Onstage PublicationsKanno (U.S. Premiere), and Unsuk Chin; and her return to Brazil to work with...

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

Table of Contents

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

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

About the Hartford Symphony Orchestra | 5Carolyn Kuan, Music Director | 6

Adam Boyles, Assistant Conductor | 7The Orchestra | 8

Administrative Staff | 9Board of Directors | 10

Letter from the Chairman and Executive Director | 11Pictures at an Exhibition | 12

Brass & Brahms | 17Star Wars: A New Hope in Concert | 26

Monsters & Myths | 28HSO Contributors | 30Patron Information | 42

3

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


About the Symphony

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

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

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

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

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

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

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

5


Music Director

Recognized as a conductor of extraordinary versatility Carolyn Kuan has

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

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

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

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

During the 2014-2015 season, Ms. Kuan made a summer-long

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

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

6


Assistant Conductor

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

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

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

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

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

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

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

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

7

FIRST VIOLINLeonid Sigal,

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

Lisa Rautenberg, associate concertmaster

Karin Fagerburg, assistant concertmaster

Linda BeersPerry ElliotRomina KostareAllyson MichalSeohee MinMillie PiekosMickey ReismanCyrus StevensDeborah TylerKatalin Viragh

SECOND VIOLINMichael Pollard,

principalJaroslaw Lis,

assistant principalMartha KayserLu Sun FriedmanSimon BilykGary CapozzielloDiane FredericksonKrzysztof GadawskiSusan HwangYuri Kharenko-GolduberVirginia KramerCandace M. LammersAlicia RattinYue Sun

VIOLAMichael Wheeler,

principalSharon Dennison,

assistant principalPatricia Daly VanceAnn DrinanJames Gustafson

Aekyung KimMartha KnieriemCharlotte MalinArthur MasiGeorgina Rossi

Sponsored by Chloe & Wes Horton

CELLOJeffrey Krieger,

principalEric Dahlin,

assistant principalCarole Olefsky Laura KaneFran BardCara CheungJennifer CombsTom HudsonPeter Zay

BASSEdward R. Rozie, Jr.,

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

Robert Groff, assistant principal

James CarrollTony ConnawayJoseph MessinaJulianne RussellMark Zechel

FLUTEBarbara A. Hopkins,

assistant principal

PICCOLOJeanne Wilson

OBOEHeather Taylor,

principalStephen Wade,

assistant principal

ENGLISH HORNMarilyn Krentzman

CLARINETCurt Blood,

principalRonald Krentzman*,

assistant principal

BASS CLARINETEddie Sundra

BASSOONYeh-Chi Wang,

principalThomas Reynolds,

assistant principal

CONTRABASSOONRebecca Noreen

HORNBarbara Hill,

principalJohn Michael Adair,

assistant principalHilary LedebuhrNick RubensteinJoshua Michal

TRUMPETScott McIntosh,

principalJohn Charles Thomas,

assistant prinicipalJerry Bryant

TROMBONEBrian L. Diehl,

principalGeorge Sanders,

assistant principal

BASS TROMBONEPatrick Herb

TUBAStephen B. Perry,

principal

TIMPANIEugene Bozzi,

principal Sponsored by Carlotta & Bob Garthwait, Jr.

PERCUSSIONRobert McEwan,

principalMartin J. Elster

HARPJulie Spring

principal Sponsored by The Verney Family

PIANOMargreet Francis

Sponsored by Jerry & Barbara Hess

STAGE MANAGERJeremy Philbin, I.A.T.S.E.

*On Leave for the 2018-19 Season

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

in alphabetical order.

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

Federation of Musicians of the United States and Canada.

Stagehands Local 84 The Stagehands of the Hartford

Symphony Orchestra are members of the International Alliance of Theatrical Stage

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


The Orchestra

MUSIC DIRECTORCarolyn Kuan

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

ASSISTANT CONDUCTORAdam Boyles


Administrative Staff

Stephen Collins, Executive Director

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

DEVELOPMENTRuth Sovronsky, Director of DevelopmentJillian Baker, Annual Fund and

Special Events ManagerTed Bruttomesso, Jr., Capital Campaign ManagerJoyce Hodgson, Corporate and Foundation

Relations ManagerEmily Holowczak, Development Intern

EDUCATION & COMMUNITY ENGAGEMENT

Miriam Engel, Assistant Manager, Education and Community Engagement

EXECUTIVEJulie Jarvis, Assistant Manager,

Executive & Board Relations

FINANCESteve West, Senior Accountant

MARKETINGAmanda Savio, Marketing and Public

Relations ManagerAlyssa Figueiredo, Marketing Assistant

TICKET SERVICESJennifer Berman, Ticket Services RepresentativeCharles Feierabend, Ticket Services Representative

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

9


Board of Directors

Jeffery Verney Chairman

Mathew P. Jasinski, Esq. Vice Chair

Mark Hayes Chair – Development

Gerald L. Hess Chair – Finance

Bernard Clark, M.D. Chair – Governance

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

Matthew H. Lynch Chair – Investment

Edwin Shirley Chair – Audit

Pamela Lucas Chair – Education and Community Engagement

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

Rosemary A. GaidosBob Garthwait, Jr.Angela GriffinMark HayesGerald L. HessKenneth A. Jacobson, Esq. Mathew P. Jasinski, Esq.Brook R. JasonHarvey KellyMichael V. Kennedy

Rebecca K.C. LoreePamela LucasMatthew H. LynchRobert MurrayEsther A. PryorStephen F. RocheDavid M. RothAndrew L. Salner, M.D. Edwin S. ShirleyKaren J. SproutJeffery R. VerneyDiane W. Whitney

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

*deceased

CONDUCTORLAUREATEArthur Winograd

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

Board list through 9/11/18.1 0

Welcome to the Hartford Symphony Orchestra’s 75th Anniversary Season –

it’s time to celebrate, and we are so happy you’re here! Whether you have been a Masterworks subscriber for years, or you love the marvelous mix of art and music presented as part of our Sunday Serenades concerts at the Wadsworth Atheneum, or you are experiencing the HSO for the first time at Star Wars: A New Hope in Concert – you are part of our HSO family.

Our 2018-2019 season is going to be incredible, with a diverse menu of phenomenal concerts and special surprises sprinkled throughout the year. And it’s going to be an exciting year for Music Builds Community: The Hartford Symphony Orchestra Capital Campaign – we’ve got some great news to share!

As you may know, we publically launched this critical campaign back in April, with the goal of raising $10 million by 2022, ensuring the HSO’s key role in the greater Hartford region and throughout all of Connecticut. As of September 10, 2018, the campaign has raised $5,859,230, representing 59% of the $10 million goal.

And now, we are thrilled to announce to you that we have a $1 million challenge to meet! Music Builds Community was energized this summer when a group of anonymous donors announced a campaign challenge. If we raise $750,000 in new pledges and gifts between June 20th and December 31, 2018, these incredible, anonymous donors will contribute an additional $1 million to the campaign. At press time $481,035 has been raised towards the challenge, representing 64.1% of the challenge goal – we can do this!

Visit hsombc.org for updates on the campaign, inspirational stories from our donors, our case for support, leadership profiles, a list of our donors, and your options to support Music Builds Community with your donation. And thank you!

Sincerely,

Jeff VerneyChairman, Hartford Symphony Orchestra Board of Directors

Steve CollinsExecutive Director, Hartford Symphony Orchestra


Letter from the Chairman and Executive Director

1 1


Masterworks Series

HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, Music Director

PICTURES AT AN EXHIBITIONFriday, October 5, 2018 / 8:00 p.m.

Saturday, October 6, 2018 / 8:00 p.m.Sunday, October 7, 2018 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductor

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.

BÉLA BARTÓK Concerto for Orchestra (1881-1945) I. Introduzione: Andante non troppo – Allegro vivace II. Giuoco delle coppie: Allegretto scherzando III. Elegia: Andante non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Pesante - Presto

-INTERMISSION-

1 2


Masterworks Series

The 75th Anniversary Season Lead Sponsor is

The 75th Anniversary Season Supporting Sponsor is

The 2018-19 Masterworks Series is presented by

This concert is sponsored by

MODEST MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade Arr. Maurice Ravel 1. Gnomus (1875-1937) Promenade 2. The Old Castle Promenade 3. Tuileries 4. Bydlo Promenade 5. Ballet of the Chicks in Their Shells 6. Samuel Goldenberg and Schmuyle 7. Limoges 8. Catacombs Cum mortuis in lingua mortua 9. The Hut on Fowl’s Legs 10. The Great Gate of Kiev

-continued-

1 3


Notes on the Program

BÉLA BARTÓK(born March 25, 1881 in Nagyszentmiklós, Hungary;

died September 26, 1945 in New York City)

Concerto for Orchestra (1943)

Béla Bartók came to America in October 1940, sick of body and afflicted of spirit. He had been frail all of his life, and the leukemia that was to cause his death five years later had already begun to erode his health. Adding to the trial of his medical condition was the war raging in Europe, a painful source of torment to one of Bartók’s ardent Hungarian patriotism. Upon leaving his homeland, he not only relinquished the native country so dear to him, but also forfeited the secure financial and professional positions he had earned in Budapest. Compromise in the face of Hitler’s brutal inhumanity, however, was never a possibility for a man of Bartók’s adamantine convictions. “He who stays on when he could leave may be said to acquiesce tacitly in everything that is happening here,” he wrote on the eve of his departure. “This journey [to America] is like plunging into the unknown from what is known, but unbearable.” Filled with apprehension, he made the difficult overland trip to Lisbon, then sailed on to New York.

Sad to say, Bartók’s misgivings were justified. His financial support from Hungary was, of course, cut off, and money worries aggravated his delicate physical condition. He held a modest post as a folk music researcher at Columbia University for a number of months, but that ended when funding from a grant ran out. His health declined enough to make public appearances impossible after 1943. His chief disappointment, however, was the almost total neglect of his compositions by the musical community. At the end of 1942 he lamented, “The quasi boycott of my works by the leading

orchestras continues; no performances either of old works or new ones. It is a shame — not for me, of course.” It is to the credit of ASCAP (American Society of Composers, Authors and Publishers) that the organization provided money for the hospital care that enabled Bartók to continue composing to the very end of his life.

It was at this nadir in his fortunes that the commission for the Concerto for Orchestra was presented to Bartók. Phillip Ramey related the circumstances: “By early 1943, things had gotten so bad that two old friends of Bartók, [violinist] Joseph Szigeti and [conductor] Fritz Reiner, suggested to Sergei Koussevitzky [music director of the Boston Symphony] that he commission an orchestral work in memory of his wife, Natalie. Koussevitzky agreed and, one spring day, while Bartók was in a New York hospital undergoing tests, he appeared unexpectedly and startled the composer by offering him a commission for $1,000 on behalf of the Koussevitzky Foundation. Bartók, as fastidious as ever, would initially only accept half of that amount because he feared that his precarious health might prevent him from fulfilling Koussevitzky’s request.” The commission and an ASCAP-sponsored stay at a sanatorium in Saranac Lake in upstate New York fortified Bartók’s strength enough so that he could work on this new orchestral piece “practically night and day,” as he wrote to Szigeti. Upon its premiere, the Concerto for Orchestra was an instant success. It was accepted immediately into the standard repertory and led to a surge of interest in Bartók’s other works. He died less than a year after this work, the last he completed for orchestra, was first heard, not realizing that he would soon be acclaimed as one of the greatest composers of the century.

“The title of this symphony-like work is explained by its tendency to treat single instruments or instrument groups in a ‘concertant’ or soloistic manner,” wrote the composer to clarify the appellation of the score. Concerning the overall structure of the Concerto’s five movements, he noted, “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one.” The first and last movements, Bartók continued, “are in more or less regular sonata form,” while “the second consists of a chain of independent

World Premiere: December 1, 1944Most Recent HSO Performance: May 11, 2007Instrumentation: 3 flutes with 3rd doubling on piccolo, 3 oboes with 3rd doubling on English horn, 3 clarinets with 3rd doubling on bass clarinet, 3 bassoons with 3rd doubling on contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba timpani, bass drum, cymbals, suspended cymbal, snare drum, triangle, tamtam, 2 harps, and strings; violin I, violin II, viola, cello, and bassDuration: 36’



short sections by wind instruments introduced in five pairs (bassoons, oboes, clarinets, flutes and muted trumpets). A kind of ‘trio’ — a short chorale for brass instruments and snare drum — follows, after which the five sections are recapitulated in a more elaborate instrumentation.... The form of the fourth movement — ‘Interrupted Intermezzo’ — could be rendered by the symbols ‘A B A — interruption — B A.’” The interruption to which Bartók referred is a parody of the German march theme from the first movement of Shostakovich’s Symphony No. 7 “Leningrad,” which was in turn a mocking phrase based on a song from Lehár’s The Merry Widow.

The Concerto for Orchestra is one of the masterworks of 20th-century music, perhaps “the best orchestral piece of the last twenty-five years,” as Koussevitzky told its composer. It is a brilliant work, both as a technical and musical accomplishment, and it is a glowing testimony to the unquenchable spirit and rugged courage of one of the greatest musical creators of our age.

MODEST MUSSORGSKY(born March 21, 1839 in Karevo,

Pskov District, Russia;died March 28, 1881 in St. Petersburg)

Transcribed for Orchestra (1923) by Maurice Ravel

(born March 7, 1875 in Ciboure, France;died December 26, 1937 in Paris)

Pictures at an Exhibition (1874)

Though the history of the Russian nation extends far back into the mists of time, the

country’s cultural life is of relatively recent origin. Russian interest in art, music and theater dates only from the time of Peter the Great (1672-1725), the powerful monarch who coaxed his country into the modern world by importing ideas, technology and skilled practitioners from western Europe. To fuel the nation’s musical life, Peter, Catherine and their successors depended on a steady stream of well-compensated German, French and Italian artists who brought their latest tonal wares to the magnificent capital city of St. Petersburg. This tradition of imported music continued well into the 19th century: Berlioz, for example, enjoyed greater success in Russia than he did in his native France; Verdi composed La Forza del Destino on a commission from St. Petersburg, where it was first performed.

In the years around 1850, with the spirit of nationalism sweeping across Europe, several young Russian artists banded together to rid their art of foreign influences in order to establish a distinctive nationalist character for their works. Leading this movement was a group of composers known as “The Five,” whose members included Modest Mussorgsky, Nikolai Rimsky-Korsakov, Alexander Borodin, César Cui and Mily Balakirev. Among the allies that The Five found in other fields was the artist and architect Victor Hartmann, with whom Mussorgsky became close personal friends. Hartmann’s premature death at 39 stunned the composer and the entire Russian artistic community. Vladimir Stassov, a noted critic and the journalistic champion of the Russian arts movement, organized a memorial exhibit of Hartmann’s work in February 1874, and it was under the inspiration of that showing that Mussorgsky conceived his Pictures at an Exhibition for piano.

At the time of the exhibit, Mussorgsky was engaged in preparations for the first public performance of his opera Boris Godunov, and he was unable to devote any time to his Pictures until early summer. When he took up the piece in June, he worked with unaccustomed speed. “‘Hartmann’ is bubbling over, just as Boris did,” he wrote to a friend. “Ideas, melodies come to me of their own accord, like a banquet of music — I gorge and gorge and overeat myself. I can hardly manage to put them down on paper fast enough.” The movements mostly depict sketches, watercolors and architectural designs shown publicly at the Hartmann exhibit, though Mussorgsky based two or three sections

World Premiere: The orchestration by Ravel heard in tonight’s performance was premiered on October 19, 1922Most Recent HSO Performance: March 20, 2011Instrumentation: 3 flutes with 2nd and 3rd doubling on piccolo, 3 oboes with 3rd doubling on English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, alto saxophone, timpani, xylophone, snare drum, tamtam, triangle, whip, ratchet, cymbals, bass drum, glockenspiel, suspended cymbal, chimes, 2 harps, celeste and strings; violin I, violin II, viola, cello, and bassDuration: 35’



on canvases that he had been shown privately by the artist before his death. The composer linked his sketches together with a musical “Promenade” in which he depicted his own rotund self shuffling — in an uneven meter — from one picture to the next. Though Mussorgsky was not given to much excitement over his own creations, he took special delight in this one. Especially in the masterful transcription for orchestra that Maurice Ravel did in 1922 for the Parisian concerts of conductor Sergei Koussevitzky, it is a work of vivid impact to which listeners and performers alike can return with undiminished pleasure.

Promenade. According to Stassov, this recurring section depicts Mussorgsky “roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and, at times sadly, thinking of his friend.”

The Gnome. Hartmann’s drawing is for a fantastic wooden nutcracker representing a gnome who gives off savage shrieks while he waddles about on short, bandy legs.

Promenade — The Old Castle. A troubadour (represented by the saxophone) sings a doleful lament before a foreboding, ruined ancient fortress.

Promenade — Tuileries. Mussorgsky’s subtitle is “Dispute of the Children after Play.” Hartmann’s picture shows a corner of the famous Parisian garden filled with nursemaids and their youthful charges.

Bydlo. Hartmann’s picture depicts a rugged wagon drawn by oxen. The peasant driver sings a plaintive melody (solo tuba) heard first from afar, then close- by, before the cart passes away into the distance.

Promenade — Ballet of the Chicks in Their Shells. Hartmann’s costume design for the 1871 fantasy ballet Trilby shows dancers enclosed in enormous egg shells, with only their arms, legs and heads protruding.

Samuel Goldenberg and Schmuyle. The title was given to the music by Stassov. Mussorgsky

originally called this movement “Two Jews: one rich, the other poor.” It was inspired by a pair of pictures which Hartmann presented to the composer showing two residents of the Warsaw ghetto, one rich and pompous (a weighty unison for strings and winds), the other poor and complaining (muted trumpet). Mussorgsky based both themes on incantations he had heard on visits to Jewish synagogues.

The Marketplace at Limoges. A lively sketch of a bustling market, with animated conversations flying among the female vendors.

Catacombs, Roman Tombs. Cum Mortuis in Lingua Mortua. Hartmann’s drawing shows him being led by a guide with a lantern through cavernous underground tombs. The movement’s second section, bearing the title “With the Dead in a Dead Language,” is a mysterious transformation of the Promenade theme.

The Hut on Fowl’s Legs. Hartmann’s sketch is a design for an elaborate clock suggested by Baba Yaga, the fearsome witch of Russian folklore who eats human bones she has ground into paste with her mortar and pestle. She also can fly through the air on her fantastic mortar, and Mussorgsky’s music suggests a wild, midnight ride.

The Great Gate of Kiev. Mussorgsky’s grand conclusion to his suite was inspired by Hartmann’s plan for a gateway for the city of Kiev in the massive old Russian style crowned with a cupola in the shape of a Slavic warrior’s helmet. The majestic music suggests both the imposing bulk of the edifice (never built, incidentally) and a brilliant procession passing through its arches. The work ends with a heroic statement of the Promenade theme and a jubilant pealing of the great bells of the city.

©2018 Dr. Richard E. Rodda

1 6


Masterworks Series


BRASS & BRAHMSFriday, November 2, 2018 / 8:00 p.m.

Saturday, November 3, 2018 / 8:00 p.m.Sunday, November 4, 2018 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

THOMAS WILKINS, conductorBARBARA HILL, horn

JOHN MICHAEL ADAIR, hornHILARY LEDEBUHR, hornNICK RUBENSTEIN, horn




CARL NIELSEN Little Suite, Op. 1 (1865-1931) I. Präludium II. Intermezzo III. Finale

ROBERT SCHUMANN Concertstück for Four Horns in F Major, Op. 86 (1810-1856) I. Lebhaft II. Romanze: Ziemlich langsam III. Sehr lebhaft Barbara Hill, horn John Michael Adair, horn Hilary Ledebuhr, horn Nick Rubenstein, horn

-INTERMISSION-

1 7

The 75th Anniversary Season Lead Sponsor is

The 75th Anniversary Season Supporting Sponsor is

The 2018-19 Masterworks Series is presented by


Masterworks Series

JOHANNES BRAHMS Symphony No. 3 in F Major, Op. 90 (1833-1897) I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro

-continued-

1 8

Thomas Wilkins is Music Director of the Omaha Symphony; a position he

has held since 2005. Additionally, he is Principal Conductor of the Hollywood Bowl Orchestra, and holds the Germeshausen Family and Youth Concert Conductor Chair with the Boston Symphony. In August of 2017 he assumed the Henry A. Upper chair of Orchestral Conducting as a part of Indiana University’s “Matching the Promise Campaign.” Past positions have included resident conductor of the Detroit Symphony and Florida Orchestra, and associate conductor of the Richmond Symphony. He also has served on the music faculties of North Park University, the University of Tennessee, and Virginia Commonwealth University.

Following his highly successful first season with the Boston Symphony, the Boston Globe named Wilkins among the “Best People and Ideas of 2011.” In 2014, he received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards and in March of 2018, the Longy School of Music awarded him the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society. During his career, Wilkins has led orchestras throughout the United States, including Philadelphia Orchestra, Cleveland Orchestra, New York Philharmonic, Rochester Philharmonic, Cincinnati Symphony, Dallas Symphony, Baltimore Symphony, San Diego Symphony, and at the Grant Park Music Festival in Chicago.

Wilkins’s commitment to community has been demonstrated by his participation on several boards of directors, including the Greater Omaha Chamber of Commerce, the Charles Drew Health Center (Omaha), the Center Against

Spouse Abuse in Tampa Bay, and the Museum of Fine Arts and the Academy Preparatory Center both in St. Petersburg, FL. Currently he serves as chairman of the board for the Raymond James Charitable Endowment Fund and as national ambassador for the non-profit World Pediatric Project.

A native of Norfolk, VA, Wilkins is a graduate of the Shenandoah Conservatory of Music and the New England Conservatory of Music in Boston. He resides with his wife Sheri-Lee in Omaha. They are the proud parents of twin daughters, Erica and Nicole.

Barbara Hill has been Principal Horn with the Har t fo rd Symphony

since 2008. While with the HSO, she has been featured as a soloist during Carolyn Kuan’s inaugural concert performing Mozar t ’s Horn Concer to No. 4, K. 495, and has played alongside her HSO colleagues in previous Sunday Serenades, performing music of Debussy, Brahms, Ravel, and Dohnányi. In November 2018, she and her horn colleagues in the HSO look forward to performing Schumann’s heroic Concertstück

for 4 horns! Barbara has been a guest performer with many North American ensembles, including Calgary Philharmonic, Pittsburgh Symphony, Utah Symphony, Rhode Island Philharmonic, and Boston Philharmonic, and was Acting Principal and Second Horn with the Vancouver Symphony Orchestra (2000-2002). She received her Master of Music from The Juilliard School studying with Jerome Ashby, and her Bachelor of Music from The University of Western Ontario studying with Derek Conrod. Barbara is on Faculty at The Hartt School, Hartt Community Division, and CCSU.


About the Artists

THOMAS WILKINS conductor

BARBARA HILL horn

A native of Birmingham, Alabama, and the son of two professional horn

players, John Michael Adair continued his parents’ legacy when he picked up the horn at age 11. In the fall of 2012, after studying with David Pandolfi of the Alabama Symphony for five years, John Michael moved to Boston to pursue a B.M. in Music Performance at the New England Conservatory of Music, where he studied with Jason Snider and Richard Sebring of the Boston Symphony. While in school, John Michael also worked closely with James Sommerville, Rachel Childers, and Michael Winter. In 2014, John Michael performed in Japan’s Pacific Music Festival, where he worked with Sarah Willis of the Berlin Philharmonic Orchestra.

John Michael joined the Hartford Symphony Orchestra as Assistant Principal Horn in the beginning of its 2014-2015 season. In addition to his appointment with the Hartford Symphony, John Michael has held Principal Horn positions with the Atlantic Symphony Orchestra and Glens Falls Symphony Orchestra.

John Michael is also an active freelancer, performing regularly with professional orchestras around New England. Most notably, he has performed with the Boston Symphony Orchestra, Rhode Island Philharmonic Orchestra, Boston Philharmonic Orchestra, New Bedford Symphony and the Eastern Connecticut Symphony.

French Hornist Hilary Ledebuhr appears regularly in many orchestra, opera,

theater, and chamber groups throughout New England, and has performed with the Albany, New Hampshire, Portland and Vermont Symphony Orchestras, Connecticut Opera, Rhode Island Philharmonic, and at Mohegan Sun. She currently plays third horn with the Hartford Symphony Orchestra, where she has shared the stage with such performers as Joshua Bell, Andrea Bocelli, Frank Sinatra, Jr., Aretha Franklin, Yo-Yo Ma, and Luciano Pavarotti. She and her trumpeter husband founded a brass quintet, Brass Venture, with which she recently recorded new works by Berklee composer Thomas Hojnacki. A native of the Finger Lakes region of New York, Ms. Ledebuhr earned her bachelor’s degree from Ithaca College and her master’s degree from New England Conservatory.


About the Artists

HILARY LEDEBUHR horn

JOHN MICHAEL ADAIR horn

2 0

A Massachusetts native, Nicholas Rubenstein began playing the

horn at the age of nine. His focus is in music performance and educating.

He received his Bachelor's Deg re e i n Mus i c f rom Nor thwe s t e rn Un ive r s i t y in ‘07 and graduated with his Masters from The New England Conservatory in ‘11. He continued his studies in the Graduate Diploma program at NEC with a focus in Contemporary music, orchestral performance and pedagogy. His principal teachers have included Gail Williams (Chicago Symphony, Retired), Richard Sebring (Boston Symphony) and Eli Epstein (Cleveland Orchestra, Retired) as well as studies with Gunther Schuller, Bill Barnewitz, Julie Landsman, Doug Hill and masterclasses with numerous others.

He has the privilege of membership with the Hartford Symphony Orchestra and the Boston based Redline Brass quintet. His recent engagements have included performances with the Portland Symphony, The Boston Ballet, The Springfield Symphony, The Rhode Island Philharmonic, and at the 2016 International Horn Symposium with invitations to play with the Coast Guard Band.

Nick’s performances have brought him to 12 different countries across 3 continents. Nick has had the privilege of playing under such conductors as Riccardo Muti, Esa Pekka Sa lonen , Chr i s toph Von Dohnányi, and many others.

In addition to orchestral and chamber music, he has extensive experience with studio work and has recorded and collaborated on more than 50 different film, TV, and video game, and audio.

As a strong believer in musical education, a core tenet of Nick’s work with RBQ is a focus on education and

outreach. He has educated through the Boston Philharmonic, the Longy School of Music, The Discovery Ensemble, The Hartford Symphony, Monadnock Music and Redline Brass Quintet. He also coaches and teaches privately.

In addition to his musical career Nick has worked as an apprentice, line cook and a chef in a number of high end restaurants in Florence Italy, Brooklyn NY, Manhattan NY, CT and Boston.

Nick per forms on a Dürk-Lewis Boston model horn, and a Karl Hill Kortesmaki Schmidt-wrap.


About the Artists

NICK RUBENSTEIN horn

2 1



CARL NIELSEN(born June 9, 1865 in Odense, Denmark;

died October 3, 1931 in Copenhagen)

Little Suite for Strings, Op. 1 (1888)

Carl Nielsen was the seventh of twelve children born to a poor family in the small village of Sortelung on the Danish island of Funen. His father supported this ample brood by painting houses and playing cornet and violin for local social events, and young Carl started to fiddle with his father’s instruments when he was still a toddler. Enough money was squeezed from the household budget by the time the boy was six to buy him a three-quarter size violin, on which he received instruction at home and from a local schoolmaster. Within a few years, Carl joined in his father’s musical activities, evincing a special fondness for improvising variations and counter-melodies to dance tunes; his earliest extant composition is a polka for violin. At thirteen, Nielsen was apprenticed to a grocer, but that business soon went broke, so he auditioned for a military band in Odense and was accepted to play cornet, bugle and trombone. In Odense, Nielsen picked up some musical theory, taught himself the piano, and played violin in readings of string quartets by Haydn, Mozart and Onslow — his teen-age compositions, all for chamber ensembles of strings and piano, show the influence of those Classical models. By 1884, some affluent friends in Odense had recognized his talent, and they underwrote the cost of his education at the Copenhagen Conservatory, where he majored in violin and also studied theory, piano and, with Niels Gade, history and composition. He completed the Conservatory’s curriculum in 1886, but continued as a student

of his theory teacher, Orla Rosenhoff, while supporting himself as a free-lance violinist in Copenhagen by performing in chamber concerts and with the orchestra at Tivoli Gardens. He turned seriously to composition during that time — two pieces for string orchestra were given at Tivoli in 1887, and a string quartet was played by the Privat Kammermusikforening (“Chamber Music Society”) the following year. His first major success came with the premiere of the Little Suite for Strings by the Tivoli orchestra on September 8, 1888. (A press release announcing the event referred to him as “a Mr. Carl Nielsen whom nobody knows.”) The Copenhagen firm of Wilhelm Hansen confirmed Nielsen’s rise to notoriety by issuing the score in 1889. It was his first published composition — Opus 1.

Though the Little Suite is indebted in its form to the precedents of Classicism (Nielsen revered Mozart above all other musicians), it bears a harmonic richness and melancholy sentiment that speak of its composer’s time and characteristic musical language. The brief, opening Praeludium follows a simple, three-part form (A-B-A) in which a sad, short, lyrical motive (played first by the cellos and, upon its return, by the violas) surrounds a rising strain in the violins. The second movement, titled Intermezzo, is in the old form of the minuet and trio, but its manner is that of the waltz. It exudes a certain rustic flavor in many of its pages, as if Nielsen had created a citified version of the country tunes that he so loved as a youngster. The Finale, the Suite’s most ambitious movement, begins with a slow introduction recalling the first theme of the opening movement before moving on to a traditional sonata-allegro form which shows the contrapuntal ingenuity that was to be such an important element of Nielsen’s mature style. A vivacious coda closes this delightful work.

World Premiere: September 8, 1888Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: Strings; violin I, violin II, viola, cello, and bassDuration: 16’

2 2



ROBERT SCHUMANN(born June 8, 1810 in Zwickau, Germany;

died July 29, 1856 in Endenich, near Bonn)

Konzertstück for Four Horns and Orchestra in F major, Op. 86 (1849)

Though horns of metal or animal horn were known as early as 2400 B.C. in Sumeria, the modern orchestral instrument traces its provenance to the 16th century. Before that time, the horn had a very limited range and a piercing, raucous tone quality — more a noise-maker for military, hunting and civic signalling than a true musical instrument. By the late 1500s, the instrument had been increased in length, allowing the performer to sound a greater number of pitches; to facilitate its handling, the metal tube was wrapped into a number of circular coils. The earliest reference to the “French” horn (curiously, called “French” only in the English language) was in England in 1681 at just about the time that its musical usefulness was beginning to be recognized. Presumably (though not demonstrably) the name arose because the English thought that the instrument was developed in France, though Italy and Bohemia also figure prominently in the horn’s early history.

Early horns were valveless, and therefore limited to only those notes available in the natural overtone series, just as is a simple bugle today. Beginning in 1718, crooks came into common use. These devices were additional lengths of tubing that could be plugged into the horn to create another overtone series with its extra, supplementary set of notes. By the

middle of the 18th century, one Anton Joseph Hampel of Dresden formalized the technique of hand-stopping, which served both to mellow the tone (previously, the horn’s bell had been held above the player’s head, and produced a harsh, strident sound) and to fill in some of the gaps in the overtone series. (Complete stopping of the bell lowers the pitch by a half step, but muffles the tone.) It was for this awkward instrument, with its interchangeable crooks and cumbersome hand-stopping, that Mozart wrote his four delightful concertos.

At the beginning of the 19th century, horn players still had to switch crooks for each piece (in some cases, for each movement) to match the key of the rest of the orchestra. This problem was solved by the use of a valve mechanism, patented in 1818 by Heinrich Stolzel and Friedrich Bluhmel. Their system allowed the player to deflect the main air stream into side tubes of different lengths by depressing valves, essentially making a series of crooks available at the touch of a key, and allowing the production of the complete chromatic scale. It is the system still used on all brass instruments except the slide trombone. One important remnant of the old playing technique, however, was incorporated into the design of the modern horn: the valves are operated by the left hand, unlike the right-handed trumpet, allowing the right hand to rest in the bell to mellow the sound and produce a variety of tonal effects. Though the horn is one of the most treacherous of all instruments to play, in the hands of a master performer its beautiful, noble tone is among the most stirring of all musical sounds.

During Schumann’s residence in Dresden, from 1844 to 1850, he was naturally in frequent contact with the local musicians. Richard Wagner, filled with revolutionary political and musical ideas, was conductor at the Royal Opera House, which boasted one of the finest orchestras on the Continent at the time. A chief adornment of that ensemble was a player named Lewy, a virtuoso who headed up the orchestra’s horn section and was also one of the earliest exponents

World Premiere: February 25, 1850Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 3 trombones, timpani, and strings; violin I, violin II, viola, cello, and bassDuration: 21’

2 3



of the new valved instrument. Schumann was so impressed with the possibilities of the improved horn, and with the expressive avenues for it that Wagner had opened in his operas (Rienzi, The Flying Dutchman and Tannhäuser had all been staged by 1845), that he undertook a grand, concerted piece for not just one horn, but for an entire quartet of the instruments. The Konzertstück that he devised was certainly a showpiece for the valved horn, but it was also so hard as to be proclaimed by some as virtually unplayable — Schumann’s biographer Robert Schauffler decided that “the difficulties are so horrendous that it needs almost the trump of an archangel to cope with them.” Performances of the Konzertstück (“quite a curiosity,” the composer called it) have, understandably, been rare over the years, but when a company of master hornists rises to its challenge, it proves to be one the most exciting entries in all of Schumann’s catalog.

The Konzertstück was written in 1849, when Schumann was in good health and spirits, and producing music with greater ease and alacrity than at almost any other time in his life — some thirty works date from what he referred to as “my most fruitful year.” The work is in the standard three movements, though played without pause. The first movement abounds with breathtaking feats of virtuosity and intricate ensemble (the opening fanfare may well stay in the listener’s mind for days) couched in a fine orchestral accompaniment with expansive harmonies and rich sonorities. Schumann called the autumnal second movement “Romanze,” using as the theme of its center section a broad melody that returns in transformation in the last movement. The finale resumes the quick tempo and the flashing musical pyrotechnics of the opening movement, though it contains some episodes of contrasting character that Alfred Nieman believed were “not far from the impressionistic images of Mendelssohn’s A Midsummer Night’s Dream, woven together with effortless spontaneity.” Schumann piles one challenge upon another as the movement progresses, ending with an admonition to the soloists that the final, rousing pages are to be delivered “mit Bravour.”

JOHANNES BRAHMS(born May 7, 1833 in Hamburg;

died April 3, 1897 in Vienna)

Symphony No. 3 in F major, Op. 90 (1882-1883)

Brahms had reached the not inconsiderable age of 43 before he unveiled his First Symphony. The Second Symphony followed within eighteen months, and the musical world was prepared for a steady stream of similar masterworks from his pen. It was to be another six years, however, before he undertook his Third Symphony, though he did produce the Academic Festival and Tragic Overtures, the Violin Concerto and the Second Piano Concerto during that time. When he did get around to the new symphony he was nearly fifty, and had just recovered from a spell of feeling that he was “too old” for creative work, even informing his publisher, Simrock, that he would be sending him nothing more. It seems likely — though such matters always remained in the shadows where Brahms was concerned — that his creative ambitions were stirred anew by a sudden infatuation with “a pretty Rhineland girl.” This was Hermine Spiess, a contralto of excellent talent who was 26 when Brahms first met her in January 1883 at the home of friends. (Brahms was fifty.) A cordial, admiring friendship sprang up between the two, but that affair, like every other one in Brahms’ life in which a respectable woman was involved, never grew any deeper. He used to declare, perhaps only half in jest, that he lived his life by two principles, “and one of them is never to attempt either an opera or a marriage.” Perhaps what he really needed was a muse rather than a wife. At any rate, Brahms spent the summer of 1883 not in his usual haunts among the Austrian hills and lakes, but at the German spa of Wiesbaden, which just happened to be the home of Hermine. Work went well on the new symphony, and it was completed before he returned to Vienna in October.

World Premiere: December 2, 1883Most Recent HSO Performance: March 1, 1995Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings; violin I, violin II, viola, cello, and bassDuration: 33’

2 4



More than just an attractive girl was on Brahms’ mind in 1883, however. He had recently suffered the deaths of several close friends, including his dear teacher, Marxsen, and he was feuding with the violinist Joseph Joachim, who had been a champion of his music for thirty years. Many cross-currents of emotion therefore impinged upon the Third Symphony, though Brahms certainly had no specific program in mind for the work. It has nevertheless been called his “Eroica” (by Hans Richter and Eduard Hanslick), a forest idyll (Clara Schumann), a rendering of the Greek legend of Hero and Leander (Joachim), a depiction of the statue of Germania at Rüdesheim (Max Kalbeck), and of a young, heroic Bismarck (Richard Specht). It is all of these, at least to these individuals, but, more importantly, it is really none of these or any other specifically non-musical subject, because the Third Symphony of Brahms is the pinnacle of the pure, abstract symphonic art that stretched back more than a century to Haydn and Mozart. It is a work of such supreme mastery of all the musical elements that it is a distillation of an almost infinite number of emotional states, not one of which can be adequately rendered in words. “When I look at the Third Symphony of Brahms,” lamented the English master Sir Edward Elgar, “I feel like a tinker.”

When the Third Symphony first appeared, it was generally acclaimed as Brahms’ best work in the form, and perhaps the greatest of all his compositions, despite well-organized attempts by the Wagner cabal to disrupt the premiere. Critical opinion has changed little since. This, the shortest of the four symphonies, is the most clear in formal outline, the most subtle in harmonic content, and the most assured in contrapuntal invention. No time is wasted in establishing the conflict that charges the first movement with dynamic energy. The two bold opening chords juxtapose bright F major and a somber chromatic harmony in the opposing moods of light and shadow that course throughout the work. The main theme comes from the strings “like a bolt from Jove,” according to New York Times critic Olin Downes, with the opening chords repeated by the woodwinds as its accompaniment. Beautifully directed chromatic harmonies — note the bass line, which always carries the motion to its close- and long-range goals — lead to the pastoral second theme, sung softly by the clarinet. The development section

is brief, but includes elaborations of most of the motives from the exposition. The tonic key of F is re-established, not harmonically but melodically (again the bass leads the way), and the golden chords of the opening proclaim the recapitulation. A long coda based on the main theme reinforces the tonality and discharges much of the music’s energy, allowing the movement to close quietly, as do, most unusually, all the movements of this Symphony.

The second and third are the most intimate and personal movements found anywhere in Brahms’ orchestral output. A simple, folk-like theme appears in the rich colors of the low woodwinds and low strings to open the second movement. The central section of the movement is a Slavic-sounding plaint intoned by clarinet and bassoon that eventually gives way to the flowing rhythms of the opening and the return of the folk theme supported by a new, rippling string accompaniment. Edward Downes (son of Olin, referenced above) noted about this lovely Andante that its “almost Olympian grace and poise recall the spirit if not the letter of Mozart.” The romantic third movement replaces the usual scherzo. It is ternary in form, like the preceding movement, and utilizes the warmest tone colors of the orchestra.

The finale begins with a sinuous theme of brooding character; a brief, chant-like processional derived from the Slavic theme of the second movement provides contrast. Further thematic material is introduced (one theme is arch-shaped; the other, more rhythmically vigorous) and well examined. Brahms dispensed here with a true development section, but combined its function with that of the recapitulation as a way of tightening the structure. As the end of the movement nears, the tonality returns to F major, and there is a strong sense of struggle passed. The tension subsides, and the work ends with the ghost of the opening movement’s main theme infused with a sunset glow.

Summing up the effect and masterful technique of Brahms’ Third Symphony, Donald N. Ferguson wrote, “Beneath the joyous surface of this work is such certainty of structure, such inescapable logic, and such unbroken continuity of thought that one can hardly find, even in Bach, a more satisfying example of these qualities.”

©2018 Dr. Richard E. Rodda


Pops! Series


JOHN WILLIAMSStar Wars: A New Hope

Feature Film with Orchestra

There will be one intermission

STAR WARS: A NEW HOPE in Concert

Saturday, October 27, 2018 / 2:00 p.m. & 7:30 p.m.Mortensen Hall, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductor

© 2018 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © DISNEY.Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd. and Warner/Chappell Music

2 6



Star Wars: A New HopeSTAR WARS FILM CONCERT SERIES

Twentieth Century Fox PresentsA Lucasfilm Ltd. production

StarringMark HamillHarrison FordCarrie FisherPeter Cushing

and Alec Guinness

Written and Directed byGeorge Lucas

Produced byGary Kurtz

Music byJohn Williams

PanavisionPrints by Deluxe

TechnicolorMPAA PG Rating

Original Motion Picture Soundtrack available at Disneymusicemorium.com

Star Wars Film Concert Series Production Credits

President, Disney Music GroupKen Bunt

SVP/GM, Disney ConcertsChip McLean

Supervising Technical DirectorAlex Levy – Epilogue Media

Film PreparationRamiro Belgardt

Business Affairs, LucasfilmRhonda HjortChris Holm

Music PreparationMark Graham

Matthew VoogtJoann Kane Music Service

Disney Music Library

Operations, Disney ConcertsMae CrosbyRoyd Haston

Business Affairs, Disney ConcertsDarryl Franklin

Meg RossJesenia Gallegos

Non-Theatrical Sales, Twentieth Century FoxJulian Levin

Business Affairs, Warner-ChappellScott McDowell

is the proud Presenting Sponsor of the Hartford Symphony Orchestra POPS! Series

2 7


Sunday Serenades


Sunday Serenades at the Wadsworth AtheneumLeonid Sigal, Artistic Director

FRANCIS POULENC Violin Sonata (1899-1963) I. Allegro con fuoco II. Très lent et calme III. Presto tragico

PAUL HINDEMITH String Trio No. 2 (1895-1963) I. Mäßis schnell II. Lebhaft III. Langsam – schnelle Halbe – langsam - schnell

-PAUSE-

ERICH WOLFGANG KORNGOLD Piano Quintet in E Major, Op. 15 (1897-1957) I. Mäßiges Zeitmaß, mit schwungvoll blühendem Ausdruck II. Adagio (Freie Variationen Uber Die “Lieder des Abschiedes” Op. 14) III. Finale

MONSTERS & MYTHSSunday, November 11, 2018 / 2:00 p.m.Wadsworth Atheneum Museum of Art

LEONID SIGAL, violinTBD, violinTBD, violaTBD, cello

TBD, piano




This concert is made possible in part by The Helen M. Saunders Charitable Foundation Music Endowment Fund at the Wadsworth Atheneum.

2 8

HSO Concer tmas t e r Leonid Siga l ha s enjoyed a multi-faceted

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

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

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

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

Meyer, Joseph Silverstein, James Ehnes, Roberto Diaz and William Wolfram among others. In 2007 he inaugurated and became Artistic Director of the celebrated Sunday Serenades, a chamber music series at the Wadsworth Atheneum.

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

written for him and commissioned by the HSO. Recent and upcoming season highlights include Brahms’ Double Concerto with cellist David Finckel, Concertos by Mozart, Beethoven, Mendelssohn, Brahms, Glazunov as well as Leonard Bernstein’s Serenade after Plato’s Symposium to commemorate the composer’s Centennial in 2018.

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


About the Artists

LEONID SIGAL violin

2 9


Corporate and Foundation Donors

Air Blarney BalloonsAna’s KitchenAsylum Hill

Congregational ChurchBarnes FoundationBarnes GroupBemis Associates, LLCBloomfield Discount LiquorsSuzanne BourdeauxBradford Renaissance PortraitsBradley, Foster & Sargent, Inc.The BushnellCantor Colburn LLPCBSChurch Home of

Hartford AuxiliaryCignaCitizens BankClassic Hotels of ConnecticutThe CLY-DEL

Manufacturing CompanyConnecticut Automotive

Retailers AssociationCostanzo ClothingCranmore, Fitzgerald & MeaneyDavid Alan Hospitality GroupDelamar HotelDepartment of Economic &

Community DevelopmentDornenburg | Kallenbach

AdvertisingDORO GroupDuncaster Resident CouncilEBI FoundationThe Edgemer Foundation, Inc.The Ensworth Charitable

Foundation, U. S. Trust, Bank of America, N.A., Trustee

EverpresentEversource EnergyFalcetti MusicFederman, Lally & Remis LLCFiduciary Investment AdvisorsFitzgerald’s Food StoresMr. & Mrs. William Foulds

Family Foundation

Richard P. Garmany Fund at Hartford Foundation for Public Giving

Glimmerglass FestivalGoodspeedThe Goodwin HotelGreater Hartford Arts CouncilHartford Business JournalThe HartfordHartford Foundation for

Public GivingHartford HealthCare CorporationHartford StageHartford Steam Boiler Inspection

and Insurance CompanyHartford Yard GoatsHarvest Café and BakeryHarvey & Lewis OpticiansHighland Park Families FoundationHill-Stead MuseumHoffman Auto GroupInfinity TheaterJewish Community CenterJP Morgan ChaseKane’s MarketLegrandLincoln Financial Foundation, Inc.Mabel F. Hoffman Charitable TrustMahoney Sabol & CompanyMaximilian E. & Marion O.

Hoffman FoundationMcLeanMetro BisMorneault’s Stackpole Moore TryonWilliam and Alice Mortensen

FoundationMotley Rice LLCMountain Development Corp.The Musical Club of Hartford, Inc.National Endowment for the ArtsNarwold Family Charitable FundNew Britain Museum of

American ArtNordstrom, Inc.Paine’s Recycling and

Rubbish RemovalPlayhouse on ParkPopover Bistro

Porron & PinaPrice Chopper’s Golub FoundationPrudential RetirementReal Art WaysThe Edward C. and Ann T.

Roberts FoundationRobert Hensley & Associates, LLCRobinson & Cole LLPSaint Francis FoundationSaint Francis Hospital and

Medical CenterHelen M. Saunders Foundation

Music Endowment at the Wadsworth Atheneum

The Saunders Fund for Innovative Programming

SBM Charitable FoundationSeabury Active

Life Plan CommunityShow Lighting Simsbury BankSimsbury Meadows

Performing Arts CenterSolinsky EyeCare LLCSolinsky Marketing &

Management Corp.South OceanSpecialty Printing, LLCStanley Black & Decker, Inc.TD BankTheaterWorksTPC River HighlandsTravelers FoundationTrinity CollegeUBS Realty Investors, LLCUnited Bank FoundationUnited HealthcareUnited Technologies CorporationUniversity of Hartford/

Barney School of BusinessViking Fuel Oil Company, Inc.Wadsworth AtheneumWebster BankWeekapaug InnWells FargoWells Fargo FoundationXL Catlin

The Hartford Symphony Orchestra thanks the institutional donors – businesses, corporations, foundations, government agencies and others – who contributed to the Hartford Symphony Orchestra as of 8/15/2018.

3 0

Francis Goodwin Circle($25,000 and above)Mr. & Mrs. Bob Garthwait, Jr.*The Katharine K. McLane

and Henry R. McLane Charitable Trust

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

David & Linda Roth*Elizabeth Schiro &

Stephen Bayer**

President’s Circle($10,000-$24,999)John and Suzanne BourdeauxMs. Hermine Drezner &

Mr. Jan Winkler & the Drezner/Winkler Fund at the Hartford Foundation

Bob & Frankie Goldfarb*MaryEllen M. &

Pierre H. Guertin**Jerry & Barbara Hess*Jeffrey S. & Nancy HoffmanChloe & Wesley Horton**The Elizabeth M. Landon &

Harriette M. Landon Foundation

Mr. Christopher Larsen**Mr. Matthew H. Lynch &

Ms. Susan M. Banks*Mr. Charles B. Milliken**Mary T. Sargent**Sharon and Frank Travis and

the Travis Foundation*Alex & Patricia Vance**Jeff and Pam VerneyThe Zachs Family**

Platinum Circle($7,500-$9,999)The William H. & Rosanna T.

Andrulat Charitable Foundation

Harry E. Goldfarb Family Foundation

Steve & Ellen HarrisHerbert HirschBrook & Charlotte Jason**Michael V. KennedyThe John and Gail Langenus

Family FundArthur R. Masi*Mr. & Mrs. Robert J.

von Dohlen**The Alexander M. &

Catherine Maus Wright Charitable Trust

Gold Circle($5,000-$7,499)Peter L. AndersonBruce Barth &

Pamela Yeomans BarthRobert C. Bausmith &

Jill M. Peters-Gee, M.D.John & Susan Beers**Eleanor N. Caplan**The Cheryl Chase and Stuart

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

Family Foundation, Inc.**Dr. & Mrs. Bernie Clark*Robert H. Connell &

Michelle DuffyBarbara O. David*Abraham and Denise DavisRuth Ann & Joel Davis**Luis Federico Diez-MoralesRev. Hope Eakins &

Rev. William Eakins

Kenneth W. ElligersMuriel & Karl Fleischmann**The Beatrice Fox Auerbach

Foundation at HFPG, Recommended by Linda & David Glickstein

Arnold & Beverly GreenbergNancy & Robinson Grover**Mort & Irma Handel**

The Burton and Phyllis Hoffman Foundation

Mathew & Valerie JasinskiMr. Steven KonoverJim & Rebecca LoreeMr. John Nealon &

Ms. Pamela LucasBob and Lynn MurrayArlene & Daniel NeiditzMichael & Genevieve Pfaff*Mrs. Stephen J. Raffay**Gary & Diane Ransom**Dr. & Mrs. Allan Reiskin**Elizabeth S. Russell**Patricia & Andrew Salner**Ms. J. Schermerhorn*H. A. Vance FoundationBernard J. Zahren

Maestra’s Society($2,500-$4,999)Mill River Foundation*The Cardinal Brook TrustMaxwell & Sally Belding*Nancy P. BernsteinKenneth & Judith Boudreau*Wes & Joann BoydJoyce & Harold Buckingham**Bill Cannon & Kent HolsingerDr. Alexandre CarreColeman H. &

Jo Champlin Casey**Karen Saunders & David CassRon & Nancy Compton**

ANNUAL FUND INDIVIDUAL DONORSWe thank the following individuals who contributed to the

HSO’s Annual Fund in the last 18 months as of August 15, 2018.


2018-2019 Annual Fund Donors

* 10+ years of consecutive giving** 20+ years of consecutive giving 3 1

Carol & Tim Covello*Dr. Michael E. Cucka*Dr. & Mrs. Arthur C.

DeGraff, Jr.**Patrick & Christine EganStanley & Susan Fellman*Anita & Tony Ferrante*Susan & Robert Fisher**Rosemary A. GaidosMs. Rona B. GollobRuth Ann Woodley &

Peter GourleyNeale & Carol Hauss**Mark & Marianne HayesRichard & Christiane HeathAlyce & David Hild*Susan & Bob Izard*Ken & Ruth Jacobson**Sylvia & Harvey Kelly*Kohn-Joseloff FoundationBernard & Gale Kosto**Coleman & Judie LevyIrene Loretto**Connie and Nick MasonDr. M. Stephen & Miriam MillerJanet U. Murphy**Robert & Margaret Patricelli

Family FoundationAgnes & Bill PeellePaul & Linda PendergastAndrew Ricci, Jr., M.D. &

Ms. Jacqueline Ann Muschiano**

Douglas H. Robins*Hon. Howard Scheinblum &

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

Slimmon, Jr.**The Sorenson-Pearson Family

Foundation, Inc.Karen & Howard Sprout*Bill & Judy ThompsonDr. & Mrs. Dean F. Uphoff*Jane & Frank von Holzhausen*Martin & Karen WandElizabeth White**

Gary & Diane Whitney*Thomas & Patricia Wildman**Helen & Alfred G. WilkeKatharine S. WinterJessica & Eric Zachs*Anonymous

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

Eric D. OrtThomas and Melanie BarnesJim & Joan Betts**The family of Peter & Lisa BlockRobert & Christine BoginoLinda P. and Theodore J.

Bruttomesso, Jr.Shari G. CantorArnold & Sandra ChaseJared ChaseBlair ChildsChristopher and Joanne ChiulliSteve and Kim CollinsMary J. ConverseMichele & Halsey CookMary H. Crary**Kim CurtinBarry & Pauline DicksteinKate & Jon DixonBetty DomerHollis G. DormanDan EisenbachDrs. Geoffrey and Karan EmerickMr. Jason Faller and

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

William FullerAaron & Sandy GerstenPeter & Connie GilliesDr. Sid & Joy GlassmanCate & John Grady-BensonAngela D. GriffinPeter Grzybala &

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

Family FoundationRichard & Beverly HughesDon & Helen HughlettJackie & Albert IlgMr. & Dr. Richard JohnstonBrooks & Carol Lee JoslinAnne & George KanMs. Karen A. KelleherMr. & Mrs. Stanley KemmererMark & Janet KeoughBarbara & Paul KieferDr. Jeffrey & Virginia KlugerLois & Charles KoteenCarol & Yves KrausAlice KugelmanLisa Kugelman, M.D. &

Roy WisemanIrma C. LangeNancy & Jerry LemegaDavid R. LesieurMrs. Louise P. LostoccoHenry & Wei Low**Ms. Bonnie MalleyAnita & William MancollMrs. Leta MarksBarri Marks and Woody Exley*Walter & Anne MayoAnn M. McKinneyPeggy and Alan MendelsonLibbie & George MerrowSteve & Nancy Metcalf



* 10+ years of consecutive giving** 20+ years of consecutive giving3 2

Bob & Ami Montstream**Lois Muraro and Carl Elsishans*Giuliana Musilli &

Scott SchooleyAnthony MyersReba & Arthur NassauRichard NorgaardPaul & Arlene NormanSara Cree NorrisDiane L. Northrop**Ms. Jill O’HaganMrs. John C. OwenMr. & Mrs. Raymond J. Payne**Margaret Doherty PenepentMr. and Mrs. Brewster PerkinsMary and Charles PetrasMrs. Emily W. RankinDr. Wayne Rawlins &

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

Ms. Sheila SweenyCeleste & John SenechalPeter & Barbara SetlowPeggy & Ruben ShapiroBradford and Cara SmithElizabeth SnowRuth & Howard SovronskyMark D. & Linda L. SperryHenry "Skip" Steiner*Keith & Catherine StevensonAllan & Sally TaylorJ & K Thomas Foundation*Mrs. Beverly Thomas

Edith & Jim TresnerDougie & Tom TrumbleBetsy & Matthew UdalJames D. and Susan VincentLyn Walker & Tyler SmithDr. & Mrs. Dudley T. WatkinsJoseph and Sandra WeicherStacy R. Nerenstone, M.D. &

Mr. Morton WeinsteinRuth WoodfordAnonymous

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

Mr. Zean GassmannMr. & Mrs. Alfred F. AshKathy & Keith BaksaMorris W. BanksJoanne E. Beers &

Earl C. Cree, IINikali and Lisa BenkertJames & Dana BennettLarry and Corinne BerglundDr. & Mrs. Abraham BernsteinDoris B. Johnson &

Charles BillmyerDr. & Mrs. Jack BlechnerMrs. Arthur BlumbergDrs. Scott Boden and

Mary AyreDr. Nelson and

Mrs. Sandra BondhusAnn & David BrandweinMs. Nancy A. BrennanAnne & Kenneth Brock Fund of

the Cape Cod FoundationMrs. Karina BrousseauKay Miller Browne &

Don HammerbergJohn & Arlene BuckeyMr. Christopher BuiSarah & Jeffrey BurnsMrs. Miriam B. ButterworthMr. & Mrs. Peter G. Carey

Elizabeth B. CasasnovasBob & Judy ChusmirPatricia A. Ciccone &

JoAnn FreibergMr. & Mrs. Kevin CirilloHenry Coelho and Debra RizzoNaomi & Michael CohenCiara CohenMr. & Mrs. Robert CollinsDonna A. CollinsAlan & Marcia CornellDr. Roger D. CoutantTim CresswellDavid & Margaret CrombieJohn & Sheila D’AgostinoDonald DavidsonPaul & Nancy DeanJoseph & Rachel DePaoloDr. Leslie and Gertrude

DesmanglesMr. Richard DonDrs. Peter & Ellen DonshikBrenda A. DraghiJoan E. DurhamJoseph & Virginia EdelsonDonna & Kevin EdwardsWilliam & Elaine EllisGilda S. Brock &

Robert M. FechtorPhil & Beth FerrariLinda & John FiskeSean & Candace FitzpatrickMr. and Mr. Thomas C.

FlaniganLarry & Beverly FlemingLynne & Richard FletcherJerry & Ida FranklinMr. & Mrs. Jay G. FromerDan GabreeSuzanne GatesJoan & David GeetterDr. John A. GettierThe Goldbas FamilyMr. & Mrs. David GoldbergMr. & Mrs. Robert B. Goode, Jr.Jean Cadogan & Alden GordonDonald C. & Carolyn D. Gray



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

3 3

Diane & Larry GreenfieldOz GriebelJanna S. and Jeffrey B. GrossKristine Barbara Guest

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

Cathy J. HitchcockDr. & Mrs. Robert S. HallMerle & David HarrisMeghan HenriquesMarcia D. & Samuel T.

HinckleyShepherd M. Holcombe, Jr.Jay & Mimi HostetterJames & Mary HourdequinPatti and Dave JacksonJacqueline W. JacobsJackie JamsheedMr. & Mrs. S. Edward JeterDavid & Carol JordanThe Joseloff-Kaufman FamilyMr. Michael KasperskiChristopher KehoeJohn & Sharon KellyBob and Candace KillianNancy Kline & James TrailDavid & Ruth KrugmanJeff LamoBette & Larry LaPentaMargaret W. LawsonDr. & Mrs. Charles N. Leach, Jr.Mr. & Mrs. Martin LegaultDr. Carolyn W. LesterAlicia & Bruce LevyMs. Helen LewtanDr. and Mrs. Edison LiuTed and Adlyn LoewenthalElaine Title Lowengard**Mary & Dick LoyerDoris ChenMrs. Sarah Heflin LynnDr. V. Everett LyonsWilliam A. MacDonnell, D.D.S.Sandra MacGregorCatherine MahoneyAlec Mandia

Ms. Beverley ManningTom Martin & Susan SpiggleChristine MartynSteven & Pamela MaynardNancy McEwanTimothy and Barbara MichaelsNick MillerFrances MoultonDrs. Robert and Marnie MuellerMrs. Sarmite F. NielsenDon & Brad NoelDouglas & Stacie OsberKatherine PapathanasisChris & Melissa PattaciniSarah & Samuel PaulConstance & Robert PorterScott & Beth PowellMr. and Mrs. Bruce PowellMs. Felicia PrattoDrs. Steven & Priscilla PriceMr. Robert ProctorDr. Peter ProwdaMr. and Mrs. Martin PutnamEdward C. RaymondGeorge & Carol ReiderAlvin B. ReinerJames S. & Nancy Taggart

Remis**Martey RhineDale & Sally RichterLinda & Ian RickardDr. and Mr. Elisabeth RobinsonBuck Rogers & Jack KellyIrene & Paul RomanelliRobert & Marguerite RoseDr. Jeffrey Rudikoff and

Edee TenserMarshall & Sandra RulnickPhilip & Starr SayresTerry & Judy SchmittJeffrey Alan JohnsonThe Shulansky Foundation, Inc.**John & Nancy SilanderStephen M. & Amy Lynn

SilvermanAnne F. & Gordon Stagg

Michael Steinberg & Felice Heller

Carrie and Mike StockmanJonas V. Strimaitis, Esq.Eleanor A. SulstonKathryn TabachnickMr. and Mrs. Richard ThomasJim & Colburn ThompsonGuy and Julie VerneyUsha and Stephen WadeM. D. Walsh BellinghamCynthia & David WardDr. & Mrs. John R. WatermanMartha WeisJudith & Joel WeismanGreg & Kay WerkCarol & Lee WestDr. & Mrs. James WickwireEleanor Wight and

Rayda BoumaRichard C. & Carla S. WildeCarlisle WildemanDavid & Phyllis WinerRaymond & Sarah WinterJill & Jack WoodillaMr. William H. WulftangeDr. Harold T. Yamase, M.D.Soohyung Yoo and

Jeremy HwangAnonymous

Player’s Club($250-$499)William & Susan AckermanThe Alamar FamilyGaetano & Jayne Dean AlbaniAnne AlvordDr. and Mrs. David J. AndersonBruce Badner and Paula SchenckMr. & Mrs. James N. BagnallTom and Paula BairdJane M. BartlettMr. Jonathan BeckMargaret BeersMr. & Mrs. Edward H.

BengelsdorfDr. & Mrs. Robert Berland



* 10+ years of consecutive giving** 20+ years of consecutive giving3 4

Dr. & Mrs. Bert BerlinSeymour Bloom &

Deborah ElcockPhillip & Ellen BlumbergJohn & Susan BolandMr. & Mrs. Robert H. BooneJulie & Terry BoucherNancy Boynton & Robert LangeDr. John Brancato &

Mr. Thomas RichardsonMike BraytonThe Breinan FamilyDr. & Mrs. James BrodeyDr. & Mrs. William F. BronsonInga BuhrmannDr. & Mrs. Robert BushAllison L. CappuccioDr. & Mrs. J.T. CardoneMr. Joseph R. CarlsonBetsy ChaffetPolly U. ChampPatricia J. Checko &

Edward CaffreyMrs. Jenny ChereDon & Nancy ClarkJohn K. Clark &

Judith M. StoughtonMs. Thomasina ClemonsJonathan and Sarah CluneJoyce ColemanDeanna & MatthewMoira and Dominic ConlanMs. Mildred ConlonBret and Nina CoughlinFrank F. Coulom, Jr.Cox FamilyMs. Judith G. CramerCarol CrossetPaul & Alice CruikshankCheryl CzubaRobert and Julia DakersPeter K. DaneBarbara Davis HowardJoe & Carolyn DawkinsPatricia De FuscoGuy and Lori DeFrancesBill and Joan Delaney

Gail and Barry DeutschJennifer and Marc DiBellaMs. Karen DiMennaJohn & Carolyn DiVenereMr. & Mrs. John DolanAnne M. DoolittleJames and Mindy DorazioKevin M. DoyleRobert & Gretchen DroeschMrs. Nathan DubinEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Ben & Joan EngelJean EnslingJean EsselinkMs. Janet EvelethLiz FerrariBella & Judd FinkDr. Christine Bartus and

Mr. Clark FinleySusan FreimuthKaren L. FritscheHoward & Sandy FromsonDarcie FullerMr. and Mrs. John J. GaffneyLinda Gardiner &

Gerald RaulinaitisJanice D. GauthierRobert & Shirley GerrolMr. and Mrs. Pietro GiammarcoMrs. Carolyn GiffordSarah & Jim GobesMs. Carol D. GouldJohn M. GraffDelores P. GrahamMr. & Mrs. Patrick GreenMr. & Mrs. Joseph E. GreenKaren GrossJohn & Ann GrybkoLillian & Welles GuilmartinDr. and Mrs. Thomas J. GworekMrs. Joan K. HaganWendy M. HallerJessica HamptonRobert HarrisMr. Charles Harvell

Edie and John HathornKelly HernsdorfCaroline TrippJo Ann HewettRhea Padis HigginsDavid M. Hilyard and

Virginia S. HilyardMarcia & John HincksDon & Joanne HuelsmanMs. Joan HultquistStephen & Jacqueline JacobyDaraka JaraCheryl L. JonesMargo JonesScott and Karen Kaeser*Kimberly KafkaBarbara Karanikis &

Kevin KennyHarriet and Bill KatzElizabeth Kennard and

Douglas PeaseMs. Phyllis KeyesThe Kimball FamilyRalph & Lin KlumbJim & Deb KnorrJane & James KnoxStephen & Nancy KotchkoHannie O. KowalNancy A. KramerMs. Judy KulickDavid C. LacossSandra & Richard LadieuLauren LangReverend Roland M. LaPlanteDavid & Alison LeedsMs. Elizabeth LeeteRob Lentz and Anita CarpeneMike and Sally LevinDonna Manocchio &

David LewisPeter & Mary Fran LibassiDoreen Linton &

Larry StevensonAurelle & Art LockePeter & Rosemary LombardoKen & Karen LovelandStephen Lucas




3 5



Teresa & Barry LukeMark & Linda MacGouganPatricia Manning &

Brad BurdickGerald & Janet MarcumWilliam & Barbara MaronSteven & Rosina MarquisJustin MayCandida McKayGavin McKayJohn McNabneyEdward MeigsMr. & Mrs. Richard C. MeyerLorraine MeyerMargaret MillerRafael Mora-Dejesus PHDRebecca MorrisMr. & Mrs. Richard C. MurphyShirley MurthaLawrence & Donna MyersJudith T. NellenMr. & Mrs. Howard

NeuschaeferMaria NickleIlse M. NigroJoseph NiquetteMs. Jenifer NobleKarl & Jan NorrisJulia & Jim O’BrienWarren & Florence PackardLeonaMae PageNancy Macy & Robert PainterMike PazosBrian PendergastThe Pennie FamilyDr. Daniel E. PetashnickDr. and Mrs. Arthur O.

Phinney Jr.Ms. Judith Pitt

Mr. & Mrs. Michael PorterShari L. PrattMr. Mark R. PrisloeDougla Pyrke & Jack FairchildJohn & Rebecca RaffertyRobert Raupach &

Deborah AgrellaSusan & Gary ReisineBob & Carol RentzYolanda & Emmanuel RiveraLouis & Mary RodierMr. John RoseSusan RoseMs. Michele L. RosenbergMr. & Mrs. Matthew RossMs. Patricia SagalCheryl & Nild SansoneJudith & David SatlofJacqueline ScheibDr. & Mrs. J. David SchnatzTerry & Andrea SchnureJohn R. Schroeder, AIALynn & Sharon ScullJanet & Steven SeldenSusan SellarsDr. & Mrs. Gerard SelzerKatie L. SevignyMichael J. and Jennifer F.

SheehanAllen & Ann ShenkMr. and Mrs. Robert ShepardSara L. Bernstein &

Joseph M. ShortallKamal Shoukri &

Marlene HaddadMr. & Mrs. Nelson A. SlyStuart & Arline Small Sadaka

Foundation, Inc.Winthrop & Anne Smith

Mr. Joseph SpadaJudith StearnsRonni G. Stein, M.D.Randall StephensMary E. StoughtonSarah StoverJack SummersMarcia & James SuttonStephen & Margery SwigertDr. & Mrs. John SziklasJohn & Mary TaylorE Renee Tehi & Jeffrey HughesDr. and Mrs. Richard C. TiltonChris and Kathy TolsdorfDan & Jan TracyDouglas and Mildred UnfriedMr. and Mrs. Peter J. UrbanikElizabeth Van GemerenMariana P. WagonerElizabeth L. WebsterJohn Weikart & Jennifer ChuSteve WestCurtis & Joyce WeybrightCaroline WhiteRoyden WilkinsonKaren & Philip WillMr. & Mrs. Eliot WilliamsMr. and Mrs. Lynn WillseyMr. and Mrs. Robert G.

WoodwardDonald and Jane WorkmanMr. Steven YauDavid A. & Martha R. YutzeyDaniel ZakinDiane ZannoniDavid & Sabine ZellMr. Jeff A. ZyjeskiAnonymous


3 6


Music Builds Community

Symphony $1,000,000 and above

The Edgemer Foundation, Inc.

Rhapsody $500,000–$999,999Hermine J. Drezner and Jan WinklerDavid M. and Linda RothStanley Black & DeckerTravelers

Concerto $250,000–$499,999Hartford Foundation for

Public Giving

Overture $100,000–$249,000AnonymousRuth Ann and Joel DavisEversourceRobert and Francine GoldfarbPierre and Mary Ellen GuertinMorton E. and Irma HandelGerald and Barbara HessThe Elizabeth M. Landon and

Harriette M. Landon Charitable Foundation

The Jim and Rebecca Loree Foundation

Matthew Lynch and Susan BanksRobert and Lynn MurraySaint Francis Hospital and

Medical CenterThe Saunders FoundationSharon and Frank Travis and

The Travis FoundationJeff and Pam Verney

Serenade $50,000–$99,999AnonymousBruce Barth and

Pamela Yeomans BarthColeman H. and Jo

Champlin CaseyMuriel and Karl FleischmannArnold and Beverly GreenbergBrook and Charlotte JasonJohn and Gail LangenusCharles B. MillikenPaul F. and Linda S. Pendergast

Audree E. RaffayGary and Diane Ransom Mrs. Peter RussellZachs Family Foundation

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

Family Fund at Main Street Community Foundation

Barnes Group Foundation, Inc.Joyce and Harold BuckinghamKaren Saunders and David CassDr. and Mrs. Arthur C. DeGraff, Jr. Richard P. Garmany Fund at

the Hartford Foundation for Public Giving

Carolyn KuanChristopher and Janet LarsenPamela Lucas and John NealonJim and Nancy RemisDr. Andrew and Patricia SalnerMary T. Sargent

Sonata $15,000–$24,999D. Weston and Joann H. BoydAndrea and Bernie ClarkMarta and Luis Diez-MoralesRosemary and Scott GaidosRona B. GolllobNeale and Carol HaussMark and Marianne HayesJudith A. StearnsTom and Dougie Trumble

Cadenza $5,000–$14,999AnonymousKeane and Rebecca AuresJohn and Susan BeersLinda P. and Theodore J.

Bruttomesso, Jr.Eleanor CaplanJared ChaseRobert H. Connell and

Michelle DuffyAnita and Anthony FerranteLawrence R. FishRichard and Ruth GrobeAngela D. Griffin

Bob Hewey and Carol SimpsonKen and Ruth JacobsonMathew and Valerie JasinskiSylvia and Harvey KellyMr. Arthur Masi and

Dr. Brian HentzMarcia and John HincksSam PaulEdwin and Patricia ShirleyKaren and Howard SproutJan and Dan TracyGary and Diane Whitney

Minuet $1–$4,999Alexander AponteJillian BakerJennifer BermanAdam and Abby BoylesJohn F. and Marla ByrnesAlfred R. CasellaThe CLSJ FoundationThe Collins FamilyDoug DonatoDiana KellyAnn Drinan & Algis KaupasPatrick and Christine EganMiriam EngelDr. and Mrs. R. L. FisherDr. Colette HallJoyce HodgsonPatti and Dave JacksonJulie JarvisJohn K and Andi JepsonDr. Jeffrey and Llyn KaimowitzGerald and Nancy LemegaBrad and Don Noel Family FundWarren and Florence PackardJeremy PhilbinCarole A. OlefskyJanet Flagg and Wayne RawlinsGeorge J. SandersAmanda SavioMarina and Leonid M. SigalHoward and Ruth SovronskyLewis Steinberg - Viking Fuel

Oil CoDavid P. and Cynthia D. WardSteve WestMichael and Ruriko Wheeler

MUSIC BUILDS COMMUNITY DONOR LISTThe Hartford Symphony Orchestra gratefully acknowledges and thanks

all the donors to Music Builds Community.

This list represents commitments made as of August 20, 2018. for more information, kindly

contact Ted Bruttomesso, Jr. at 860-760-7309 or [email protected].


Encore Society

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

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

Champlin CaseyNaomi & Michael CohenJoseph CohnRuth Ann & Joel DavisAnn Drinan & Algis Kaupas

Virginia Farquhar*Muriel FleischmannKaren L. FritscheIrma & Mort HandelJerry & Barbara HessJohn & Sharon KellyMr. and Mrs. Christopher

LarsenEllis & Marjorie LevensonConcettina L. LewisMr. Charles B. MillikenCarole A. OlefskyLeonaMae PageDavid & Christa Pannorfi

Dr. Peter M. ProwdaAndrew Ricci, Jr., M.D. &

Ms. Jacqueline Ann Muschiano

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

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

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

Contributors as of August 15, 2018

*deceased

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

Hartford Foundation for Public Giving

Gerald and Barbara HessMathew and Valerie JasinskiBrook and Charlotte Jason

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

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

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


High Note Supporters

Wes & Joann BoydColeman H. and Jo

Champlin Casey

Sheila & John D’AgostinoNancy GroverStephen and Ellen Guest

Martha and Ozzie IngleseMarilyn MehrAnonymous


Chamber Music Society

3 8


Tributes

IN HONOR OFAlfred Ash’s 100th BirthdayPhilip & Alice DoyleElinor EllsworthEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Carole OlefskyJames D. and Susan Vincent

Kim Beckford’s Birthday, HSO’s Hall Host Volunteer Coordinator

Ruth & Howard Sovronsky

Curt BloodJanice & Steve Barshay

Joann Boyd’s BirthdayIrene J. Loretto

Dr. John Cardone’s RetirementWillard & Vivian Gombert

Steve CollinsMs. Mary-Jane Foster

Marti CurtissMr. and Mrs. Richard Palatine

Her FamilyElizabeth White

Muriel FleischmanDorothy Silverherz Rosenberg

Pierre and Mary Ellen GuertinJoseph F. Brennan

Jerry and Barbara HessMs. Constance Clark

Diane JenkinsDeborah Clark

Ron Krentzman’s RetirementDr. Sid & Joy Glassman

Our wonderful orchestra and Carolyn Kuan

Martha B. Curtiss

Carolyn Kuan becoming a citizen of the United States

Ursula G. KorzenikAnita & William Mancoll

Jarek Lis’ 50th BirthdayRorie Rueckert

Anita & Bill Mancoll’s 50th Anniversary

Dr. Burton and Carol Cunin

Mrs. Elene Needelman’s 90th birthday

Andy, Lauren, Deanna & Sam Lieberman

Diane NorthropMarti CurtissDella Schultz

Dara RibicoffMrs. Belle K. Ribicoff

Cynthia RedmanMelanie Redman

David Roth’s BirthdayDavid and Francie Horvitz

Family Foundation, Inc.

The David Roth Family for the Holidays

River Oaks Foundation, Inc.

Ruth SovronskyMuriel & Karl FleischmannDr. Carolyn W. LesterAnita & William Mancoll

Ruth & Howard Sovronsky’s Wedding Anniversary

Miriam Oelbaum

Anhared Stowe on her retirement from The Hartford Symphony

Dr. Sid & Joy Glassman

Jeff VerneyMr. and Mrs. Dan Eisenbach

Rachel WhelanMargaret Furey

Elizabeth WhiteMichael OakleafLaurie SellarsChristopher White

IN MEMORY OF Gerry and Barbara ArbetterDeanne Shapiro &

Ted Diesenhaus

Maureen BardwellEdward Welsh

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

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

James ChrisoulisAnonymous

We thank the following individuals who contributed to the HSO’s Annual Fund between 8/15/2017-8/15/2018.

3 9


Tributes

Ruth Crossan ReederAnonymous

Joel N. DavisRuth Ann Davis

Barbara DownieDiana Reeve

Nathan DubinRenee P. Dubin

Audree RaffayMuriel and Karl FleischmannJerry & Barbara HessRuth Sovronsky

Bruce FraserRichard M. Ratzan

Tracey GabreeDan Gabree

Richard and Joanne GatesSuzanne Gates

Bruce C. HallLouann W. Hall

Louise B. HerringThe Family of Louise Herring

Ilana HirschHerbert Hirsch

Ruth and Winton HoogShirley S. Schiller

Ruth E. HoogMax and Dixie NicholsonLaurence A. PaulinTerry & Andy PignatareKaren RenschlerGeorge and Jackie Smith

Isador JanowskyRobert AndersonBrook & Charlotte Jason

Attorney and Mrs. Hugh M. Joseloff

The Joseloff-Kaufman Family

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

Ted LabedzkiDiane Labedzki

Janet LarsenRuth & Howard Sovronsky

Paul LostoccoMrs. Louise P. Lostocco

Robert L. MullaneyJoseph & Joyce GalloJanet & William Mac GillvaryJenifer MacGillvaryStanley & Esther KozakLaura & Ettore RaccagniRead Between the Wines

Book ClubBrian & Claudia Summers

Eugene Norman HackelSerene N. Hackel

Ilana HirschRuth & Howard Sovronsky

David J. PrattoMs. Felicia Pratto

Stephen J. RaffayAudree Raffay

Dr. Robert RossonMs. Judith Pitt

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

Ms. Mildred Conlon

Nancy Slossberg KlotzNancy R. Savin

David SpicerAnonymous

Ronald Steven, MDKatherine Steven

Michael SuismanElsa Daspin Suisman

Raquel ThomisonJoanna S. Gerber, M.D.

Jennie M. UrilloMr. Anthony L. Urillo

Mr. & Mrs. Luis and Jeanne Wei

Teresa & Barry Luke

Dr. Steven WernickGail BensonBeverly Thomas

Sally WilliamsDavid & Margaret CrombieMs. Jean Wahlstrom

Jan WinklerRuth & Howard Sovronsky

Susan L. WinterKatharine S. Winter

John YeckHon. Howard Scheinblum &

Ms. Susan R. Fierberg

4 0

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4 2

Date post:	30-Jul-2020
Category:	Documents
Upload:	others
View:	4 times
Download:	0 times

Onstage PublicationsKanno (U.S. Premiere), and Unsuk Chin; and her return to Brazil to work with...

Documents