018. She performs on a 2017 violin made by the world-renowned luthier Samuel Zygmuntowicz, on loan
from a private collection.

44 Ch a rl estonSympho ny.o r g
 PROGRAM NOTES
MASTERWORKS
Charles Gounod (1818-1893)
Ballet Music from Faust
The story of Faust is as old as creative endeavor itself.
The idea of a “devil’s bargain,” in which someone
exchanges their soul for an extraordinary gift or talent
is a powerful plot device and a compelling allegory.
The two composers most closely associated with
the story of Faust—Gounod and Paganini—are both
featured on tonight’s program: the former because of
his depiction of Faust on the operatic stage, and latter
because many of his contemporaries believed that he
himself made a Faustian bargain (more on that below).
While the Italian opera tradition epitomized by Mozart,
Rossini, Verdi, and Puccini is much better known
today, France has an equally long and storied tradition
of opera that is entirely distinct from its European
counterparts. In some ways, working in French opera—
especially during the nineteenth century—constituted
a kind of Faustian bargain of its own. In exchange for
access to unrivaled performance venues and almost
limitless coffers of state and royal funding afforded
to the Académie d’Opéra, composers surrendered a
great deal of their creative freedom to conform to the
blueprint of grand opera enforced by French cultural
authorities. Some of these guidelines were fairly
unobtrusive and presumably easy to accommodate,
including writing exclusively in the French language
and refraining from the use of any spoken dialogue.
Others, however, imposed much more strict rules on
the composer, including the dictum that every story
be structured into five acts and contain a very specific
sequence of different vocal genres. Another of these
guidelines is perhaps unsurprising given the fact that
French opera was first developed in the court of the
ballet-crazy Sun King, Louis XIV, but every “grand
opera” was also required to have a grand ballet at
some point during the second act.
Interestingly, when Faust made its debut in 1859,
a ballet was not included in the score because
Gounod’s opera was presented by a new upstart
company called Théâtre Lyrique, which hoped to
break the stifling orthodoxy imposed by the Académie
d’Opéra. The opera in its original form was also
toured to great acclaim by the original cast and then
staged in new productions in subsequent years
by companies in Dresden, Milan, and London. The
piece gained such notoriety that in 1869, Gonoud
was offered a chance to stage it at the Salle Le
Peletier in Paris, on the condition that he include in
the composition new music for a ballet. Gonoud
was reportedly ambivalent about making these
additions to the score nearly ten years after the piece
premiered, and he even contacted a young Camille
Saint-Saëns about writing the new additions on his
behalf. Despite his reluctance, however, the seven
short movements of this new ballet music are one of
Gonoud’s most frequently performed works, thanks
in part to the daring choreography given to the ballet
by George Balanchine in 1975. The ballet depicts a
series of scenes inspired by the German feast of
Walpurgisnacht (April 30), a night on which witches
and demons are believed to congregate and conspire
across the earth. The devilish Mephistopheles brings
the titular Faust to witness this macabre spectacle
and the music is suffused with a sense of this
otherworldly revelry.
Nicolò Paganini (1782-1840)
Violin Concerto No. 1 in D Major, Op. 6
Though he started playing the violin and mandolin
at the age of five, it wasn’t until 30 years of age
that Paganini finally took on the outsized reputation
that would carry him through the rest of his adult
life. In no less of a venue than the fabled La Scala
opera house in Milan, Paganini gave a performance
that announced his presence to the world, and
within just a couple of years, he became the most
famous musician in Europe. At nearly every stop
on his subsequent twenty years of concert touring,
audiences, critics, and fellow musicians alike
wondered if there might be something sinister
involved in his extraordinary playing. Following a
performance in Leipzig, one critic wrote: “To describe
him, one needs poetry or fairy tales. There is, in his
appearance, something so demonic that one looks
for a glimpse of cloven hoof or an angel’s wing.”
The Berlin music critic A.B. Marx referred to him
“Dr. Faustus” throughout his reviews and French critic
Joseph d’Ortigue remarked after an 1833 concert
“Yes, it’s him, it’s Mephistopheles…I saw him and
heard him play the violin.” Stories that Paganini had
C h a r l est on Sy m ph on y.or g 45
 PROGRAM NOTES
MASTERWORKS
sold his soul to the devil in exchange for his abilities
on the violin circulated so widely, that upon his death
in 1840, the Catholic Church actually denied his body
a proper Catholic burial in Genoa. It took more than
four years and a formal appeal to the Pope before his
body could even be transported into the gates of the
city, and nearly thirty more years before he was finally
interred at a cemetery in Parma.
This First Violin Concerto was written shortly after
Paganini’s performance at La Scala and was designed
to showcase his astonishing command of every
possible technique on the instrument. The designation
of “Op. 6” tells us that this was only the sixth original
composition (or “opus”) that Paganini had published
and that his career as a composer and as a virtuoso
performer are inextricably intertwined. Paganini
does not simply use his virtuosity as a decorative or
incidental feature of his compositions, rather he seems
to elevate it to the level of a structuring principle in
which each new idea or section is designed to give
himself new challenges and opportunities to display
his skills. One clear evidence of this approach comes
from the fact that the concerto was originally written
in E-flat major rather than the more conventional
D major to which it was later revised (and in which
key you’ll hear the piece this evening). Paganini called
for the piece to be played in E-flat major with the violin
soloist re-tuning their instrument a half-step higher—a
technique known as scordatura—to accommodate the
unusual key. The result was that the orchestral string
instruments were dulled by the fact that none of them
could use the open strings or natural resonances of
their instruments, while the violin soloist was as bright
and resonant as ever, ringing the open notes in the
key of E-flat and with an added brilliance from the
extra tension on the strings. A later published version
of the piece eliminated the alternate tuning and placed
the entire composition in the much more reasonable
key of D, but the overall effect is the same. The
devilishly difficult violin solo inevitably shines brightest
throughout the three movements.
46 Ch a rl estonSympho ny.o rg
Sergei Prokofiev (1891-1953)
Selections from Romeo and Juliet
The story of Sergei Prokofiev’s Romeo and Juliet
is nearly as tumultuous and tragic as the story of
the ill-fated lovers themselves. Prokofiev fled his
native Russia following the Bolshevik Revolutions
of 1917 and lived in San Francisco, New York, and
Paris at various points during the 1920s. During the
early 1930s, Prokofiev began to grow homesick
and reached out to several friends still living and
working in the Soviet Union. Throughout the 1920s
and 1930s, the Soviet Union had robust and well-
funded communities of composers in both Moscow
and Leningrad (St. Petersburg). However, at the
exact moment that Prokofiev finally decided to return
to his home country, Soviet leader Joseph Stalin
initiated a severe crackdown on artistic production
throughout the country. Beginning with an excoriating
concert review in Pravda that called fellow composer
Dmitri Shostakovich’s new opera “Muddle Instead
of Music,” Stalin and the Soviet Central Committee
began outlining a new artistic standard they
called “socialist realism.” Increasingly draconian
enforcement of the party line among Soviet artists,
writers, and intelligentsia culminated in the publication
of the official aesthetic Zhdanov Doctrine in 1946, a
document that controlled cultural production in the
Soviet Union until Stalin’s death in 1953.
Prokofiev’s ballet score to Romeo and Juliet was slated
to premiere at the Mariinsky Theatre in the spring of
1936 and was intended to act as an announcement
of his return to the Soviet art world. However, in the
months leading up to the premiere, the theatre had
a rash of resignations and terminations connected to
the broader upheaval of Stalin’s cultural revolution.
Three “concert suites” consisting of excerpted music
from the ballet score—selections from which are
included on tonight’s program—were developed in
desperation during these tense years when Prokofiev
wasn’t sure that his music would ever be heard.
Prokofiev sent copies of the suites to friends in
Europe and the United States, where they received
 PROGRAM NOTES
MASTERWORKS
near immediate performances and acclaim. Such was
the appetite for the full ballet score, that a premiere
for a shortened version of the ballet was arranged in
1938 in Czechoslovakia, but Prokofiev was ultimately
unable to attend the performance due to Soviet travel
restrictions. Inside the Soviet Union, the piece lingered
for nearly five years after its completion before finally
being premiered in a substantially-revised form in
Leningrad in January 1940.
One of the most serious Soviet objections to
Prokofiev’s original ballet would likely be shared by
the majority of contemporary audiences. Contrary to
Shakespeare, the plot originally outlined by dramatist
Adrian Piotrovsky actually called for a “happy ending”
in which Romeo and Juliet end up together. Just at
the moment that Romeo reaches for the poison at
the motionless Juliet’s bedside, he is stopped by
Friar Laurence, who whisks the two lovers into a
nearby grove of trees. Juliet slowly recovers from
her sleeping potion and the two lovers embrace and
celebrate their good fortune as the ballet ends. Due to
pressure from Soviet authorities, Prokofiev ultimately
rewrote the ending prior to the ballet’s premiere in
1940, but he frequently wrote about this experience
later in his life. In an autobiographical essay from the
time, he wryly commented that “Shakespeare scholars
proved more papal than the pope” when they heard
of his changes, though he eventually came to prefer
the revised story. The revised version of the ballet
was critically lauded at the premiere and eventually
received the Stalin Prize for excellence in the arts.
Just after Prokofiev’s death, a filmed version of the
ballet was produced under the direction of Lev
Arnshtam and received high honors at the 1955
Cannes Film Festival, including a nomination for the
coveted Palme d’Or.
C h a r l est on Sy m ph on y.or g 47
 CHARLESTON SYMPHONY
YOUTH ORCHESTRA
March 3, 2019 • 3:30pm
Lightsey Chapel, Charleston Southern University

SIDE BY SIDE CONCERT

Charleston Symphony
Emma Joyce, Violin, 2018 Concerto Competition Winner
Kellen Gray, Conductor
Ken Lam, Conductor

Felix Mendelssohn (1809-1847)

The Hebrides, Op. 26 “Fingals Cave”
Pablo de Sarasate (1844-1908)
Zigeunerweisen, Op. 20 “Gypsy Airs”
Piotr Ilyich Tchaikovsky (1840-1893)
Symphony No. 1 in G minor, Op. 13 “Winter Daydreams”
I. Daydreams on a Winter Journey: Allegro tranquillo
IV. F inale: Andante lugubre - Allegro moderato -
Alllegro maestoso

48 Charlesto nSymp hony.o rg

 ABOUT THE ARTISTS
Kellen Gray
Conductor

T
he 2018-19 season marks Kellen Gray’s first as Assistant Conductor at the
Charleston Symphony Orchestra and Music Director of the Charleston
Symphony Youth Orchestra. Kellen has earned a reputation as a versatile
and imaginative conductor through his enthusiasm for traditional, experimental,
and integrative multimedia art programs.

Prior to his appointment in Charleston, Kellen served as Project Inclusion

Freeman Conducting Fellow, and later, Assistant Conductor at Chicago
Sinfonietta, while fulfilling duties as Associate Conductor of the Columbus Youth
Ballet (GA) from 2016-18. Before leaving Chicago, Kellen made his Chicago
Symphony Center debut, which Jacob Davis of Chicago’s Picture This Post,
described as, “laser-like focus that allowed the entire orchestra to seem to
become one organism.”

From 2014-16, Kellen was Assistant Conductor at the Valdosta Symphony

Orchestra and Music Director of the Valdosta Symphony Youth Orchestra of
Georgia. Also in 2016, he was one of eight Conducting Fellows at Eastern Music Festival where he studied
with Gerard Schwarz, Grant Cooper, and Jose-Luis Novo. Of his North Carolina debut at Eastern Music Festival,
Peter Perret of the Classical Voice of North Carolina referred to Kellen as an “...imposing young Georgian with
gestures so smooth and polished they’re almost choreography in themselves.” Kellen is a frequent cover
conducting at the Charlotte Symphony; and in December 2018, makes his Charlotte debut with the Charlotte
Symphony and Charlotte Ballet Nutcracker.

About the CSYO

T
he Charleston Symphony Youth Orchestra (CSYO) engages and inspires young musicians in a
collaborative environment, and gives students the platform to strive for excellence with the highest
quality performing arts education. The CSYO rehearses weekly and receives access to the instructional
resources of the CSO, including coaching and side by side opportunities with CSO core musicians, artistic
leadership from CSO Assistant Conductor Kellen Gray, administrative oversight from CSO Director of Education
and Community Engagement Mitsuko Flynn, and complimentary tickets to all CSO series performances.
The CSYO currently serves 75 musicians ranging in ages 13-18 enrolled in the program, from 24 schools and
3 counties. For more information, visit www.charlestonsymphony.org/csyo.

C h a r l est on Sy m ph on y.or g 49
 DONATIONS

The Charleston Symphony Youth Orchestra gratefully acknowledges supporters for their commitment
to moving our mission forward. Listed below are gifts received between November 1, 2017 through
November 19, 2018. Please consider making a tax-deductible contribution in the lobby before or
after today’s concert to help the CSYO continue to offer highest level musical experiences to young
students of the Lowcountry! Donations may also be mailed to the CSYO at P.O. Box 30818, Charleston,
SC 29417, or give online by visiting www.charlestonsymphony.org/csyo.

Maestro Level Musician Level

$5,000 + $100-$499

Robert and Catherine Hill Anonymous (6)

Margaret Brockinton
Soloist Level Mr. and Mrs. Terry Cullen
$1,000-$2,999 Mr. and Mrs. Cliff Genatt
Mr. Jon Kidder
Anonymous Amy and Daniel Lloyd
Charleston Symphony Renee Marshall
Orchestra League, Inc. Ellen Moryl
SC Arts Commission John and Denise Myers
Steve and Tae Cha Normoyle
Concertmaster Level Mr. and Mrs. Kevin Overend
$500-$999 Mr. James Paxton

City of Charleston
Alesia and Scott Ross

50 CharlestonSympho ny.o rg
C h a r l est on Sy m ph on y.or g 51
 POPS
March 14, 2019 • 7:30pm
Gaillard Center

MASQUERADE!
Dimitri Pittas, Tenor
Leah Edwards, Soprano
Charleston School of the Arts Chorus, Heather Hammond, Director
College of Charleston Concert Choir, Dr. Robert Taylor, Director
Yuriy Bekker, Conductor

Andrew Lloyd Webber “Masquerade” from

Phantom of the Opera

Andrew Lloyd Webber “All I Ask Of You” from

Phantom of the Opera

Giacomo Puccini “O mio babbino caro”

from Gianni Schicchi

Giuseppe Verdi “La donna è mobile” from Rigoletto

Georges Bizet Selections from Carmen

“Habanera”
“Je dis que rien ne m’epouvant”
“La fleur que tu m’avais”
“Danse Boheme “

Giacomo Puccinni “Bimba bimba, non piangere”

from Madama Butterfly

INTERMISSION

52 Ch a rl estonSympho ny.o rg
 Johann Strauss, Jr. Fledermaus: Overture

Frederick Loewe and Alan Jay Lerner “I Could Have Danced All Night”
from My Fair Lady

Claude Michel Schönberg “Bring Him Home”

from Les Misérables

Elton John and Tim Rice, arr. Crafton Beck “Circle of Life” from Lion King

Richard Rogers and Oscar Hammerstein II “Do Re Mi” from The Sound Of Music

Robert Wright and George Forrest “Stranger in Paradise” from Kismet

Leonard Bernstein “Make Our Garden Grow”
from Candide

C h a r l est on Sy m ph on y.or g 53
 ABOUT THE ARTISTS

Dimitri Pittas
Tenor

D
imitri Pittas has appeared on leading opera stages throughout North
America and Europe, including the Bavarian State Opera, the Vienna
State Opera, the Royal Opera House Covent Garden and the Canadian
Opera Company. He is a graduate of The Metropolitan Opera’s Lindemann
Young Artist Development Program and has been heard on the Met stage as
Rodolfo in La bohème, Macduff in Macbeth, Nemorino in L’elisir d’Amore, Cassio
in Otello and Tamino in Die Zauberflöte. His repertoire includes performances
as the title role of Don Carlo, Riccardo in Un ballo in maschera, Alfredo in
La traviata, Tebaldo in I Capuletti e i Montecchi, Edgardo in Lucia di Lammermoor,
Oronte in I Lombardi, the Duke of Mantua in Rigoletto and Michele in the world
premiere of La Ciociara (Two Women) with San Francisco Opera.

This season marks a role and house debut as Werther with Florida Grand Opera.
Recent operatic engagements include Alfredo in La traviata with Houston
Grand Opera, Nemorino in L’Elisir d’Amore with Pittsburgh Opera and Opera
Philadelphia, Lt. Pinkerton in Madama Butterfly with Washington National Opera, and performances of Alfred in
Die Fledermaus with Santa Fe Opera, at the Met conducted by James Levine, and in Japan under the baton of
Seiji Ozawa.

Concert performances include Verdi’s Requiem with the Atlanta Symphony, the Portland Symphony and for the
BBC Proms with the Orchestra of the Age of Enlightenment led by Marin Alsop, Beethoven’s Symphony No. 9
with the Oslo Philharmonic, Cleveland Orchestra and Cincinnati Symphony, and Rachmaninoff’s The Bells with
the Orchestre Metropolitain de Montreal, under the baton of Yannick Nézet-Séguin.

Dimitri was last seen in Charleston as Mario Cavaradossi in Tosca with the Charleston Symphony.

54 Ch a rl estonSympho ny.o rg
 ABOUT THE ARTISTS

Leah Edwards
Soprano

L
eah Edwards captivates audiences as an actress, singer, dancer and
pianist. She made her Broadway debut in 2011 as a member of the
company of Terrence McNally’s Master Class and, off-Broadway,
regularly joins the company of the Encores! series at New York City Center.
Most recently, Ms. Edwards starred as Cinderella (Into The Woods), Rosemary
(How To Succeed…), Carrie (Carousel), Laurey (Oklahoma) and Cosette (Les
Misérables). She can be seen in the Emmy-nominated production of Carousel
with the New York Philharmonic, has appeared as a musical guest on A Prairie
Home Companion, and recorded the latest cast album of George and Ira
Gershwin’s Lady, Be Good. Ms. Edwards has been presented in concert at
Carnegie Hall, Alice Tully Hall, Avery Fisher Hall, with the New York City Ballet
Orchestra and nationally with the Charleston Symphony Orchestra, Rochester
Philharmonic, Las Cruces Symphony and the Utah Festival Opera Orchestra.
Ms. Edwards is also sought after for her experience with new music, which
has resulted in world premiere recordings for the Opera America Songbook.
An award-winning pianist, Ms. Edwards appeared as a guest artist at The Gilmore International Keyboard
Festival, enjoyed the honor of performing as the musical ambassador to the Chinese Consulate, and
her presentation of Prokofiev’s Third Piano Concerto was a featured segment on National Public Radio. In
Charleston, she has performed at The Gaillard, Charleston Performing Arts Center and in recital with the
Piccolo Spoleto Festival.

C h a r l est on Sy m ph on y.or g 55
 CHAMBER
March 21, 2019 • 7:30pm
Cathedral of St. John the Baptist

CSO BRASS QUINTET AND ORGAN

CSO Brass Quintet
Daniel Sansone, Organ

Richard Strauss (1864-1949), arr. Gary Olsen

Feierlicher Einzug, TrV 224
Giovanni Gabrieli (1557-1612), arr. Robert King
Canzona Primi Toni
Solo organ selection to be announced

Johann Sebastian Bach (1685-1750)

Nun Dunket Alle Gott, BWV 192
Sigfrid Karg-Elert (1877-1933)
Nun Dunket Alle Gott
Johann Sebastian Bach (1685-1750)
Herz und Mund und Tat und Leben, BWV 147,
“Jesu, Joy of Man’s Desiring”
Solo organ selection to be announced

Sigfrid Karg-Elert (1877-1933), arr. Thomas Brantigan

Praise the Lord with Drums and Cymbals
Eugène Gigout (1844-1925), arr. John Kuzma
6 Pièces d’orgue, VI. “Grand Choeur Dialogue”

56 Ch a rl esto nSymp hony.o r g

 ABOUT THE ARTIST
Daniel J. Sansone
Organ

D
aniel Sansone received his Bachelor of Music Degree in Organ
Performance from the State University of New York at Fredonia, studying
with Dr. John Hofmann. Daniel also holds a Master of Music degree in
Organ Performance and Literature from the University of Notre Dame. While at
the University of Notre Dame, he was a student of Dr. Craig Cramer.

Daniel has held numerous church positions including serving as Director of

Music and Liturgy at St. Ignatius Loyola Cathedral in Palm Beach, Florida and
serving as organist at St. Mary’s Cathedral in Portland, Oregon. Daniel also
worked in the Office of Campus Ministry at the University of Portland in Oregon,
and served as adjunct faculty in the Performing and Fine Arts Department,
teaching organ and harpsichord. Daniel has performed organ recitals
throughout the United States including the Basilica of the National Shrine of the
Immaculate Conception in Washington, D.C., St. Paul’s Cathedral in Pittsburgh,
and has appeared as guest organ soloist with the Peabody Concert Orchestra,
the United States Naval Academy Brass Ensemble and the Charleston Symphony Orchestra. He has also
performed as organ soloist on the Baltimore Bach Series.

He is a past recipient first-prize winner of the Arthur Poister National Organ Playing Competition sponsored by
the Syracuse New York Chapter of the American Guild of Organists.

At his most recent position, Daniel served as Director of Music Ministry at the Cathedral of Mary Our Queen,
serving the Archdiocese of Baltimore. Daniel oversaw a comprehensive Liturgical Music Program, and was
Artistic Director of the Cathedral Music Series. He assumed this position at the Cathedral of Mary Our Queen in
November of 2000.

In January of 2014, Daniel was appointed Director of Music and Liturgy for the Cathedral of St. John the
Baptist, serving the Diocese of Charleston, South Carolina. Daniel directs and accompanies the Cathedral
Choir for the Cathedral’s Sunday 11:15am Solemn Choral Liturgy, as well as other parish liturgies such as
Solemn Choral Vespers. He plans and plays Cathedral weddings, funerals, and memorial liturgies.

Daniel established and directs the Cathedral Men’s Schola, chanting the various Propers of the Roman Liturgy
using original notation, as well as the Cathedral Schola, specializing in music from the Renaissance Period
and earlier.

He also serves on the Diocesan Liturgical committee where his responsibilities include the planning and
implementation all Diocesan Liturgies in collaboration with the Office of Worship for the Diocese of Charleston.

Daniel is Artistic Director for the Cathedral Concert Series, which features a variety of musical offerings
including the Charleston Symphony Orchestra and Chorus, the Cathedral of St. John the Baptist Choir, and
the Taylor Festival Choir which is the professional choir-in-residence. The Cathedral also hosts a number of
performers on the annual Piccolo Spoleto Festival including the L’Organo Recital Series of which Daniel is a
committee member.

He is a member of the American Guild of Organists, the Conference of Roman Catholic Cathedral Musicians,
National Pastoral Musicians, the Chorister Guild and the Royal School of Church Music.

C h a r l est on Sy m ph on y.or g 57
 MASTERWORKS
March 29 and 30, 2019 • 7:30pm
Gaillard Center
Sponsored by John and Betsy Cahill

MOZART’S REQUIEM
Awet Andemicael, Soprano
Faith Sherman, Mezzo-Soprano
John Noh, Tenor
Brandon Hendrickson, Baritone
Charleston Symphony Orchestra Chorus, Dr. Robert Taylor, Director
College of Charleston Concert Choir, Dr. Robert Taylor, Director
Charleston Southern University Concert Singers, Dr. Dustin Ousley, Director
Ken Lam, Conductor

Franz Joseph Haydn (1732-1809)

Symphony No. 94 in G Major “Surprise”
I. Adagio; Vivace assai
II. Andante
III. Menuetto: Allegro molto
IV. Allegro di molto

INTERMISSION

Wolfgang Amadeus Mozart (1756-1791)

Requiem in D minor, K. 626
Completed by Franz Xaver Süssmayr
I. Introitus - Requiem
II. Kyrie
III. Sequenz
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa
IV. Offertorium
Domine Jesu
Hostias
V. Sanctus
VI. Benedictus
VII. Agnus Dei
VIII. Communio

C h a r l est on Sy m ph on y.or g 59
 ABOUT THE ARTISTS
Awet Andemicael
Soprano

J
oy is the hallmark of soprano Awet Andemicael’s artistry. She has been
acclaimed for her “sparkling solo verses” (Opera News), “vivid musical
personality” (Boston Globe), “honeyed tone” (San Francisco Classical
Voice), “fine comic interplay and […] superb singing” (Washington Times).
Closely associated with De Falla’s El Retablo de Maese Pedro, she has sung the
role of El Trujamán with numerous ensembles, including the Boston Symphony,
San Francisco Symphony, Los Angeles Philharmonic, and, most recently, the
Knights at the Tanglewood Festival.

Awet’s special affinity for eighteenth-century sacred music has been featured
in concerts with the Bach Collegium Japan, the Handel and Haydn Society, at
Carnegie Hall and the Ravinia and Aldeburgh Festivals, with the Symphonies
of Pittsburgh, Nashville, Jacksonville, Richmond, and Memphis, and with the
Sebastians Chamber Ensemble.

Awet is delighted to return to Charleston, after a wonderful experience performing Messiah with the Symphony
Orchestra and Chorus last year. Awet will be back again later this season to sing Mozart’s Requiem with the
CSO. In between, she performs with the acclaimed ensemble The Knights at the BRIC Festival in Brooklyn,
as well as the Charlotte Master Chorale and the Colorado Bach Ensemble. For more information on Awet’s
performance schedule and upcoming recordings, please visit her website: www.awetandemicael.com.

Faith Sherman
Mezzo-soprano

A
cclaimed by the New York Times as a “luminous mezzo-soprano,” and
praised by Opera News for her “rich mezzo,” Faith Sherman has enjoyed
successes on both the operatic and concert stages.

Ms. Sherman recently made “a sensational European debut” (Financial Times)

at the English National Opera in Kaijia Saariaho’s L’Amour de loin as the
Pilgrim to rave reviews from the international press. Last season, she made
her German operatic debut as Concepcion in L’heure espagnole at Oper
Frankfurt and premiered the mezzo-soprano lead role in Ricky Ian Gordon’s
Rappahannock County at Virginia Opera. In addition, she covered the role of
the Composer in Ariadne auf Naxos at Houston Grand Opera. Ms. Sherman
sang Verdi’s Messa da requiem with period instruments at the Ludwigsburger
Schlossfestspiele and at the Opéra de Vichy under Michael Hofstetter, and
was recently presented in recital for The Arts at St. Matthew’s, a ministry of
St. Matthew’s Episcopal Church in Wilton, Connecticut and with The Artist
Series of Sarasota in Sarasota, Florida. In the future, she will be seen at Houston Grand Opera, Seattle Opera,
and the English National Opera.

60 CharlestonSympho ny.o rg
 ABOUT THE ARTISTS
John ChongYoon Noh
Tenor

L
auded by Opera News as “Mellifluous Tenor”, John ChongYoon Noh is
in the master of musical arts program at Yale School of Music with a full
scholarship award under the guidance of Richard and Doris Yarick-Cross.
Recently, Mr. Noh performed as a tenor soloist in Handel’s Messiah with
New Haven Symphony orchestra, Mozart’s Requiem at Carnegie Hall (Stern
Auditorium/Perelman Stage) with the Cecilia Chorus of New York and Orchestra,
Juilliard 415 The Genius of Monteverdi led by William Christie at Lincoln
Center. He has also performed such operatic roles as Lenski in Tchaikovsky’s
Eugene Onegin, Danny Chen in Huang Ruo’s An American Soldier, Fenton
in Nicolai’s Die Lustigen Weiber von Windsor, Nemorino in Donizetti’s
L’elisir d’amore, Ferrando in Mozart’s Cosi fan tutte, Tamino in Mozart’s
Die Zauberflöte, Belmonte in Mozart’s Die Entführung aus dem Serail,
Rinuccio in Puccini’s Gianni Schicchi and Lysander in Britten’s A Midsummer
Night’s Dream performing with Yale Opera; National Sawdust; Juilliard Opera;
Music Academy of the West; Peabody Opera Theatre; Lyric Opera Baltimore;
Amalfi coast Music Festival. He participated in masterclasses with Marilyn Horne, Martin Katz, Warren Jones,
Neil Shicoff, Alan Held, Patricia Racette, Julius Drake, Will Crutchfield, Fabio Luisi, Alan Gilbert, Emmanuel
Villaume and Yannick Nezet-Seguin. He is a graduate of the Peabody institute of the Johns Hopkins University
(Bachelor of Music ‘16), The Juilliard School (Master of Music ’18) and has been awarded prizes in the
Metropolitan Opera National Council Audition (D.C.), Annapolis Vocal Competition, Gerda Lissner Lied/Song
Competition, Russell C. Wonderlic Voice Competition, and among others.

Brandon Hendrickson
Baritone

I
n the 2018-2019 season, Mr. Hendrickson sings the world premiere of
Paul Sanchez’s new song cycle Gothic Atonement with the San Francisco
International Piano Festival as well as a European premiere with the Autunno
Musicale Festivale in Casterta, Italy.

He also performs, as the baritone soloist, in Brahms’ Requiem with the Great
Falls Symphony and South Dakota Symphony’s production of Mahler’s
Symphony No. 8. Opera performances include a debut with Annapolis Opera
performing the role of Doctor Bartolo in Il Barbiere di Siviglia, a debut with
First Coast Opera performing the role of Count Almaviva in Le Nozze di Figaro,
and a return to the musical theatre world performing the role of the Captain in
a production of Titanic at Bob Jones University. Other career highlights include
his debut at Carnegie Hall and with the National Philharmonic as the baritone
soloist in Carmina Burana last season and working as a soloist with Duke
Chapel’s Bach Cantata Series, Piccolo Spoleto Music Festival, Oklahoma City
Philharmonic, Madison Symphony Orchestra, and The Baton Rouge Symphony Orchestra. An active recitalist,
Hendrickson performs frequently across the United States, including in his home state of Iowa, as well as
in California, South Dakota, Minnesota, Nebraska, Michigan, North Carolina, South Carolina, Louisiana, and
Texas. His International credentials include performances in Italy, Canada, Ireland, Malaysia, and the United
Kingdom. Dr. Hendrickson is also an artist in residence at Louisiana State University.
 PROGRAM NOTES
MASTERWORKS
Franz Joseph Haydn (1732-1809)
Symphony No. 94 “Surprise”
Franz Joseph Haydn worked in the service of a single
family—the fabulously wealthy and immensely powerful
Esterházys—for nearly thirty years. Beginning when he
was only 29 years old, Haydn enjoyed a comfortable
life in the Esterházy palaces throughout the Austro-
Hungarian Empire composing music for his patron,
Prince Nikolaus I, and directing musical activities
throughout the household. While in their service,
Haydn produced thousands of works, including 92 of
his 104 symphonies and 53 of his 67 string quartets.
When Prince Nikolaus died in 1790, his son, Prince
Anton, replaced the 58-year-old Haydn with other
musicians, thus forcing Haydn into a kind of retirement
with a generous pension from the family. Haydn could
easily have enjoyed a comfortable retirement in the
rural Eszterháza Palace, but as a gregarious and social
man, he instead chose to spend his final decades in
the buzzing musical capitals of eighteenth-century
Europe: Vienna, Paris, and, most importantly, London.
In the final decade of his service to Prince Nikolaus,
Haydn’s international reputation had been slowly
building in a way he couldn’t have fully understood
from inside the Eszterháza bubble. However, upon
arriving in England on New Year’s Day 1791, he was
confronted with just how famous his compositions
had made him. He spent nearly 18 months in London
and was treated to a seemingly non-stop barrage of
banquets, festivals, and even an honorary doctorate
from Oxford University. In one letter home to a friend
in Vienna, Haydn describes a slightly embarrassing
moment where his attendance at a banquet in his
honor made him late to a concert being offered in
his honor later that same evening. Having arrived at
the concert after the start of the first piece, he waited
for a break in the performance for the ushers to
escort him to his seat. However, when he finally
entered the hall, he realized too late that the ushers
weren’t taking him to his seat, but rather to the front
of the stage where he received nearly 10 full minutes
of standing ovation. He noted the sensation that his
arrival had created in the city, saying: “I had to dine
out 6 times up to now, and if I wanted, I could dine
out every day; but first, I must consider my health, and
second, my work.”
62 Ch a rl estonSympho ny.o rg
And work he certainly did. Haydn’s Symphony No. 94
is one of six symphonies that Haydn wrote during this
first trip to London. The symphony’s four movements
are entirely typical of the eighteenth-century
symphonic blueprint that Haydn, the so-called “Father
of the Symphony,” helped to standardize. But the
real star of the show is the jump-inducing second
movement that gives the symphony its nickname
as the “Surprise Symphony.” The movement is cast
as a theme and variations with the delicate opening
theme based on the French folk song “Ah, vous
dirai-je, Maman,” which all of us undoubtedly know
better by the English lyrics “Twinkle, Twinkle, Little
Star.” The initial “surprise” of the sixteen-bar theme’s
sudden fortissimo gives way to a series of four colorful
variations that build to a march-like climax before
returning to the delicate bounce of the opening.
Wolfgang Amadeus Mozart (1756-1791)
Requiem
Few pieces in the classical repertoire are more fully
shrouded in mythology than Wolfgang Amadeus
Mozart’s Requiem, left unfinished at his death in
December 1791. This mythology springs, at least in
part, from the supreme irony that seems to permeate
the work’s existence: one of the Western world’s most
spectacular artistic statements on death cut short
by the untimely demise of its author. Biographical
retellings of his life have often played up the idea that
Mozart somehow knew he was composing a requiem
mass for his own funeral, with some even going so
far as to suggest that commission for the work came
from a “mysterious stranger,” who seems to function as
both a supernatural harbinger and an externalization of
Mozart’s own anxieties about his worsening illness. Still
others suggest foul play in Mozart’s death, centering
on a jealous contemporary, such as fellow Viennese
opera composer Antonio Salieri.
Contemporary depictions, like Peter Shaffer’s
Amadeus, have perpetuated this mythology through
the modern day, but in fact such stories can be found in
the Viennese press in the days and weeks immediately
following Mozart’s death. Most historians now agree
that the source of these stories seems to be none
other than the widowed Constanze Mozart herself.
Requiem was actually commissioned by the eccentric
Count Franz von Walsegg, an aristocrat and amateur
 PROGRAM NOTES
MASTERWORKS
musician who routinely commissioned works by
composers with the motive of passing them off as his
own compositions. Walsegg wanted a grand Requiem
Mass to memorialize the first anniversary of his wife
Anna’s death, and he hired Mozart to provide the
score. Mozart received half of his substantial fee as an
advance on the work, but the score was left unfinished
upon Mozart’s death, so Constanze approached a
close family friend, composer Franz Xaver Süssmayr,
to covertly complete the score so that she could collect
the second half of her husband’s fee. This double
deception—with Constanze passing off Süssmayr’s
work as Mozart’s to trick Walsegg who ultimately
intended to pass off Mozart’s work as his own—would
have been relatively unremarkable, but for the actions
Constanze took next.
Despite his storied career and remarkable fame,
Mozart died with substantial debts, and a benefit
concert was held in Constanze’s honor to help ensure
her financial security going forward. The Requiem was
the centerpiece of the benefit concert, performed
publicly with Mozart’s name nearly a full year before
Count Walsegg could organize a performance in honor
LIBRETTO
Requiem, K. 626
Wolfgang Amadeus Mozart (1756-1791)
Completed by Franz Xaver Süssmayr (1766-1803)
I. Introitus-Requiem
Requiem aeternam dona ets, Domine,
et lux perpetua luceat ets.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona ets, Domine,
et lux perpetua luceat ets.
II. Kyrie
Kyrie eleison.
Christe eleison.
Kyrie eleison.
III. Sequenz
Dies irae
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sibylla.
of his late wife. In subsequent years, Constanze gave
a number of interviews to journalists and biographers
in which she retold and elaborated the story of the
Requiem’s creation, thus creating and perpetuating the
mythology that surrounds it to this day.
Despite the mythology, Requiem remains a
tremendous musical achievement. Throughout the
nineteenth century, composers ranging from Chopin
to Beethoven, Schubert to Rossini, and even Mozart’s
mentor Franz Joseph Haydn—whose music you hear
on the first half of tonight’s program—requested that it
be performed as part of their own funeral proceedings.
The Requiem mass itself is a sprawling text that
provides a challenging and diverse set of opportunities
for the composer. Just the contrast between the
haunting opening notes of the “Introitus” and the
blistering counterpoint of the subsequent “Kyrie”
demonstrates the tremendous range that Mozart will
traverse over the course of the work. As you listen, you
might pause with particular reverence at the opening
of the “Lacrimosa,” with its graceful falling teardrops
in the violins. Indeed, it was after writing these eight
measures that Mozart’s pen fell silent for the last time.
Grant them eternal rest, O Lord,
and may perpetual light shine on them.
Thou, O God, art praised in Sion,
and unto Thee shall the vow be performed in Jerusalem.
Hear my prayer,
unto Thee shall all flesh come.
Grant them eternal rest, O Lord,
and may perpetual light shine on them.
Lord have mercy.
Christ have mercy.
Lord have mercy.
Day of wrath, that day
will dissolve the earth in ashes,
as David and the Sibyl bear witness.
C h a r l est on Sy m ph on y.or g 63
 LIBRETTO
Quantus tremor est futurus How men will tremble and grow pale
Quando judex est venturus When Justice comes with sword
Cuncta stricte discussurus. and scale to weigh the faults and sort the fates of all.

Tuba mirum
Tuba mirum spargens sonum The trumpet rings a wonderous sound
Per sepulcra regionum ringing through earth’s sepulchres
Coget omnes ante thronum. bringing all before the throne.

Mors slopebit et natora Death is struck down, nature quakes

Cum resurget creatura and all creation awakes
Judicanti responsura. to make an answer to its Judge.

Liber scriptus proferetur In the book exactly worded

In quo totum continetur, all has been recorded
Unde mundus judicetur. and thence shall judgement be awarded.

Judex ergo cum sedebit When the Judge has taken His seat
Quidquid latet apparebit, and every hidden deed is revealed,
Nil inultum remanebit. nothing will be left unpunished.

Quid sum miser tunc dicturus, What shall I, weak man, be pleading,
Quem patronum togaturus, who shall intercede for me
Cum vix justus sit securus? when the just themselves need mercy?

Rex tremendae
Rex tremendae majestatis, King of tremendous majesty,
Qui salvandos salvas gratis, Who send us free salvation,
Salve me, fons pietatis. Save me, my fountain.

Recordare
Recordare, Jesu pie, Recall, sweet Jesus,
Quod sum causa tuae viae, ‘twas my salvation brought about Thy Incarnation,
Ne me perdas ilia die. abandon me not to reprobation.

Quaerens me sedisti lassus, Faint and weary hast Thou sought me,
Redemisti crucem passus, on Thy cross of pain hast brought me,
Tamus labor non sit cassus. let Thy suffering be not in vain.

Juste judex ultionis Final Judge of Justice,

Donum fac remissionis Lord grant Thy absolution
Ante diem rationis. before the day of retribution.

lngemisco tamquam reus, Guilty, now I pour my moaning,

Culpa rubet vultus meus, all my shame an anguish owning spare, O God,
Supplicanti parce, Deus. Thy suppliant groaning.

Qui Mariam absolvisti Thou the sinful woman savedst;

Et latronem exaudisti, Thou the dying their forgavest;
Mihi quoque spem dedisti. and to me a hope vouch-safest.

Preces meae non sum dignae, Worthless are my prayers and sighing;
Sed tu bonus fac benigne, yet, good Lord, in grace complying,
Ne perenni cremet igne. rescue me from fires undying.

Inter oves locurn praesta, With Thy favoured sheep, O place me,
Et ab haedis me sequestra, nor among the goats abase me,
Statuens in parle dextra. but to Thy right hand upraise me.

Confutatis
Confutatis maledictis While the wicked are confounded,
Flammis acribus addictis, assigned to flames of woe unending,
Voca me cum benedictis. Call me with Thy saints surrounded.

Oro supplex et acclinis, Low I kneel, with heart submission;

Cor contritum quasi cinis, see, like ashes, my contrition;
Gere curam mei finis. help me in my last condition.

64 Ch a rl esto nSymp hony.o rg

 LIBRETTO
Lacrimosa
Lacrimosa dies ilia Oh, that day of tears and weeping
Qua resurget ex favilla when, from dust of earth returning
Judicandus homo reus. man must prepare for judgement.
Huic ergo parce, Deus, Spare, O God, in mercy spare him
Pie Jesu Domine, Lord all pitying, Jesu blest,
Dona els requiem. grant them Thine eternal rest.

IV. Offertorium
Domine Jesu
Domine, Jesu Christe, Rex gloriae,
libera animas omniurn fidelium defunctorum
de poenis inferni, et de prof undo lacu:
libera cas de ore leonis,
ne absorbeat eas tartarus, ne cadant in obscurum,
sed signifer sanctus Michael
repraesentet eas in lucem sanctam,
quam olim Abrahae promisisti
et semini ejus.
Hostias
Hostias et preces, tibi, Domine,
laudis offerimus:
tu suscipe pro animabus illis,
quarum hodie memoriam facimus:
fac eas, Domine, de morte Iransire ad vitam,
quam olim Abrahae promisisti
et semini ejus.
Lord Jesus Christ, King of Glory,
deliver the souls of the faithful dead
from punishment of Hell and from the bottomless pit;
deliver them from the mouth of the lion;
nor suffer the fiery lake to swallow them up,
nor endless darkness to enshroud them
But let Thy holy standardbearer Michael
lead them to the sacred light,
as once Thou promised to Abraham
and his children.
We offer Thee, O Lord,
our prayers and sacrifices of praise:
accept them for those souls whom this day we commemorate:
let them pass, Lord, from death into life,
as once Thou promised to Abraham
and his children.

V. Sanctus Holy, Holy, Holy

Sanctus. Sanctus, Sanctus, Lord God of Hosts.
Dominus Deus Sabaoth! Heaven and earth are full of Thy glory.
Pleni suni coeli et terra gloria tua. Hosanna in the highest.
Osanna in excelsis.

VI. Benedictus Blessed is He who cometh in the name of the Lord.

Benedictus qui venit in nomine Domini. Hosanna in the highest!
Osanna in excelsis.

VII. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.
Lamb of God, that taketh away the sins of the world,
grant them rest everlasting.
May eternal light shine upon them, O Lord;
with thy Saints forever, for Thou art merciful.
Eternal rest grant unto them. O Lord,
and let perpectual light shine upon them.

VIII. Communio Eternal light shine upon them,

Lux aeterna luceat eis, Domine,
cum sanctis mis in aeternum,
quia pius es.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis,
cum sanetis tuis in aeternum,
quia plus es.
with your saints for ever,
because you are good.
Eternal rest grant unto them, O Lord,
and let perpetual light shine upon them,
with Thy saints for ever,
because Thou are merciful.

C h a r l est on Sy m ph on y.or g 65
 SPECIAL EVENT
April 5, 2019
Charleston Music Hall

CHARLTON WITH STRINGS

Charlton Singleton is joining forces with the Charleston Symphony! Together with a jazz
trio, Singleton and the Symphony will play a diverse program featuring Clifford Brown’s
jazz classics arranged for strings and much more.

Program to be announced from the stage.

66 Ch a rl esto nSymp hony.o r g

 ABOUT THE ARTIST
Charlton Singleton
Trumpet

C
harlton Singleton was born on January 7, 1971, the youngest of the three
children of the Rev. Charles and Jeanette Singleton, both in education, of
Awendaw, South Carolina. He is a true child of the Lowcountry in that he
grew up in a close-knit village and was heavily influenced by the forces he was
exposed to in his community’s church, Greater Zion AME Church where his late
grandfather, Edward Singleton, also known to everyone there as Big Daddy,
was a stalwart member and spiritual leader.

Charlton has emerged in the last several years as the face of jazz performance
in the Lowcountry. After long stints in various small ensembles playing many
styles of popular music, he became conductor and artistic director of the
Charleston Jazz Orchestra, a 20-piece aggregation at the vanguard of jazz
in South Carolina today that arose from the prototypical Charlton Singleton
Orchestra in March of 2008.

He enjoys tremendous stature and fame as a result. His likeness is emblazoned on promotional materials
everywhere all the time and he is among the most widely covered performers by media outlets. His high
energy, music-in-motion image graced the cover of Charleston Magazine’s November issue, its first-ever
edition devoted to music.

Charlton’s presence, on and off the stage, is luminescent. It shines brightly everywhere, all the time.

He lives in North Charleston with his wife, Mary Jo, and two children Shalamar Boyd and D’Marcus Boyd.

He is a board member of Jazz Artists of Charleston where he serves as vice president. No other individual
has done more in the Lowcountry recently than Charlton to further the history and legacy of jazz music in
South Carolina.

His work, the light of his life, burnishes the lives of all who encounter him and it appears to be poised to go
on forever.

C h a r l est on Sy m ph on y.or g 67
 MASTERWORKS
April 19 and 20, 2019 • 7:30pm
Gaillard Center

RUSSIAN ROMANTICS
Joyce Yang, Piano
Ken Lam, Conductor

Sergei Prokofiev (1891-1953)

Piano Concerto No. 3 in C Major, Op. 26
I. Andante - Allegro
II. Andantino
III. Allegro ma non troppo
Sponsored by Dr. Miriam DeAntonio

INTERMISSION

Sergei Rachmaninoff (1873-1943)

Symphony No. 2 in E minor, Op. 27
I. Largo - Allegro moderato
II. Allegro molto
III. Adagio
IV. Allegro vivace

68 Ch a rl estonSympho ny.o rg
 ABOUT THE ARTIST
Joyce Yang
Piano

B
lessed with “poetic and sensitive pianism” (Washington Post) and a
“wondrous sense of color” (San Francisco Classical Voice), Grammy-
nominated pianist Joyce Yang captivates audiences with her virtuosity,
lyricism, and interpretive sensitivity.

She first came to international attention in 2005 when she won the
silver medal at the 12th Van Cliburn International Piano Competition. The
youngest contestant at 19 years old, she took home two additional awards:
Best Performance of Chamber Music (with the Takàcs Quartet), and Best
Performance of a New Work. In 2006 Yang made her celebrated New York
Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the
orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul,
South Korea. Yang’s subsequent appearances with the New York Philharmonic
have included opening night of the 2008 Leonard Bernstein Festival–
an appearance made at the request of Maazel in his final season as music
director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.”

In the last decade, Yang has blossomed into an “astonishing artist” (Neue Zürcher Zeitung), showcasing her
colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber
musicians through more than 1,000 debuts and re-engagements. She received the 2010 Avery Fisher Career
Grant and earned her first Grammy nomination (Best Chamber Music/Small Ensemble Performance) for her
recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich (“One can only sit in misty-
eyed amazement at their insightful flair and spontaneity.”–The Strad). She has become a staple of the summer
festival circuit with frequent appearances on the programs of the Aspen Summer Music Festival, La Jolla
SummerFest and the Seattle Chamber Music Society.

C h a r l est on Sy m ph on y.or g 69
 PROGRAM NOTES
MASTERWORKS
Sergei Prokofiev (1891-1953)
Piano Concerto No. 3 in C Major,
Op. 26
By all accounts, Sergei Prokofiev was a formidable
presence at the piano keyboard. Of course, he is
merely one link in a long chain of virtuoso pianists
produced by Russian and eventually Soviet
conservatories during the end of the nineteenth
and beginning of the twentieth centuries. But unlike
his most famous compatriot and contemporary
Rachmaninoff—whose music fills the second half
of tonight’s program—Prokofiev often bypassed
restrained virtuosic elegance in favor of a more
tenacious and athletic style. So, it is not surprising
that it was Prokofiev himself at the keyboard when his
Third Piano Concerto was premiered by the Chicago
Symphony Orchestra in December 1921. We are
also lucky enough to have a recording of the piece
from the summer of 1932 with the composer himself
at the keyboard alongside the London Symphony
Orchestra. When listening to this recording (or
to any subsequent performance of the piece, for
that matter), it is actually somewhat surprising that
Prokofiev’s remarkable speed, agility, and dexterity
as a performer is not used to drown out or domineer
the orchestra. Rather than always placing the piano
soloist out front of the orchestra, as would be
typical of the nineteenth-century virtuoso concerto,
Prokofiev’s piano part seems to run exuberant, playful
circles around the orchestral material, elevating both
in the process. This is a true conversation between
soloist and ensemble rather than a monologue
with accompaniment.
The premiere of Piano Concerto No. 3 came in the
middle of a five-year period in which Prokofiev was
constantly bouncing back-and-forth between the
United States and France after fleeing his native
Russia following the Revolutions of 1917. Prokofiev
spent the summer of 1921 in the small coastal village
of Etretât in Brittany, France, and he seems to have
assembled this concerto by raiding old sketchbooks
for ideas that hadn’t borne fruit in other contexts.
Some of the musical ideas, including the buoyant
gavotte melody that structures the second movement,
seem to date all the way back to 1913, when Prokofiev
70 Ch a rl estonSympho ny.o rg
was in his early 20s. Prokofiev traveled to Chicago
in the fall of 1921 to supervise rehearsals for his
opera, The Love for Three Oranges, which was to
be premiered by the Chicago Opera Association
just fourteen days after the premiere of Prokofiev’s
Piano Concerto No. 3. In many ways, the opera and
the concerto made for an interesting pair: both began
to cast off the Romantic harmonic language that
dominated Prokofiev’s earlier works, and both were
animated by a persistent, sarcastic energy that is the
trademark of Prokofiev’s mature style: angular, biting,
and playful at the same time.
The first movement begins with an incredibly simple
duet for two clarinets that seamlessly gives way
to lush string harmonies and a soaring melody in
the flutes and first violins. However, the tranquility
of this opening Andante only lasts for about thirty
seconds before the low strings kick into gear and
the piano roars onto the scene. And once Prokofiev
puts his foot on the gas pedal in measure eleven,
he infrequently lets up for the remainder of the
piece. Though slower and more introspective, the
sardonic opening theme and its far-flung variations
serve as a kind of nervous tic that pushes the listener
relentlessly forward. By the time we reach the third
movement—which Prokofiev himself described as an
“argument” between the pianist and orchestra—the
engine picks up steam again as we head towards
the blistering finale. The last movement is another
series of increasingly technical variations for the
pianist that build to a fever pitch. Regarding the climax
of the third movement, pianist Jean-Efflam Bavouzet
once told Gramophone magazine:
“When the melody occurs for the third and
fourth time, there’s this configuration for which
the pianist should have three hands, because
the melody is played in the middle, but you also
have arpeggios… When the fifth occurrence of
the melody has passed, we have one of those
moments of pure excitement, building up to a kind
of complete madness—to the point where the
firefighter has to be called to calm everyone down.
It includes the only example I know of in piano
literature where the pianist must play two keys
with one finger. I must confess, I cannot do that.
My fingers are not trained to play that way.”
Thankfully, you can simply let your ears do the work
and trust the difficult bits into the capably-trained
fingers of our soloist, Joyce Yang.
Sergei Rachmaninoff (1873-1943)
Symphony No. 2 in E minor, Op. 27
When we last left our hero (that is, in the program
notes for September’s performance of Rach 3),
Rachmaninoff was off to conquer the world. With an
imposingly virtuosic piano part written for the composer
himself to play and a slate of high-profile concert
dates booked across the United States, Rachmaninoff
was well on his way to the international superstardom
that would characterize his final decades. Though
Symphony No. 2 was composed just three years
earlier, Rachmaninoff was in a very different creative
place. The premiere of his First Symphony in 1897
was an unqualified disaster, receiving a ragged,
under-rehearsed performance under the baton of
the composer Alexander Glazunov. Glazunov was a
less than competent conductor to begin with, and it
appears that he didn’t fully understand Rachmaninoff’s
more modern style (in addition to the fact that he may
have been drunk during the concert). Critics were
brutal, with fellow composer César Cui going so far
as to say that the piece sounded like the work of
a star pupil at a “conservatory in Hell” and that the
Glazunov-conducted performance would undoubtedly
“delight the inhabitants of Hell” with its parade of
horrible sounds.
The negative reception of the piece absolutely
crushed Rachmaninoff, who subsequently fell into
a multi-year depression. Even when he returned to
composing in 1901, Rachmaninoff didn’t have any
confidence in his abilities as a symphonist, relying
instead on his skills as a pianist and conductor to keep
him afloat. Finally, in the spring of 1906, Rachmaninoff
resigned his position as conductor of the prestigious
Bolshoi Theatre in St. Petersburg and stepped down
from his multiple teaching posts throughout the city.
Just a few months later, he moved his family to the
city of Dresden and rededicated himself to
composition full-time. He began work on his Second
Symphony almost immediately upon his arrival in
Dresden, though he kept the work largely secret
because of his continued anxiety surrounding the
genre. When word of the new symphony finally leaked
out to the German press, Rachmaninoff confirmed the
existence of the score, saying, “I have composed a
symphony. It’s true! I finished it a month ago and
immediately put it aside. It was a severe worry to
me and I am not going to think about it anymore.” In
January 1908, Rachmaninoff returned to St. Petersburg
for the first time since he relocating to Dresden and
conducted the premiere of his new symphony to
absolutely universal acclaim.
Contemporary performances of Rachmaninoff’s
Symphony No. 2 can range widely—with the shortest
performances only 35 minutes and the longest
clocking in at nearly an hour— due to a large number
of cuts made over years of performance in a variety
of different contexts. The New York Philharmonic has
a catalog of 29 different cuts or alterations that were
all supposedly authorized by Rachmaninoff himself at
one point or another. In the years since the composer’s
death, more and more orchestras have begun playing
the “uncut” version of the symphony, which reveals
the true scope of Rachmaninoff’s compositional
vision. Despite the potentially unfair conditions in
which it was presented, Rachmaninoff seems to have
internalized the critiques of his First Symphony and
worked hard to overcome these shortcomings in the
Second. From the first strivings of the opening Largo,
Symphony No. 2 is a carefully-plotted work reflecting
a rapidly-maturing compositional mind. Here, the
effervescent, if occasionally unfocused, ideas of the
First Symphony are replaced by the deliberate and
organic unfolding of long, beautiful paragraphs of
musical prose that are worthy of Rachmaninoff’s
hero and Russian compatriot, Leo Tolstoy. Symphony
No. 2 won him a prestigious Glinka Award for Russian
Music and cemented his international reputation as
a composer, but more importantly, it represented a
personal triumph for Rachmaninoff. It returned him
to the site of his greatest professional failure, and
redeemed his reputation and self-confidence in front
of his harshest critics.
C h a r l est on Sy m ph on y.or g 71
BRING THE CSO
INTO YOUR HOME—
LITERALLY
Join the many members of the Charleston Symphony family
who already provide housing for visiting guest musicians.
Get to know some of the wonderful musicians who travel to
Charleston to bring you great music, and at the same time have
a direct impact on the quality of the music-making on-stage! Host
only when it is convenient for you, and all you need to provide is a
private room. We are looking for hosts (or unused vacation rental
property, we will pay any fees) in all areas of greater Charleston.
See page 80 for a listing of the 100+ families already participating
in the musician hosting program.
For more information on this program, contact:
Tom Joyce, Personnel Manager
Personnel@charlestonsymphony.org
843-469-4274 cell

72 Charl esto nSymp hony.o r g

MEMBERSHIP All donations received between
July 1, 2018, and June 30, 2019, will
BENEFITS 2018-2019 qualify for the following benefits.

MAESTRO’S CIRCLE ($25,000+)

Benefits below plus:
Dinner with concertmaster/music director
CSO quartet in-home performance (8 weeks’ notice)

MUSICIAN’S CIRCLE
Gold ($15,000-$24,999)
Benefits below plus:
Lunch with musician of choice
Box seating during CSO rehearsal

Silver ($10,000-$14,999)
Benefits below plus:
Reserved seating at Custom House Concert

Bronze ($5,000-$9,999)
Benefits below plus:
Sponsor guest musician chair
Invitation to “Meet the Musician” events
Invitation to Musician/Sponsor luncheon
VIP access to special events

PARTNER’S CIRCLE
Gold ($2,000-$4,999)
Benefits below plus:
Invitation to season opening and closing receptions
Complimentary parking in Gaillard garage
Invitation to neighborhood Chamber event

Silver ($500-$1,999)
Benefits below plus:
Listing in Bravo
Invitation to CSO rehearsal

Bronze ($1-$499)
Listing in on-line Annual Report
Bi-annual E-Newsletter

C h a r l est on Sy m ph on y.or g 73

Maestro’s Circle Gold
$50,000+
BlueCross BlueShield of
South Carolina
City of Charleston
Charleston Symphony Orchestra
League, Inc.
Gaylord and Dorothy Donnelley
Foundation
Herzman-Fishman Charitable Fund
and Carol H. Fishman
Kite Foundation Fund /
Nancye B. Starnes
Speedwell Foundation
Maestro’s Circle Silver
$35,000-$49,999
Mr. and Mrs. G. Richard Query
Maestro’s Circle Bronze
$25,000-$34,999
John T. and Elizabeth K. Cahill
Fund of Coastal Community
Foundation of SC
Ted and Joan Halkyard
Clyde and Jill Hiers
Martha Rivers Ingram Advised Fund
of The Community Foundation
of Middle Tennessee
Peter R. and Cynthia K. Kellogg
Foundation
Valerie and John Luther
Robert Bosch Corporation
SC Arts Commission
Storey Foundation
Mrs. Andrea Volpe
Musician’s Circle Gold
$15,000-$24,999
Claire and James Allen
Family Foundation
Mary Jo and Fred Armbrust
Dr. Cynthia Cleland Austin
Stuart and Sheila Christie
Dr. and Mrs. William T. Creasman
Estate of Elizabeth B. O’Connor
74 Charl esto nSymp hony.o r g
DONORS
Musician’s Circle Silver
$10,000-$14,999
Anonymous
Ilse Calcagno
Barbara Chapman
County of Charleston
Charleston Regional Alliance
for the Arts
The Cumbaa Family Fund of Coastal
Community Foundation of SC
Dr. Miriam DeAntonio
Dr. Jeffery and Mrs. Tammy Dorociak
Mr. Ronald H. Fielding and
Ms. Susan Lobell
Gray Charitable Trust
Cindy and George Hartley
Lee and Ann Higdon
Paul and Becky Hilstad
Dr. and Mrs. Mariano F. La Via
Mr. and Mrs. Edward E. Legasey
Elizabeth Rivers Lewine
Endowment of Coastal
Community Foundation of SC
Macdonald Carew Family Fund
Mrs. Phyllis Miller
Barbara and Michael Moody
Larry and Eilene Nunnery
Anne P. Olsen
Helen and Robert Siedell
Roger and Vivian Steel
Gerald and Gretchen Tanenbaum
Musician’s Circle Bronze
$5,000-$9,999
Mrs. Sharon Balderson
Mr. and Mrs. Fernando E. Casasco
Frank and Kathy Cassidy
Mr. and Mrs. Wayland H. Cato, Jr.
Lucia Childs
Dr. James L. and Judy E. Chitwood -
Chitwood Family Fund
Eliza Chrystie
Coastal Community Foundation
Open Grants
Colbert Family Fund of Coastal
Community Foundation of SC
Nicholas and Eileen D’Agostino, Jr.
Ellen and Tommy Davis
John and Mary Degnan
Jerry H. Evans and
Stephen T. Bajjaly
Henry and Ann Hurd Fralix
Rajan and Suman Govindan
Michael Griffith and Donna Reyburn
Dr. William D. Gudger
Bob and Marcia Hider
Robert and Catherine Hill
Mr. and Mrs. Raymond D. Houlihan
Ms. Katherine M. Huger
Ilderton Contractors
Sue and Ken Ingram
Dr. Eddie Irions
William and Corinne Khouri
Richard and Lasca Lilly
Dr. and Mrs. Fritz Lorscheider
Mrs. John F. Maybank
Ellen and Mayo Read
Paul and Mary Jane Roberts
Mr. David Savard
SCE&G
Joseph and Claire Schady
Thomas and Alison Schneider
Mr. M. Edward Sellers and
Dr. Suzan D. Boyd
Ike and Betsy Smith
Mrs. Merinda Smith
South State Bank
Susan W. and James V. Sullivan
Albert and Caroline Thibault
Dr. S. Dwane Thomas
Henry & Sylvia Yaschik
Foundation, Inc.
Partner’s Circle Gold
$2,000-$4,999
Dr. and Mrs. Baker Allen
Mr. and Mrs. David Allen
Mr. and Mrs. Brady and
Betty Anderson
Mr. Ivan V. Anderson and
Dr. Renee Dobbins Anderson
Dr. Charles A. Andrus
Anonymous
Atlantic Services of Charleston
Charitable Trust
Dr. Bobby and Julie Baker
Lees and John Baldwin
Mrs. Nella G. Barkley
Charles and Sharon Barnett
The Charleston Symphony gratefully acknowledges supporters from the following individual,
corporate, foundation, and government entities for their commitment to moving the mission of the
CSO forward. Listed below are gifts received between July 1, 2017 and June 30, 2018.
Jodi Rush and Jon Baumgarten
Anne and Philip Bergan
The Bihun Family Foundation
Henry M. Blackmer Foundation, Inc.
Tricia and Tom Bliss
BoomTown
Mr. and Mrs. Thomas W. Boswell
William and Mary Buckley
Foundation
Mr. and Mrs. T. G. Burke
Dr. and Mrs. H. Fred Butehorn, Jr.
Jean F. Carlton
Dr. Malcolm C. Clark
Bill and Sherry Cook
Gail and David Corvette
Sally and Colin Cuskley
Mrs. Clementina Edwards
Nancy and Ralph Edwards
Keith and Susanne Emge
Joanne and Christopher Eustis
Mrs. Vernelle Evans
Julie and John Fenimore
William and Prudence Finn
Charitable Trust
Friedlander Family Fund
Richard J. Friedman, M.D. and
Sandra Brett
Richard and Neva Gadsden
Joe and Sylvia Gamboa
Dr. Robert Gant
Drs. Deborah Williamson and
David Garr
Kevin and Jody Garvey
Kathy and Pete Gaynor
Bob and Ornella Gebhardt
Joyce and Gerry Gherlein
Dr. and Mrs. Frederick J. Goulding
Mrs. Judith Green
Richard and Ann Gridley
Rachel Grogan Hypnotherapy
Tracy and Billy Grooms
David and Patricia Hannemann
Charles and Celia Hansult
Mr. and Mrs. James C. Hare, Jr.
Frank and Kathleen Hayn
Nelson Hicks
Marilyn Hoffman
Arthur Jenkins
Mr. and Mrs. P. Frederick Kahn
Katherine Kelsey
Bettie and Jim Keyes
Town of Kiawah Island
Kiawah Seabrook Exchange Club
Dr. Michael S. Kogan
Susan and Bob Leggett
Mr. and Mrs. Fulton D. Lewis
Dr. and Mrs. Michael Maginnis
Capt. and Mrs. Nat Malcolm
Profs. Bill and Carolyn Matalene
Mr. and Mrs. David H. Maybank, Jr.
Jack and Cathy McWhorter
Mrs. Patricia Mesel
The Mark Elliott Motley Foundation
Town of Mount Pleasant
Bill and Sheila Prezzano
Dr. and Mrs. A. Bert Pruitt
Publix Super Markets Charities
Mr. and Mrs. William J. Raver
Mr. and Mrs. Donald S. Reid
Robert S. and Sylvia K. Reitman
Family Foundation
Royall Ace Hardware, Inc.
Nancy N. Rudy
Gretchen and Fritz Saenger
Mr. Robert M. Schlau
Ginger and David Scott
Mindelle K. Seltzer and
Robert J. Lovinger
Enoch and Annette Sherman
Mr. and Mrs. Michael Sommer
Kate and David Stanton
Elizabeth and Charles Sullivan
Marilyn and George Taylor
Foster and Betty Thalheimer
The Reverend and
Mrs. Alastair Votaw
Ms. Patience D. Walker
Anonymous
Mr. and Mrs. D. Sykes Wilford
Terese T. and Joseph H. Williams
Christine and Richard Yriart
Mr. and Mrs. Stephen Ziff
Partner’s Circle Silver
$500-$1,999
Jill and Richard Almeida
Mr. David Anderson
Mr. and Mrs. James P. Anderson
Anonymous
Lou and Karen Attanasi
Susan Parsons and Angus Baker
Gloria Adelson and Dr. Sy Baron
Mr. and Mrs. John T. Benton
Mr. and Mrs. R. Jeffrey Bixler
Mr. and Mrs. Robert B. Black
The Boatwright Family
Charitable Fund of National
Christian Foundation
Mr. and Mrs. Gordon E. Bondurant
Sid and Barbara Boone
Dr. D. Oliver Bowman and
Mr. Robert Sauers
Dr. and Mrs. G. Stephen Buck
Barbara Burbello
Carolina Eyecare Physicians, LLC
Mr. and Mrs. James A. Cathcart, III
Chase Family Giving Fund
Dr. Deborah Cintron
Dr. Harry and Mrs. Jennifer Clarke
Mike and Kerri Collins
Michael and Sally Connelly
Ethel A. Corcoran
Dr. and Mrs. C. Richard Crosby
Jill Davidge
Richard and Jean Day
Mr. and Mrs. Paul J. De Palma
Dr. and Mrs. Victor E. Del Bene
Gary and Susan DiCamillo
Sarah Lund Donnem
Dr. Carol Drowota
Dr. and Mrs. Haskell S. Ellison
Mrs. Virginia Ennis
Mr. and Mrs. Fair
Hal and Jo Fallon
The Fink Family
The Francis Marion Hotel
Sharon Fratepietro and
Herb Silverman
Paula and Eugene Freed
James and Margie Freston
C h a r l est on Sy m ph on y.or g 75
 DONORS
Sallie and Stephen Fuerth
Mr. and Mrs. John Gelston
Mr. and Mrs. Mark Gernand
John and Pamela Gerstmayr
Neil and Marsha Gewirtzman
Mr. and Mrs. Lawrence Gillespie
Kerry and Rick Goldmeyer
Veronica D. and Peter B. Goodrich
Janet and Ray Gorski
Mrs. Faye F. Griffin
Mr. and Mrs. Benjamin A. Hagood
Kathy and Wayne Hall
Lynn S. Hanlin
Joseph and Elaine Heckelman
Richard and Nancy Heiss
Foundation
Kandace and William Higley
Bill and Ruth Hindman
Mr. and Mrs. Ken Hirsch
Peter and Judy Hubbard
Gail and Tim Hughes
Mr. and Mrs. Addison Ingle
Dr. and Mrs. Julius R. Ivester, Jr.
Herb Jarvis
Dr. and Mrs. Joseph M. Jenrette, III
Dr. and Mrs. George Khoury
Mr. and Mrs. Michael Kirk
Mr. Michael and Dr. Dianne
Kochamba
Mr. and Mrs. Karl Kuester
John and Shea Kuhn
Mrs. Joan S. Ladd
Julia Lamson-Scribner
Charles and Brenda Larsen
Mr. and Mrs. Michael Laughlin
Karyn Lee and William Hewitt
Dr. Edmund LeRoy
Anne and Cisco Lindsey
Richard and Barbara Lione
Charles and Joan Lipuma
Ms. Susan Lowther
Mr. James D. Lubs
Ms. Lane Howell MacAvoy
We apologize if we inadvertently omitted your name or incorrectly listed your name in our list. Please call us at
843-723-7528 ext. 115 so we can make the correction for publication of our next program book.
76 Ch a rl estonSympho ny.o r g
Oxford Fund Inc.
Mr. and Mrs. Emory Main
Dr. and Mrs. John C. Maize
Mr. and Mrs. Alfred L. Malabre, Jr.
Clarence and Judy Manning
Cathy Marino
Mr. and Mrs. James J. Marino
Mr. Jeffrey Martello
The Jack and Joanne Martin
Charitable Foundation
Gene and Susan Massamillo
Gary and Donna Mastrandrea
David W. Maves
Mr. Tony Mazurkiewicz
Gwen and Layton McCurdy
Mr. and Mrs. Thomas McDermott
Susan and Larry Middaugh
Mr. Ralph Mills
Dr. and Mrs. Terence N. Moore
Ellen Moryl
Paul and Jane Ann Mougey
Helen and Gerd D. Mueller
Dr. Martina Mueller
Helen and Donald Muglia
Patrick and Agnes Murphy
Loretta Doll Nethercot
Dr. and Mrs. Robert E. Notari
Anthony R. Oglietti
Mr. and Mrs. Bob Omahne
Owen/McClinton Family Fund
Tony and Joanne Panek
Dr. and Mrs. Leonard L. Peters
Mr. and Mrs. Howard Phipps, Jr.
Ms. Eloise Pingry
Ms. Pamela Pollitt
Mr. George J. Pothering and
Ms. Maria Villafane-Lundell
Mr. and Mrs. Robert Rainear
James and Kathleen Ramich
Family Fund
Elizabeth and James Ravenel
Mark Reinhardt
Mr. and Mrs. Clark L. Remsburg
Mr. and Mrs. William R.
Richardson, Jr.
Harriet Ripinsky
Bené and Charles Rittenberg
Mr. John M. Rivers, Jr.
Ms. Kathleen H. Rivers
Mr. and Mrs. Claron A. Robertson
Patty Scarafile
Mr. and Mrs. Robert K. Schafer
Mr. and Mrs. Stephen Schwartz
Bill and Gloria Seaborn
Mr. and Mrs. Kenneth Seeger
Judy Selby and Reid Spencer
Mr. and Mrs. David Shaw
Elaine and Bill Simpson
Herk and Sherry Sims
Mr. and Mrs. George W. Smyth, Jr.
Byron Stahl
Nancye B. Starnes
Thomas and Jane Steele
Harriett Steinert
Tim and Mary Strand
Anonymous
Nancy and Stephen Sundheim
Gerald and Gretchen Tanenbaum
Drs. Terri Thomas and Alex Kent
Mrs. Maurice Thompson
Anne and Ken Tidwell
Dr. and Mrs. Charles Tremann
Dr. and Mrs. Richard Ulmer
Ms. Normandie Updyke
Gregory Van Schaack
Mr. and Mrs. Martin J. Vincentsen
Gero and Linda vonGrotthuss
John and Cecily Ward
Ms. Jane Waring
Mr. and Mrs. John H. Warren, III
Mary Ellen and Charles S. Way
Betty and Leo Weber
The Reverend H. Gregory West
Ms. Mary Bradford-White and
Mr. Lynn White
Robert and Rosalind Williams
Mr. and Mrs. Bonum S. Wilson, Jr.
Mr. Joseph L. Wright, Jr.
 IN HONOR / IN MEMORY
IN HONOR IN MEMORY
Yuriy Bekker Norman Bell
Judith Green Ledlie Bell
Marilyn Hoffman
Dr. and Mrs. Kenneth Kammer George Donely
Mr. Michael and Dr. Dianne Kochamba Ann Taylor

Barbara Chapman Mr. and Mrs. Brian Finnegan

Katherine Whittle Mary Finnegan Cabezas

Jonathan Kammer Fitz Hardin

Dr. and Mrs. Kenneth Kammer Jean Carlton
Timothy Martin
The marriage of Ann Hurd and Henry Fralix
Mike and Kerri Collins John F. Maybank
Mitsuko Flynn and Daniel Mumm Mr. and Mrs. Benjamin A. Hagood
Thomas and Joan Jones Mr. and Mrs. David H. Maybank
Don and Kitty Reid Mrs. John F. Maybank
John M. Rivers
Ken Lam
Charleston Symphony Orchestra League, Inc. John and Johne McTavish
Mr. Michael and Dr. Dianne Kochamba Jim and Judy Chitwood

Bob and Sylvia Reitman Richard Moryl

Susan Reis Laura Durmer
Dr. and Mrs. Mariano La Via
David Savard and Helen Savard Joyce Platz
Dr. and Mrs. Sidney Seltzer
Dorothy Irene Carson Rhett
Charles and Gretchen Tremann Rev. Dr. William P. Rhett, Jr.
Nikki Tremann
Colonel Richards Roddey
Dr. and Mrs. Fritz Lorscheider

M. Bert Storey
Storey Foundation

Steven Stucky
Kristen Stucky

C h a r l est on Sy m ph on y.or g 77
 OPERATING RESERVE FUND

The Charleston Symphony Orchestra is extremely grateful to the following donors who supported the
initiative to create an Operating Reserve Fund from the Matching Grant opportunity from the Gaylord
and Dorothy Donnelley Foundation.

Anonymous (2) Janet and Ray Gorski John and Shea Kuhn Barbara and
Dr. James L. and Tracy and Billy Grooms Mr. and Mrs. Michael Moody
Judy E. Chitwood of the Ted and Joan Halkyard Michael Laughlin Barbara Nuding
Chitwood Family Fund Cindy and George Hartley Mrs. Elizabeth R. Lewine Dr. and Mrs. A. Bert Pruitt
Dr. Malcolm C. Clark Robert and Catherine Hill Dr. and Mrs. Dr. Harold J. Quinn
Gail and David Corvette Bruce and Diane Hoffman Fritz Lorscheider Mr. David Savard
Marilyn W. Curry Mr. and Mrs. Mr. Spencer Lynch Helen and Robert Siedell
Gaylord & Dorothy Raymond D. Houlihan Macdonald Carew Elaine and Bill Simpson
Donnelley Foundation Dr. Eddie Irions Family Fund Susan W. and
Dr. and Mrs. Dr. and Mrs. Mrs. John F. Maybank James V. Sullivan
Haskell S. Ellison Julius R. Ivester, Jr. Dr. and Mrs. Mary Ellen and
Mrs. Virginia Ennis Mr. and Mrs. Karl Kuester Francis G. Middleton Charles S. Way
William and Prudence Dwight and
Finn Charitable Trust Lindsey Williams

78 Ch a rl esto nSymp hony.o rg

 HOW YOU CAN
HELP THE CSO?
You have been fortunate enough
“NOTHING CAN to contribute money into your
Individual Retirement Account for
BE SAID TO BE all those years at work, and it’s
grown to a tidy sum. Now that you
CERTAIN, EXCEPT are 70½, Uncle Sam would like
DEATH AND TAXES.” his cut! Those people 70½ or
older must begin making required
–BENJAMIN FRANKLIN minimum distributions, or RMDs,
from their qualified retirement
accounts. The CSO can help alleviate the sting because a donation counts as
a required minimum distribution, but doesn’t increase your adjusted gross
income. Contact your IRA administrator today to give your money to the CSO
instead of Uncle Sam!

The Charleston Symphony Orchestra relies on the community to help it achieve

its mission of inspiring and engaging the community with exceptional musical
performances and educational programs. There are many ways to help:

• Become a concert sponsor (from $15,000)

• Become a guest musician chair sponsor (from $5,000)
• Become a Young People’s Concert sponsor (from $2,500)
• Sponsor a Guest Artist
• Make a donation in someone’s honor
• Make a contribution from your IRA for a tax benefit
• Make a gift of stock
• Make a bequest to the CSO in your estate plans

Call Development at (843) 723-7528 ext. 115 for more information.

C h a r l est on Sy m ph on y.or g 79

GUEST MUSICIAN HOSTS
Bill & Susan Anonie
Josh Baker and Dan Urbanowicz
Mr. and Mrs. John Rhett Baldwin
Jenny and Yuriy Bekker
Ledlie Bell
Anne and Andrew Benbow
Linda Bergman
Mr. and Mrs. J. Sidney Boone, Jr.
Mr. and Mrs. Thomas W. Boswell
Bowers Family
Sharon and Nigel Bowers
Tom Bradford and Susan Bass
Doug and Verna Bunao-Weeks
Dr. and Mrs. Phil Buscemi
Mary Bridget Cabezas
Jean Carlton
Judy and Bill Casey
Frank and Linda Cassara
Stuart and Susan Chagrin
Joan and Richard Chardkoff
Lydia Chernicoff and Jaan Rannik
L. John and Judy Clark
Anne Cline
Judy Collins
Ann and Paul Comer
Jeanne Anne Coplestone
Ms. Carolyne Cox
Bill and Erble Creasman
April and Terry Cullen
Nancy and Steven Cunningham
Allen Curry
Jill Rabon Davidge
Giulio and Donatella Della Porta
Dr. Jeffery and Mrs. Tammy Dorociak
Ms. Karen Durand
Tacy and Darrell Edwards
Mr. and Mrs. Roger Embry
Susan Fasola
Gail and Evan Firestone
Mr. George Flynn
Mitsuko Flynn and Daniel Mumm
Ann Hurd Fralix
Joe and Sylvia Gamboa
Rachel and Micah Gangwer
Jackie and Sam Gawthrop
Bob and Ornella Gebhardt
80 Ch a rl estonSympho ny.o r g
GUEST MUSICIAN HOSTS &
IN-KIND GIFTS
Jenny and Jack Gelston
Pam and John Gerstmayr
Kerry and Rick Goldmeyer
Suman and Rajan Govindan
Maureen Graham
J. Kirkland Grant
Bob Habig
Edith Haman
Zac Hammond
Celia and Chuck Hansult
Ellen and Ed Harley
Jo and Ray Hauck
Louise Heikes and Roy Liebman
Eric and Margaret Herzlich
Ron and Linda Hicks
Becky and Paul Hilstad
Abby and Fred Himmelein
Connie and Lowry Hughes
Rochelle and Andy Iserson
Glenn and Judy Jackson
Marijayne Jensvold
Kurt and Vicki Johnson
Christina Jones and Sam Lynah
Jan-Marie and Tom Joyce
Michael and Joy Ellen Kauffman
Gloria Kelso
Sally and Tim Key
Kari Kistler
Marlene and Bruce Koedding
Asako and Damian Kremer
Peggy and Franklin LaBelle
June and Mariano La Via
Liz and Phil Leffel
Susan and Bob Leggett
Penelope Leighton and
John Hurshman
Courtenay and Norbert Lewandowski
Chris Licata and Jennifer Blevins
Rachel Ruth Lindsay
Dr. and Mrs. Michael Maginnis
Marjorie T. McManus
Georgia H. Meagher
Janice and Jay Messeroff
Susan and Charles Messersmith
Ed and Clare Meyer
Wayne and Anna Mickiewicz
Elizabeth Murphy
Terri and Bob Musor
Anne Nietert
Barbara and Tom Pace
Dr. and Mrs. Basil Papaharis
Dr. Vincent and Rev. Nancy Pellegrini
Joyce and Paul Perocchi
Lorraine Perry and Ford Reese
Claudia Porter and Stuart Hotchkiss
David and Marsha Ray
Donna Reyburn and Michael Griffith
Faith and Herb Russell
Bill and Amy Sage
Barbara Sanders
Enoch and Annette Sherman
Beth and Mitchell Sherr
Helen Snow
Katherine and Michael St. John
Carol Spitznas
Nancy Eaton Stedman
Roger and Vivian Steel
Dianna Stern
Albert and Caroline Thibault
Jim and Carol Thiesing
Laurie and Frank Thigpen
Ms. Kathleen Tresnak and
Mr. William Reehl
Richard and Martha Ulmer
Meta Van Sickle
Jenny and Ben Weiss
Ann Wessel
Dr. and Mrs. Donald Wilbur
Jim and Debby Willis
The Winther Family
Regina and Dr. Jeffrey Yost
Jeannie Yzquierdo
Ms. Mary Zimerle
IN-KIND GIFTS
Belva’s Flower Shop
Carnegie Hall
Cathedral of St. John the Baptist
Charleston County School of the Arts
Fox Music House
Gibbes Museum of Art
Greek Orthodox Church
of the Holy Trinity
James Island Cleaners
John Wesley Methodist Church
St. Philip’s Church