jake shimabukuro's uke nation

3

4

5

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

Table of Contents

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

The Musicians | 9Administrative Staff | 10Board of Directors | 11Russian Masters | 14

The Music of The Eagles | 21Mozart & Hartt | 24

Jake Shimabukuro’s Uke Nation | 33HSO Contributors | 38Patron Information | 51

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

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

7


About the Symphony

Marking its 72nd Season in 2015–2016, The Hartford Symphony

Orchestra is Connecticut’s premier musical organization. The Hartford Symphony is the second largest orchestra in New England and is widely recognized as one of America’s leading regional orchestras. We believe passionately in the performance of live symphonic music and its value in the community. To that end, the mission of the HSO is to perform live orchestral music of the highest quality for ever-expanding audiences, and to increase through its educational programs the understanding and enjoyment of that music by residents in Connecticut.

The HSO presents more than 100 concerts annually, including the Masterworks Series, POPS! Series, Sunday Serenades, Jazz & Strings, Lincoln Financial Discovery Concerts, Symphony in the Schools, Musical Dialogues, and more. In addition, the HSO celebrates the 20th year of its tremendously popular summer series, the Talcott Mountain Music Festival, this summer in Simsbury.

The Hartford Symphony Orchestra named Carolyn Kuan as its tenth music director in January 2011. Since beginning her tenure in 2011, she has led the HSO to new artistic heights with community-minded concerts and innovative programming.

The Hartford Symphony Orchestra was founded in 1934 and formally established as the Symphony Society of Greater Hartford in 1936. Angelo Coniglione, Jacques Gordon, Leon Barzin, Moshe Paranov, and George Heck

were the Orchestra’s first music directors. With the appointment of Fritz Mahler in 1953, the HSO began its Young People’s Concerts and made several highly acclaimed recordings for Vanguard. In 1964, Arthur Winograd became music director and the Orchestra grew in artistic stature, performing at Carnegie Hall and other New York locations to highly favorable reviews. Under the artistic leadership of Michael Lankester from 1985–2000, the HSO received national recognition for its programming innovations, in cluding the popular Classical Conversations and Family Matinees, as well as a series of landmark theatrical productions. From 2001–2011, Edward Cumming led

the HSO to new levels of artistic excellence and innovative programming.

Each season, the HSO plays to audiences numbering more than 90,000 statewide. The Hartford Symphony Orchestra’s extensive array of Community Engagement and Education programs serves more than 63,000 individuals in Hartford and surrounding communities annually. The Hartford Symphony Orchestra is supported by nearly 4,500 subscribers and over 2,000 donors. The organization has been greatly strengthened by an extensive level of communication and involvement with its musicians that has become a national model for orchestral governance. Now representing 15% of the Board of Directors and one-third of its Executive Committee, musicians also serve on all major Board committees.

8


Music Director

With her appointment as the 10th Music Director of the

Hartford Symphony Orchestra beginning in 11/12, Carolyn Kuan is a skilled interpreter and impressive podium presence recognizable on a national level. Recognized as a conductor of extraordinary versatility, Ms. Kuan has enjoyed successful associations with top-tier orchestras, opera companies, ballet companies, and festivals worldwide. Her commitment to contemporary music has defined her approach to programming, and established her as an international resource for new music and world premieres.

Ms. Kuan’s recent North American engagements have included performances with the symphonies of Baltimore, Detroit, Milwaukee, San Francisco, and Seattle; the Florida and Louisville orchestras; the New York City Ballet; Colorado Music Festival; the New York City Opera, Santa Fe Opera, and Washington National Opera. Recent international engagements have included concerts with the Bournemouth Symphony, Orchestre de la Suisse Romande, Hong Kong Philharmonic, National Symphony of Taiwan, Residentie Orkest, Orquesta Sinfonica de Yucatan, Royal Danish Ballet, West Australian Symphony, and the Toronto Symphony Orchestra.

Combining her expertise and love of contemporary and Asian music, Ms. Kuan began the 2014/2015 Season in a summer-long debut with the Santa Fe Opera. She worked closely with composer Huang Ruo and director James Robinson, and Dr. Sun Yat-Sen premiered to great critical acclaim with a mixed cast of east and west singers and instrumentalists. In addition to her weeks with the Hartford Symphony Orchestra, other highlights included her debut with the Washington National Opera at the Kennedy Center in Daniel Catan’s Florencia en el Amazonas, directed by Francesca Zambello; her return to the Seattle Symphony to lead works by Tan Dun, Yugo Kanno (U.S. Premiere), and Unsuk Chin; her return to Brazil to work with Orquestra Sinfônica do Estado de São Paulo in a program of Britten, Turnage, and Bernstein; and her debut with the Glimmerglass Festival in a new production of The Magic Flute in summer 2015.

While maintaining a solid connection with traditional repertoire, Ms. Kuan has cultivated a unique expertise in Asian music and contemporary works. From 2007 to 2012, Ms. Kuan directed the annual San Francisco Symphony Chinese New Year concert. For the Seattle Symphony, Ms. Kuan helped launch the

hugely successful Celebrate Asia! program with community leaders representing eight Asian cultures, and led sold-out performances for three consecutive years. She led would premiers for Music from Japan, and conducted multimedia productions of the Butterfly Lovers Concerto and A Monkey’s Tale as part of Detroit Symphony’s World Music Series.

From 2003 to 2012, Ms. Kuan worked closely with the Cabrillo Festival of Contemporary Music and visiting composers. Some of her finest successes have bridged the gap between cultural and social issues, as in her work raising awareness of conservation and the environment through her performances around the globe of the multimedia project

Life: A Journey Through Time. Developed by the Cabrillo Festival of Contemporary Music and music director Marin Alsop, the project features music by Philip Glass and images by famed National Geographic photographer Frans Lanting. Ms. Kuan’s notable performances of Life include a presentation at the Ninth World Wilderness Congress with Orquesta Sinfonica de Yucatan; at the eight-day June festival, CHANGE IS POWERFUL, with the Detroit Symphony; and at CERN’s historical Large Hadron Collider Inauguration, with Orchestre de la Suisse Romande attended by Swiss President Pascal Couchpin, French Prime Minister François Fillon, more than 20 other European heads of state, and dozens of Nobel laureates.

Ms. Kuan’s past associations include Associate Conductor of the Seattle Symphony Orchestra, Artist-in-Residence at the New York City Ballet, and Assistant Conductor for the Baltimore Opera Company. In her 2012 debut album for the Naxos label, Ms. Kuan conducted the New Zealand Symphony Orchestra in various works by Chinese composers.

The recipient of numerous awards, Ms. Kuan holds the distinction of being the first female to be awarded the Herbert von Karajan Conducting Fellowship by the Herbert von Karajan Centrum and American Austrian Foundation in 2003, resulting in her residency at the 2004 Salzburg Festival. Winner of the first Taki Concordia Fellowship, she has received additional awards from the Women’s Philharmonic, Conductors Guild, and Susan W. Rose Fund for Music. Ms. Kuan graduated cum laude from Smith College, received a Master of Music from the University of Illinois, and a Performance Diploma from the Peabody Conservatory.

9


The Musicians

For chair naming opportunities, please contact Ruth Sovronsky, Director of Development, at 860-760-7321

FIRST VIOLINLeonid Sigal,

concertmasterLisa Rautenberg,

associate concertmasterKarin Fagerburg,

assistant concertmasterMichael PollardLinda BeersPerry ElliotKrzysztof GadawskiYuri Kharenko-

GolduberRomina KostareFrank M. KuligMillie PiekosMickey ReismanCyrus StevensDeborah TylerKatalin Viragh

SECOND VIOLINAnhared Wiest Stowe,

principalJaroslaw Lis,

assistant principalMartha KayserLu Sun FriedmanDiane FredericksonVirginia KramerCandace M. LammersYaira MatyakubovaAlicia Rattin

VIOLAMichael Wheeler,

principalSharon Dennison,

assistant principalPatricia Daly VanceAnn DrinanJames GustafsonMartha KnieriemArthur Masi

CELLOJeffrey Krieger,

principalEric Dahlin,

assistant principalCarole Olefsky

Chair Sponsored by Tom & Suzy Reich

Laura KaneFran BardJennifer CombsTom HudsonPeter Zay

BASSEdward R. Rozie, Jr.,

principal Chair Sponsored by Brook & Charlotte Jason

Robert Groff, assistant principal

James CarrollAnthony Connaway, Jr.Joseph MessinaMark Zechel

FLUTEGreig Shearer,

principal The Claire & Millard Pryor Orchestra Committee Chair

Barbara Hopkins, assistant principal

PICCOLOJeanne Wilson

OBOEHeather Taylor,

principalStephen Wade,

assistant principal

ENGLISH HORNMarilyn Krentzman

CLARINETCurt Blood,

principalRonald Krentzman,

assistant principal

BASS CLARINET

BASSOONYeh-Chi Wang,

principalThomas Reynolds,

assistant principal

CONTRABASSOONRebecca Noreen

HORNBarbara Hill,

principal Chair Sponsored by James S. & Nancy Taggart Remis

John Michael Adair, assistant principal

Hilary LedebuhrNick RubensteinJoshua Michal

TRUMPETScott McIntosh,

principalJay Lichtmann,

assistant principalJerry Bryant

TROMBONEBrian L. Diehl,

principalGeorge Sanders,

assistant principal

BASS TROMBONEPatrick Herb

TUBAStephen B. Perry,

principal

TIMPANIEugene Bozzi,

principal

PERCUSSIONRobert McEwan,

principalMartin J. Elster

HARPJulie Spring,

principal Chair Sponsored by The Verney Family

PIANOMargreet Francis

ROAD MANAGERJeremy Philbin,

I.A.T.S.E.

After the first two desks of violins and cellos, and the first desk of violas

and basses, the remaining string musicians

participate in rotational seating and are listed in

alphabetical order.The musicians of the Hartford Symphony

Orchestra are members of the American

Federation of Musicians of the United States

and Canada.Stagehands Local 84The Stagehands of the Hartford Symphony

Orchestra are members of the International Alliance

of Theatrical Stage Employees (I.A.T.S.E.)

1 0


Administrative Staff

David Fay, President & CEO

ARTISTIC OPERATIONSStephen Collins, Director of Artistic Operations & Administration, 2014 Elizabeth L. Mahaffey Arts Administration FellowDr. Colette Hall, Artistic Operations ManagerJulie Jarvis, Executive & Artistic Operations CoordinatorRonald Krentzman, LibrarianJaroslaw Lis, Personnel Manager

DEVELOPMENTJillian Baker, Annual Fund ManagerJoyce Hodgson, Corporate and Foundation Relations ManagerRuth Sovronsky, Director of Development

EDUCATION & COMMUNITY ENGAGEMENTMiriam Engel, Education Coordinator

MARKETINGDornenburg Kallenbach Advertising, Marketing & PressAmanda Savio, Marketing and Public Relations Manager

TICKET SERVICESAlexander Aponte, Ticket Services RepresentativeJennifer Berman, Ticket Services Representative

FINANCESteve West, Staff Accountant

To contact the HSO Administrative Staff, please email [email protected].

1 1


Board of Directors

Jeffrey VerneyChairmanD. Weston BoydChair – DevelopmentGerald L. HessChair – FinanceBernard Clark, M.D. Chair – GovernanceJohn H. Beers, Esq.Chair – Administration & Human Resources; SecretaryMatthew H. LynchChair – InvestmentEdwin ShirleyChair – AuditBruce Barth, Esq.John H. Beers, Esq.D. Weston BoydAlfred R. CasellaBernard Clark, M.D.Luis Diez-Morales, M.D.Rosemary GaidosAngela GriffinLawrence S. HarrisStephen HarrisMark HayesGerald L. HessKenneth A. Jacobson, Esq. Mathew P. Jasinski, Esq.Brook R. Jason Harvey KellyJohn LangenusRebecca LoreePamela LucasMatthew H. Lynch

Donald OsborneAgnes PeellePaul PendergastEsther A. PryorThomas E. ReichJames S. RemisKelly A. RomanoDavid M. RothNeil RothfarbAndrew L. Salner, M.D.Edwin S. ShirleyKaren SproutSharon VasquezJeffrey VerneyDiane Whitney

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

*deceased

EX OFFICIO DIRECTORSMary GlassmanWalter Harrison

CONDUCTOR LAUREATEArthur Winograd

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

Board list through 2/23/16.

Good thinking.

NEPR.netListen. Explore. Share.

NEW ENGLAND PUBLIC RADIONews. Classical. Jazz. Amherst / Springfield / Hartford ....... WFCR 88.5 FMNorth Adams ........................................................101.1 FMGreat Barrington .................................................98.7 FMLee .........................................................................98.3 FMPittsfield / Lenox ................................................ 106.1 FMWilliamstown .......................................................96.3 FM

NEPR News Network News. Talk. Culture.Springfield / Amherst / Westfield .......WNNZ 640 AM Franklin County ..................................... WNNZ 91.7 FM Southern Berkshire County ................WNNU 89.5 FMNorthern Berkshire County .................WNNI 98.9 FM

All Classical. ........................................WFCR 88.5-2 HD Radio™

1 3

Dear Friends of the HSO,

As the spring season is upon us, our thoughts turn to those of rebirth and renewal, both in our gardens and on our stage. And what better way to celebrate renewal than with the dedicated musicians of the Hartford Symphony and elite guest artists? Our March and April concerts bring a vast variety of music to the stages of The Bushnell, ranging from the bold and brash sounds of Sergei Prokofiev to one of the greatest masters of classical music – Wolfgang Amadeus Mozart, to the timeless hits of The Eagles and the pop sensation Jake Shimibukuro. All the colors of spring’s most beautiful orchestral gardens!

Having recently emerged from a tremendously difficult process of realigning its structure with community resources, the HSO is committed to fulfilling the orchestra’s mission, bringing its strategic plan to fruition, rebuilding key relationships, and invigorating its relationship with the greater Hartford community. It is with this commitment in mind that we extend our deepest thanks to those who know and love the HSO, and endeavor to inspire those who are not so familiar with our work to explore the world of orchestral music.

We are also working hard to present some fantastic programming for our 73rd season, including our Masterworks Series, POPS! Series, Sunday Serenades Chamber Music Series, Discovery Series, and Talcott Mountain Music Festival - all to be announced in the coming weeks.

Stay tuned!

Sincerely,

Steve CollinsHartford Symphony Orchestra Director of Artistic Operations & Administration


Letter from Artistic Operations & Administration

1 4

SERGEI PROKOFIEV Symphony No. 1 in D Major, Op. 25, “Classical” (1891-1953) I. Allegro con brio II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

PIOTR ILYICH TCHAIKOVSKY Violin Concerto in D Major, Op. 35, TH 59 (1840-1893) I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Simone Porter, violin

-INTERMISSION-

SERGEI PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100 (1891-1953) I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director


Masterworks Series

RUSSIAN MASTERSThursday, March 10, 2016 | 7:30 p.m.

Friday, March 11, 2016 | 8:00 p.m.Saturday, March 12, 2016 | 8:00 p.m.Sunday, March 13, 2016 | 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorSIMONE PORTER, violin

The 2015-2016 Masterworks Series is presented by

This concert is sponsored by

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

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

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

THE KOSKI MEMORIAL CONCERT

1 5

Violinist Simone Porter has been recognized as an emerging artist of

impassioned energy, musical integrity and vibrant sound. At 18 years of age, she has already appeared with the New York Philharmonic, Los Angeles Philharmonic, Nashville Symphony and Utah Symphony, and with renowned conductors including Nicolas McGegan, Ludovic Morlot and Donald Runnicles. Ms. Porter made her professional solo debut at age ten with the Seattle Symphony, and her international debut with the Royal Philharmonic Orchestra at age thirteen. Her Carnegie Hall debut was captured on the Emmy Award-winning TV show From The Top: Live from Carnegie Hall and she was featured on the BBC documentary The World’s Greatest Musical Prodigies which aired in the UK in 2009. A recipient of a national award from the Davidson Institute for Talent Development, Ms. Porter has also performed for the Dalai Lama at the 2010 Seeds of Compassion opening ceremony. In March 2015, she was named a recipient of an Avery Fisher Career Grant.

Ms. Porter’s 2014–15 season includes return engagements to the Seattle and Nashville Symphonies and the Aspen Music Festival, and debuts with the Philadelphia Orchestra and Ft. Worth Symphony. The 15-16 season brings her return to the Los Angeles Philharmonic at Walt Disney Concert Hall with Gustavo Dudamel, and debuts with the Detroit Symphony, Rochester Philharmonic, and The Florida Orchestra. She will also make her Ravinia recital debut. Ms. Porter studies in Los Angeles at the Colburn Conservatory of

Music with Robert Lipsett and plays on a 1745 J.B. Guadagnini violin on generous loan from The Mandell Collection of Southern California.

www.simoneporterviolin.comwww.facebook.com/simoneporterviolinwww.twitter.com/simoneportervln


About the Artist

SIMONE PORTERviolin

1 6


Notes on the Program

SERGEI PROKOFIEV(Born April 23, 1891 in Sontsovka;

died March 5, 1953 in Moscow)

Symphony No. 1 in D major, Op. 25, “Classical” (1916-1917)

“In the field of instrumental music, I am well content with the forms already perfected. I want nothing better, nothing more flexible or more complete than sonata form, which contains everything necessary to my structural purpose.” This statement, given to Olin Downes by Prokofiev during an interview in 1930 for The New York Times, seems a curious one for a composer who had gained a reputation as an ear-shattering iconoclast, the enfant terrible of 20th-century music, the master of modernity. While it is certainly true that some of his early works (Scythian Suite, Sarcasms, the first two Piano Concertos) raised the hackles of musical traditionalists, it is also true that Prokofiev sought to preserve that same tradition by extending its boundaries to encompass his own distinctive style. A glance through the list of his works shows a preponderance of established Classical forms: sonatas, symphonies, concertos, operas, ballets, quartets, overtures and suites account for most of his output. This is certainly not to say that he merely mimicked the music of earlier generations, but he did accept it as the conceptual framework within which he built his own compositions.

Prokofiev’s penchant for using Classical musical idioms was instilled in him during the

course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Glière, Rimsky-Korsakov, Liadov, Glazunov; he began composing at the Mozartian age of six. By the time he was 25, Prokofiev was composing prolifically, always brewing a variety of compositions simultaneously. The works of 1917, for example, represent widely divergent styles — The Gambler is a satirical opera; They Are Seven, a nearly atonal cantata; the Classical Symphony, a charming miniature. This last piece was a direct result of Prokofiev’s study with Alexander Tcherepnin, a good and wise teacher who allowed the young composer to forge ahead in his own manner while making sure that he had a thorough understanding of the great musical works of the past. It was in 1916 that Prokofiev first had the idea for a symphony based on the Viennese models supplied by Tcherepnin, and at that time he sketched out a few themes for it. Most of the work, however, was done the following year, as Prokofiev recounted in his Autobiography:

“I spent the summer of 1917 in complete solitude in the environs of Petrograd; I read Kant and I worked hard. I had purposely not had my piano moved to the country because I wanted to establish the fact that thematic material worked out without a piano is better.... The idea occurred to me to compose an entire symphonic work without the piano. Composed in this fashion, the orchestral colors would, of necessity, be clearer and cleaner. Thus the plan of a symphony in Haydnesque style originated, since, as a result of my studies in Tcherepnin’s classes, Haydn’s technique had somehow become especially clear to me, and with such intimate understanding it was much easier to plunge into the dangerous flood without a piano. It seemed to me that, were he alive today, Haydn, while retaining his style of composition, would have appropriated

World Premiere: April 21, 1918Most Recent HSO Performance: February 22, 2008Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings: violin I, violin II, viola, cello, and double bassDuration: 13’

1 7



something from the modern. Such a symphony I now wanted to compose: a symphony in the classic manner. As it began to take actual form I named it Classical Symphony ; first, because it was the simplest thing to call it; second, out of bravado, to stir up a hornet’s nest; and finally, in the hope that should the symphony prove itself in time to be truly ‘classic,’ it would benefit me considerably.” Prokofiev’s closing wish has been fulfilled — the Classical Symphony has been one of his most successful works ever since it was first heard.

The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself ), and occasionally a beat is left out, as though the music had stubbed its toe. The sleek main theme is followed by the enormous leaps, flashing grace notes and sparse texture of the second subject. A graceful, ethereal melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The finale is the most brilliant movement of the Symphony, and calls for remarkable feats of agility and precise ensemble from the performers.

The Classical Symphony, in the words of American musicologist Milton Cross, “was an attempt to approximate how Mozart would have written a symphony had he lived in the 20th century. Each of the four movements is epigrammatic in its brevity, and given to pellucid writing, old-world grace, and bright-faced wit.”

PETER ILYICH TCHAIKOVSKY(Born May 7, 1840 in Votkinsk;

died November 6, 1893 in St. Petersburg)

Violin Concerto in D major, Op. 35 (1878)

In the summer of 1877, Tchaikovsky undertook the disastrous marriage that lasted less than three weeks and resulted in his emotional collapse and attempted suicide. He fled from Moscow to his brother Modeste in St. Petersburg, where he recovered his wits and discovered that he could find solace in his work. He spent the late fall and winter completing his Fourth Symphony and the opera Eugene Onégin. The brothers decided that travel outside of Russia would be an additional balm to the composer’s spirit, and they duly installed themselves at Clarens on Lake Geneva in Switzerland soon after the first of the year.

In Clarens, Tchaikovsky had already begun work on a piano sonata when he was visited by Joseph Kotek, a talented young violinist who had been a student in one of his composition classes at the Moscow Conservatory, who brought with him a score for the recent Symphonie Espagnole for Violin and Orchestra by the French composer Edouard Lalo. They read through the piece, and Tchaikovsky was so excited by the possibilities of a work for solo violin and orchestra that he set aside the gestating piano sonata and immediately began a concerto of his own. He worked quickly, completing the present slow movement in a single day when he decided to discard an earlier attempt. (This abandoned piece ended up as the

World Premiere: December 4, 1881Most Recent HSO Performance: March 11, 2012Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings: violin I, violin II, viola, cello, and double bassDuration: 34’

1 8



first of the three Meditations for Violin and Piano, Op. 42.) By the end of April, the Concerto was finished. Tchaikovsky sent the manuscript to Leopold Auer, a friend who headed the violin department at the St. Petersburg Conservatory and who was also Court Violinist to the Czar, hoping to have him premiere the work. Much to the composer’s regret, Auer returned the piece as “unplayable,” and apparently spread that word with such authority to other violinists that it was more than three years before the Violin Concerto was heard in public.

It was Adolf Brodsky, a former colleague of Tchaikovsky at the Moscow Conservatory, who first accepted the challenge of this Concerto. After having “taken it up and put it down,” in his words, for two years, he finally felt secure enough to give the work a try, and he convinced Hans Richter to include it on the concerts of the Vienna Philharmonic in 1881. Brodsky must have felt that he was on something of a crusade during the preparations for the performance. There was only a single full rehearsal allotted for the new work, and most of that was taken up with correcting the parts, which were awash with copyist’s errors. Richter wanted to make cuts. The orchestra did not like the music, and at the performance played very quietly so as not to enter with a crashing miscue. Brodsky deserves the appreciation of the music world for standing pat in his belief in the Concerto amid all these adversities. When the performance was done, the audience felt that way as well, and applauded him. The piece itself, however, was roundly hissed. The critical barrage was led by that powerful doyen of Viennese conservatism, Eduard Hanslick, whose tasteless summation (“Music that stinks in the ear”) irritated Tchaikovsky until the day he died. Despite its initial reception, Brodsky remained devoted to the Concerto, and he played it throughout Europe. The work soon began to gain in popularity, as did the music of Tchaikovsky generally, and it has become one of the most famous concertos in the literature. It is a revealing side-note that Leopold Auer, who

had initially shunned the work, eventually came to include it in his repertory, and even taught it to his students, some of whom — Seidel, Zimbalist, Elman, Heifetz, Milstein — became its greatest exponents in the 20th century.

The Concerto opens quietly with a tentative introductory tune. A foretaste of the main theme soon appears in the violins, around which a quick crescendo is mounted to usher in the soloist. After a few unaccompanied measures, the violin presents the movement’s lovely main theme above a simple string background. After an elaborated repetition of this melody, a transition follows that eventually involves the entire orchestra and gives the soloist the first of many opportunities for pyrotechnical display. The second theme is the beginning of a long dynamic and rhythmic buildup that leads into the development with a sweeping, balletic presentation of the main theme by the full orchestra. The soloist soon steals back the attention with breathtaking leaps and double stops. The grand balletic mood returns, giving way to a brilliant cadenza as a link to the recapitulation. The flute sings the main theme for four measures before the violin takes it over, and all then follow the order of the exposition. An exhilarating coda asks for no fewer than four tempo increases, and the movement ends in a brilliant whirl of rhythmic energy.

The slow middle movement begins with a chorale for woodwinds that is heard again at the end of the movement to serve as a frame around the musical picture inside. On the canvas of this scene is displayed a soulful melody intoned by the violin with the plaintive suggestion of a Gypsy fiddler. The finale is joined to the slow movement without a break. With the propulsive spirit of a dashing Cossack trepak, the finale flies by amid the soloist’s dizzying show of agility and speed. Like the first movement, this one also races toward its final climax, almost daring listeners to try to sit still in their seats. After playing the Concerto’s premiere, Adolf Brodsky wrote to Tchaikovsky that the work was “wonderfully beautiful.” He was right.

1 9



SERGEI PROKOFIEV

Symphony No. 5 in B-flat major, Op. 100 (1944)

“In the Fifth Symphony I wanted to sing the praises of the free and happy man — his strength, his generosity and the purity of his soul. I cannot say I chose this theme; it was born in me and had to express itself.” The “man” that Prokofiev invoked in this description of the philosophy embodied in this great Symphony could well have been the composer himself. The work was written in the summer of 1944, one of the happiest times he knew. His home life following marriage to his second wife four years earlier was contented and fulfilling; he was the most famous and often-performed of all Soviet composers; and Russia was winning World War II. In fact, the success of the work’s premiere was buoyed by the announcement immediately before the concert that the Russian army had just scored a resounding victory on the River Vistula. The composer’s mind was reflected in the fluency and emotional depth of his music.

The Fifth Symphony was composed in short score at lightning speed within a single month in 1944, though Prokofiev admitted collecting material for the work for some time on the sketch pads he always carried to jot down ideas as they occurred to him. This Symphony, his first work in the form since he had written the

Fourth for the 50th anniversary of the Boston Symphony Orchestra in 1930-1931, was composed at a retreat in Ivanovo, some distance east of Moscow. The Soviet Composers’ Union provided this country house as a peaceful refuge for musicians in which to gather and share their ideas, as well as for a quiet place to work. Glière, Shostakovich, Kabalevsky, Khachaturian and others were already in attendance there when Prokofiev arrived early in the summer of 1944. These others were content to take advantage of the restful nature of the surroundings, but Prokofiev was not, and Khachaturian recalled, “The regularity with which he worked amazed us all!” Prokofiev was never late for breakfast, always went promptly to his studio at ten, observed a strict schedule for his walks and tennis matches, and, at day’s end, insisted that the inmates show each other exactly what they had accomplished that day. It is not difficult to imagine a certain relief among his fellows when Prokofiev chose to finish the orchestration of the Fifth Symphony in Moscow.

Prokofiev never hinted that there was a program underlying the Fifth Symphony except to say that “it is a symphony about the spirit of man.” During the difficult war years, Soviet music, according to Boris Schwartz, “was meant to console and uplift, to encourage and exhort; nothing else mattered.” Though some, like Martin Bookspan, find “ominous threats of brutal warfare” lurking beneath the surface of Prokofiev’s music, there is really nothing here to match such symphonies born of the violence of war as Shostakovich’s Seventh or Vaughan Williams’ Fourth. Rather it is a work that reflects the composer’s philosophy after he returned to Russia in the 1930s from many years of living in western Europe and America. In his 1946 autobiographical sketch, he wrote, “It is the duty of the composer, like the poet, the sculptor or the painter, to serve his fellow men, to beautify human life and point the way to a radiant future. Such is the immutable code of art as I see it.” The Fifth Symphony is therefore addressed to the

World Premiere: January 13, 1945Most Recent HSO Performance: November 19, 2005Instrumentation: 1 piccolo, 2 flutes, 2 oboes, English horn, Eb clarinet, 2 Bb clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, legno, snare drum, suspended cymbal, tam tam, tambourine, triangle, harp, piano, and strings: violin I, violin II, viola, cello, and double bassDuration: 46’

2 0



wide masses of the Soviet public, but couched in the venerable terms of the classical symphony, as was Shostakovich’s Symphony No. 5 of 1937. Both of these well-known works look back to the formal models of Beethoven and the grand style of Tchaikovsky for their musical inspiration, but both also speak with the distinctive modern voices of their creators.

Prokofiev’s Fifth Symphony is characterized by a rich vein of melody combined with his distinctively pungent harmonic palette in full, sturdy scoring. The opening movement is a large sonata form in moderate tempo that begins without introduction. The wide-ranging main theme is presented simply by flute and bassoon before being taken up by the strings. An arch-shaped complementary idea is given by tuba and other low instruments, and is combined with the main theme. The flute and oboe sing the lyrical second theme above a trembling, arpeggiated accompaniment in the strings. Two brief motives close the exposition. One, characterized by its dotted rhythms, arrives on the crest of the movement’s first climax; the other is an angular, skittish fragment tossed off by high woodwinds, violins and cellos. The development, which rises from the low strings through the entire orchestra, gives prominence in its first portion to the opening theme and the skittish motive from the end of the exposition; it later focuses on the second theme and the arch-shaped complementary melody. The recapitulation is heralded by the stentorian sounds of the brass choir announcing the main theme. The movement is capped by a majestic coda that grows from the low summons of the trombones and tuba, buttressed by the rumbling of the bass drum and timpani, to an overwhelming wave of sound in its final measures. It was this section of the Symphony that most moved the audience at the work’s premiere, prompting the composer’s biographer, Israel Nestyev, to write, “This is perhaps the most impressive episode of the entire Symphony for it embodies with the greatest clarity the work’s highest purpose — glorification of the strength and beauty of the human spirit.”

The second movement, the Symphony’s scherzo, is one of those pieces that Prokofiev would have classified as “motoric”: an incessant two-note rhythmic motive drives the music forward through its entire first section. The principal theme arises from the solo clarinet, and much of what follows is a series of loose variations on this cheeky melody. The movement’s central section is framed by a bold, strutting phrase from the woodwinds adorned with the piquant “wrong notes” that spice so much of Prokofiev’s quick music. The clarinets and violas play the main theme of this middle section over another mechanized rhythm that gives these pages, despite their triple meter, the nature of a propulsive march. The strutting phrase reappears. The following section begins slowly, and, like the stoking of some giant engine, gradually gains momentum until the opening scherzo returns to bring the movement to a riveting close.

The brooding third movement is in a large three-part design. The outer sections are supported by the deliberate rhythmic tread of the low instruments used as underpinning for a plaintive melody initiated by the clarinets. A sweeping theme begun by the tuba serves as the basis for the middle section. An extended, searing climax links this section with the return of the plaintive melody high in the strings. The touching coda is suspended in the piccolo and strings high above a shimmering string accompaniment.

The finale opens with a short introduction comprising two gestures based on the main theme of the first movement: a short woodwind phrase answered by the strings, and a chorale for cellos. The main body of the movement is a sonata-rondo propelled by yet another insistent rhythmic motive. The movement accumulates a large amount of thematic material as it progresses, though it is the solo clarinet playing the main theme which begins each of the important structural sections of the form. A furious, energetic coda ignites several of the movement’s themes into a grand closing blaze of orchestral color to conclude one of the supreme orchestral works of the 20th century.

©2015 Dr. Richard E. Rodda

2 1

RICHARD CARSEY, conductorTERRY BROCK, lead vocalist

JOHN HINES, vocalist GLENN DELAUNE, vocals & 12-string guitar

GEORGE CINTRON, guitarDAN CLEMENS, bass guitar

POWELL RANDOLPH, drums & percussionELDON SULLY, guitar

Saturday, March 19, 2016 | 7:30 p.m.Mortensen Hall, The Bushnell Center for the Performing Arts


POPS! Series

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, Music Director

THE MUSIC OF THE EAGLES

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

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

and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

The 2015-2016 POPS! Series is sponsored by

Selections to be announced from the stage.There will be one 20-minute intermission.

2 2

Richard Carsey is a conductor, pianist and actor. In 2014-15, he

toured the US as Music Director of Cameron Mackintosh’s new production of THE PHANTOM OF THE OPERA. Other national tours include the Broadway revival of LA CAGE AUX FOLLES with George Hamilton, and the new musical LITTLE HOUSE ON THE PRAIRIE, featuring Melissa Gilbert. Internationally, he has performed as pianist and conductor in such exotic locales as Lima, Athens, Islamabad, and Kuwait. On Broadway he was the Music Supervisor of THE HOUSE OF BLUE LEAVES with Ben Stiller, and Musical Director for A MINISTER’S WIFE at Lincoln Center Theater. He has a long association with the Skylight Opera Theatre in Milwaukee, WI as Principal Conductor, and for nine seasons was Artistic Director. Highlights of his tenure include the world premiere and television broadcast of Richard Wargo’s opera BALLYMORE; PBS broadcast of THE MIKADO; and the world premiere of the opera THE RIVALS by Kirke Mechem. As an actor he has appeared in 2 PIANOS 4 HANDS at many regional theaters including Dallas Theater Center, Actor’s Theater of Louisville, The Globe (Saskatchewan), Laguna Beach Playhouse, and Hartford Stage (Connecticut Critic’s Circle Award). Other acting highlights include THE BOYS IN THE BAND (Harold); TWELFTH NIGHT (Malvolio); SOUVENIR (Cosme) and OLD WICKED SONGS (Mashkin). For six seasons

he was the Principal Pops Conductor of the Racine Symphony, and has conducted Syracuse Opera, Sheboygan Symphony, and Lyric Opera Cleveland. Recently he was Keyboard and Cover Conductor for the RADIO CITY CHRISTMAS SPECTACULAR at Radio City Music Hall in NYC.

Terry Brock’s first professional job in the music business was as

a vocalist on the Kansas album Drastic Measures in 1983. He also toured with Kansas in support of that album and has worked with them on many other projects to date, including the band Seventh Key with Kansas bassist Billy Greer and featuring former Kansas violinist Robby Steinhardt.

Later, Terry worked on albums for Johnny Van Zant (of Lynyrd Skynyrd) and Molly Hatchet, among others, and became the lead vocalist/songwriter in the band Network. Terry co-wrote the song, “Back In America,” originally recorded for the soundtrack to the movie “European Vacation” with Chevy

Chase, and runs over the end credits.Terry then toured extensively with The

Steve Morse Band, and recorded two albums, Native Sons and Walk In The Fire, with his band Strangeways on BMG/RCA records.

He then relocated to New York City to work with famed producer Neil Kernon on bands such as Aviator, Britny Fox, Heaven’s Edge, and Bonham. While living in NYC, he also lent backing vocals to Michael Bolton’s


About the Artists

RICHARD CARSEYconductor

TERRY BROCKlead vocals

2 3

albums Everybody’s Crazy; Time, Love and Tenderness; and Soul Provider; while still finding time to sing lead and backing vocals on over 100 national TV commercials!!

Terry’s recent works include his solo CD, Back To Eden (title track co-written with Survivor’s Jim Peterik, and bonus track co-written with LeRoux’s Jim Odom, “Fire On The Bayou”), Seventh Key’s latest 3 releases, including the live DVD/CD release, Live In Atlanta, and lead vocalist and co-writer on Streets and City Boy guitarist Mike Slamer’s solo CD, Nowhere Land.

Terry is thrilled to be singing with The Music Of The Eagles and absolutely loves performing with orchestras across the country.

Glenn DeLaune attributes his talents to his grandfather Lester J.

Lalande who taught Glenn to play and sing at the age of four. During the 1980’s and early to mid-nineties Glenn fronted the rock band GANGSTER and has toured with many nationally known acts such as FOREIGNER, 38 SPECIAL, DAVID LEE ROTH, KANSAS, ZEBRA, BTO, GRAND FUNK RAILROAD, SAIGON KICK, FOGHAT and others. Glenn has achieved his own smooth flowing style of guitar magic and vocals. His virtuosity on all instruments shines through on the recordings he produces from his studio. Glenn has released five self-produced albums on the Divine Recordings label and his latest release “Road To Redemption” is a Blues extravaganza! Performing all of the instruments

again on this project he has stretched the boundaries of his creative talent. “Road To Redemption” is comprised of all original, traditional Blues numbers as well as heavy hitting Blues Rock tunes. Glenn is affiliated with BMI as a writer and publisher with a catalog of over 250 songs to his credit and enjoys very much the chance to perform with The Music of The Eagles.

As a preacher’s son John Hines started singing with his family in church

as a wee lad. Standing on a chair to be tall enough to play an upright bass next to his guitar-playing older brother Dan, John sang and played his first public duet in the second grade.

John is a journeyman studio and performance vocalist and prolific song writer who has worked with the likes of Billy Davis Jr. and Marilynn McCoo, Phil Keaggy, Glen Campbell, CeCe Winans, Dion Demucchi, as well as a host of local artists in and out of the studio. He has also performed as a vocalist with many of the finest orchestras in

the country.As a club musician in the seventies John was

an avid fan of The Eagles’ music and covered just about every song they ever recorded while performing with his brother in The Hines Brother’s Band.

John doesn’t hold a single degree from any school but the school of hard knocks. He is, nonetheless, proud to be singing with such talented musicians with The Music of The Eagles.


About the Artists

GLENN DeLAUNEvocals & 12-string guitar

JOHN HINESvocals

2 4

WOLFGANG AMADEUS MOZART Symphony No. 38 in D Major, K. 504, “Prague” (1756-1791) I. Adagio - Allegro II. Andante III. Presto

PIOTR ILYICH TCHAIKOVSKY Suite No. 4 in G Major, Op. 61, TH 34, “Mozartiana” (1840-1893) I. Gigue II. Minuet III. Prayer, after a transcription by Liszt IV. Theme and Variations

-INTERMISSION-

WOLFGANG AMADEUS MOZART Concerto for Bassoon in B-Flat Major, K. 191 (1756-1791) I. Allegro II. Andante ma adagio III. Rondo: Tempo di menuetto Yeh-Chi Wang, bassoon

GEORGES BIZET L’Arlésienne Suite No. 1 (1838-1875) I. Prélude II. Minuet III. Adagietto IV. Carillon

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director


Masterworks Series

MOZART & HARTTThursday, April 7, 2016 | 7:30 p.m.Friday, April 8, 2016 | 8:00 p.m.

Saturday, April 9, 2016 | 8:00 p.m.Sunday, April 10, 2016 | 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorYEH-CHI WANG, bassoon

The 2015-2016 Masterworks Series is presented by

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

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

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

2 5

Y eh-Chi Wang was appointed Principal Bassoon of the Hartford

Symphony Orchestra in the fall of 2004. Prior to this appointment, he held the position of Assistant Principal/Second Bassoon with the Virginia Symphony. He holds a Doctor of Musical Arts degree from Michigan State University where he studied with Professor Michael Kroth. Previously, he received his Bachelor and Master of Music degrees from the Cleveland Institute of Music. His teachers were John Clouser, Principal Bassoon of the Cleveland Orchestra, and Barrick Stees, Assistant Principal Bassoon of the Cleveland Orchestra.

Mr. Wang has performed with many orchestras including the Utah Symphony, the Grand Rapids Symphony, the Virginia Symphony, the

Toledo Symphony, the Lansing Symphony, the Ann Arbor Symphony, the Harrisburg Symphony, the Rhode Island Philharmonic, and the Wheeling Symphony. He has also participated in music festivals such as the Tanglewood Music Festival, the National Repertory Orchestra, the Music Academy of the West, American Institute of Musical Studies (Graz), the Thy Chamber Music Festival (Denmark), the Kent-Blossom Music Festival, the Spoleto USA Festival, the Sarasota Music Festival, and the National Orchestral Institute.

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


About the Artist

YEH-CHI WANGbassoon

2 6



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

Symphony No. 38 in D major, K. 504, “Prague” (1786)

“No work has ever created such a sensation as the Italian opera The Marriage of Figaro,” reported the Prague Oberpostamtszeitung on December 12, 1786. “Connoisseurs who have also seen this opera in Vienna assert that it has been done much better here. Word of this triumph must have reached the ears of Mozart himself, for rumor has it that he will come here in person to see the performance.” The rumor proved to be correct — Mozart and his wife, Constanze, left Vienna on January 8, 1787, and arrived in the Bohemian capital three days later. Within hours of his arrival, Mozart was whisked to a soirée that confirmed the glowing reports of the success of his music in Prague. “At six o’clock,” he wrote to Gottfried von Jacquin, “I drove with Count Canal to the so-called Bretfeld Ball, where the cream of Prague’s beauties gather. I did not dance and did not flirt. The former because I was too tired, the latter because I am a natural idiot. But I looked on with great pleasure while all these people skipped about, quite enraptured, to the music of my Figaro arranged as contradances and waltzes. For people here talk about nothing but Figaro; they play nothing, sing nothing, whistle nothing but Figaro; they go to no opera but Figaro and forever Figaro. This is truly a great honor for me.” On January 17th, after a week of having been entertained, feted and lionized by the city’s nobility, Mozart put in a public appearance at the Prague Opera House for the performance of Figaro. “Word of his presence

spread through the theater at once,” reported the local press, “and as soon as the overture was finished, the whole audience broke into applause, honoring and welcoming him.” The response five days later, when he conducted his own opera from the cembalo, was tumultuous. It is not surprising that he told a friend, “Prague is indeed a very beautiful and agreeable place.”

As well as simply being a witness to the performances of Figaro in Prague, Mozart also hoped to present a concert of his instrumental music during his stay, so he brought along, among other items, a grand, new symphony that he had completed on December 6, 1786. With the help of his host in Prague, Count Johann Josef Thun (for whom he had written the “Linz” Symphony four years before), and the composer Franz Dussek, an acquaintance from his Salzburg days, Mozart was able to organize a program for his own benefit on January 19th at the Opera House. Mozart introduced the new symphony he had brought with him from Vienna, played some concerted works and offered a half hour of improvisation at the keyboard, but the audience demanded more, so he extemporized a dozen brilliant variations on “Non più andrai” from Figaro. “Never before had there been such overwhelming and unanimous ecstasy as his divine playing aroused. We truly did not know which we ought to admire more, the extraordinary compositions or the extraordinary playing. Both together produced a total effect upon our souls which resembled a sweet enchantment,” recorded Franz Niemetschek in his 1798 biography of the composer. “The great artist perfectly fulfilled all that had been expected of him,” summarized one reviewer. Mozart stayed in Prague until mid February, thoroughly enjoying what was one of the happiest times of his life. When he left, he took away not only the unstinting praises of the city and a substantial cache of earnings but also a contract from Pasquale Bondini, impresario of the Prague Opera, to write a new stage work for the fall season — Don Giovanni.

The Symphony (No. 38, D major, K. 504) that Mozart premiered at his Prague concert, and

World Premiere: January 19, 1787Most Recent HSO Performance: June 1, 2007Instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings: violin I, violin II, viola, cello, and double bassDuration: 23’

2 7



which has always borne the name of that city as its sobriquet, is one of the supreme orchestral masterworks of the 18th century. Mozart had not produced a work in the genre for over three years, and this remarkable score bears the impress of the maturity gained from his experience of life and music in the intervening time. In a specifically technical sense, the “Prague” Symphony shows the influence of the elaborate counterpoint of Johann Sebastian Bach, whose works Mozart was arranging and performing for the concerts of “ancient music” sponsored in Vienna at that time by Baron von Swieten, and the structural integration and thematic development of the symphonic sonata forms of his friend Joseph Haydn. So rich is this Symphony’s texture that Mozart, who usually completed an entire composition in his head before subjecting himself to the drudgery of writing it down on paper, had to work out its counterpoint on several pages of sketches.

This work has no minuet movement, and is sometimes known as the “Symphony without Minuet” (a silly designation — twenty of Mozart’s sixty-odd symphonies have only three movements). Among the theories that have been advanced to explain the Symphony’s three-movement form is that Prague may have been one of those conservative places that thought the slight minuet inappropriate for inclusion in the grand symphonic form. Prague, though, willingly accepted the innovations of Figaro, one of the most forward-looking pieces of its time. Another argument — that Mozart simply ran out of time to write a minuet for the Symphony — falls on the grounds that he had fully six weeks to compose such a piece after completing the other three movements, more than enough time for a composer who was to turn out the Overture to Don Giovanni in a single night several months later. The reason that the “Prague” Symphony has no minuet lies, not surprisingly for this most formally crystalline of all composers, in the music itself. Even with just three movements, the Symphony is longer than any other that he ever

wrote except for the “Jupiter.” A minuet could well have pushed the piece beyond what Mozart always considered the touchstone of his art — good taste. In addition, a light-weight minuet may have been lost among the large surrounding movements, which contain the longest symphonic introduction before Beethoven, three extensive and rigorous sonata-allegro essays and, according to Alfred Einstein, “the most serious and most aggressive” thematic working-out in any of Mozart’s works. The “Prague” Symphony marks not just an important step in Mozart’s personal artistic maturity but also an advance in the sophistication of the symphonic form — after this work, the symphony came to be thought of not as simply a collection of several independent musical essays linked only by key and style but as a single, grand span of music in which the individual movements are carefully weighted and balanced against each other to produce an overall integrity. It is on this basis that Einstein is justified in citing the “Prague” and Mozart’s last three symphonies as “the greatest historical and spiritual stimulus to Beethoven’s conception of the monumental symphony.”

The Symphony No. 38 opens with an extended introduction whose turbulent moods presage the darker pages of Don Giovanni. Mozart, one of music’s most fecund melodists, is positively profligate with themes in the Allegro that comprises the main body of the movement. Einstein counts “almost a dozen” motives that are welded into an expansive sonata-allegro form enriched by some of Mozart’s most masterful contrapuntal writing. The long-limbed and lyrical Andante, another fully developed sonata form, is one of those pieces of Mozart’s maturity that exquisitely balance an ineffable serenity with a whole world of pathos and poignant emotions. The quicksilver finale, the third of the Symphony’s sonata forms, was a particular delight at its premiere to Figaro-mad Prague, since Mozart borrowed the theme for the movement from the opera’s Act II duet of Susanna and Cherubino, Aprite presto.

2 8



PETER ILYICH TCHAIKOVSKY(Born May 7, 1840 in Votkinsk;

died November 6, 1893 in St. Petersburg)

Suite No. 4 in G major, Op. 61, “Mozartiana” (1887)

“According to my deep conviction, Mozart is the highest, the culminating point that beauty has attained in the sphere of music,” Tchaikovsky told his diary on September 20, 1887. “No one has made me weep, has made me tremble with rapture, from the consciousness of my nearness to that something which we call the ideal, as he has done.” Tchaikovsky went into such raptures throughout his life over Mozart, the only composer, living or dead, who incited such strong admiration from him. He loved the Requiem (and pitied those who could not appreciate its beauties) and The Marriage of Figaro and the D minor String Quintet, of which he said, “No one else in music has known as well how to interpret so exquisitely the sense of resigned and inconsolable sorrow.” It was Don Giovanni, however, which stood above all other works in his estimation. He first heard the opera as a child; by eight he could reproduce some of its arias on the piano. “He found such delight in playing,” remembered his brother Modeste, “that it was frequently necessary to drag him by force from the instrument. Afterwards, as the next best substitute, he would take to drumming tunes upon the windowpanes. One day, while thus engaged, he was so entirely carried away by this dumb-show that he broke the glass and cut his hand severely.” Tchaikovsky himself recalled, “The music of Don Giovanni was the first to make a deep impression on me. It awoke a spiritual ecstasy which was afterwards

to bear fruit. By its help I penetrated into that world of artistic beauty where only great genius abides. It is due to Mozart that I devoted my life to music. He gave the first impulse to my efforts, and made me love music above all else in the world.” It is little wonder, then, that Tchaikovsky wished to observe the 100th

anniversary of Don Giovanni’s premiere on October 29, 1787 with his own musical memento — a set of orchestral transcriptions of four of Mozart’s lesser-known pieces.

The first indication of Tchaikovsky’s interest in writing what became the Mozartiana was penned in his diary on May 17, 1884: “Played Mozart with great enjoyment. Idea for a suite from Mozart.” It was not until June 1887, however, that he began work on the Suite. He explained his intentions in the preface to the printed score: “A large number of admirable small compositions of Mozart are, incomprehensibly enough, practically unknown, not only to the public but also to musicians. The author of the present suite desires to give a new impulse to the performance of these little masterpieces which, in spite of their concise form, present incomparable beauties.” Tchaikovsky worked on his arrangements at Borzhom, in the Caucasus, during a visit to his brother Anatol, and at Aachen, where he spent six weeks nursing his mortally ill friend Nicholas Kondratyev, who had gone to the ancient city to take the curative waters. He completed the score on August 10, 1887 at Aachen, and immediately sent it to his publisher, Jurgenson, with an optimistic note: “I think this Suite, because of its successful choice of compositions and its originality (the past revisited in a contemporary work) will have an excellent future.... Should it win approval, I would wish later to do another one and perhaps even a third.” Successful, indeed, it was at its premiere, in Moscow on November 26, 1887, at the first all-Tchaikovsky concert in that city conducted the composer. “Never have I encountered such enthusiasm or had such a triumph,” he wrote.

Concerning this encounter of two century-closing musical giants, James Lyons noted that “the ingredients approximate a conservatively

World Premiere: November 26, 1887Most Recent HSO Performance: January 25, 2008Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, cymbals, glockenspiel, harp, and strings: violin I, violin II, viola, cello, and double bassDuration: 25’

2 9



classical Martini: three-fourths Tchaikovsky, one-fourth Mozart.” Especially since the models that Tchaikovsky chose were not particularly characteristic of Mozart’s style (Ralph W. Wood called the first two “exercises in chromaticism and Bachian counterpoint”), recognition of the originals is considerably hampered by their rich orchestrations. The transcriptions are, however, sincerely done, and are colorful examples of the seemingly endless palette of instrumental sonorities that Tchaikovsky had developed by the later years of his life. The opening Gigue was based on a little piano piece (K. 574) that Mozart jotted into the musical album of Carl Engel, the court organist at Leipzig, on May 16, 1789. Its lightly contrapuntal style may be Mozart’s tribute to Engel’s distinguished predecessor in Leipzig, Johann Sebastian Bach. The following Menuet derives from a tiny keyboard dance (K. 355/K. 576b) that Mozart wrote in Vienna in 1789. The most famous of Mozart’s works borrowed for the score — the motet Ave verum corpus — is the basis for the Preghiera (“Prayer”), though Tchaikovsky used not the original choral version but rather a somewhat rhapsodic piano rendition of it by Liszt called A la Chapelle Sistine. The Ave verum (K. 618), one of Mozart’s most perfect utterances and one of his last compositions, was written in the summer of 1791 for Anton Stoll, the parish choirmaster of Baden, a village outside Vienna, where Constanze had gone to escape the heat and dust of the city just before the birth of their last child. The closing movement is built on an extended set of variations (K. 455) that Mozart first improvised at a concert in 1783 on the theme of a buffo aria (“Unser dummer Pöbel meint”) from Gluck’s opéra comique Die Pilger von Mecca, and wrote down the following year.

WOLFGANG AMADEUS MOZART

Concerto for Bassoon and Orchestra in B-flat major, K. 191 (K. 186e) (1774)

Word reached Salzburg in early summer 1773 that Florian Gassmann, court music director in Vienna, had fallen seriously ill. Papa Leopold Mozart thought that his son, Wolfgang, would make a splendid replacement for the ailing Gassmann, and the two went to Vienna in July to carry the suggestion to Empress Maria Theresa. Maria, who had bounced the child Mozart on her knee when he visited Schönbrunn Palace a decade earlier to play for her, did not find the no-longer-boyish Mozart suitable for the position, and the disappointed Mozarts left Vienna several weeks later. Even if it failed to produce a new job, however, the trip proved to be an important milestone in the musical development of the young composer.

In 1773, Vienna was the home of some of the 18th century’s most notable musicians. Hasse, Gluck, Gassmann, Wagenseil, Salieri, Haydn, Dittersdorf, Vanhal and several others made Vienna the greatest city of music in the 18th-century world. Mozart reveled in the expanded expressive possibilities presented by the works of this sterling aggregation during his stay there, especially the recent quartets (Op. 20, with their fugal finales) and symphonies (“Mourning,” “Farewell,” “La Passione”) of Joseph Haydn. Mozart carried with him the excitement of this new music when he returned to Salzburg in late September, and incorporated its innovations into some of his works of the following months, notably a set of four symphonies, including the “Little” G minor (No. 25, K. 183) and the A major (No. 29, K. 201). December 1773 also saw the composition of his first original piano

World Premiere: UndocumentedMost Recent HSO Performance: November 1998Instrumentation: 2 oboes, 2 horns, and strings: violin I, violin II, viola, cello, and double bassDuration: 18’

3 0



concerto (K. 175), his four earlier efforts in the genre having been transcriptions of music by various now-forgotten composers. The following spring he undertook the first of his wind concertos, completing the specimen for bassoon on June 4, 1774. The player and the occasion for which the work was written are unknown, though, in that day of musical pragmatism, it was almost certainly intended for immediate performance, probably by one of Mozart’s fellow musicians in the archiepiscopal orchestra. It was thought for some time that this Concerto might have been written for Baron Thadeus von Dürnitz, an amateur player of the instrument, but Mozart did not meet him until the autumn of 1774, when he was in Munich preparing for the premiere of his opera La finta giardiniera. There is reference in the correspondence to three bassoon concertos composed for Dürnitz, but the only extant work directly attributable to this commission is the happy little Duo Sonata for Bassoon and Violoncello in B-flat major (K. 292/K. 196c). Whatever its provenance, the Bassoon Concerto is among the first works of Mozart’s maturity, filled with the elegant grace, boundless invention and refined sensitivity that mark his finest music.

Mozart’s skill as an orchestrator — his ability to write music exactly suited to a particular instrument and blend it with the surrounding sonorities — is too often overlooked. His mastery of this technique is especially evident in the wind concertos, where the characteristics and limitations of the individual instruments seem to have freed rather than fettered his creativity. Concerning the Bassoon Concerto, John N. Burk pointed out that “the tonal allurements of the instrument, its best leaps and turns, its guttural velvet, are skillfully brought forth. Mozart puts the instrument most gratefully through its paces.” Burk’s observation is borne out by the compact opening movement, one of Mozart’s flawless sonata-concerto constructions. So closely is this music bound to the specific nature of the bassoon that repeated attempts to transcribe it for cello, which could easily negotiate its range and

technical demands but for which Mozart left no solo works, have been consistently unsuccessful. The Andante is a lovely, wordless song, or, more appropriately, an aria, whose opening melodic gesture was to reappear in “Porgi amor” from The Marriage of Figaro a dozen years later. The closing movement is a clever hybrid of rondo and variations given in the meter and manner of a minuet.

GEORGES BIZET(Born October 25, 1838 in Paris;

died June 3, 1875 in Bougival, near Paris)

Suite No. 1 from the Incidental Music to Alphonse Daudet’s Play,

L’Arlésienne (1872)

Léon Carvalho was one of the most distinguished theater personalities of 19th-century Paris. From 1855 to 1869, he managed his own Théâtre Lyrique, and then moved on to positions at the Théâtre du Vaudeville and the Grand Opéra before becoming director of the Opéra-Comique. For his first season at the Vaudeville, in 1872, he chose to mount Alphonse Daudet’s play L’Arlésienne, and he requested that Georges Bizet, then 33 years old and with the operas The Pearl Fishers, The Fair Maid of Perth and Djamileh to his credit, provide the incidental music. Bizet, excited by the project and by the chance to work with the well-connected Carvalho, composed the music during the late summer, completing the 27 pieces of the score within a few weeks.

World Premiere: November 10, 1873Most Recent HSO Performance: This is the HSO’s premiere performance of this work.Instrumentation: 2 flutes, 2 oboes with one doubling English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, snare drum, harp, piano, alto saxophone, and strings: violin I, violin II, viola, cello, and double bassDuration: 16’

3 1



The production of L’Arlésienne was premiered on October 1st (as a last-minute replacement for Robert Halt’s Madame Frainex, which had been banned only eight days before) and was, according to Daudet’s account, “a most dazzling failure with the most charming music in the world.” There was some critical carping about the music interfering with the play (“Music is rarely welcome in a drama,” fumed the noted critic Francisque Sarcey), but the real misgivings were about the play itself. In theme and structure, the drama was something new, and audiences found it not immediately to their taste. The story was based on a true incident of the frustrated love and suicide of a young relative of the Provençal poet Frédéric Mistral. In the play, the chief protagonist, the mysterious and seductive Woman of Arles (“L’Arlésienne”), never appears on stage. A young farmer, Frédéri, is madly in love with this alluring woman of the town, and he wishes to marry her. His family tries to dissuade Frédéri by proving to him the unfaithfulness of L’Arlésienne, and arranges a marriage for him with Vivette, his childhood sweetheart. (The close parallels with the story of the opera Carmen, which followed two years later, are worth noting.) Frédéri agrees, but he becomes so distraught with hopeless passion for L’Arlésienne on the eve of the wedding that he hurls himself from the loft of the farmhouse to his death on the pavement below.

This searing story drew from Bizet one of his most masterful scores. His music captures both the white-hot emotions that fuel the story, as well as the rustic country background of Provence

against which it is played. He realized that the music was too good to be abandoned when the original production was closed after only 21 performances, so he immediately extracted from it a suite of four numbers to be played in concert. He arranged and re-orchestrated the pieces (the limitations of the Théâtre du Vaudeville allowed an ensemble of only 26 musicians), and the L’Arlésienne Suite was an immediate success when it was unveiled by Jules Pasdeloup at his Concerts Populaires on November 10, 1872.

The Prelude includes three themes from the original score. The first is a sturdy Provençal Christmas melody usually known in English as The March of the Three Kings, which is here the subject of a series of variations. The second theme, representing Frédéri’s feeble-minded brother, L’Innocent, who regains his reason from the shock of Frédéri’s death, is given in the plangent tones of the alto saxophone, which Alan Rich contends was meant to recall the nasal quality of southern folksinging. The third theme, initiated by violins and violas, portrays the hero’s passionate love.

The sparkling Minuetto occurs between Acts III and IV of the play. The third movement, Adagietto, accompanies the touching scene in which Frédéri’s aged mother is reunited after many years with the man she loved as a girl, but could not marry. Carillon is filled with the pealing bells and festive mood of the wedding celebration. Its central section is devoted to the tender 6/8 melody that accompanies the first appearance of Frédéri’s mother.

©2016 Dr. Richard E. Rodda

3 2

Did You Know?

Young people who participate in the arts

for at least three hours on three days each

week through at least one full year are:

• 4 times more likely to be

recognized for academic achievement

• 3 times more likely to be elected

to class office within their schools

• 4 times more likely to participate

in a math and science fair

• 3 times more likely to win an award

for school attendance

• 4 times more likely to win an award

for writing an essay or poem

3 3

CAROLYN KUAN, conductorJAKE SHIMABUKURO, ukelele

Saturday, April 16, 2016 | 7:30 p.m.Mortensen Hall, The Bushnell Center for the Performing Arts


POPS! Series

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, Music Director

JAKE SHIMABUKURO’S UKE NATION

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

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

and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

The 2015-2016 POPS! Series is sponsored by

Selections to be announced from the stage. There will be one 20-minute intermission.

3 4

Jake Shimabukuro comes from the process of mixing both island and outside

influences, both modern and historical, the same process by which the ukulele was created and developed. He has combined the qualities of a long line of virtuoso ukulele players with modern rock musicians to create a sound that’s uniquely his own but still firmly grounded in Hawaiian tradition.

Growing up in Honolulu, Hawaii, Jake began playing at the age of four, encouraged by his mother, who also played. His influences include legendary ukulele players like Eddie Kamae, Ohta-San and Peter Moon. Jake also credits icons like Bruce Lee and Michael Jordan as a source of inspiration.

Known for his energetic strumming on the ukulele, Jake’s performance incorporates elements of thoughtful, sophisticated arrangements to spontaneous, improvised passages. Jake began his music career in the mid-90’s with the band Pure Heart and his solo career took off in 2002 when he signed with Epic Records, becoming the first ukulele player to sign with Sony Music. His career skyrocketed when a cover of “While My Guitar Gently Weeps” went viral on YouTube with more than 13 million views.

Jake has collaborated with an array of artists that include Yo-Yo Ma, Jimmy Buffett, Bette Midler, Cyndi Lauper, Jack Johnson, Ziggy

Marley, Dave Koz, Michael McDonald, Bela Fleck and The Flecktones, Tommy Emmanuel, and Lyle Lovett – as well as orchestras around the world.

Jake has wowed audiences on national TV with appearances on “Jimmy Kimmel Live,” “Late Night with Conan O’Brien,” “Good Morning America,” and “The Today Show,” and along the way has earned comparisons to musical innovators such as Jimi Hendrix and Miles Davis. He has received accolades from Billboard’s World Music Chart, Rolling Stone Magazine,

and guitarist Eddie Vedder and is the subject of an award winning documentary “Jake Shimabukuro: Life On Four Strings,” currently on Netflix.

Jake also travels to schools around the world and spreads positive messages to young people, encouraging them to find their passion and live drug-free. Although he is constantly touring, playing 140 shows a year, Jake and his family continue to make Hawaii their home.

http://www.jakeshimabukuro.comhttp://www.facebook.com/jakeshimabukuromusichttp://www.twitter.com/jakeshimabukurohttp://www.youtube.com/jakeshimabukurohttp://www.instagram.com/jakeshimabukuro


About the Artist

JAKE SHIMABUKUROukelele

If you, too, would like to memorialize a loved one by establishing a concert in his or her name, you may do so by making a restricted gift to the Hartford Symphony Orchestra Endowment Fund, in perpetuity. The HSO would be pleased to assist you in setting up such a Fund. Please contact: Ruth Sovronsky, Director of Development, (860) 760 -7321 or [email protected].

Sylvia and her husband, Ed Koski, possessed two deep loves: a love for each other and a love for music. Hartford-area residents for many years, they spread their joy of music through performing with the Hartford Symphony Orchestra and teaching in Hartford-area schools. They also enjoyed traveling and entertaining a wide circle of friends.

Both violinists, Ed and Sylvia began their musical careers in New York City, playing for the Carmen Cavallaro Orchestra. After stints in California and numerous other venues, they began playing with the Hartford Symphony Orchestra in 1949. After a brief hiatus, they returned in 1951. Sylvia played with the HSO until 1966, while Ed continued on with the Orchestra until 1989.

In addition to making beautiful music, both Sylvia and Ed taught beautiful music – Sylvia to students in the Newington school system, and Ed to students in West Hartford schools. They touched many young lives with their teaching.

Sylvia, who was educated at Columbia University and The Juilliard School, had always loved the Hartford Symphony Orchestra and wanted to give a gift in support of the HSO that

memorializes the many years she and Ed spent with the Symphony. Sylvia, who had survived her husband, passed away on February 22, 2014, but her very generous donation established a fund that provides for an annual Koski Memorial Concert in perpetuity. The Koski Memorial Concert features a major work for the violin, and this year’s concert showcases Concertmaster Leonid Sigal performing the Waxman Carmen Fantasie and the Chausson Poème, a piece not often heard on a Masterworks Program. It is hoped that the Koski Memorial Concert will instill the love of great music in all who hear this concert and all future concerts.

Remembering Loved OnesThe Koski Memorial Concert

3 6

3 8


Corporate and Foundation Donors

Acorn Alcinda Foundation, Inc.AetnaAhearn Family FoundationAsylum Hill Congregational

ChurchBarnes Group FoundationBemis Associates, LLCThe Benevity Community

Impact FundBerkshire BankBig YBradley, Foster & Sargent, Inc.Elizabeth Carse FoundationChurch Home of Hartford

AuxiliaryClassic Hotels of ConnecticutThe CLY-DEL Manufacturing

CompanyCommunity Health Network

of CT, Inc.The Davenport-Hatch

Foundation, Inc.Day Pitney LLPDeloitteDepartment of Economic &

Community DevelopmentDornenburg | Kallenbach

AdvertisingDuncasterThe Edgemer Foundation, Inc.The Ensign Bickford FoundationThe Ensworth Charitable

FoundationEnterprise Holdings FoundationEversource EnergyFalcetti MusicFederman, Lally & Remis LLCFiduciary Investment AdvisorsStanley D. and Hinda N.

Fisher FundFitzgerald’s Food StoresMr. & Mrs. William Foulds

Family Foundation

Ann and Gordon Getty Foundation

Girard BrothersGlobal Atlantic/ForehoughtGreater Hartford Arts CouncilHartford Foundation for

Public GivingHartford HealthCareHartford Steam Boiler Inspection

and Insurance CompanyHB LiveHinckley AllenHoffman Auto GroupThe Burton and Phyllis Hoffman

FoundationIntegrity GraphicJ. Walton Bissell FoundationJoseph S. Stackpole

Charitable TrustJP Morgan ChaseKPMG, LLPLegrandLES Investment PartnersLincoln Financial Foundation, Inc.Lincoln Financial GroupThe George A. & Grace L. Long

FoundationThe Master’s SchoolMetLife FoundationMetro BisWilliam and Alice Mortensen

FoundationMotley Rice LLCMurphy, Laudati, Kiel, Buttler &

Rattigan, LLCNational Endowment for the ArtsNordstrom, Inc.Paine’s IncorporatedThe Phoenix CompaniesPrice Chopper’s Golub

FoundationPrudential FinancialPrudential Retirement

Pullman & Comley Attorneys at Law

Renbrook SchoolRichard Garmany Fund at

The Hartford Foundation for Public Giving

The Edward C. and Ann T. Roberts Foundation

Robert Hensley & Associates, LLC

Robinson & Cole LLPThe Charles Nelson Robinson

FoundationSaint Francis Hospital and

Medical CenterThe Saunders Foundation for

Innovative ProgrammingHelen M. Saunders Foundation

Music Endowment FundSBM Charitable FoundationSeabury Retirement CommunityShow LightingSimsbury BankSimscroft-Echo Farms/Girard

Brothers CorporationSouth Ocean Capital PartnersStanley Black & Decker, Inc.TD BankThe Ethel Walker SchoolThe Hartford Financial

Services Group, Inc.TravelersTrinity CollegeUBS Realty Investors, LLCUnited HealthcareUnited Technologies CorporationViking Fuel Oil Company, Inc.Virtus Investment PartnersWebster BankWells Fargo FoundationWest Street Wines & SpiritsWomen’s Health USAWRCHWTICXL Catlin

Thank you to the following individuals for their support of our gala, Bravo!

Diane F. BrownTom and Margah Lips

Agnes and Bill PeeleJudith and Brewster Perkins

Frank Travis and Sharon Rizikow

3 9

Francis Goodwin CircleMerrill & Mark MandellThe Katharine K. McLane

and Henry R. McLane Charitable Trust

Mrs. Millard H. Pryor, Jr., Ms. Esther A. Pryor & The Pryor Foundation**

David & Linda Roth*

President’s CircleElizabeth Schiro &

Stephen Bayer**Mr. Jan Winkler &

Ms. Hermine Drezner & the Drezner/Winkler Fund at the Hartford Foundation

Carol & Jackson EnoBob & Frankie Goldfarb*Nancy & Robinson Grover**MaryEllen M. & Pierre H.

Guertin**Jerry & Barbara Hess*Jeffrey S. & Nancy

HoffmanChloe & Wesley Horton**Mr. Karl J. KrapekThe Elizabeth M. Landon

& Harriette M. Landon Foundation

Mr. & Mrs. Christopher Larsen**

Mr. Matthew H. Lynch & Ms. Susan M. Banks*

Mr. Charles B. Milliken**Tom & Suzy ReichJames S. & Nancy

Taggart Remis**Mary T. Sargent**J. Frank Travis &

The Travis FoundationAlex & Patricia Vance**The Zachs Family**

Platinum CircleThe William H. &

Rosanna T. Andrulat Charitable Foundation

Rev. Hope Eakins & Rev. William Eakins

Brook & Charlotte Jason**Agnes & Bill PeelleThe Alexander M. &

Catherine Maus Wright Charitable Trust

Jeff and Pam Verney

Gold CircleJohn & Susan Beers**Coleman H. & Jo

Champlin Casey**

The Cheryl Chase and Stuart Bear Family Foundation, Inc.**

The Rhoda and David Chase Family Foundation, Inc.**

Dr. & Mrs. Bernie Clark*Donna & Geraud DarnisDr. & Mrs. Luis F.

Diez-MoralesThe Beatrice Fox Auerbach

Foundation at HFPG, Recommended by Linda & David Glickstein

Mort & Irma Handel**Lawrence & Roberta Harris**Steve & Ellen HarrisSylvia & Harvey Kelly*The John and Gail

Langenus Family FundRebecca & James LoreeArthur R. Masi*Michael & Genevieve Pfaff*Mrs. Stephen J. Raffay**Gary & Diane Ransom**Dr. & Mrs. Allan Reiskin**Elizabeth S. Russell**Patricia & Andrew Salner**J. Schermerhorn*Mr. & Mrs. Robert J.

von Dohlen**

The HSO gratefully acknowledge the generous contributions made by the following Annual Fund contributors. The HSO has been a Hartford staple for over seventy years and Annual Fund donors ensure that it will remain so. Tax-deductible gifts of all sizes are not only appreciated, they are necessary. We cordially invite you to participate in the Annual Fund and to enjoy the varying donor benefits associated with each giving level. For more information, contact Jillian Baker at (860) 760-7302. The following lists reflect gifts made in the last 18 months as of December 31, 2015.

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


2015 -2016 Annual Fund Donors

4 0

Maestra’s SocietyMill River Foundation*Bruce Barth & Pamela

Yeomans BarthSusan BlockKenneth & Judith

Boudreau*Wes & Joann BoydAnona BroadmanRon & Nancy Compton**Carol & Tim Covello*Dr. Michael E. Cucka*Barbara O. David*Ruth Ann & Joel Davis**Dr. & Mrs. Arthur C.

DeGraff, Jr.**Laura & George EstesStanley & Susan Fellman*Mr. Lawrence R. Fish*Susan & Robert Fisher**Muriel & Karl

Fleischmann**Rosemary A. GaidosMr. & Mrs. Bob

Garthwait, Jr.*Ruth Ann Woodley &

Peter Gourley

Neale & Carol Hauss**Mark HayesRichard & Christiane

HeathSusan & Bob Izard*Ken & Ruth Jacobson**Mathew & Valerie JasinskiKohn-Joseloff FoundationBernard & Gale Kosto**Irene Loretto**Henry & Wei Low**Mr. John Nealon & Ms.

Pamela LucasJanet U. Murphy**Mrs. John C. OwenLois & Donald PascalRobert & Margaret

Patricelli Family Foundation

Paul & Linda PendergastLucia & James ReesAndrew Ricci, Jr., M.D.

& Ms. Jacqueline Ann Muschiano**

Kelly A. RomanoDr. Mary Beth Janicki &

Mr. Neil Rothfarb

Philip G. Samponaro**Hon. Howard Scheinblum

& Ms. Susan R. Fierberg*

Mr. & Mrs. Edwin S. Shirley

Mr. & Mrs. James B. Slimmon, Jr.**

Karen & Howard Sprout*The Sorenson-Pearson

Family FoundationJ & K Thomas Foundation*Dr. & Mrs. Dean F.

Uphoff*Jane & Frank von

Holzhausen*Gary & Diane Whitney*Thomas & Patricia

Wildman**Liz & Tom WoolfGail & Michael Yaffe*Jessica & Eric Zachs*Bernard J. ZahrenMr. & Mrs. Ronald W.

ZdrojeskiAnonymous

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



4 1

Concertmaster’s Club Michael Allen & Jane WootenPeter L. AndersonNora B. AnthonyJ. Kemler AppellJane & Daniel ArnoldSam & Janet BaileyMaxwell & Sally Belding*Nancy P. BernsteinJim & Joan Betts**Dr. & Mrs. Jack BlechnerDr. Sybille Brewer**Joyce & Harold Buckingham**Shari G. CantorEleanor N. Caplan**Dr. Alexandre CarreKaren Saunders & David CassDavid and Barbara ChaseJared ChaseBlair ChildsJohn and Krystyna ChowaniecDr. Diane B & Sanford

Cloud, Jr., Esq.Stephen & Frances CobbRobert H. Connell &

Michelle DuffyMary J. ConverseMary H. Crary**William & Ilona Crosswhite**Ronald & Linda DischingerDonna & Kevin EdwardsPatrick & Christine EganJohn E. Ellsworth FundDavid R. FayAnita & Tony Ferrante*Dan & Joni FinePaul & Mary FoxAlan & Margreet Francis*John & Susan Franzis**Sally Williams & William FullerDr. & Mrs. Prabhash C. GanguliAaron & Sandy GerstenPeter & Connie GilliesDr. Sid & Joy Glassman

Dr. Marbelia GonzalezCate & John Grady-BensonAngela D. GriffinKaren GrossGerda & Marshall GrossackPeter Grzybala &

Diane KorntheuerBart HalloranAlyce & David Hild*Herbert & Ilana HirschThe David & Francie Horvitz

Family FoundationNorma HorvitzAlbert & Jacqueline IlgJacqueline W. JacobsMr. & Dr. Richard JohnstonMr. Robert JonesMs. Karen A. KelleherJohn & Sharon KellyMr. & Mrs. Stanley KemmererWilliam KennedyBarbara & Paul KieferDr. Jeffrey & Virginia KlugerSimon & Doris KonoverMrs. Walter O. R. KorderCarol & Yves KrausAlice KugelmanLisa Kugelman, M.D. &

Roy WisemanJacob LemieuxDr. and Mrs. Edison LiuMrs. Barbara LouisElaine Title Lowengard**Theodore MadfisMs. Bonnie MalleyAnita & William MancollMrs. Leta MarksBarri Marks*Robert & Clare McKeagneyThe Reverends Barry & Nancy

MillerDr. M. Stephen & Miriam MillerJoshua MonteiroBob & Ami Montstream**

Katherine & John MorganLois Muraro and Carl Elsishans*Mr. and Mrs. Bob MurrayGiuliana Musilli &

Scott SchooleyAnthony MyersReba & Arthur NassauArlene & Daniel NeiditzPaul & Arlene NormanSara Cree NorrisDiane L. Northrop**April M. PaternoMr. & Mrs. Raymond J. Payne**Kristen Phillips & Matt SchreckAlvin B. ReinerMrs. Belle K. RibicoffMr. & Mrs. John H. Riege**Douglas H. Robins*John & Laura RocheDr. James C. RoumanMax and Ginny SchellerJeanne & Erling SchmidtGiuliana Musilli &

Scott SchooleyMs. Susan SeveroPeggy & Ruben ShapiroHenry “Skip” Steiner*Keith & Catherine StevensonMrs. Beverly ThomasBill & Judy ThompsonMerle & David TragerEdith & Jim TresnerDougie & Tom TrumbleSharon L. VasquezMartin & Karen WandDr. & Mrs. Dudley T. WatkinsStacy R. Nerenstone, M.D. &

Mr. Morton WeinsteinElizabeth WhiteHelen & Alfred G. WilkeHeide & Jeffrey WilliamsKate Steinway & Paul ZolanAnonymous

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



4 2



Principal’s ClubEdward D. AbdelnourChris & Gay AdamsSusan R. AdlerMr. & Mrs. Bryant AndrewsDuffield Ashmead, IV, M.D. &

Eric D. OrtDr. & Mrs. Abraham BernsteinDr. Nelson and Mrs. Sandra

BondhusAnne & Kenneth Brock Fund of

the Cape Cod FoundationKay Miller Browne &

Don HammerbergMrs. Miriam B. ButterworthMr. & Mrs. Peter G. CareyElizabeth B. CasasnovasAlfred & Karen CasellaFrancine & Stephan ChristiansenNaomi & Michael CohenMr. & Mrs. Robert CollinsJohn & Sheila D’AgostinoDonald & Carol DavidsonKate & Jon DixonAnthony Drapelick & Pat EstillMrs. Nathan DubinWilliam & Elaine EllisEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Gilda S. Brock & Robert M. Fechtor

Mr. Thomas F. FlynnMike & Kathy FoleyMr. & Mrs. Jay G. FromerLinda R. GabianelliJoan & David GeetterPaul and Betty Ann GradyDonald C. & Carolyn D. GrayMr. & Mrs. Joseph E. GreenOz GriebelJeffrey B. & Janna S. GrossMr. & Mrs. Martin D. GuyerGail & Kenneth HamblettMerle & David HarrisMs. Laura R. HarrisRobert HarrisMr. & Mrs. Joseph HewesMarcia D. & Samuel T. HinckleyShepherd M. Holcombe, Jr.Richard & Beverly Hughes

Don & Helen HughlettOswald & Martha InglesePatti and Dave JacksonMr. & Mrs. S. Edward JeterBonny & Dwight Johnson**David & Carol JordanJoseloff-Kaufman FamilySusan KaehrleAnne & George KanMarianne Collins KaseLinda L. KennedyMark & Janet KeoughJane & James KnoxJohn KosterLois & Charles KoteenDavid & Ruth KrugmanFrank M. KuligDavid & Alison LeedsFrederick & Janet Leonberger*David R. LesieurAlicia & Bruce LevyPeter & Mary Fran LibassiTom Martin & Susan SpiggleChristine MartynSteven & Pamela MaynardAnn M. McKinneyJohn & Joyce McNabneyMr. and Mrs. Alan MendelsonLibbie & George MerrowCharles J. Meyer, Jr.Nick MillerFrances MoultonRobert & Marnie MuellerDon & Brad NoelRichard NorgaardJohn & Moraith O’TooleMr. and Mrs. Brewster PerkinsDr. Daniel E. PetashnickRobert Bausmith &

Jill Peters-GeeJudith PinneyMs. Felicia PrattoDr. Wayne Rawlins & Janet FlaggEdward C. RaymondLinda & Stephen RevisBuck Rogers & Jack KellyEarl & Cynthia SchulzCeleste & John SenechalPeter & Barbara SetlowThe Shulansky Foundation, Inc.Mr. John D. Silliman

Mr. Jonathan SillsStuart & Arline Small Sadaka

Foundation, Inc.Ruth SovronskyMark D. & Linda L. SperryAnne F. & Gordon StaggJean StebingerJack SummersKathryn TabachnickJohn & Mary TaylorElizabeth C. ValentineEdward & Barbara VoskowskyUsha and Stephen WadeLyn Walker & Tyler SmithGreg & Kay WerkDr. & Mrs. James WickwireEleanor J. WightDavid & Phyllis WinerElizabeth B. WoodardMr. John WoolleyDr. Harold T. Yamase, M.D.Eleanor E. ZajacDr. & Mrs. Fred M. H. Ziter, Jr.Anonymous

Player’s ClubMr. and Mrs. William AckermanLiz AikenGaetano Albani & Jayne

Dean AlbaniJeffrey AlexanderMs. Virginia AllenElizabeth AllenMs. Anne AlvordMr. & Mrs. Alfred F. AshMr. Matthew BadgerTom & Paula BairdJane M. BartlettMs. Linda BayerSandra & Loftus BeckerJoanne E. Beers & Earl C. Cree, IIMr. & Mrs. David Booth BeersMr. & Mrs. Edward H.

BengelsdorfJames & Dana BennettDr. & Mrs. Robert BerlandDoris B. Johnson &

Charles BillmyerPhillip & Ellen BlumbergDaniel & Joanne BlumeMr. Stephen Bosworth

4 3



Nancy Boynton & Robert LangeDr. John Brancato & Mr. Thomas

RichardsonMichael J. BraytonConnecticut UniformSteve & Nancy BrightDr. & Mrs. James BrodeyJohn & Arlene BuckeyMr. James E. BullockSarah & Jeffrey BurnsMr. Maurice CallahanMr. Joseph R. CarlsonDr. Richard Celio &

Dr. Anne JellisonPolly U. ChampPatricia J. Checko &

Edward CaffreyDon & Nancy ClarkJohn Clark & Judith StoughtonJasper and Jennifer ConnorMr. Ledge ClaytonMs. Thomasina ClemonsSusan & Brian ClemowDeborah J. CliffordMarie P. CoburnMs. Linda F. CohenJoyce ColemanDonna A. CollinsJoseph CorayDr. Anthony CornicelloHenry & Ramona CosentinoFrank F. Coulom, Jr.Connecticut State

University SystemDavid & Margaret CrombieCarol CrossetPaul & Alice CruikshankMr. & Mrs. Edwin M. Dahill, Jr.Dick & Carol DavisRobert and Marguerite DeanMr. & Mrs. Barry J. DicksteinCarole & Burke DoarDr. Dennis DobkinDan Dolan & Mari MuriBetty DomerDrs. Peter & Ellen DonshikJoy and George DorinMs. Brenda A. DraghiRobert & Gretchen DroeschMr. Warren DutkiewiczMr. & Mrs. David R. EdwardsMr. and Mrs. Brian Ellis

Geoffrey and Karan EmerickPhil FerrariMrs. Eileen FigueroaBella & Judd FinkLinda & John FiskeMr. & Mrs. Lawrence FlemingDr. & Mrs. Robert FlescherTom & Bernadette FoleyHoward & Sandy FromsonMr. & Mrs. Victor F. FumiattiMr. and Mrs. John J. GaffneySuzanne GatesAndrew GeaslinRona & Barry GelberDr. John A. GettierOscar Peyser FoundationMr. and Mrs. John GilliganSarah & Jim GobesDelores P. GrahamMichael GrandpreJoyce M. GraziadeiArnold & Beverly GreenbergLillian & Welles GuilmartinAndrew R. Hahn & Cathy J.

HitchcockMr. & Mrs. Welles F. HaleMs. Joyce HallMr. Charles HarvellLouise HealeyRhea Padis HigginsMarcia & John HincksRobert N. Horrocks, Ed.D.James & Mary HourdequinMr. & Mrs. Robert HowardDon & Joanne HuelsmanMs. Joan HultquistAlbert C. HurwitMelissa Jane InrigStephen & Jacqueline JacobyBrooks & Carol Lee JoslinChristopher KehoeDavid & Barbara KelleyBob & Candy KillianRalph & Lin KlumbNancy A. KramerTheodore & Diane LabedzkiIrma LangeMr. & Mrs. Lawrence A. LapentaRob Lentz and Anita CarpeneCarolyn W. LesterSally & Michael LevinW. Peter Lind

In Memory of Cheryl LindquistAurelle & Arthur LockePeter & Rosemary LombardoMr. James LongDr. & Mrs. V. Everett Lyons, Jr.Dr. William A. MacDonnellMr. & Mrs. Richard ManwaringGerald & Janet MarcumBrenda Mathewson &

Carl StaffordMs. Jennifer McColleyMr. & Mrs. John McGuireAnnette & James McNeelyEdward MeigsMr. & Mrs. Richard C. MeyerB. Charles & Toby MilnerDr. Sandra MorganKate & Harry MorganRobert L. MullaneyMrs. Sarmite F. NielsenAnnemarie OrangeFlorence & Warren PackardKatherine PapathanasisMr. & Mrs. Samuel N. PaulArthur O. Phinney Jr., M.D.Ms. Judith PittMr. & Mrs. David E. PolkConstance & Robert PorterBruce & Marlene PowellDrs. Steven and Priscilla PriceMr. Mark R. PrisloeMr. Robert ProctorPeter ProwdaDougla Pyrke & Jack FairchildMr. and Mrs. Brentley RadeloffJohn & Rebecca RaffertyMr. Charles P. ReaganGeorge & Carol ReiderDavid & Louise ReillyBob & Carol RentzSally & Dale RichterMr. & Mrs. Ian C. RickardCelia Ann RobertsJune Miller RosenblattMarshall & Sandra RulnickMichael & Susan SamesDoug & Liz SansomCheryl & Nild SansoneValerie & Lawrence SantilliJudith & David SatlofJacqueline ScheibMr. Richard Scheuch

4 4



Mr. & Mrs. James SchmerlTerry & Judy SchmittTerry & Andrea SchnureMr. & Mrs. Jon SchoenhornJohn R. Schroeder, AIADr. & Mrs. Steven E. SeldenJeffrey Alan JohnsonSonia & Mark ShipmanSara L. Bernstein &

Joseph M. ShortallJohn & Nancy SilanderStephen M. & Amy Lynn

SilvermanDaniel SiopaThomas M. Sliney and

Janice WhedonMr. & Mrs. Nelson A. SlyElizabeth Snow

Patricia B. SnyderAndrew & Feather SpearmanDr. Robert SpillaneAlan Stalb & Suzanne JacquesJudith StearnsMr. Michael P. SteinbergMrs. Carolyn StockmanChris & Beth StrappJonas V. Strimaitis, Esq.Eleanor A. SulstonMarcia & James SuttonChristopher & Carol SzulcGeorge & Buffy TangMs. Sydney B. TansiSally & Allan TaylorMr. & Mrs. James A. ThompsonChris and Kathy TolsdorfDr. Simona Trofimov

Mr. Stephen UtzMariana P. WagonerCynthia & David WardDr. & Mrs. John R. WatermanElizabeth S. WatsonJudith & Joel WeismanCarol & Lee WestCurtis & Joyce WeybrightJon & Nan WheelerCaroline WhiteMr. & Mrs. Edward B.

WhittemoreRichard C. & Carla S. WildeMr. & Mrs. Eliot WilliamsRaymond & Sarah WinterJill & Jack WoodillaWilliam WulftangeAnonymous

4 5


Encore Society

Mr. Sheldon Agdens*Ivan BackerSusan Block*G. P. BodozianNancy C. Braender*Coleman H. & Jo

Champlin CaseyNaomi & Michael Cohen

Joseph CohnRuth Ann & Joel DavisMuriel FleischmannIrma & Mort HandelJerry & Barbara HessMr. and Mrs. Christopher

LarsenEllis & Marjorie Levenson

Mr. Charles B. MillikenCarole OlefskyDavid & Christa PannorfiAndrew Ricci, Jr., M.D.

& Ms. Jacqueline Ann Muschiano

Karen & Howard Sprout

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

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

Contributors as of December 31, 2015

legrand QP

The Cly-Del Manufacturing Company

is proud to support the

Hartford Symphony Orchestra

Proud to support our communityCelebrating 75 years of Excellence

1939-2014Manufacturer of Drawn /

Stamped Metal Components

*deceased

4 6


Tributes

IN HONOR OFThe 125th Anniversary Season of The Musical Club of Hartford, Inc.The Musical Club of Hartford

D. Weston BoydSusan R. Adler

Coleman Casey’s RetirementMs. Kathy Derench

Jerry and Barbara HessB. Charles & Toby Milner

Joan and Alby HurwitBarri Marks

My brother-in-law, David RothMs. Rosalie Roth

The David Roth Family for the HolidaysRiver Oaks Foundation, Inc.

David RothThe David & Francie Horvitz

Family Foundation

Dr. Andrew and Patricia SalnerTheodore Madfis

In Appreciation of Jeff and Pam VerneyAnonymous

Elizabeth WhiteChristopher White

IN MEMORY OF James ChrisoulisAnonymous

Max FriedmanMrs. Joseph A. Lorenzo

Richard and Joanne GatesSuzanne Gates

Judith Rosenblum HaleviNancy E. Savin and David L.

Savin

Ivor Hugh and Peter HarveyMs. Elvia Strom

Bruce and Susie HaydenLynn & John Wadhams

Rabbi Nathan Hershfield by Lotte Hershfield & FamilyLotte Hershfield

Louise B. HerringThe Family of Louise Herring

Robinson GroverMary H. CraryMuriel & Karl FleischmannMargery & Lewis SteinbergMary T. SargentRuth Sovronsky

Izy JanowskyMr. Joseph Seeley

Julianna M. KuligFrank M. Kulig

Cheryl LindquistBruce Lindquist

George A. LouisMrs. Barbara Louis

Giselle MillerMuriel & Karl Fleischmann

Joseph PanitchMuriel & Karl Fleischmann

Paula PolivyMuriel & Karl Fleischmann

Dr. Robert RossonMs. Judith Pitt

Betty Anne Salner, Beloved MotherAnita & William Mancoll

Clarissa T. WatsonJoy and George Dorin

Dr. Steven WernickMuriel & Karl FleischmannChloe & Wesley HortonCarole OlefskyJudith PinneyDr. & Mrs. Allan ReiskinMrs. Beverly Thomas

Louise WilsonJohn D. Carpenter

We thank the following individuals who contributed to the HSO’s Annual Fund between December 31, 2014 – December 31, 2015.

Saturday, April 2, 2016Marriott Hartford Downtown

Join us beginning at 6pm for a spectacular dinner, live and silent auctions, and a unique performance by our beloved orchestra.

Proceeds from the Bravo! Gala 2016 will support the HSO’s education and community engagement programs. The HSO provides music and instruction to more than 12,000 children and adults in our community annually through a myriad of educational and community programs in

more than 70 locations throughout the state.

Call (860) 760-7302 or email [email protected] for an invitation or more information.

Be Transformed

Sonata Sponsors

Rhapsody Sponsors

Presenting Sponsors

Overture Sponsors

Media Sponsor

J. Frank Travisand Sharon Rizikow

Reception Sponsor

Diane Brown

Brewster and Judith Perkins

Agnes and Bill Peelle

Additional Sponsors

Fiduciary Investment Advisors, LLC

Tom and Margah Lips

4 9

HRT5

5 0

5 1


Patron Information

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

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

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

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

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

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

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

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

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

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

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

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

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

5 2

Date post:	01-Jan-2017
Category:	Documents
Upload:	phamliem
View:	240 times
Download:	11 times

jake shimabukuro's uke nation

Documents