THE MAGAZINE OF THE TOLEDO SYMPHONY VOLUME 4, ISSUE 8 - MAY & JUNE 2021
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
shannon ford | TSO saxophone
THE MAGAZINE OF
THE TOLEDO SYMPHONY
VOLUME 4, ISSUE 8
may & june 2021
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 1
2 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
Peace of Mind
It’s the most important gift
you can give to your family.
There is nothing in this world more valuable than the
freedom to live life on your terms. Let us help give
that gift to you and those you find most precious.
BRIAN CRAIG CHIEF FIDUCIARY OFFICER
To get the conversation started,
call Brian personally at 419.491.1327.
tcfona.com
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 3
N RD
!
G
IN A
IN
W AW
COMMITTED TO
SERVING THE
COMMUNITY
The Andersons grows enduring
relationships through extraordinary service,
a deep knowledge of the market, and a
knack for finding new ways to add value as FROM WGTE PUBLIC MEDIA
we have done for more than 70 years. A behind-the-scenes look at
the world of classical music.
Tune in to FM91 every
Wednesday at 3:30PM!
Ever have a question about music or the symphony
but were always afraid to ask? Now’s your chance to
shape the course of our weekly radio show and podcast!
Call us at 419.418.0012 with your questions today!
www.AndersonsInc.com
4 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
Enriching communities
and transforming lives
through musical
performance –
the Toledo Symphony.
From classics to pops, Dana and its Charitable
Foundation proudly support the Toledo
Symphony’s diverse and outstanding array of
performances. Established in 1956, the Dana
Charitable Foundation is dedicated to enriching
our community through education and the arts. Let us set the tone for your special
day and help you create memories
that will last a lifetime. Select from
our most requested ensembles or
create a custom one.
Contact:
Kelly Hill Kretzer
Ensemble Sales Associate
t: 419.418.0014
e: khillkretzer@artstoledo.com
Our musicians perform in accordance with
the health and safety guidelines set forth
by the State of Ohio.
© 2020 Dana Limited. All rights reserved.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 5
Music for
your eyes.
TSO in HD is made possible through the
generous support of Buckeye Broadband.
6 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
CMR190597
FROM THE board CHAIr
Spring is here and brings with it new opportunity, excitement,
and energy to our community! As board chair of the Toledo
Alliance for Performing Arts (TAPA), I am proud to share that
TAPA continues to respond with a strong, diverse, and talented
performing arts team who continues to provide high-quality
music and dance experiences for our community. We are so
blessed by a community who continues to support our efforts—
thank you!
The TAPA team has demonstrated dedication and tenacity to
overcome challenges. They continued to perform throughout the
pandemic with ever-changing conditions. Fortunately, our
organization is right-sized to remain resilient during difficult
moments like we experienced this past year. If we were smaller,
we might have been limited with human and financial resources,
yet if we were larger, it might have been more difficult to be
nimble and responsive. “The future is bright and filled with
opportunity for
I am so proud that the TAPA team was able to continue the
80-year tradition of performing The Nutcracker and received na-
tional attention. We were hopeful to perform with a limited
live audience, but on short notice, realized we needed to pivot
to stage and record the performance for a completely virtual
growth.”
audience. It was truly amazing!
With this new season, we welcome new opportunities and
are eager to re-dedicate ourselves to providing the finest
performing arts in the region. Serving the community in
meaningful ways by creating programming that meets members
where they are is also critical. The future is bright and filled with
opportunity for growth!
Thank you for your endless support and confidence in our
ability to provide performances that are sources of entertainment,
enrichment, and expression. We look forward to welcoming more
people to our performances and reconnecting in person soon!
Sincerely,
Pat Bowe
Board Chair
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 7
LIVE ART Easy-to-use
brought directly to you! Watch wherever you
are and whenever
you want
New this season, we’ve invested in a state-
of-the-art, easy-to-use streaming platform
Convenient
to bring most of our performances directly
to you! Unable to attend in-person?
We’ll meet you wherever you are. High-quality,
HD video & sound
Watch our performances where and when it
fits your schedule!
Family-friendly
Two ways to watch our streamed performances: programming
WATCH live as the performance is happening.
RENT a recording of the performance after it’s finished.
Performances
start at Ways to watch:
Desktop Browser
Mobile Browser
Chromecast or
Apple AirPlay from your mobile device
NEW! TAPA Streaming apps on Apple TV and Roku
Tickets available now!
Visit stream.artstoledo.com to purchase your tickets today!
Video streaming is made possible by the Rita Barbour Kern
Foundation with additional support from the Greater Toledo
Community Foundation Resilience Fund.
8 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
Program Book 8 | may & june 2021
PerformanceS
21 May 5 Special Event
Young Artist Competition Winners Concert
25 May 9 Buckeye Broadband & The Blade
Chamber Series
Beethoven’s Razumovsky
29 May 21 & 22 ProMedica Masterworks Series
Nakamatsu Plays Chopin
35 May 27 & 28 KeyBank Pops Series
Patriotic Pops
The TSO musicians take your breath away with moments
of musical beauty. Would you like to return the favor? 37 June 4 & 5 ProMedica Masterworks Series
Show the orchestra your appreciation and make a gift Beethoven’s Pastoral
TODAY to the Toledo Symphony’s Annual Fund.
THREE EASY WAYS TO GIVE General Information
11 Orchestra Personnel & Trustees
BY MAIL—PO Box 407 | Toledo, OH 43697
BY PHONE—419.418.0028 15 Corporate Sponsors & Partners
ONLINE—toledosymphony.com/donate 45-53 With Gratitude Pages
2020 | 2021 ANNUAL FUND
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 9
Support the Toledo Symphony Annual Fund
TAX-FREE directly from your IRA BOX office: 419.246.8000
toledosymphony.com
Like us on
Listen
The magazine of the Toledo Symphony
Volume 4, Issue 8 | may & june 2021
PUBLISHER: Zak Vassar
Editor: Allie Dresser
Design Director: Tamie Spears
SPONSOR RELATIONS: Mari Davies
WITH GRATITUDE PAGES: Brett Loney
PROGRAM ANNOTATOR: Kalindi Stone
If you are 70 1/2 or older, you may make a charitable gift PROGRAM AD SALES: Allie Dresser
directly from your Traditional or Roth IRA. Your donation
will count towards your required minimum distribution, For sponsorships, call Mari Davies at 419.418.0055.
allowing you to lower your tax liability while supporting For advertising space, call Allie Dresser at 419.418.0027.
your favorite charity! Your plan administrator can send a The Toledo Symphony program books are produced by the Symphony’s
specified dollar amount by check or electronic transfer marketing department for distribution free of charge.
directly to the TSO. Consult your financial advisor or tax The Toledo Symphony is located at:
professional to see how you can best optimize this 1838 Parkwood Ave., Toledo, OH 43604
opportunity to support great music in Toledo. Mailing Address:
Use a tax-free gift from your Traditional P.O. Box 407, Toledo, OH 43697-0407
or Roth IRA to INCREASE YOUR IMPACT. We welcome your comments at our mailing address.
The Toledo Alliance for the Performing Arts (TAPA)
For additional information please contact Brett
dba Toledo Symphony is a 501c3 non-profit organization.
Loney, Director of Development at 419.418.0056 or
ProMedica Masterworks Series accommodations are provided by
bloney@artstoledo.com.
the Renaissance Toledo Downtown Hotel.
White Knight Limousine is the exclusive ground transportation
provider of the Toledo Symphony.
2020 | 2021 ANNUAL FUND
10 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMADMINISTRATION the TOLEDO SYMPHONY ORCHESTRA
Toledo Alliance for the Performing Arts Board of Trustees alain trudel, MUSIC DIRECTOR
Officers Joel Jerger Stephen D. Taylor
Patrick Bowe*, Board Chair Richard A. Karcher* Michael H. Thaman First Violin contrabass Trombone
Steven M. Cavanaugh*, Vice Chair Robert A. Koenig David Tighe Kirk Toth, Concertmaster * Jack Henning * Garth Simmons *
Pam Hershberger*, Past Chair Harley Kripke Louis E. Tosi Lenore & Marvin Kobacker Bill McDevitt + ** Edward H. Schmidt Chair
Elaine Canning*, Treasurer David Mack Alain Trudel Chair Aaron Keaster John Gruber †
Frank Jacobs*, Secretary William B. Mathis Marlene Uhler* Téa Prokes ** Richard Alleshouse *,
Zak Vassar* Lisa Mayer-Lang Julie Waidelich-Roberts Associate Concertmaster Principal Bass Emeritus Tuba
C. Allen McConnell Traci Watkins, MD Catharine Z. Melhorn Chair Derek Weller David Saltzman *
Trustees
William R. McDonnell Dave White, Jr. Patricia Budner Jean Posekany †
James Adams
Joseph D. Napoli Lance Woodworth Jillienne Bowers Timpani
DeAnn Gorun Baker Timothy Somers †
Jonathan Orser* Vasile Chintoan Sally Rochotte *
Debra Ball BOARD FELLOWS
Marna Ramnath* Laura Longman
Shelley Bridarolli Samuel Adler, Ph.D. Flute
Christina Ramsey Gyusun Han
Jameel Burkett Stephanie Alexander Joel Tse * Percussion
John Reynolds
John H. Burson Dr. Tom Brady Charles Roth Betty & Robert J. Jordan Wirth + *
Bennett Romanoff, MD
Stephanie Cole, MD* William F. Buckley Tom Sieberg Lanigan Chair Pilkington Chair
Ronald Rybarczyk
Jenny Coluccio Eric S. Fankhauser Roger Jamini Amy Heritage Keith McWatters
Carolyn Savage*
Susan L. Conda Kenneth E. Hileman Maria Bessmeltseva † Joanna Goldstein † Jonathan Smith †
Robert P. Schlatter
Jennifer Coy Justice G. Johnson, Jr. Sophie Tang †
Joseph Sferra
Debbie Sauder David George M. Jones, III Virgil Lupu † Piccolo Harp
Mo Sheahan
Kathleen Davis Darryl R. Lippman Chris Will † Joanna Goldstein † Nancy Lendrim *
Saga Shoffner*
Jeanne DeWitt* Ronald A. McMaster
Rebecca E. Shope Lois Nitschke Chair
Michael Ellison, Ph.D.* Randy Oostra
Sara Ann Smith Second Violin Oboe
Melissa Freeman* Mark Pietrykowski
Bethanne Snodgrass, MD Merwin Siu * Kimberly Loch * Keyboard
Ashley A. Futrell* Mark E. Ridenour
Sharon S. Speyer* David W. Robinson Chair Owens Corning Chair Valrie Kantorski †
Charlene D. Gilbert Stephen H. Staelin
Charles Stocking* Heewon Uhm ** Michele Tosser Smith Jonathan F. Orser Chair
John Gonia
Desmond Strooh * Member, Executive Committee Cheryl A. Trace Kristin Reynolds †
Judy Gorun
Olivia K. Summons Pamela Stuckey saxophone
Anneliese M. Grytafey
John S. Szuch Ran Cheng Clarinet Shannon Ford †
Kimberly Howard*
Diana Dyer Anderson Georg Klaas *
THE Toledo Symphony League LEADERSHIP David Dyer Clement O. Miniger Electric Bass
Alice Neff Petersen Foundation Chair Richard Alleshouse *
Marlene Uhler, Linda Olrich, Beth Williams,
Vice President of Diane Kent Jocelyn Langworthy
President Assistant Treasurer
Kathy Scheer, JoAnn Phipps, Scholarships, Awards Randy Workman Kevin Schempf † Recorder
Past President Recording Secretary and Grants Ashley Dyer † David Dyer
Susan Lang, Beth Bowman, Shelli Jacobs, Dana Mader † E-flat Clarinet
Treasurer Vice President Vice President of Jocelyn Langworthy * Principal
of Membership Symphony Activities Viola ** Associate Principal
Valentin Ragusitu * Bass Clarinet + Acting
Toledo Alliance for the Performing Arts Administrative Staff and Advisors Blade Foundation Chair Kevin Schempf † † Supplemental
Full Time John Juan, Part Time Tim Zeithamel** *** On Leave
Bassoon
Zak Vassar, Stage Manager Patricia Budner*, Reed Anderson
Casey Gsell * Steinway piano tuning and
President & CEO Tim Lake, Assistant to the Orchestra Mihaela Ragusitu
Joan Weiler ** technical services provided
Alain Trudel, Production Manager Manager Philip Stoll
TSO Music Director Michael Lang, Nora Schankin by Craig’s Keyboards. Craig
Betsy Cranston, David Ford
Lisa Mayer-Lang, Toledo Resident Choreographer Whitaker is the official piano
TSYO Conductor Esther Nahm †
Ballet Artistic Director Brett Loney, Director of Richard Gardiner, ContraBassoon technician for the Toledo
Veronica Vassileva †
Robert Bell, Development Assistant Librarian Nora Schankin * Symphony.
Kalindi Stone †
President Emeritus Keith McWatters*, Wasim Hawary,
Raymond Clark, Orchestra Manager TSYO Artistic Director Horn
Cello
Librarian Ron Papke, & Conductor Megan Amos
Mari Davies, Director of Individual Giving Martha Reikow *
Chad Hutchinson, Emily Dietz
Director of Institutional Giving Carly Rockenhauser, France Stone Foundation
TSYO Conductor Chair Alan Taplin
Randi Dier, Box Office Associate Aaron Keaster*, Tamara Kosinski †
Vice President, Finance Rachel Schultz, Amy Chang**
Assistant Librarian Lorenzo Robb †
Allie Dresser, Director of Education & Damon Coleman
Kelly Hill Kretzer, Ensemble
Marketing & Program Ad Community Engagement Sales Associate Robert Clemens
Elizabeth Rice Trumpet
Sales Manager Merwin Siu*, Sonsoles Llodrá,
Kellen Degnan Lauraine Carpenter *
Lauren Drzewicki, Artist Liaison Artistic Administrator School of Music Coordinator
Matthew Schiebold Chrysler Corporation
Vanessa Gardner, Erin Steel, Anthony Piercefield, Fund Chair
Director of Marketing & Gift & Stewardship Administrative Assistant Katherine Cosgrove
Communications Coordinator Kathleen Schnerer, Thaddeus Archer **
Judith Gonia, Kalindi Stone, TSYO Conductor
Operations Director Box Office Manager & Ric Wolkins †
Joan Weiler*,
James M. Hartley, Program Annotator Benjamin Thauland †
Youth Orchestras Coordinator
Business Manager
* Member of orchestra
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 11Local Fifth Third Bank proudly
supports the arts in the
Matters.
communities we serve.
Because creativity
makes our communities
a Fifth Third betterSM
for everyone.
No one covers the region like The Blade. For breaking news stories
that matter most to you and hit the right note, sign up for a digital
subscription and enjoy the benefits of being the first to know.
Visit: my.toledoblade.com/purchase
12 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMFROM THE president & CEO
The coronavirus pandemic has provided its share of challenges.
The Toledo Symphony is among the few, bold organizations that
continued performing through this global crisis. From socially
distancing the orchestra and selecting repertoire to performing
with masks and exiting the stage, everything has been different
this year. But, as we’ve confronted these and other challenges,
we have learned so much as an organization.
Despite the creativity expressed on our stage, our industry as
whole is remarkably inflexible. It’s not unusual to plan perfor-
mances 18-24 months in advance. We are notoriously slow to
innovate or evolve. Our universal maxim, “The Show Must Go
On!” is telltale of a stubborn work ethic, fixated upon finishing
what we start. It took a pandemic to teach us how to do things
differently.
Through this past year, our musicians, teachers, and staff have successful pilot phase, we see this as a product that we could
reconsidered, adapted, and embraced change. We locked arms send to schools in other regions or even other states.
in pursuit of creative solutions. We innovated and shortened
Our team is forever changed. Through this pandemic, we’ve
timelines. We played on.
learned to rely upon one another in incredible ways. We’ve
We launched TAPA Streaming, our state-of-the-art streaming generated trust across the organization—that paychecks can
platform, last September. A project like this would normally be counted upon, that we can work together to heal our com-
dominate our focus for the better part of a year. But, as they say, munity, and that we keep our promises. With this trust comes
“necessity is the mother of invention.” We put heads together, strength, resilience, and a reaffirmation of the very soul of the
made a plan, and were online in just a few months. Toledo Alliance for the Performing Arts.
Along the way, we learned to incorporate digital technology Yes, the show must go on, but that’s not to say we’re inflexible.
and virtual content across the organization. A simple example: We still finish what we start, but we might change it a bit along
pre-concert lectures, long fixtures of in-person audiences, went the way. Recompose it. Make it better. And through this process,
online. Why not give people more time—rather than less—to the art form becomes stronger, we become more committed to
engage in the artistic experience and learn a bit about music his- our cause and community, and we all rise up together.
tory? This prompted a fascinating question: “What else can we
Thank you for giving us the privilege to perform for you this
do with a bunch of HD cameras?”
season. Let music bring us together again.
One of our favorite innovations is called TAPA Classroom. It’s an
online platform that brings music and dance education into area
schools. Since so many classrooms were virtual this year, it only
made sense to begin generating fun, user-friendly video content
for educators to add into their curricula. As we expand from our Zak Vassar
President & CEO
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 1314 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
THANK YOU SPONSORS AND PARTNERS
We recognize and thank those businesses and organizations whose support of Toledo Symphony
programs reflect an investment in the orchestra and in the well-being of our community.
SUSTAINING PARTNERS
Rita Barbour Kern
Foundation
SEASON PRESENTERS
artistic partners
T O L E D O
S Y M P H O N Y
L E A G U E
ARTISTIC UNDERWRITERS BUSINESS LEADERS GOVERNMENT AGENCIES
Directions Credit Union Betco Corporation
Findley Eastman & Smith, LTD.
The LaValley Foundation Hollywood Casino Toledo
PNC Bank Knight Insurance Group
Louisville Title
BUSINESS PARTNERS Rehmann
Art Iron Toledo Arena Sports
BP Husky - Toledo Refining Waterford Bank, N.A.
Coil-Bar Corporation
Ernst & Young LLP
Farmers & Merchants State Bank
Signature Bank, N.A. MEDIA sponsorS
palmer energy Toledo.com
Shumaker, Loop & Kendrick WGTE
Taylor Automotive
Yark Automotive Group
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 15OPERA. TOGETHER.
Toledo Opera has been able
to weather the storm of the
past year thanks to our patrons
and community, and we return to
the Valentine full of gratitude and
excitement to share the magic of
live opera once again.
Auditions for the 2021-2022 Questions? Contact Joan Weiler
season are due June 18 by 5 PM. at 419.418.0037 or email We are proud to
announce our truly historical
jweiler@artstoledo.com
Audition repertoire and 2021-2022 season.
registration available at
toledosymphony.com/
education YOUTH ORCHESTRAS
SUBSCRIPTIONS AND SINGLE TICKETS ON SALE
TOLEDOOPERA.ORG | 419-255-7464
The TSYO will act in accordance with CDC and government social distancing guidelines.
Therefore, auditions may be postponed. For the latest information, please visit the TSYO
webpage at toledosymphony.com.
16 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMFROM THE music director
Spring, with all its promise and hope, has finally arrived, and
we are already entering the last part of what has been a most
unique season. It is because of your love for music and our
orchestra, combined with our commitment to serving you,
our community, that we have made it to this point. We have
been amongst the very few arts organizations to continue our
quest for excellence in a year that has halted so many. The arts,
especially music and dance, is how we can bring peace, solace,
and a much-needed sense of normality to our community and
beyond.
As our season draws to a close, we have been dreaming up
some uniquely pertinent programs, where the familiar meets
the unexpected, to offer you a memorable human experience.
From the music inspired by Shakespeare to a wonderful
collaboration with our friends at the Toledo Museum of Art in a
program featuring the amazing Lara St. John performing John “The arts, especially
Corigliano’s Red Violin Suite, we encourage you to join us,
however you feel safe to do so. Our concerts will also include music and dance,
the great artists from the Toledo Ballet featuring new
is how we can bring peace, solace, and a much-needed
choreography by Resident Choreographer Michael Lang, and
we end the season with Beethoven’s Pastoral Symphony. sense of normality to our community and beyond.”
As some of you may know, the border rules between the US
and Canada have not changed. Nevertheless, I will be back for
a special program featuring one our favorite artists, Jon
Nakamatsu, performing Chopin’s First Piano Concerto and We cannot thank you enough for your continued support and I
Principal Flute, Joel Tse, in Bach’s Orchestral Suite No. 2. At look forward to seeing all of you again soon.
this performance, we will announce the recipient of our Toledo
Symphony Outstanding Music Educator Award. Now, more Bien à vous,
than ever, it is important to recognize the incredible work that
our music educators are doing to support their students in and
out of the classroom. Their dedication to instilling the love of
music into young learners is what makes what we do here at Alain Trudel
the Toledo Symphony possible. Music Director
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 17The TSO staff are indebted to the numerous volunteers that
assist at concerts, in the office and archives, and with the youth
orchestras. Many give over 100 hours of service or more per year
to our organization. We offer sincere thanks to them! If you are
interested in sharing your time and volunteering with the Toledo
Symphony, please call Kalindi Bellach at 419.418.0040.
Charlene Anderson* Karen Rose
Kathryn Bellach Kathy Scheer*
Dorothy Coats (TSYO)* + Bill Stein*
Kathleen Durham Beth Williams (TSYO)
Ann Lieder Toledo Symphony League*
Aileen Pargament *Donate more than 100 hours per year
Hannah Perrot to the Toledo Symphony Orchestra.
+ Recently retired
Directions Credit Union helps you plan
for life’s little joys and big moments.
With financial guidance that sets you
free. With advice and encouragement
that supports your biggest dreams.
And with technology that follows you
down every road.
You can become a member today. And choose your
own direction.
STILL LOCAL. STILL YOURS.
Visit mclaren.org/stlukes or call 419-893-5911.
Join now at directionscu.org
FEDERALLY INSURED BY NCUA
18 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMOUR PEOPLE
AND PRODUCTS
MAKE MORE
POSSIBLE
Visit us on Facebook to see what we’re doing here in Toledo and around the globe.
@OwensCorningCorporate | #OCGIVESBACK
THE PINK PANTHER™ & © 1964–2020 MGM.
www.owenscorning.com The color PINK is a registered trademark of Owens Corning. © 2020 Owens Corning. All Rights Reserved.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 19PROUD TO SUPPORT
TOLEDO
where our vision was founded
and continues to thrive.
findley.com
20 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMSpecial
–event–
Young Artist Competition Winners Concert
Wednesday, may 5, 2021, 7 PM | Peristyle Theater
Sergei Rachmaninoff Trio élégiaque No. 2 in D Minor, Op. 9 21’
Moderato – Allegro vivace
Lauren Jin, piano
Gyusun Han, violin Elizabeth Rice, cello
Anton Arensky String Quartet No. 2 in A Minor, Op. 35* 11’
Moderato
Sam Kim, cello
Jillienne Bowers, violin Reed Anderson, viola
Amy Chang, cello
Wolfgang Amadeus Mozart Flute Quartet No. 1 in D Major, K. 285 16’
Allegro
Adagio
Rondeau
Caroline Hannah, flute
Cheryl Trace, violin Tim Zeithamel, viola
Elizabeth Rice, cello
Leoš Janáček Mládí (Youth) 19’
Allegro
Andante sostenuto
Vivace
Allegro animato
Amy Heritage, flute Michele Tosser Smith, oboe
Jocelyn Langworthy, clarinet Georg Klaas, bass clarinet
Casey Gsell, bassoon Megan Amos, horn
*This performance is a Toledo Symphony premiere.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 21caroline hannah, flute lauren jin, piano
Caroline Hannah, 17, is currently a Junior at A pianist of nine years, Lauren Jin studies under the
Perrysburg High School. She has been playing the instruction of Mr. Kevin Reilly. She is a multiple-time
flute for 7 years, and has been studying with her recipient of the Monday Musicale scholarship and has
teacher, Alec Porter, for 4 years. Prior to his transfer performed at numerous recitals for the Ohio Music
to the University of Wisconsin, Caroline also had the Teachers Association (OMEA).
privilege of studying with Dr. Conor Nelson at BGSU.
Aside from competitions, she is an accompanist for
She is the principal flute of the Toledo Symphony her school, International Academy East, during
Youth Orchestra’s Philharmonic Orchestra, the PHS orchestra and chorale performances. She also
Wind Ensemble, and the PHS Symphony Orchestra. accompanies frequently for peers and students from
Caroline has been a member of many honors ensem- her school district. During summers, Lauren performs
bles throughout her career, including Northwest Ohio Regional Orches- at nursing homes with her sister and friends. In November of last year,
tra 2020, and honor bands at both OSU and BGSU. She also performed she began a project of recording new music CDs for the seniors during
with the Ohio All-State Band in 2020. For every single performance the COVID-19 pandemic.
at ‘Solo and Ensemble’, including flute solos and small ensembles, she
Apart from piano, Lauren is also a devoted violinist, studying under
received all superior ratings. In 2019, she competed in COFA’s Flute
Dr. Vasile Beluska. She served as the concertmaster during middle
Competition in the Junior Division, where she placed third. Outside of
school and at the 2019 District 1 Ohio Music Teachers Association
music, she is a varsity athlete in both Swimming and Track and Field,
Honors Festival. She also participated in the Toledo Symphony Youth
and marches with the PHS Marching Band. In college, she plans to study
Orchestra for three years before moving to Michigan. She is a first vio-
Horticulture.
linist in her school’s Symphony Orchestra and performed as
When she’s not in school or practicing flute, she can be found in her concertmaster for the Oakland Youth Orchestras’ Philharmonic
greenhouse or in the garden. Orchestra. This year, she served as principal second violinist in the
Symphony Orchestra. In addition, she has received scholarships from
the TSYO and OYO in supporting her musical career.
She would like to dedicate this piece and performance to her
grandfathers.
22 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMsamuel kim, cello
Samuel Kim, a senior at Sylvania Northview High
School, has been playing cello since the 4th grade,
so this year marks his ninth year playing. He currently
Celebrating the
studies with TSO Cellist Amy Chang and studied with arts and the joy
Yang Kun Song in the past.
they bring to life
Samuel has played with the Toledo Symphony Youth
Orchestra for five years, both in the Symphonic and every day.
Philharmonic levels. He has won the Concerto
Competition hosted by the Youth Orchestras and the
Remembrance Fund Scholarships from the Toledo
Symphony League.
At school, Samuel has been the principal cellist in the Northview
Orchestra for the last four years. He regularly performs at OMEA Solo
and Ensemble in ensembles and as a soloist. He earned the Principal
seat at the OMEA Regional Orchestra and Associate Principal at the
All-State level two years in a row.
Samuel states, “The pandemic has truly made me realize how blessed
I am to have the privilege to play music. Along with the fact that I am
a senior and every audition becoming my last chance, I played with all
my heart, hoping that I can make the most of all the opportunities I had
left. I am so thankful to have been chosen among the other talented
musicians to be a Toledo Symphony League Young Artist Competition
Winner.”
Outside of music, Samuel loves to spend time with friends and family.
He also loves fitness and nutrition and always goes to the gym after
practice sessions. Being always curious, he loves to learn, especially
in the field of nutrition. As a senior, Samuel’s plans are to major in the
Health Sciences at an undecided university. We’re proud supporters of the arts, and big fans of the people behind
them. Thank you, Toledo Symphony, for helping to make Toledo a
beautiful place.
©2020 The PNC Financial Services Group, Inc. All rights reserved.
PNC Bank, National Association. Member FDIC CON PDF 0618-0106
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 23BUSINESS INSURANCE
EMPLOYEE BENEFITS
PERSONAL INSURANCE
A move to INDEPENDENCE
CONTACT US TODAY.
WE’LL BE WITH YOU
EVERY STEP OF THE WAY.
We are committed to delivering smart
solutions to simplify the complexity of
your wealth by identifying your goals,
building an achievable plan, and guiding
you through confident decision-making to
help preserve, sustain and optimize your
financial situation and legacy.
We offer exceptional service that is as
distinguished by its level of commitment
as by the depth of our team’s compassion.
We operate under the highest fiduciary
standard - we put your best interests ahead
of those of the firm.
5520 Monroe Street | Suite B 419.464.7401
venturevp.com
YOU ARE
Sylvania, Ohio 43560 contact@venturevp.com
Venture Visionary Partners LLC is registered as an investment adviser with the Securities and Exchange Commission and only transacts business in jurisdictions where permitted. Registration as an investment adviser does not
constitute an endorsement of the firm by securities regulators nor does it indicate that the adviser has attained a particular level of skill.
ONE OF A KIND.
Our practice of involvement spans Whether it’s our commitment
Your insurance should be, too.
to the entire community. to clients, or to our work
in the community, We understand the intricacies of ensuring your valuables
involvement lies at the core and are ready to tailor a program for you.
of everything we do.
That’s why we’re proud
to support the Our work with prominent families from Beverly Hills to
Toledo Symphony. Toledo gives us the expertise and integrity to protect what
matters most to you.
To learn more, visit us at hylant.com.
419.241.9000 • shumaker.com
811 MADISON AVENUE
TOLEDO, OH | 419-255-1020
hylant.com
24 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMchamber
–series–
Beethoven’s Razumovsky
Sunday, may 9, 2021, 7 PM | Peristyle Theater
Mark Sforzini Sextet for Piano and Winds 24’
Adagio
Andante mosso
Allegro; Ländler moderato; Allegro
Joel Tse, flute Kimberly Bryden Loch, oboe
Georg Klaas, clarinet Casey Gsell, bassoon
Megan Amos, horn Valrie Kantorski, piano
Lee Heritage Some Other Place* 6’
Amy Heritage, flute Joel Tse, flute
Claire Cho, piano
Ludwig van Beethoven String Quartet No. 7 in F Major, Op. 59 No. 1 40’
Allegro
Allegretto vivace e sempre scherzando
Adagio molto e mesto –
“Thème Russe”: Allegro
The third and fourth movements of this quartet are played “attacca,” without pause.
Kirk Toth, violin Merwin Siu, violin
Valentin Ragusitu, viola Martha Reikow, cello
*This performance is a Toledo Symphony premiere.
Sforzini’s Sextext for Piano and Woodwind Quintet was commissioned in memory of
Gladys M. Preis by her daughters, Marilyn Preis Hoyt and Nancy J. Preis.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 25PROGRAM NOTES | by Kalindi Stone ©2021
Sextet for Piano and Woodwind Quintet *In a press release from the University of Toledo in 2015, Ed Lingan
Mark Sforzini (b. 1969) commented, “The dance and text [have] been carefully arranged to
allow audience members to maintain a comfortable level of objective
Mark Sforzini’s lovely wind sextet was commissioned by Nancy J. Preis
distance from the horrific details of sex trafficking brutality and to
and Marilyn Preis Hoyt in memory of their mother, Gladys Marie Preis,
become aware of how trafficking systems work.… If this production
who volunteered for various arts organizations in the St. Petersburg,
helps more people recognize the reality of the problem of trafficking
Florida, area and who passed away in 2007. It was premiered in January
and motivates some of them to do something about it, then this … will
2008 at St. Petersburg College, with the bassoon part performed by
have been a success.”
the composer. The Sextet has enjoyed subsequent performances at
the Eastern Music Festival in Greensboro, NC, on the Toledo Symphony
chamber series, and at the Chautauqua Institute. String Quartet No. 7 in F Major, Op. 59, No. 1 “Razumovsky”
The Sextet has three movements. Annotator Mel Harsh describes the Ludwig van Beethoven (1770–1827)
work: “Sforzini starts the Sextet with a dreamy Adagio movement Ludwig van Beethoven began composing his three “Razumovsky”
[marked, Andante Mosso] rather than the traditional … Allegro, and it string quartets, Opus 59, in 1806, about six years after completing
effectively lays the groundwork for the dramatic music to come. There his Opus 18 quartets. The two sets are markedly different from each
is an especially attractive … theme just before the end of the second other, the earlier sitting squarely in Beethoven’s “early” period, and
movement [Allegro; Ländler moderato]. the “Razumovksy” set part of his “middle” period. Annotator Kai
Christiansen writes, “Without intending any injustice to Op. 18 [with its
more classical aesthetic], moving to Op. 59 is like Dorothy … of black-
some other place
and-white Kansas crashing down into the colorful Land of Oz.”
Lee Heritage
At this time in his career, having already composed his third and fourth
Program notes provided by the composer.
piano concertos, third and fourth symphonies, and some of his most
Some Other Place was written as part of the thirty-minute dance/ popular piano sonatas, Beethoven was at the forefront of the Viennese
docudrama Masks, which was performed by the Glacity Theatre music scene. He therefore decided to compose again for the string
Collective at the University of Toledo in 2015. My colleague at the Univer- quartet, which he considered the most pure and challenging form.
sity of Toledo, Ed Lingan, was the show’s creator, writer, and director.
While the medium of a string quartet was often used as nothing
Toledo Ballet instructor Ann Heckler was the show’s choreographer.
more than background music, annotator Dennis Bade comments that
Masks tells the stories of survivors of human trafficking, and each the works of Haydn and Mozart (and now Beethoven) elevated it to
movement portrays different aspects of the lives and experiences of “a vessel for the noble and exalted expression of profound musical
young people who were trapped in this situation. Some Other Place ideas.” Bade also points out that this genre was very well suited for
seeks to express their longing for a different life. commissions by Beethoven’s wealthy patrons for performance in their
homes.
Each movement of the show was written for some combination of
flutes and/or classical guitars. Originally scored for two flutes and two Though Beethoven’s quartets certainly built on works by Mozart and
guitars, Some Other Place has been adapted for two flutes and piano. Haydn, as well as his own earlier works, the Opus 59 set are a different
breed entirely. Christiansen explains: “They are longer, more technically
About six minutes in length, it is a lyrical piece that moves with a
challenging, dramatically and psychologically more intense, and they
sense of restlessness through contrasting moods of sadness, longing,
mark … the elevation of quartet performance culture to its first plateau
and hope. I hope it reflects in some way the remarkable resilience and
of daunting professionalism.” In a letter to his publisher, Beethoven
spirit of the women I met as part of this project who were themselves
wrote, “I am thinking of devoting myself almost entirely to this type of
survivors of human trafficking.*
composition.”
26 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMIn 1806, Count Andreas Razumovsky, one of Beethoven’s most Anthony Tommasini of The New York Times writes of the “Razumovsky”
loyal patrons, was the Russian ambassador to Vienna. The count quartets, “Here is the towering Beethoven, the composer as
commissioned the Opus 59 quartets, and did Beethoven a great service revolutionary, striding across the pages of these scores – brash,
by hiring excellent musicians to perform them well. Bade notes, “Just as adventurous, and ingenious.”
newly designed piano mechanisms permitted the composer to expand
“The final movement [Allegro] is built on the note ‘G’ for Gladys. The
his use of the keyboard, the access to these superb players encouraged
patterns woven around the note are a witty tour de force.”
Beethoven to make ever greater demands in his quartet writing.”
Previous Performances:
Beethoven completed this first of the three quartets in 1808, and it was
published the same year. It is the most spacious of the three, and has Mark Sforzini – Sextet for Piano and Winds: 2009
four movements. The opening Allegro begins with a friendly melody in Lee Heritage – Some Other Place: TSO Premiere
the cello and then the first violin, supported by pulsing accompaniment
from the inner voices. It soon features virtuosic motives for each Ludwig van Beethoven – String Quartet No. 7 in F Major, Op. 59 No. 1:
member of the quartet. 2001
The second movement is not the expected slow movement but is
instead marked Allegretto vivace e sempre scherzando, or “light,
lively, and always playful.” It has glimpses of fierceness at times, but is
nevertheless gracious and lilting. Violinist Timothy Judd describes it as
humorous, with “the musical lines playfully [chasing] and [colliding]
with one another, [imitating] … and [finishing] each other’s sentences
with unpredictable frivolity.”
The lovely Adagio molto e mesto (“very slowly, with intense
melancholy”) follows. Bade points this out as an example of
“Beethoven’s most powerful music [being] the slowest and sometimes
the quietest.” This movement carries the enigmatic note: Einen
Trauerwiden oder Akazien-Baum aufs Grab meines Bruders, or
“A weeping willow or acacia tree on my brother’s grave.” Both of
Beethoven’s brothers were alive at this point, but the reference to the
acacia tree is generally accepted to be a reference to Freemasonry.
Regardless to its possible extramusical references, this movement is one
of Beethoven’s most wondrous. Christiansen writes, “This movement
has a heart within its heart, a passage of divine supplication that fairly
levitates before it sinks again, unanswered, into the incredibly delicate
sorrow.”
The first violin leads us without pause directly into the finale, Théme
Russe: Allegro. This final movement, as you may have guessed from
the title, is based on a popular Russian theme, most likely taken from 5704 Alexis Rd., Sylvania, OH 43560
a published collection of folk music, but not definitively identified www.whiteknightlimo.com
or cited. The use of a Russian theme was a request from Count
Razumovsky, and a Russian theme appears in each of Beethoven’s
Opus 59 quartets. This Allegro is light and speedy, imaginative and
sometimes whimsical.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 27ALAIN TRUDEL, conductor jon nakamatsu, piano
Music Director of the Toledo Symphony (USA), American pianist Jon Nakamatsu continues to draw
conductor Alain Trudel has been praised for his unanimous praise as a true aristocrat of the key-
“immense talent as conductor, musician and board, whose playing combines elegance, clarity,
performer” (La Presse). He is also Music Director of and electrifying power. A native of California, Mr.
l’Orchestre Symphonique de Laval, Principal Youth Nakamatsu came to international attention in 1997
and Family Conductor of the National Arts Centre when he was named Gold Medalist of the Tenth Van
Orchestra and Principal Guest Conductor of the Cliburn International Piano Competition, the only
Ottawa Symphony Orchestra. Trudel was also the American to have achieved this distinction since
conductor of the CBC Radio Orchestra, taking the 1981. Mr. Nakamatsu has performed widely in North
orchestra to new heights of artistic quality, as well as and South America, Europe, and the Far East,
public and critical acclaim. collaborating with such conductors as James Conlon, Marek Janowski,
Raymond Leppard, Stanislaw Skrowaczewski, Osmo Vänskä and Hans
Trudel has conducted every major orchestra in Canada as well as
Vonk. He also performed at a White House concert hosted by
orchestras in the UK, USA, Sweden, Brazil, Italy, Russia, Japan, Hong-
President and Mrs. Clinton.
Kong, Malaysia and Latin America. Trudel made his Opera de Montréal
debut in 2009 in Mozart’s Magic Flute and conducted the live recording Mr. Nakamatsu’s extensive recital tours throughout the U.S. and
of their 30th anniversary gala. He has been a regular guest since and in Europe have featured appearances in New York’s Carnegie Hall and
March 2017 he conducted to great acclaim the world premiere operatic Lincoln Center, Washington D.C.’s Kennedy Center, and in Boston,
version of “The Wall.” (“The entire audience was on its feet for another Chicago, Cincinnati, Paris, London and Milan. He has worked with
standing ovation, with concertgoers shouting “wow” and “bravo.” various chamber ensembles - among them the Brentano, Tokyo, Kuss,
Rolling Stone Magazine, “The Wall Triumphs in Montréal,” Le Figaro, Jupiter, Cypress, Prazak and Ying String Quartets - and has toured
Paris). Trudel also led the American premiere at the Cincinnati Opera in repeatedly with the Berlin Philharmonic Wind Quintet. Together with
July 2018. clarinetist Jon Manasse, Mr. Nakamatsu tours continually as a member
of the Manasse/Nakamatsu Duo. The Duo also serves as Artistic
Always committed to upcoming generations of musicians, Trudel was
Directors of the esteemed Cape Cod Chamber Music Festival in
Conductor of the Toronto Symphony Youth Orchestra from 2012 to
Massachusetts.
2014 and has regularly been invited to conduct the National Youth
Orchestra of Canada. From 2011 to 2015, Trudel was Professor and Mr. Nakamatsu records exclusively for harmonia mundi usa, which has
Conductor of the Orchestra and Opera Orchestra at the University of released thirteen CDs to date. His all-Gershwin recording with Jeff
Western Ontario and is now Guest Professor for Orchestra and Opera at Tyzik and the Rochester Philharmonic featuring Rhapsody in Blue and
the University of Ottawa. the Concerto in F rose to number three on Billboard’s classical music
charts, earning extraordinary critical praise. Other acclaimed releases
First known to the public as “the Jascha Heifetz of the trombone”
include an all-Liszt disc featuring the “Dante Sonata”; a recording of
(Le monde de la musique), Alain Trudel has been a guest soloist with
Brahms’ Piano Sonata in F minor; and Rachmaninoff’s Piano Concerto
orchestras worldwide including Philharmonique de Radio-France,
No. 3 and the Rhapsody on a Theme of Paganini. Mr. Nakamatsu’s
Hong-Kong Philharmonic, Austrian Radio Orchestra, Festival Musica
2008 recording of Brahms’ Clarinet Sonatas with Jon Manasse was
Strasbourg (France), Klangbogen Festival (Vienna), Akiyoshidai and
chosen by the New York Times as one of its top releases for the year;
Hamamatsu Festival (Japan). Alain is also a respected composer with
his latest disc with Mr. Manasse, released in August 2012, includes both
performances across America and in Asia.
the Brahms Clarinet Quintet and the Piano Quintet with the Tokyo
Alain Trudel was the first Canadian to be a Yamaha International Artist, String Quartet. Of his most recent release on the label, a 2014 solo
and is the recipient of numerous awards including the Virginia Parker, disc of the piano works of Robert Schumann, BBC Music Magazine
Charles Cros (France), Opus Prize and Heinz Unger Prizes. He has been states that “Nakamatsu clarifies Schumann’s mid-range saturated tex-
named an Ambassador of Canadian Music by the Canadian Music tures to a remarkable degree, reveling in its fantastic imaginings with
Centre and received a Queen’s Jubilee Medal in 2012. rapier-like precision and effortless command.”
(continued on page 30)
28 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMmasterworks
–series–
Nakamatsu Plays Chopin
Friday, May 21 & Saturday, May 22, 2021, 8 pm | Peristyle Theater
Alain Trudel, conductor | Jon Nakamatsu, piano | Joel Tse, flute
This performance is made possible by Bob and Sue Savage.
Jessie Montgomery Starburst* 4’
Johann Sebastian Bach Orchestral Suite No. 2 in B Minor, BWV 1067 20’
Ouverture
Rondeau
Sarabande
Polonaise
Bourrée I – Bourrée II
Menuet
Badinerie
Frédéric Chopin Piano Concerto No. 1 in E Minor, Op. 11 42’
Allegro maestoso
Romanze: Larghetto
Rondo: Vivace
*This performance is a Toledo Symphony premiere.
–
Jon Nakamatsu’s appearance is made possible through a generous gift from Bob and Sue Savage.
Jon Nakamatsu appears by arrangement with Arts Management Group.
The Steinway Model D grand piano is a gift of Jonathan F. Orser.
The refurbished Dr. James W. Southworth Piano is a gift of Dorothy MacKenzie Price.
The Lyon and Healy concert grand harp is a gift of Norman C. Nitschke.
White Knight Limousine is the exclusive ground transportation provider of the Toledo Symphony.
Media Sponsor for the Masterworks Series is WGTE.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 29jon nakamatsu PROGRAM NOTES | by Kalindi Stone ©2021
(continued from page 28)
Since 1997, Mr. Nakamatsu has served on multiple international piano starburst
competition juries and has also been invited as a guest speaker at Jessie Montgomery (b. 1981)
numerous institutions including the Van Cliburn Foundation, Stanford Jessie Montgomery is a composer, violinist, and educator from New York
University and the Juilliard School. City. Her father is also a musician, and her mother is in theater. Thanks to
Mr. Nakamatsu studied privately with Marina Derryberry and has her parents and the musical and cultural environment in which she was
worked with Karl Ulrich Schnabel, son of the great pianist Artur raised, she was, in her own words, “constantly surrounded by all different
Schnabel. He is a graduate of Stanford University with a bachelor’s kinds of music.” Montgomery began composing a little in high school,
degree in German Studies and a master’s degree in Education. but dedicated more serious time and attention to it in her twenties.
Montgomery holds a bachelor’s degree in violin performance from the
Juilliard School and a masters in Composition for Film and Multimedia
joel tse, flute from New York University. She produced her album Strum in 2008, and
Joel Tse joined The Toledo Symphony as Principal it combines classical elements with spirituals, R&B, jazz, hip-hop, folk
Flute in 1998, after three years in that position with music, improvisation, and poetic elements. Strum was released by Azica
the New World Symphony in Miami Beach, FL. In Records in 2015.
addition, he served as Principal Flute of the Hong
In a 2016 interview Montgomery discusses the use of improvisation in
Kong Philharmonic from 2001-02 and has performed
her music: “I really like the idea of adding elements of improvisation and
as guest Principal Flute with the English Chamber
some chance and making the performers, sort of, engage, differently
Orchestra and Baltimore Symphony Orchestra.
within the piece. There’s such a rigidity, and – having played so
Active as a soloist and chamber musician throughout much standard [classical] repertoire [for string quartet] – there’s this
the world, Joel has been invited to perform recitals expectation that things should be executed a certain way. There’s a real
in England, Singapore, Japan, and Costa Rica, among beauty in trying to find your sound and your voice and the way you
others, and has played chamber music throughout Europe, Asia, Russia, would interpret a piece of music with all these expectations on it. But I
South America, Greece, Turkey and Israel. He has participated in several like to throw this other element in that says … ‘screw all that!’”
renowned music festivals, including 3 consecutive summers with the
Montgomery has performed as a member of the Providence and
Pacific Music Festival in Sapporo, Japan, and with the American-Soviet
Catalyst String Quartets, the second of these starting as a project by the
Youth Orchestra. In July 2000, Joel performed with the Pacific Music
Sphinx Organization, based in Detroit.
Festival’s 10th anniversary orchestra at the invitation of conductor Mi-
chael Tilson Thomas, touring throughout the country with an orchestra Montgomery is the recipient of several composer fellowships, including
comprised of professional musicians from around the globe. from the Joyce Foundation, the Sorel Organization, and the Sphinx
Organization, who commissioned Starburst for their touring ensemble,
An experienced, sought-after teacher, Joel has presented masterclasses
the Sphinx Virtuosi, where Montgomery currently serves as composer-
for the Costa Rica International Flute Festival and, for several consecu-
in-residence. The Virtuosi premiered the work in 2012.
tive summers, he has taught at the William Bennett’s International Flute
Summer School in England, Belgium, and Italy. He also has served on Montgomery writes, “This brief one-movement work for string orchestra
the faculty of the University of Toledo Music Department since 2008. is a play on imagery of rapidly changing musical colors. Exploding
He received a Bachelor’s degree with a Performer’s Certificate from the gestures are juxtaposed with gentle fleeting melodies in an attempt
Eastman School of Music, a Master’s degree from Northwestern Univer- to create a multidimensional soundscape. A common definition of a
sity, and a Performance Diploma from the Royal Academy of Music in starburst, ‘the rapid formation of large numbers of new stars in a galaxy
London. His teachers include Bonita Boyd, Walfrid Kujula, Jeffrey Kha- at a rate high enough to alter the structure of the galaxy significantly,’
ner, Keith Underwood and William Bennett. Joel plays on a French flute lends itself almost literally to the nature of the performing ensemble that
made by Louis Lot, #1720, circa 1872 and an Altus 1407. premiered the work, the Sphinx Virtuosi, and I wrote the piece with their
dynamic in mind.”
30 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMThe Washington Post describes Montgomery’s music as “turbulent, ouvertures were purely intended as light entertainment and were often
wildly colorful and exploding with life.” performed at parties. Besides wanting to write for the Leipzig Collegium
Musicum, it’s likely Bach was also trying to please the city council, two
Montgomery is also certainly concerned with issues of history,
members of which he made a habit of petitioning for better arts funding.
patriotism, race, identity, and belonging. She says, “My privilege [to be
able to compose and make art] comes from my parents having fought Bach’s Orchestral Suite No. 2 is in seven movements, including the
through the Civil Rights movement. My mom was very active, actually, overture, and is untraditional in its inclusion of a flute. Annotator Dr.
and she was in many of the protests, and my dad, just being a rogue John Mangum writes that including the flute “allows Bach to fold
artist, that’s an act of protest in itself—but it’s just this idea that I came elements of concerto form into the fugal section of the overture,
from that period, the political changes that happened during that time, with the strings doing the contrapuntal heavy lifting and the flute-led
so that’s what it means to me, to be an American.” concertante passages charting the movement’s harmonic course.”
“Montgomery has been named the Chicago Symphony Orchestra’s Of the six movements that follow, most have French origins, including
newest composer in residence, and will begin her appointment there in the Rondeau, Bourées, and Menuet—all popular in the court of King
July of 2021.” Louis XIV. Though the Sarabande is from Spain via the New World,
Mangum notes that it is still somewhat slow here, which shows the
French influence on it. The Polonaise (appearing here as a double) is
Orchestral Suite No. 2 in B Minor, BWV 1067 originally Polish, but was often taken up by German composers. The
J. S. Bach (1685–1750) Badinerie is similar to an Italian scherzo, and Bach uses it here to its full
Johann Sebastian Bach’s Orchestral Suite No. 2 in B Minor is one of four effect, taking the opportunity to show off the flute.
the composer wrote. Partial autograph parts (the full score is lost) date Though Bach did not often compose for this particular instrumentation,
from the late 1730s (probably 1738–89), when Bach was living in Leipzig. many of his contemporaries did, and he had no shortage of inspiration.
However, like some of his other works from this time, there is stylistic Regardless of his relative inexperience with the genre, he was excellent
indication that some of the material may date back to his Cöthen period. at it.
The lighter genre of orchestral music was different from his usual work, All four of Bach’s suites open with an overture in the French style,
which consisted mainly of composing and performing sacred music. which features a dotted rhythm—uneven notes that propel the phrase
Especially when compared to contemporary composers like Georg forward).
Philipp Telemann, Bach has very few orchestral suites.
In 1729, Bach was appointed director of Leipzig’s Collegium Musicum, an
Piano Concerto No. 1 in E Minor, Op. 11
ensemble made up of musicians with varying ability and talent, who met
Frédéric Chopin (1810–1849)
regularly at a coffeehouse to play and perform together. Musicologist
Gregory Butler quotes Johann Heinrich Zedler’s note from the 1739 Polish composer Frédéric Chopin taught himself to play the piano when
publication Grosses Universal Lexicon: “[The Collegium Musicum was] he was a small boy. He loved to improvise, and then to compose. As
a gathering of certain musical connoisseurs who, for the benefit of a result of his performance style, his music often feels improvisatory
their own exercise in both vocal and instrumental music and under the and wonderfully fluid. Inspired by his obvious talent and love of music,
guidance of a certain director, get together on particular days and in Chopin’s parents secured him a teacher.
particular locations and perform musical pieces…. In Leipzig, the Bachian
When Chopin was seven, his teacher copied down one of his
Collegium Musicum is more famous than all others.” There is evidence
improvisations and had it published. Several years later, Chopin learned
that all except for the first of Bach’s orchestral suites was written for this
how to notate his improvisations, and in 1825 he published his first
group.
Rondo for solo piano. Now possessing all the tools he needed, he
Orchestral suites, also called ouvertures, were primarily for continued to study and compose and, at twenty-one, he moved to Paris.
entertainment, and were initially a collage of short movements (often
French dance movements) taken from ballets and operas. These (continued on next page)
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 31(continued from previous page)
Annotator Phillip Huscher describes Chopin’s first months in Paris as a chamber-music intimacy between solo and ensemble that characterizes
huge success, a time during which he became friends with many notable Mozart’s works or the heroic dialogue between forces in Beethoven’s.”
artists, including fellow composers Hector Berlioz, Franz Liszt, Gioachino
The Romanze: Larghetto features muted strings and a very gentle
Rossini, and writers Honoré de Balzac, George Sand, and Victor Hugo,
texture unmarred by any outbursts. Huscher points out that the roll
among others. Furthermore, several months after his arrival, Robert
of the piano in this movement is close to operatic, with the solo line
Schumann (who often submitted music critiques to newspapers)
“spinning a seamless, highly decorated, bel canto melody over the
published a review of one of Chopin’s works, calling him “a genius!”
merest thread of accompaniment.” The finale is marked Rondo: Vivace,
Despite his early practice of composing by improvising, these two and displays a youthful, dancelike character.
activities became necessarily separate later in his life and became the
Previous Performances:
cause of some anxiety. One of Chopin’s students, Carl Flitsch, wrote,
“The other day I heard Chopin improvise at George Sand’s house. It Jessie Montgomery – Starburst: TSO Premiere
is marvelous to hear Chopin compose in this way: his inspiration is so Johann Sebastian Bach – Orchestral Suite No. 2 in B Minor, BWV 1067:
immediate and complete that he plays without hesitation as if it could Stresemann with Mitchell Liberman 1954, Fournier with Laurel Mueller
not be otherwise. But when it comes to writing it down and recapturing Kuhnke 1978, Zaliouk with Robin Peller 1981, Blum with Robin Peller 1987,
the original thought in all its details, he spends days of nervous strain and Joel Tse with no conductor 1999, Tipton with Joel Tse 2005
almost terrible despair. Of all the developments in music after Beethoven,
none is more unlikely than Chopin’s success.” George Sand herself wrote, Frédéric Chopin – Piano Concerto No. 1 in E Minor, Op. 11: Fournier with
“Invention came to his piano, sudden, complete, [and] sublime.” Garrick Ohlsson 1972, Kord, with Orli Shaham 2004, Sanderling with
Abdel Rahman El Bacha 2014
Though the concerto you will hear tonight is marked as his first, Chopin
actually composed his F Minor concerto before this one. He premiered
the F Minor in Warsaw in 1830, and was hailed as a national hero.
Yark Automotive Group proudly
Huscher writes, “It’s difficult to imagine the impact of Chopin’s piano
playing from the comments that were written at the time, but it’s clear
that his way of playing, with its extraordinary sensitivity to touch and
color, delicately shaded dynamics, and inimitable tempo fluctuations,
supports the Toledo Symphony
was unique.”
Chopin also composed his E Minor concerto in 1830, and premiered
it later that fall. Though it was completed relatively quickly, he didn’t
have an easy time composing it. In a letter to a friend written in March
1830, Chopin wrote, “[The last movement] is not yet finished because COMMUNITY
PA RT N E R
the right inspired mood has kept eluding me.” The next mention is in
another letter from September of the same year, in which he announced
that he had completed the work, but added, “I feel like a novice, just like 6019 W. CENTRAL AVE. • 1/4 MILE EAST OF I-475 • ON THE CENTRAL AVENUE STRIP • 1-800-848-YARK
I felt before I knew anything of the keyboard. It’s far too original, and I YARK CHEVROLET • 26997 N. DIXIE HWY. • PERRYSBURG, OH • 1-866-YARK-CHEVY
probably won’t be able to learn it.” YARK TOYOTA • 1377 CONANT ST. • MAUMEE, OH • 1-844-819-2577
NOW OPEN! IN MAUMEE! IN PERRYSBURG!
The first movement, marked Allegro maestoso, opens with an orchestral
introduction. Other commentators have called this introduction
perfunctory, though it may just be simple in service to the solo piano YARK CHEVROLET IN
part and in deference to Chopin’s lack of experience composing for PERRYSBURG NOW OPEN!
orchestra (his piano concertos are his only foray into this larger genre).
Huscher writes, “The concerto is a monologue; it has little of the SHOP OVER 2500 NEW AND USED VEHICLES FROM ALL MAKES ALL MODELS!
NW OHIO/SE MICHIGAN’S LARGEST VOLUME DEALER FOR 25 YEARS RUNNING!
32 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMYou can also read
