THE MAGAZINE OF THE TOLEDO SYMPHONY VOLUME 4, ISSUE 4 - JANUARY 2021
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reed anderson | tso violist
THE MAGAZINE OF
THE TOLEDO SYMPHONY
VOLUME 4, ISSUE 4
january 2021
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Peace of Mind
It’s the most important gift
you can give to your family.
There is nothing in this world more valuable than the
freedom to live life on your terms. Let us help give
that gift to you and those you find most precious.
BRIAN CRAIG CHIEF FIDUCIARY OFFICER
To get the conversation started,
call Brian personally at 419.491.1327.
tcfona.com
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N RD
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IN A
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COMMITTED TO
SERVING THE
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The Andersons grows enduring
relationships through extraordinary service,
a deep knowledge of the market, and a
knack for finding new ways to add value as FROM WGTE PUBLIC MEDIA
we have done for more than 70 years. A behind-the-scenes look at
the world of classical music.
Tune in to FM91 every
Wednesday at 3:30PM!
Ever have a question about music or the symphony
but were always afraid to ask? Now’s your chance to
shape the course of our weekly radio show and podcast!
Call us at 419.418.0012 with your questions today!
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Enriching communities
and transforming lives
through musical
performance – Relax. Recharge. Enjoy the show.
All-inclusive amenities include:
the Toledo Symphony.
• Hot breakfast buffet
• In-room high-speed internet access
• 24-hour Business Center Sylvania / Toledo
• 24-hour Fitness Center 5480 South Main Street
• Microwave and refrigerator in all rooms Sylvania, Ohio 43560
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Mid-scale Hotel Chains, 5 Years in a Row wyndhamhotels.com/hotel/30140
Call today to make your reservation. Ask for the Toledo Symphony / Toledo Ballet rate.
From classics to pops, Dana and its Charitable
Foundation proudly support the Toledo
Symphony’s diverse and outstanding array of
performances. Established in 1956, the Dana
Charitable Foundation is dedicated to enriching
our community through education and the arts.
5704 Alexis Rd., Sylvania, OH 43560
www.whiteknightlimo.com
© 2020 Dana Limited. All rights reserved.
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Music for
your eyes.
TSO in HD is made possible through the
generous support of Buckeye Broadband.
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CMR190597
FROM THE board CHAIr
As board chair of the Toledo Alliance for Performing Arts (TAPA),
I am pleased to welcome you to the second half of our 2020–
2021 season and would like to thank you for supporting the
Toledo Symphony and Toledo Ballet. Our community is fortunate
to have such a strong, diverse and talented performing arts
scene, which is bolstered by these two great organizations.
It goes without saying that last year was a difficult time for our
community and our nation. The unprecedented challenges of
2020 had an impact on us all. While the pandemic forced us to
postpone or cancel many of our favorite events and traditions,
the absence of some live performances left a large void in
our lives. Music, theatre and dance play major roles in our
community. They provide meaningful entertainment and
enrichment and help us connect to each other. We truly missed
being able to see and hear these art forms live on the stage for
some of our performances. “Music, theatre and dance play major roles
I am very proud of how our local performers and staff adapted in our community. They provide meaningful
to the pandemic and found new ways to share their talents. entertainment and enrichment and
From streaming live and previously recorded performances
online, to offering smaller in-person events, they managed to
maintain our connection and appreciation for the arts. This is help us to connect
just another example of the value our symphony and ballet bring to each other.”
to our community.
As we begin a new year, I look forward to the great things
our symphony and ballet have planned. While our world may
not completely be back to normal, it will be great to start
experiencing more outstanding performances in person and
online. I encourage you to look ahead to see how you can
experience the Toledo Symphony and Toledo Ballet and renew
your connection with the arts. You will not only receive
outstanding entertainment, but you will help enrich our
whole community.
Pat Bowe
Board Chair
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LIVE ART Easy-to-use
brought directly to you! Watch wherever you
are and whenever
you want
New this season, we’ve invested in a state-
of-the-art, easy-to-use streaming platform
Convenient
to bring most of our performances directly
to you! Unable to attend in-person?
We’ll meet you wherever you are. High-quality,
HD video & sound
Watch our performances where and when it
fits your schedule!
Family-friendly
Two ways to watch our streamed performances: programming
WATCH live as the performance is happening.
RENT a recording of the performance after it’s finished.
Performances
start at Ways to watch:
Desktop Browser
Mobile Browser
Chromecast or
Apple AirPlay from your mobile device
NEW! TAPA Streaming apps on Apple TV and Roku
Tickets available now!
Visit stream.artstoledo.com to purchase your tickets today!
Video streaming is made possible by the Rita Barbour Kern
Foundation with additional support from the Greater Toledo
Community Foundation Resilience Fund.
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program book 4 | january 2021
PerformanceS
21 January 16 ProMedica Masterworks Series
King of Instruments
27 January 23 KeyBank Pops Series
Strings from the Silver Screen
31 January 31 Buckeye Broadband & The Blade
Chamber Series
Fantasy Music
General Information
The TSO musicians take your breath away with moments
11 Orchestra Personnel & Trustees
of musical beauty. Would you like to return the favor?
Show the orchestra your appreciation and make a gift
15 Corporate Sponsors & Partners
TODAY to the Toledo Symphony’s Annual Fund.
39-47 With Gratitude Pages
THREE EASY WAYS TO GIVE
BY MAIL—PO Box 407 | Toledo, OH 43697
BY PHONE—419.418.0028
ONLINE—toledosymphony.com/donate
2020 | 2021 ANNUAL FUND
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Dance
–series– BOX office: 419.246.8000
toledosymphony.com
Like us on
Listen
The magazine of the Toledo Symphony
Volume 4, Issue 4 | january 2021
PUBLISHER: Zak Vassar
Editor: Allie Dresser
Design Director: Tamie Spears
SPONSOR RELATIONS: Mari Davies
WITH GRATITUDE PAGES: Brett Loney
PROGRAM ANNOTATOR: Kalindi Stone
PROGRAM AD SALES: Allie Dresser
moving soliloquies
For sponsorships, call Mari Davies at 419.418.0055.
For advertising space, call Allie Dresser at 419.418.0027.
sunday, April 25, 2021, 7 PM The Toledo Symphony program books are produced by the Symphony’s
peristyle theater marketing department for distribution free of charge.
Juliette Morgan Quinlan plays the part of Shakespeare The Toledo Symphony is located at:
himself as the figments of his imagination in the form of Puck, 1838 Parkwood Ave., Toledo, OH 43604
Romeo, Iago, and Ariel inspire his ideas which will eventually Mailing Address:
become his future masterpieces. Michael Lang’s world P.O. Box 407, Toledo, OH 43697-0407
premiere of Moving Soliloquies takes us on a unique journey
We welcome your comments at our mailing address.
of Shakespeare’s famous speech “All the world’s a stage”
performed by Jaques in As You Like It. The Toledo Alliance for the Performing Arts (TAPA)
dba Toledo Symphony is a 501c3 non-profit organization.
Toledo Ballet dancers will move, portray, and ponder Jaques’
ProMedica Masterworks Series accommodations are provided by
seven ages of life—Infancy, The Schoolboy, The Lover, The
the Renaissance Toledo Downtown Hotel.
Soldier, Justice, Old Age, and Oblivion—accompanied by the
chamber music of Beethoven, Ravel, Shostakovich, Grieg, and White Knight Limousine is the exclusive ground transportation
others all performed live by Toledo Symphony musicians. provider of the Toledo Symphony.
419.246.8000 | TOLEDOballet.COM
10 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMADMINISTRATION the TOLEDO SYMPHONY ORCHESTRA
Toledo Alliance for the Performing Arts Board of Trustees alain trudel, MUSIC DIRECTOR
Officers Kimberly Howard* John S. Szuch
Patrick Bowe*, Board Chair Joel Jerger Stephen D. Taylor First Violin contrabass Trombone
Steven M. Cavanaugh*, Vice Chair Richard A. Karcher* Michael H. Thaman Kirk Toth, Concertmaster * Jack Henning * Garth Simmons *
Pam Hershberger*, Past Chair Robert A. Koenig David Tighe Lenore & Marvin Kobacker Bill McDevitt + ** Edward H. Schmidt Chair
Elaine Canning*, Treasurer Harley Kripke Louis E. Tosi Chair Aaron Keaster John Gruber †
Frank Jacobs*, Secretary David Mack Alain Trudel Téa Prokes ** Richard Alleshouse *,
Zak Vassar* William B. Mathis Marlene Uhler* Associate Concertmaster Principal Bass Emeritus Bass Trombone
Lisa Mayer-Lang Julie Waidelich-Roberts Catharine Z. Melhorn Chair Derek Weller Daniel Harris *
Trustees
C. Allen McConnell Traci Watkins, MD Patricia Budner Jean Posekany †
James Adams
William R. McDonnell Dave White, Jr. Jillienne Bowers Tuba
Stephanie Alexander Timothy Somers †
Joseph D. Napoli Lance Woodworth Vasile Chintoan David Saltzman *
DeAnne Gorun Baker
Jonathan Orser* Laura Longman
Debra Ball BOARD FELLOWS Flute
Marna Ramnath* Gyusun Han
Shelley Bridarolli Samuel Adler, Ph.D. Joel Tse * Timpani
Christina Ramsey
Jameel Burkett Dr. Tom Brady Charles Roth Betty & Robert J. Sally Rochotte *
John Reynolds
John H. Burson William F. Buckley Tom Sieberg Lanigan Chair
Bennett Romanoff, MD
Stephanie Cole, MD* Eric S. Fankhauser Roger Jamini Amy Heritage Percussion
Ronald Rybarczyk
Jenny Coluccio Kenneth E. Hileman Maria Bessmeltseva † Joanna Goldstein † Jordan Wirth + *
Carolyn Savage*
Susan L. Conda Justice G. Johnson, Jr. Sophie Tang † Pilkington Chair
Robert P. Schlatter
Jennifer Coy George M. Jones, III Virgil Lupu † Piccolo Keith McWatters
Joseph Sferra
Debbie Sauder David Darryl R. Lippman Chris Will † Joanna Goldstein † Jonathan Smith †
Mo Sheahan
Kathleen Davis Ronald A. McMaster
Saga Shoffner*
Jeanne DeWitt* Norman C. Nitschke
Rebecca E. Shope Second Violin Oboe Harp
Michael Ellison, Ph.D.* Randy Oostra
Sara Ann Smith Merwin Siu * Kimberly Loch * Nancy Lendrim *
Melissa Freeman* Mark Pietrykowski
Bethanne Snodgrass, MD David W. Robinson Chair Owens Corning Chair Lois Nitschke Chair
Ashley A. Futrell* Mark E. Ridenour
Sharon S. Speyer* Heewon Uhm ** Michele Smith
Charlene D. Gilbert Stephen H. Staelin
Charles Stocking* Cheryl A. Trace Kristin Reynolds † Keyboard
John Gonia H. David White, Sr.
Desmond Strooh Pamela Stuckey Valrie Kantorski †
Judy Gorun
Olivia K. Summons * Member, Executive Committee
Ran Cheng Clarinet Jonathan F. Orser Chair
Anneliese M. Grytafey
Diana Dyer Anderson Georg Klaas *
THE Toledo Symphony League LEADERSHIP David Dyer Clement O. Miniger saxophone
Alice Neff Petersen Foundation Chair Shannon Ford †
Marlene Uhler, Linda Olrich, Beth Williams,
Vice President of Diane Kent Jocelyn Langworthy
President Assistant Treasurer
Kathy Scheer, JoAnn Phipps, Scholarships, Awards Randy Workman Kevin Schempf † Electric Bass
Past President Recording Secretary and Grants Ashley Dyer † Richard Alleshouse *
Susan Lang, Beth Bowman, Shelli Jacobs, Dana Mader † E-flat Clarinet
Treasurer Vice President Vice President of Jocelyn Langworthy Recorder
of Membership Symphony Activities Viola David Dyer
Valentin Ragusitu * Bass Clarinet
Toledo Alliance for the Performing Arts Administrative Staff and Advisors Blade Foundation Chair Kevin Schempf † * Principal
Full Time John Juan, Part Time Tim Zeithamel** ** Associate Principal
Bassoon + Acting
Zak Vassar, Stage Manager Patricia Budner*, Reed Anderson
President & CEO Tim Lake, Casey Gsell * † Supplemental
Assistant to the Orchestra Mihaela Ragusitu
Alain Trudel, Production Manager Joan Weiler ** *** On Leave
Manager Philip Stoll
TSO Music Director Michael Lang, Betsy Cranston, Nora Schankin
David Ford Steinway piano tuning and
Lisa Mayer-Lang, Toledo Resident Choreographer TSYO Conductor Esther Nahm †
Ballet Artistic Director Brett Loney, Director of ContraBassoon technical services provided
Richard Gardiner, Veronica Vassileva †
Robert Bell, Development Assistant Librarian Nora Schankin * by Craig’s Keyboards. Craig
Kalindi Stone † Whitaker is the official piano
President Emeritus Keith McWatters*, Wasim Hawary,
Nicole Bohmer, Orchestra Manager TSYO Artistic Director Horn technician for the Toledo
Cello
Finance Assistant Ron Papke, & Conductor Megan Amos Symphony.
Raymond Clark, Director of Individual Giving Martha Reikow *
Chad Hutchinson, Emily Dietz
Librarian Carly Rockenhauser, France Stone Foundation
TSYO Conductor Chair Alan Taplin
Mari Davies, Box Office Associate Aaron Keaster*, Tamara Kosinski †
Director of Institutional Giving Matty Sayre, Amy Chang**
Assistant Librarian Lorenzo Robb †
Randi Dier, Executive Assistant & Damon Coleman
Kelly Hill Kretzer, Ensemble
Vice President, Finance Artist Liaison Sales Associate Robert Clemens
Elizabeth Rice Trumpet
Allie Dresser, Rachel Schultz, Sonsoles Llodrá,
Kellen Degnan Lauraine Carpenter *
Marketing & Program Ad Director of Education & School of Music Coordinator
Matthew Schiebold Chrysler Corporation
Sales Manager Community Engagement Anthony Piercefield, Fund Chair
Vanessa Gardner, Merwin Siu*, Administrative Assistant Katherine Cosgrove
Director of Marketing & Artistic Administrator Kathleen Schnerer, Thaddeus Archer **
Communications Erin Steel, TSYO Conductor
Judith Gonia, Gift & Stewardship Ric Wolkins †
Joan Weiler*,
Operations Director Coordinator Benjamin Thauland †
Youth Orchestras Coordinator
James M. Hartley, Kalindi Stone,
Business Manager Box Office Manager &
* Member of orchestra
Program Annotator
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 11Local Fifth Third Bank proudly
supports the arts in the
Matters.
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Because creativity
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a Fifth Third betterSM
for everyone.
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12 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMFROM THE president & CEO
Dear friends,
The coronavirus pandemic has wrought havoc upon the
performing arts. Storied organizations, larger and smaller than
ours, have gone dark. This has silenced musicians, left songs
unsung, and suspended beautiful movement. The arts sector has
recorded the highest unemployment rate in Ohio. Those in other
states have fared even worse.
Across the country, musicians, dancers, singers, and arts
administrators have seen their worlds turned upside-down. This
is not to mention the remarkable behind-the-scenes staff, who
make performances happen. And there is a notable trickle-
down effect, when one considers associated businesses—from
restaurants to parking lots—that rely upon events to drive traffic.
What happens when a community loses its performing arts?
How much does that spark of creativity propel us forward? “Our commitment to bring our
How would we see the world without the different lenses that
art provides? These are fortunately questions that our region will
not have to answer. community together
The Toledo Symphony is especially fortunate to continue through the music is more evident than ever.”
presenting high-quality live performances. As one of the only
symphonies performing this year, our commitment to bring our our own path forward. Our resolve has never been more tested.
community together through the music is more evident than Our commitment has never been more clear.
ever. At a time that we crave social stimulation, it is through art
that we are united. I am frequently reminded of a quote from Jean-Michel Basquiat:
“Art is how we decorate space, music is how we decorate time.”
This is thanks in large part to you, our audience. By purchasing These days, we need both. After months of staring at the
tickets and subscriptions, you breathe wind into our sails and same walls, we need beauty to surround us. When the silence
reaffirm our course during this crisis. Whether you attend in becomes deafening, we need music to calm our minds and
person or via TAPA Streaming, we are grateful for your reassure our hearts. It is only with these tools at hand that we
enthusiasm and applause. While the concerts might look a little can see the light on the horizon.
different than we planned, it remains our honor and privilege
to continue performing for you. Welcome to 2021. May music bring us together.
I am likewise grateful to work with such an amazing and cre-
ative team. In so many ways, this pandemic has presented us
with new challenges. It has also has taught us much about
ourselves. As the lights began to fade at concert halls across Zak Vassar
the country, we had to dig deep, turn into the storm, and pave President & CEO
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 1314 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAM
THANK YOU SPONSORS AND PARTNERS
We recognize and thank those businesses and organizations whose support of Toledo Symphony
programs reflect an investment in the orchestra and in the well-being of our community.
SUSTAINING PARTNERS
Rita Barbour Kern
Foundation
SEASON PRESENTERS
artistic partners
T O L E D O
S Y M P H O N Y
L E A G U E
ARTISTIC UNDERWRITERS BUSINESS LEADERS GOVERNMENT AGENCIES
Directions Credit Union Betco Corporation
Findley Eastman & Smith, LTD.
The LaValley Foundation LA-Z-Boy
PNC Bank Mosser Construction
Rehmann
BUSINESS PARTNERS Toledo Arena Sports
Art Iron
BP Husky - Toledo Refining
Coil-Bar Corporation
Ernst & Young LLP
Signature Bank, N.A.
palmer energy MEDIA sponsorS
Taylor Automotive Toledo.com
Yark Automotive Group WGTE
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 15Enroll
today!
Join us for Musically Me Classes
Wednesdays from 10:15-11am at the home of the Toledo Ballet
Session 2 - All That Jazz
(December 2- January 20)
Session 3 - The Rhythm of the Rhyme
(January 27, 2021 - March 17, 2021)
Session 4 - The Best of Sandra
Boynton (March 31- May 12)
Call 419.418.0057 or visit toledosymphony.com.
Financial assistance available for those who qualify.
ALYSON
Buy your streaming tickets today!
stream.artstoledo.com
masterworks
CAMBRIDGE
Postcards from Prague
–series–
OPERA GALA
MASQUERADE BALL
february 19, 2021, 8 PM, Valentine Theatre
Alain Trudel, conductor SATURDAY, MAY 8, 2021 . THE TOLEDO CLUB
Showcasing Mozart’s “Prague” symphony.
TICKETS AVAILABLE AT
TOLEDOOPERA.ORG
419-255-7464
419.246.8000 | TOLEDOSYMPHONY.COM
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TOOP_TSO_operamasquerade_4.375x7_01082020_v2.indd 1 1/8/21 9:34 AMFROM THE music director
Happy new year to all of you. We made it to 2021. As we enter
this new year, we continue our commitment to bring beauty,
positivity, and a sense of normality to our community. I am
constantly humbled by my incredible colleagues of the symphony,
both on stage and behind-the-scenes, for their inspiring resilience
and love for our community through our art form.
Our programming reflects this sentiment of a brighter future as
we start off the new year with a truly spectacular performance
featuring world-renowned organist Todd Wilson on a program
that includes virtuosic organ repertoire and your TSO musicians.
We then take you on a cinematic adventure through exhilarating
movie blockbusters—including highlights from Lord of the Rings,
Psycho, Beauty & The Beast, and more—all from the comfort of
your home.
In February, pianist Stewart Goodyear makes his way back to
Toledo for Ludwig van Beethoven’s masterful Fourth Piano “The past year has brought many challenges,
Concerto at the Peristyle. We celebrate the month of love with a but it has also given us the opportunity to be a
variety of intimate and romantic music—ranging from Broadway
to Hollywood—in our KeyBank Pops Series and on Valentine’s Day
weekend, we present to you a fabulous program of jazz tunes,
glimmer of light
film-favorites, tangos, and more across two performances. It’s in the darkest moments of our lives.”
going to be such a treat and I hope you and your special
someone will join us for these events.
We continue our series of amorous music with Tchaikovsky and us all to find happiness in these special moments that live
the Russian Romantics in March that features one of the art provides.
generation’s next great violin soloists, Kerson Leong. At a young
age, Kerson has already distinguished himself with a powerful I encourage you to join us this season, whether that’s live and
musical voice and I’m looking forward to his Toledo debut later in-person at the Peristyle or virtually on our TAPA Streaming
this spring. And, just in time for your St. Paddy’s day celebrations, platform. Let the joy and beauty of music connect us. Please
we present Sláinte!, an incredibly fun and light-hearted program stay safe and be kind to one another. I look forward to seeing
full of rich Irish folk music that is sure to get you in the spirit. you again soon.
The past year has brought many challenges, but it has also Bien à vous,
given us the opportunity to be a glimmer of light in the darkest
moments of our lives. United as one organization, we have the
ability to uplift and inspire in ways I cannot put into words. It is
my mission to bring our community together through lasting Alain Trudel
musical moments, and it is my hope that this new year allows Music Director
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 17Make a difference.
Volunteer.
The TSO staff are indebted to the numerous
volunteers that assist at concerts, in the office
and archives, and with the youth orchestras.
Many give over 100 hours of service or more
per year to our organization. We offer sincere
thanks to them! If you are interested in
sharing your time and volunteering with the
Toledo Symphony, please call Kalindi Bellach
at 419.418.0040.
Charlene Anderson*
Kathryn Bellach
Dorothy Coats (TSYO)* +
Kathleen Durham
Ann Lieder
Aileen Pargament
Directions Credit Union helps you plan Hannah Perrot
for life’s little joys and big moments. Karen Rose
Kathy Scheer*
With financial guidance that sets you
Bill Stein*
free. With advice and encouragement Beth Williams (TSYO)
that supports your biggest dreams. Toledo Symphony League*
And with technology that follows you
down every road.
You can become a member today. And choose your
own direction.
*Donate more than 100 hours per
year to the Toledo Symphony Orchestra.
Join now at directionscu.org + Recently retired
FEDERALLY INSURED BY NCUA
18 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMOUR PEOPLE
AND PRODUCTS
MAKE MORE
POSSIBLE
Visit us on Facebook to see what we’re doing here in Toledo and around the globe.
@OwensCorningCorporate | #OCGIVESBACK
THE PINK PANTHER™ & © 1964–2020 MGM.
www.owenscorning.com The color PINK is a registered trademark of Owens Corning. © 2020 Owens Corning. All Rights Reserved.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 19james feddeck, conductor todd wilson, organ
Born in New York and hailed by the Chicago Tribune Regarded across America and around the world
as “a gifted conductor who’s clearly going places,” as one of today’s finest concert organists, Todd
James Feddeck’s engagements over the past season Wilson serves as head of the Organ Department at
have included debuts with the BBC Scottish The Cleveland Institute of Music, and is also Director
Symphony Orchestra, Warsaw Philharmonic, of Music at Trinity Episcopal Cathedral in Cleveland,
Staatskapelle Weimar and the Oregon Symphony Ohio and Curator of the E.M. Skinner pipe organ at
Orchestra, and return visits to the Chicago Symphony Severance Hall (home of The Cleveland Orchestra).
Orchestra, the Orchestre Symphonique de Montréal,
Previously, Mr. Wilson served as Director of Music
Orchestre National de Belgique, Residentie Orkest,
and Organist at The Church of the Covenant
Bournemouth Symphony Orchestra and Orquesta
(Presbyterian), Cleveland, Ohio for nineteen years, and
Sinfónica de Tenerife.
from 1989 through 1993 was Head of the Organ Department at Baldwin-
In recent seasons he has also appeared with many other leading Wallace College Conservatory of Music in nearby Berea, performing in
European and North American orchestras including the Vienna Radio their annual Bach Festivals. He also served as Organist and Master of
Symphony, Deutsches Sinfonieorchester Berlin, Orchestre National the Choristers at the Cathedral of the Incarnation in Garden City, New
de France, BBC Symphony, BBC Philharmonic, Royal Liverpool York. In New York, he taught on the faculties of Adelphi and Hofstra
Philharmonic, Barcelona Symphony, Stockholm Philharmonic, Helsinki Universities and was organist of the George Mercer School of Theology.
Philharmonic, City of Birmingham Symphony Orchestra, the Hallé
Todd Wilson has been heard in recital at many major venues through-
Orchestra, Chicago Symphony, The Cleveland Orchestra, San Francisco
out the United States, Europe, and Japan, including Symphony Hall
Symphony, Seattle Symphony, Detroit Symphony, and the Toronto
(Birmingham, UK), Westminster Abbey (London, UK), St. Patrick’s
Symphony.
Cathedral, Dublin (Ireland), Los Angeles’ Walt Disney Concert Hall,
Forthcoming engagements see his returns to Orchestre Nationale de Chicago’s Orchestra Hall, Cleveland’s Severance Hall, Dallas’ Meyerson
Belgique, I Pomeriggi Musicali, Hamburg Symphony, Orchestre National Symphony Center, Philadelphia’s Verizon Hall, Nashville’s Schermerhorn
de France, Tivoli Orchestra, Seattle Symphony and Toledo Symphony. Symphony Center, Milwaukee’s Uihlein Hall, Washington National
Upcoming debuts include Het Gelders Orchestra, Orchestre Nationale Cathedral, St. Patrick’s Cathedral, New York City, and the 21,000-seat
d’Ile de France, RAI National Symphony Orchestra and Teatro di San Mormon Conference Center in Salt Lake City. He also was a recitalist
Carlo. for Austrian Radio in Vienna, and in January 2005 he presented his first
solo recital in Tokyo, Japan.
James Feddeck studied at the Oberlin Conservatory of Music, was
Assistant Conductor of The Cleveland Orchestra, and is a winner of the Mr. Wilson has appeared with many symphony orchestras around the
Solti Conducting Award and the Aspen Conducting Prize. world including the Cleveland Orchestra for whom he serves as
Organ Curator, the Los Angeles Philharmonic for whom in 2004 he
was featured organ soloist on the first orchestra subscription series
concerts featuring the new Walt Disney Concert Hall organ, the
Nashville Symphony, the Slovakian Radio Symphony Orchestra, the
Naples (Florida) Philharmonic, and with members of the Atlanta
Symphony Orchestra.
20 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMmasterworks
–series–
King of Instruments
Saturday, january 16, 2021, 8 PM | Peristyle Theater
James Feddeck, conductor | Todd Wilson, organ
Francis Poulenc Concerto for Organ, Timpani, and Strings in 22’
G Minor, FP 93
Anton Bruckner Intermezzo for Strings in D Minor, WAB 113 8’
Tomaso Albinoni Adagio for Organ and Strings in G Minor 9’
Arr. Remo Giazotto
Howard Hanson Concerto for Organ, Harp, and Strings, Op. 22 No. 3 17’
–
The Steinway Model D grand piano is a gift of Jonathan F. Orser.
The refurbished Dr. James W. Southworth Piano is a gift of Dorothy MacKenzie Price.
The Lyon and Healy concert grand harp is a gift of Norman C. Nitschke.
White Knight Limousine is the exclusive ground transportation provider of the Toledo Symphony.
Media Sponsor for the Masterworks Series is WGTE.
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 21PROGRAM NOTES | by Kalindi Stone ©2021
Concerto for Organ, Timpani, and Strings in G Minor, FP 93 Poulenc’s Organ Concerto is set in one movement, divided into seven
Francis Poulenc (1899–1963) sections, performed without a break. Annotator Lori Newman writes,
“[The concerto] is considered neo-Baroque, in the style of Stravinksy’s
Francis Poulenc was born an only son into the pharmaceutical business,
neo-Baroque works.” Poulenc opens with a slow introduction, moving
and his musical ambitions were, for the most part, not understood. His
from there into a lighter allegro giocoso section that, according to
mother was the notable exception to this in his family, but his father
annotator Herbert Glass, recalls “the impish Poulenc of younger days.”
did provide him with the necessary means to begin building a career in
Listen for the viola solo toward the end of the piece, described by Glass
music.
as “beatific ... encircled by organ and timpani.”
Poulenc was a member of Les Six, a group of six composers living
Despite what others have said regarding Poulenc’s grief and grayed
and working in Montparnasse, France, and named loosely after Mily
outlook in the late 1930s when the Organ Concerto was written, it’s
Balakirev’s The Five, or Mighty Handful in Russia. Les Six represented
important to know that there was more to him than that. Glass writes
a stylistic opposition to both Impressionism and Richard Wagner.
that “he could still find inspiration in the poems of Paul Éluard, which
Author Josiah Fisk writes, “Among his colleagues in Les Six, Poulenc
mixed earthly and divine love, rollicking wit, and sentimentality to a
was the most classical in outlook and the most urbane in manner. As
degree that Poulenc found irresistible and resulted in some of his finest
a young composer he was drawn to the simple means and vernacular
songs, often introduced with the composer at the piano.” Furthermore,
immediacy of Satie. He later allowed himself greater richness of texture;
Poulenc remarked to a friend over a decade later, “you will find sobriety
after World War II he adopted a more serious cast of mind, but never
and dolor in French music just as in German or Russian. But the French
abandoned the crisp, essentially tonal style that had become his
have a keener sense of proportion. We realize that somberness and
hallmark.”
good humor are not mutually exclusive. Our composers, too, write
In 1936 Poulenc lost fellow composer and close friend Pierre-Octave profound music, but when they do, it is leavened with that lightness of
Ferroud. This blow inspired in him a spiritual journey that changed his spirit without which life would be unendurable.”
music. Most importantly, Poulenc re-embraced his Catholicism. His
The Organ Concerto was premiered privately before the princess
organ concerto is an example of his spiritual exploration. Though the
in December 1938, with Duruflé at the organ and Nadia Boulanger
organ concerto is not in itself religious, Poulenc considered it the first
conducting. It was premiered publicly the following June, again with
of his works inspired by his renewed faith. In the shadow of World War
Duruflé, but this time conducted by Roger Désormière. The piece
II and with the increasing political tension across Europe, Poulenc’s
was generally well received, and the princess wrote to Poulenc, “Its
general outlook also darkened. Of the Organ Concerto Poulenc wrote
profound beauty haunts me.”
of himself, “This is not the lighthearted Poulenc who wrote the concerto
for two pianos, but a Poulenc on his way to the cloister – a fifteenth-
century Poulenc, if you like.” Intermezzo for Strings in D Minor, WAB 113
Poulenc composed his Organ Concerto in 1938, four years after it was Anton Bruckner (1824–1896)
commissioned by Princess Edmond de Polignac (neé Winaretta Singer When you think of chamber music, Anton Bruckner is probably not
of the Singer sewing machine fortune). A wonderful supporter of new the first composer to come to mind. However, he wrote not only a
music, she was the source of many commissions, including Poulenc’s string quartet but also a string quintet, and this Intermezzo, which he
Concerto for two pianos (1932) works by Fauré, Ravel, Stravinsky, Satie, originally wrote to take the place of the Scherzo in the Quintet. Music
Falla, Milhaud, and others. writer and critic David Hurwitz notes that the Quintet is “an odd piece,
As this concerto was Poulenc’s first composition for organ, he turned even for [Bruckner]… [and] if you like Bruckner, you’ll like it.” The
first to the scores of masters Bach and Buxtehude, and also asked the Quintet is also quite different from his symphonic work.
renowned organist Maurice Duruflé for assistance with the registration Annotator Steven Ledbetter explains, “To be sure, Brucker wrote
and voicing. Poulenc’s biographer Henri Hell notes that this focus on the lengthy and demanding symphonies that were rarely performed [during
Baroque period is somewhat out of character for Poulenc, who usually his own life]…. [Bruckner’s symphonies] offer so individual and personal
looked back a little further to the Renaissance for inspiration.
22 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMa treatment of the form inherited from his Viennese predecessors … Though he was a fully trained string player and vocalist, Albinoni
Though in many respects insecure as an individual, when it came to still called himself “Dilettante Veneto,” and thought himself to be an
composing symphonies, his music reflects throughout the absolute amateur. When his father, a wealthy paper merchant, died in 1709,
conviction of his Catholic faith.” The Quintet and the Intermezzo are Albinoni had the means to devote all his time to musical pursuits, until
considerably less weighty. his own death in 1751.
Reviewer Wayne Reisig writes, Bruckner “never wrote anything which On his death, whatever copies of his unpublished music remained with
could be termed ‘pops’… [the Intermezzo leans that way, and is a] sunny him were transferred to the State Library in Dresden, where they were
little work,” with elements of the ländler in it. Critic James Reel calls it a eventually lost during the Allied bombing raids in 1945.
“sometimes swaggering, sometimes hesitating minuet.”
In the early 1950s, the Italian musicologist Remo Giazotto (1910–
Bruckner first decided to write chamber music at the request of 1998) undertook research to write a biographical study of Albinoni,
Viennese violinist Joseph Hellmesberger, who was concertmaster of including a catalogue of his works. Inevitably, this research took him
the Vienna Philharmonic and also led his own string quartet. Flattered to whatever was left in the Dresden archives. It didn’t take him long
by the request, Bruckner produced the Quintet, but Hellmesberger to publish Musico di Violino Dilettante Veneto, but he wasn’t finished
rejected the second movement, complaining that the “curious, elfin looking. Several years later, in 1958, Giazotto announced that he had
scherzo” was “unplayable.” Bruckner took this in stride, and composed miraculously found in the archives a fragment of still unpublished
the Intermezzo to stand in. Though it’s in the same key (D minor) and music by Albinoni. It was barely a scrap, most likely part of the slow
keeps the same material for the trio – marked “Langsamer” (“even movement of a trio sonata in G minor (possibly Albinoni’s Op. 4 set
slower”) – it is a more relaxed and less demanding than the original from 1708). All that was left on this recovered scrap was about six
scherzo. measures of the continuo (accompaniment) part with melody. From
this kernel, Giazotto built the “Albinoni Adagio” according to Baroque
Sometime after the Quintet’s premiere with the Intermezzo as its
compositional principles. Annotator Betsy Schwarm writes that the
second movement, other groups began to play it, but wanted to
result is “something generally in the style of a chaconne, in which a set
reinstate the scherzo. This eventually led Hellmesberger to reconsider
of repeated pitches underlies an evolving melody.”
his position and perform the full work as Bruckner had originally written
it. Unfortunately, the Intermezzo was gradually forgotten. Giazotto describes his compositional process: “The first move toward
the reconstruction of the work was provided by the realization of the
Finally, in 1900, the score for the Intermezzo was found in the private
figured bass [a notation used to mark harmony as a figure above each
collection of one of Bruckner’s former students and posthumously
pitch; without specifying voicing and instrumentation there is still some
published. And, in 1904, The Fitzner Quartet premiered it (again). In
room for interpretation], to which a brief introduction was added.
modern performances the Intermezzo often fills the role of am encore,
Using this figured bass and the two thematic elements (six bars in
especially when programmed alongside the full Quintet.
all) the whole was pieced together and composed in full accordance
with the harmonic tissue suggested by the figured bass. The organ,
Adagio for Organ and Strings in G Minor, instead of the harpsichord, has been indicated for the figured bass
Arr. Remo Giazotto in consideration of the mystic atmosphere created by it and on the
Tomaso Albinoni (1671–1751) assumption that this might have been a Sonata a tre ‘da chiesa’ [church
sonata] and not ‘da camera’ [secular sonata].”
Italian composer Tomaso Albinoni is best known for his collections
of instrumental music, including numerous sonatas, concertos, and Schwarm describes the Adagio as a “gentle and ethereal work,”
sinfonias, which are similar in style to the music of Arcangelo Corelli and though, despite the pains taken by Giazotto, not one that comes out
Antonio Vivaldi. Sadly, the majority of his work has been lost, and very sounding quintessentially Baroque. Author, conductor, and trumpeter
little is known about his life. Elisa Koehler notes that instead of “[transporting one to the Baroque
era, it rather takes one] to a romanticized conception of the period.”
(continued on next page)
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 23(continued from previous page)
She goes on to speculate, “The poignant pathos of the music may be creation, and preservation of beauty in music, believing it to be an art
connected to the discovery of Albinoni’s original manuscript. As the form possessing unique power to ennoble both performer and listener
compiler of the thematic index of Albinoni’s works, Giazotto received and, by extension, mankind.” Musicologist Walter Simmons points out,
the six-measure fragment from the State Library of Dresden following “Howard Hanson was a bold and outspoken advocate of music as a
the destruction of World War II. Because musicologists deal with the euphonious vehicle for untrammeled emotional expression during a
painful frustration of lost masterpieces on a regular basis, it’s hard not period when the new-music community had become hostile to such a
to wonder: Did the tantalizing fragment of ‘what could have been’ point of view.”
combined with the cultural devastation of WWII inspire Giazotto to
In the 1936 convocation address at Eastman, Hanson said, “Music has
write his elegiac music?”
a strange physiological and psychological power. We rediscover music
It is, however, entirely possible that Giazotto’s account of the Adagio’s not only as a tremendous emotional force in the lives of men but as a
origins are fictional. Certainly there is no physical evidence of the sociological force in education. We realize that these simple vibrations
original six measures, and moreover, some sources claim Giazotto later which proceed from the elastic string of the violin are potent, potent
took full credit for the work. both for good and ill. We ponder upon the intricacies of the human
mind and the unfathomed depths of the human soul. We salute music
Regardless of how it came to be, Giazotto’s “Albinoni” Adagio was
not as an abstract art but as a great social force. We call upon ourselves
published in 1958, under Giazotto’s name, with the title Adagio in G
to utilize this force for the benefit of mankind. We call upon the spirit of
Minor for Strings and Organ on Two Thematic Ideas and on a Figured
beauty to make clean our hearts that we may be fit servants of so great
Bass by Tomaso Albinoni. The Adagio became very popular, and may
an art ... a divinely great art. We study an art which is a part of infinity
be familiar through its many appearances in films and on recordings of
itself. It is tangible, it is intangible. It is science, it is art. It is emotion, it is
various classical collections.
intellect. It is a part of society, yet it carries us to heights where we exist
for a moment in the fearful and awesome isolation of interplanetary
Concerto for Organ, Harp, and Strings, Op. 22 No. 3 space. It calls for our deepest emotional development, the greatest use
Howard Hanson (1896–1981) of our intellectual powers, and a supreme devotion to beauty.”
Renowned American composer, conductor, and educator Howard As a teacher, Hanson and his colleagues at Eastman and the American
Hanson enjoyed a long and illustrious career, the majority of which was Music Festival trained and otherwise supported many well-known
spent at the head of the Eastman School of Music. Born in Nebraska to composers, including Samuel Barber, Aaron Copland, Elliott Carter,
Swedish Lutheran immigrant parents, Hanson remained a committed and dozens more. Throughout his tenure, Hanson continued to guest-
advocate of contemporary American music all his life. lecture, conduct, and publish both music and scholarly works, including
the theoretical text The Harmonic Materials of Modern Music.
As annotator John Gladney Proffitt explains, Hanson was part of
a group of American composers “who personified the emergence Hanson was an excellent pianist, and this affinity is doubtless at least
of American classical music as a distinctly national, as opposed to partially responsible for his instrumentation choices for his very few
European, cultural force to be taken seriously.” This group included concertos. In 1923 he composed a symphonic poem called North and
composers such as Walter Piston, Roger Sessions, Virgil Thompson, West, which he repurposed into an organ concerto in 1926 for Harold
Aaron Copland, and others. Gleason (of Eastman). This organ concerto called for the full symphony
orchestra, though, which became something of an obstacle to its
Influenced by the music of Scandinavian composers Jean Sibelius, performance since most organs are installed in churches that don’t have
Edvard Grieg, and Carl Nielsen, Hanson’s style was boldly romantic, and enough space to house so many musicians. So in 1941 Hanson rewrote
he became the leading proponent of American Romanticism. Hanson the concerto for organ, harp, and strings.
also had the opportunity, as the first American Prix de Rome winner
in 1921, to study with the Italian composer Ottorino Respighi, whose This concerto is set in a single movement comprised of different
command of color and orchestration Hanson greatly admired. Proffitt episodes (this fantasia-like form was a favorite of Hanson’s). Look for
writes, “Hanson dedicated his professional life to the encouragement, the cadenza for organ pedals in the latter section!
24 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMProffitt writes, “Hanson never departed from his cherished ideals of
beauty, clarity, and simplicity of utterance and his conviction that
musicians and audiences would respond openly to each other on this
basis. He abhorred ugliness in music, dismissed as worthless intellectual
abstraction for its own sake, and fought what he perceived to be the
growing alienation between composer and audience. A lifetime of
composition reflects this conviction.”
Previous Performances:
Poulenc - Concerto for Organ, Timpani, and Strings: Hawthorne with
E. Power Biggs in 1962, Fournier with Mary Cheney Nelson in 1968,
Tipton with Aaron David Miller in 2005
Bruckner - Intermezzo for Strings in D Minor: TSO premiere
Albinoni - Adagio for Organ and Strings in G Minor: TSO premiere
Hanson - Concerto for Organ, Harp, and Strings: TSO premiere
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TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 25Enrico Lopez-Yañez, conductor
Enrico Lopez-Yañez is the Principal Pops Conductor
of the Nashville Symphony where he leads the
Symphony’s Pops Series and Family Series. Lopez-
Yañez is quickly establishing himself as one of the
Nation’s leading conductors of popular music and
becoming known for his unique style of audience
engagement. Since working with the Nashville
Symphony, Lopez-Yañez has conducted concerts
with a broad spectrum of artists including: Patti
LaBelle, Kenny Loggins, Richard Marx, Toby Keith,
Trisha Yearwood, Jennifer Nettles, Renée Elise Goldsberry, and more.
Also an active arranger, Lopez-Yañez has been commissioned to write
for the Cincinnati Pops Orchestra and the Houston Symphony, and has
had his works performed by orchestras including the Detroit Symphony,
Rochester Philharmonic, and Omaha Symphony.
As Artistic Director and Co-Founder of Symphonica Productions, LLC,
Lopez-Yañez curates and leads programs designed to cultivate new
audiences. An enthusiastic proponent of innovating the concert
experience, his exciting education, classical, and pops concerts are
performed by orchestras across the United States.
Lopez-Yañez previously held the position of Assistant Conductor
with the Nashville Symphony and Omaha Symphony. He holds a
Masters in Music from the University of Maryland and received a
Masters in Music and his Baccalaureate from UCLA, where he
graduated summa cum laude.
26 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMpops
–series–
Strings from the Silver Screen
Saturday, january 23, 2021, 8 PM | Peristyle Theater
Enrico Lopez-Yañez, conductor
Ramin Djawadi Game of Thrones Theme
arr. Larry Moore
Bernard Herrmann Psycho, A Short Suite for String Orchestra
ed. Christopher Palmer
Richard Rodgers A Tribute to Richard Rodgers
arr. Ted Ricketts Song of the High Seas
Oklahoma
The Sound of Music
Carousel Waltz
Climb Ev’ry Mountain
Samuel Barber Adagio for Strings
Aaron Copland “Hoe Down” from Rodeo for String Orchestra
Howard Shore Concerning Hobbits
John Williams Munich: A Prayer for Peace
John Williams Memoirs of a Geisha
arr. Ted Ricketts
Alan Menken Highlights from The Beauty and the Beast
arr. Calvin Custer
Traditional La Llorona
arr. Enrico Lopez-Yañez
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–series–
Fantasy Music
Sunday, january 31, 2021, 7 PM | Peristyle Theater
Camille Saint-Saëns Fantasy for Violin and Harp, Op. 124 14’
Téa Prokes, violin Nancy Lendrim, harp
Alexander Borodin String Quartet No. 2 in D Major 29’
Allegro moderato
Scherzo: Allegro
Nocturne: Andante
Finale: Andante – Vivace
Kirk Toth, violin Merwin Siu, violin
Valentin Ragusitu, viola Martha Reikow, cello
Ludwig van Beethoven Clarinet Trio in B-Flat Major, Op. 11 22’
Allegro con brio
Adagio
Tema con variazioni (Theme and Variations):
Allegretto
Georg Klaas, clarinet Frances Renzi, piano
Amy Chang, cello
TICKETS: 419.246.8000 | TOLEDOSYMPHONY.COM | 31PROGRAM NOTES | by Kalindi Stone ©2021
Fantasy for Violin and Harp, Op. 124 of another of his pieces, Saint-Saëns settled on the Italian Riviera to rest
Camille Saint-Saëns (1835–1921) and compose.
Camille Saint-Saëns was widely considered, during his lifetime, the He dedicated the Fantasie to two sisters, violinist Marianne Eisler and
best French composer, and some went so far as to call him “the French harpist Clara Eisler. And, as you might infer from the title, the piece
Beethoven.” He was an incredibly gifted pianist, and fellow composer is in one movement with several contrasting sections and a loose,
Franz Liszt called him “the finest organist in the world.” Annotator improvisatory form. Leish describes the Fantasie as an “inventive,
Barbara Leish writes, “His interests were wide-ranging. He was one of atmospheric work – which is filled with flowing melodies and bravura
the first pianists to experiment with recordings, and he was the first turns for both instrumentalists – the [violin] and the harp engage each
famous composer to write music for the cinema, a 1908 film called The other in an ever-changing pas de deux.”
Assassination of the Duke of Guise.”
Annotator Kai Christiansen notes, “The music is characteristic of Saint-
In addition to his musical pursuits, Saint-Saëns was also a poet, Saëns as the traditional French composer: well crafted, clear, balanced,
playwright, and essayist, writing not only about music but also culture, and charming.”
history, and science.
Despite his reputation for being progressive, Saint-Saëns was not
String Quartet No. 2 in D Major
accepting of the Modernist movement. This attitude is at least partially
Alexander Borodin (1833–1887)
responsible for any perceived decline in his popularity, and he was
sometimes criticized for music that was “pretty” but lacking in depth. In Russian composer Alexander Borodin has a somewhat unique musical
a 1897 letter to a friend, Saint-Saëns wrote, “In my opinion, the desire to background. Music writer Josiah Fisk explains, “Borodin’s extraordinary
push works of art beyond the realm of art means simply to drive them musical accomplishments were largely the result of talent alone, his
into the realm of folly.” musical education having been almost nonexistent.” The illegitimate
son of a Russian prince, Borodin was baptized as the son of a serf, but
Saint-Saëns greatly admired the Baroque and classical composers,
he still received the benefits of his touch with royalty, including a good
especially Handel, Bach, and Mozart. He was effusive about Handel’s
education, financial security, and official release from serfdom.
use of color, calling it “that modern element which we no longer notice,
for good and sufficient reasons.” He called Bach and Mozart “[those] Borodin began his musical studies as a child, first with the piano, and
two great expressive composers [who] never sacrificed form to then the cello, which he taught himself so he could participate in
expression.” chamber music. In his teenage years, he became interested in chemistry
– something that would become a lifelong passion and eclipse his
Annotator Robert Molison writes, “Saint-Saëns developed a ‘late style’
passion for music.
as he lived on into the 20th century. This stylistic shift was certainly not
a concession to the modern techniques of Schoenberg or Stravinsky, As a young man Borodin entered the composition studio of Mily
but it can be seen as a parallel to similar developments in the later Balakirev, a composer, pianist, and conductor, best known for his
works of his pupil Gabriel Fauré.” One main element of this shift is a promotion of nationalism in music and his creation of the group of
greater emphasis on the classical ideals of simplicity and clarity, which composers (César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov,
is manifest in his decision to replace the full sound and capabilities of and Borodin himself) called “The Five,” or “The Mighty Handful.” This
the piano with the more compact and ethereal sound of the harp in his group aimed to create a national musical identity that wasn’t based
later works like the Fantasie for Violin and Harp. Saint-Saëns was also on Western European traditions, but it did not manage to break away
very interested in experimenting with combinations of instruments that from the Western European tradition entirely. Musicologist Serge Dianin
had disparate timbres. describes the result as “a synthesis of the technical achievements
of European music and the melodic characteristics of Russian and
Saint-Saëns composed his Fantasie in 1907, when he was in his
oriental folk music.” Borodin was especially influenced by the music of
seventies. Most of the work was done while he was on vacation in the
Schumann and Mendelssohn, and musicologist Gerald E. H. Abraham
Mediterranean. Following a trip to Monte Carlo to attend a performance
32 | CHECK US OUT ON FACEBOOK | TWITTER | INSTAGRAMYou can also read
