Chopin Schumann. March 21 & 22, SEASON

Transcription

1 Chopin Schumann March 21 & 22, SEASON

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4 the conductor JED GAYLIN Generous is the word listeners and performers use time and again to describe conductor Jed Gaylin s approach to the orchestra, the score, and the audience. His joyful abandon and probing intellect together create powerful programs, compelling interpretations, and evenings that are fresh and exuberant. George Szell said, In music one must think with the heart and feel with the mind, a maxim Jed Gaylin embodies abundantly and passionately. Orchestra members throughout the world, soloists, and opera singers often recount how Jed Gaylin s rehearsals and performances elicit their very best, not only individually but collectively. He revels in making connections not only within a piece, but also between seemingly disparate and wide-ranging works to sculpt a concert of surprising, captivating juxtapositions. His dedication to exploring the music s fullest potential in a collaborative spirit reaches beyond the stage to draw the audience into the creative act. Listeners feel far more than just welcomed by words from the podium they feel engaged as participants in a wordless musical conversation that is spontaneous, big-hearted, and eloquent. As Music Director, Jed Gaylin leads the Bay- Atlantic Symphony, Hopkins Symphony Orchestra, and Two Rivers Chamber Orchestra with the same creative depth and an open spirit that he brings to the podium. The Bay-Atlantic Symphony is now not only consistently praised for its astonishing level of artistry and precision, it is also viewed throughout New Jersey as a model for how professional orchestras can become a vital focus and source of identity in their communities. As a sought-after creative partner throughout the region, the Bay-Atlantic Symphony has forged residencies with area colleges, numerous towns, music festivals such as Cape May, and even casinos. Atlantic City s Borgata hosts the Symphony for an all-classical summer series, begun in In 2012, Jed Gaylin was named Artist in Residence at The Richard Stockton College of New Jersey. This position is a part of an innovative model in which Bay-Atlantic Symphony is integrated into the music curriculum. Also in 2012, he was named Music Director of the Two Rivers Chamber Orchestra, in Shepherdstown, West Virginia. Mr. Gaylin served as the Director of Orchestras at the International Music Festival and Summer Course of Cervera (Spain) and was a regular conductor at Opera Vivente in Baltimore. His numerous guest appearances include St. Petersburg State Symphony, National Film and Radio Philharmonic (Beijing, China), Shanghai Conservatory Orchestra, Bucharest Radio Orchestra, Academia del Gran Teatre del Liceu (Barcelona, Spain), Eastman School Music Broadband Ensemble, among many others. He has performed with such soloists as Hilary Hahn, Yuja Wang, Eugenia Zukerman, Shai Wosner, and Stefan Jackiw. Jed Gaylin s television and radio broadcasts include National Public Radio s Weekend Edition, Voice of America, Bucharest Radio Orchestra, and the National Radio and Film Philharmonic (Beijing). He has been aired in the US on WWFM in New Jersey and WYPR in Baltimore. Mr. Gaylin earned both a Bachelor of Music in piano and a Master of Music in conducting at the Oberlin Conservatory, and a Doctor of Musical Arts in conducting at the Peabody Conservatory. He attended the Aspen Music Festival as a Conducting Fellow. Among other honors, he has received a National Endowment for the Arts grant and the Presser Music Award. His conducting teachers have included Frederik Prausnitz, Leonard Slatkin, Jahja Ling, Murry Sidlin, Paul Vermel, and Michel Singher, and, for piano, Lydia Frumkin. Find out more about Jed Gaylin at jedgaylin.com. 2 BAY ATLANTIC SYMPHONY

5 FRANK SINATRA, JR. FRANKIE VALLI JOHN FOGERTY ROB THOMAS THE TEMPTATIONS WANDA SYKES BAY ATLANTIC SYMPHONY

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7 From the President III Tonight s Performance V Artist Biography VI Program Notes VII Orchestra Personnel XI Annual Fund XIII The use of photographic or recording devices is strictly prohibited. For the enjoyment of all patrons, please silence all cell phones, pagers and electronic devices. Board of Trustees President Robert Watters Vice-President Jame F. Ferguson, Esq. Treasurer Robert Woodruff Secretary David Iams Immediate Past-President Robert Woodruff Trustees Aaron Cohen Robert Dragotta Loretta P. Finnegan, M.D. Thomas A. Giegerich, DMD Michele Hill Shy Kramer Maria Jimena Mento Charles O Hara Cheryl O Hara Alyce Parker Samuel Serata, Esq. Mark Soifer, Esq. Hon. Carmine J. Taglialatella, JWC Advertising OnStage Publications korlowski@onstagepublications.com This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio This program may not be reproduced in whole or in part without written permission from the publisher. OnStage Publications is a division of Just Business, Inc. Contents All rights reserved. Printed in the U.S.A. BAY ATLANTIC SYMPHONY I

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9 president s message Dear Friends, I hope you find that today s concert is a spectacular way to welcome Spring. What better way to celebrate the new season than with the extraordinary New Jersey pianist Terrence Wilson performing Chopin s Piano Concerto No. 1. We welcome him back from his 2012 performance of Beethoven s Piano Concerto No. 2. Today s concert also features Schumann s exhilarating Symphony No. 3. And as a special treat we offer the New Jersey premiere of Los Angeles composer Russell Steinberg, called Cosmic Dust, a work inspired by the amazing photographs of the Hubble Telescope. It is an honor for us to have Mr. Steinberg attend this concert. We thank Music Director Jed Gaylin for putting together such a remarkable concert. Our Music/Mentorship with Stockton University continues into June with Dr. Christopher Di Santo, BAS principal clarinetist and Stockton s Associate Professor of Music and Coordinator of Classical Music Studies, leading the way. Dr. Di Santo and BAS violist Dolores Dillon teach students at the Sovereign Avenue School in Atlantic City and the Atlantic City High School. Chris teaches all woodwind instruments and Dolores teaches string instruments. Approximately 30 music students from the schools are taught in small groups or individually. The goals of the Music/Mentorship Program are to 1) address basic technique e.g. tone production, instrument position, finger patterns and intonation, and 2) to assist Stockton student mentors in their music education, under the direction of BAS professional musicians. BAS believes this program is essential to help keep the love and power of classical music string in the generations that follow us. Thank you so much to Senator and Mrs. Gormley s Friends of the Music and the Frank and Lydia Bergen Foundation for their generous contribution allowing the Symphony to begin this essential work. Also, a big thanks to Mr. David R. Murray, Director, Atlantic City Orchestral Academy, and Mr. Steven Spurlock, Band Director, Atlantic City High School for their whole-hearted support of this important project. If you don t have tickets for the May concert, buy them today. We welcome back the wonderful violinist Ryu Goto performing Beethoven s Violin Concerto, plus Stravinsky s: Concerto in E-flat major, Dumbarton Oaks and NJ composer Amanda Harberg s Prayer. And thanks so much for Woodruff Energy for its great sponsorship which allows us to keep our prices affordable, allowing us to bring our music to more and more people. Sincerely, Robert Watters President, Bay-Atlantic Symphony BAY ATLANTIC SYMPHONY III

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11 Jed Gaylin, Conductor Russell Steinberg Cosmic Dust Magic Sky Shooting Stars Interstellar Dust Nova Fryderyk Chopin Piano Concerto no. 1 in E minor, op. 11 ( ) Allegro maestoso Romanze Larghetto Rondo Vivace Intermission Robert Schumann Symphony no. 3 in E-flat major, ( ) op. 97 ( Rhenish ) Lebhaft Scherzo: Sehr mäßig Nicht schnell Feierlich Lebhaft Please take a moment and silence all phones, watches, and pagers. Thank you. BAY ATLANTIC SYMPHONY V

12 artist biography Pianist Terrence Wilson has established a reputation as one of today s most gifted instrumentalists. He has appeared with many prestigious ensembles, including the symphony orchestras of Atlanta, Baltimore, Cincinnati, Dallas, Detroit, Houston, Washington, DC (National Symphony), San Francisco, St. Louis and the St. Paul Chamber Orchestra, as well as with the orchestras of Cleveland, Minnesota and Philadelphia. Among the conductors with whom he has worked are Marin Alsop, Christoph Eschenbach, Alan Gilbert, Neeme Jarvi, Yoel Levi, Andrew Litton, Jesus Lopez-Cobos, Robert Spano, Yuri Temirkanov, Stanislaw Skrowaczewski and Gunther Herbig. Abroad, Terrence Wilson has played concerti with such ensembles as the Lausanne Chamber Orchestra in Switzerland, the Malaysian Philharmonic, and the Orquestra Sinfonica do Estado de Minas Gerais in Belo Horizonte, Brazil. In 2005, he toured Spain with the Baltimore Symphony with Yuri Temirkanov conducting. He makes his Scottish National Orchestra debut in January 2010, with performances in Glasgow and Aberdeen. Terrence Wilson is also active as a recitalist, having made his New York City recital debut at the 92nd Street Y, and his Washington, DC recital debut at the Kennedy Center. In Europe he has given recitals at the Verbier Festival in Switzerland, and at the Louvre in Paris. In the United States, he has given recitals at the Ravinia Festival in Chicago, the Caramoor Festival in Katonah, NY, San Francisco s Herbst Theatre, and for the La Jolla Chamber Music Society. An active chamber musician, Mr. Wilson performs regularly with the Ritz Chamber Players. Terrence Wilson has also appeared at the Mann Music Center and at the Blossom Festival, Tanglewood, and Wolf Trap in recitals and performances of concerti and chamber music. Terrence Wilson has received numerous awards and prizes, including the SONY ES Award for Musical Excellence, an Avery Fisher Career Grant, and the Juilliard Petschek Award. He has also been featured on several radio and television broadcasts, including NPR s Performance Today, WQXR radio in New York, and programs on the BRAVO Network, the Arts & Entertainment Network, and public television. In December, 2010, Wilson was nominated for a Grammy Award for his recording of Michael Daugherty s Deus ex Machina for Piano and Orchestra with the Nashville Symphony conducted by Giancarlo Guerrero. Terrence Wilson is a graduate of The Juilliard School, where he studied with Yoheved Kaplinsky. A native of the Bronx, he resides in Montclair, New Jersey. VI BAY ATLANTIC SYMPHONY

13 program notes Cosmic Dust By Russell Steinberg Whether you live in a major city or remote hamlet, at night you probably still look up at the sky in search of stars. We were all child stargazers, and that wonder we first experienced is what I was after in my orchestra piece Cosmic Dust. Nowadays, the Hubble Space Telescope provides images and discoveries that stretch the limits of our imagination. Even when it points at what seems an empty patch of space, it catches the light of over 3,000 galaxies formed at the beginning of the universe! These revelations make the heavens seem even more impossibly beyond human scale and understanding. Two or three years ago when I attended Yom Kippur services at VBS (a gift from Eddie Feinstein), I heard Rabbi Schulweis talk in his sermon about death and dust. He invoked the adage from dust to dust but remarked that we need to remember, dust is not just the material of the earth, it is the material from the stars, and that we ourselves are made of stardust. At that moment, for the first time for me, I realized that when we look at the cosmos, we look at ourselves, our own origins, our own aspirations. This realization lends importance, meaning, significance, whatever you want to call it, to our ridiculously short time of life on this planet. So I decided to write a piece about the Cosmos coming from both the wonder and awe we feel as children gazing at the heavens, and the wonder and awe as adults we feel looking out there at ourselves. I learned from Rabbi Schulweis that dust is not simply of the earth, but from the stars, that we ourselves are stardust. Cosmic Dust combines the wonder we first felt as children gazing at the stars with the realization as adults that we look up at night because we are drawn to our origins. Cosmic Dust is a single movement in four continuous sections: Magic Sky, Shooting Stars, Interstellar Dust, and Nova. In Magic Sky, I ask the strings to play harmonics ( star music ). They create high bell-like tones by touching the fingers of their left hand very lightly on the instruments. In Shooting Stars, the strings use another effect called ricochet where they throw the bow against the string, almost like skipping rocks over water. This section also features the timpani in more dramatic music. Interstellar Dust takes its inspiration from those incredibly colorful nebulae revealed by telescopes. You ll hear strings, woodwinds, and brass, each play different chords crossfading between each other. The calm inner part of this section features a violin solo. The final section Nova gathers the material from all the previous star music and bursts forth in a joyful final fanfare. Cosmic Dust is commissioned by an orchestra consortium consisting of the New West Symphony (Thousand Oaks, CA), the Bay Atlantic Symphony (New Jersey), and the Hopkins Symphony Orchestra (Baltimore, Maryland). New Horizons by Paul Mack Somers Bay Atlantic Symphony Director of Adult Education Both Fryderyk Chopin s Piano Concerto no. 1, op. 11, and Robert Schumann s Symphony no. 3, op. 97, are related to geography. Chopin was planning to leave Poland, and both his piano concerti were composed for him to play on his farewell tour of Although he was only twenty years old, it was evident that his level of pianism was destined to be experienced well beyond the confines of Warsaw and other cultural centers of Poland. And in our symphony, Schumann set out to evoke a happy trip he and his wife Clara took on and along the Rhein in There is a subtle sense of departure in Chopin s concerto. The first movement is in a melancholy E minor, but the remaining movements are in a sweet then joyous E major. But in the way Chopin creates a harmonic plan there is a deeper sense of departure that would have struck his audiences as daring. In all three movements he breaks with the audience s expectations of key relationships, even on occasion jumping to an unexpected BAY ATLANTIC SYMPHONY VII

14 program notes chord or key without preparation. Though conservative in superficial aspects, one can hear just beneath the surface the dramatic changes Chopin would soon introduce in harmonic usage. There are those who criticize the concerto for its lack of concerto style. But this is to assume that the only style was the symphonic style employed by Beethoven. Chopin clearly is using style brilliante in which the orchestra is most often in a supportive role while the pianist is showing off a bravura technique. Occasionally the melody is in the orchestra while the piano plays an ornamented version of the tune at the same time. In those sections without piano, there are often woodwind solos (perhaps none more beautiful than for the bassoon) clearly inspired by Italian bel canto opera. The finale, while it at first sounds as if it could be in triple meter like a polonaise, soon makes it clear that Chopin is marching off to his new horizons in duple meter. It is, to be sure, the most folk-like, but in this it is a fond farewell to his native land, which he would never again see. Schumann, who knew and admired Chopin greatly, set out to evoke geography in his symphony. He and his wife Clara, herself a brilliant and famous pianist, took a vacation trip along the Rhein River. In many respects then and now that river is more than a mere river, but a touchstone for any German s sense of nationhood. So it is no surprise that Schumann quite consciously conceived of his descriptive symphony with the noble key of E-flat as its heart. It is no accident that somewhat later Richard Wagner also depicted the Rhein as one gigantic E-flat chord growing out of a solitary pitch and ultimately flowing along. The breadth of the sweeping lines in all the movements depicts well the dramatic flowing of the river and its hill-filled surrounding landscape. The protean nature of a river trip, whether on the water or next to it, is well captured in the music s constantly changing tonal centers like new horizons always evolving on a journey. Yet E-flat has been so strongly presented as the home to which the music must return, that even after some of Schumann s most dramatically sudden key changes, there is no doubt as to where the music will finally return. Even in the central third movement, where we seem to be resting from the key shifting, we are in A-flat! So, restful though it may be, we are not resting at home in E- flat; the journey is far from complete. That rest in A-flat sets us up for the deeply felt gravitas of the fourth movement. There is no doubt that it is Schumann s musical picture of the elevation of a bishop to the level of cardinal in a solemn ceremony in the Kölner Dom the Cologne Cathedral. Here for the first time we hear the trombones as all the brass become important mood setters in this movement he labels as feierlich solemn. Here we also encounter an oddity in the notation of the music which is explainable by many scholars through the increasing awareness in Schumann s time of the Christian symbolism used by J. S. Bach. They suggest that Schumann may well have understood that to Bach the three flats of the key-signature of E-flat represented the Holy Trinity, so he decided to use that as part of his picture of a Roman Catholic ceremony. But the music is actually in E-flat minor, which should use a key-signature of six flats! So Schumann uses his three-flat symbol, then achieves his minor sonority by writing in the extra flats when they are needed. Perhaps the composer didn t know that for J. S. Bach six was a symbol of the Sanctus the Holy and would have been perfectly appropriate to the occasion. If the darkly resonant brass place us inside the second largest cathedral in northrn Europe, then the cheerful final movement takes us to a happy riverside gathering. Now the celebration is secular and filled with dancing, a fitting conclusion to what many consider Schumann s finest symphony. VIII BAY ATLANTIC SYMPHONY

15 program notes With its five movement structure it would seem to modeled on Beethoven s Sixth ( Pastorale ) or possibly Berlioz s Symphonie Fantastique, both descriptive symphonies which use five movements. In all three, there is a critical fourth movement which needs resolution by the addition of a fifth. Beethoven s fourth movement storm, so important to him that he quotes it in his Ninth Symphony, needs the rejoicing peasants when it has passed. Berlioz s graphic execution scene can only be followed by a bizarre witches sabbath. And here Schumann s high church ceremony can only find release in a secular riverside party. This party is followed by a coda for the entire symphony, as it sums up the composer s exalted emotional state upon thinking back over the entire Rhenish trip. The symphony was premiered on 6 February, 1851, in Düsseldorf, a major city on the Rhein, with Schumann himself conducting. The reviews were mixed, but both the audience and the orchestra members cheered Schumann for his accomplishment. It must be noted that both Chopin s and Schumann s pieces have numbering issues. Chopin s Concerto no. 1 was actually composed second, but published first. And Schumann s Symphony no. 3 was actually his fourth and last. His first was not received well at all, so he withdrew it, thus taking it out of the cue, so to speak. After he had revised the piece, it was published after the Rhenish, and thus became the fourth, while the other symphonies moved up a number. Bay Atlantic Symphony Presents BEETHOVEN & Stravinsky Ryu Goto Conductor Jed Gaylin Beethoven: Violin Concerto Ryu Goto, violin Stravinsky: Concerto in E-flat major, Dumbarton Oaks Harberg: Prayer Lean and etched Stravinsky The all-embracing style of Beethoven The excitement of NJ Composer Amanda Harberg Reduced ticket prices presented by Tickets Just $ 30 Saturday, May 2 8pm Cumberland County College Guaracini Performing Arts Center Call Sunday, May 3 2 pm Stockton University Performing Arts Center Call BAY ATLANTIC SYMPHONY IX

16 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: 4 times more likely to be recognized for academic achievement 3 times more likely to be elected to class office within their schools 4 times more likely to participate in a math and science fair 3 times more likely to win an award for school attendance 4 times more likely to win an award for writing an essay or poem X BAY ATLANTIC SYMPHONY

17 orchestra personnel March 21 & 22, 2015 VIOLIN I Alexander Chaleff, concertmaster Nancy Jan, associate concertmaster Thomas Jackson, concertmaster emeritus Amanda Hockenberger Marco Lucchi Mary Greening VIOLIN II Genaro Medina, principal Nina Vieru, assistant Mary Moser Ruth Kiang Natasha Colkett Catherine Boyd VIOLA Ana Tsinadze, principal Renee Steffy-Warnick, assistant Marka G. Stepper Geoffrey Baker CELLO Elizabeth Mendoza, principal Nancy Stokking, assistant Csilla Lakatos Maud Fried-Goodnight BASS Michael Egan, principal Lesa Hornaday-Kurtz, assistant FLUTE Monica Buffington, principal Beverly Pugh-Corry, piccolo OBOE Terence Belzer, principal Cheryl Tirpak CLARINET Christopher Di Santo, principal Karen Di Santo BASSOON Ping Liang, principal Richard Carroll HORN Jonathan Clark, principal Amy Boyd Patricia Giangiulio Joan Dowlin trumpet Thomas Boulton, principal Brian Cook trombone Richard Linn, principal Catherine Bridge Michael Purdy, bass trombone TIMPANI John Hintz, Jr., principal PERCUSSION Ralph Sorrentino, principal BAY ATLANTIC SYMPHONY XI

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19 annual fund contributors We acknowledge with grateful appreciation the following contributions made from October 1, 2013 through February 15, Thank you for helping us spread the power and joy of classical music throughout South Jersey. $50,000-$100,000 Gerladine R. Dodge Foundation $10,000-$49,999 Frank and Lydia Bergen Foundation Borgata Hotel Casino and Spa Ann. B. Hayes Trust New Jersey State Council on the Arts Richard Stockton College of New Jersey Robert & Merry Woodruff Woodruff Energy $5,000-$9,999 AAL Acquest Corp./ Aaron Cohen Cilento Family Foundation Friends of The Music Foundation Gail and Tim Noble South Jersey Industries $2,500-4,999 Cumberland County College Thomas Giegerich, DDS Alan and Peggy Kligerman James Klinghofer Lia Purpura & Jed Gaylin $1,000-$2,499 Anonymous Century Savings Bank Cooper Levenson Cumberland County Cultural and Heritage Commission Planning and Development Department Cumberland Mutual Fire Insurance Company Robert Dragotta Loretta P. Finnegan MD John and Sally Garrison Ned & Rita Gaylin Senator William and Virginia A Gormley Leo T. Hogan Horizon Eye Care Kramer Foundation Dennis and Carole Krill William May Sr. Metropolitan Bussiness and Citizen s Assn. National Media and Marketing President Herman & Dot Saatkamp Samuel J. Serata, Esq. Shore Medical Center William H. & Lenore G. Smythe Stephen & Ellen Strauss $500-$999 Anonymous (2) Bridgeton Rotary Club Foundation Raymond and Ellen Burke James Ferguson, Esq. Jerome Glickman Alan Kolc Elizabeth S Kratovil Metropolitan Business & Citizens Assoc. Jill Mortensen Chuck and Cheryl O Hara Martha Richardson Schultz - Hill Foundation Jeffrey Tung $ Anonymous Ruth Aaron Nancy Albertson Mickey L. Alston Anonymous (2) Valentine M Armstrong Andrew J. Bednarek Robert P. Brady Edgar C. Bristow III Dolores Buckwalter Raymond and Ellen Burke Thomas J. Burns Joanne Carrociano Norman Cohn W. Wayne Conrad Mary Jane Costigan Contino Chiropractic LLC Gwendolyn Deluca Ruth A. DiSanto Jeanne Doremus Janet R. Dougherty Barbara Firth Mark W. Forde Beth J. Evans Carol L. Gaffney Hugh Gallagher Ann E. Gaylin Sheldon Gaylin GE Foundation Martha E. Grant Joan C. Gravitz Deborah Hardy Robert E. Heinly Ann Herron Thomas Herron Michele Newell Hill Leo Hogan Judith Holst-Hall David Iams Sheldon C. Jenkins Helen G. Jones Ann Kaczorowski in Recognition of David & Gertrude Kaczorowski Peggy and Alan Kaplan Gary W. Kennedy Meredith Koenig Shy Kramer Richard C. Long Charles A. Loyle Elizabeth G. McCutcheon Richard and Connie Michner Walter J. Murphy Associates Rosa Ojerkis BAY ATLANTIC SYMPHONY XIII

20 annual fund contributors Emil Oscar Audrey Owen Lawrence & Joanne Owen James and Sally Parsly Kenneth C. Peterson Evelyn and Richard Pfaltzgraff Albert and Mafalda Primavera Marilyn and Joseph Przybylowski Kathleen K. Quinn Susan Roseman John Rosser Jr. The Seawave Corporation Howard B. Schapker Mark Soifer Paul & Janet Somers William R. Speer Marian Spence Kathryn Stachejko George Steele Loretta I. Stewart Gen. John K. Stoner Janice Studer Verna Mae Townsend Jane E. Verba Robert & Joan Watters Hon Gerald Weinstein Stephen P. Weis Richard Weiss, DMD Cara Wilson Frederich P. Woll II Jonathan Wood Alan and Grace Woodruff Karin H. Wren Susan M. Zapf Lorraine Zitnay Under $100 Bernhard Abrams Anonymous Judith Coche Anderson Mary Lou Antinozzi Atlanticare Health System Gerald W. Appert Mildred G. Balina Cyrus & Joyce Baltus James J. Biemer Margaret K. Bennett Norma & David Blecker Anna Bjornberg Rhoda Brown XIV BAY ATLANTIC SYMPHONY Audrey L. Buckingham Irene K. Bullock Robert & Carol S. Burr Elizabeth C. Canderan Florence Calovi Frank J. Caterini Barbara Cohen E Mark Connell Eve Coslop Betty & Frank Couch Sallie Crisconi Marie Cwik Antoinette Deemer Walter P. DePalma Domenica Devenuto Patrick Donovan Robert Dragotta John J. Eberwine Barbara E. Eckhardt Azalea S. Ellis Beth Evans Richard Everill John C. Falcone Nancy L. Farley Sheila Fearow Judith Freeman Msgr. John T. Frey Janet F. Frikert Harold Garber Lynn & Anthony Gibson Barbara Glaberson John & Deborah Gore Shirley R. Gottlieb Richard & Carol Grossman Linda G. Gussie Mary M. Herr Mary A. Herron Elizabeth Hogan Hilda Hoffman William Hong Alan B. Hooker Mary & Robert Hudak William & Nancy Hughes Philip A. Ingraham Monica Jarvis Shirley Kotzker Joan T. Kramar Shy Kramer Ronald Levy William R. Lohmann Erwin Markman Irene M. McCullough Lawrence J. Merighi Mary M. Millar Carolann Molewicz Ann T. Mooney James Moyer Iris Needleman Eva B. Neisser Gloria Noto Emil J. Oscar Melvyn N. Ostrow Elizabeth Papastavros Alyce Parker Elaine Peskoe Pamela Pierson Elsie B. Pfeiffer Joanne T. Platt Beverly Popowich Norman R. Proulx John and MaddalenaPurpura Barbara Raco Jaklyn A. Ramos Richard A. Renza, DO Pamela Ritterhoff GS Robinson Joseph A. Robinson John E. Rosser Jr Barbara Rowan Jeanne Sackman Rocco Santacangelo Howard B. Schapker Marylin Schultz Louis F. Schweickhardt Bronwen D. Sewall Inka Shapiro Cary & Jane Stone Toby Tessler Daniel E. Thoren Kathleen Vincents Kathleen A. Wade Stephen R. Wajda Susan R. Wichterman FRIENDS OF THE SYMPHONY Ruth Banderoff Beachfront Michele G. Bronkesh James Cahill Elizabeth Chandler Deborah Chernoff Marcia Chotiner Joan Diamond Jack Dubis Susan Feldman

21 annual fund contributors Leonard H. Finkelstein S. Hollis Fleischer Audrey Fischer Lois S. Fried Sylvia Gabrieli Judith Sternstein Galler Harold Garber Joan C. Gravitz Eugene Gruber Susan Hamberg Jodi G. Handler Jill A. Hoffenberg Bernice Izes Abram S. Kaplan Ellen Kelley James Klinghoffer Shirley Kotzker Shy & Janet Kramer Rabbi Jonathan Kremer Susan B. Lang Leo Lieberman Marc Lowenstein Ed & Bernadette McGinty Harold & Marth Moskowitz Walter Murphy Rosa Ojserkis Betty J. Paxson Michael & Luise Perlman Beverly Popowich Natalie S. Powell Anita Press B. J. Rabinowitz Anita J. Robinson James & MaryAnn Robson Lee & Susan Roseman Selma W. Rosenberg Robert & Kimberly Sabo Dean Scarpa Judith Schlank Leo & Patti Schoffer Carol L. Sklar R & D Skole Lenore B. Slatkin Howard & Jill Slotoroff Janet B. Snyder Brian Sokalsky, DO Martin & Bonnie M. Spector David & Miriam Spitalnick Herb & Faith Stern Judith Sussman Robert E. Uhrmann Irene Vaders Joyce Vilensky Francine Walkins Anita Weiss Hon Michael & Nadine Winkelstein Kirk Wisemayer Golda Wood Michele Morgen Hogan Fund $2,500-$5,000 Lia Purpura and Jed Gaylin $100-$500 Joan & Robert Watters BAY ATLANTIC SYMPHONY XV

22 Help Bay-Atlantic Symphony Keep the Music Playing Commitment The Bay-Atlantic Symphony is breaking new ground in its efforts to bring quality-of-life musical experiences to southern New Jersey. Our quest to bring powerfully-charged, live music to audiences from the Atlantic Ocean to the Delaware Bay resonates with our citizens from small children to seasoned enthusiasts. Donate With your generous support we can continue our musical journey and keep the music playing for years to come. It is a well-known fact that arts organizations cannot survive without support from their communities. Your tax-deductible donation will help fund music-centered educational and community outreach programs, while ensuring consistently high-level programming with the goal of increasing audience numbers throughout the region. Enclosed is my gift to support the great music of Bay-Atlantic Symphony. $500 $250 $100 $75 $50 $25 $ Name Address City State Zip Home phone Check enclosed payable to Bay-Atlantic Symphony. Charge my credit card: MasterCard VISA American Express Please charge $ Credit Card # Exp Date Security Code Name as it appears on card Cardholder s Signature The Bay-Atlantic Symphony is a 501(c)(3) non-profit organization, Tax ID# Donations are tax-deductible to the extent allowed by law. Please check with your tax advisor to determine that amount. Bay-Atlantic Symphony, 59 E. Commerce St., Bridgeton, NJ Major Stakeholders Geraldine R. Dodge Foundation NJ State Council on the Arts Woodruff Energy Borough of Avalon Stockton Univeristy Borgata Hotel Casino and Spa SJ Industries Avalon Free Public Library Shore Medical Center Contact Bay-Atlantic Symphony 59 E. Commerce St. Bridgeton, NJ (856) Paul Herron: Executive Director Robert Watters: Board President Alyce Parker: Board Vice President Jed Gaylin: Music Director Become a loyal Bay-Atlantic Symphony supporter with monthly or quarterly donations, or talk to us about planned gifts or other forms of support, by contacting: Paul Herron, Executive Director, or paul@bayatlanticsymphony.org Exquisite...Opulent...Powerful XVI BAY ATLANTIC SYMPHONY

23 Plant Trees! BAY ATL A NTI C S YM P HONY

24 AkPharma Inc. Supports the Bay-Atlantic Symphony AkPharma Inc. PO Box 111 Pleasantville, NJ (609) BAY ATLANTIC SYMPHONY

25 Maestro, Jed Gaylin Inspiring the Youth of South Jersey How Music Talks: colors & shapes 2015 Gus Cilento, md Young People s Concerts Debussy Stravinsky Beethoven Petite Suite: 2) Cortège, 4) Ballet Dumbarton Oaks Concerto 1) Tempo giusto, 3) Con moto Violin Concerto, 3rd movement FRIDAY, MAY 1, :45-10:30 AM 11:15 AM-Noon Cumberland County College Guaracini Performing Arts Center Call (856) for reservations. TUESDAY, MAY 5, :30-11:15 AM Richard Stockton College Performing Arts Center Call (609) for reservations. FREE TICKETS are made possible by generous donations of our supporters. A limited number of FREE bus vouchers are available, on a first come, first served basis. Call (856) for information. BAY ATLANTIC SYMPHONY Check out our video at:

26 WOODRUFF ENERGY KEEPS THE MUSIC PLAYING With the Bay-Atlantic Symphony A generous grant from Woodruff Energy has allowed the Bay-Atlantic Symphony to keep its tickets prices affordable through the season: from tonight s Broadway A-Z -- Abba to Les Miz and all through a great classical season with Beethoven Rimsky-Korsakov and Chopin. Thanks to Woodruff Energy s donation, the Bay-Atlantic Symphony will keep ticket prices for the classical music season at $30 for an individual tickets, and only $100 for a season ticket purchase that s $25 per seat. November 1 & 2, Scheherazade and Beethoven. Scheherazade is one of those works whose sheer beauty and exotic colors keeps audiences entranced, just as the heroine of the 1001 Nights Entertainment kept the Sultan under her spell. And our audiences will also be spell-bound by violinist Stefan Jackiw in contrasting works of sublime simplicity and fiercely virtuosic gypsy fiddling in this program of romance and exotic music. January 24 & 25, Vivaldi, Gjeilo and Lauridsen. Our January program always promises something different. We combine our chamber orchestra with stunningly beautiful works of light, Lux Aeterna, and Glory, Gloria. Our good friends, Choral Arts of Southern New Jersey join us for the entire program, which contrasts the lyricism and bounce. March 21 & 22, Chopin and Schumann. These works by Chopin and Schumann are two of the most Romantic, intimate, and lyrical works in the repertoire. Meltingly gorgeous, but also with a joy and abandon that lifts them to great heights, this is a program for those whose hearts forever yearn. In these cases, love is actually requited. We are delighted to bring back piano sensation, and New Jersey resident Terrence Wilson. May 2 & 3, Beethoven & Stravinksy. This program makes a breath-taking voyage from a new work of gentle expressive lyricism by New Jersey composer Amanda Harberg, to the exquisite perfume of Debussy, and then to the leaner, more etched Stravinsky. In the second half these attributes are amped up with all the drive of middle Beethoven in his all-embracing Violin Concerto. The always surprising and brilliant Ryu Goto, who played Sibelius with us in Avalon, joins us for the first time in our subscription concerts in this odyssey of a concert. Woodruff Energy, a great supporter of the Bay-Atlantic Symphony, is the region s leader in providing total in-home and commercial comfort technology and is dedicated to bringing you new ideas and energy efficiency, with the services and dependability exemplified since The Bay-Atlantic Symphony performs it s classical series at: Richard Stockton College (Box office ) Cumberland County College (Box office ) 8 BAY ATLANTIC SYMPHONY

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