MétabolesHenri Dutilleux

Born: Angers, France, January 22, 1916Living in France

Great music nearly always rises to the top,though sometimes it takes a while. It’snow obvious to all that Henri Dutilleux isone of the leading composers of our time,yet for much of his life, musical politicskept his music largely out of the publiceye. Some have cited the exaggeratedinfluence of his countryman Pierre Boulez,whose rigorous serialist outlook lookedmore toward Schoenberg than towardBartók or Stravinsky. But Boulez is eighty-three now, and Dutilleux nearlyninety-three; any hard feelings from thepast have mellowed as both have achievednear-legendary status. “Our relations arenow very good, très chaleureux,” Dutilleuxtold a British journalist in 2005.Today we can all rejoice that Dutil-

leux’s music has found its way toAmerican concert halls with increasingfrequency, for no picture of French musicis complete without it. (We need Boulez,too.) Constructed with an uncanny

intuition for rhetorical discourse andpainted with vivid colors, it often findscomparison to literature and to the visualarts. Indeed Dutilleux has said that MarcelProust’s novels encouraged him to venturebeyond traditional forms, and works suchas Timbres, espace, mouvement pay overthomage to visual art (in this case, VanGogh’s Starry Night).

An artistic familyBut whereas the paternal side ofDutilleux’s family boasted painters,lithographers, and printers, it was themusical ancestry on his mother’s side thathad the deepest impact on young Henri.The youngest of four children in anintensely musical home, he advancedquickly on the piano and enrolled in theDouai Conservatory at the age of eight—composing from his early teens andlanding in the prestigious compositionclass of Henri Busser. He won the Prix deRome in 1938 but spent only a fewmonths in Rome before World War IIforced him to return home.He worked as a medical orderly during

the war, then as pianist, conductor, and

PROGRAM NOTES

Orchestral concerts are supported bythe Jack Wolgin Curtis Orchestral Concerts Endowment Fund.

THE JACK WOLGINORCHESTRAL CONCERTS

The CurtisSymphonyOrchestra

Tuesday, January 20, 2009

Verizon Hall at the Kimmel Center

Christoph Eschenbach, conductorMeng-Chieh Liu, piano

DUTILLEUXMétabolesIncantatoire—Linéaire—

Obsessionnel—Torpide—Flamboyant

BARBERPiano Concerto, Op. 38Allegro appassionatoCanzone: ModeratoAllegro moderato

INTERMISSION

BERLIOZSymphonie fantastique, Op. 14

Rêveries, Passions (Daydreams, Passions)Un bal (A Ball)

Scène aux champs (In the Meadows)Marche au supplice (March to the Scaffold)

Songe d’une nuit du sabbat (Sabbath Night’s Dream)

Photographic and recording equipment may not be used in Verizon Hall.

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arranger. After a stint with French Radio,he was professor of composition at theÉcole Normale in Paris (1961–70) andfrom 1971, at the Paris Conservatory.His initial works bore conventional

titles (Piano Sonata No. 1, Symphony No.1) but by the 1960s he was moving towardmore descriptive, poetic titles (Tout unmonde lointain…). By the 1970s he wasreceiving major commissions from SergeKoussevitzky and Mstislav Rostropovich,and he has subsequently written for IsaacStern (L’Arbre des songes), Anne-SophieMutter (Sur le même accord), and RenéeFleming (Le Temps l’horloge, 2007).Dutilleux’s music, with short-breathed,

folk-like melodies and strongly etchedmotivic material, favors pitch centersbut is rarely outright tonal.Métaboles,completed in 1964, was first performed byGeorge Szell and the Cleveland Orchestraon January 14, 1965.This seventeen-minute miniature gem

consists of five sections performed withoutpause, emphasizing each of the sections ofthe orchestra and then melding them all.This musical “metamorphosis” evolvesfrom the initial Incantatoire—like Rite ofSpring in its piercing polytonal opening—to the low, sustained string chords ofLinéaire, which features a slower version ofthe motif. Brass explosions form the wildObsessionnel, tom-tom taps provide atender “night music” (Torpide), andsnarling snare drums signal the finalFlamboyant.

Piano Concerto, Op. 38Samuel Barber

Born: West Chester, Pa., March 9, 1910Died: New York City, January 23, 1981

Talk about pressure. America’s leadingpublisher of the day, G. Schirmer,commissions you to write a piano concerto,

your first, for the opening-week festivitiesof what will become the most significantperforming-arts center in the hemisphere,Lincoln Center. But Samuel Barber stoodup to the challenge, and by March 1960the piece was well underway. He cheated abit, perhaps, by adapting his 1959 Elegy forflute and piano to create the slow move-ment. Moreover the death of his sister in1961 threw him into a deep depression,and he struggled to complete the finalmovement in time for the scheduledpremiere on September 24, 1962.John Browning, the soloist for whom

Barber composed the work, rememberedthe late summer of 1962 as an especiallytense period. “For the last two weeksbefore the premiere I would go to hishouse every day,” Browning said, “pick uptwo or three sheets of manuscript, andstart learning them. This wenton until the movement was completed.I was working about 15 hours a day tomemorize it.”Expectations were high, and Barber

delivered what is perhaps the greatestAmerican piano concerto since EdwardMacDowell’s Concerto No. 2. (And hasthere been a better one since?) JohnBrowning played the premiere with ErichLeinsdorf and the Boston Symphony, andit caused a minor sensation. One NewYork critic announced “the birth of anAmerican classic.” It became a signaturepiece for Browning, who championed ittirelessly for much of the rest of his career.It was a Browning performance in

Vancouver that inspired a teenagedMeng-Chieh Liu to learn the piece afterhe first heard it. “I thought, ‘Wow what agreat concerto,’ ” Mr. Liu said recently. “Itcertainly belongs among the greatcontemporary concertos.” Mr. Liu addedthat he has always felt an affinity toBarber’s fusion of Romantic and modern.

Barber’s inspiration for the concertogrew partly from the admiration he hadgained for Browning’s pianism in 1956,when he heard the young pianist rehearseRachmaninoff’s Second Concerto for hisdebut with the New York Philharmonic.Later Barber had Browning play throughmuch of his repertoire, which includedmusic of Debussy, Chopin, Scriabin, andRachmaninoff. Much of the virtuosoidiom of these composers—and some ofthe color and pyrotechnics Browning hadlearned as a student of Rosina Lhévinne atJuilliard, such as parallel sixths moving inopposite directions—found its way intothe concerto’s keyboard part. “I thinksome American composers don’t know thepiano well enough,” Barber said in 1964.“They use all possible richness inorchestral scoring, but they cut down theirpalette to a sort of gray for the piano.”

Conventional and contemporaryThe concerto contains much of theoperatic cantabile for which the composeris best known. Nevertheless the concertowas judged harshly by many, for it enteredthe repertoire during an era that placedmuch value on the avant-garde. “But whatis tradition?” wrote the critic Paul HenryLang after the premiere, defending thework’s conservatism. “That a work isdeliberately within a somewhat older styleis not a flaw unless it fails to gatherimpetus from the artist’s temperament inthe proceeding. This concerto riseseverywhere above the painstaking and theingenious; its individual elements haveimportance in themselves …”Despite its conventional approach, the

concerto reveals a finely tuned awarenessof contemporary trends. More than oneanalyst has discussed elements of twelve-tone composition found in the openingmovement, for example (all twelve notes

are heard in the soloist’s circular firstphrase, which forms the movement’sprincipal motivic building-block); likewisethe driving 5/8 rhythms of the finalerecall Prokofiev’s motoric wartimeendings. But the concerto’s lush texturesand “luscious” melodies reveal aRomanticist’s temperament, and itsintricate architecture recalls the musicof J. S. Bach.Barber wrote the following note about

the piece:

The Concerto begins with a solo for piano inrecitative style (Allegro appassionato) inwhich three themes or figures are announced,the first declamatory, the second and thirdrhythmic. The orchestra interrupts, piùmosso, to sing the impassioned main theme,not before stated. All this material is nowembroidered more quietly and occasionallywhimsically by piano and orchestra until thetempo slackens (doppio meno mosso) andthe oboe introduces a second lyric section. Adevelopment along symphonic lines leads to acadenza for soloist, and a recapitulation withfortissimo ending.

The second movement (Canzone:Moderato) is song-like in character, the flutebeing principal soloist. The piano enters withthe same material, which is subsequently sungby muted strings to the accompaniment ofpiano figurations.

The last movement (Allegro molto in5/8), after several fortissimo repeated chordsby the orchestra, plunges headlong into anostinato bass figure for piano, over whichseveral themes are tossed. There are twocontrasting sections (one un pochettino meno,for clarinet solo, and one for three flutes,muted trombones, and harp, con grazia)where the fast tempo relents: but the ostinatofigure keeps insistently reappearing, mostly bythe piano protagonist, and the 5/8 meter isnever changed.

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Symphonie fantastique, Op. 14Hector Berlioz

Born: La Côte-St.-André, Isère,December 11, 1803Died: Paris, March 8, 1869

Poor Berlioz: The only thing worse thanharboring an unrequited love for acelebrity is having that love returned, andending up locked in a frustrating marriagefor twenty-one years with someone whowas probably a mismatch in the first place.In Berlioz’s case it was a gorgeous Irishactress named Harriet Smithson, whom hesaw in Paris productions ofHamlet andRomeo and Juliet in 1827. Though hebarely understood a word of the English-language originals, by the third act ofRomeo he was in love with Juliet. Or so heclaimed, in his usual hyperbolic Romanticmode of expression.“Half suffocated by emotion,” he wrote,

“with the grip of an iron hand upon myheart, I cried out to myself, ‘I am lost! I amlost!’” They finally met two years later andspent several passionate years together;alas, their long, turbulent marriage endedin separation. The revolutionarySymphonie fantastique became the story ofhis life with and love for Harriet—thusthe subtitle, “Episodes in the Life of anArtist.”Berlioz composed with desperate speed,

borrowing musical materials from his ownprevious works as he went along. It wasthe first full-blown programmaticsymphony of the Romantic period; noprevious piece had worked out a storylinein such relentless detail. To make certainhis intentions were clear, Berlioz printedthe tale and distributed it to the audienceat the premiere on December 5, 1830.“The composer’s intention has been to

develop various episodes in the life of anartist, insofar as they lend themselves to

musical treatment,” Berlioz wrote. “As thework cannot rely on the assistance ofspeech, the plan of the instrumentaldrama needs to be set out in advance. Thefollowing program must therefore beconsidered as the spoken text of an opera,which serves to introduce musicalmovements and to motivate theircharacter and expression.”Thus at its heart, the Symphonie is a

dramatic work, an orchestral expression bya composer who had yet to score anygenuine successes at the Paris Opéra, andwho found, in this work, an outlet for hisdramatic gifts. It also featured some of themost daring harmonic and orchestraleffects to date, less shocking today but stillremarkable to hear. At its musical core iswhat Berlioz had called the idée fixe, thechief melodic motif that representsHarriet. Below is a condensed version ofthe composer’s own program note, whichwas published in the first printed editionof the symphony.

First Movement: Daydreams, Passions.The composer imagines that a youngmusician, troubled by that spiritual sicknesswhich a famous writer has called “theemptiness of passions,” sees for the first timea woman who possesses all the charms of theideal being he has dreamed of, and fallsdesperately in love with her. ... The belovedvision never appears to the artist’s mind exceptin association with a musical idea, in which heperceives the same character—impassioned,yet refined and diffident—that he attributesto the object of his love. This melodic imageand its model pursue him unceasingly like adouble “fixed idea.” That is why the tuneat the beginning of the firstAllegroconstantly recurs in every movement ofthe symphony. ...

BIOGRAPHIES

Christoph Eschenbach, conductorChristoph Eschenbach is in his ninthseason as music director of the Orchestrede Paris and in great demand as adistinguished guest conductor with thefinest orchestras and opera housesthroughout the world. Recently namedthe sixth music director of the NationalSymphony Orchestra as well as musicdirector of the John F. Kennedy Center forthe Performing Arts, Mr. Eschenbach willplay a key role in planning future seasons,

international festivals, and special projectsfor these two prestigious institutionsbeginning in fall 2010. He is also theprincipal conductor of the Schleswig-Holstein Music Festival InternationalOrchestral Academy, a position he hasheld since 2004.In the 2008–09 season, Mr.

Eschenbach conducts the Orchestre deParis at the Berlin Festival and the BBCProms in London and embarks on athree-week tour of Europe leading the

Second Movement: A Ball. The artist isplaced in the most varied circumstances: amidthe hubbub of a carnival; in peacefulcontemplation of the beauty of nature—buteverywhere, in town, in the meadows, thebeloved vision appears before him, bringingtrouble to his soul.

Third Movement: In the Meadows. Oneevening in the country, he hears in thedistance two shepherds playing a pastoralsong; this duet, the effect of his surroundings,the slight rustle of the trees gently stirred by thewind ... all combine to bring an unfamiliarpeace to his heart, and a more cheerful colorto his thoughts. He thinks of his loneliness; hehopes soon to be alone no longer. ... Butsuppose she deceives him! This mixture ofhope and fear, these thoughts of happinessdisturbed by a dark foreboding, form thesubject of theAdagio. At the end, one of theshepherds again takes up the song. The otherno longer answers. ... Sounds of distantthunder ... solitude ... silence.

Fourth Movement: March to theScaffold. The artist, now knowing beyond alldoubt that his love is not returned, poisonshimself with opium. The dose of the narcotic,

too weak to take his life, plunges him into asleep accompanied by the most horriblevisions. He dreams that he has killed thewoman he loved, and that he is condemned todeath, brought to the scaffold, and witnesseshis own execution. The procession isaccompanied by a march that is sometimesfierce and somber, sometimes stately andbrilliant. ... At the end of the march, the firstfour bars of the idée fixe recur like a lastthought of love.

Fifth Movement: Sabbath Night’sDream. He sees himself at the witches’sabbath, in the midst of a ghastly crowd ofspirits, sorcerers, and monsters of every kind,assembled for his funeral. Strange noises,groans, bursts of laughter, far-off shouts towhich other shouts seem to reply. The belovedtune appears once more, but it has lost itscharacter of refinement and diffidence; it hasbecome nothing but a common dance tune,trivial and grotesque; it is she who has come tothe sabbath. ... A roar of joy greets herarrival. ... She mingles with the devilish orgy.... Funeral knell, ludicrous parody of the Diesirae, sabbath dance. The sabbath dance andthe Dies irae in combination.

Copyright © 2009 Paul Horsley

Philadelphia Orchestra, where he wasmusic director from 2003 to 2008. Hewill also appear with the ViennaPhilharmonic, the New YorkPhilharmonic, the Staatskapelle Dresden,the London Philharmonic, and the NDRSymphony Orchestra in Hamburg, wherehe served as music director from 1998 to2004. In addition he makes his conductingdebut with the Royal ConcertgebouwOrchestra and has a re-engagement withthe Chicago Symphony Orchestra at theRavinia Festival, where he was musicdirector from 1994 to 2003.As a pianist Mr. Eschenbach continues

his fruitful collaboration with baritoneMatthias Goerne, with whom he willrecord and perform Schubert’s threesong cycles—Die Schöne Müllerin, DieWinterreise, and Schwanengesang—overthe next two years.During the 2007–08 season, the fortieth

anniversary of the Orchestre de Paris, Mr.Eschenbach collaborated with soloistsincluding Lang Lang, Daniel Barenboim,and Yo-Yo Ma and led world premieres ofmusic by Kaija Saariaho and AugustaReade Thomas. He also led thePhiladelphia Orchestra on an extensivetour of Asia and appeared several timeswith the orchestra at Carnegie Hall. Asa guest conductor he returned to theLondon Philharmonic and NDR(Hamburg) Symphony orchestras. He alsoconducted the Sinfonieorchester desBayerischen Rundfunks in Munich andled three concerts at the Schleswig-Holstein Music Festival, where he servedas artistic director from 1999 to 2002.Mentored by George Szell and Herbert

von Karajan, Mr. Eschenbach went on tohold the posts of chief conductor andartistic director of the Tonhalle Orchestra(1982–86) and music director of theHouston Symphony (1988–99). His many

honors include the Légion d’Honneur;Commandeur dans l’Ordre des Arts etdes Lettres, and the Officer’s Cross withStar and Ribbon of the German Orderof Merit.

Meng-Chieh Liu, pianoA recipient of the prestigious Avery FisherCareer Grant, Meng-Chieh Liu first madeheadlines in 1993 as a twenty-one-year-old student at The Curtis Institute ofMusic, when he substituted at last-minute’s notice for André Watts at theAcademy of Music in Philadelphia. Theconcert earned high acclaim from criticsand audience members alike and wasfollowed by a number of widely praisedperformances, including a recital at theKennedy Center and a concert on thePhiladelphia All-Star Series. Already anaccomplished artist, Mr. Liu had madehis New York orchestral debut twoyears earlier.Following Mr. Liu’s triumph in

Philadelphia, an appearance with thePhiladelphia Orchestra was immediatelyscheduled. However his career wasabruptly halted by a rare and debilitatingillness that affected his connective tissues.Hospitalized and almost immobile for ayear, doctors believed his chances forsurvival were slim and, should he survive,playing the piano would be “absolutelyimpossible.” With arduous determinationand relentless physical therapy, Mr. Liuhas been restored to health and is onceagain performing on the concert stage.His performance schedule in recent

years has included appearances in NewYork, Boston, Chicago, Los Angeles,Philadelphia, Baltimore, Dallas, Seattle,and San Diego, as well as concerts inTaiwan, Korea, Japan, Bulgaria, Spain,Australia, New Zealand, and SouthAmerica. In 2006 Mr. Liu undertook a

two-year project of the complete Schubertsonatas, performing in San Francisco,Boston, Taipei, and Kaohsiung, Taiwan.A dedicated chamber musician as well

as solo artist, he has collaborated withmusicians in North America, Europe,Australia, and Asia, in addition toworking with artists in other disciplines,including Mikhail Baryshnikov, whoinvited him to work with the White OakDance Project. Mr. Liu’s concerts havebeen broadcast around the world, and abiography about him aired on TaiwaneseNational Television.Born in Kaohsiung, Taiwan, Mr. Liu

began his piano studies early and at age

thirteen was accepted by The CurtisInstitute of Music to study with JorgeBolet, Claude Frank, and EleanorSokoloff. He has received the 2002Philadelphia Musical Fund Society CareerAdvancement Award and first prizes inthe Stravinsky, Asia Pacific Piano, andMieczyslaw Munz competitions. In 2008he was selected as one of the ten mostoutstanding young people in Taiwan.Mr. Liu has been a member of theCurtis faculty since 1993, the year ofhis graduation, and in 2008 became amember of the major piano faculty. In2006 he joined the piano faculty atRoosevelt University in Chicago.

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February1 Alumni Recital SeriesGary Graffman and Friends, an80th-Birthday Celebration

10–15 The Curtis Opera TheatreIMPRESSIONS OF PELLÉAS by Debussy/adapted Brook and Constant

Lisa Keller, music directorK. Elizabeth Stevens, stage directorCurtis Opera Studio

11–15 The Curtis Opera TheatreTHEMEDIUM by MenottiDanielle Orlando, music directorK. Elizabeth Stevens, stage directorCurtis Opera Studio

22 Alumni Recital SeriesVertigo String QuartetJosé Maria Blumenschein, violin (’07)Johannes Dickbauer, violin (’07)Lily Francis, viola (Violin ’06)Nicholas Canellakis, cello (’06)

This Winter at CurtisFor details on the entire season, visit www.curtis.edu or call 215-893-7902.

STUDENT RECITAL SERIES: Students perform free recitals almost every Monday,Tuesday, Wednesday, and Friday at 8 p.m.

Unless otherwise noted, performances take place in Curtis’s Field Concert Hall.

The Curtis Institute of Music receives state arts funding supportthrough a grant from the Pennsylvania Council on the Arts, astate agency funded by the Commonwealth of Pennsylvania andthe National Endowment for the Arts, a federal agency.

VIOLINWilliam M. Hollis Jr.Principal Chair

Independence Foundation Chair

David & Sandra Marshall Chair

Anastasia AgapovaHerbert R. and Evelyn Axelrod Fellowship

Dayna Kristie AndersonJames and Cynthia Cook Annual Fellowship

Rebecca AndersonJames and Betty Matarese Annual Fellowship

Elizabeth Basoff-DarskaiaNina and Billy Albert Annual Fellowship

Benjamin Beilman**William H. Roberts Annual Fellowship

Maia CabezaDr. Samuel R. and Mrs. Beatrice S. RossmanFellowship

Ray Chen*Artio Global Management Annual Fellowship

Hannah ChoiJean J. Sterne Fellowship

Nikki ChooiCharles and Judith Freyer Annual Fellowship

Elizabeth FayetteCarrie L. Tolson MemorialAnnual Fellowship

Amalia HallMary Louise Curtis Bok Fellowship

Hyo Rim HanHuldah Bender Kerner, M.D., Fellowship

Zenas HsuJeannette Epstein Fellowship

Susan Jang#Efrem Zimbalist Fellowship

Choha KimCarol K. Gerstley Annual Fellowship

Jeoung-Yin KimBarbora KolářováJustine Lamb-BudgeBryan A. LeeSusan and Edward Montgomery Fellowship

Yiying Julia LiBarbara and Hratch Kasparian AnnualFellowship

Richard LinJ. Oliver Lewis Memorial Fellowship

Joel LinkMilka Violin Artist Fellowship

Zoë Martin-DoikeJerrie Cadek Lucktenberg Annual Fellowship

Petr MatějákMark and Esther Kramer Fellowship

Chan Ho ParkMark and Esther Kramer Fellowship

Brittany SklarEmily W. Sunstein Annual Fellowship

Ji-Won SongHorace W. Goldsmith Annual Fellowship

Malwina SosnowskiMilka Violin Artist Fellowship

Josef Špaček*Herbert R. and Evelyn Axelrod Fellowship

Yu-Chien TsengJohn J. Medveckis Annual Fellowship

Xiao Wang

VIOLAHollis Family Principal Chair

Jinsun HongEdwin B. Garrigues Annual Fellowship

Philip KrampWalter and Leonore Annenberg Fellowship

Rachel KuipersGerry and Marguerite Lenfest Fellowship

Kuan LiuMilena Pajaro-van de Stadt+Guna S. Mundheim Annual Fellowship

Alexander Michael PetersenJohn S. and James L. Knight FoundationFellowship

Vicki PowellShaun F. O’Malley Fellowship

Junping QianHyo Bi SimMinkyung SungHorace W. Goldsmith Annual Fellowship

Marina ThibeaultJean J. Sterne Fellowship

Sang Hyun Mary YongRuth and Eugene Helmer Fellowship

CELLONina B. Hollis Principal ChairIndependence Foundation Chair

Bronwyn Banerdt (’08), guest artistNatalie HelmChristina and Jeffrey Lurie Annual Fellowship

Summer HuGie and Lisa Liem Annual Fellowship

Jeong Hyoun LeeMilton Levy Fellowship

Jiyoung LeeJoseph Druian Fellowship

Hiro MatsuoAnderson and Daria Pew Fellowship

Sarah RommelCarol Coe Conway Memorial Fellowship

Camden ShawFrank S. Bayley Annual Fellowship

Brook Speltz++Louisa Knapp Curtis Fellowship

Yu-WenWangJacqueline du Pré Memorial Fellowship

Branson Yeast

DOUBLE BASSHollis Family Principal Chair

Joseph CampagnaMerck Annual Fellowship

Mary Wheelock Javian (’99),guest artistBlake HinsonHarry L. and Cecilia F. Slavin Fellowship

Alexander JacobsenGabe Katz, guest artistRex SuranyEdwin B. Garrigues Annual Fellowship

Nathan VedalDerek ZadinskyFlorence R. Laden Memorial Fellowship

FLUTEDr. Andrea M. BaldeckPrincipal Chair

Maron KhouryCharles M. Kanev Memorial Fellowship

Masha PopovaAlma and Edwin Lakin Annual Fellowship

Sonora SlocumDonald V. Peck Annual Fellowship

Bile ZhangJulius Baker Fellowship

OBOEDr. W. Stephen CroddyPrincipal Chair

Michelle DuskeyUnited States Steel Corporation AnnualFellowship

Kate Kammeyer, guest artistAdamM. KiswardyKorey MarshallGephart Family Fellowship

Priscilla Smith, guest artistCamille WhiteJill and Sheldon Bonovitz Annual Fellowship

CLARINETHollis Family Principal Chair

Ruokai ChenFelix Meyer Fellowship

Keunhee Bruce ChoKelly CoyleNellie Lee Bok Fellowship

Yao Guang ZhaiHorace W. Goldsmith Annual Fellowship

BASSOONHollis Family Principal Chair

Rae FeldcampAnderson and Daria Pew Fellowship

Matthew McDonaldMyer and Helen K. Schwartz AnnualFellowship

William ShortJoseph and Carole Shanis Annual Fellowship

Natalya Rose VrbskyWilliam Curtis Bok Bassoon Fellowship

Wenmin ZhangHorace W. Goldsmith Annual Fellowship

HORNWilliam M. Hollis Principal Chair

James AlexanderRebekah DaleySusan and Frank Mechura Annual Fellowship

Katherine JordanCorey KleinEdwin B. Garrigues Annual Fellowship

Adedeji Bailes OgunfoluBruce Jay Gould, M.D., Annual Fellowship

Courtney PrizrenacHuldah Bender Kerner, M.D., Fellowship

TRUMPETHollis Family Principal Chair

Matthew EbisuzakiPhiladelphia Orchestra Annual Fellowship

Sara HuebnerMatthew Neal Kitzen-AbelsonChristopher StingleBok Foundation Fellowship

Stanford L. ThompsonWilliam A. Loeb Fellowship

TROMBONEDr. Luther W. BradyPrincipal Chair

Brian SanteroSamuel SchlosserRyan SeayCrown Holdings, Inc., Annual Fellowship

Nathan Lodge, bass trombone

TUBAScott DevereauxDr. Bong S. Lee Fellowship

Jon Fowler, guest artist

TIMPANI AND PERCUSSIONHollis Family Principal Chair

Benjamin FolkWilliam W. Bernheim Fellowship

Yi Fei FuNicholas MurryMichael SparhuberAbigail Rebecca Zubrow Cohen MemorialFellowship

Mari YoshinagaGraham and Joanne Berwind AnnualFellowship

HARPCroddy Family Principal Chair

Madeline G. BloodMaryjane Mayhew Barton Fellowship

Ko-Ni ChoiMarilyn Costello Memorial Fellowship

Coline-Marie OrliacL. Daniel Dannenbaum Fellowship

Danyi Xia

CELESTAGary and Naomi Graffman Chair

Joshua GersenJohn N. Park Annual Fellowship

MANAGERSTim Ressler, Orchestra ManagerDavid Murray, Orchestra LibrarianBrittni Troy, Assistant Orchestra

Manager

STUDENT STAGE CREWRay ChenBenjamin FolkYi Fei FuPaul KowertJoel LinkPetr MatějákNicholas MurryAdedeji Bailes OgunfoluRyan SeayMichael SparhuberRex SuranyMari Yoshinaga

* Co-concertmasters** Principal Second Violin+ Principal Viola++ Principal Cello# on leave of absence

The conductor for each CurtisSymphony Orchestra performanceis made possible by the Gustave andRita Hauser Chair.

The Curtis Institute of Music thanksthe individuals and organizationswho are helping to supporttomorrow’s musical legendsthrough named endowed andannual fellowships. For informationon the Curtis Fellowship Program,please contact Elizabeth A. Wright,vice president for development, at215-717-3119.

The Curtis Symphony Orchestra

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