2020-2021 Season
Classical Concert
CONTENTS Theater Staff.......................................................................................................... 2 Whitney Morse on The Sharon® L. Morse Performing Arts Center........................ 3 Program................................................................................................................ 4 Program Note.....................................................................................................4-8 March, April, May, & Sept VPO Donors.........................................................9-11 Guest Artist......................................................................................................... 12 Orchestra Roster................................................................................................. 13 VPO Season 2020-21 Donors........................................................................14-16
STAFF Director of Operations................................................................... Jason Goedken Artistic Director.............................................................................Whitney Morse Technical Director..................................................................... Kenneth Constant Booking Coordinator & Administrator....................................Elizabeth Constant Executive Administrator.................................................................... Sean Graham Lighting Director..............................................................................David Krupla Assistant Lighting Director.............................................................. Lindsey Young Artist Liaison/Hospitality Management........................................... Leslie Munson Audio/Visual.........................................................................................Luke Bezio Sound/AV Designer.........................................................................Nick Erickson House Manager...................................................................................Heather Ard Director of Ticketing & Customer Relations............................... Yasmeen Stogden Promotion & Marketing...................................... The Villages Sales & Marketing Ad Sales.........................................................................The Villages Media Group
©2021 The Sharon L. Morse Performing Arts Center.
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WHITNEY MORSE on
The Sharon L. Morse ®
PERFORMING ARTS CENTER
Dear Friend
,
It’s so lovely to have you back in our beautiful space after a long and difficult break. These last few months have been challenging for all of us. That challenge was no exception for us here at The Sharon. The time we spent with our doors closed felt like an endless cycle. We would plan, rearrange, hope, move dates, cancel shows, create virtual content, move venues, and redesign sets. Then after all of that we would repeat all of the aforementioned steps again and again. We did all of that with the goal of bringing us all back together again in mind. Now, finally, here we are together. I know things are different, and they likely will be for a while. But we will persevere. We will work together to find new ways of creating, new ways to move you, and new ways to exist together in a theater. This innovation will require all of us to do our part. So please, while you are here in our theater, I kindly request that you maintain your physical distance of six feet, wear your favorite mask and sanitize your hands often. The performing arts are the most collaborative art form in the world, but the most important collaborator is you, the patron. You come in at the end of our process and provide us with applause, tears, gasps, and laughter. Now we are also asking that you take care of us, the artists, and each other by following the guidelines above. If we all commit to this together we can continue to enjoy live arts in this new way. Thank you so much for being here today and please enjoy the show.
Whitney Morse
See You at The Sharon,
Artistic Director
352-751-7799
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PROGRAM Serenade in E Minor By Sir Edward Elgar Bachianas Brasileiras N.4 Preludio N.1 By Villa-Lobos Simple Symphony By Benjamin Britten Elegia Op. 28 for Viola and Orchestra By Luca Moscardi Symphony N.10 in B minor By Felix Mendelssohn Adagio For Strings By Samuel Barber Serenade Op.6 By Josef Suk
PROGRAM NOTE SERENADE IN E MINOR BY SIR EDWARD ELGAR Few of Elgar's concert works stand in sharper contrast than this one to those by which we know him best. We think of this composer as a creator of big works and big sounds. The modest Serenade, in three brief movements, was composed in 1892 and is sometimes regarded as being more closely related to the salon pieces Elgar composed early in his career than to the masterly Introduction and Allegro of 1905, also for string orchestra. The Serenade, in fact, may have been derived from a still earlier work, a set of Three Pieces for Strings composed in 1888 which, like several of Elgar's other compositions of the 1880s, was either lost or destroyed without being performed or published; but this Op. 20, whatever its background, is one of the earliest compositions in which the characteristics we regard as representative of the mature Elgar are clearly discernable. The opening movement is at once bright and reflective, its lilting phrases touched by nostalgia, the coloring in burnished tones lending a bittersweet character. This deepens into gentle melancholy in the succeeding Larghetto, evocative of a pastoral twilight in its long-breathed phrases. This gentle mood prevails also in the subdued animation of the concluding movement, which might be regarded as a sort of idealized country dance; the end brings a return of the work's opening material. The Serenade waited four years for its first complete performance, which took place in Antwerp on July 23, 1896. At that time Elgar, aged 39, was yet to produce any of his great orchestral or choral works, and his compositions were by no means assured a hearing as soon as they were written even at home, let alone abroad. All that was to change dramatically by the end of the decade, when his Enigma Variations for orchestra and his oratorio The Dream of Gerontius would confirm his stature as the most admired British composer since Henry Purcell. 4
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PROGRAM NOTE BACHIANAS BRASILEIRAS BY VILLA-LOBOS Primarily self-taught, the Brazilian composer Heitor Villa-Lobos spent his early years absorbing the styles of Brazilian popular music as a guitarist in street “choros,” or village bands. During an expedition along the Amazon to the interior of Brazil, he pursued an interest in native chant, rites, and music. Later, established as an educator and prolific composer, he traveled widely and lived in both New York and Paris, though he remained immersed in the spirit and culture of Brazil. The Bachianas Brasileiras are a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent a fusion of Brazilian folk and popular music on the one hand and the style of Johann Sebastian Bach on the other, as an attempt to freely adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music.
SIMPLE SYMPHONY BY BENJAMIN BRITTEN Edward Benjamin Britten, Baron Britten was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works including opera, other vocal music, orchestral and chamber pieces. His best-known works by him include the opera Peter Grimes (1945), the War Requiem (1962) and the orchestral showpiece The Young Person's Guide to the Orchestra (1945). In 1934, during his last year at the Royal College of Music, Britten raided that stock of early music for the themes of his Simple Symphony. “This 'Simple Symphony' is entirely based on material from works which the composer wrote between the ages of nine and twelve,” he noted in the published score. “Although the development of these themes is in many places quite new, there are large stretches of the work which are taken bodily from the early pieces - save for the re-scoring for strings.” In form, the symphony's four movements approximate classical shapes and key relationships, though in miniature - sonata form movements first and last, framing a scherzo and a slow movement. The titles - “Boisterous Bourrée,” “Playful Pizzicato,” “Sentimental Saraband,” and “Frolicsome Finale” - indicate both humor and a certain neo-classical inclination (bourrées and sarabandes are dances common in baroque suites).
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PROGRAM NOTE ELEGIA FOR VIOLA AND ORCHESTRA BY LUCA MOSCARDI I wrote my Elegy Op.28 “La scogliera dei gabbiani” (“The Seagull Cliff”) for viola and string orchestra in the first weeks of 2020, and dedicated it to my friend, the violist Andrea Moro. In the same weeks, I also made an arrangement of it for viola and piano, which is the Op.28a in my catalogue. The title is only partially derived from reality: the cliff is real, just below my town of Ancona, but it is not named “Seagull cliff”. Seagulls are practically omnipresent in my seaside town, though, so I renamed the cliff in my imagination. This is a kind of poetic license. It is a deliberately lyrical and cantabile piece, in a simple ABA form, with a slightly more rippled and moved central part. The main theme is exposed soon in the short musical introduction of the strings, then it is played by the soloist with a development of the initial musical ideas and a little Coda which presents some figurations anticipating the central part. The B section is more agitated, the new theme is initially played by the soloist, then taken up by the entire orchestra while the viola performs some arabesques and embellishments. This middle section ends with the return of the Coda but in a more powerful and rhetorical way. After a little cadenza by the soloist, the A section comes back with some enrichments, some triplets to the second violins and violas, and a greater feeling of broadness and emphasis. The Coda ends the whole piece in pianissimo. The main musical reference is the England of Gerald Finzi and Ralph Vaughan Williams, two of my favorite composers. I felt like giving the viola, this fantastic instrument with a thoughtful and meditative tone, something that would showcase its poetic characteristics. That was my intent, at least, and I hope I succeeded. –Luca Moscardi
SYMPHONY N.10 IN B MINOR BY FELIX MENDELSSOHN Felix Mendelssohn wrote thirteen symphonies for strings between 1821 and 1823, when he was between the ages of 12 and 14. These symphonies were tributes to the first classical symphonies, in particular by Joseph Haydn, Wolfgang Amadeus Mozart, Johann Christian Bach. Felix Mendelssohn was born in Hamburg in 1809; he is the eldest son of a prosperous family. His father was a banker and his grandfather was a highly respected scholar and philosopher. His musically and artistically sophisticated mother introduced the children of this multilingual family to the piano. When Felix's musical gifts were recognized, his lineup was taken over by the eminent composer and teacher Carl Zelter. The work on this program, the Symphony for Strings No. 10 in B minor precedes the years of his greatest fame by the composer. It was completed in May 1823 by 6 www.TheSharon.com
PROGRAM NOTE a 14-year-old boy. Only one movement has survived and it is unclear whether the symphony was conceived as a single or multi-movement work. Felix Mendelssohn studied with Zelter during his composition and the teacher's conservative musical inclinations are reflected in the choice of form and style; the string symphonies of Carl Phillipp Emanuel Bach (1714-1788), Johann Sebastian's second son, were clearly an inspiration, and the slow introduction is reminiscent of Haydn. The dramatic dash that follows, however, is pure Mendelssohn.
ADAGIO FOR STRINGS BY SAMUEL BARBER Samuel Osmond Barber II was an American composer, pianist, conductor, baritone, and music educator. One of the most celebrated composers of the 20th century; music critic Donal Henahan stated, “Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.” In January 1938, Barber sent an orchestrated version of the Adagio for Strings to Arturo Toscanini. On November 5, 1938, a selected audience was invited to Studio 8H in Rockefeller Center to watch Toscanini conduct the first performance; it was broadcast on radio and also recorded. The key to the Adagio's emotional impact lies in its harmonic tension. A sustained melodic line sits exposed and alone for two long beats until the harmony finally lends its support. When the melody does move, it does so in small steps, striving again and again to climb, only to fall back as it fails to reach its goal. Yet with each attempt, it manages to stretch just a bit closer. Beneath this struggle, the lower strings provide a harmonic foundation, but, as in Renaissance motets, the individual voices rarely move at the same time; movement in one voice creates delayed reactions in the others. This uneasy chain of harmonic suspensions never fully resolves until, after some six minutes of struggle, the lines finally unite in a moment of transcendent grandeur, leaving the music gasping for breath in the pause that follows. A moment of silence, and we find ourselves back where we started. But the momentum can never be regained, and the strains fade into silence.
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PROGRAM NOTE SERENADE OP.6 BY JOSEF SUK Josef Suk, Dvořák’s favorite student and future son-in-law, claimed as his own in his Serenade, Op. 6 (1892) which launched his career. (Dvořák’s own popular Serenade for Strings, Op. 22, was written in 1875, when Suk was one year old.) Suk went on to have a distinguished career as a composer, violinist and teacher. He was a founding member of the Bohemian String Quartet and served as the director of the Prague Conservatory. One of his greatest works, his Symphony No. 2 (“Asrael”), was written after the premature death of his wife Otilie (Dvořák’s daughter). Their young son, also named Josef, became the father of the famous violinist Josef Suk III (1929-2011). Dvořák’s influence on Josef Suk I’s Serenade is evident at every turn; yet the young man had a different temperament, and was drawn to darker emotions. Dvořák sensed this when he told Suk to write “something cheerful for a change.” This Serenade is certainly not cheerful all the way; its longest movement is an “Adagio,” standing in third place, whose lyrical opening cello melody soon develops an emotional intensity not often encountered in serenades. This movement is preceded by a nostalgic “Andante con moto,” not an Allegro as one might expect and a second movement that begins as a gentle waltz yet contains an unexpected, if brief, dramatic outburst in the middle. Even the closing “Allegro giocoso” has its serious moments, recalling the nostalgic opening theme of the first movement before finally settling into the happy mood Dr. Dvořák had ordered.
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MARCH, APRIL, MAY, & SEPT VPO DONORS MARCH Avie Abramowitz Ann Marie Acacio Susan Alinovi Charlene Allmen June Amoroso Patricia Anderson Joe Artello Donald Aulick Gail Bailey Janice Barone Ervant & Athalie Berberian Gay Birchard Louis Black Frank & Linda Blews Linda Boese Robert Bollinger Julie Booth William Boucher Gerard & Kathleen Buckley John Bulcroft Barbara Carl Duwayne Carnes Thomas Casey Irma Chernow Jon Churgay Wayne Clark Robert & Charlotte Conway William & Nancy Cook Roger & Julie Cooper Patricia & John Curtin Eleanor Delaplane Don Jesmore 352-751-7799
Anita Devillegas Joseph Devuono Dorothy E Dobbs Frank Dolence Richard & Jolyne Dufresne Gregory & Mary Feichtel Ann Fender Gail Fraser-Giacchi Lisa French John Gates Linda Geaslin Doris Goodwin Joanne Grant Maxine Graves Karyl Green Carolann Guglielm Edna Hackett Betty Hague Joan Hartung Janet Howell Ilene Hyams Alan Iampietro Maurice & Nettie Joy Gabriele Jung Marlene Knopf Mary A Kowalski Diane Kupchak Mary G Lewis Florabelle Lichty Ttee Orville & Maureen Liesman Margaret Lowery Doris Martin Charles Mathay Jack & Janice McClelland
Thomas Mccracken Marilyn K Meyers Tommaso/Roselyn Micucci/Guelli Sharon Mills Terrance Mitchell Peter Moeller George Neal Harriet/Gerald Nelson/Bee Jody Nelson James Nolan Audrey Pabst Bonnie Park Billy Howard Penix John Peterman Thomas Quay Denise Quinn Robert & Karen Ream Ronald & June Rose Laurel & Howard Rowen Barbara Rupert Peter Russell MaryJean Sawyer Donald & Janet Schlegel Mary Shutts Donald & Donna Simson Arthur Sindoris David E Sullivan Debra Tarmey Gordon Temple Bernard & Rhonda Teodorski Nicholas Virgilio Grace Waller Judith Weber Eugene Westhoff 9
MARCH, APRIL, MAY, & SEPT VPO DONORS Judith Weybright Dorothy Wise Ginger Wray Rose Yake Mary Yankowsk APRIL Avie Abramowitz Susan Alinovi Charlene Allmen Patricia Anderson Gail Bailey Janice Barone Stephen & Judith Barth Ervant & Athalie Berberian Louis Black Robert Bollinger Julie Booth Gerard & Kathleen Buckley John Bulcroft Duwayne Carnes Thomas Casey Jon Churgay Robert & Charlotte Conway William & Nancy Cook Roger & Julie Cooper Eleanor Delaplane Barbara Dipol Dorothy E Dobbs Frank Dolence Judi Doran Richard & Jolyne Dufresne 10
Arthur & Louise Elwood William Fecher Gregory & Mary Feichtel Gail Fraser-Giacchi Lisa French John Gates Doris Goodwin Joanne Grant Maxine Graves Karyl Green Carolann Guglielm Edna Hackett Sarah Hewitt Janet Howell Kathleen Ingraham Sarah/George Jordan/ Stenz Maurice & Nettie Joy Mary A Kowalski Mary G Lewis Orville & Maureen Liesman Margaret Lowery Doris Martin Jack & Janice Mc Clelland Marion Mcclarin George McEvilly Kathleen McManus Nicholas Meister Marilyn K Meyers Sharon Mills Harriet/Gerald Nelson/ Bee Jody Nelson Beatrice Newell
John Nickelson Linda Pence Billy Howard Penix John Peterman Dale Powers Denise Quinn Doris J Rainbolt Ronald & June Rose Donald & Janet Schlegel Mary Shutts Arthur Sindoris Daniel Sullivan Gordon Temple Nicholas Virgilio Judith Weber Eugene Westhoff Sonya Wilt Ginger Wray Dennis Yanachiki MAY Susan Alinovi Patricia Anderson Gail Bailey Margaret Baker Janice Barone Robert Bollinger John Bulcroft Georgina Burt Duwayne Carnes Thomas Casey Jon Churgay Robert & Charlotte Conway William & Nancy Cook Roger & Julie Cooper www.TheSharon.com
MARCH, APRIL, MAY, & SEPT VPO DONORS Eleanor Delaplane Barbara Dipol Dorothy E Dobbs Frank Dolence Judi Doran Arthur & Louise Elwood Gregory & Mary Feichtel Gail Fraser-Giacchi Lisa French John Gates Doris Goodwin Joanne Grant Maxine Graves Karyl Green Edna Hackett Sarah Hewitt Kathleen Ingraham Maurice & Nettie Joy Mary A Kowalski Mary G Lewis Orville & Maureen
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Liesman Margaret Lowery Douglas MacDonald Doris Martin Marilyn K Meyers Sharon Mills Roberta Myers George Neal Jody Nelson John Nickelson John Peterman Elaine Portee Doris J Rainbolt Ronald & June Rose Donald & Janet Schlegel Arthur Sindoris David E Sullivan Judith Weber Anna Whipple Ginger Wray
SEPTEMBER Julie Booth Roger & Julie Cooper Judi Doran Janet Howell Marilyn K. Meyers Arthur Sindoris Sonya Wilt
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GUEST ARTIST ANGELO GODERRE Angelo Goderre has been a loyal member of The Villages Philharmonic Orchestra for over 14 years. Throughout Florida and southern Georgia, he has performed with the Coastal Symphony Orchestra of Georgia, Orlando Philharmonic Orchestra, and Daytona Solisti Chamber Orchestra. His experience and music interest not limited to classical, Angelo has performed alongside artists of varying styles including Andrea Bocelli, Mary J. Blige, Transiberian Orchestra, Manhattan Transfer, Video Games Live, Electric Light Orchestra, Alan Parson’s Project, and Little River Band, to name a few. In addition to his role as performer, Angelo is one of two full-time orchestra directors at LaVilla School of the Arts in Jacksonville, FL with 2020 marking his 10th year as faculty member there. He compliments his instruction at LASOTA with his successful private violin, viola, and piano studio of over 15 years. Angelo has earned his Bachelor’s degree of Music in Viola Performance from Stetson University and his Master’s degree of Music, also in Viola Performance, from The Boston Conservatory, his mentors including the esteemed Patricia McCarty, Dr. Jesus Alfonzo, and Routa Kroumovitch-Gomez. He regularly assists the Jacksonville Symphony and Golden Isles youth orchestras and is an active member of the National Association for Music Education, the Florida Music Education Association, and the Florida Orchestra Association.
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ORCHESTRA ROSTER FIRST VIOLIN Nina Kim, Concertmaster Stewart Kitts Marius Tabacilia Michael De Jesus Jose Guedez Ebert Ceballo SECOND VIOLIN Gregory Carreno, Principal Elizabeth Kitts Imanuel Sandoval Israel Mendez Fabiana Escalona
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VIOLA Angelo Goderre, Principal Juan Carlos Siviero Andrea Oliveira Luis David Aguillar CELLO Paul Fleury, Principal Kenny Aponte Julia Tretyakova DOUBLE BASS Luis Eduardo Luna, Principal Christian Abreu
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VPO DONORS 2020-21 CONCERT SEASON ORCHESTRA CIRCLE $10,000+
CONCERTO CIRCLE
OVERTURE CIRCLE $500 – $999
Anonymous Donor
$1,000 – $2,499 Anonymous Donor
Joe & Marlene Borda
Ervant & Athalie Berberian
Richard Allgaier
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John Canner
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Fross & Fross Wealth Management
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Dr. Stefano Marcuard
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MAESTRO CIRCLE $5,000 – $9,999 Augusto & Maria Bernardini Blackstone Financial Advisory Group Crysberg Inc. Charlotte & John Gates Geraldine Irwin David & JoAnne Kelch SYMPHONY CIRCLE $2,500 – $4,999 Janice Barone Nanette Elliott
Avrum Abramowitz
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Bobbye Feliu Flyers Wings and Grill Chris & Janice Hallmark Tom & Roseann Incorvaia Sarah Jordan & George Stenz Gianfranco Mattioli Joanne & Tony Sutylo 14
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VPO DONORS 2020-21 CONCERT SEASON SUITE CIRCLE
Fraser-Giacchi
Deborah Sander
$100 – $499
Cirilo & Sandra Galang
John & Beverly Scott
Charlene Allmen
Susan & Alan Gold
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Patricia Anderson
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Matthew Clark, PA Maurice & Lorraine Cocca
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VPO DONORS 2020-21 CONCERT SEASON ARIA CIRCLE
Brenda & Bob Gold
Geraldine Piscitelli
Up to $499
Walt & Clare Gregorek
Marianne Reinhard
Barbara Athanasiou
Carolyn Hamel
Sally Rowe
Tim Barry
Valery Heyduk
Erika Schaffer
Kathryn Bates
K. L. Hoffman
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Jeff & Ursula Bergman
Irene Hong-McAtee
Joyce Smidt
Katheen Eikhof
Donna Janes
Robert Smidt
Arthur Elwood
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Kenneth Suchy
Susan Escobedo in Memory of Bill Barnes
Brad Koozman
Jack & Maryann Swisher
Kevin Gallagher
Mike & Shelia McBride
C & H Van Benthuysen
Sara Miller
Donald & Nancy Walker
Robert Muzzi
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BUSINESS PARTNERS Blackston Financial Advisors
Francesco’s Risorante (Maitland)
Crysberg Inc.
Fross & Fross Wealth Management
DBA Hello Unlimited
Massey Services
Edward Jones
Royal Decor Company
Flyers Wings and Grill
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ADA & THE ENGINE
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NOW APPEARING ON THE SHARON STAGE!
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By Lauren Gunderson The difference between zero and one is the whole world.
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