VistasA S E A S O N O F

N e a l G i t t l e ma n , A r t i s t i c D i re c to r a n d Con d u c to r

M AY 1 0/ 1 1 ~ M A S T E R W O R K S

Mauceri Meets DaurovADRIAN DAU ROV, CELLO

JOH N MAUCERI , GU EST CON DUC TOR

M AY 3 1 /J U N E 1 - S U P E R P O P S

Hello, Louis! A Tribute to Louis Armstrong

BYRON STRIPL ING , GU EST ARTIST | PATRICK RE YNOLDS ,

CON DUC TOR

S U N DAY, J U N E 2 R E C I TA L S E R I E S

Concertmaster’s ChoiceJ ESS ICA H U NG ,

CONCERTMASTER AN D VIOLIN CECIL IA H U ERTA- L AU F, CELLO FERNAN DO L AN DEROS , P IANO

J U N E 7/ 8 ~ M A S T E R W O R K S

Mozart and MahlerR ACHAEL YOU NG , BASSOON

N E AL G IT TLEMAN , CON DUC TOR

S U N DAY, J U N E 9 S U N DA E C L A S S I C S

Mahler: Symphony No. 1N E AL G IT TLEMAN , CON DUC TOR AN D

PRESENTER

S AT U R DAY, J U N E 1 5 S P E C I A L E V E N T

Video Games LiveDPO WITH

V IDEO GAM E AC TION

Day ton Ph i lha rmon ic O rche s t ra 2018–2019 Season Program Book 5

1819 DPO #5 Program Book Cover.indd 1 11/14/18 12:35 PM

Neal’s Notes How Did I Get Here?

To paraphrase from the Talking Heads song “Once in a Lifetime”… You may find yourself in Southwest Ohio. And you may find yourself on the podium of a wonderful symphony orchestra. And you may find yourself in a beautiful house, with a beautiful wife. And you may ask yourself, “Well…how did I get here?”

I know the answer! I got here because of John Mauceri, guest conductor for our May 10 and 11 Masterworks Series concerts.

Yale, 1972–1974

As a freshman at Yale in the fall of 1972 I knew I wanted to go into music. But I didn’t know what. Maybe composing. Maybe theoretical studies. Maybe violin playing. I wasn’t thinking about conducting.

Then I got in to the Yale Symphony conducted by John Mauceri and all that changed. Senior year of high school I’d had great experiences as Principal Second Violin of the Greater Boston Youth Symphony. It was a really good orchestra. We played Rimsky-Korsakov’s Scheherezade, Mahler’s First Symphony, Lutoslawski’s Concerto for Orchestra. We toured in England and Scotland. It was fun. But playing in John’s Yale Symphony I learned what a really good orchestra was.

Ask an orchestral player why they chose their instrument, and they’ll almost always say, “I fell in love with the [insert instrument name here].” Playing in the Yale Symphony under John I fell in love with the orchestra. The sound. The music. The community of musicians.

I was a pretty good violinist back then. In the YSO I got better. Sophomore year I found myself sitting in my old youth orchestra chair—Principal Second Violin. But by then I’d actually soured on my violin playing. It wasn’t bad, but I now knew how far it was from being really good. And I knew I’d have to revamp my whole approach to the violin if I was going to dream of pursuing it professionally.

And I realized I didn’t dream of pursuing violin professionally. Because of John Mauceri.

John was the best thing about the Yale Symphony. It was obvious to all of us that he was having the time of his life. He exuded joy on the podium. He inspired us to play way over our heads. That got me thinking: “I love the orchestra but I don’t love my violin playing…so maybe I should explore conducting. Conducting, I could make music with an orchestra but not have to hear myself play!”

So I asked John, “If I was interested in getting into conducting, what should I do?” He was great. He gave me some valuable ideas to help me shape a path forward. Shared his ideas on score study. Let me observe his Candide rehearsals in New York. John helped me turn a corner and helped me figure out what I wanted to do. I wanted to explore conducting as a career.

Lots happened between then and now, but none of it would have happened without John. That’s how I got here.

John Mauceri with the DPO

I’ve wanted to bring John to Dayton as a guest conductor for more than ten years. It took several years to get our calendars in sync. Then we had a slot for him, but budget cuts forced us to eliminate the guest conductor slot. Now the stars have aligned and he’s coming for sure. I’m thrilled. I hope you enjoy his Masterworks concert. I know I will!

Maestros and Their Music

One more important thing about John Mauceri. He’s written the best book explaining to an interested lay reader what conducting is all about: Maestros and Their Music. Every year I give books about music as prizes for DPO musicians’ PhilharMonster costumes. Usually I offer three different books. Winner chooses first. Second place chooses second. Third chooses third. This year everyone got Maestros and Their Music. I’ve also bought many copies as gifts to friends and family. It’s a great book. If you haven’t read it, do yourself a favor. Buy it. Read it. Give it to your music-loving friends!

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Dayton Philharmonic Orchestra Personnel

1ST VIOLINSJessica Hung,

Concertmaster J. Ralph Corbett Chair

Aurelian Oprea, Associate Concertmaster Huffy Foundation Chair

William Manley, Assistant Concertmaster Sherman Standard Register Foundation Chair

Elizabeth Hofeldt Karlton Taylor*Zhe DengMikhail Baranovsky Louis Proske Katherine Ballester*Youjin NaJohn Lardinois Philip Enzweiler Dona Nouné Janet George Audrey Pride*

2ND VIOLINS The Peter and Patricia Torvik 2nd Violin Section

Kirstin Greenlaw, Principal Jesse Philips Chair

Kara Camfield, Assistant Principal

Ann Lin BaerGloria Fiore Scott MooreTom Fetherston Nick Naegele Lynn Rohr Yoshiko Kunimitsu William Slusser Yein JinDavid Goist

VIOLAS Sheridan Currie,

Principal F. Dean Schnacke Chair

Colleen Braid, Assistant Principal

Karen Johnson Grace Counts Finch Chair

Emilio CarloScott Schilling Lori LaMattina Mark Reis Leslie DraganTzu-Hui HungBelinda Burge

CELLOS Christina Coletta,

Acting Principal Edward L. Kohnle Chair in memory of Andra Lunde Padrichelli Principal Cellist 2003–2018

Jonathan Lee, Acting Assistant Principal

Lucas SongMark Hofeldt Nadine

Monchecourt David HuckabyIsaac Pastor-

Chermak*Zoë Moskalew

BASSES Deborah Taylor,

Principal Dayton Philharmonic Volunteer Assn./ C. David Horine Memorial Chair

Jon Pascolini, Assistant Principal

Donald Compton Stephen Ullery Christopher Roberts James Faulkner Bleda Elibal Jack Henning*

FLUTES Rebecca Tryon

Andres, Principal Dayton Philharmonic Volunteer Assn. Chair

Jennifer Northcut Janet van Graas

PICCOLO Janet van Graas

OBOES Eileen Whalen,

Principal Catharine French Bieser Chair

Connie Ignatiou Robyn Dixon Costa

ENGLISH HORN Robyn Dixon Costa

J. Colby and Nancy Hastings King Chair

CLARINETS John Kurokawa,

Principal Rhea Beerman Peal Chair

Robert GrayChristopher Rueda

BASS CLARINET Christopher Rueda

BASSOONS Rachael Young,

Principal Robert and Elaine Stein Chair

Kristen Smith Bonnie Sherman

CONTRABASSOON Bonnie Sherman

FRENCH HORNS Aaron Brant,

Principal Frank M. Tait Memorial Chair

Jessica PinkhamTodd Fitter Amy Lassiter Sean Vore,

Assistant Principal

TRUMPETS Charles Pagnard,

Principal John W. Berry Family Chair

Alan Siebert Daniel Lewis

TROMBONES Timothy Anderson,

Principal John Reger Memorial Chair

Richard Begel Chad Arnow

BASS TROMBONE Chad Arnow

TUBA Timothy Northcut,

Principal Zachary, Rachel and Natalie Denka Chair

TIMPANI Donald Donnett,

Principal Rosenthal Family Chair in Memory of Miriam Rosenthal

PERCUSSION Michael LaMattina,

Principal Miriam Rosenthal Chair

Jeffrey Luft Richard A. and Mary T. Whitney Chair

Gerald Noble

KEYBOARD Joshua Nemith,

Principal Demirjian Family Chair

HARP Leslie Stratton,

Principal Daisy Talbott Greene Chair

*Leave of Absence

Neal Gittleman Artistic Director and Conductor

Patrick Reynolds Associate Conductor and Conductor, DPYO

Hank Dahlman Chorus Director

Jane Varella Personnel Manager

Eric Knorr Orchestra Librarian

Elizabeth Hofeldt Youth Strings Orchestra Director

Kara Camfield Junior Strings Orchestra Director

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At the season’s final Masterworks concerts, 14 members of the Orchestra will be recognized for their years of service, in five-year increments.

Five Years (2014)Jonathan Lee (Cello, Chair 3) is a 2016 graduate of UC’s College-Conservatory of Music (CCM). He began playing the cello at age 4 and made his solo debut at age 16 playing the Saint-Saëns Cello Concerto with the New Mexico Symphony Orchestra, where both parents were members. Isaac Pastor-Chermak (Cello, Chair 8) is a 2010 graduate of UC Berkeley with a Master of Music from the San Francisco Conservatory of Music earned in 2013. In addition to his DPO work, Isaac performs with the Portland Opera, Waterloo-Cedar Falls Symphony and four orchestras in California. Ten Years (2009)John Lardinois (Violin 1, Chair 9) is also a member of the West Virginia Symphony Orchestra and plays with local bands including The Great Northern String Band, The Repeating Arms, and Lioness. He began classical training at age 4 and completed graduate violin performance studies at CCM, and he is an accomplished fiddler and studio session musician. Twenty Years (1999)Kirstin Greenlaw (Principal Second Violin) is a graduate of the Interlochen Arts Academy and a graduate of DePauw and Florida State Universities. She performs each summer as Principal Second Violin with the Peninsula Music Festival in Door County, Wisconsin. Karen Johnson (Viola, Chair 3) is a graduate of Indiana and Rice Universities. Prior to joining the DPO, she was Associate Principal Viola with the Knoxville Symphony. While in college, she memorized opus numbers by comparing them with Ohio State football jersey numbers. For example, the Schuman Piano Concerto, Opus 53 is known by Karen as “Randy Gradishar, Linebacker.” Lori LaMattina (Viola, Chair 6) is a 1997 graduate of CCM, where she also earned a Master of Performance in 1999. Lori’s “day jobs” involve her son, Andrew, whom she homeschools, and

working with her Norwegian Fjord Horse, WW Rudig. They compete in dressage, the equivalent of ballet. Rudig is the No. 1 Fjord horse in his division. William (Bill) Slusser (Violin 2, Chair 10) is a graduate of Baldwin-Wallace and Catholic Universities. A longtime librarian of the DPO, he retired from the Air Force as Director of the Air Force Strolling Strings and performed for White House State Dinners of Presidents Ford, Carter, Reagan, George H.W. Bush and Clinton. He also performed with the Air Force Orchestra. Twenty-Five Years (1994)Jon Pascolini (Assistant Principal Bass) is a graduate of Indiana University with a Master of Music Degree from Ohio University. He also is Principal Bass of the West Virginia Symphony Orchestra and is a member of the Glimmerglass Opera Orchestra. While at Indiana he rode in the Little 500 Bike Race for three years and was a cyclist in the movie “Breaking Away.” Thirty-Five Years (1984)Rebecca Tryon Andres (Principal Flute) is a graduate of the Ohio State University with a Master’s Degree in Flute Performance from CCM. She is Principal Flute with the Cincinnati Chamber Orchestra and a regular substitute with the Cincinnati Symphony, Pops, May Festival and Ballet Orchestras. She currently teaches at both Miami and Northern Kentucky Universities. Todd Fitter (3rd Horn) graduated from the Manhattan School of Music and earned a Master of Music in French Horn performance from CCM. He performs with several other musical organizations, including the DPO’s Concert Band. Four days a week, he performs in Cincinnati area schools with a musical education group called School House Symphony. Lynn Rohr (Violin 2, Chair 8) earned a Bachelor of Music Education Degree from Miami University and retired after 30 years of teaching, 29 in Kettering City Schools. Lynn’s daughters are well-known area swimmers and earned swim scholarships to Miami. In retirement, Lynn plans on continuing to perform with the DPO and traveling.

Dayton Philharmonic Orchestra

Meet Your Orchestra Up Close and “Personnel”

Forty Years (1979)Phillip Enzweiler (Violin 1, Chair 10) studied German Literature at the University of Cincinnati and violin at CCM. He has been both a full-time and part-time member of the Cincinnati Symphony. His hobby is restoring his 1860 house, which is on the National Register. Gloria Fiore (Violin 2, Chair 4) No bio available

Forty-Five Years (1974)Colleen Braid (Assistant Principal Viola) earned Bachelor and Master Degrees from Baldwin-Wallace. She and her husband, Jim, settled in Cincinnati when he joined the Cincinnati Symphony Orchestra and she became a member of the DPO. She has taught viola at Stivers School for the Arts and Wright State University and currently at the McCutcheon Music Studio in Centerville.

Left to right: John Lardinois, Todd Fitter, Jon Pascolini, Bill Slusser, Philip Enzweiler, Lori LaMattina, Karen Johnson, Colleen Braid, Gloria Fiore, Jonathan Lee, Lynn Rohr, Kirstin Greenlaw. Not pictured: Rebecca Tryon Andres, Isaac Pastor-Chermak

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Friday

June 7,20198:00 PMSchuster Center

DAYTON PERFORMING ARTS ALLIANCEPremier Health

MASTERWORKS SERIESDayton Philharmonic OrchestraNeal Gittleman, Artistic Director and Conductor

Mozart and MahlerRachael Young, bassoon soloist

Rachael Young appears as the Benjamin and Marian Schuster Endowed Young Classical Artist.

Saturday

June 8,20198:00 PMSchuster Center

Military Appreciation Program Sponsor: Booz Allen Hamilton

Microphones on stage are for recording purposes only.

Wolfgang Amadeus Mozart Bassoon Concerto (1756–1791) I. Allegro II. Andante ma Adagio III. Rondo: tempo di menuetto

Ms. Young

– I N T E R M I S S I O N –

Gustav Mahler Symphony No. 1(1860–1911) Part I: From the Days of Youth 1. Endless Spring 2. Blumine 3. Full Sail Part II: The Human Comedy 4. Stranded: A Funeral March in the Style of Callot 5. From Inferno to Paradise

DP&L Foundation – DPAA Innovation PartnerThe Bob Ross Auto Group – Official Automobile Dealership of the Dayton Philharmonic OrchestraMarriott University of Dayton – Official Hotel of the Dayton Philharmonic Orchestra

DPAA INNOVATION PARTNER DP&L FOUNDATION Powering Innovation in the Performing Arts

DataYard – Official Data Provider of the Dayton Opera and the Dayton Philharmonic Season Media Partners: Discover Classical WDPR & WDPG and ThinkTV

Series Sponsor Media Partner

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Wolfgang Amadeus Mozart Bassoon Concerto

Instrumentation: 2 clarinets, 2 horns, strings

This is the first time this work has been performed by the Dayton Philharmonic Orchestra.Mozart wrote a number of concertos during his career. Audiences may be most familiar with his piano concertos, some twenty or so works that are among the most highly regarded of his compositions.

The Bassoon Concerto is not so well known as the piano concertos. Nevertheless Mozart apparently found the instrument a congenial medium to work in: Scholars believe that he may have written as many as five such concertos with all but one lost to time and chance, and now the Bassoon Concerto is the only extant work by Mozart in this genre.

The Bassoon Concerto is a three-movement work, a form that is typical of eighteenth-century concertos. Also typical is the form of the first movement. The orchestra introduces the movement’s two themes, and then the soloist enters to play a more decorated version of the first theme. Not typical of concerto compositional practice, however, is Mozart’s treatment of the second theme. Here he has the bassoon play a new countermelody against the strings’ restatement of that theme. The movement continues with a development section and, after a recapitulation of the opening material, finishes off with a solo cadenza for the bassoon and a brief coda.The slow middle movement is marked “Andante ma adagio,” a marking that might be translated as “walking, but slowly.” For this movement Mozart wrote a contemplative and melodious music, something that sounds almost like an operatic aria, one that requires both considerable sensitivity and virtuosity from the singer. Mozart must have heard the bassoon’s potential for

this kind of beautiful playing, to write for the instrument in what music critic Stanley Sadie calls an “expansive, potentially pathetic lyrical vein.”

The third movement is a rondo, a form in which the introductory theme keeps returning and is interspersed with new music. Most eighteenth-century rondo tunes tended to be simple and cheerful, as though evoking a pastoral celebration, although Mozart’s rondo tune seems more elegant, less pastoral and more courtly, but all the while still upbeat. The orchestra first introduces the sanguine little tune, while the bassoon responds to the orchestra’s statement with passages that are sometimes lively, sometimes lyrical, and sometimes even melancholy, all filled with numerous chances for a soloist to show off their abilities.

The work was composed in the summer of 1774. Mozart was just 18, still working for the Archbishop of Salzburg, still as cheerful as his little rondo tune, although the coda of his time in Salzburg would be considerably more dire. But, for a while, he was prosperous and in the company of skillful musicians, all capable of realizing his compositional inspirations with dexterity and taste. Given that situation, Mozart must have had some particular performer in mind when he wrote the Bassoon Concerto—he almost never composed on spec—but so far no amount of scholarly digging has been able to unearth the identity of the intended performer. We are left only with the tantalizing hint of those lost concertos and the charming music of the concerto that we have.

—Dennis Loranger, Lecturer in Music, Wright State University

Rachael Young Biography

Rachael Young is in her fourth season as Principal Bassoon of the Dayton Philharmonic Orchestra and bassoonist of the Dayton Philharmonic Woodwind Quintet. She is also the Principal Bassoonist of the Shippensburg Festival Orchestra and Springfield Symphony Orchestra and a member of the ProMusica Chamber Orchestra in Columbus.

Rachael has maintained an active and varied orchestral career, holding positions with the Chattanooga Symphony and Opera, Tuscaloosa Symphony, Kentucky Symphony, and Symphony of Southeast Texas, in addition to performing with the Columbus Symphony, Charlotte Symphony, Alabama Symphony, Louisville Orchestra, Cincinnati Chamber Orchestra, Chicago Sinfonietta and many others. She also spent three summers performing in the festival orchestra at Santa Barbara’s Music Academy of the West.

As a chamber musician, Rachael won a Silver Medal at the 2008 Fischoff Chamber Music Competition, was chosen to perform at the Kennedy Center as part of their Conservatory

Project, and was invited as a fellow to Yale’s Norfolk Chamber Music Festival. She also received Eastman’s John Celentano Award for Excellence in Chamber Music.

Rachael believes that music is an important tool for education. In addition to performing over 90 concerts a year in Dayton area schools with the Dayton Philharmonic Woodwind Quintet, she has participated in the DPAA’s SPARK program, using music to enhance core kindergarten curricula. She also regularly performs as a Concert Nova teaching artist, giving innovative performances in underserved Cincinnati schools.

Rachael earned a Bachelor of Music with Highest Distinction from the Eastman School of Music as a student of John Hunt and a Master of Music from Rice University’s Shepherd School of Music as a student of Benjamin Kamins.

A native of Oswego, IL, Rachael began her music studies at age 5 as a violinist, before picking up the bassoon (at her dad’s suggestion) so that she could join the school band. Neither of them realized reed making was involved at the time.

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Gustav Mahler Symphony No. 1

Instrumentation: 4 flutes, 3 piccolos, 4 oboes, English horn, 4 clarinets, E flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 7 horns, 4 trumpets, 3 trombones, tuba, 2 timpani, percussion, harp, strings

This work was last performed by the Dayton Philharmonic Orchestra in February 2001 with Neal Gittleman conducting.

The compositional history of Gustav Mahler’s Symphony No. 1 is almost as complicated as the piece itself.

When he first began composing it, Mahler conceived of the work as a symphonic poem. The symphonic poem, a form whose invention is generally credited to Franz Liszt, was an important genre of orchestral composition in the nineteenth century. Liszt had come to see the symphony, the conventional four-movement orchestral work of the eighteenth and early nineteenth century, as, if not exhausted, at least in some need of rehabilitation. He proposed that composers might seek inspiration in literature or art and base their work on either the actual narrative or image referenced or the emotions raised by it. Liszt’s own works in this genre— Les Preludes, Prometheus, Hamlet, and others—would influence composers throughout the nineteenth century: Bedrich Smetana’s Má Vlast and Richard Strauss’s Don Juan are only two examples of a number of such works, many of which were popular successes in their own time and continue to be performed down to ours.Although Mahler was to develop a program for his nascent symphonic poem, he soon began to refer to it simply as a symphony. This now nameless orchestral work had its roots in a song cycle he had written a few years earlier, The Songs of a Wayfarer. Mahler used the second song from that cycle, “I Went This Morning Over the Field,” as the first theme of the opening movement of what he now called Symphony No. 1. Given the title of that song, listeners might interpret the luminous sound of the opening strings as the dawning of the day, the morning when the wayfarer goes out to the fields.

Despite that intriguing opening and its storytelling potential, Symphony No. 1 does not seem to have any coherent overall narrative. Instead each movement forms part of an emotion. The second movement was described by Mahler as a Scherzo and suggests that the cheerful theme that conveys the feeling of moving unimpeded, “with full sails,” as though the first movement’s wayfarer has overcome any difficulties that might have slowed his progress.

The third movement has some strikingly incongruous elements, in particular a version of the old French folk tune, “Frère Jacques,” set in a minor key. Mahler described the work as a “funeral march” based on a children’s book illustration, “The Huntsman’s Funeral.” In that illustration the animals of the forest are depicted accompanying the huntsman’s coffin to the grave, all weeping and sorrowful that their dread nemesis is now gone. Inspired by this sly depiction Mahler sought to capture a mood that was “now ironically merry, now mysteriously brooding.” Along with the macabre march, Mahler also introduces music that evokes the street musicians of his own era.

The last movement, according to Mahler, is “the sudden erupting cry of a heart wounded to its depths.” He opens the movement with a blast of dissonant sound that might remind listeners of the opening of the fourth movement of Beethoven’s Ninth Symphony. Richard Wagner called Beethoven’s dissonant shriek the “terror fanfare,” and we can easily imagine Mahler having Beethoven’s sound and Wagner’s characterization in mind when he wrote it. Mahler then follows that stormy opening with an intensely lyrical section completely different in character, a change of mood that is suddenly interrupted by an even more vociferous statement of opening cacophony, as though to shout down the lyrical moment. Mahler brings the movement and the symphony to a conclusion by returning to the first movement’s music.

–Dennis Loranger, Lecturer in Music, Wright State University

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