2014–2015 | rochester symphony orchestra &...

2014–2015 | Rochester Symphony Orchestra & Chorale 1

2 Rochester Symphony Orchestra & Chorale | 2014–2015


Rochester Symphony Orchestra & Chorale aspires to serve our community and region be preserving, nurturing, and advancing the art of music through education and high-quality performances that seek to heal, to nourish, and to touch the soul.

Board of directors

Jeffery Amundson, President & CEOAmy Lindstrom, Director of Operations & Education Coordinator

Mark Neville, Director of DevelopmentSarah Phelan, Director of Audience Development

administrative staff

Music Director’s Bio | 5

Musician Roster | 8-9

Program Page | 11

Guest Artist | 14-15

Program Notes | 16–21

Financial Supporters | 25–27

Guest Information | 31

We thank all of our contributors, sponsors, and advertisers throughout this program book.

2014–2015 SEASON

This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. 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 ©2015. All rights reserved. Printed in the U.S.A.

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937-424-0529 | 866-503-1966e-mail: [email protected]

Jay Beck, chairDonna Cunningham, vice chairMary Beth Sancomb-Moran, secretaryLevi Livingood, treasurerJoe Mish, orchestra representativeJodi Melius, chorale representative

John BeattyBrian ChildsAndrew GoodDeneene GrahamJames GrossAshley HallRafael JimenezValerie LeMaineEric Ofori-AttaJames Sloan

Jere Lantz, music director


RCH3


Jere Lantz, music directorLooking back on having spent a third of a century at the helm of the RSO&C, Jere Lantz wonders both that it has been so long and that it has been so much fun. Throughout the hundreds of concerts he has led in Rochester, Lantz has shown his acumen for imaginative programming and his ability to deliver dynamic and stirring performances.

In addition to his leadership in Rochester, Maestro Lantz has served in Minnesota as Music Director of the Minneapolis Pops Orchestra, Minneapolis Chamber Symphony, Kenwood Chamber Orchestra,

St. Cloud Symphony Orchestra, and Minnetonka Choral Society. He has been interim conductor of the Winona Symphony and Mankato Symphony, Assistant Music Director of the Minnesota Opera, and Founding Music Director of the Minnesota Opera Touring Company. He has guest conducted both the Minnesota Orchestra and the St. Paul Chamber Orchestra.

In addition to conducting in regions as widespread as Europe, Asia and Latin America, Lantz has led ensembles from coast to coast, including the symphonies of St. Louis, Rochester (NY), Syracuse, Santa Cruz, Huntsville (AL), Chattanooga, Kansas City, Erie, Indianapolis, Shreveport, Tucson and Des Moines.

Jere Lantz’s commitment to telling “the story behind the music” shines through in his program notes for hundreds of programs as well as innumerable appearances in person and through media. Sought for his understanding of music and its role in today’s world, he has served as an advisor to the Minnesota State Arts Board, American Composers Forum, Minnesota Public Radio and the Conductors Guild of the League of American Orchestras.

Whether in Rochester or around the globe, whether conducting orchestra, opera and oratorio, or spreading the word about good music, Jere Lantz has shown dedication and energy that continue to inspire performers and listeners wherever he appears.

music d i r e c t o r


orchestra r o s t e r

first vioLinHuldah Niles, concertmaster

Allen & Gail Bishop chairAnne Judisch,

assistant principal Carol Schroedel chair in memory of Carl & Allan Schroedel

Gerry Casper Diane Ryan chair in memory of Robert J. Ryan

Andrea Sieber Judy & Jim Sloan Foundation chair

Brian Koh Richard & Lily Weinshilboum chair

Sue Bennefeld Peter & Bari Amadio chair

Kristina Lantz Joe & Chris Parisi chair

Linda Thompson Pamela S. Haase & the Family of Nancy Lee Sherden chair

Juli Vig Elizabeth Gallanis chair

second vioLinAmy Lindstrom, principal

Bob & JoAnn SchoenSusan Radloff,

assistant principal Joseph & Barbara Parks chair

James Glockner Adrienne DangerfieldSharon Su

Julia & Douglas Wood chairKerstin Suby

Margaret Sloan chairKathleen Lamb

Jay & Carolyn Beck chair

vioLaElizabeth Loudon, principal

John & Janet Woods chairJohn Vettel, assistant principalMark Ladwig

Richard & Lily Weinshilboum chair

Beth Becker Joan Gomez chair

Kevin Whitford John & Janet Woods chair

Rares Giurgiu

ceLLoTom Austin, principal

Stephen & Marilyn Riederer chair

Stephen Pelkey, assistant principal Steven Kavka & Nancy Wieben chair

Sarah Burrington Diane Ryan chair in memory of Robert J. Ryan

Susan Oftedahl Anonymous chair

Amy Adamson Joe Mish chair

Carolyn Mead

douBLe BassChristopher Kempcke, principal

Donald Sudor chairAndrea Beckendorf,

assistant principal Anonymous chair

Robert Manulik Philip & Catherine Karsell

Joseph Mish

fLuteKay Sahlin, principal

Julia & Douglas Wood chairElizabeth Gomoll

Dianna & Les Horntvedt chair

oBoeAllen Bishop, principal

Judy & Jim Sloan Foundation chair

Dana Maeda Carl & Sylvia Rolfs chair

cLarinetDavid Townsend, principal

Donald & Phyllis Layton chairKaren Hansen

Philip & Catherine Karsell Chair

BassoonCynthia Gaeth Bailey, principal

Tom & Diane Witzig chairTimothy Wells

Henrietta Wheeler chair

HornGreg Beckwith, principalCorey Henke

Dianna & Les Horntvedt chairJames Straka

Noel B. Taylor chairDon Schlosnagle

Bob & Betty Sande chair in memory of William Gilbertson

trumpetDavid Wall, principal

Julia & Douglas Wood chairChris Jankowski

Vikki & Bruce Wolff chair

tromBoneDavid Adolphson, principalBrian Kelly

Levi & Katie Livingood chair

Bass tromBoneMichael Smith

John & Cheryl Adolphson chair

timpaniTom Schneller, principal

Dr. Richard & Patricia Geier chair in memory of Karen Geier and Rod Majorwicz


orchestra r o s t e r

chorale r o s t e r

sponsored musicians not performing tHis concert:Jeff Bina

Bill Volkmar & Sheri Branvold chair

Blake Bonde Phyllis Johnson chair

Howard Brahmstedt Don & Stephanie Supalla Chair

Eric Grant Sarah Merbach chair

Richard Halleen Byron & Darlene Stadsvold chair

Matt Hazelton Anonymous chair

Thomas Hiniker Julia & Douglas Wood chair

Jan Matson Carl & Sylvia Rolfs chair in memory of Glendora Rolfs

Gary Melbostad Jeffery Amundson chair

Elinor Niemisto Donna Cunningham chair

John Osborn Frank & Lynda Sharbrough chair in honor of their grandchildren

Aaron Pompeian Ed & Jayne Pompeian chair

Michaela Sandness Nicklas & Edna Mezacapa chair

Andrea Scheuzger Betty Qualey chair

Tiffany Strande Shirley Edmonson chair

Susan Tanabe Robert & Susan Jenkins chair

sopranoLibby AndersonPaula BreidSheryl ChalonerVicki CouchSara CrissingerSheri DonaldsonKidron FlynnMichele HoffmannSusan HuangMary LudwigHeather McCormackJodi MeliusCarol NelsonOpal RichardsLaura SmithJody StrikeLeanna WilliamsKaren Zastrow

aLtoElena AtanasovaDonna BaxterBrianna BergMichaela BramSally BurnsDenise DavidsonRamona DigreJane FooteDarlene ForbrookKatie GlazebrookLois KennelVaunceil KruseAngela MurphyGenella MussellAmanda PyfferoenKristi SimmonsAndrea SmithLynn Streefland

tenorLinda EddDan HemmingsenAndrew KrehbielJeff LundeWilliam ManansalaWayne SchutPaul Tamminga

BassRay AndersonKurt BeaverDavid BrunnerAllen FisherAndrew GoodSam HuangJames KunzGary PoulsonAl Southwick

director, Pat AndersonAccompanist, Jan Matson


rochester symphony orchestra P r o g r A M

ROCHESTER SYMPHONY ORCHESTRAAND CHORALE

Jere Lantz, Music DirectorLinn Kaufman, soprano Samuel Baker, tenor Nathan Petersen-Kindem, baritone

BEETHOvEN OuT Of THE SHADOwSfebruary 7 & 8, 2015

Lourdes High School Auditorium

Overture to Fidelio, Op. 72 Ludwig van Beethoven

Symphony No. 4 in B-flat, Op. 60 Ludwig van Beethoven Adagio; Allegro vivace Adagio Allegro vivace Allegro ma non troppo

I N t e r m I S S I O N

Christ on the mount of Olives, Op. 85 Ludwig van Beethoven Introduction: Grave; Adagio recitative (Jesus): Jehova, du mein Vater (Jehova, thou my Father) Aria (Jesus): meine Seele ist erschüttert (my soul within me trembles) recitative (Seraph): erzittre, erde (tremble, O earth) Aria (Seraph), Chorus of Angels: a. Preist des erlösers Güte (Prize the redeemer’s goodness) b. O Heil euch, ihr erlösten (O Praise you your redeemer) recitative (Jesus): Verkündet, Seraph (Seraph, does my eternal Father proclaim) Duet (Jesus and Seraph): So ruhe den mit ganzer Schwere (So rests this entire burden) recitative (Jesus): Willkommen, tod (O welcome death) Chorus of Soldiers: Wir haben ihn gesehen (We have seen Him) recitative (Jesus): Die mich zu fangen ausgezogen sind (they are about to capture me.) Choruses (Soldiers): Hier ist er, der Verbannte (Here he is, the traitor); (Disciples): Was soll der Lärm bedeuten (What does this noise mean) recitative (Peter, Jesus): Nicht ungestraft soll der Verweg’nen Schar (We cannot stand aside) trio and Chorus (Peter, Jesus, Seraph, Soldiers): In meinen Adern (In my veins) Chorus of Angels: Welten singen Dank und ehre (Worlds sing thanks and honor) Chorus of Angels: Preiset ihn, ihr engelchöre (Praise Him, you angel choir)


text t r A n s l A t i o n

translation of “christ on the Mount of olives”

Jesus: recitative and Aria

Jehovah, Thou my Father, as Thou hast power, give me strength to bear!

Now in this hour sorrowful is my grief. I have glorified Thee. Even before Thy command, from chaos the world was formed. The voices of Thy seraphs now thunder commanding Him who dies for men alone to stand before Thy judgment seat. O Father! I will appear at his call, to intercede with Thee, to atone, I alone, for guilty man. How can this feeble race, from dust created, ever know the feeling that I, Thy only Son, must now endure? Ah, see the pangs that throb my heart! My soul is faint, my Father! See how my heart throbs. O pity me!

My soul within me trembles from the torture drawing near. O behold me; see me tremble. See the pain that fills my soul. How my heart is full of sorrow with the thought of deathly pain. Drops of blood and sweat of torment from my forehead fall like rain. Father! O glorify Thou me, with the glory that is Thine, and the power if Thou art willing; take away this cup from me.

seraph and chorus: recitative and Aria

Tremble, O Earth! This is Jehovah’s son. Behold him! In the earth he lies; for his Father now has left him enduring terrible sorrow. The Holy One has now prepared to die a bitter death so that men, whom he loves, from death may be saved and live for ever and ever.

Prize the Redeemer’s goodness. Prize, all men, His grace. He dies in loving kindness to save your guilty race. O praise you your Redeemer, your Savior sacrificed. To man He brings salvation through faith with hope of life. To those dishonoring his sacrifice of blood, God shall condemn them all. His judgment is their lot.

Jesus: recitative

Seraph, does my eternal Father proclaim mercy to me through your mouth? Does He take the terror of death from me?

seraph:

So spake Jehovah. The curse remains on man until atonement is made by shedding blood. The law must be fulfilled or man is lost; when this debt is paid, man will live forever.

Jesus and seraph: duet

Jesus: So then rests this entire burden on me. Its weight, O Father, help me bear; on me now falls the weight of anguish that you will spare Adam’s children.

Seraph: Behold the Savior! How He trembles! What heavy sorrows He sustains; such weighty burdens fall upon Him, a world of grief and heavy pains. Though great the pain, the grief, the terror, from God’s own justice on Him hurled, yet greater far His love with which His heart saves the world!

Jesus: recitative

O welcome, death, which I must suffer, for man’s salvation, on the cross. O ye who in cold graves are sleeping, held fast in eternal sleep; you will soon be awakened to blessedness.

soldiers

We have seen Him go unto this mountain; He cannot escape. Yes, His trial awaits.

Jesus: recitative

They are about to capture me. My Father! Let my suffering pass quickly. Let the hours pass over me with swiftness, as a storm wind passes across your sky. Yet not my will, but Thine be done.


text t r A n s l A t i o n

soldiers

Here He is, the traitor, who preached to the people, who calls Himself King of the Jews; seize and bind Him!

disciples

What does this noise mean? It is directed toward us! Surrounded by cruel soldiers, how can we escape?

Peter: recitative

We cannot stand aside and allow Thee, O my friend and Master, to be seized by sinful hands.

Jesus

O let the sword remain in its sheath. Were it the will of my Father to save me from the violence of enemies, there would be legions of angels to come to my rescue.

Peter, Jesus and seraph: trio

Peter: In my veins pound anger and rage; let my revenge spill evil blood.

Jesus: You must not take revenge! I have taught thee simply to love all men, to willingly forgive enemies.

Seraph: Attend and hear, O Man: Only God’s mouth makes such holy teaching of charity known.

Jesus and Seraph: O children of men, listen to this holy lesson: love each one that hates you, for that is what is pleasing to God.

soldiers

Quick! Grab this traitor; remain here no longer! Take now this evildoer immediately to the court.

disciples

O, we will also be hated because of Him, persecuted! They will capture us all, then torture and condemn us to death.

Jesus

My suffering will soon be over, the work of redemption accomplished; soon Hell will be besieged and defeated.

chorus of rejoicing

Worlds sing thanks and honor to the blessed Son of God! Praise Him, you angel choir, loud in holy songs of joy!


guest artist l i n n K A u f M A n

guest artist s A M u e l B A K e r

Hailed by the Washington Post as “vocally and dramatically powerful,” American soprano Linh Kauffman enjoys an active career in opera, oratorio and recital.

Highlights of the 2014-15 season include the Minnesota Orchestra’s season opening concerts of Mahler’s Symphony No. 2 with Osmo Vänskä, Mahler Symphony No. 4 with the Metropolitan Symphony Orchestra, the Panama Early Music Festival with Spain’s Forma Antigva, Bach Mass in B minor with Choral Arts Ensemble, and the title role in Handel’s Esther with Lyra Baroque Orchestra.

A prolific concert artist, the soprano has appeared with the Saint Paul Chamber Orchestra, Oregon Bach Festival, Festival Ensemble Stuttgart, the symphonies of Pittsburgh, Akron, Richmond and Rochester, Boulder’s Cantabile Singers, the San Francisco City Chorus, Spire Chamber Ensemble, Seraphic Fire, and the Rose Ensemble, among others.

Ms. Kauffman’s stage roles include Mozart’s Apollo et Hyacinthus for Opera Antiqva at Teatro Nacional de Panamá, Mitridate for Metamorphosis Opera Theater, the title role in Pocahontas: Woman of Two Worlds for Duluth Festival Opera, Handel’s Acis and Galatea with Berkeley Opera and Maria in West Side Story with Sierra Repertory Theatre.

A native of Connecticut, Ms. Kauffman earned music degrees from Carnegie Mellon University, the University of Maryland and the University of Minnesota with further study at the Salzburg Mozarteum and the Weill Institute at Carnegie Hall. She is based in Minneapolis and is a founding member of the Minnesota Bach Ensemble.

Samuel J. Baker, Tenor, is a second year master’s student in Voice Performance at The University of Minnesota. He earned his bachelor’s degree in Music Education from Texas Christian University in 2012. Sam’s previous roles include: Dr. Blind in Die Fledermaus, Jack in Into the Woods, Don Ottavio in Don Giovanni, Prunier in La Rondine, and will be performing Basilio in The Marriage of Figaro in April.


guest artist n A t h A n P e t e r s e n - K i n d e M

Baritone Nathan Petersen-Kindem has been actively performing in and around the Twin Cities since 2003. He has appeared as a soloist with the Minnesota Orchestra, Rochester Symphony Orchestra & Chorale, Wayzata Community Chorus and Orchestra, the Mississippi Valley Symphony, the East Central Minnesota Chorale and the Minnetonka Choral Society. In addition to his solo engagements, Nathan contributes his talents to the Minnesota Chorale and is a section leader and soloist at Westminster Presbyterian Church in downtown Minneapolis. This is his second Messiah performance with the Rochester Symphony Orchestra & Chorale.


program n o t e s

Beethoven out of the shAdoWs

If Bach was the intellectual giant of music and Mozart the incarnation of elegance and grace, Beethoven was the paragon of power. In composing, Bach crafted essays. Mozart penned poetry. Beethoven unleashed dramas.

Who of these contributed most to music and ideas would be impossible to say (though the debate to decide the question would be revelatory, to be sure). But the one who made the deepest footprints in the shifting sands of musical style, who changed the way music would not just be written but be thought about, who elevated music to a new level of significance in the mind and spirit of humanity was Beethoven.

Before Beethoven, musicians were no better than servants employed by the church (Bach), the aristocracy (Haydn) or the municipality (Mozart, while in Salzburg).

Beethoven changed all that. He was the first great composer to make his living primarily through performance of his own music. He was the first to make a significant portion of his income from publication fees. (There were no royalties as yet, just one-time fees.) And he was the first to receive a guaranteed income from wealthy patrons not as a servant but as an artist: The undersigned have decided to place Herr Ludwig van Beethoven in a position where the necessaries of life shall not cause him embarrassment or clog his powerful genius.

So reads the contract drawn up in 1809 and signed in Vienna by Archduke Rudolph, Prince Kinskym, and Prince Lobkowitz. As scholar Nicholas Marston has put it, “Beethoven was to be paid a lifelong annuity to compose what he wanted, when he wanted, how he wanted.” Yes, Beethoven gained status by his association with such aristocrats. But by that time, Beethoven’s domination of Europe’s most musical metropolis meant that they gained no less in status from their association with them. Beethoven’s alleged remark that there were any number of princes but only one Beethoven apparently did not discourage such noble patronage.

Still, Beethoven did not do all this by himself. A child of his time, he caught the new tide of democracy and the romantic image of the artist at its flood. The artistic ideals of elegance, clarity and universality that had underpinned the aesthetic of Haydn and Mozart’s classical style were giving way to the romantic ideals of struggle, individuality and pursuit of the infinite. The artist was not of society but apart from, even above, other mortals. And despite the continuing governance by aristocracy in the Austrian empire, the ideals of democracy that had blown in from revolutions in America and France could be applied, if not to the common people, to the romantic artist.

That artist, especially in Beethoven’s case, could be granted almost divine status. Wagner later wrote that Beethoven “was a Titan, wrestling with the gods.” That fit Wagner’s mythological slant on the cosmos but missed the essence of the struggle. Yes, Beethoven wrestled with god-like might, but what he struggled with was ideas of democracy, the musical forms bequeathed him by the classicists, and, most heroically of all, himself.

That struggle took on more heroic proportions when deafness began to shut him off from the rest of humanity. How much he would have had to struggle, how far he would have gone without the impetus of his deafness, we cannot know. But he created music of a dimension no one else had ever conceived and, many would say, no one since has ever achieved.

Before Beethoven, instrumental music was looked on essentially as entertainment. For music to have any true significance it had to be wedded to words, either divine words (in music for the church) or dramatic words (on the opera stage). Symphonies and concertos, sonatas and string quartets were diversions.

Again, Beethoven changed all that. The challenge of his symphonies to his contemporaries—and still to us—is couched in his musical ideas. Ideas which, because Beethoven imbued them with such weight and power, create a drama that stands on its own as one of the great achievements of our species. Just as musical creators were no longer limited to serving the church or


program n o t e s

entertaining the wealthy, music itself was not limited to such functions. Beethoven raised its value to match that of literature or philosophy in its significance and endurance.

Our program today seeks to bring some lesser known works of music’s titan into sharper focus. Beethoven wrote a total of four overtures to precede his only opera, which he first called Leonore and finally Fidelio. The first three overtures he created have been declared Leonore overtures I, II and III. The overture he settled on finally—very different from the first three, which are similar to one another—is generally heard only when the complete opera is being performed. The Fourth Symphony, like nearly all of Beethoven’s even-numbered symphonies, is performed much less often than the odd numbers that surround it. And Beethoven’s only oratorio, Christ on the Mount of Olives, is almost never performed. Yet these lesser known scores reflect the titanic scope of music’s greatest visionary.

When, in 2000, a major news magazine sought to list the ten individuals most influential in the millennium that was drawing to a close, they chose inventors, explorers, scientists and one artist. Should we really be surprised that that one artist was Beethoven?

overture to Fidelio, op. 72ludwig van Beethoven (1770-1827)

Beethoven was a radical. In an era fraught with the struggle between the natural rights of man and the divine right of kings, the idealistic, even naïve Beethoven clearly was a democrat. Only four years old when minutemen at Concord Bridge fired “the shot heard round the world,” eight when French revolutionaries stormed the Bastille, Beethoven grew up believing in “liberty, equality, fraternity,” even though in a region run by aristocrats it could be dangerous to be public about it.

And public Beethoven was. Several times in his career he demonstrated his political credo. Believing Napoleon the champion of the people, Beethoven inscribed in his Eroica Symphony manuscript, “Geschrieben auf Bonaparte” (written

for Bonaparte). When Napoleon crowned himself emperor, Beethoven ripped up the dedication page. In 1810 he eagerly produced incidental music for Goethe’s drama Egmont, about the 16th-century martyr of the Netherlands’ struggle for freedom from the Spanish yoke. His Ninth Symphony sings of an idealistic democracy in which “all men become brothers.”

How Beethoven got away with all this musical subversion of the aristocracy is not clear. He did cultivate aristocratic friends, dedicating much of his output to those who supported him. Perhaps they could not take his democratic ravings any more seriously than his other grandiose pronouncements.

Beethoven’s most unabashed championing of common people over established authority was his only opera, presented to his Vienna public in 1805 under the title “Leonore.” It was cast in a mold that enjoyed a brief popularity: the “rescue opera.” Rescue opera got its start in France during the revolution when citizens enjoyed watching their fellows escape from the clutches of evil authority. One of the most popular was Pierre Gaveaux’s 1798 Leonore, ou l’amour conjugal, from which Beethoven got the idea for his Leonore. Both operas exalt the struggle against tyranny and the heroism of married love.

Florestan, who has spoken out against the unjust oppression of Don Pizarro, has been imprisoned in the deepest reaches of a dungeon near Seville. Not believing the rumors that Florestan has died, his wife Leonore disguises herself as a man and finds employment at the prison as a jailer’s assistant. Word comes to Pizarro that his prison is soon to be inspected by the authorities in Seville. He orders that the mysterious prisoner in the deepest cell be killed and buried. Leonore, who has taken the name of Fidelio (“faithful one”), is ordered to help dig the grave. In the subterranean cell, she recognizes her husband and stands before him to shield him from Pizarro’s pistol. Pizarro decides to kill them both but a bugle call announces the approaching authorities from Seville. It is too late for Pizarro; Leonore and Florestan are saved.


program n o t e s

Beethoven’s journey to his only opera was the most protracted and frustrating of his life. And no part of it was more frustrating than fashioning the overture. He created three versions of the opera, each painstakingly worked out. But he created four different overtures. To this day, chronologists disagree as to the sequence of the overtures.

Traditional sequence: Beethoven created his Leonore Overture No. 1 for the first production of the opera, but rejected it after it was poorly received at a private preview performance in the palace of his friend Prince Lichnowsky. So the overture for the opera’s premiere at Vienna’s Theater an der Wien in November of 1805 was what we now call Leonore Overture No. 2. Immediately after the opera closed following its third performance, Beethoven went to work rewriting and presented it again the following March with a new overture, Leonore Overture No. 3.

After a second unsatisfactory run, Beethoven dropped the opera for several years, presenting it in a greatly revised form (two acts instead of three) in 1814, this time with an entirely different overture, in the key of E rather than C, the key of all three Leonore overtures. It is this version of the overture that usually kicks off the opera (when the opera is performed at all: it has never been a favorite on the stage—a musical masterpiece, yes, a great theatrical offering, no).

Alternative sequence: Some modern scholars have come to the conclusion that Leonore Overture No. 1 was not composed in 1805 for the opera’s premiere but was a new effort Beethoven put forth for a planned revival of the opera scheduled for Prague in 1808, one that never materialized. On the basis of the music itself, this is plausible: the overtures numbered 2 and 3 are quite similar while 1, though similar in shape, is thematically different. But if 1 was created after 2 and 3, what was the piece performed at the Lichnowsky palace?

We may never know the true sequence. But it is clear that the final overture, the one on today’s concert, was of an entirely different character

and dimension. One criticism of all three of the Leonore overtures is that they are much more than overtures: they are tone poems that in essence perform the story of the opera in music, resulting in two problems: 1) they are too heavy to precede an opera; they overwhelm it; and 2) they tell too much of the story, giving away the rescue before the drama even begins.

The Fidelio Overture cannot be faulted in either way. It is shorter, lighter and more buoyant, a perfect aperitif to start an operatic evening. To begin, Beethoven does something he had never done in an orchestral piece: he tosses off the briefest of orchestral fanfares before entering into a more meditative mood led by the horns. In fact, he does this twice before arriving at the main Allegro, which again is led by the horns, who echo the opening fanfare before melting into a liquid lilt that will dominate the proceedings to follow. We hear one more interjection of the opening fanfare and consequent meditation before Beethoven lifts the tempo to Presto and dashes to a close.

The third time was a charm for Beethoven: his 1814 final version of the opera met with huge success. Could one of the reasons have been that in 1805 and 1806, Vienna’s streets were populated with French troops who, under Napoleon, had recently defeated the Austrian armies and subdued Austria? In 1814 Napoleon had just been defeated and the Viennese could celebrate liberation from oppression without fear of repercussions from the occupying French.

Beethoven’s struggle toward operatic triumph met one final snag: his Fidelio Overture was not ready for opening night. So he substituted an earlier overture, The Ruins of Athens. The overture, heard at the second performance, was met with acclaim and has been part of the essential Beethoven repertoire ever since. Still, Beethoven’s ecstasy at his final triumph with opera and overture could not overcome his memory of the agony along the way. He never tried his hand at another opera.


program n o t e s

symphony no. 4 in B-flat, op. 60ludwig van Beethoven (1770-1827)

Schumann called it “a Greek maiden between Norse giants.” He meant, of course, that Beethoven’s Fourth Symphony seems graceful and slender compared to the twin titans of the Eroica and the Fifth. It is surely less mighty than these, but it is no less fresh and imaginative.

Lovers of Beethoven’s music can only be saddened by the world’s apparent preference for the master’s odd-numbered symphonies. True, it is not unjust to divide them into numerical sets: the odds are powerful, dramatic, colossal; the evens are poetic, sprightly, graceful. (A generalization, to be sure. The odds have many graceful moments, as the evens have moments of power. Was it mere happenstance that Beethoven, after completing two symphonies simultaneously, one indomitably potent, the other gently pastoral, chose to number them his Fifth and Sixth? Was Beethoven aware of his numerical pattern?)

To say the evens are less aggressively dramatic is not to denigrate them. Yet they remain less often performed, less familiar, less recorded. On close examination, they bear up beautifully, the Fourth having been called by Beethoven’s biographer A. W. Thayer “the most perfect in form of them all.”

Thayer also called the Fourth “placid and serene.” It certainly begins that way, with a quiet, mysterious melody in B-flat minor weaving beneath a pedal B-flat in the winds. The mystery remains as the tonality shifts up to B minor. Here we have Beethoven’s most wandering symphonic introduction, in contrast to the sunny friendliness of the straightforward main theme at the Allegro vivace. Such a simple arpeggio figure shows, as do all his symphonies, just how much Beethoven can do with very little. Two secondary themes follow, one bouncy in bassoon and oboe, one more lyrical in clarinet.

Like the introduction, the development of the first movement wanders, finding at times the thinnest of textures (a pianissimo roll in the timpani, a single scale in the cello). But the remainder

of the movement follows in standard order: Beethoven is seeking to please, not to shock.

Beethoven begins his second movement Adagio with a curious rhythmic figure in the violins—the sort of background one expects to hear from the kettledrums. Over this he winds an uncharacteristically extended and sinuous melody. The first theme leans downward; the second, introduced by the clarinet, reaches upward. Both are filled with longing, perhaps because of Beethoven’s languishing relationship at the time with Josephine, sister of his friend the Count of Brunswick.

Josephine, a young widow with four children, certainly enjoyed Beethoven’s company but did not want a permanent involvement with such an obviously tempestuous and frequently unreliable character. In the summer of 1806, when Beethoven was writing the Fourth at the Count’s ancestral estate in Martonvasar, Hungary, Josephine was trying to calm Beethoven’s ardor. Was all the longing in this Adagio attributable to Josephine, or is it just our romantic fantasy to hear Beethoven’s life reflected in his music? Whatever the case, Beethoven fades his musical longing before building to a final climax. At last the kettledrums give out alone the rhythmic motto so clearly intended for them, and the movement comes to an almost defiant close.

The upward/downward dichotomy Beethoven established in the themes of the Adagio is one of the building blocks of the Allegro vivace scherzo. In his First Symphony, Beethoven greatly speeded up the third movement of the standard symphonic form, which for Haydn and Mozart had always been a minuet. Since then he had steadily been increasing the tempo of his scherzos. Here, in keeping with the less driving nature of the earlier movements, Beethoven opts for a more moderate tempo, even suggesting that the lyrical Trio proceed at a slower pace (“Un poco meno Allegro”).

He also cautions that the finale be played fast, but not too much so (Allegro ma non troppo ). Such a caution is not necessary: there are too many notes to play at a truly headlong rate.


program n o t e s

Every instrument is put to the test, especially the violins, for whom this movement is a genuine fingerbuster. Berlioz called it “one animated swarm of sparkling notes, presenting a continual babble.” Though for the most part this is true, Beethoven would never be quite so monochromatic; in fact, there is a lovely, lyrical second theme, heard first in the oboe, that becomes fodder for an equally lovely counterpoint.

As he did in the finale of his First Symphony, Beethoven slows down for a pause before charging to the end. But here there is a difference. In the First, one of the forceful “odd” symphonies, the pause is with the orchestra at full volume—fortissimo. Here it is but one voice at its gentlest—pianissimo. The genial, gentle character that led Schumann to call the Fourth “a Greek maiden” still prevails. This, indeed, is full-fledged Beethoven—fully creative, fully controlled, but in a merry mood. We should indulge in that mood more often.

christ on the Mount of olives, op. 85ludwig van Beethoven (1770-1827)

The greatest crisis of Beethoven’s life was his loss of hearing. Just when it began is not clear. In 1801, at age 30, he complained of a buzzing or roaring in his ears. But there are hints that this sort of irritation had begun some time before. In any case, by 1802 the crisis affected him so much that he felt he could no longer function: could no longer compose or perform music, could no longer participate in society.

So he took refuge in an apartment in the town of Heiligenstadt (literally “holy city”) in the hills outside Vienna, from which he could just make out the downtown and the cathedral in the distance. (It is very moving for Beethoven aficionados to visit this apartment, which is kept open as a sort of historical shrine.) There he did nothing. In a letter written to his brothers but never sent (the so-called “Heiligenstadt Testament”), he explained that he had nothing to live for and expected to die.

But he had no physical malady that could kill him, so after a while, out of boredom perhaps, he started

to compose again. It could have been his morose mood or the contemplation of his death that led him to compose an oratorio about Christ facing his crisis in the garden of Gethsemane following his Last Supper. Beethoven wrote to his publisher that he completed the oratorio in a matter of weeks, though accounts of his life suggest it may have been finished in only two weeks in the early days of 1803. (Its high opus number reflects that it was not published until 1811.)

While traditional accounts of Christ’s passion had been chronological and scriptural, simply telling the story as it is given in the Bible (e.g., Bach’s masterful passions), Beethoven chose to portray Christ in a far more personal way, focusing on his inner conflict, his emotional crisis, and his final courage in accepting his holy mission. This is Christ as romantic hero—an individual who must face his future alone and who directs his fate.

The libretto is by Franz Xaver Huber, a poet, editor and longtime acquaintance of Beethoven. The text today seems overly dramatic, with highblown rhetoric that smacks of a supra-romanticism. But that was typical of Beethoven’s time. And Beethoven responds with equally dramatic music of stark contrasts (between slow and fast, soft and loud), with frequent crescendos and accents, plus cascades of notes for the soloists.

When he created his oratorio, Beethoven had yet to contemplate an opera (a task he would undertake after producing his most revolutionary symphony, his third, the Eroica). Yet the solos for Jesus and the Seraph are entirely operatic, culminating in high notes and virtuosic gestures that are the stock in trade of early romantic opera.

Beethoven uses the chorus both to tell and comment on the story. At times it takes the role of the soldiers and disciples in the story; at others it seems inspired by what is happening in the drama and simply pours forth an emotionally dramatic response. (Here Beethoven calls it a “Chorus of Angels.”) It is for the chorus that Beethoven saves his greatest music of the oratorio. The final hymn of praise and thanks proved so popular that, for choirs singing in English, the opening words “Welten singen” (“worlds sing”)


program n o t e s

were found to scan the word “Hallelujah.” So the movement is often sung using “Hallelujah” to start and has become known as Beethoven’s Hallelujah Chorus. It is indeed a choral triumph.

We have to wonder why Beethoven wrote just one oratorio. We have already observed that he also wrote but one opera (though that one he wrote three times). We could also note that he wrote only two masses. While most of his predecessors and contemporaries composed liberally in all these genres, Beethoven clearly preferred instrumental music: symphonies, concertos, sonatas, chamber music. Why?

We can gather from his scores for voices (solo or choral) that he is always pushing against boundaries. He stretches singers’ ranges, demanding higher, louder notes than the human voice can reasonably produce. (Choral singers feel very mixed about even his greatest choral works—the Ninth Symphony and Missa Solemnis. While truly splendid musically, they are just too

hard on the voice.) Though he is demanding of instrumentalists, the demands are not as extreme and the parts of the body on which he makes demands are not as fragile as the human voice.

In addition, vocal music is inevitably coupled to text. Thus Beethoven, like any composer, has to illustrate musically what the text says. Beethoven, the embodiment of the heroic individual as composer, must have felt restricted by text. Whatever he had to say musically had to be hemmed in by the text’s meaning. He couldn’t let the music go where it wanted to unless it continued to reflect the text. Beethoven, never one to put up with limitations on his art, must have chafed when confronted with text. So he chose to stay in the less confining world of instrumental music most of the time. We who love vocal and choral music can only be glad he visited that realm from time to time.

Program Notes by Jere Lantz

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financial s u P P o r t e r s

corporations & foundations-

$20,000 and aboveCarl & Verna Schmidt

FoundationMayo ClinicMinnesota State Arts BoardRochester Area Foundation

$10,000-$19,999Judy & Jim Sloan

FoundationRochester Music GuildSoutheast MN Arts Council

$5,000-$9,999KTTCNorman L. Gillette Jr.

Charitable TrustSchmitt Music CompanySterling State Bank

$1,000-$4,999Accounting & Tax AssociatesFagan StudiosMerchants Bank US BankVikki Wolff & Associates,

LLC

$250-$999Children’s Health CareFidelity Charitable

Gift FundGretchen Hazelton

$1-$249Garden of MassageKwik TripPost-Bulletin Co.Studio 324Zumbro Valley Med

Society Alliance

indviduaLs-

maestro’s circle ($10,000 and above)Philip & Catherine Karsell #George & Mary Ellen

Malkasian #Judy & Jim Sloan # +Margaret SloanAl & Sharon Tuntland #Vikki & Bruce Wolff #

impresario circle ($5,000-$9,999)John & Cheryl Adolphson #Allen & Gail Bishop # +Donna J. Cunningham # +Shirley Edmonson #Phyllis & Sherwin Goldman #Barb Henoch #Mary Beth Sancomb-Moran

& Brian MoranJim & Virginia Ranweiler #Carl & Sylvia Rolfs #Stephen Carmichael &

Susan Stoddard #

concertmaster circle ($2,500-$4,999)Steve & Amy Adamson #Peter & Bari AmadioJay & Carolyn Beck # +E. Rolland & Susan

Dickson # +Lowell & Lois Johnson #Dr. & Mrs. Frank A. Jost, III #Donald & Phyllis Layton #Peg & Ross MattkeCarolyn Rorie #Frank & Lynda Sharbrough #Richard S. & JoAnn M.

Sheldon #Richard & Lily

Weinshilboum #Kevin & Carolyn WhitfordJulia & Douglas Wood #

symphony circle ($1,250-$2,499)AnonymousDr. Richard & Patricia

Geier +Rev. Paul E. Nelson #Joe & Chris ParisiDiane RyanDonald SudorRodney & Janis TannerJohn & Janet Woods

musicians circle ($500-$1,249)George & Dorothy AllenMark & Lucy BahnMargaret BensonGerald & Denise BondeBill Volkmar &

Sheri BrandvoldPaul & Margaret CarpenterRandy & Sheryl ChapmanDr. & Mrs. David DinesAlan & Audra DuncanDavid & Ann Dykstal #Celeste & Glenn ForbesElizabeth GallanisDrs. Colleen & Gerald GauJoan GomezAndrew & Alison GoodFrances B. GrayAnne Marie & Tom GriffinRandy & Terese HorlockerDianna & Lester Horntvedt #Robert & Susan JenkinsPhyllis JohnsonLois JorstadEdward & Martha KaminDr. Arthur & Lois KennelRichard & Sheila KiscadenBill & Mary Ann KleisKramlinger FamilyJan & Rick KvamMr. & Mrs. Jack D. LantzStephen & Cynthia

LehmkuhleDean & Ruth Lindstrom

Robert & Leslie LitwillerLevi & Katie LivingoodMichael & Bonnie McGoonNick & Edna MezacapaThomas & Janet MungerJoseph & Barbara ParksEd & Jayne PompeianBetty QualeyStephen & Marilyn RiedererBob & JoAnn SchoenCarol SchroedelAl SouthwickByron & Darlene StadsvoldDon & Stephanie SupallaJames TalenNoel B. Taylor +Jeff & Linda ThompsonDeb & Jim TilburyRobert & Ellen WardSteven Kavka &

Nancy WiebenKenneth & Martha

WilliamsonTom & Diane Witzig

patron ($250-$499)Jeffery AmundsonAlan & Nadine AndersonAnonymousAnn H. Benassi, MDRichard & Nancy BrubakerDrs. Rafael Jimenez &

Enid CamposBorge M. Christensen Ph.D.Livius & Margaret D’UscioMatt & Lea DacyDennis & Ann GastineauRoger & Elizabeth GomollRobert & Ann GrooverPamela S. HaaseRichard & Cynthia HalleenDarlene KellyRay & Amy KimLynne KirklinDr. Donald W. KlassRudi & Frieda Klassen

Rochester Symphony Orchestra & Chorale gratefully recognizes the following corporations, foundations, businesses, individuals and in-kind contributors who make this season possible through their generous support. Gifts recorded between July 1, 2013 and September 30, 2014 are included. Please let us know of any errors or omissions in this list so that we can correct them.# new founders circle recognizes donors who have pledged and or given at least $7,500 to our Charting the Future Campaign.

+ daisy Plummer society recognizes donors who have indicated that RSOC has been included in their will or estate plans.



Bill & Mary LanierBob & Gretchen MacCartyMike & Jodi MeliusAncy & Bob MorseSusan MulroneyNora O’Sullivan &

Dan NelsonFred NobregaRobert OnkkaMike & Margot OsbornMyung S. Park-JonesIvy PillersJose PulidoMargaret M. SchaferIone SchloegelRalph & Naomi SpiekermanPaul Zellweger &

Ebbie StewartKathleen Lovett &

Tom SutherCarmen & Andre TerzicPauline Walle +Adolf & Helen WalserLarry Guse &

Christa WelbonLeanna Williams

supporter($50-$249)Ann AaroLois H. AdsonSusan & David AhlquistPam AllanNancy & Denis AllenKen & Nancy AllsenDan & Ginny AmundsonJohn & Erma AndersonRay & Pat AndersonAnonymousJim & Amy AndrewsLaurie ArchboldElizabeth AtkinsonRob Artley &

Sharon AustinScott & Joyce BagneZeljko & Stefanija BajzerJ. Michael BaroneBarbara & J.D. BartlesonCarl W. & Cheryl BeckendorfJane & Paul BelauCatherine BensonKeith & Johanna BergeRita BertschOlivia BlackburnChristy BladeJohn & Kathy BondySteve BorchardtJim Salutz &

Margaret Brandl

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BrownMahlon & Marilyn BurbankJean BurringtonJane & Mary CampionCharlotte CareyElaine CasePatricia & LeRoy

ChristoffersonPatricia K. ClarkDiane & Jon ClossonJohn & Rita ColquhounBrian & Kathryn CookJim & Pat CooperFergus & Vicki CouchRita CunninghamNancy J. CushmanSusan CyrJeff & Dawn DaehnJasper & Cynthia DaubeCharlotte DavisCindy May & Steve DeanKatherine A. DegnanRobert & Marsha DegnanAl & Barbara DepmanJane DestroFelix & Charie DiehnSteven & Andrea DittrichLi Yin DrakeJoyce Sharp &

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Van JacobsenLaurine JannuschDave JeffersonBob & Alice JohnsonLoren & Ruth M. JohnsonMichael & Wendy JohnsonDavid & Carole JoyceRobert & Lucy JuliusNancy KahabkaNancy KampmeierBill & Jeannine KarnesPatricia KeithMary Jo & Dan KellyJudy KereakosRhett & Judith KetterlingZach & Diane KlausMatthew KlebeMarlyce & Jerry KoskovichMary KuehnStephen B. & Margo KurtzRobert LandgrafKenneth LangeW. Charles & Vickie LantzMarie & Louis LetendreMark Ladwig &

Rochelle LetourneauJoyce LewisJames Likely

Glenn & Mildred LilleskovRobert L. LoosMarilyn LovikElena LoweryJohn & Pat LynaughThanila A. MacedoNancy & Ron MacKenzieBani MahadevaDouglas & Joanne MairK.A. Meyerle &

J.K. MarttilaGerrie MaslowskiHeather McCormackMarlys McCoyMary Jane McHardyDonald & Alice McIlrathJoanne & Gary MelbostadBarbara MendelsonRobert & Ruth Ann MilesAudrienne MillerGlenn & June MillerLinda K. MillerR. Drew MillerTom & Pat MillerSebastian ModarelliHerman & Teddy MooreJames & Anne MortonDavid E. MuellerHerb & Betty MuellerDavid & Doris NasbyBillie & Jerry NeedhamDrs. Ingrid & Bryan NeelAudrey NelsonCarla NelsonChristopher & Deborah

NelsonSandra NelsonHoracio & Rosanna NuguidGlenn & Ann NycklemoeAmaria & Patrick O’LearyJoe & Marie O’TooleRev. Elmer & Joan OdlandBruce & Susan OftedahlBeverly OlanderDon & Barb OlsenAlice M. OlsonJerry & Lois OlsonJohn & Karen OrbeckJack OsmundsonJohn & Marlys OstbyDudley & Peg ParsonsDr. & Mrs. Richard PattonMartin & Charlotte PetermanEugene D. PetersMerle & Betty PetersonNoel & Ann PetersonEsther PfeiferRebecca A. PierceKay Plotner



Roger & Alice PlumbWilliam & Pamela

PomputiusJohn & Dolores PortDuane PriceDick & Nancy RedmanRon & Carole RichardsonWayne & Mary Alice

RichardsonMary T. RichertGenella Mussell &

Kathy RobertsBob & Cheryl RoedigerJohn & Martha RoemerRita RoqueEdward & Connie RosenowSue RothschildKaren A. SalzGregory SauveJane ScanlonPaul & Maggie ScanlonRuth A. SchaferJohn & Sue SchaffnerDon & Jan SchlosnagleDon & Sharon SchmollTerry & Mary SchneeklothDr. Don ScholzConnie & Dave SchuelkaBarb SchumacherGordon & Sharon

Scudamore Bonnie SeaverLarry & Gayle SegarWayne & Susan ServaisRick & Mei-o ShabsinHelen M. ShafferJoy & Craig SheetsJoseph Mish &

Kathryn ShepelMary SheridanAndrea SieberKristi SimmonsBeverly SimpsonStacy SinnerEric L. SkuldtMarjorie SmithMary Lou SoukupRuth & Zanti SquillaceChuck & Val SteidingerDean & Julie StenehjemRob & Cathy StroebelMary Lou StursaFred & Mary SuhlerLois SwansonPhillip L. SwansonSylvia SwedeJoe & Cecelia SzurszewskiJoe Lobl & Robin Taylor

Judith Keller TaylorKiswanto ThayibLauren & Sandy ThompsonMelody (Dee) TiedemanDan & Suzanne TolmanCarol TracyPatty & John TrnkaGlenn & Ella VanLaninghamJames & Darlene VowelsDr. Phil & Pat WadkinsTerry A. WagnerTed & Faye WaldoJoyce WalkerEmmerson WardKarel M. WeigelDr. & Mrs. Arnold WeisslerJanice WelchThomas H. WentePhil & Sue WheelerSteven R. WilliamsMark & Maureen WinterCharles & Barbara WithersPaul & Jean WittmerLibby WitzemanRandy & Linda WolfmanCynthia WollaegerPeter & Gail WollanJocelyn WoogDoug & Lori WrightShirley WrubelRoy & Barbara YawnKathe YossKatie Zahasky

friend ($1-$49)Robin AlcalaJoanne AmundsonAnonymousBette BachJoshua BaileyChris & Kay BatchelderDorothy BaumanDaniel & Lorraine BeckAndrea L. BergerFran BradleyKenneth & Kristine BrownMarcia BrownPam BruningGretta & Bruce BullerSarah BurringtonJean M. CarlsonJo CarySharon A. ClarkSuzanne & Dale ClarkJim & Sue ClausenSherman P. Coltvet

Dr. Joseph & Dorothy Combs

Chris CrossGary & Becky CurtisRandy & Kathy DemmerCaroline DoblarJohn & Diane DockertyAl & Marcia DollerschellJohn DreherRobert & Joyce DunseathColleen FaganJoan FaganJane FlickingerDarlene ForbrookBarb & Dave FrognerKristi FrostJustin FurstE. Laurence GayCarol GeerdesNancy J. GillilandJoyce M. GossmanJennifer GrobAshley HallDick & Majel HallBarbara J. HanlonScott HeckLaurie HelmersJeannie & Bill HendeeJohn & Ginny HenryJay HesleyGeorge & Carolyn HeyneKent HoferJack & Lois HolmesJudy Horton-HolmLarry & Marti HoweRuth Ann IbachDiane JoyceDon JuddJim & Anne JudischAnupama KalaskarJim & Susan KellyEric & Juli KilenRichard & Mary Ellen

LandwehrKaren LansingKeith & Jan LarsonMary C. LeppalaAmy LindstromBeverly LivesayVicente Torres & Anna LlealBurt & Karen LoedingBruce & Sue LundBill & Doreen MarkusDr. Daniel C. & Jan MartinGreg & LeeAnn MartinJustin MerrittMargaret Gowan MesterCharles Meyer

Goldie MichaelJudy & Glen MitchellSylvie NickelShaune M. O’BryanMike & Judy O’FallonMaxine OrkeJerry & Ardyce PaulsonJean PetersonHilbert & Joyce PfeiferCarolyn PiephoRonald & Carol PrescherHelen RestovichMary ReynoldsKenneth & Susan Richards Merlin & Karen RicklefsTeresa RobertsNina SargentRoy & Dorothy SatreMarv & Cindy SawyerDianne & Frederick

SchjolbergArthur SchmidtElaine SchmidtRachel SchroederRobert & Lynda ScottDavid Shaffer-GottschalkChurchill SouksavongBetty SouthworthMarius & Daniela StanWendy SteinSyl & Yvonne SterioffTerrence & Donna StewartDarrell G. StrainEvie StrainSteve & Patty StupcaPeter & Kerstin SubySteve & Carla SwardDavid & Barbara SwartBeverly ThompsonCarol & Rod ThompsonKevin Errol TorgersonKaren TracySandra TschidaCurtis & Bertha TvedtRuth Van VugtJohn & Peg WadeDonna WeinmannRuth WendtMichael WojcikLinda J. ZabelM. Cristina Zimmerman

gifts Have Been received in memory of:Dr. John EdmonsonPriscilla GunnarsonRobert Tracy


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


guest i n f o r M A t i o n

Please turn off… your cell phone and pager before the concert begins.

use of cameras and recorders… is prohibited during the performance.

guests arriving after the concert has begun… will be seated by an usher at the first convenient pause in the program.

if you must leave before the end of the performance… please do so between movements or pieces as a courtesy to others.

We are excited to see young people in our audience… please help your child remain quiet during the performance. As a courtesy to the performers and other concert guests, restless children should be escorted from the hall.

large print… concert programs are available from your usher.

special seating… is available for concert guests who use a wheelchair.

rochester symphony orchestra & chorale concerts… are recorded for broadcast at a later date. Concerts can be enjoyed on KNXR 97.5 FM on Sunday at 6:05 pm two weeks following the performance.

to contact us… call (507) 286-8742, email [email protected] or visit us at 400 South Broadway, Suite 302, Rochester, MN 55904.

for information about future concerts… visit our website at www.rochestersymphony.org.

2014–2015 | rochester symphony orchestra &...

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