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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 | 11Brahms and Haydn | 12Chopin and Franck | 21

Holiday Cirque Spectacular | 29HSO Contributors | 30Patron Information | 42

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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

The mission of the Hartford Symphony Orchestra is to enrich lives and community through great music. Marking its 76th season in 2019-2020, 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.

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About the Symphony

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.

Highlights of Ms. Kuan’s 2018/2019 season included 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; as well as engagements with two of the top conservatory orchestras in the U.S., the Cleveland Institute of Music Orchestra, and Yale Philharmonia. She ended her season with a world premiere of Iain Bell’s Stonewall with the New York City Opera at Jazz at Lincoln Center’s Rose Theater. Upcoming engagements in her 2019/2020 season include the world premiere of Augusta Read Thomas’s Sweet Potato Kicks the Sun with the Santa Fe Opera; her debut with the Arkansas Symphony Orchestra; and a return engagement with the Baltimore Symphony Orchestra.

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.

Other career highlights include 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. For her debut with the Santa Fe Opera, she conducted the premiere of Huang Ro’s Dr. Sun Yet-Sen with director James Robinson, and a mixed cast of east and west singers and instrumentalists, which garnered great critical acclaim. Her debut with the Washington National Opera at the Kennedy Center was a production of Daniel Catan’s Florencia en el Amazonas, directed by Francesca Zambello.

During Ms. Kuan’s long tenure with the Cabrillo Festival of Contemporary Music, some of her finest successes bridged the gap between cultural and social issues, as in her work raising awareness of conservation and the environment through her performances around the globe of the multimedia project Life: A Journey Through Time. Developed by the Cabrillo Festival of Contemporary Music and music director Marin Alsop, the project featured music by Philip Glass and images by famed National Geographic photographer Frans Lanting.

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

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


Music Director

A dynamic and versatile c onduc tor, a d a m K er ry Boy les is a notable figure in the musical life of New England. Boyles is currently Director of Orchestras at the Massachusetts Institute of Technology, and Assistant Conductor of the Hartford Symphony Orchestra. In the 2019/2020 season, he will be Visiting Assistant Professor/Co-Director of Orchestras at the University of Kansas City-Missouri Conservatory of Music. 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.

With the Hartford Symphony Orchestra, Boyles conducts a wide variety of Masterworks, Pops, Talcott Mountain Music Festival, and Educational concerts. He conducted the entirety of the orchestra’s 2018 summer season, including a concert in collaboration with Doc Severinsen.

Recent guest engagements include concerts with the Tucson Symphony Orchestra, Ocean City Pops Orchestra, Charlottesville Symphony Orchestra, and honors orchestras in Massachusetts, Nevada, Tennessee, Oregon, and Rhode Island. Boyles was a guest clinician with Manhattan Concert Productions for the past three seasons.

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.

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Assistant Conductor

MUSIC DIRECTORCarolyn Kuan

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

ASSISTANT CONDUCTORAdam Boyles

FIRST VIOLINLeonid Sigal,

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

Lisa Rautenberg, associate concertmaster

Linda BeersPerry ElliotJung Eun KangRomina KostareNuri LimAllyson MichalMillie PiekosMickey ReismanCyrus StevensDeborah TylerKatalin Viragh

SECOND VIOLINJaroslaw Lis,

assistant principalMartha KayserLu Sun FriedmanSimon BilykGary CapozzielloKarin Fagerburg Diane FredericksonKrzysztof GadawskiYuri Kharenko-GolduberVirginia KramerCandace M. LammersAlicia RattinYue Sun

VIOLAMichael Wheeler,

principalPatricia Daly VanceAnn Drinan

Sponsored by The Verney Family

Gretchen FrazierJames GustafsonBethany HargreavesAekyung KimMartha KnieriemArthur MasiGeorgina Rossi

Sponsored by Chloe & Wes Horton

CELLOJeffrey Krieger,

principalCarole OlefskyLaura 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

FLUTEEmma Resmini,

principalBarbara A. Hopkins,

assistant principal

PICCOLOJeanne Wilson

OBOEHeather Taylor,

principalStephen Wade,

assistant principal

ENGLISH HORNMarilyn Krentzman

CLARINETCurt Blood,

principalEddie Sundra,

assistant principal

BASS CLARINET

BASSOONYeh-Chi Wang,

principal

CONTRABASSOONRebecca Noreen

HORNBarbara Hill,

principalJohn Michael Adair,

assistant principal Sponsored by Bernard and Gale Kosto

Hilary LedebuhrNick RubensteinJoshua Michal

TRUMPETScott McIntosh,

principalJohn Charles Thomas,

assistant principalJerry Bryant

TROMBONEBrian L. Diehl,

principal

BASS TROMBONEAaron Albert

TUBAStephen B. Perry,

principal

TIMPANIEugene Bozzi,

principal Sponsored by Carlotta & Bob Garthwait, Jr.

PERCUSSIONRobert McEwan,

principalMartin J. Elster

HARPSusan Knapp Thomas,

principal

PIANOMargreet Francis

Sponsored by Jerry & Barbara Hess

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

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

in alphabetical order.

AFM Local 400The 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.).

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The Orchestra

Stephen Collins, Executive Director

ARTISTIC OPERATIONSDr. Colette Hall, Artistic Operations ManagerDoug Donato, Assistant Manager, ProductionJaroslaw Lis, Personnel ManagerScott Switzer, LibrarianSydney Apel, Production Intern

DEVELOPMENTRuth Sovronsky, Director of DevelopmentTed Bruttomesso, Jr., Capital

Campaign ManagerJennifer Galante, Annual Fund and

Special Events ManagerJoyce Hodgson, Corporate and

Foundation Relations ManagerEmily Holowczak, Development Assistant

EXECUTIVEJulie Jarvis, Assistant Manager,

Executive and Board Relations

FINANCESteve West, Senior Accountant

MARKETINGAmanda Savio, Marketing and

Public Relations ManagerAshley Overton, Marketing and

Digital Media Coordinator

TICKET SERVICESJennifer Berman, Ticket

Services RepresentativeCharles Feierabend, Ticket

Services Representative

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Administrative Staff

Jeffery Verney Chairman

Mathew P. Jasinski, Esq. Vice Chair

Diane W. Whitney 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 Audit & Diversity, Equity and Inclusion

Pamela Lucas Chair–Education and Community EngagementSuzanne Bourdeaux Chair–Marketing Rebecca K.C. Loree Chair–Music Builds Community Campaign

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 D. GriffinMark HayesGerald L. HessKenneth A. Jacobson, Esq. Mathew P. Jasinski, Esq.Brook R. JasonHarvey KellyRebecca 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. WhitneyMary Woods

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 8/31/19.

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Board of Directors

Dear friends,It’s the most wonderful time of the year—time to share the special joy of music with your friends and family!

Sleigh bells may be ringing, and the end of the calendar year is upon us, but our 2019-2020 season is just heating up! Why not fill the stockings of everyone on your “nice” list with tickets to see the Hartford Symphony Orchestra? And we’ve got something for everyone:

What better piece of music to hear in January than Vivaldi’s The Four Seasons, featuring dynamic young violinist, Randall Goosby, January 17-19? And the power of love comes to musical life with Prokofiev’s Romeo and Juliet February 14-16, right in time for Valentine’s Day. Guest pianist Henry Kramer will perform Rachmaninoff ’s electrifying Piano Concerto No. 3 as part of Rachmaninoff and Tchaikovsky April 17-19, and the season concludes with Beethoven’s magnificent Symphony No. 9 June 5-7.

Who doesn’t love to sit back and enjoy a great film on a 40-foot screen? Even better—while the HSO is performing an unforgettable score live? See two of the greatest movies ever made this spring, when the HSO presents Harry Potter and the Goblet of Fire™ in Concert March 28, and The Empire Strikes Back in Concert on May 16.

Not sure what to get your loved one? Look no further than the HSO Flex Card. Our Flex 10, Flex 4 and Flex 4 Platinum options allow to you buy now and choose later—redeem your card for any combination of Masterworks concerts of your choice.

We look forward to seeing you and all of your loved ones in 2020—and we wish you the happiest holiday season!

Sincerely,

Jeff VerneyChairman, Hartford Symphony Orchestra Board of Directors

Steve CollinsExecutive Director, Hartford Symphony Orchestra


Letter from the Chairman andExecutive Director

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HARTFORD SYMPHONY ORCHESTRACarolyn Kuan, music director

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.

BRAHMS AND HAYDNFriday, November 15, 2019 / 8:00 p.m.

Saturday, November 16, 2019 / 8:00 p.m.Sunday, November 17, 2019 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorTHE PERCUSSION COLLECTIVEROBERT VAN SICE, artistic director

SVET STOYANOV, percussionDOUG PERRY, percussion

AYANO KATAOKA, percussionVICTOR CACCESE, percussion

JOHANNES BRAHMS Variations on a Theme of Joseph Haydn, Op. 56a (1833-1897) Chorale St. Antoni: Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale: Andante

-continued-

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Masterworks Series

CHRISTOPHER THEOFANIDIS Drum Circles (b. 1967) I. Rivers and Anthems II. Sparks and Chants III. How Can You Smile When You’re Deep in Thought? IV. Spirits and Drums V. Three Chords and the Truth (or, Learning to Breathe Again) The Percussion Collective Robert van Sice, artistic director Svet Stoyanov, Doug Perry, Ayano Kataoka, Victor Caccese, percussion

CO-COMMISSIONED BY THE HARTFORD SYMPHONY ORCHESTRA

-INTERMISSION-

FRANZ JOSEPH HAYDN Symphony No. 103 in E-flat Major, “Drum Roll” (1732-1809) I. Adagio – Allegro con spirito II. Andante più tosto allegretto III. Menuet IV. Allegro con spirito

The 2019-20 Masterworks Series is presented by

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Masterworks Series

Robert van Sice is one of the world’s foremost performers of contemporary music for marimba, having premiered over one hundred pieces including many of today’s seminal works for the instrument. At the pinnacle of his career, van Sice has assembled a stunning collection of young artists who are reinventing the concert experience. The Percussion Collective transcends the medium of percussion through uncommon performance experiences that engage audiences at a profound emotional level. The hallmarks of van Sice’s musical approach—precise execution, sonic refinement, and dynamic onstage communication—are all on display in the most vivid manner to date. Drawing from an incomparably rich bouquet of talent, The Percussion Collective flexes in size offering exquisitely curated programs for an array of venues and settings.

The roster of The Percussion Collective includes some of the world’s most esteemed and dynamic young voices in the art

form. They are drawn from the Chamber Music Society of Lincoln Center, Camerata Pacifica, the Pittsburgh New Music Ensemble as well as faculty members from universities such as Miami’s Frost School of Music, Michigan State University, the University of Massachusetts, Vanderbilt’s Blair School of Music, and the University of Kansas. Featuring players from Europe, Asia, and the U.S., this new generation of virtuosi represent the leading edge of innovation in concert conception and performance.

For the full bio and to learn more about the Percussion Collective visit thepercussioncollective.com.

ROBERT VAN SICE, artistic director

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About the Artists

Praised by the New York Times for his “understated but unmistakable virtuosity” along with a “winning combination of gentleness and fluidity,” Svet Stoyanov is winner of the Concert Artists Guild International Competition. He is committed to the purity, quality and virtue of music.

www.svetstoyanov.com

Percuss ioni s t /composer Doug Perry blurs the lines of genre and allows musics of all styles and backgrounds to share the same stage. Originally a jazz drummer and vibraphonist, Doug engages in a wide variety of musical settings, including classical, jazz, electronic, rock, pop, and world music styles. In addition to performing, Doug’s versatility allows him to be active as a composer, arranger, educator, recording engineer and audio producer.

Doug performs as an orchestral, solo, jazz, rock, and chamber percussionist all over the USA, and as far as Africa and Europe. Doug has appeared as a marimba soloist with the Norwalk Symphony Orchestra and the Neue Eutiner Festspiele Orchestra in Eutin, Germany, and has been presented as a soloist by the Waterbury Symphony, Magfest Jamspace at PAX East,

Classical Beat Festival in Eutin, Germany, and Lakes Area Music Festival in Brainerd, Minnesota.

As a composer/arranger, Doug has received commissions from as far afield as Germany, writing for solo percussion and chamber ensembles. As a recording artist, he frequently collaborates with video game performers, having performed for such soundtracks as Mortal Kombat 11, Civilization VI, Guild Wars 2, and more. Currently on music faculty at Western Connecticut State University (Danbury, CT), he has had experience teaching percussion and audio production privately and in a classroom setting, teaching jazz ear training and improvisation, and coaching jazz, rock, and chamber ensembles.

Doug holds degrees from the Peabody Institute of the Johns Hopkins University and the University of Kansas, as well as an artist diploma from the Yale School of Music, where he was awarded the Horatio Parker Memorial Prize. Doug is a founding member of the jazz/new music crossover group Triplepoint, directing member of video game music jazz/funk band DiscoCactus, a core member of the Percussion Collective, and of

the mixed chamber ensemble Cantata Profana.

DOUG PERRY,percussion

SVET STOYANOV,percussion

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About the Artists

Percussionist Ayano Kataoka is known for her brilliant and dynamic technique, as well as the unique elegance and artistry she brings to her performances. She is Associate Professor of Percussion at the University of Massachusetts at Amherst, and has been a season artist of the Chamber Music Society of Lincoln Center since 2006 when she was chosen as the first percussionist for the society’s prestigious residency program, The Bowers Program (formerly Chamber Music Society Two). She gave the world premiere of Bruce Adolphe’s Self Comes to Mind for cello and two percussionists with cellist Yo-Yo Ma at the American Museum of Natural History. She presented a solo recital at Tokyo Opera City Recital Hall which was broadcast on NHK, the national public station of Japan. Other highlights of her performances include a theatrical performance of Stravinsky’s Soldier’s Tale at the 92nd Street Y with violinist Jaime Laredo and actors Alan Alda and Noah Wyle, and a performance of Bartok’s Sonata for Two Pianos and percussion at Alice Tully Hall with pianist Emanuel Ax. Her performances can be also heard on the Deutsche Grammophon, Naxos, New World, Bridge, New Focus, and Albany recording labels.

Since 2013, she has toured in the U.S. and Mexico extensively with a chamber opera production Cuatro Corridos led by Grammy Award-winning soprano Susan Narucki and noted Mexican author Jorge Volpi that addresses human trafficking across the U.S.-Mexican border. The 2016 recording of Cuatro Corridos on the Bridge Records label has earned a 2017 Latin Grammy Nomination in the Best Contemporary Classical Composition category.

A native of Japan, Ms. Kataoka began her marimba studies at age five, and percussion at fifteen. She received her artist diploma degree from

Yale University School of Music, where she studied with marimba virtuoso Robert van Sice.

Victor Caccese is the founder of the Brooklyn-based percussion quartet, Sandbox Percussion. As a member of Sandbox, Victor has performed over 150 concerts worldwide and taught at institutions such as The Peabody Conservatory, The Curtis Institute, Michigan State University, Furman University, Vanderbilt University, University of Kansas, and University of Massachusetts Amherst. Victor has collaborated with composers such as Amy Beth Kirsten, Andy Akiho, Chris Theofanidis, David Crowell, James Wood, John Luther Adams, and Thomas Kotcheff. In the Spring of 2020, along with Sandbox Percussion, Victor will give the world premiere of an evening-length work by Andy Akiho entitled Seven Pillars at the Mondavi Center in Davis, CA. Next summer Victor will teach and perform at the fifth annual NYU Sandbox Percussion Seminar, a chamber music festival accepting students from around the world to study and perform some of today’s leading contemporary percussion pieces.

Also a composer and arranger, Victor has written a number of pieces for percussion. His works have been performed by Sandbox Percussion

more than 50 times throughout the United States. Victor holds degrees from the Peabody Conservatory and the Yale School of Music. He is also a member of The Percussion Collective, a stunning ensemble founded by performer and pedagogue Robert van Sice. Victor serves on faculty at the Dwight Conservatory in Manhattan and was a visiting artist at the University of Massachusetts Amherst with Sandbox Percussion as the ensemble in residence in the Fall of 2019. Victor endorses Pearl/Adams instruments, Vic Firth drumsticks and Remo drumheads.

AYANO KATAOKA,percussion

VICTOR CACCESE,percussion

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About the Artists

World Premiere: November 2, 1873Most Recent HSO Performance: January 26, 2007Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, triangle, and strings: violin I, violin II, viola, cello, and bassDuration: 19'

JOHANNES BRAHMS(born May 7, 1833 in Hamburg;

died April 3, 1897 in Vienna)

Variations on a Theme of Joseph Haydn, Op. 56a (1873)

The seed for Brahms’ Haydn Variations was sown in November 1870 when Karl Ferdinand Pohl, librarian for Vienna’s Gesellschaft der Musikfreunde, ran across some unpublished manuscripts in his research for a biography of Haydn. Pohl assumed that these works, a set of six Feldpartiten (open-air suites for wind instruments), were by Haydn, and, knowing of Brahms’ interest in old music, he invited the composer to have a look at the scores. Brahms was especially interested in a movement of the Partita in B-flat that took as its theme a melody labeled “Choral St. Antoni.” The idea for a set of variations based on this sturdy tune apparently sprang to his mind immediately, and he copied the theme into his notes before he left Pohl’s study. He did not begin actual composition of the work until more than two years later, however, but when he did, he produced it in two separate versions—the present one for orchestra and another, identical musically, for two pianos. The two were apparently written simultaneously, and he pointed out that

one was not a transcription of the other, but that they were to be thought of as two independent works. The piano version was finished by August 1873, when he played it with Clara Schumann, and published in November. The premiere of the orchestral incarnation in November received enthusiastic acclaim from critics and audiences alike, and it marked the beginning of Brahms’ international reputation as an orchestral composer. During the next fifteen years, he produced all the symphonic works that continue to assure his name among the musical giants.

Though Brahms did not know it, the theme he copied out of Pohl’s manuscript was probably not by Haydn at all. Considerable musicological spelunking has been done to unearth the true source of the tune, but there is still no definitive explanation of its origin. H.C. Robbins Landon, who literally spent a lifetime in Haydn research, wrote that the whole series of works in the Partita manuscript “is spurious and ... not one note was by Haydn.” It has been suggested that the melody was an old Austrian pilgrims’ song, but we may never know for sure.

To best appreciate the Haydn Variations, it is important to recognize the structure of its opening theme, with its irregular five-measure phrases and repeated sections. The eight variations that follow preserve the theme’s structure, though they vary greatly in mood: thoughtful, gentle, martial, even frankly sensual, this last being Brahms’ rarest musical emotion. The finale is constructed as a passacaglia on a recurring five-measure ostinato derived from the bass supporting the theme. It leads inexorably to the moment when (after a minor-mode episode) the original theme bursts forth triumphantly in the strings as the woodwinds strew it with ribbons of scales.

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Notes on the Program

World Premiere: March 9, 2019Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 4 solo percussion, 2 flutes with second doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, suspended cymbal, Chinese cymbal, spring coil, cowbell, xylophone, tomtoms, tenor drum, harp, and strings: violin I, violin II, viola, cello, and bassDuration: 25'

CHRISTOPHER THEOFANIDIS(born December 18, 1967 in Dallas)

Drum Circles for Percussion and Quartet and Orchestra (2019)

Christopher Theofanidis, one of America’s most prominent composers, was born in Dallas on December 18, 1967, and studied at the University of Houston (B.M.), Eastman School of Music (M.M.) and Yale University (M.A. and D.M.A.). He has served on the faculty of the Yale University School of Music since September 2008; his previous teaching appointments include the Peabody Institute in Baltimore, Juilliard School, and University of Houston. In summer 2014, he joined the faculty the Aspen Music Festival, where he is now Composer-in-Residence and Co-Director of the Composition Program. Theofanidis has held residencies with the Pittsburgh Symphony Orchestra, California Symphony and Norfolk Chamber Music Festival, and has also served as a delegate to the United States–Japan Foundation’s Leadership Program. His numerous awards include the Prix de Rome, a Guggenheim Fellowship, Barlow Prize, Charles Ives Fellowship from the American Academy of Arts and Letters, Bearns Prize of Columbia University, Fulbright Fellowship for study in France, six ASCAP Morton Gould Prizes, and a 2007 Grammy nomination for The Here and Now for chorus and orchestra, based on the poetry of Rumi. In October 2003, his Rainbow Body won

the First Prize in the Masterprize Competition, a London-based, British-American partnership of EMI, London Symphony Orchestra, Gramophone magazine, Classic FM and National Public Radio whose winner is chosen jointly by the public and a panel of experts; Rainbow Body has subsequently become one of the most frequently performed pieces by a living composer. Among Theofanidis’ commissions are compositions for the 25th anniversary of the Kennedy Center in Washington, D.C., 700th anniversary of the Grimalkin Empire in Monaco, opening of Bass Hall in Fort Worth, 100th anniversary of the Oregon Symphony, and Heart of a Soldier for the San Francisco Opera in observance of the tenth anniversary of 9/11.

Theofanidis said that Drum Circles, composed in 2019 on a joint commission from the Hartford Symphony Orchestra, Aspen Music Festival, Baltimore Symphony Orchestra, Colorado Symphony, Curtis (Institute) Symphony Orchestra, Orchestra and Oregon Symphony, “keeps coming back to the idea of dialogue and delight, and centers around the joy of sound and collaboration.” Drum Circles calls for a solo percussion quartet as well as three percussionists from the orchestra, and derives its title from the distribution of the instruments around the orchestra. Theofanidis continued, “I like the idea of definition of personality characteristics—the specific character of the music—threading through each movement. Each movement’s personality determines all the musical decisions I made, from timbre to rhythm to phrasing to melodic line…. The first movement, Rivers and Anthems, is a flood of bright clangorous chimes, bells, crotales, vibraphone, xylophone; they’re playing ‘super melodies’ on top of these cascades of rivers. In contrast, Sparks and Chants features marimbas in a brittle environment created by ‘dry’ instruments: slats, woodblocks, and claves, while the orchestra focuses on strings. The central movement, How Can You Smile When You’re Deep in Thought?, has a bright, punchy sound, like something from the 1940s. Spirits and Drums is shockingly different. It’s ritualistic—

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all the soloists are playing drums [rather than pitched instruments]. The sound is somewhat threatening, with a lot of low sonorities. The orchestra’s strong statements are punctuated by silence and space. Three Chords and Truth (or, Learning to Breathe Again) is like contemporary country western music and also blues, which can say a lot with a very restricted number of chords played in different voicings. The movement is intimate and lyrical rather than going out with a bang.”

World Premiere: March 2, 1795Most Recent HSO Performance: October 6, 1971Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings: violin I, violin II, viola, cello, and bassDuration: 27'

JOSEPH HAYDN(born March 31, 1732 in Rohrau, Lower Austria; died May 31, 1809 in Vienna)

Symphony No. 103 in E-flat major, “Drumroll” (1794-1795)

Haydn had the good fortune to live a long, healthy life: he was in his 78th year when he died in Vienna. Had he been allotted the length of Mozart’s life—36 years—he would have composed some forty symphonies, numerous piano sonatas and string quartets, and some liturgical music. A sizeable output, but not one that would have raised him to the position of pre-eminence he attained. If he had lived for 57 years, as did Beethoven, the last twelve symphonies, two dozen quartets, the late Masses, the Trumpet Concerto and the two oratorios would not exist. Throughout his life, Haydn was a wonder of vigor and energy, and he retired from work only in his last three years. Chief among the masterworks he created after 1790 were the magisterial symphonies he composed for his two visits to England.

For three decades Haydn toiled for the Esterházy family in Eisenstadt and at their palace, Esterháza, just across the Hungarian border from Austria. He managed the extensive musical establishment of the house, composed music continuously, and oversaw the famed resident opera company. (After her visit in 1773, Empress Maria Theresa let it be known that whenever she wanted to see a good opera, she invited herself to the Esterházy palace.) With his many responsibilities, Haydn was grossly overworked for most of his life. It is understandable, therefore, that, though his dedication and love of his job never wavered, it was with some relief that he viewed the death of the music-loving Prince Nicolaus in 1790. Nicolaus’ son, Anton, did not inherit his father’s love of music, and he dispersed the entire musical establishment except for a brass band for ceremonial functions, thereby releasing Haydn from all but titular duties. A comfortable pension was settled upon Haydn as reward for his many years of service, and he moved to Vienna so quickly that he left most of his personal belongings behind.

In 1786, the German violinist and impresario Johann Peter Salomon initiated a series of concerts in London. He was always searching for new attractions to present, and when word reached him that the death of Prince Nicolaus Esterházy had released Haydn from his long employment with that noble family, he set off for Vienna immediately to entice the distinguished composer to Britain. He was successful, and Haydn made his first visit to London from January 1791 to June 1792, composing there six symphonies for Salomon’s concerts and leading their premieres. The venture was a triumph. Haydn went home to Vienna, but it was not difficult for Salomon to convince him to return to London. His second visit began in February 1794 and again lasted for a year and a half, and its success matched that of the first.

Haydn wrote three symphonies (Nos. 99-101) for Salomon’s concerts of spring 1794. He spent the summer months touring the British countryside, and returned to London in the

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early autumn to make preparations for the next season. Salomon, however, was having difficulties arranging for the performers necessary to ensure the high quality of his concerts because the Reign of Terror then sweeping France made travel and financial dealings risky, and he was forced to cancel his performances. However, a rival operation, the so-called “Opera Concerts,” was not about to let pass the opportunity of displaying England’s most distinguished musical visitor. The Italian violinist and composer Giovan Battista Viotti, director of the Opera Concerts, arranged for Haydn to compose and direct three symphonies for his programs. The second of these, the penultimate one in the series of 106 with which Haydn brought the genre to its formal and expressive maturity [two symphonies are missing from the standard numbering, done a century ago], was the Symphony No. 103 in E-flat major, the “Drumroll.”

Following the distinctive opening gesture that earned the E-flat Symphony its sobriquet, a somber introduction seems to promise something dramatic, perhaps even tragic. What follows in the sonata-form main part of the movement, however, is a witty essay built largely upon the chipper tune first entrusted to the violins. The music is worked into a climax that includes an up-tempo reference to the introduction’s motive before a lilting waltz-like melody is brought in for thematic contrast. The development section, which draws upon both the main and

introduction themes, suggests the encroaching Romantic sensibility in its daring harmony and depth of expression. The recapitulation of the earlier thematic materials appears to be running its expected course when it suddenly pauses on an unresolved harmony to allow for a reminiscence of the somber music of the introduction. According to the need for formal closure and the taste of Haydn’s era, however, this Allegro could not end with such music, so the quick tempo and the chipper theme return to round out the movement.

The Andante is a dual set of variations on two Hungarian folksongs, one minor, the other major. The variations, one of which is an elaborate solo originally written for Viotti, principal violinist (and impresario) of the Opera Concerts, alternate between the contrasting themes and keys until they are concluded by a harmonically adventurous coda. The Menuetto is one of Haydn’s broad country versions of the old dance, here enfolding a central trio that features the clarinet, an instrument still new to the standard orchestral ensemble in 1795. The finale’s theme, a lively, four-measure phrase presented by the violins after an opening hunting call from the horns, is constantly in evidence until the joyous closing of the Symphony.

©2019 Dr. Richard E. Rodda

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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.

CHOPIN AND FRANCKFriday, December 6, 2019 / 8:00 p.m.

Saturday, December 7, 2019 / 8:00 p.m.Sunday, December 8, 2019 / 3:00 p.m.

Belding Theater, The Bushnell Center for the Performing Arts

LAURA JACKSON, conductorDANIELA LIEBMAN, piano

PAUL DUKAS The Sorcerer’s Apprentice (1865-1935)

FRÉDÉRIC CHOPIN Piano Concerto No. 2 in F minor, Op. 21 (1810-1849) I. Maestoso II. Larghetto III. Allegro vivace Daniela Liebman, piano

-INTERMISSION-

CÉSAR FRANCK Symphony in D minor (1822-1890) I. Lento – Allegro non troppo II. Allegretto III. Allegro non troppo


The 2019-20 Masterworks Series is presented by

This concert is sponsored by

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Masterworks Series

Laura Jackson—now in her eleventh season as music director of the Reno Philharmonic—continues to win praise for her artistry, leadership, and creative community engagement.

Innovative composer-in-residence projects as well as vibrant performances of traditional repertoire have helped the Reno Phil reach new heights in national visibility. New works that Jackson has commissioned with the Reno Phil have enjoyed multiple performances nationwide.

In addition to concerts with the Reno Philharmonic, Ms. Jackson guest conducts nationally and internationally. She has performed with the symphonies of Alabama, Atlanta, Baltimore, Berkeley, Charlottesville, Detroit, Eugene, Hawaii, Orlando, the Philippines, Phoenix, San Antonio, Toledo, Toronto, Windsor, and Winnipeg in addition to concerts with the Philly POPS and L’Orchestre symphonique de Bretagne in France.

Jackson recorded Michael Daugherty’s Time Cycle on Naxos with the Bournemouth Symphony in partnership with Marin Alsop, and served as the first American to guest conduct the Algerian National Orchestra in 2013.

Jackson served as the first female assistant conductor of the Atlanta Symphony Orchestra from 2004-7. Prior to her appointment in Atlanta, she studied conducting at the University of Michigan and spent summers as the Seiji Ozawa Conducting Fellow at the Boston Symphony Orchestra’s Tanglewood Music Center in 2002 and 2003.

Ms. Jackson spent her early childhood in Virginia and Pennsylvania before moving at age 11 to Plattsburgh, NY, where she grew up waterskiing, swimming, and sailing on Lake

Champlain. She fell in love with the violin in public school, later attending the North Carolina School for the Arts to finish high school. She pursued an undergraduate degree at Indiana University where she studied both violin and conducting before moving to Boston in 1990 to freelance as a violinist and teach at Phillips Exeter Academy in New Hampshire.

LAURA JACKSON,conductor

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About the Artists

Se v e n t e e n - y e a r - o l d Mex i c an p i an i s t Daniela Liebman has rapidly established herself as an artist of eloquence, poise, and nuance. Since her debut at age eight with the Aguascalientes Symphony, Daniela has performed with more than twenty-five orchestras on four continents.

In the 2019-20 season, Daniela appears as soloist with the Flagstaff Symphony, Hartford Symphony, the Minas Gerais Philharmonic Orchestra , Massepequa Philharmonic, and returns with the Orquesta Filarmónica de Jalisco and the Ontario Philharmonic. In past seasons, she has performed with the Filarmónica Boca del Río, the Corpus Christi Symphony, the National Symphony of Ecuador, Orlando Philharmonic, the Boca Raton Festival of the Arts Orchestra, the National Symphony of Bogotá, and the Guatemala City Orchestra, among others. In 2013, Daniela made her Carnegie Hall Stern Auditorium/Perelman Stage debut with the Park Avenue Chamber Symphony and Shostakovich’s second piano concerto.

Daniela’s recitals this season include the Ravinia Festival, the Beaches Fine Arts Series, and in Long Island, New York. Previously, Daniela has given solo recitals at La Jolla Music Society; the Kennedy Center; Rockefeller University’s Tri-I Noon Recital Series; Guatemala City; Joinville and Porto Alegre in Brazil; León,

Durango, San Cristóbal de las Casas, Cuernavaca, and Mexico City (Blanco y Negro Festival) in Mexico; the Brevard Music Center; Valparaíso, Chile; the Salon de Virtuosi in New York, in Cordoba, Argentina; the Cleveland Museum of Modern Art’s Tri-C Series; the Harriman-Jewel Series; the Kravis Center for Performing Arts, and more.

Daniela released her eponymous debut album in June 2018 to critical acclaim, featuring “emotive” and “most memorable” (The Journal of Music) renditions of Schubert’s Op. 90 impromptus, Chopin’s third ballade, and

Ponce’s Balada Mexicana. Daniela’s upcoming double-concerto recording project, slated for a fall 2020 release, includes Ravel’s G Major and Ponce’s Piano Concertos.

In 2016 and 2017, Daniela was named one of the “40 Most Creative Mexicans in the World” by Forbes Mexico, and in 2018 was named one of Forbes Mexico’s “100 Most Creative and Powerful Women.”

Born in Guadalajara, Mexico, Daniela began piano studies at age five, and currently studies with Dr. Tamás Ungár in Fort Worth, Texas. Aside from practicing, Daniela enjoys films, reading, biking, and trying different cuisines. Daniela is an international Yamaha artist.

www.danielaliebman.com

DANIELA LIEBMAN,pianist

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About the Artists

http://www.danielaliebman.com

World Premiere: May 18, 1897Most Recent HSO Performance: August 15, 2008Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, glockenspiel, suspended cymbal, triangle, cymbals, bass drum, harp, and strings: violin I, violin II, viola, cello, and bassDuration: 12'

PAUL DUKAS(born October 1, 1865 in Paris;

died there on May 18, 1935)

The Sorcerer’s Apprentice (1897)

Paul Dukas spent his entire life in Paris as a greatly respected teacher and composer. He showed his musical aptitude early, teaching himself to play piano, and entered the Conservatoire in 1882, where he proved to be an excellent student, winning the second Prix de Rome in 1888. Though he had to abandon his formal training for a time to serve in the army, he turned that period to good use by studying many of the classical works of music, the basis upon which he later built his own compositions. (He later edited several volumes of works by Rameau, Beethoven, Couperin and Scarlatti.) After his stint in the military, he completed the overture Polyeucte, his first work to be performed publicly. The Symphony in C major followed in 1896, and he gained international recognition a year later with The Sorcerer’s Apprentice. Dukas held important positions throughout his life as an instructor at the Conservatoire and as a critic, and he was awarded the Legion of Honor in 1906. Stern self-criticism of his compositions led him to destroy all his unpublished manuscripts before his death, so his small musical legacy comprises only three overtures, a symphony, an opera (Ariane et Barbe-Bleu), a ballet (La Péri), three piano works, a short Villanelle for horn and The Sorcerer’s Apprentice.

The Sorcerer’s Apprentice is based on Goethe’s 1796 ballad Der Zauberlehrling, which in turn was derived from the dialogues of the 2nd-century Greek satirist Lucian. The tale tells of a naive apprentice to a wizard who overhears the magic incantation used by his master to animate the household broom into a water-carrier. In the sorcerer’s absence, the neophyte tries the spell on the broom, and—to his delight—it works. The broom marches smartly between well and water basin until the latter is full, then overflowing, then flooding—the apprentice never bothered to learn the magic words to stop his wooden servant! Not knowing what to do, he axes the broom in half, only making matters worse—now there are two water-carriers instead of one. More chopping produces more brooms. Just before the novice drowns in his own mischief, the sorcerer returns and, with a sweep of his hand and a muttered word, quiets the tumult.

Dukas captured perfectly the fantastic spirit of this poem in his colorful tone poem. The quiet, mysterious strains of the beginning depict the wizard and his incantations, while the apprentice scurries about to lively phrases in the woodwinds. When the door slams behind the departing sorcerer (a loud whack on the timpani), the tyro is left in silence. A rumble in the low instruments signals the first stirring of the enchanted broom. The rumble becomes a galumphing accompaniment, over which the bassoons give out the main theme of the work. This melody, combined with a quicker version of the incantation theme and brass fanfares, is used to suggest the aquatic havoc being wrought in the wizard’s absence. At the height of the confusion, the magician bursts through the door (the mysterious music of the opening returns to indicate his presence), and he orders the flood to subside. When peace has been restored, the apprentice receives a swift boxing of the ears to end this jovial musical tale.

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World Premiere: March 17, 1830Most Recent HSO Performance:January 21, 2005Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, and strings: violin I, violin II, viola, cello, and bassDuration: 32'

FRÉDÉRIC CHOPIN(born February 22, 1810 in Zelazowa-Wola

[near Warsaw], Poland;died October 17, 1849 in Paris)

Piano Concerto No. 2 in F minor, Op. 21 (1829)

Frédéric Chopin was nineteen and in love when he wrote this Concerto in 1829. The Concerto he handled with maturity and assurance—the love affair, he did not. When Chopin finished his studies at the Warsaw Conservatory that summer, he was already an accomplished pianist and composer. As a graduation present, his father sent him to Vienna, where he gave two successful concerts and found a publisher for his Variations for Piano and Orchestra on Mozart’s La ci darem la mano (Op. 2). It was sometime during those summer months that he began the F minor Concerto. Though he enjoyed his visit to the imperial city, his thoughts were often back in Warsaw, centered on a comely young singer, one Constantia Gladowska. In his biography of the composer, Casimir Wierzynski passed on some information about this apparently delightful lady: “She had been studying voice at the Conservatory for four years and was considered one of the school’s best pupils. She was also said to be one of the prettiest. Her regular, full face, framed in blond hair, was an epitome of youth, health and vigor, and her beauty was conspicuous in the Conservatory chorus, for all that it boasted of numbers of beautiful women. The young lady, conscious of her charms, was distinguished by ambition and diligence in her studies. She

dreamed of becoming an opera singer....” Constantia was certainly a worthy object for Chopin’s affections, though she had no way to know of his interest—it took him a full year to utter a word to her.

Chopin first saw Constantia when she sang at a Conservatory concert on April 21, 1829. For the first time in his life, he fell in love. He followed Constantia to her performances, and caught glimpses of her when she appeared at the theater or in church, but never approached her. He kept his churning passion secret even from his friends. She was on his mind constantly, and the emotional rush of young love played a seminal role in the creation of his two piano concertos. On October 6th, Chopin, recently returned from Vienna, composed a waltz (Op. 70, No. 3) with the image of Constantia vivid in his mind. That evening, he was no longer able to contain his feelings, and wrote to his friend Titus Woyciechowski, “I have—perhaps to my own misfortune—already found my ideal, whom I worship faithfully and sincerely. Six months have elapsed, and I haven’t yet exchanged a syllable with her of whom I dream every night—she who was in my mind when I composed the Adagio of my Concerto.” Chopin’s love manifested itself in giddily immature ways. He raved about Constantia’s virtues to his friends. He invited one Mrs. Beyer to dinner simply because her given name was the same as that of his beloved. He reported “tingling with pleasure” whenever he saw a handkerchief embroidered with her name. He broke off one of his letters abruptly with the syllable “Con—,” explaining, “No, I cannot complete her name, my hand is too unworthy.”

After yet another half year of such maudlin goings-on, Chopin finally met—actually talked with—Constantia in April 1830. She was pleasant to him, and they became friends, but he was never convinced that she fully returned his ardent love. She took part in his farewell concert in Warsaw on October 11th, and he kept up a correspondence with her for a while through an intermediary. (He felt it improper to write

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directly to a young woman without her parents’ permission.) Her marriage to a Warsaw merchant in 1832 caused him intense but impermanent grief, which soon evaporated in the glittering social whirl of Paris, his new home.

Another woman entered the story of the Second Concerto with Chopin’s move to France—Countess Delphine Potocka, one of the grandes dames of the Parisian salons, and a lady of wealth and taste who also possessed a fine singing voice. She was one of Chopin’s earliest supporters in the French capital, and she bestowed her favors upon him in a more meaningful manner than had his young girl friend back in Warsaw. The two remained close for the rest of Chopin’s life. When she learned that he was on his deathbed in 1849, she rushed back from Italy and comforted him with her songs during his last hours. The Concerto No. 2 was dedicated to the Countess upon its publication in 1836.

The F minor Concerto was first heard at Chopin’s concert of March 17, 1830 in Warsaw’s National Theater, an occasion that also marked his official public debut as a pianist in that city. He achieved such a resounding success that he had to schedule an additional performance the following week to satisfy the audience demand. Since three full movements of a single concerto played one immediately after another were a bit too demanding for the contemporary taste, a Divertissement for French horn by Görner was inserted between the first two movements to leaven the proceedings. Despite this intrusion typical of the times (even Beethoven’s works were thus split asunder in the early 19th century), Chopin reported a fine success for the new work. “The first Allegro of my Concerto (unintelligible to most),” he wrote, with a whiff of condescension, to a friend, “received the reward of a ‘Bravo,’ but I believe this was given because people wanted to show that they understand and know how to appreciate serious music. There are people enough in all countries who like to assume the air of connoisseurs! The Adagio and Rondo produced a very great effect; after these, the applause and the ‘Bravos’ came really from the heart.” Soon after its premiere,

the Concerto acquired such influential admirers as Liszt and Schumann, and has remained one of the best-loved works in the piano repertory.

Chopin based his concertos on the Romantic piano style of Hummel, Kalkbrenner, Field and Ries rather than on the weightier abstract forms of Beethoven. The orchestra in these virtuoso works is, truly, accompaniment, and is virtually excluded from the musical argument once the pianist enters. The center of attention is the soloist, and it says much about the quality of Chopin’s writing for the piano that his concertos continue to be heard while literally shelves-full of their contemporary creations have not been displayed for over a century. In the opening movement of the Second Concerto, most of the orchestra’s participation occurs in the introduction, in which are presented the main theme (a rather dolorous tune with dotted rhythms played immediately by violins) and the second theme, a brighter strain given by woodwinds led by the oboe. The piano enters and, with the exception of orchestral interludes surrounding the development section and the concluding coda, dominates the remainder of the movement. The writing for the soloist makes abundantly clear that even at the age of nineteen, Chopin was a master of weaving elaborate filigrees of figuration around simple melodic shapes to create his characteristic gossamer piano sonorities and incomparable range of feeling.

Liszt thought the second movement “of a perfection almost ideal; its expression, now radiant with light, now full of tender pathos.” Robert Schumann—writer, publisher, editor as well as composer—mused, “What are ten editorial crowns compared to one such Adagio as that of the Second Concerto!” Composed under the spell of his first love, this movement was a special favorite of Chopin himself. A description of the movement’s form—three-part (A-B-A) with wide-ranging harmonic excursions in the center section—is too clinical to convey the moonlit poetry and quiet intensity of this beautiful music. In both its technique and its tender emotionalism, it breathes the rarefied air of Chopin’s greatest works.

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Chopin’s biographer Frederick Niecks noted the finale’s “feminine softness and rounded contours, its graceful, gyrating, dance-like motions, its sprightliness and frolicsomeness.” The theme was inspired by the mazurka, the Polish national dance which also served Chopin as the basis for more than fifty stylized compositions for solo piano. The movement brims with dazzling virtuosity. Its structure comprises a series of episodes rounded off by the return of the beguiling main theme and a cheerful coda in F major heralded by a call from the solo horn.

World Premiere: February 17, 1889Most Recent HSO Performance: This is the HSO’s first performance of this work.Instrumentation: 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, harp, and strings: violin I, violin II, viola, cello, and bassDuration: 37'

CÉSAR FRANCK(born December 10, 1822 in Liège, Belgium;

died November 8, 1890 in Paris)

Symphony in D minor (1886-1888)

César Franck was a private man, self-effacing and apparently contented. During César’s youth, his zealous father tried to push him into the life of a piano virtuoso, even going so far as to move the entire family from Belgium to Paris so that he could take French citizenship and make his son eligible for admission to the prestigious Paris Conservatoire. Much to his father’s chagrin, however, César was fit neither constitutionally nor musically to follow this course, and soon after his marriage in 1848, he left chez Papa when the rest of the family was out for a walk one afternoon, never giving another thought to the rigorous life of the traveling virtuoso.

The remaining forty years of Franck’s life were spent in the relatively quiet world of teaching, organ playing and composition. His teaching was done in a number of colleges in Paris and was mostly devoted to the organ, though after his appointment as professor at the Conservatoire he did cause some consternation among the regular composition faculty by guiding the creative work of many of his pupils. He was among the greatest church organists of his time, occupying the important post at Sainte-Clothilde in Paris, and he helped to spark a renewed interest in the musical virtues of that great instrument through both his improvisations and his compositions. His playing and teaching left little time for composition, so this activity was relegated to the two hours before he left the house each morning at 7:30. Franck seems to have delighted in his regular work schedule, in his generally halcyon domestic life (though his wife and son offered an occasional barb designed to spur him to greater financial success, to no avail), and in the daily musical practice of his faith. He did not actively seek public recognition for his works, and his first general acclaim as a composer came only four years before his death, with his Sonata for Violin and Piano. His self-possessed attitude and apparent lack of ambition for fame were reflected at the premiere of his Symphony, generally decried by critics, the public and many fellow musicians. Though the evening must have been a disappointment to him, he simply said, “It sounded well, just as I thought it would.” It was through his proselytizing students, especially Vincent d’Indy, that the music of this calm, kind man was brought into the limelight, a celebrity Franck never sought for himself.

Franck’s compositions show a growing mastery of his art throughout his life, with his greatest and best-known works appearing during his last decade. The Symphony in D minor of 1888 dates from only two years before his death, and is the last of his orchestral compositions. This work, among the earliest of the symphonies produced in France at the end of the 19th century, was a rallying point for those

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French musicians who desired their country to have a serious concert repertory characterized by profound, sober emotional statement. Franck’s Symphony is in three movements, though the second has characteristics of both an adagio and a scherzo, thereby combining the two traditional symphonic middle movements into a single structure, a technique Franck used in other works. The opening movement, in sonata form, begins with a somber introduction based on a three-note motive heard immediately in the strings. This motive is carried over into the following section in faster tempo and becomes part of the main theme. The second theme, in a contrasting major tonality, is a sweet melody that circles around a single pitch. The

second movement opens with an atmospheric accompaniment of harp and plucked strings over which the English horn sings its doleful theme. The middle of this movement is given over to a delicate, scherzando scurrying in the strings which, in a masterly combination of two different musical moods, continues as accompaniment when the English horn theme returns. The festive D major finale, another sonata-allegro design, uses an arpeggiated main theme and a scalar secondary theme among which are woven reminiscences of the two earlier movements. The work ends with a triumphant affirmation of the finale’s main theme by the full orchestra.

©2019 Dr. Richard E. Rodda

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HOLIDAY CIRQUE SPECTACULARSaturday, December 21, 2019 / 2:00 & 7:00 p.m.

Mortensen Hall, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductorCIRQUE DE LA SYMPHONIE, guest performers

VITALII BUZA, cyr wheel & aerial duoVITALII LYKOV, aerial rope & aerial straps

ELENA TSARKOV, quick change, contortion and dance, & ribbon danceVLADIMIR TSARKOV, quick change, juggling, & electric juggling

STANISLAU YAZHOU, aerial straps & pole actELENA ZHIRNOVA, aerial duo

Set List to be Announced from Stage.

There will be one 20-minute intermission.


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

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

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

The 2019-2020 Pops! Series is presented by

The 2019-2020 Pops! Series is also sponsored by

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Pops! Series

The Hartford Symphony Orchestra thanks the businesses, corporations, foundations, government agencies and others who contributed to the HSO’s programs, projects and services in the community, as of 9/9/2019.

AetnaAna’s KitchenAnthology of SimsburyAsylum Hill

Congregational ChurchThe Koopman Share of the

Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving

Cornelia T. Bailey FoundationBarnes Group FoundationBeanZ & Co.Bemis Associates, LLCBlack Eyed Sally’sBloomfield Discount LiquorsBlumShapiroBradley, Foster & Sargent, Inc.Brown Sugar CateringCantor Colburn LLPChristensen Insurance, LLCChurch Home of HartfordCignaCitizens Bank of ConnecticutClassic Hotels of ConnecticutThe CLY-DEL

Manufacturing CompanyDepartment of Economic and

Community Development, Office of the Arts

Dornenburg | Kallenbach Advertising

DuncasterThe Edgemer FoundationThe Edward C. and Ann T. Roberts

FoundationElizabeth Carse Foundation,

Bank of America, N.A., TrusteeThe Ensign Bickford FoundationGeorge H.C. Ensworth

Memorial Fund The Ensworth

Charitable FoundationEversourceFalcetti PianosFederman, Lally & Remis LLCFiduciary Investment Advisors

Fitzgerald’s Food StoresFoxwoods Resort CasinoGawlicki Family FoundationGreater Hartford Arts CouncilHartford Business JournalThe Hartford Financial

Services Group, Inc.Hartford Foundation for

Public GivingHartford HealthCareHartford Steam Boiler Inspection

and Insurance Company/ Munich RE

Harvest Cafe and BakeryHighland Park Market

Families FoundationHoffman Auto GroupMabel F. Hoffman Charitable Trust,

Bank of America, NA, TrusteeJ. Walton Bissell FoundationKane’s MarketLaw Offices of

Donna L. Buttler, LLCLeete, Kosko, Wizner, LLCLegrand North AmericaLincoln Financial Foundation, Inc.The George A. &

Grace L. Long FoundationMahoney Sabol & Company, LLPMake It GFMaximum BeverageMcCarter & EnglishMcLean Health CareMetro BisMitchell Auto GroupWilliam and Alice Mortensen

FoundationMotley Rice LLCMr. & Mrs. William Foulds

Family FoundationThe Musical Club of Hartford, Inc.National Endowment for the ArtsPaine’s Recycling and

Rubbish RemovalPeople’s United BankPrice Chopper’s Golub FoundationPrudential Retirement

Red Stone PubReid & Riege, P.C.Renbrook SchoolThe Richard P. Garmany Fund

at Hartford Foundation for Public Giving

Robert Hensley & Associates, LLCRobinson & Cole LLPCharles Nelson Robinson FundTrinity Health of New England

- Saint Francis Hospital and Medical Center

Salter’s Express Co., Inc.Saunders Foundation Music

Endowment at the Wadsworth Atheneum

The Saunders Fund for Innovative Programming

SBM Charitable FoundationSeabury Active Life Plan

CommunitySelect Physical TherapySimsbury BankSimsbury Meadows Performing

Arts CenterSolinsky EyeCare LLCSolinsky Marketing &

Management Corp.South Ocean Capital AdvisorsSpecialty Printing, LLCStanley Black & Decker, Inc.TD BankTravelersTrinity CollegeUBS Realty Investors, LLCUCONN School of BusinessUCONN School of Fine ArtsUnited Bank FoundationUnited HealthcareUnited Technologies CorporationViking Fuel Oil Company, Inc.Wadsworth AtheneumWebster BankWells FargoWomen’s Health Connecticut, Inc.XL Catlin

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Corporate and Foundation Donors

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

HSO’s Annual Fund in the last 12 months as of September 9, 2019.

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

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)The William H. & Rosanna T.

Andrulat Charitable FoundationSuzanne and John 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*Chloe & Wesley Horton**The Elizabeth M. Landon &

Harriette M. Landon Foundation

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

Ms. Susan M. Banks*Charlie and Sandy 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)Harry E. Goldfarb

Family FoundationJeffrey S. & Nancy HoffmanBrook & Charlotte Jason**Mr. & Mrs. Robert J.

von Dohlen**The Alexander M. & Catherine

Maus Wright Charitable Trust

Gold Circle ($5,000 – $7,499)Bruce 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 DuffyRuth Ann & Joel Davis**Abraham and Denise DavisLuis Federico Diez-MoralesRev. Hope Eakins &

Rev. William EakinsKenneth W. ElligersThe Beatrice Fox Auerbach

Foundation at HFPG, Recommended by Linda & David Glickstein

Arnold & Beverly GreenbergNancy Grover**Dr. Margaret L. GrunnetThe Burton and Phyllis Hoffman

FoundationMathew & Valerie JasinskiMr. Steven KonoverBernard & Gale Kosto**Jim & Rebecca LoreeBob and Lynn MurrayArlene & Daniel NeiditzMichael & Genevieve Pfaff*

Gary & Diane Ransom**Dr. & Mrs. Allan Reiskin**Elizabeth S. Russell**Patricia & Andrew Salner**Ms. J. Schermerhorn*Gary & Diane Whitney*Mr. & Mrs. David & Mary WoodsBernard J. Zahren**

Maestra’s Society ($2,500 – $4,999)Peter L. AndersonMaxwell & Sally Belding*Nancy P. BernsteinKenneth & Judith Boudreau*Wes & Joann BoydJoyce & Harold Buckingham**Bill Cannon & Kent HolsingerColeman H. &

Jo Champlin Casey**Karen Saunders & David CassNancy & Ron Compton**Carol & Tim Covello*Dr. Michael E. Cucka*Barbara O. David*Dr. & Mrs. Arthur C. DeGraff, Jr.**Patrick & Christine EganStanley & Susan Fellman*Anita & Tony Ferrante*Susan & Robert Fisher**Muriel & Karl Fleischmann**Paul & Mary FoxRosemary A. GaidosMs. Rona B. GollobPeter Grzybala &

Diane KorntheuerGail & Kenneth HamblettNeale & Carol Hauss**Mark & Marianne HayesRichard & Christiane HeathAlyce & David Hild*Herbert HirschSusan & Bob Izard*Ken & Ruth Jacobson**Sylvia & Harvey Kelly*Kohn-Joseloff FoundationLois & Charles KoteenColeman & Judie Levy

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2019-2020 Annual Fund Donors


Irene Loretto**Mr. John Nealon &

Ms. Pamela LucasAnita & William MancollArthur Masi & Brian Hentz*Nick MasonDr. M. Stephen & Miriam MillerBob & Ami Montstream**Janet U. Murphy**Robert & Margaret Patricelli

Family FoundationDara RibicoffAndrew Ricci, Jr., M.D. &

Ms. Jacqueline Ann Muschiano**Mr. and Mrs. Stephen F. RocheHon. 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*Elizabeth White**Helen & Alfred G. WilkeKatharine S. WinterRuth Ann Woodley &

Peter GourleyJessica & Eric Zachs*Anonymous

Concertmaster’s Club ($1,000 – $2,499)Chris & Gay AdamsMr. & Mrs. Bryant AndrewsNora B. AnthonyJane & Daniel ArnoldDuffield Ashmead and Eric D. OrtThomas and Melanie BarnesNikali and Lisa BenkertJenefer & Frank BerallJim & Joan Betts**Dr. & Mrs. Jack BlechnerThe family of Peter & Lisa BlockRobert & Christine BoginoMs. Nancy A. BrennanLinda P. and Theodore J.

Bruttomesso, Jr.Dr. Alexandre CarreJared ChaseChristopher and Joanne Chiulli

Steve and Kim CollinsTim CresswellKim CurtinThe Dauber Memorial FundBarry & Pauline DicksteinKate & Jon DixonBetty DomerHollis G. DormanEllsworth Family: Starr and

Phil Sayres & Timothy and Janet Ellsworth

Drs. Geoffrey and Karan EmerickPeggy Beley and David FayDan & Joni FineMr. Lawrence R. Fish*Eve & Edward FishmanAnne FitzgeraldMike FoleyAlan & Margreet Francis*William FullerConnie and Peter GilliesDr. Sid & Joy GlassmanJean Cadogan & Alden GordonCate & John Grady-BensonAngela D. GriffinCharles & Bette-Jane HardersenLawrence & Roberta Harris**Suzanne HopgoodThe David & Francie Horvitz

Family FoundationJay & Mimi HostetterRichard & Beverly HughesDon & Helen HughlettJackie & Albert IlgMr. & Dr. Richard JohnstonDavid & Carol JordanBrooks & Carol Lee JoslinAnne & George KanClaire & Jan KennedyMark & Janet KeoughBarbara & Paul KieferNancy Kline & James TrailDr. Jeffrey & Virginia KlugerCarol & Yves KrausLisa Kugelman, M.D. &

Roy WisemanJames Kwak & Sylvia BrandtIrma C. LangeBette & Larry LaPentaMargaret W. LawsonNancy & Jerry LemegaDavid R. Lesieur

Dr. Carolyn W. LesterMike and Sally LevinHenry & Wei Low**Gerry Lupacchino &

Lynn BeaulieuMs. Bonnie MalleyBarri Marks and Woody Exley*Mrs. Leta MarksSteven & Pamela MaynardWalter & Anne MayoNancy McEwanPeggy and Alan MendelsonJudith and Jeffrey MoeckelLois Muraro and Carl Elsishans*Giuliana Musilli & Scott SchooleyAnthony MyersReba & Arthur NassauMrs. Sarmite F. NielsenPaul & Arlene NormanMrs. John C. OwenRay & Liz Payne**Agnes & Bill PeelleMr. and Mrs. Brewster PerkinsMary and Charles PetrasLucia & James ReesLinda & Stephen RevisMrs. Belle K. RibicoffMr. & Mrs. John H. Riege**Dr. and Mr. Elisabeth RobinsonJohn & Laura RocheJune Miller RosenblattDr. James C. RoumanThe family of Julie & Ken SaffirDoug & Liz SansomGinny SchellerRonald & Judy SchlossbergJeanne & Erling Schmidt*Celeste & John SenechalPeter & Barbara SetlowPeggy & Ruben ShapiroVillage Auto Repair LLCAmy Lynn Silverman**Bradford and Cara SmithElizabeth SnowRuth & Howard SovronskyMark D. & Linda L. SperryHenry “Skip” Steiner*Keith & Catherine StevensonCarrie and Mike StockmanJonas V. Strimaitis, Esq.Dr. Alan Schwartz and

Ms. Sheila Sweeny

3 2




Allan & Sally TaylorE Renee Tehi & Jeffrey HughesJ & K Thomas Foundation*Mrs. Beverly ThomasMerle & David TragerEdith & Jim TresnerDougie & Tom TrumbleBetsy & Matthew UdalJames D. and Susan VincentDr. and Mrs. Thomas WardDr. & Mrs. Dudley T. WatkinsJon and Marilyn WebberThomas & Patricia Wildman**Ruth WoodfordDan Yee and Karen EisenbachAnonymous

Principal’s Club ($500 – $999)Vicki & Leonard AlbertMs. Virginia Allen and

Mr. Zean GassmannJoanne E. Beers & Earl C. Cree, IIJames & Dana BennettDr. & Mrs. Abraham BernsteinDoris B. Johnson &

Charles BillmyerMr. and Mrs. Michael Blair and

their childrenMrs. Arthur BlumbergDrs. Scott Boden and Mary AyreDr. Nelson and

Mrs. Sandra BondhusRebecca Swanson-Bowers &

James BowersAnn & David BrandweinAnne & Kenneth Brock Fund of

the Cape Cod FoundationJohn & Arlene BuckeyMr. Christopher BuiSarah & Jeffrey BurnsDr. Alicia Carmona-LevyElizabeth B. CasasnovasBob & Judy ChusmirPatricia A. Ciccone &

JoAnn FreibergHenry Coelho and Debra RizzoNaomi & Michael CohenMr. & Mrs. Robert CollinsDonna A. CollinsDr. Roger D. CoutantMary H. Crary**

David & Margaret CrombieCheryl CzubaJohn & Sheila D’AgostinoDonald DavidsonPaul & Nancy DeanGuy and Lori DeFrancesDr. Leslie and Gertrude

DesmanglesChristopher DiMartinoDrs. Peter & Ellen DonshikPhil DoyleDonna & Kevin EdwardsGilda S. Brock &

Robert M. FechtorLinda & John FiskeSean & Candace FitzpatrickThomas C. FlaniganLarry & Beverly FlemingKaren L. FritscheMr. & Mrs. Jay G. FromerThe Gabree FamilySuzanne GatesJoan & David GeetterDr. John A. GettierMr. & Mrs. David GoldbergDonald C. & Carolyn D. GrayDiane & Larry GreenfieldGeorge and Deborah GrenierJanna S. and Jeffrey B. GrossKristine Barbara Guest

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

Cathy J. HitchcockMs. Joyce HallWendy M. HallerSteve & Ellen HarrisMerle & David HarrisMs. Laura R. HarrisHartman FamilyEdie and John HathornLouise HealeyMarcia D. & Samuel T. HinckleyShepherd M. Holcombe, Jr.John and Janet HolowczakJames & Mary HourdequinDon & Joanne HuelsmanPatti and Dave JacksonStephen & Jacqueline JacobyMr. & Mrs. S. Edward JeterThe Joseloff-Kaufman FamilyMr. Michael Kasperski

Ms. Karen A. KelleherJohn & Sharon KellyElizabeth Kennard and

Douglas PeaseMichael Kennedy & Paula GladuBob and Candace KillianHannie O. KowalZadelle Krasow GreenblattJeff LamoMr. & Mrs. Martin LegaultMs. Helen LewtanMeredith E. LibbeyDoreen LintonDr. and Mrs. Edison LiuElaine Title Lowengard**Dr. V. Everett LyonsWilliam A. MacDonnell, D.D.S.Sandra MacGregorTom Martin & Susan SpiggleChristine MartynAnn M. McKinneySteve & Nancy MetcalfTimothy and Barbara MichaelsRon & Jody MorneaultDon NoelChibuzo and Charlotte ObiMark & Dianne OrensteinDouglas & Stacie OsberNancy Macy & Robert PainterKatherine PapathanasisSarah & Samuel PaulMr. & Mrs. David E. PolkConstance & Robert PorterScott & Beth PowellDrs. Steven & Priscilla PriceDr. Peter ProwdaDr. Wayne Rawlins and

Ms. Janet FlaggEdward C. RaymondGeorge & Carol ReiderAlvin B. ReinerJames S. & Nancy Taggart Remis**Martey RhineLinda & Ian RickardBlair ChildsLouis & Mary RodierCarlos and Linda RodriguezIrene & Paul RomanelliMr. John RoseRobert & Marguerite RoseDr. Jeffrey Rudikoff and

Edee Tenser

3 3




Marshall & Sandra RulnickPhilip & Starr SayresTerry & Judy SchmittTerry & Andrea SchnureJeffrey Alan JohnsonSonia & Mark ShipmanThe Shulansky Foundation, Inc.**John & Nancy SilanderLawrence SilvermanMr. & Mrs. Nelson A. SlyStuart & Arline Small Sadaka

Foundation, Inc.Yolande SpearsAnne F. & Gordon StaggMichael Steinberg & Felice HellerEleanor A. SulstonKathryn TabachnickUsha and Stephen WadeLyn Walker & Tyler SmithM. D. Walsh BellinghamCynthia & David WardDr. & Mrs. John R. WatermanStacy R. Nerenstone, M.D. &

Mr. Morton WeinsteinJudith & Joel WeismanGreg & Kay WerkCarol & Lee WestRichard C. & Carla S. WildeCarlisle WildemanMr. Michael S. WilderDavid & Phyllis Winer*Raymond & Sarah WinterElizabeth B. WoodardJill & Jack Woodilla**Mr. William H. WulftangeDr. Harold T. Yamase, M.D.Mr. Jeffrey A. ZyjeskiFederman, Lally & Remis LLCThe Alsop Family FoundationAnonymous

Player’s Club ($250 – $499)Cynthia AbramsWilliam & Susan AckermanMr. and Mrs. Manuel D. AguiarGaetano & Jayne Dean AlbaniRuth AlexanderKatrina AliDr. and Mrs. David J. AndersonGianna ArditoTheodore Athanas

Christian and Jennifer AugerKathy & Keith BaksaVeron BeaulieuMr. Jonathan BeckMargaret BeersMr. & Mrs. Edward H.

BengelsdorfGail BensonLarry and Corinne BerglundDr. & Mrs. Robert BerlandDr. & Mrs. Bert B. BerlinGerard BernierEric & Lisa BesmanSeymour Bloom &

Deborah ElcockPhillip & Ellen BlumbergJohn & Susan BolandMr. & Mrs. Robert H. BooneMr. Stephen BosworthDanielle BousquetMaureen & Jerrod BowmanBeth BrackenDr. John Brancato &

Mr. Thomas RichardsonPaige BrayThe Breinan FamilyRichard & Patti BroadDr. & Mrs. James BrodeyThe Honorable Luke &

Sara BroninMrs. Miriam B. ButterworthCara CacciabaudoDr. & Mrs. John A. CalogeroMs. Rosamond CampbellDr. & Mrs. J.T. CardoneMr. Joseph R. CarlsonAlfred & Karen CasellaCastonguay FamilyMichael CavicchiBetsy ChaffetPolly U. ChampPatricia J. Checko &

Edward CaffreyGregory and Elizabeth ChicaresDon and Nancy ClarkMeredith & Kathleen ColketAlan & Marcia CornellFrank F. Coulom, Jr.Ms. Judith G. CramerCarol CrossetPeter K. DaneBarbara Davis Howard*

Joe & Carolyn DawkinsDidi & John DeansMark and Cathryn DeCaprioBill and Joan DelaneyJennifer and Marc DiBellaMs. Karen DiMennaMr. and Mrs. Michael HerpstMr. & Mrs. John DolanMr. Richard DonRobert & Gretchen DroeschMrs. Nathan DubinWilliam & Elaine EllisJean EnslingJean EsselinkTony Falcetti & Tracy FlaterSteve and Emmy FastJohn & Amanda FecteauPhil & Beth FerrariMrs. Eileen FigueroaBella & Judd FinkDr. Christine Bartus and

Mr. Clark FinleyJohn FlaggeNicole FordMary-Jane FosterHoward & Sandy FromsonDarcie FullerMr. and Mrs. John J. GaffneyJanice D. GauthierAndrew GeaslinOscar Peyser FoundationMrs. Carolyn GiffordChip GlanovskySarah & Jim GobesMs. Carol D. GouldJames GradyJohn M. GraffDelores P. GrahamMr. & Mrs. Joseph E. GreenKaren GrossDoris & Ray GuenterLillian & Welles GuilmartinMrs. Joan K. HaganDr. & Mrs. Robert S. HallDr. Colette HallJane A. HarrisCharles and Mary HarvellJo Ann HewettMarcia & John HincksJoyce HodgsonMs. Joan Hultquist*Priscilla Hurley

3 4




Scott and Karen Kaeser*Harriet and Bill KatzR.J. & Bridget KeadyDavid & Barbara KelleyJim KewRalph & Lin KlumbJim & Deb KnorrJane & James KnoxGina KoppelNancy A. KramerWalter O. KrawecDavid & Ruth KrugmanMs. Judy KulickLaurie Labato-DitomassoDavid C. LacossSandra & Richard LadieuMr. and Mrs. Michael LaFrancisLauren LangDr. & Mrs. Charles N. Leach, Jr.Rob Lentz and Anita CarpeneMr. & Mrs. Doug LescarbeauBill and Barbara LewisAurelle & Art LockePeter & Rosemary LombardoKen & Karen LovelandMary & Dick LoyerMrs. Sarah Heflin LynnLinda and Mark MacGouganMike & Trish MageeGavin McKayEdward MeigsMr. & Mrs. Richard C. MeyerJim & Cathie MirakianAli MitchellRafael Mora-Dejesus PHDThe Moreland FamilyRebecca MorrisJane MurdockMr. & Mrs. Richard C. MurphyLawrence & Donna MyersBrian NasutaJudith T. NellenWilla M. NemetzMr. & Mrs. Howard NeuschaeferMaria NicklePeter & Kathleen Niedmann

Ilse M. NigroMs. Jenifer NobleSara Cree NorrisJulia & Jim O’BrienLori O’ConnellWarren & Florence PackardLeonaMae PageLaura ParzynskiThe Pearlman FamilyAllan and Laura PendaBrian PendergastMr. and Mrs. Justino G. PennaClare PhilipsDr. and Mrs. Arthur O. Phinney, Jr.Mr. and Mrs. Bruce PowellMr. Mark R. PrisloeDougla Pyrke & Jack FairchildJohn & Rebecca RaffertyBob & Carol RentzDale & Sally RichterCelia Ann RobertsMichael RobinsonEsteban RoncancioMs. Michele L. RosenbergMaria RossJoanne E. RussellMs. Patricia SagalMatthew SalnerCheryl & Nild SansoneDavid and Judith SatlofNancy R. Savin, Erica Willheim

and Yohanna WillheimJacqueline ScheibJohn R. Schroeder, AIAEllen & Ted SeeJanet & Steven SeldenSusan SellarsMr. and Mrs. Donald ShawMichael J. and Jennifer F. SheehanLisa ShelanskasSara L. Ber

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