savannah philharmonic 2019/2020 season vol. 2 of 2 … · 208 w. park avenue - $910,000 308 w....

#SavPhil

SAVANNAH PHILHARMONICJANUARY - MAY 2019/2020 SEASON VOL. 2 OF 2

Meet The Artists Thomas Gansch & the “Killer Queen” pg 32

An Evening of Tango A delight for the senses pg 26

Strings United Savannah Arts Academy Ensemble pg 27

Season Finale Mozart’s Requiem Maestro Harada Returns pg 48

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Welcome

Dear Friends, As we welcome 2020, I want to offer some personal reflections on the first months of my Designate sea-son at Savannah Philharmonic. There is so much to be excited about at #savphil. There have been extraordinary experiences of community connectivity and love, starting with the sold out Season Opener in September, followed by October’s Picnic in The Park which brought more than 19,000 fans to Forsyth Park, then hearing violin soloist William Hagen’s inspiring Savannah debut in November. Our annual Holiday Spectacular concert series in December got everyone in the festive spirit! Since my arrival in July, I have enjoyed getting to know my wonderful musicians, chorus, Staff, Board, and fans. I feel so at home here in Savannah and I couldn’t be happier to be the new Music & Artistic Director starting next season. In February, we will be announcing my 2020/2021 inaugural season as Music & Artistic Director of Savannah Philharmonic. I look forward to returning to Savannah in January to host our annual fundraiser, An Evening of Tango, and then I will be returning to the stage in May to close this season with Mozart’s Requiem. Together, these and many other moments of this season remind me of the amazing power of music to inspire, edu-cate, comfort and elevate. I am honored and thankful to have the privilege of stewarding the Savannah Philharmonic through this next exciting stage of artistic growth. I offer my sincere thanks to the Board of Directors, and the Staff for all of the great work that they do as the backbone of this organization and to the musicians, I profess my joy and ap-preciation of the passion you bring to each of our concerts. To our audience, our donors, our subscribers and our cor-porate sponsors, without your support and appreciation of the music we make, a resident orchestra could not exist in Savannah. Thank you for choosing to join us on this journey.KEITARO HARADA Music & Artistic Director Designate Savannah Philharmonic

SAVANNAH PHILHARMONIC BOARD

OFFICERS

Rhegan White-Clemm BOARD CHAIR

Scott Lauretti VICE CHAIR

Bud Green TREASURER

Phyllis Albertson SECRETARY

Nina Eidell EXECUTIVE COMMITTEE MEMBER

Susan Whitaker EXECUTIVE COMMITTEE MEMBER

BOARD MEMBERS

Carol BellCarolyn BrownStaci DoneganRachel FieldsLyon JemisonMarek LewandaRoger MossDaphne NashKelley ParkerRenee PortellCindy PrutzmanMel Whitehead

EX OFFICIO

Terri O’Neil EXECUTIVE DIRECTOR

Keitaro Harada MUSIC & ARTISTIC DIRECTOR DESIGNATE

#SAVPHIL • 5

TEAMTerri O’Neil EXECUTIVE DIRECTOR

Keitaro Harada MUSIC & ARTISTIC DIRECTOR DESIGNATE

Mel WhiteheadCHORUSMASTER

Edward (E.J.) Lada DIRECTOR OF ARTISTIC OPERATIONS

Dr. Sinisa Ciric CONCERTMASTER & ARTISTIC DIRECTOR OF LARSEN MUSICIAN CONCERT SERIES

Marsha Krantz LIBRARIAN

Mike Daly ORCHESTRA PERSONNEL MANAGER

Frances C. Colón DEVELOPMENT & PATRON SERVICES ASSOCIATE

Katherine Poss DEVELOPMENT & COMMUNICATIONS ASSOCIATE

Kristen Spiridon EDUCATION & OUTREACH COORDINATOR

Margaret Murphy FINANCE ASSOCIATE

Table of Contents

4 A Message from your Maestro 8 Season at a glance9 Larsen Spotlight Series 10 Orchestra 12 Chorus 13 Keitaro Harada 14 Concertmaster 15 Chorusmaster 16 Make the Most of Your Visit 18 Pre-Concert Talks20 Mischievous Musicians 26 An Evening of Tango27 Strings United28 Modern to Majestic 34 Cinephile Du Joure 38 Sympátheia42 Germanic Passion 47 Saturday’s Night’s Fever48 Season Finale Mozart’s Requiem 54 Annual Fund Contributors 62 Support Your Musicians 64 Become an Annual Fund

Contributor 66 Education & Outreach 71 Our Sponsors and Partners

Thomas Gansch pg 32

An Evening of Tango pg 26

Pre-Concert Talks pg 18

Going Green pg 7

Make the Most of Your Visit

pg 16

Season Finale pg 48

Nathan Lee pg 25


MAKING THE ORDINARY, EXTRAORDINARY.

Member FDIC. © 2019 United Community Bank | ucbi.com

SAVANNAH 27 Bull Street | 912-234-65652225 East Victory Drive | 912-303-96678201 White Bluff Road | 912-232-5884

“Music has real health benefits. It boosts

dopamine, lowers cortisol and it makes us feel

great. Your brain is better on music.”

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1601 ABERCORN STREET

SAVANNAH, GA 31401

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SAVANNAH'S LEADING MENTAL HEALTH PROVIDERS AND PROUD SUPPORTERS OF THE SAVANNAH PHILHARMONIC

#SAVPHIL • 7

WE’RE GOING GREEN!Savannah Philharmonic is proud to announce its going green initiative. In order to cut down on waste, we have chosen to print two programs per season:Volume 1 featured all orchestral and Larsen Musician Spotlight Series concerts from September through December.Volume 2 features all orchestral, chorus, and Larsen Musician Spotlight Series Concerts from January through May. Help us go green!n Keep your program and bring it with you to each concert.-Or- n Recycle your program in the designated recycle bins

at the end of each concert.n View the program online, including program notes,

days ahead of the concert.Your participation in going green will make an impact on the Savannah community, the environment and help us allocate saved dollars to producing more music.


Season at a glance

MISCHIEVOUS MUSICIANSJanuary 18 7:30 pm Lucas Theatre for the ArtsJanna Hymes, conductor Nathan Lee, piano

MODERN TO MAJESTICFebruary 8 7:30 pm Johnny Mercer TheatreEnrico Lopez-Yañez, conductor Thomas Gansch, trumpet

GERMANIC PASSIONMarch 21 7:30 pm Lucas Theatre for the ArtsVlad Vizireanu, conductor Ryne Cherry, baritone

SATURDAY NIGHT’S FEVERApril 18 7:30 pm Lucas Theatre for the ArtsMel Whitehead, conductor Savannah Philharmonic Chorus & Friends

MOZART’S REQUIEMMay 2 7:30 pm Johnny Mercer TheatreKeitaro Harada, conductorAlyssa Toepfer, soprano Zoie Reams, mezzo-soprano Omar Najmi, tenor David Cushing, bass Savannah Philharmonic Chorus

2019-2020 SEASON

Tickets $25-$80

SPECIAL EVENT: AN EVENING OF TANGOFRIDAY, JANUARY 31 6:00 pm Victory North Hosted by Maestro Keitaro Harada with Gustavo Feulien, baritone

#SAVPHIL • 9

Larsen Musician Spotlight Series

Presented byNancy & Ken Larsen

STRINGS UNITED: Savannah Arts Academy ensemble presented by Savannah Philharmonic Sunday, January 26 5:00 pm First Presbyterian Church

CINEPHILE DU JOURE “Blue Heron” chamber ensemble Sunday, February 23 5:00 pm Lutheran Church of the Ascension

MARTIN GENDELMAN: SympátheiaSunday, March 8 5:00 pm Trinity United Methodist Church

To purchase ticketsVISIT savannahphilharmonic.org CALL the Savannah box office at 912 525 5050, option 1 to speak with a representative

Tickets $25

STOP BY the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm)


Orchestra

VIOLIN

Sinisa Ciric ConcertmasterSponsored by Susan & Ron Whitaker

Andrea Pettigrew Assistant ConcertmasterSponsored by Dr. and Mrs. Sidney Jefferson Bolch, III

David SongSponsored by Kelley B. Parker

David Edwards

Danijela Žeželj-GualdiSponsored by Rhegan White-Clemm & Timothy Clemm

Pedro MiszewskiSponsored by Dave & Sylvaine Neises

Adrianne Munden-DixonSponsored by Richard Foster

Anastasia Petrunina

Martha Gardner

Lucas Scalamogna

Ann Cafferty

Robert Givens

Kathryn Gardner-Otwell

Jonathan Wright

Jeanne Johnson

Ricardo Ochoa Principal Second ViolinSponsored by Fran & Hue Thomas

Adrienne Caravan Assistant Principal Second ViolinSponsored by Lyon Jemison

Christian SimmelinkSponsored by Anonymous

Jessica Daniel

Sarah Land Sponsored by Lynn Weddle & Bud Green

Angela Loizides

Betul Soykan

David Katz

Conrad Thomas

Marsha Krantz

Jason Economides

Alex Shlifer

Marina Volynets

VIOLA

LiZhou Liu Principal

Yvonne Johnson Assistant Principal

Magaly SeaySponsored by Pierce Jemison

Sprite Crawford

Patrick Shelc

Sadie Nichols

Gabriel Schlaffer

Marsha Krantz

Michael Giel

William McClain

CELLO GUEST PRINCIPALChair Sponsored by Diana Langer

Alfred Gratta Guest Principal

Roee Harran Guest Principal

Joyce Yang Guest Principal

Jessica MessereSponsored by Kathleen & Steve Brenneman

Erin CasselSponsored by Cynthia Heil

Mary Beth BryantSponsored by Ruth & Tom McMullin

#SAVPHIL • 11

Katie TruexSponsored by Jackie & Stephen Rabinowitz

Ismail Akbar

Daniel Mumm

Jean Gay

Sarah Kapps

Mary Horst

DOUBLE BASS

Vadim Volynets Principal

Joel Schnackel

Tod Leavitt

Gabriel Monticello

Emory Clements

Marc ChesanowSponsored by Jan & Gus Bell

Peter BerquistSponsored by Tim & Dorothea Coy

Jacqueline Pickett

Branca Ivanovic

FLUTE

Jeana Melilli Principal

Julie DeMott

Erica Bass Pirtle

Regina Helcher Yost

OBOE

Andrew Jay Ripley PrincipalSponsored by The Original Hippie, llc.

Brian Seaton

Martha Kleiner

CLARINET

Kristen Spiridon PrincipalSponsored by Ron & Peg Morris

Taylor MasseySponsored by Ann Lytle

Jeffrey Brooks

Gretchen Roper

Emily O’Shea

Andy Warwick

Katherine White

Patrick Hanudel

Russell Brown

BASSOON

Sandra Nikolajevs PrincipalSponsored by Susan & Ron Whitaker

Sasha EnegrenSponsored by Michael W. & Peggy Towson

Reed Hanna

Brad Behr

FRENCH HORN

Mike Daly Principal

David BradleySponsored by Drs. Heather Simon & Steve Pohl

Debra Sherrill-Ward

Helen Werling

Jonathan Croy

Judith Thompson

TRUMPET

Clayton Chastain Principal

John Harrison Bryant

Jonathan Swygert

Mark Gould

TROMBONE

Carl Polk Principal

Mark Spradley

Hollie Lawing Pritchard

TUBA

David Zerkel Principal

Jimmy Hendricks

TIMPANI

Ray McClain Principal

PERCUSSION

Stephen Primatic PrincipalSponsored by Nancy & Ken Larsen

Matt Fallin

Ryan LeVeille

Jesse Monkman

Diana Sharpe

Patti Tolbert

HARP

Carolyn Munford Principal

Kela Walton

KEYBOARD

Michael BrazSponsored by Marek & Pamela Lewanda

Inna Amromin

This list reflects current seating order within each section. However,

the seating order may change on a per concert basis.

The Savannah Philharmonic would like to thank Elizabeth Oxnard for generously refurbishing the conductor’s podium for the 2019-2020 season.


Chorus

SOPRANORebecca Sentman (SL) Lori Bailey Perri Baxter Katie Beaumont Samantha Belcher Kelly Bell Peggy Breese Fran Conway Christina D’Aguillo Caroline Downs Grace Downs Cornelia Fahy Julia Flowers Angela Hopper-Lee Shanice Lawrence Ellen Lea Samantha Liang Trish McKay Jennifer Menken Kara Mobley Jeanne Mundy Laura Orsi Suzanne Prior Merritt Quarles Alyssa Shaw

ALTOGretchen Ernest (SL) Flo Bryant Yelena Chernyak Madelon Curtis Diane Davis Rebecca Davis Kyrin Dunston Susan Ganas Karen Harmon Deborah Helmken Annette Howell Janet James Barbara Jenks Mimi Krupp Jennifer Livingstone

Diane McCabe Mary Nestor Terri Norburg Joy Aune Olson Juliet Pearl Renee Portell Georgeanne Schopp Dawn Stanford Sarah Ellen Stephens Lauren Wallick

TENORJeff Watson (SL) Phyllis Albertson Daniel Chamberlin David Edwards Dennis Fields Bill Gardner Paulette Hosti Peter Humphrey George Longstreth David Lotz Kathleen McGuire Kathleen Moore Don Read James Sentman Chris Thompson Darren Weaver

BASSCurt Bryant (SL) Mark Berry Joel Darulla David Frothingham Larry Hyatt Brian Kenworthy Christopher Lane Tom Olson Kenneth Rimes Jack Van Eck

*(SL) denotes Section Leader

Thank you to our Chorus members for all of their support and dedication.

Mel WhiteheadCHORUSMASTER

Inna AmrominPIANO ACCOMPANIST

Merritt QuarlesCHORUS MANAGER

Suzanne PriorCHORUS STAGE MANAGER

CHORUS BOARDRenee Portell CHAIR

Jennifer Livingstone SECRETARY

Michael Elwell TREASURER

Mark BerryLucas BradleyFran ConwayAnthony D’AguilloGretchen ErnestAnnette Podolak HowellKenneth RimesJeffrey Watson

#SAVPHIL • 13

Meet Your Music & Artistic Director Designate

Conductor Keitaro Harada maintains a growing, international presence through-out North America, Asia, Mexico, and Europe. Recently named Music & Artistic Director Designate of Savannah Philharmonic, he will conduct the 2019/2020 open-ing and closing concerts before his inaugural season in 2020/2021. Harada’s broad scope of musical interest in symphonic, opera, chamber works, pops, film scores, ballet, educational, outreach, and multi-disciplinary projects leads to diverse and eclectic programs.Recent and upcoming highlights include Houston Symphony, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Osaka Symphony, Osaka Philhar-monic, Hawaii Symphony Orchestra, Kanagawa Philharmonic Orchestra, Nagoya Philharmonic Orchestra, New Japan Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Fort Worth Symphony, Indianapolis Symphony, Memphis Symphony, Louisiana Philharmonic, Charlotte Symphony, West Virginia Symphony, Tucson Symphony, Phoenix Symphony, Virginia Symphony, and Orquesta Filarmónica de Sonora (México).No stranger to the operatic cannon, Harada returns this season for his debut of Leoncavallo’s Pagliacci with North Carolina Opera, for whom he has previously led productions of Carmen and Britten’s Turn of the Screw. In 2017, he conducted Mazzoli’s Song from the Uproar for Cincinnati Opera, as well as a run of Carmen for Bulgaria’s Sofia National Opera and Ballet that was reprised with a Japan tour in the fall of 2018. In past seasons and as Associate Conductor of Arizona Opera, he led productions of Don Pasquale, Le Fille du Regiment, and Tosca. As a 2010 Seiji Ozawa Fellow at Tanglewood, Harada conducted critically-acclaimed perfor-mances of Strauss’s Ariadne auf Naxos. Currently finishing his fourth season as Associate Conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops, Harada regularly assists Music Director Louis Langrée, conducts the CSO, POPS, and works with James Conlon and Juanjo Mena for the May Festival. He is a three-time recipient of The Solti Foundation U.S. Career Assistance Award (2014, 2015, 2016), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, and was a student of Lorin Maazel at Castleton Festival and Fabio Luisi at the Pacific Music Festival. In 2016 and 2018, he was invited by Valery Gergiev to serve on the faculty of the Pacific Music Festival.kharada.com | @KHconductor


Meet the Concertmaster

Dr. Sinisa Ciric is the concertmaster of Savannah Philharmonic, Gwinnett Ballet Orchestra, and a former concertmaster of New Atlanta Philharmonic, Jackson Symphony and Rome Symphony. He appeared as a soloist with Savannah Philharmonic, Rome Symphony Orchestra, Georgia Philharmonic as well as LaGrange Symphony and Bach Festival Orchestra and many other regional orchestras in the United States of America.Dr. Ciric is a founding member of the Balkan Quartet with whom he performed in many concerts promoting the rich musical heritage of his native Serbia and the countries of Balkan Peninsula.He received his undergraduate degree from the Academy of Arts, University of Novi Sad (Serbia), masters and doctoral degree in violin and viola performance at the University of Georgia in Athens where he studied with distinguished professors Levon Ambartsumian and Mark Neumann.Dr. Ciric is an Artist Affiliate with Emory University and had taught violin, viola and chamber music at Oxford College of Emory University. He also held a position of Violin and Viola Instructor at Georgia Perimeter College, Atlanta GA. Since January of 2016, Dr. Ciric is the Director of the Strings Conservatory Program at Savannah Classical Academy and the Artistic Director of Larsen Spotlight Chamber Music Series of Savannah Philharmonic.

CONNECT WITH US

@SavPhilharmonic @SavPhilharmonic @SavPhilharmonic

SHARE YOUR EXPERIENCE USING #savphil

#SAVPHIL • 15

Meet the Chorusmaster

A native of California, Mel Whitehead earned his Bachelors of Music in Vocal Performance from California State Fullerton and his Masters in Vocal Performance from University of Southern California. After singing professionally for 15 years, he settled in Georgia with his wife Sally, and began teaching. In 2006, he earned a Masters of Education in Curriculum and Instruction through the Arts from Lesley University, and in 2017, his Educational Specialist degree in Educational Leadership from Georgia College. He is currently the Performing Arts Supervisor for the Savannah-Chatham County Public School System.

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Make the Most of Your Visit

WHERE DO I BUY TICKETS?There are a few ways you can purchase tick-ets for our concerts:Go online to Savannahphilharmonic.org to purchase tickets and view concert details and learn about single tick-ets, Multi-Concert Ticket packages and Season Subscriptions.Call the Savannah box office at 912 525 5050, option 1 to speak with a representative.Stop by the Savan-nah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm).

WHAT SHOULD I WEAR?Never let your wardrobe keep you from a concert! Your experience of the music is what's import-ant, so wear whatever makes you feel comfort-able. As you'll see, a lot of concertgoers wear business attire or casual business attire. We do ask that you refrain from using strong scents, as they may be distracting to other patrons and the performers.

WHEN SHOULD I ARRIVE?We recommend 30-45 minutes prior to a per-formance. This allows time for you to find parking downtown, go through security, find your seat, and relax before the concert. Classical performanc-es typically feature a pre-concert talk that starts one hour before the concert. If you wish to attend please make sure to plan accordingly.

WHY IS THERE A SECURITY CHECK-POINT?Due to recent events, security check-points and large bag checks are in effect at both the Lucas Theatre of the Arts and the Johnny Mercer Theatre. Weapons of any kind are prohibited on the premises.

CAN I BRING MY CHILD?Savannah Philharmonic welcomes young con-certgoers aged two and above. Regardless of age, all attendees should have a ticket for entry into the hall.Looking for a more fam-ily-oriented experience? We offer our Holiday

Spectacular Family Mati-nee each year. Consider attending our Larsen Musician Spotlight Se-ries: six Sunday concerts at 5:00 pm, offering an intimate musical expe-rience with educational components.

CAN I BRING CONCESSIONS INTO THE HALL?Concessions are avail-able at both the Lucas Theatre for the Arts and the Johnny Mercer Theatre. New this year: Attendees are invited to bring their beverages into the hall to enjoy the concert. To avoid unnec-essary noise, drinks with ice are not allowed in the auditorium.

CAN I HAVE MY CELL PHONE OUT DURING THE CONCERT?We ask that you turn your devices to silent mode and refrain from cell phone use during the concert. Even if you have the brightness on the lowest setting, it can still be a distraction for our musicians and other patrons. If you want to take a photo, be sure to tag #SavPhil in your pictures, but please wait until an applause break, and make sure to turn off your flash.

Savannah Philharmonic welcomes you to an exciting season! Here are answers to some frequently asked questions to help you have the best experience possible.

#SAVPHIL • 17

Audio and video record-ing is strictly prohibited.

HOW SHOULD I LISTEN?There is no “right” way to enjoy a concert. Every-one experiences music differently. In fact, it’s completely okay not to like a piece of music! That’s part of the discov-ery of listening to music: expanding your horizons and learning about yourself. Music is meant to affect you, to spark reactions and feelings, to lead you to reflect on memories. It can be as exciting and energizing as it can be romantic or spiritual. Lose yourself in the music, or keep your eyes glued to the stage to capture the talent and passion of the orchestra, or simply use the time to disconnect, relax and people-watch. What you get out of a concert experience is entirely up to you.

WHEN DO I APPLAUD?The short answer: Applaud when you feel moved to do so. The longer answer: many pieces of music are divided into sections (“movements”), so if you aren’t sure if it’s over, wait

for others to start clap-ping and join in.Why two pieces of advice? Well, the ritu-als around applause changed over time. In Mozart's day, the audi-ence was rather rowdy—clapping, talking, and even shouting during the performance. In the 20th century, this changed, and audiences clapped only at the end of the entire piece of music and then clapped for a long time. This is still the convention today at most orchestras around the world, though our policy is if you have an emotional reaction to the music and need to express it, do it. The mu-sicians are playing their hearts out for you, and your applause means everything to them.

WHAT IF I’M LATE?Out of respect for our performers, we ask that you find your seat before the concert. If you are late, you will be seated at applause breaks. Please take your seat quickly and quietly. Some performances do not have many applause breaks, so please do your best to be on time.

I ATTENDED ONCE AND DIDN’T LIKE IT. WHY SHOULD I GO AGAIN?We wish we could guar-antee you would love each and every concert, but art speaks to every person differently. Consider trying a few concert experiences to see what best suits your tastes. That’s the joy of it! We hope you’ll play the field a bit and “date” a few different concert experiences—true love could be just around the corner.

HOW DO I GET MORE INVOLVED?

We’re glad you’ve enjoyed your experience with us! If this is your first time at one of our con-certs, you can consider becoming a season subscriber, volunteering, or donating to our Annual Fund. Together, we can continue Savan-nah Philharmonic’s mission to inform, instruct and enrich the community through orchestral and choral performances, and to promote and increase community knowledge and appreciation of the arts.

Savannah Philharmonic welcomes you to an exciting season! Here are answers to some frequently asked questions to help you have the best experience possible.

Visit our website at savannahphilharmonic.org for tickets and more information. Still have more questions? Call the Savannah Philharmonic at 912 232 6002 and speak with our Development & Patron Services Associate.


PRE-CONCERT TALKS Presented before each full orchestral concert 6:30 pmHosted by Edward J. Lada, Director of Artistic OperationsDesigned to enhance your concert experience and better acquaint attendees with the evening’s music, the host of the pre-concert talks will deliver insightful conversation.You won’t want to miss this behind the scenes opportunity!Pre-concert talks are scheduled for the following concert dates:MISCHIEVOUS MUSICIANS January 18 7:30 pm Lucas Theatre for the Arts Janna Hymes, conductor

MODERN TO MAJESTIC February 8 7:30 pm Johnny Mercer Theatre Enrico Lopez-Yañez, conductor

GERMANIC PASSION March 21 7:30 pm Lucas Theatre for the Arts Vlad Vizireanu, conductor

MOZART’S REQUIEM May 2 7:30 pm Johnny Mercer Theatre Keitaro Harada, conductor

#SAVPHIL • 19

TAKE OUR SURVEY!After each concert, ticket purchasers will receive a short electronic survey. Participants have seven days to submit their feedback. Your invaluable feedback will help shape the future of your Savannah Philharmonic. Questions? submit to [email protected].

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Mischievous Musicians

Mischievous Musicians

Divertissement Jacques Ibert I. IntroductionII. CortègeIII. NocturneIV. ValseV. ParadeVI. Finale

Concerto for Piano No. 12 Wolfgang Amadeus Mozart in A major, K. 414 I. AllegroII. AndanteIII. Allegretto

INTERMISSION

Symphony No. 8 Ludwig van Beethoven in F major, Op. 93I. Allegro vivace e con brioII. Allegretto scherzandoIII. Tempo di menuettoIV. Allegro vivace

Overture to The Barber Gioacchino Rossini of Seville

Saturday, January 187:30 pmLucas Theatre for the Arts 32 Abercorn StreetPerformance length approx. 72 minutes

Janna Hymes, conductor

Nathan Lee, piano

Thank you to our generous sponsors

Susan & Ron Whitaker

#SAVPHIL • 21

Notes on the Program

Divertissement (1929) by Jacques Ibert Savannah Philharmonic premiere Performance time: Approx. 15 minutesThere’s no good way to summarize Jacques Ibert’s musical style, mainly because he steadfastly refused to limit himself to a single style during his career. Though not as well-known a name as the other composers on this program, he com-posed music for large orchestras, chamber ensembles, and solo instruments, ballets, operas, and even films like Orson Welles’ Macbeth and Gene Kelly’s Invitation to the Dance. Divertissement is a suite of incidental music originally for Eugene Labiche’s play “An Italian Straw Hat.” The six move-ments poke fun at popular music styles of the time, including a comic-opera overture, Mendelssohn’s “Wedding March,” a wrong-note waltz, and an inappropriately upbeat funeral march.Concerto for Piano No. 12 in A major, K. 414 (1782) by Wolfgang Amadeus Mozart Savannah Philharmonic premiere Performance time: Approx. 25 minutesIn the spring of 1781, Mozart was in the middle of a feud with his employer, the Archbishop of Salzburg. The Archbishop had forbidden him to accept other engagements, eventually leading Mozart to offer his resignation, which the Archbishop refused. However, the feud worsened, and Mozart was even-tually granted his wish and was fired with a literal “swift kick in the pants.” After moving to Vienna, Mozart’s fortunes were on the rise. His operas Idomeneo and The Abduction from the Seraglio were doing well and he was in demand as a soloist for public concerts. He wrote his piano concertos numbers 11, 12, and 13, to be performed for concerts during Lent in 1783. Lent was a popular season for such concerts at the time in Vienna. All theaters were dark during Lent, meaning more musicians were available for other work.In Mozart’s own words, these concerti were written to be “a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid.” Number 12, in particular, pays homage to Mozart’s former music teacher from London, Johann Christian Bach, who had recently died. During the second movement, Mozart reverentially adapts a melody JC Bach had composed for an opera in 1763.



Nathan Lee, piano


Notes on the Program cont’d

Symphony No. 8 in F major, Op. 93 (1812) by Ludwig von Beethoven Savannah Philharmonic premiere Performance time: Approx. 23 minutesThe summer of 1812 was an eventful period for Beethoven. His health was poor, so his doctor ordered him to spend the summer at the spa town of Teplitz (modern-day Teplice, in the Czech Republic). While there, Beethoven was worried about his finances, worried about his brother Johann’s love life (Johann was scandalously co-habitating with a woman who already had an out-of-wedlock child; the couple would mar-ry by November of that year), and worried about his own love life (his infamous ten-page letter to his “Immortal Beloved” was written during this summer). Sometime that summer Beethoven met his idol, the author Goethe, and the meeting went poorly enough it was immortalized in a painting known as “The Incident in Teplitz.” And yet, Beethoven managed to write his shortest, most light-hearted, and most subversive symphony in 1812. Though it received a lukewarm reception at its premiere, Beethoven felt the Eighth Symphony was superior to the Seventh in every way. The first movement’s form is deceptive, opening with a passage that sounds like a grand finale, only to launch into an opening melody. The symphony strangely has no “slow” movement. Instead, the second movement is a rhythm-ob-sessed intermezzo – long thought to be inspired by Johann Maelzel’s recently-invented metronome – that almost fore-shadows neoclassical composers like Stravinsky. The third movement, Beethoven’s only symphonic minuet, is a surpris-ingly lyric change of pace. And in the final movement, Bee-thoven occasionally creates quasi-melodies by altering the instrumental colors of repeated chords – a technique nearly a century ahead of Schoenberg and Webern’s concept of “Klangfarbenmelodie.” Taken as a whole, it’s no surprise that a symphony so far ahead of its time went largely unappreci-ated by contemporary audiences.



Nathan Lee, piano

Overture to The Barber of Seville (1791) by Gioacchino Rossini First performed by SPO: 2012 Performance time: Approx. 7 minutesRossini is still, at least in this writer’s opinion, one of the great-est composers ever to write for the opera stage. His talents were such that he wrote his greatest masterpiece (the first true French Grand Opera) William Tell, at the age of 38 and promptly retired. Upon hearing “William Tell,” Donizetti - the greatest living opera composer at the time - declared that although Rossini wrote Tell’s first and last acts, the middle act

Klangfarbenmelodie (German for “sound- color melody”) is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instru-ments), thereby adding color (timbre) and texture to the melodic line.

#SAVPHIL • 23

had been written by God. Although Rossini lived another 39 years, he would never write another opera.However, William Tell was Rossini’s only truly successful seri-ous opera. His talents lent themselves much more easily to comedy, and in fact Rossini once said he would be just as happy setting laundry lists to music. But out of all his operas, he found no greater “laundry list” than Beaumarchais’ wildly popular play The Barber of Seville. The overture to The Barber of Seville is perhaps best known from the classic Bugs Bunny cartoon, “The Rabbit of Seville.” Rossini’s comedic overtures were often afterthoughts, composed at the last minute. Much of the musical material for the Barber’s overture was in fact recycled from his earlier, relatively unsuccessful dramat-ic operas Aureliano in Palmira and Elisabeth, Queen of En-gland. Fortunately, necessity is the mother of invention, and in this case Rossini’s self-plagiarized, hastily thrown-together afterthought of an overture became one of the most beloved pieces of music ever written.



Nathan Lee, piano


Meet the Conductor

Versatility, passion and innovation are the hallmarks of Amer-ican conductor Janna Hymes. Renowned for her inspiring performances, musical depth and energetic presence both on and off the podium, she has developed a reputation as an exciting, detailed communicator. Praised by the press as “an architect, a builder in sound, a conductor with an overall view who never misses details”, Ms. Hymes is Music Director of Indiana’s Carmel Symphony Orchestra (CSO) since 2017. A popular guest conductor, Hymes continues to expand her relationships with orchestras nationwide.Ms. Hymes' previous posts include Music Director of the Williamsburg Symphony Orchestra and Maine Grand Opera, Associate Conductor of the Indianapolis Symphony, Resident Conductor of the Charlotte Symphony and Music Director of the Columbus Women’s Orchestra, the Cincinnati Compos-ers’ Guild and the I Solisti Cincinnati Chamber Orchestra. She has served as Assistant Conductor of the Canton Symphony Orchestra (Ohio) and the Teatro Massimo Opera House in Pal-ermo, Italy, and as a frequent guest of the Messiaen Acade-my in Zwolle, Holland. Ms. Hymes also founded and served as Music Director of the Maine Pro Musica Orchestra, a profes-sional orchestra in Mid Coast Maine she launched in 2008.Born in New York City, Janna Hymes is a Fulbright scholar, recipient of a 1999 Geraldine C. and Emory M. Ford Founda-tion Grant, and a prizewinner of the 1998 International Con-ducting Competition in Besancon, France. She studied under such prominent conductors as Leonard Bernstein, Gustav Meier, Otto Werner-Mueller and Gunther Schuller, and holds degrees from the University of Wisconsin-Madison and the College-Conservatory of Music of the University of Cincinna-ti. She also studied at the Tanglewood Music Center, Aspen Music Festival, the Festival at Sandpoint (Idaho), and the Conductor’s Guild Institute.



Nathan Lee, piano

#SAVPHIL • 25

Meet the Artist

#SAVPHIL • 25

At the age of fifteen, Nathan Lee won First Prize in the 2016 Young Concert Artists International Auditions, and was also awarded no less than fourteen special Concert Prizes. He currently holds the Mortimer Levitt Piano Chair of Young Concert Artists.Mr. Lee made his New York debut at sixteen in the Peter Marino Concert, opening the Young Concert Artists Series at Carnegie Hall. The Korean Concert Society Prize sponsored Mr. Lee’s sold-out, critically-acclaimed Kennedy Center debut in Washington, DC, a co-presentation of YCA with Washing-ton Performing Arts.Mr. Lee was selected to share the stage with pianists Jean-Yves Thibaudet (YCA alumnus) and Lang Lang on Gala Evening for the Seattle Symphony, and with pianists Ilana Vered (YCA alumna) and Sasha Starcevich in a “Three Gener-ations Concert” in Perugia, Italy.In May 2019, Nathan Lee gave his New York concerto debut at Lincoln Center’s Alice Tully Hall, performing the Mendelssohn Piano Concerto No. 1 with the Orchestra of St. Luke’s conduct-ed by Teddy Abrams. He has also appeared as soloist with the Cleveland Orchestra, Minnesota Orchestra, Seattle Symphony, Buffalo Philharmonic on NPR’s From the Top, Chamber Orchestra of the Triangle (North Carolina), Orquesta Filarmónica de Boca del Río in Mexico and Daejeon Philhar-monic in Korea.Nathan Lee, who lives just outside Seattle, Washington, began playing the piano at the age of six and made his orchestral debut at the age of nine. He studies with Sasha Starcevich.



Nathan Lee, piano


AN EVENING OF

Tango

Hosted by Maestro Keitaro Harada

FRIDAY, JANUARY 31 6:00 pm $150Victory North 2603 Whitaker StCocktails, tapas, and an evening of tango music and danceSpecial guest Gustavo Feulien, Argentinian-American Baritone

All proceeds support Savannah Philharmonic’s mission

Savannah Philharmonic Presents

TICKETS: SAVANNAHPHILHARMONIC.ORG#savphil

#SAVPHIL • 27

Strings United

Strings United

String Quartet No. 4 in C, K. 157 WolfgangAmadeus Mozart

String Quartet in F Major, Joseph Haydn Op. 74, No. 2 101 I. Allegro spiritoso

String Quartet in C Minor, Ludwig van Beethoven Op. 18, No. 4 III. Scherzo

String Quartet No.13, Franz Schubert D 804 “Rosamunde” I. Allegro ma non troppo

Quartet No. 2 in D major for Strings Alexander Borodin I. Allegro moderato

String Quartet No.1 in D Pytor Tchaikovsky II. Andante cantabile

Concerto grosso for strings Karl Jenkins ‘Palladio’ I. Allegretto

Larsen Musician Spotlight Series

Sunday, January 26 5:00 pm First Presbyterian Church 520 Washington AvenuePerformance length approx. 65 minutes

Nancy & Ken Larsen


ViolinAdrienne CaravanSinisa CiricElizabeth JonesFrances PragerEmily PrimmerTiana RudenJamsine SamsMina SmithMatthew Yeo

VIOLAJalin Graham Yvonne Johnson Ariana Kalantari Alden Kidane Nehemiah Turner

CelloErin Cassel Peter Gardner Allegra Luna Fayha Polite Sarah Povie

BassSydnie Roberds


Modern to Majestic

Modern to MajesticDanzón No. 2 Arturo Márquez

Dreaming of the Masters III Allan GillilandI. 101 DamnationsII. PrayerIII. Lower Neighbours

INTERMISSION

Symphony No. 4 Pyotr Ilyich Tchaikovsky in F minor, Op. 36 I. Andante sostenutoII. Andantino in modo di canzonaIII. Scherzo – pizzicato ostinatoIV. Finale: Allegro con fuoco

Saturday, February 87:30 pmJohnny Mercer Theatre 301 W. Oglethorpe AvenuePerformance length approx. 66 minutes

Enrico Lopez-Yañez, conductorThomas Gansch, trumpet


Charles C. Taylor & Samir Nikocevic Charitable Foundation

Bob Faircloth

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Danzón No. 2 (1994) by Arturo Márquez Savannah Philharmonic premiere Performance time: Approx. 9 minutesThe danzón is the official dance of Cuba, but it is also an im-portant dance both in Puerto Rico and in the Mexican state of Veracruz. In its earliest form, the danzón is a relatively slow, formal couples dance that evolved from the French contre-danse style by way of Spain. As time has gone on, the danzón has incorporated Cuban montuno and son, and eventually grew into styles like the cha-cha-cha and the mambo. Ar-turo Márquez’s piece - commissioned in 1994 by the National Autonomous University of Mexico - is definitely inspired by the more virtuosic and energetic varieties of the danzón. The work was popularized by Gustavo Dudamel and the Simón Bolivar Youth Orchestra of Venezuela.Dreaming of the Masters III (2010) by Allan Gilliland Savannah Philharmonic premiere Performance time: Approx. 15 minutesCommissioned by the Edmonton Symphony Orchestra. Writ-ten for Jens Lindemann, trumpet. Notes by the composer:“My Dreaming of the Masters series arose from a desire to combine my experience as an orchestral composer with my background as a jazz composer and performer. I wanted to write a series of concerti for soloists who were comfortable in both classical and jazz idioms. Each concerto would find inspiration in the jazz greats of the instrument I was writing for and, though fully notated, would allow the player the option to improvise. Dreaming of the Masters I was a clarinet concerto written for James Campbell and Dreaming of the Masters II was a piano concerto written for William Eddins.“Dreaming of the Masters III is more an homage to the trum-pet in popular music rather than any real individuals. The ob-vious choices would have been Louis Armstrong, Miles Davis and Dizzy Gillespie but I think, because I'm a trumpet player myself, this seemed too obvious. Also, because I know Jens so well, I really wanted to write a piece that was tailor-made to his incredible virtuosic skills.“The three movements are titled; 101 Damnations, Prayer, and Lower Neighbours. 101 Damnations pays homage to the trum-pet in jazz starting with a slow New Orleans style blues that moves into 1940’s big band swing. The title comes from when I was a young child struggling to pronounce my “L’s” properly. So I was always asking to see my favorite Disney movie “101 Damnations”. The inspiration for Prayer came from wanting to showcase Jens’ beautiful flugelhorn playing. It starts and





ends with short cadenzas surrounded by ethereal orchestra-tion. The middle section has a slow groove that allows Jens a chance to improvise. Lower Neighbours pays homage to 20th century cornet virtuosos and the great Latin tradition of the trumpet. I like to think of it as Herbert L. Clarke meets Tito Puente. The title refers to both the melodic gestures played by the cornet - the opening virtuosic section contains many upper and lower neighbor notes - as well as the fact that Latin music comes from our neighbors to the south.”Symphony No. 4 in F minor, Op. 36 (1878) by Pyotr Ilyich Tchaikovsky Savannah Philharmonic premiere Performance time: Approx. 42 minutesTchaikovsky’s Fourth Symphony is one of the great pillars of the symphonic repertoire but, like many great works, it was not appreciated when it was first composed. Tchaikovsky was an unusual figure in Russian music in the late 1800s. He distanced himself from The Five (Mussorgsky, Borodin, Rimsky-Korsakov, Cui, and Balakirev) who felt that Russian music needed to have a distinctly Russian identity. It should be noted that none of The Five were conservatory-trained, and Balakirev even considered “academicism” to be a threat to Russian music.Tchaikovsky, though conservatory-trained under Anton Rubinstein, also refused to fully ally himself with the western-ized music conservatories that felt Russian music needed to be “refined” to meet the standards of the West. Instead, Tchaikovsky felt there should be a way to write music that would exemplify Russian musical traditions, but with a tech-nical quality that would stand up to any criticism and tran-scend national borders.The end result was that Tchaikovsky’s centrism left him out of favor with both major camps in Russian music at the time. At its premiere, critics called the Fourth Symphony an “overlong tone-poem” with three extra movements tacked on to justify calling it a symphony. Its American premiere went no better, with the New York Post calling it “semi-barbaric.” As late as 1897, German reviewers still complained of the “confusion in brass and the abuse of the kettledrums.” Despite the cool initial reception, the Fourth Symphony is widely regarded to be Tchaikovsky’s best contribution to the genre.



#SAVPHIL • 31

Meet the Conductor



Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony. Appointed in 2019, he leads the Sym-phony’s Pops Series and Family Series. Since working with the Nashville Symphony, Lopez-Yañez has conducted concerts with a broad spectrum of artists including Toby Keith, Trisha Yearwood, Richard Marx, Jennifer Nettles, Hanson, Kenny Loggins and more.During the 2019/20 season, Lopez-Yañez will make appearanc-es with the San Diego Symphony, Edmonton Symphony, and return performances with the Detroit Symphony, Rochester Philharmonic, and Sarasota Orchestra. Lopez-Yañez has ap-peared with orchestras throughout the United States includ-ing the Utah Symphony, Omaha Symphony, and Oklahoma City Philharmonic.Sharing an equal love for opera, Lopez-Yañez served as As-sistant Conductor and Chorus Master for the Berkshire Opera Festival, where his work was met with rave reviews. He has led opera gala concerts in San Diego and Aguascalientes, Mexico, as well as a production of Madama Butterfly with Main Street Opera in Chicago.An active producer, composer and arranger, Lopez-Yañez has contributed to numerous albums, including the UNESCO bene-fit Action Moves People United and the children’s music album The Spaceship That Fell in My Backyard, winner of the John Lennon Songwriting Contest, Global Music Awards, Hollywood Music and Media Awards and more.Lopez-Yañez previously held the position of Assistant Conduc-tor with the Omaha Symphony. He holds a Master’s in Music from the University of Maryland and received a Master’s in Music and his Baccalaureate from UCLA, where he graduated summa cum laude.


Meet the Artist

Thomas Gansch was born on December 31st 1975 in St Pölten, Lower Austria. He was raised in Melk, where he first learned to play the trumpet from his father Johann Gansch. In his attempt to follow the footsteps of his half-brother Hans, who, at the time, occupied the solo trumpet chair in the Vienna Philharmonic Orchestra, he studied classical trumpet in Vien-na for 6 years with two different teachers.After having subbed in all opera houses, classical orches-tras and contemporary ensembles in Vienna, he came to the most important conclusion in 1997: to do his own thing. He dropped out of music university and went on to become a freelance player with “Mnozil Brass,” which he founded in 1992 and “Gansch and Roses” in 2000 and is a regular composer for these bands.Gansch also was a member of the famous “Vienna Art Or-chestra” for eight years. Together with Austrian manufacturer Schagerl, he designed a special rotary trumpet called the “Ganschhorn” and a Flugelhorn of the same kind called “Killer Queen”.The “Killer Queen” FlugelhornIntroduced in 1989, Schagerl Meister Series Rotary Trumpets are world renown for being the highest quality handmade or-chestral instruments available. Schagerl Meister instruments are also custom made to serve the needs and desires of the most discerning musicians in the world. Like the “Ganschhorn”, the Schagerl Killer Queen Flugelhorn is a kind of symbiosis of a rotary and a piston-valve instrument. In comparison with other flugelhorns, the response of the Schagerl Killer Queen Flugelhorn is easier and more precise. It has a smooth sound with a solid core.



#SAVPHIL • 33

SAVANNAHPHILHARMONIC.ORG

ANNOUNCING THE 2020/2021 SEASONFEBRUARY 24, 2020

Stay tuned for details


CINEPHILE DU JOURE: Blue Heron chamber ensemble

Sunday, February 235:00 pmLutheran Church of the Ascension 120 Bull StreetPerformance length approx. 65 minutes

Jeana Melilli, fluteJessica Messere, celloAndrew Jay Ripley, oboeDr. Benjamin Warsaw, piano


CINEPHILE DU JOURE Blue Heron chamber ensemble

Oboe Sonata in D Major, Op. 166, Camille Saint-Saens Andantino Ad libitum - Allegretto - Ad libitum Molto Allegro

Duo for Cello and Piano, Op. 8, Miklós Rózsa Allegro Risoluto et Energico

The Music of Rachel Portman Rachel Portman Selections from Emma and Chocolat

Duo for Flute and Piano, Aaron Copland Flowing Poetic, somewhat mournful Lively, with bounce

Gabriel’s Oboe Ennio Morricone Arr. for oboe, cello and piano by Yo-Yo Ma

Le Charmeur for piccolo, piano, Nicole Randall and silent film Chamberlain

Nancy & Ken Larsen

#SAVPHIL • 35

Meet the Artists

Jeana Melilli is Principal Flute of the Savannah Philhar-monic and piccolo/third flute for the Greenville Symphony, the Columbus (Georgia) Symphony, and the South Carolina Philharmonic. She is an extra musician for the Atlanta Op-era, the Atlanta Symphony Orchestra, the Atlanta Ballet, the Coastal Symphony of Georgia, and the Charleston Sympho-ny. She has appeared on recordings with the Atlanta Cham-ber Winds, the Sequence Ensemble, and the Atlanta Opera. An avid chamber and baroque musician, she is a founding member of the Hamsa Trio and the Five Points Quintet, as well as the historic performance groups Savannah Baroque and the Columbia, South Carolina based Vista Ensemble. Jeana’s traverso is a copy of a Robbert Wijne flute from 1698 made by



Jessica Messere lives in Atlanta and Savannah with her partner Ethan, two children Taylor and Claire, and two furry children. Jessica takes her cello named Penelope to teach and play in symphonies, small ensembles, recitals, weddings, and in Celli. When not chauffeuring Penelope or her family between Atlanta and Savannah she enjoys CrossFit, practices Olympic Lifts & Powerlifts, reading, meditating, yoga, drinking a Kombucha while watching Star Trek movies and Dr. Who episodes.Jessica chose to play the cello at 9 years old because she liked the low sounding instrument. She studied with the late Wolf-gang Laufer at University of Wisconsin-Milwaukee and earned her Master's degree with Martha Gerschefski at Georgia State University.She has participated in various recording projects, profession-al symphonies, international music festivals, and performed solo in masterclasses for famous cellists such as Norman Fisher, Evan Drachman, Hans Jorgen-Jensen, Darrett Adkins, Timothy Eddy, Andres Diaz, and Yo-Yo Ma.

Jeana Melilli, flute Jessica Messere, cello


Meet the Artists

American pianist, Benjamin Warsaw is a classical pianist, teacher, accompanist, and composer, and has performed numerous solo and ensemble concerts throughout North America and Europe. A native of Atlanta, Georgia, Benjamin holds a Bachelor’s degree and Master’s degree from the Eastman School of Music, Rochester, New York. He completed his Doctorate of Musical Arts in Piano Performance at Boston University in May 2011. Currently Benjamin is on the faculty at Georgia Southern University as Assistant Professor where he teaches piano and theory and is Artistic Director of Piano in the Arts. In 2015, Benjamin released his debut recording, “Warsaw plays Warsaw” featuring a cycle of 24 Preludes for piano solo. Benjamin frequently performs in Savannah and Atlanta.



Andrew Jay Ripley is a firm believer that quality live music should be a daily part of life in Savannah. As principal oboist of the Savannah Philharmonic, and formerly a member of the Savannah Symphony, Andrew received his formal training at The Juilliard School and Indiana University’s Jacobs School of Music. The fifth child of two bagpipers, Andrew grew up on a sheep farm in rural Minnesota, and currently shares his time between music and crafting drinks at his bar the Lone Wolf Lounge.

Andrew Jay Ripley , clarinet Benjamin Warsaw, piano

#SAVPHIL • 37

It costs nearly $2 million to produce a full season of programs. Ticket sales only cover 27% of that cost. Savannah Philharmonic relies on your generous support of our annual fund

to raise the remaining 73% to cover 100%

of the cost of a season.

Annual Goal $2,000,000

Ticket Sales $545,000

$0

Your contribution

matters!

Give today! Visit Savannahphilharmonic.org

Subsidized Annual Support

needed $1,455,000


Sympátheia

Sympátheia

Cool of the Day John RatledgeSing Me to Heaven Daniel GawthropSet Me as a Seal Rene ClausenHow Can I Keep from Singing Robert Wadsworth Lowry / arr. Sarah Quartel Percussion Ensemble selections to be announced from stageSympátheia Martin Gendelman (world premiere)

Sunday, March 85:00 pmTrinity United Methodist Church 225 W. President StreetPerformance length approx. 60 minutes

Musicians of the Savannah Philharmonic Orchestra and ChorusMel Whitehead, conductor

Nancy & Ken Larsen


#SAVPHIL • 39


World Premiere: Sympátheia by Martin Gendelman Performance time: Approx. 15 minutesSympátheia, for voices, percussion, and electronics, is an abstract reflection on our modern interactions and the concepts of sympathetic resonance, deep listening, interconnectedness, and empathy. Our twentieth-first century world is a loud, noisy one. Infor-mation of all sorts lands in our ears and in front of our eyes all the time, every day, and the internet, with its far reaching possibilities, has become a major channel for social interac-tions. Perhaps its most significant advantage, the immedi-ateness in the response, has also created a problem as there seems to be no time, in our modern interactions, for thought-ful communication. No time for reflecting on ideas of our own and others; not time for meditation. No time for listening. Really listening. Listening to others. Listening to ourselves. Sympátheia, a Latin word evolved from Greek, was the term used in Ancient Greece to describe several different phe-nomena. In the realm of Acoustics, the word described what we now know as “sympathetic resonance,” or how a vibratory body may respond to external vibrations. We normally use this concept in regards to sounds, but one could also think of it in relation to our current social interactions. Interestingly, the term was also used by the Stoic philosophers to describe a “belief in mutual interdependence among everything in the universe, that we are all one,” as Marcus Aurelius wrote in his personal reflections. And yet another meaning of the term evolved over the centuries to become what we know today as empathy.




Meet the Composer

The creative work of Martín Gendelman (b.1976) touches on both the acoustic and electronic domains and includes com-positions for solo performer, chamber groups, and orchestra, as well as many cross-disciplinary works and installations (primarily with dance, video, and theatre). Over the past decade, his music has been performed across the Ameri-cas, Europe, and the Middle East by ensembles such as the New York-based Da Capo Chamber Players, the Boston New Music Initiative, the Meitar Ensemble (Israel), and the Orques-ta Sinfónica del Neuquén (Argentina), to name a few. Some of the events in which he has taken part, either as a guest composer or lecturer, include the Festival Forfest in the Czech Republic, CEME New Music Festival in Israel, the Visiones Sonoras International Festival of Musics and New Technol-ogies in Mexico, the New Music Greensboro Festival, Parma Music Festival, and many national and regional conferences of the Society of Composers and the College Music Society.Gendelman is a graduate of Universidad Nacional de La Plata in Argentina (where he studied with Mariano Etkin, among others), California State University Northridge (Liviu Marinescu and Daniel Kessner), and the University of Mary-land (Lawrence Moss and Thomas Delio). Currently, he is Associate Professor of Music and Head of Music Theory and Composition at Georgia Southern University. For more infor-mation, visit www.martingendelman.com



#SAVPHIL • 41


Germanic Passion

Germanic PassionLeonore Overture No. 2, Ludwig van Beethoven Op. 72a Ruckert-Lieder Gustav MahlerI. Liebst du um Schönheit II. Blicke mir nicht in die Lieder!III. Ich atmet’ einen linden DuftIV. Um MitternachtV. Ich bin der Welt abhanden gekommen

INTERMISSIONSymphony No. 9 in C major, Franz Schubert D 944, “The Great” I. Andante – Allegro non troppoII. Andante con motoIII. Scherzo. Allegro vivaceIV. Finale. Allegro vivace

Saturday, March 217:30 pmLucas Theatre for the Arts 32 Abercorn StreetPerformance length approx. 81 minutes

Vladimir Vizireanu, conductor

Ryne Cherry, baritone


#SAVPHIL • 43


Lenore Overture No. 2, Op. 72a (1805) by Ludwig van Beethoven Savannah Philharmonic premiere Performance time: Approx. 15 minutesFidelio is the one and only opera Beethoven ever wrote. It was not an easy compositional process, undergoing multiple revi-sions from its earliest stages in 1803 to its final version in 1814. When it premiered, the opera was titled Leonore – named after a woman who disguises herself as a prison guard (using the name Fidelio) to rescue her husband from political impris-onment. The theater in Vienna changed the title to Fidelio to avoid confusion with two other operas – based on different stories – already titled Léonore and Leonora.The first overture Beethoven wrote for Fidelio’s 1805 premiere is the one being performed tonight, now confusingly referred to as the Leonore Overture No. 2. It is a symphonic master-piece, overflowing with Beethoven’s dramatic intensity, but Beethoven decided it was much too lengthy for the theater, overshadowing the intimate opening scenes of the opera. He wrote a somewhat revised version (now helpfully called No. 3) for performances in 1806 which shaved about 2 minutes of music off the original. Still not satisfied, Beethoven made a third attempt (now perplexingly known as No. 1) for 1808 performances in Prague that clocks in at a mere 9 minutes of music. However, by the 1814 premiere of Beethoven’s final, revised version of Fidelio, he decided to re-do the overture yet again. Beethoven threw out everything he had written and, using entirely new musical materials, wrote a fourth version just over six minutes long, which is now maddeningly referred to as the Overture to Fidelio.Rückert-Lieder (1901) by Gustav Mahler text by Friedrich Rückert Savannah Philharmonic premiere Performance time: Approx. 18 minutesFriedrich Rückert was an extraordinarily popular poet in the first half of the 19th century. He was fluent in thirty languages, and specialized in translating poetry from Asia, India, and the Middle East. He also wrote German poetry in the styles and poetic structures of the Eastern poetry he translated. Numerous musical composers found inspiration in his poetry, including Schubert, Brahms, Richard Strauss, Bartók and, of course, Mahler.Five of Rückert’s poems were the basis for Mahler’s Kinder-totenlieder, and another five were adapted to become this collection. The challenge in presenting the Rückert-Lieder is the wide ranging topics, moods, and instrumentations of the






five poems selected by Mahler. The settings are not designed as a unified song cycle, so each poem has a distinctly dif-ferent character. To reflect the changing mood, each song calls for a different set of instruments in the orchestra, from the harp, strings, and solo winds of Blicke mir nicht… to the full winds, brasses, harp, and piano (without the strings) of Um Mitternacht. Symphony No. 9 in C major, D 944, “The Great” (1826) by Franz Schubert Savannah Philharmonic premiere Performance time: Approx. 48 minutesSchubert is more often thought of as a composer of lieder, piano works, and chamber music, but his orchestral music is equally compelling. Though Beethoven was one of his great heroes, Schubert’s own style does not incorporate the same sort of bombastic drama. Even a casual listener will hear Schubert’s gift for melody and his lyrical shaping of phrases, and the care taken to maintain a clarity of structure through-out the orchestra that could easily vanish in a violent out-burst in a Beethoven symphony.Schubert’s ninth symphony, his “Great” C-major, almost went unperformed. For its time it was an astonishingly long sym-phony, taking around 50 minutes to perform in its entirety. Beethoven’s ninth, premiering just two years before Schubert wrote his ninth, was slightly longer at an hour in length. However, audiences were inclined to indulge Beethoven as a fifty-year-old renowned master, while Schubert was barely 30 years old and just starting to gain some renown.By 1826 Schubert had sent his new symphony to some friends at Vienna’s Musikverein, and the symphony was given a test reading where it was deemed much too difficult to perform. The extreme length of the symphony combined with the taxing nature of the individual instruments’ parts meant no orchestra was willing to tackle the piece for a premiere.After Schubert’s death in 1828, his brother Ferdinand wound up in possession of all his manuscripts and unpublished works. Many of those were slowly sold off to publishers, but there were no takers for the symphonies, operas, and mass-es. At least, that was the case until Robert Schumann decid-ed to pay an unexpected visit to Ferdinand nearly ten years later.During that chance visit in 1837, Schumann happened to glance through the piles of music still in Ferdinand’s posses-sion, and a large manuscript caught his eye. Recognizing this as an unperformed – and inspired – symphony in Schubert’s hand, Schumann rushed the manuscript to Leipzig, where Felix Mendelssohn and the Gewandhaus orchestra gave Schubert’s final symphony the premiere it deserved.




#SAVPHIL • 45

Meet the Conductor




Described as a conductor with “ample gestures, clarity, pre-cision, and genuine passion,” Vlad Vizireanu made his debut with the London Symphony Orchestra at Barbican Hall as the Second Prize Winner in the 2016 Donatella Flick Competition. He was most recently invited to the 2018 Malko Competition with the Danish National Symphony Orchestra in Copenha-gen. In 2019, he was confirmed to the Music Directorship of Knox-Galesburg Symphony.He has worked with a number of orchestras including the Tonhalle-Orchester, Lucerne Festival Strings, New World Symphony, Manhattan School of Music Symphony, and has served as cover conductor for the Los Angeles Philharmonic, Naples Philharmonic, and Sarasota Orchestra. He has also been invited to conduct at the Gstaad Festival, Castleton Festival, and Chautauqua Music Festival.Vizireanu has personally studied with some of the finest conductors of our generation, including Bernard Haitink, Kurt Masur, David Zinman, Michael Tilson Thomas, Neeme Jarvi, and as one of the last students of the late Lorin Maazel under full fellowship at the 2014 Castleton Festival.An ardent advocate of new music, Vizireanu is the Founder & Executive Director of Impulse New Music Festival, a two-week summer program in Santa Barbara, California which brings together young composers and performers to discover new compositions and develop practical skills for the demanding career of music.Vizireanu made his operatic debut in 2013 with Arizona State University Opera and Die Fledermaus. He served as assistant conductor to Lorin Maazel and Timothy Muffitt with produc-tions of Les Dialogues des Carmelites, Madama Butterfly, and Don Giovanni. Vizireanu recently served as Music Director of the North Shore Symphony Orchestra in Long Island, New York and Assistant Conductor for the Thousand Oaks Philhar-monic in Thousand Oaks, California.


Meet the Artist




Baritone Ryne Cherry is an opera, oratorio, and ensemble singer based in Boston, Massachussets. Ryne's opera roles include Forester in Janáček’s The Cunning Little Vixen, Musta-fa in Rossini's L'italiana in Algeri, Pirate King in The Pirates of Penzance, Tomsky in The Queen of Spades, Belcore in L’elisir d’amore, Olin Blitch in Susanna, and Mr. Ford in The Merry Wives of Windsor. His recent oratorio performances include Mozart's Requiem, Durufle's Requiem, Rossini's Petite messe solennelle, and Carissimi’s Jepthe.Ryne has premiered numerous new works by acclaimed composers such as Dominick DiOrio's opera The Little Blue One, Keith Kusterer's chamber piece Echelon, Nazaykinskaya's opera The Magic Mirror, and Kallembach's oratorio The Tryal of Father Christmas.In the summer of 2017, Ryne enjoyed his second season as a vocal fellow at Tanglewood, the Boston Symphony Orchestra's summer home, working and performing with such acclaimed artists as Lucy Shelton, Stephanie Blythe, Sanford Sylvan, and Dawn Upshaw. In the 2017-2018 season, Ryne had performances of Handel's The Messiah with Boston Baroque and The Handel & Haydn Society, portrayed multiple supporting characters in Weill's Threepenny Opera with the Boston Lyric Opera, had his role debut as Second Prisoner in Beethoven's Fidelio with Bos-ton Baroque, and returned to Tanglewood as a guest artist to portray Sam in Bernstein's A Quiet Place.

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Saturday Night’s Fever

Saturday Night’s Fever1920s: I’ve Got a Crush On You George Gershwin / arr. Jay Althouse1930s: I Got Rhythm George Gershwin / arr. Mark Hayes1940s: Peroxide Swing Andrew T. van Slee / arr. Steve Zegree1950s: When I Fall In Love Victor Young & Edward Heyman / arr. Kirby Shaw1960s: Blackbird Lennon-McCartney / arr. Mark Brymer1970s: Somebody to Love Freddie Mercury / arr. Roger Emerson1980s: Africa David Paich & Jeff Porcaro / arr. Phillip Lawson1990s: And So It Goes Billy Joel / arr. Kirby Shaw2000s: Viva La Vida Berryman, Buckland, Champion & Martin / arr. Mark Brymer2010s: Sing Hoying, Grassi, Olusola, Johnson & Hollander / arr. Mark BrymerTaylor the Latte Boy Marcy Heisler & Zina Goldrich / arr. Mac Huff

Saturday, April 187:30 pmLucas Theatre for the Arts 32 Abercorn StreetPerformance length approx. 60 minutes

Savannah Philharmonic Chorus

Mel Whitehead, chorusmaster



Mozart’s Requiem

River Rouge Transfiguration Missy Mazzoli Four Norwegian Dances, Op. 35 Edvard Grieg / Hans Sitt

I. Allegro marcato II. Allegretto tranquillo e grazioso III. Allegro moderato alla Marcia IV. Allegro molto

INTERMISSION

Requiem Wolfgang Amadeus Mozart / Franz Süssmayr I. Introitus II. Kyrie III. Sequentia

a. Dies irae b. Tuba mirum c. Rex tremendae d. Recordare e. Confutatis f. Lacrimosa

IV. Offertoriuma. Domine Jesu b. Hostias

V. Sanctus

VI. Benedictus

VII. Agnus DeiVIII. Communio

Saturday, May 27:30 pmJohnny Mercer Theatre 301 W. Oglethorpe AvenuePerformance length approx. 74 minutes

Savannah Philharmonic Orchestra and ChorusKeitaro Harada, conductorMel Whitehead, chorusmasterAlyssa Toepfer, sopranoStephanie Foley Davis, mezzo- sopranoOmar Najmi, tenorDavid Cushing, bass


Charles C. Taylor & Samir Nikocevic Charitable FoundationRhegan White-Clemm & Timothy ClemmMichael & Catherine Thames

JOIN MAESTRO HARADA FOR THE SEASON FINALE

#SAVPHIL • 49




River Rouge Transfiguration (2013) by Missy Mazzoli Savannah Philharmonic premiere Performance time: Approx. 10 minutesMissy Mazzoli’s “River Rouge Transfiguration,” premiered by the Detroit Symphony in 2013, is based on a vision of the cen-tury-old Ford Motors plant in Detroit, MI. The composer was inspired by a 1927 photograph of the plant by the modernist American photographer Charles Sheeler, “Criss-Crossed Conveyors,” which was described as evoking “an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular convey-or belts forming the shape of what is unmistakably a giant cross.” When the photo first appeared in Vanity Fair in 1928, it was given the evocative title “By Their Works Shall Ye Know Them.”The composer explains, “This is music about the transforma-tion of grit and noise (here represented by the percussion, piano, harp and pizzicato strings) into something massive, resonant and unexpected. The ‘grit’ is again and again fold-ed into string and brass chorales that collide with each other, collapse, and rise over and over again.” The sonic landscape of the work is drawn from the transformation of mundane, discordant sounds into a reverential, contemplative whole.Missy Mazzoli is a Grammy-nominated composer, and is currently the Mead Composer-in-Residence with the Chicago Symphony. She also made history in 2018 as one of the first two women to be commissioned to compose a new opera for the Metropolitan Opera. Her works have been performed by the Los Angeles Philharmonic, Opera Philadelphia, the Kronos Quartet, and pianist Emanuel Ax.Four Norwegian Dances, Op. 35 (1888) by Edvard Grieg orchestrated by Hans Sitt Savannah Philharmonic premiere Performance time: Approx. 16 minutesAs a composer, Edvard Grieg was never comfortable with longer symphonic forms, or even with orchestras in general. He wrote only 15 pieces for orchestra, and even then they were usually suites composed of many short movements, such as his Holberg Suite, or the incidental music to Ibsen’s play Peer Gynt. Four Norwegian Dances is no exception, orig-inally written for piano duet and later orchestrated by Hans Sitt. The dances are based on Norwegian folk melodies col-lected by Ludvig Lindeman. Though light-hearted, the dances still overflow with Grieg’s rhythmic energy, rich harmony, and dramatic flair for unexpected twists and turns.



Requiem in D minor, K. 626 (1791) by Wolfgang Amadeus Mozart completed by Franz Xaver Süssmayr First performed by SPO: 2008 Last performed by SPO: 2016 Performance time: Approx. 48 minutesMozart’s “Requiem” is possibly the most famous unfinished work in existence, and is undeniably one of the greatest choral masterpieces ever written. Many people will likely be familiar with the version of events surrounding the creation of the Requiem as presented in Miloš Forman’s multiple Os-car-winning film Amadeus, but perhaps we should separate fact from fiction.The mystery surrounding the Requiem is due in some part to Mozart’s widow, Constanze. A highly intelligent and savvy businesswoman, Constanze was left responsible for herself, two children, and Mozart’s significant debts after he died in late 1791. She embarked upon a busy campaign organizing memorial concerts, having his compositions published, and writing a biography of Mozart in order to pay off the debts and secure her own financial future. As such, many of the accounts in the biography were subject to fantastical embel-lishments that would hopefully increase sales of the book.It’s true that the Requiem was commissioned by an unknown party. Far from a masked or disguised Antonio Salieri, though, the transaction was handled by intermediaries on behalf of Count Franz von Walsegg. The Count had a habit of commis-sioning works by other composers and presenting them as his own compositions. In this case, the count wanted a requi-em mass to honor the passing of his late wife.When Mozart died with only half of his Requiem completed, Constanze was desperate for the income from the commis-sion, so she turned to Franz Süssmayr, a friend and composer who had assisted Mozart in work on The Magic Flute and La clemenza di Tito, to complete the Requiem in secret.Even through Süssmayr’s rendering of Mozart’s sketches, a listener can hear the remarkable innovation in Mozart’s final work. He broke ground by mixing new instruments (such as basset horns and trombones) with baroque-style continuo playing from organ and low strings. Mozart was a keen stu-dent of older works by Handel and Bach – to a much greater extent than most composers of his day – and he managed to combine their contrapuntal and stylistic forms with his own lyrical and harmonic innovations into a nearly forty years ahead-of-its-time foreshadowing of the Romantic style.



#SAVPHIL • 51

Meet the Artists


Soprano Alyssa Toepfer has been praised as a performer with "unbridled dexterity" (Kansas CityStar) and a "marvelous, soaring tone" (KC Metropolis). Stage credits include Littler Daughter in Missy Mazzoli’s Proving Up with Ad Astra Music Festival, Musetta (La bohéme) with Opera180, Zerlina (Don Giovanni) with Lawrence Opera Theatre, Adele (Die Fleder-maus) with Opera South Dakota, Jemmy (Guillaume Tell) with Wichita Grand Opera, Pamina (Die Zauberflöte) with the South Dakota Symphony, Lauretta (Gianni Schicchi) with Op-era South Dakota, and Gretel (Hansel und Gretel) with Opera Omaha. She currently sings with the Grammy award winning Kansas City Chorale. Alyssa was a Nebraska district winner in the Metropolitan Opera National Council Auditions in 2010. Born and raised in Sioux Falls, SD, she completed a Bache-lor of Arts in Music at Augustana University and a Master of Music in Voice at UMKC. For more information, please visit alyssatoepfer.com.Stephanie Foley Davis was praised by the New York Times in her Glimmerglass Festival debut in The Tender Land as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.” Ms. Davis has appeared in leading roles throughout the US with companies such as Glimmerglass Festival, Arizona Opera, Nashville Opera, Opera Roanoke, Orlando Philhar-monic and almost every professional opera company in North Carolina, including Opera Carolina, Piedmont Opera, North Carolina Opera, and Greensboro Opera. Stephanie makes her company debut with Vero Beach Opera, singing Rosina in Il Barbiere di Siviglia in January 2020. Also, this season will see her with North Carolina Opera as 2nd Lady in The Magic Flute. Ms. Davis is Chair of the Voice Faculty at The Music Academy of North Carolina, where she has been teaching voice since 2011.

Alyssa Toepfer, soprano Stephanie Foley Davis, mezzo-soprano


Meet the Artists

Tenor Omar Najmi is a familiar face on the stages of Boston, where he makes his home. As an Emerging Artist with Boston Lyric Opera, Omar has appeared in over ten productions, including his critically acclaimed performances as Vanya Kudrjas in Katya Kabanova. Omar is a recent recipient of the Harold Norblom Award from Opera Colorado, where his appearances include Joe in La Fanciulla del West, and Nor-manno and Edgardo in Lucia di Lammermoor. Off the operatic stage, Omar has maintained an active con-cert career. Most recently, he collaborated with soprano Lau-ra Intravia and pianist Brendon Shapiro in the creation and performance of "An American Timeline," a multimedia recital program exclusively featuring works by American composers. Omar has been a Young Artist with Chautauqua Opera, Op-era Saratoga, Opera North, and Opera NEO. He holds a M.M. from Boston University, and a B.M. from Ithaca College.

David Cushing’s versatile bass-baritone range is effort-lessly demonstrated in a variety of roles including recent appearances in the title roles of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. Of a recent performance, the Boston Herald exclaimed, “his portrayal of hoodwinked old Pasquale… was a revelation. He could easily specialize in Ital-ian opera’s wealth of foolish-old-man roles and become the basso buffo of his generation.”Mr. Cushing’s recent engagements have included Spara-fucile/Monterone in Rigoletto and Leporello in Don Giovanni with Opera Tampa; Sarastro in Die Zauberflöte with Floren-tine Opera; Leporello with Syracuse Opera; Dr. Dulcamara in L’elisir d’amore and Figaro in Le nozze di Figaro with Opera North; and the leading role of Maometto in Rossini’s rarely performed opera L’assedio di corinto alongside renowned soprano Elizabeth Futral with Baltimore Opera.


David Cushing, bassOmar Najmi, tenor

#SAVPHIL • 53

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BACH AND ESSENTIALS SUNDAY, FEBRUARY 9Craig Price, bass-baritone

Bach Cantata Ich habe genug (BWV 82), Psalm 30 by White, and selected Spirituals

FROM BACH TO WARSAW SUNDAY, APRIL 26Benjamin Warsaw, pianist

Keyboard music beginning with Bach and continuing through three centuries of invention. Played on the newly acquired Steinway piano

THE BEATLES AND BACH THURSDAY, MAY 21Laura Ball, soprano

Bach Cantata Jauchzet Gott in allen Landen (BWV 51) and music by The Beatles

All performances 7:30 PM

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Contributors

The Savannah Philharmonic Orchestra is very grateful to the individuals, organizations and corporations who support us. Donations listed are Annual Fund, Corporate, Event Patrons, and Foundation and Government Grantor Contributors as of January 13, 2020. The Legacy Society recognizes donors who provide support through planned giving.

#SAVPHIL • 55

LEGACY SOCIETY: $100,000 - $999,999 E. Austin Hill Revocable Trust Rhegan White-Clemm

CONCERTMASTER CIRCLE: $50,000 - $99,999 Mr. & Mrs. Robert Demere Nancy & Ken LarsenSusan & Ron Whitaker

SOLOISTS’ CIRCLE: $15,000 - $49,999 Rhegan White-Clemm & Timothy ClemmCharles C. Taylor & Samir Nikocevic Charitable Foundation

PRINCIPALS’ CIRCLE: $7,500 - $14,999 Peter & Camille EdwardsRobert FairclothLynn Weddle & Bud GreenMr. Joseph L. HerringLyon D. JemisonDiana LangerJoan & Herb McKenziePeg & Ron MorrisOriginal Hippie LLCMrs. David N. SovchenMichael & Catherine Thames

MUSICIANS’ CIRCLE: $3,500 - $7,499 AnonymousBetsey AndersenGus & Jan BellDr. & Mrs. Sidney Jefferson Bolch, IIIKathleen & Steve BrennemanCarolyn & Darryl BrownDorothea & Tim CoyJo & Will CrakeChris & Staci DoneganDick & Judy EckburgNina & Ron Eidell

Richard FosterCynthia HeilThe Lauretti FamilyPamela & Marek LewandaAnn LytleKathryn & Mike McLearnThomas & Ruth McMullinDave & Sylvaine NeisesKelley B. ParkerGreg & Margo PlauntDrs. Heather Simon & Stephen PohlJackie & Stephen RabinowitzGeorgine & Jim ScottDr. & Mrs. J. Wayne SheridanFran & Hue ThomasMr. & Mrs. R.E. ThorpeMichael W. & Peggy TowsonDiane TracyEd & Mary TritchErin & James WatermanChris Poe & David Zyla

ALLEGRO CIRCLE: $2,500 - $3,499 Phyllis E. AlbertsonKathryn & Michael BrysonHarold W. BulmanMimi CayDavid Goslin & Nancy McGirrDr. & Mrs. Joel A. GreenbergAnnette B. HartleyMrs. Toby HollenbergJoan & Jack KasterMrs. Robert O. LevittVenessa LottJoann McElravy & Fred WolfCindy & Richard MooreDaphne NashMr. & Mrs. J.R. PaddisonGeorge & Ellen PowersSue & Dick PriorMrs. Frank L. Wooten Jr.


Contributors cont’d

PATRON LEVELSCOMPOSERS’ CIRCLE: $1,000 - $2,499AnonymousJudy & Shelly BarquistKelley & Neil BermanGary & Sandy BocardMr. & Mrs. Daniel H. BradleyJoan & Gary CapenBetsy & Bob ContinoThomas L. CurlessLynne & Charles DavisCheri Sheridan & Joe DrakeKarl & Sandy DreisbachShaun & Rachel FieldsDr. Richard F. Leighton & Dr. Sylvia K. FieldsDavid & Patty FrothinghamJohnny & Susan GanasMorris & Marla GeffenDr. John Bryan & Dr. Donna GrahamDr. Alex C. & Ann GuiraMarie Simmons & Tom HairstonThe Rev'd J. Patrick Hunt SSCScott & Pat JamesRodger JohnsonPatricia & Frank KabelaFran & Bob KellyJohn G. Kennedy FoundationMimi & Joe KruppRichard K. LaneAaron & Dayle LevyBruce & Dorothy MastonKathleen McGuire & Robert JonesSam & Barb McLaughlinAnn Yingling & Charles MorrowBill & Jane PetersonJohn PorterRonald PrattMary Raines

Ann & Tom RameeRosalie S. Morris FoundationWilliam & Margaret RousseauJohno Morisano & Carol SawdyeChristine B. Aiken SicklesMichael & Gail SiegelPhilip & Cathy SolomonsMary & Ned SommerPriscilla & Ronald StahlDr. Susan TimnaBill UdryPatty & Bill UlmerRobert & Frances VinyardBrianna & O.C. WelchAlice & Howard WeltDon & Beverly WhiteRay WilliamsCharles & Sally Yarber

PATRON: $500 - $999AnonymousMargaret Betz & John ChropovkaDiane & Jim BradshawMaureen CraigMargot CuttingCarol D'CruzD. Morgan DerstLeda Chong & Kevin DewaltDr. & Mrs. H. Emerson Thomas, Jr.Roger & Karen FoulkesJohn & Anne GardnerGurdon & Kathy WattlesDavid & Gail KerrJ. Del & Jeanine LambBert & Carol LarssonDick & Mary MolnarMr. & Mrs. John KleineBetsy & John RabunMelissa & John Paul RowanPeter & Christine RivesMarie Scheuermann

#SAVPHIL • 57

Ralph & Peggy SchillyBob & Marilyn SlagelDonna & Edwin SlappeyBrent TaylorJohn & Penny TelgenerHaydee & Jim ToedtmanLouise & Tom WagnerJudy & Phil WaltersMr. & Mrs. Pendleton P. WhiteMr. & Mrs. David A. Young

SUPPORTER: $250 - $499Betty & Walker BeesonVic & Jean BellJP & Eva BlachereAndrew & Kim BoguszewskiSue & Bill BoutonMr. & Mrs. Claude R. BreeseDavid & Maynett BreithauptAnne W. DaurayRalph & Linda DavisGeorge & Martha FawcettSheila & Martin GrossmanLynn P. HarringtonJanet H. HietbrinkDick & Joanne HochmanJeff & Kathy IgnatoffMyron & Fran KaminskyBrenda & Brian KenworthyDon & Kay KoleMarie & Bob KraftWalter & Christina LehneisCarol & Robert LestinaMarjorie & B. H. Levy, Jr.Dr. & Mrs. George B. LongstrethDon & Margaret McCullochAshby & Annie MoncureJames & Kathleen MooreLawrence M. & Arlene C. OberdankMrs. Jane PaternoSusannah & Jason PedigoKris Brenard & Barbara Powers

Merritt QuarlesCol. & Mrs. Henry M. Reed IIMaria RoelleJoan RossJoseph & Marie RozmanMichael & Kat ScanduraMrs. Jan SchendorfChristopher & Cristina SenkowskiAndrew & Alicia ShillingtonWilliam P. SimmelinkCindy & Steve SzczecinskiCindy & Will TelljohannBarby & Al TownsendMr. & Mrs. John TuckerDan & Carol WalshMelvin Hutcheson & Billy WootenRichard & Jan Wright

SUSTAINER: $100 - $249Nancy & Ned AlmyLaura BakerBrad & Gail BeamanB. G. BowersDavid BuchananJoan D. BurnsMr. & Mrs. Bernard Y. ConyersJohn CorkStacie CourtHarriett DeLongRichard & Jeanne DentCelia DunnRuth E. FensterJeff & Lynn FranklinJeffrey and Lynn FranklinSkip & Peggy GillenwaterDr. & Mrs. Ronald GrimmVerne & Lynnetta HartsonPeggy HedemanHoward & Deborah HelmkenCarolyn HultmanJames JohnsonNancy Lazard


Contributors cont’d

Ellen Lenart SpiridonKaren & Cliff LindholmHarvey & Cathy LynnSal & Karen MartorelliMonica McGoldrickJack & Barbara McMakenRon Melander & Jordan GrayBiff & Jerry MontanaR. Valerie OsbornSandra & Bill ParrottRobert PerkinsBarbara PilzerThomas V. & Susan G. ReillyGuy & Carole RenferKristin RussellCorrine & Jeffrey SamuelsErich & Anneliese SchweistrisMaurice & Nancy SheppardCarol & Mike SpahnCatherine Spruill & Thomas ShinnickMarilyn S. & Stephen J. SztukNancy K. ThompsonGerald ThorneJoan & Stuart WeinerDr. & Mrs. John WestDr. & Mrs. Les L. WilkesCarmen A. YoungDr. & Mrs. Michael Zoller

CORPORATE SPONSORSAudiology & Hearing Aid ServicesBrasseler USACabretta CapitalCIBC Private Wealth ManagementCharles SchwabColonial Group Inc.Cordasco & Company, PC.Critz Auto GroupThe Eichholz Law Firm

EnmarketENT Associates of Savannah, P.C.Georgia PowerGlobe Shoe CompanyGulfstream AerospaceCorporationHabersham BeverageHunterMacleanThe Kennickell GroupOld Town TrolleyParis MarketThe Perry Lane HotelRanco Event RentalsSavannah Coca-ColaSavannah Coffee RoastersShrink SavannahStaci Donegan Real Estate GroupStage FrontTourism Leadership CouncilTurn It Pink, Inc.United Community BankVictory NorthVisit SavannahWells FargoWet Willie’sWorld Trade Center Savannah

FOUNDATION & GOVERNMENT GRANTORSInvestment is provided by the City of SavannahGeorgia Council for the ArtsGeorgia Music FoundationThe Hodge FoundationJohanna Anderson Trueblood FoundationSavannah Friends of MusicSavannah Orchestral Music Fund

#SAVPHIL • 59

stacy claywell 912.667.1334 [email protected]

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IN MEMORY OF CHARLES & GRACE TUTENSandra & Bill Parrott

IN HONOR OF TERRI O’NEILAnonymousMyron & Fran Kaminsky

GIVE THE OF MUSIC DONORSAnonymousBetsy & Bob ContinoRalph & Linda DavisDick & Judy EckburgMatt & Ellen GrillLynn P. HarringtonMr. & Mrs. John KleineAaron & Dayle LevySue & Dick Prior

Corrine & Jeffrey SamuelsGreg & Marcia StinsonGerald ThorneSusan & Ron Whitaker

INTEGRATIVE MEDICINE DONORSJoseph & Marie RozmanSt. Joseph’s/Candler FoundationsThe One Hundred Children’s Foundation

MEDIA SPONSORSWTOC 11Savannah Morning NewsLesley Francis PRConnect SavannahGPB 91.1

#SAVPHIL • 61


SUPPORT YOUR MUSICIANS

Cynthia Heil with Cellist Erin Cassel

Rhegan White-Clemm and Tim Clemm with Violinist Danijela Zezelj-Gualdi

Peg and Ron Morris with Principal Clarinetist Kristen Spiridon

Kelley Parker with Violinist David Song and Pierce Jemison

#SAVPHIL • 63

Peg and Ron Morris with Principal Clarinetist Kristen Spiridon

Susan and Ron Whitaker with Concertmaster Sinisa Ciric

Mrs. C. Scott Bartlett Kathleen & Stephen Brenneman Angel Everidge & Marc Chesanow Rhegan White-Clemm & Tim ClemmKathy & Sam Collura Jo & Will Crake Richard Foster Lynn Weddle & Bud Green Cynthia Heil

Bettina & Kim Huffman Carol Kirchner Ruth & Thomas McMullin Diane & Tom OxnardKelley B. Parker Dr. & Mrs. Peter Rives Georgine & Jim Scott Kristen Spiridon Dr. & Mrs. Jules Victor, III Erin & Jim Waterman Brooke & Andrew Wilford

BECOME A MUSICIAN HOSTThe Savannah Philharmonic draws world-class talent well beyond Savannah. Savannah Philharmonic has a long history offering musicians The opportunity to stay in the private homes of our supporters during concert cycles.Hosting responsibilities are minimal-a private bedroom and bath and perhaps a refreshment. Musicians provide their own transportation and meals.

BENEFITS TO HOSTING INCLUDE: n Developing great and lasting friendships.n Bringing the sound of music to your home and providing a sneak

peek of the concert to come. n Offering an important avenue of support to the Philharmonic

(beyond your subscription and annual fund support). n It’s fun!

BECOME A MUSICIAN SPONSORBecoming a musician sponsor is an excellent way to enhance your Philharmonic experience and make a positive impact through giving. As a sponsor, the Philharmonic office will pair you with a musician based on similar interests and passions, with the hope that you’ll develop a long-lasting friendship. Our musicians are talented, intel-ligent, share a love of Savannah and are looking for ways to connect with members of our community. Musician sponsorship starts at $3,500 per section chair and is $7,500 for a principal player. (See page 10 for a full listing of musicians and their sponsors.)

A SPECIAL THANK YOU TO OUR HOST FAMILIES THIS SEASON:


Become an Annual Fund Contributor

LEGACY SOCIETYThe Legacy Society recognizes those who support Savannah Philharmonic’s mission through the following: Estate commit-ments, Life-Income gifts, Trusts, Life Insurance and Retirement Plans. Supporters receive recognition in perpetuity. Levels of commitment: $1 million or more $100,000 - $999,999 $25,000 - $99,999 Under $25,000 Federal Tax ID for the Savannah Philharmonic is 26-4016312.

CRESCENDO SOCIETY: $2500+We invite you to join the Crescendo Society! Supporters of the Savannah Philharmonic Annual Fund at the $2,500 level or greater are members of the Crescendo Society—our inner circle of supporters who share our pride and passion for our orchestra and chorus. Members of the Crescendo Society enjoy exclusive benefits designed to enhance your musical experience, including the opportunity to engage with the conductor and musicians in private settings. In recognition of extraordinary generosity and commitment, donors at the Soloists’ Circle level and above receive customized attention and benefits designed to show our appreciation and grow their connection to the Savannah Philharmonic. The Development Department at 912 232 6002 for more information.CONDUCTOR’S CIRCLE: $100,000+CONCERTMASTER’S CIRCLE: $50,000+SOLOISTS’ CIRCLE: $15,000+

PRINCIPAL CIRCLE: $7,500 - $14,999The opportunity to sponsor a Savannah Philharmonic principal musician’s chair for the full season.

MUSICIAN CIRCLE: $3,500 - $7,499The opportunity to sponsor a Savannah Philharmonic musi-cian’s chair for the full season, excluding principal musicians.

ALLEGRO CIRCLE: $2500- $3,499Invitation to Crescendo Society events, including the Season Finale Celebration

PATRON LEVELSWe welcome donations at all levels. All annual donors giving at the Patron Levels receive recognition in all season concert programs and listing on our website. For donors at the Com-posers’ Circle and above we offer protected seat holds for Subscribers and Multi-Ticket holders during the subscription renewal period.

Become a Savan-nah Philharmonic annual fund con-tributor and join a community of committed orches-tral and choral music enthusiasts. The benefits listed here are our way of expressing our grat-itude for your com-mitment to great music all season long. Be sure to visit savannahphil-harmonic.org for a full listing of benefits.

#SAVPHIL • 65

COMPOSER: $1,000 - $2,499 PATRON: $500 - $999 SUPPORTER: $250 - $499 SUSTAINER: $100 - $249

DONATION OPTIONSContributions can be made online at Savannahphilharmonic.org, or through the Development Department at 912 232 6002.

MEMORIAL/HONORIA GIFTS You may make gifts to the Savannah Philharmonic in memory of, or to honor individuals.

CORPORATE MATCHING GIFTSWith a corporate matching gift, you can double your donation, resulting in greater benefits to you and Savannah Philharmonic. Consult with your current, or past employer for details on their matching gift program for charitable organizations.

DEFERRED/PLANNED GIVING THROUGH THE LEGACY SOCIETYYou can support Savannah Philharmonic with planned and deferred gifts through your estate in the form of bequests, life income gifts, a charitable lead trust, or life insurance policies.

FLEXIBLE PAYMENT OPTIONSDonations to the Savannah Philharmonic can be made in incremental monthly, quarterly, or semi-annual payments.

CORPORATE PARTNERSHIPSSavannah Philharmonic corporate partners receive valuable benefits, including; brand visibility brand alignment with meaningful education and outreach programs, community development and corporate hospitality opportunities.

CORPORATE SPONSORSHIP OPPORTUNITIESn Sponsoring a concertn Sponsoring a guest conductorn Sponsoring a guest soloist n Sponsoring a Savannah Philharmonic musician n Sponsoring a special event n Sponsoring one of the Savannah Philharmonic’s education

or integrative medicine programs.The Savannah Philharmonic team can assist you in creating a customized sponsorship program that suits your compa-ny’s needs and helps you achieve your goals and objectives. For information about corporate sponsorship packages, please contact the Development Department at 912 232 6002.


LINK UP YOUNG PERSON’S CONCERTS Each February, the Savannah Phil-harmonic offers two Young Per-son’s concerts for area students in collaboration with Carnegie Hall’s Weill Music Institute. The Link Up Young Person’s Concerts are presented after students study a three-month curriculum provid-ed by Carnegie Hall in their music classes. This curriculum includes learning the recorder flute, sing-ing an array of melodies and songs, composing musical works, and learning music history and biographical information about various composers. After the cur-riculum is fulfilled, students get to join the Savannah Philhar-monic for their “debut” performance, playing their record-er flutes and singing alongside our very own Philharmonic musicians!

Education and Outreach

Greg & Margo Plaunt

Investment is provided by the City of Savannah

In partnership withORCHESTRA LAB Savannah Philharmonic is excited to continue Orchestra Lab for area students throughout the City of Savannah, Cha-tham County, and surrounding areas. Orchestra Lab consists of in-school education and outreach programs during the entire school year. Philharmonic musicians, in partnership with music teachers and band directors, provide in-school sec-tionals, helping the students to achieve their personal and academic music goals. Soloists per-forming with the orchestra are invit-ed to give master-classes to groups of students who are studying the same instrument as the soloist. Philhar-monic musicians also perform in small chamber groups at area schools to in-troduce students to different forms and genres of chamber music. Lastly, the Philharmonic partners with Friends of Ben Tucker to produce three “Keep the Music Playing” workshops where students that have been given a donated instrument through Friends of Ben Tucker’s instrument donation program learn how to care and maintain their instruments.


The Hodge Foundation, Inc

In partnership with

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PHILHARMONIC IN THE STREETZ

Developed to take orches-tral music into neighbor-hoods around the city, “Phil-harmonic in the Streetz” is a casual afternoon gather-ing aimed at bringing live music to members of our community who would like-ly not attend an orchestral concert. “Philharmonic in the Streetz” brings togeth-er neighbors, students, and civic leaders, giving us the chance to celebrate music with both new and familiar faces. Free and open to the general public, Savannah Philhar-monic presents this bi-annual event to share music and the arts with the entire City of Savannah.

INTEGRATIVE MEDICINE Integrative medicine, the prac-tice of treating the patient ho-listically: combining mind, body and spirit, is an often-over-looked aspect of patient care. Music can play an important role in this holistic healing pro-cess. The Magic Flute. Monthly, mem-bers of the Savannah Philhar-monic Orchestra and Chorus present a rendition of Mozart’s Magic Flute for children receiv-ing care in the Memorial Health Dwaine and Cynthia Willett Children’s Hospital of Savannah. The twenty-minute come-dic performance brings smiles and laughter to the young patients, their families and caregivers. Our musicians perform, sing, dance, and frolic in professionally-designed costumes to create a truly authentic production. Savannah Philharmonic works with both the Curtis and Elizabeth Anderson Cancer Institute and the Nancy and J.C. Lewis Cancer and Research Pavilion to provide professional musicians who interact and perform live music for patients waiting to receive or while receiving cancer treatments.

Stacie CourtJoseph & Marie Rozman

In partnership with

In partnership with



MUSIC TO YOUR EARS

Our doctors can help you hear everything you've been missing!Don’t miss a beat. Call us today! 912.351.3038 AHAS Main Office912.351.3030 ENT of Savannah 912.598.0616 AHAS Landings

Top Row (L-R): William Moretz, MD; Diane Davis, MD; Kristen Thomas, PA; Michelle Yamada, PA; Katherine Neufeld, AuD, CCC-A; Brad Rawlings, MD; Bottom Row (L-R): Fred Daniel, MD, FACS; Michael Zoller, MD, FACS; Dr. Stephen Rashleigh, MD, FACS; Casey Allen, AuD, CCC-A; Cori Palmer, AuD, CCC-A; Susan Timna, AuD, CCC-A

RICHMOND HILL SAVANNAH STATESBORO POOLER SKIDAWAY ISLAND

ENTsavannah.com ahassavannahllc.com

#SAVPHIL • 69

307 E. President at Lincoln | 912.236.7122

Dinner & Cocktails

When the music is overthe night doesn’t have to end...

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Obtain the Property Report required by Federal law and read it before signing anything. No Federal agency has judged the merits or value, if any, of this property. WARNING: THE CALIFORNIA BUREAU OF REAL ESTATE HAS NOT INSPECTED, EXAMINED, OR QUALIFIED THE OFFERINGS. Pennsylvania Registration Numbers OL00169 (Latitude Margaritaville at Daytona Beach) and OL001170 (Latitude Margaritaville at Hilton Head). Latitude Margaritaville at Daytona Beach and Latitude Margaritaville at Hilton Head are registered with the Massachusetts Board of Registration of Real Estate Brokers and Salesmen, 1000 Washington Street, Suite 710, Boston, MA 02118 and with the Consumer Financial Protection Bureau, 1700 G Street, NW, Washington, D.C. 20552. This material shall not constitute a valid offer in any state where prior registration is required and has not been completed. The facilities and amenities described and depicted are proposed but not yet constructed. Photographs are for illustrative purposes only and are merely representative of current development plans. Development plans, amenities, facilities, dimensions, specifications, prices and features depicted by artists renderings or otherwise described herein are approximate and subject to change without notice. ©Minto Communities, LLC 2020. All rights reserved. Content may not be reproduced, copied, altered, distributed, stored, or transferred in any form or by any means without express written permission. Latitude Margaritaville and the Latitude Margaritaville logo are trademarks of Margaritaville Enterprises, LLC and are used under license. Minto and the Minto logo are trademarks of Minto Communities, LLC and/or its affiliates. CGC 1519880/CGC 120919. 2020

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CHANGE YOUR LATITUDE

MINTT-014_LMHH_5.25x8.25_savannah_philharmoic.indd 1 11/27/19 2:00 PM

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Thank You to Our Corporate and Community Partners for their Generous Support

pr

Charles C. Taylor & Samir Nikocevic

Charitable Foundation


HunterMacleanA T T O R N E Y S

Nancy & Ken LarsenThe Hodge Foundation, Inc.

Media Sponsors

Susan & Ron Whitaker

SAVANNAHPHILHARMONIC.ORG

savannah philharmonic 2019/2020 season vol. 2 of 2 … · 208 w. park avenue - $910,000 308 w....

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