China National Symphony Orchestra

Wednesday, February 13, 2013Osterhout Concert Theater | 8 p.m.

ANDERSON CENTERfor the Performing Arts

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China National Symphony Orchestra

En ShaoPrincipal Guest Conductor

Program Notes

Requiem for the Earth, 1st Movement (without vocal)

Xia Guan Born June 30, 1957 in Kaifeng, China

In May 2008, composer Xia Guan, together with lyricists Liu Lin and Song Xiaoming, traveled to the disaster-hit area of Wenchuan, Japan, to create an outline for this work, completing the manuscript on May 1, 2009. On May 24, 2008, the composer was delegated by the Publicity Department of the CPC Central Committee and China’s Ministry of Culture to visit Wenchuan County, Sichuan Province, to experience the great suffering caused by the earthquake: the countryside ruined in seconds, cities and rural areas totally devastated. The composer was shocked by what he saw — the cruel human tragedy, the bitterness, hearts wounded and bleeding. Confronted by the devastating effects of the earthquake, and faced with thousands of innocent lives and bereaved families, the composer was moved to reflect on the ultimate significance of life, and how essential it is to be kind to others and for modern society to appreciate and love life. While contemplating such a momentous event, the composer was inspired to compose this requiem and, through it, to express the deepest thoughts about life, morality and philosophy.

Of the various musical genres available, a requiem is undoubtedly the best means of expressing our almost inexplicable thoughts. Combining “requiem” with “earth” attempts to juxtapose our sympathy and our deepest mourning for the souls caught in this extraordinary disaster. The requiem form is often used in western classical music when composers are faced with sorrow, pain and the mystery of life and death. For example, some of the more famous requiems are the ones composed by Mozart and Verdi. Formerly, most western classical requiems were based on chapters from the Bible. And even when some western rationalist philosophers raised questions about the traditionally religious topics of “good will” and the “presumption of ethics,” the classical requiem compositions still retained their ties to patristic philosophy. Some modern composers, such as Benjamin Britten in his War Requiem, use this genre to express their thoughts on social issues, such as the futility of war and in particular here, the Second World War. The Earth Requiem of Xia Guan changes the Judgment Day and mercy of the Biblical texts with an objective treatment of nature’s holy power, and while hinting at the prevalence of human selfishness and greed, seeks to promote the need for a greater love in the world. While acknowledging the influence of the western requiem genre, the composer lightens the thoughts of people, combining them with rich musical elements, thus showing the emotion and thinking of modern Chinese, as they promote human values within a harmonious society. This is the author’s maiden attempt at “sinicizing a symphony” and “internationalizing a Chinese symphony.”

Program

Xia Guan Requiem of the Earth, 1st Movement

Gang Chen and Zhanhao He Butterfly Lovers’ Violin Concerto

Soloist Chuanyun Li

Intermission

Richard Strauss Ein Heldenleben Op. 40

Earth Requiem is performed by the organ player and the orchestra, and also employs the ancient Qiang flute and musical elements of the Qiang nationality and southwestern Chinese folk music. The music is divided into four movements.

1st Movement – Gazing at the Stars: Meditation for Orchestra

The introductory music is provided by the string section and the harp. Following the introduction is the melodic and emotional string music describing people gazing at the stars, seeking an answer to life’s questions. The theme is performed by the English horn, after strings and two French horns, and then the sound becomes louder as a piece of sad violin solo begins to play. The orchestra represents the theme again in a polyphonic way, with the timpani shaking people to their core. As the music reaches its climax, the rising sounds of the first violin, the chimes and the vibra-harp connote spreading starlight. After that, the music is enriched by the French horns. The wind instruments and strings section play in a much higher register, expressing the prayer in people’s minds. The piece of “respect the ether” is a solemn melody. The music is performed by the orchestra and reaches a climax again, while the whole movement ends in sounds of tubular bells and the melodious sound of chimes, which are accompanied by flute and celesta.

The Butterfly Lovers’ Violin Concerto Chen Gang Born 1935 in Shanghai, China

Zhanhao He Born 1933 in Zhuji, China

The Butterfly Lovers’ Violin Concerto takes its inspiration from the Chinese folk legend, The Love Story of Liang Shanbo and Zhu Yingtai. It is a one-movement concerto, making use of some tunes from the Yu Theatre (or Zhejiang Opera), and is programmatic in nature. The concerto is divided into three main sections, based on the three main episodes of the Liang Zhu story: the First Meeting, Resistance to an Arranged Marriage, and Transformation into Butterflies. The three sections also correspond to the classical sonata form’s exposition, development and recapitulation.

The Butterfly Lovers’ Violin Concerto is one of the most famous works of Chinese music and certainly one of the most famous outside of China. It is an orchestral adaptation of the ancient legend, The Butterfly Lovers. Written for a western-style orchestra, it features a solo violin played using Chinese techniques.

The Butterfly Lovers’ Violin Concerto was written in 1959 by two Chinese composers, Chen Gang and He Zhanhao while they were students at the Shanghai Conservatory of Music. He Zhanhao is more widely credited for the composition of the concerto. His main contribution, however, was the

famous opening theme, while most of the development was in fact written by Chen Gang. The debut of The Butterfly Lovers’ Violin Concerto was performed by Yu Lina at the age of 18 in Shanghai as part of the celebration of the 10th anniversary of the founding of the People’s Republic of China. Along with Yu Lina, one of the first violinists to make a recording of this concerto was Shen Rong, with Symphony Orchestra of Shanghai Music Conservatory. The Butterfly Lovers’ Violin Concerto is written in a traditional five-note technique (pentatonic scale). It uses many Chinese melodies, chord structures and patterns.

Although one movement, the concerto is broken into distinct sections, each telling a different part of the story of The Butterfly Lovers. Some of the melodies come from the Chinese opera of the same name or from traditional Chinese folk songs. The solo violin of the concerto is symbolic of Zhu Yingtai, the story’s protagonist, and the cello part is symbolic of Liang Shanbo, her lover.

The concerto begins with a flute and then enters into a simple melody played by the solo violinist. The melody comes from a Chinese folk song about the Yellow River, and tells the story of Zhu Yingtai’s student period. The solo violin is accompanied by a harp and other elements of the orchestra. When both the students must return home, Zhu invites Liang Shanbo to visit her family and to court her sister. Liang doesn’t know that Zhu is really inviting him to marry her. Liang promises to see Zhu again, but Liang waits before doing so. When Liang finally arrives, he sees Zhu and realizes that she is a woman, and they fall in love. The solo violin and cello parts play a sad duet that is the most famous and powerful of the work. The love duet between the two is replaced by anger as Liang learns that in his absence, Zhu has been betrothed to another by her father. The two solo parts contrast the rest of the orchestra. Several melodies are used in this section; the orchestra plays loud and accented chords in between the softer cello and violin parts, and the parts are often intertwined. Liang becomes sick and dies as the music replays the duet of their love. Zhu and the orchestra continue to play their contrasting parts. The section ends with the suicide of Zhu Yingtai as the solo violin plays an overarching high note. The lovers’ parts are overcome by the final orchestral section. In the legend, Liang’s grave opens and Zhu throws herself into the chasm.

The music and story include a beautiful choreography of dramatic ballet, which the Shanghai Ballet will perform on tour in the United States this fall.

Ein Heldenleben Op. 40 Richard Strauss Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen

There was a time when the music of Richard Strauss was the source of

great controversy. At the end of the 19th century, when the successors of Liszt and Wagner were probing the possibilities of new musical means and were discovering new potentials of expressiveness in music, Strauss was in the vanguard of the creative search. His tone poems Don Juan, Till Eulenspiegel, Also sprach Zarathustra and Ein Heldenleben, just to mention the most popular ones, were composed before 1900; the highly dissonant operas Salome and Elektra appeared during the first decade of the 20th century. Although Strauss later chose to follow a more moderate course, leaving the more telling innovations to Schoenberg, Stravinsky and others, he nevertheless created works in a variety of media that have established him as one of the most significant composers of his time. Paradoxically, many works that were the subjects of the most heated controversy have since come to be recognized as the masterpieces most representative of his genius. Such can be said to be the case with Ein Heldenleben, the last of his large-scale tone poems, not counting the Symphonia domestica and Eine Alpensinfonie.

Written between 1897 and 1898, Ein Heldenleben (“A Hero’s Life”) was acclaimed and attacked at its first performance; the premiere took place on March 3, 1899, in a museum concert in Frankfurt, conducted by the composer. The work was such a veritable horror to the members of the old guard that word went out to concert managers that it should be scheduled last in any program to afford the audience the chance to leave the hall before it began; on the other hand, it was celebrated by the vanguard as an audacious testimony to modern music. Ultimately, the work soon became a “classic” and is now a staple of the repertoire of the big orchestras, as it gives them the opportunity to unfold the greatest possible tonal splendor.

In this work, Strauss broke with his own tradition of writing tone poems about literary figures, instead choosing himself as the protagonist for this opus. Ein Heldenleben has often been described as a megalomaniacal work, as it is indeed an autobiography written in terms of superhuman grandiosity. Many, however, fail to understand that, here, Strauss is just exhibiting his capacity for self-parody; the “hero” of the work was certainly not a Nietzchean superman (even if in the musical portrayal he appears to be), but rather, an everyday composer who views the music critics as his adversaries and who is variously soothed and cajoled by his wife. With some humor, the composer once told Romain Rolland, the French writer on music: “I do not see why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander.” Strauss also wrote: “Beethoven’s Eroica is now so rarely performed that to fulfill a pressing need I am composing a tone poem entitled Ein Heldenleben, admittedly without a funeral march, but yet in E-flat.” It should be noted that although Beethoven originally dedicated his Eroica to Napoleon Bonaparte (later withdrawing the dedication upon learning that Napoleon had proclaimed himself Emperor), many music commentators have remarked that, if anyone

is portrayed in that work, it is surely the composer himself.

In a less egotistical manner, Strauss himself gave the following view of his work: “ Ein Heldenleben is not a realistic portrait of a particular historical or poetic figure, but rather a more general and free ideal of great and manly heroism, not the heroism to which one can apply an everyday maxim of valor, with its material and exterior reward, but that heroism which relates the inward battles of life, and which aspires, through struggle and renouncement, towards the elevation of the soul.”

Following the structure of a sonata first movement, Ein Heldenleben consists of six sections, played continuously, except for a dramatic pause after the first section. In order to provide better understanding of the various sections, Strauss gave each of them separate headings.

The first section is called Der Held (“The Hero”). At the very beginning, from the depths of the orchestra ascends the hero’s main theme, over a spread of 20 measures, played initially by horns, violas and cellos, and eventually taken up by the violins. During its course, it gives way to several magnificent episodes, hiding within a plentitude of small motifs, all of which are used and developed later. After a series of impressive climaxes, a fortissimo-dominant seventh chord brings the proceedings to a suspenseful pause.

A second series of thematic ideas is introduced in Des Helden Widersacher (“The Hero’s Adversaries”). This must have been the section that troubled the old guard of the time the most. Here, the nagging critics are portrayed by motifs of various kinds and assigned to the various tonal registers: jagged flute chromatics, rattled triplets in the oboes and the dull grumbling of the tubas. The hero’s theme is heard, sounding tired and resentful. A short “victory” motif, played by the full orchestra, serves as a bridge to the next section.

The third set of themes, which until now has been the exposition, is introduced in the next section, Des Helden Gefährtin (“The Hero’s Companion”), a great lyric intermezzo. The composer’s wife is here represented by the solo violin, with themes of serene beauty, as well as a series of taxing cadenzas. Her portrayal is not always necessarily flattering; Strauss described her in a letter to Rolland as “very feminine, a little perverse, a little coquettish, at every minute different from how she had been the moment before.” Preceded by downward harp glissandos, an extended episode ensues in which the wife’s and the hero’s themes intermingle in a love duet; this bliss is, nonetheless, intruded upon intermittently by woodwind interjections, reminding us of the adversaries just outside the door.

The development begins with a lengthy transitional passage as a fanfare of trumpets is heard off stage, calling to battle. Suddenly, with a martial percussion cadence, we are plunged into Des Helden Walstatt (“The Hero’s

Battlefield”). The themes of the hero and of his adversaries are heard in confrontation. The woman’s theme also has a supportive word to say, inciting the hero’s strength in battle. A triumphant transitional passage, which contais the love themes from the composer’s own Don Juan as well as the Victory motif heard earlier, brings this section to an end.

With an imposing statement of the hero’s theme, the recapitulation, as such, commences. Des Helden Friedenswerke (“The Hero’s Works of Peace”) becomes a test for true Strauss fans. Here it is possible to find further quotations from Don Juan, as well as themes from Tod und Verklarung (“Death and Transfiguration”), Till Eulenspiegel, Also sprach Zarathustra, Macbeth, the composer’s song Traum durch die Dämmerung (“Dream through Dusk”), and the opera Guntram.

Des Helden Weltflucht und Vollendung (“The Hero’s Withdrawal from the World and Consummation”) is the last section of the work. After the exultation of the proceedings fades away, a short passage of unrest and sorrow gives way to a pastoral English horn solo. This prepares the way for a lovely string passage in which the horns are prominent, taking over the English horn motif, yet the sounds of the adversaries are heard once again. The solo violin recalls the woman’s thematic material, and the hero’s solo horn intertwines with it as the strings fade to nothingness. One last chordal fanfare of brass and woodwinds rises and dies down as the work is brought to its quiet conclusion.

Source: Columbia Artists Management Inc.

For almost half a century, the CNSO has introduced Chinese audiences to a vast repertoire of classical, romantic, modern and contemporary orchestral works by both Western and Asian composers. It continues to foster a tradition of the People’s Republic of China’s first performances and world premieres. CNSO concerts are frequently broadcast on radio and television throughout China and the world. Many recordings of CNSO performances have been made and published worldwide with the cooperation of the China Record Company, the French Record Company, Philips Record Company and the Channel Classics Records of Netherlands. The orchestra regularly visits quite a number of cities in China, including the major centers of Taiwan Province, Hong Kong SAR and Macao SAR. It has made historical and remarkable contributions to promoting Chinese symphonic works and introducing Chinese audiences to great symphonies of the Western tradition in China, and the successful performances they offer have been greatly applauded by the public throughout the world.

Throughout its history, the CNSO has collaborated with many renowned artists in order to bring excellence to its audiences. The list of famous artists has included conductors Ormandy, Herbert von Karajan, Seiji Ozawa, Charles Dutoit, Kurt Masur, Slatkin, Rozhestvendsky, Schwarz and Peress. Other well-known guest artists have included composer and conductor Krzystof Enderecki; instrumentalists David Oistrakh, Yehudi Menuhin, Isaac Stern, Mutter, Martha Argerich, Yo-Yo Ma, Mischa Maisky, Shaham, Wang Jian, Lang Lang, Li Yundi, Lin Choliang and Lindemann; and vocalists Giacomini and Jones. After a performance with the CNSO, conductor Charles Dutoit was moved to observe, “I was delighted to find a Chinese orchestra with such high standards, the CNSO has a great deal of potential. In a few years it will certainly develop into a group that will grab the attention of the world.”

The CNSO has toured throughout the United States, the United Kingdom, Germany, Austria, Spain, Portugal, the Netherlands, Australia, Mexico, Japan, DPR of Korea, Republic of Korea, Malaysia and Thailand, giving successful performances to critical acclaim by the international press. In London, a music critic for The Times praised the CNSO as “a mature group with a vital sound.” American music critics noted that “the CNSO is an honorable member of the world music stage.” In Europe, critics headlined the orchestra as “a great orchestra appears among the Kings of Orchestral Music. “

In May 2006, CNSO thrilled audiences during their United States tour of eight cities. The concerts were held in major concert halls where world-class symphony orchestras often perform, including Avery Fisher Concert Hall, Lincoln Center of New York, Chicago Symphony Hall, Strathmore Concert Hall of Maryland, Boston Symphony Hall and others. The famous American conductor and musicologist Maestro Maurice Peress was moved to say, “The intonation and range of dynamics were excellent. The orchestra is world

China National Symphony Orchestra

The China National Symphony Orchestra (CNSO), China’s national symphony orchestra, was founded as the Central Philharmonic Orchestra of China in 1956 and assumed its current name in 1996. Now leading the CNSO are Director Guan Xia (composer), Laureate Conductor Muhai Tang, Principal Resident Conductor Li Xincao and Principal Guest Conductor En Shao.

The CNSO is made up of an outstanding team of instrumentalists, many of whom have won prizes in national and international competitions. The combination of consummate artistry, dedication and professionalism of the orchestra’s players has enabled the CNSO to maintain a consistently high level of performance and to create an orchestral tradition unique to China. The orchestra owes its growth and development in the past 50+ years to its successive leaders and famous artists such as musician Li Lin and conductors Li Delun, Han Zhongjie, Yan Liangkun, Qiu Li, Zuohuang Chen and Muhai Tang.

class.” In his Classic Music Review for The New York Times, renowned music critic Bernard Holland wrote, “This orchestra will only get better, and the chance to hear Mr. Li’s violin playing made the evening all worthwhile.” Tim Page, famous music critic and staff writer of the Washington Post wrote in his review, “The China National Symphony Orchestra is a solid, energetic and meticulously drilled ensemble. . . . Everybody in the hall seemed happy Saturday, however, at a concert stubbed with ovations.”

With the support of music enthusiasts and audiences around the world, the China National Symphony Orchestra will continue to entertain, improve and make new contributions to the development of China’s art of symphonic music.

En Shao Principal Guest Conductor

En Shao started to play the piano and violin at an early age. After graduating from the Central Concervatory of Music, he became second principal conductor of the Chinese Broadcasting Symphony Orchestra, a post he held for five years.

He went to England in 1988, the same year that he received the first Edward Van Beinum Foundation Scholarship. As the winner of the 6th Hungarian Television International Conductors’ Competition in 1989, he conducted several performances with the Hungarian Radio Orchestra and the State Symphony Orchestra. In January 1990, he became associate conductor of the BBC Philharmonic Orchestra, a post created especially for him. Between 1992 and 1995, he was principal conductor and artistic advisor of the Ulster Orchestra, with which he made his Proms debut. He has also held the position of principal guest conductor of the Euskadi Orchestra in Spain.

Maestro En Shao went to Macao following a five-year appointment with the Guildford Philharmonic Orchestra (1996-2002). In the UK, he also conducted the London Symphony, Royal Philharmonic, Halle, Bournemouth, the BBC Scottish Symphony Orchestra and the BBC National Orchestra of Wales. Recent and future engagements include the Helsinki, Warsaw, Royal Stockholm, Czech philharmonic orchestras, the Norrkoping Symphony Orchestra as well as more than 30 other orchestras throughout Europe and Asia.

The Central Chinese Television recently made a documentary on his life, which has been shown in China. En Shao was awarded a Lord Rhodes Fellowship by the Royal Northern College of Music.

En Shao is the music director and principal conductor of the Taipei Chinese Orchestra and principal guest conductor of the China National Symphony Orchestra.

Chuanyun Li Violinist

One of the foremost violinists from China, Chuanyuan Li began studying violin at age 3 and won his first prize when he was five. He studied with Professor Yaoji Lin from the Central Conservatory of Music in Beijing for 10 years before studying at the Juilliard School of Music, with full scholarship, under Dorothy DeLay and Itzhak Perlman.

He has won numerous prizes including the 1st Prize in the 5th Wieniawski International Youth Violin Competition at the age of 11, with the unanimous vote of 20 jurors, and the Nakamichi Violin Concerto Competition in Aspen in 1998.

Li received a Chinese Gold Record Award in 2008, and the government of Hong Kong presented him with a Hong Kong Arts Development Council Award for Best Artist for 2007-08. He was invited to perform in the celebration concert of the 5th and 10th anniversaries of the Hong Kong Special Administrative Region.

After Li’s debut recital in Seattle in 2008, the Seattle Times observed that Li “shares Perlman’s amazing dexterity in untangling virtuoso pieces” and that “despite his technical accuracy and incredible speed, Li plays with great abandon, and where appropriate, a lot of soul.”

He has recorded 10 CDs and DVDs, including Paganini’s complete 24 Caprices, Salut d’ Amour, Stradivari Campaign and King of the Violin. He performed the solo violin part for the original soundtrack of Chen Kaige’s movie Together (2002), and was noted by the Washington Post for “his ethereal playing which has given the movie such a magnificent aural backdrop.”

Li has toured frequently and extensively in Asia, western Europe, Australia and North America and collaborated with many famous orchestras and with first-rate conductors such as Valery Gergiev, Neemi Jarvi, Vladimir Ashkenazy, Tang Muhai, Li Xin Cao, Shui Lan and Chen Zuo Huang.

When he toured the United States in 2006 with the China National Symphony Orchestra under Xincao Li, The New York Times referred to him as “a first-rate violinist” and remarked that the chance to hear Li’s violin playing made the evening all worthwhile.

First Violin Yunzhi Liu, concert master Kunyu Zhao, associate

concert master Zhiyong Liu, principal Yawei Cheng Damao Wang Yun Sun Ying Yang Wanyi Wang Ke Li Ruibiao Zhu Yang Liu Weihan Fan Ning Zhang Yi Tian

Second Violin Kailin Zheng, principal Zhimin Dong Hong Yan Baihua Zhao Chuan Deng Jian Qin Weiguang Fang Xiaoqian Yang Changmo Nie Qin Jian Liang Yao Xi Li Bo Lou Peng Wang

Viola Wei Fu, associate principal Weibin Fan Jing Li Sihua Zhang Dan Zhu Jinsong Ma Dan Zhao Yanchun Ma

Cello Hequn Shen, principal Yuilan Xu, associate Yingying Zhang, associate Lin Wang Xueqian Zhou Ze Li Yuanjie Zhou Yan Guo Bo Zhang Bin Zhao Yan Liu Cheng Li

Bass Xuejie Zhang, principal Jianlin Wu Xiaoguang Shi Ran Duan Shuang Wang Deliang Wang Jie Liu Bizhou Ren Hang Zhai

Flute Guoliang Han, guest

principal Zhijie Ni, associate Bo Ren Jia Wang

Oboe Shenghu Li, principal Shaoming Tian, associate Weidong Wei, guest

associate Huricha Bao

Clarinet Bo Yin, principal Jing Wang Dan Wu

Bassoon Xiaoke Wang, principal Yang Liu Kezhen Li Shuo Wang

Horn Kunqiang Zhu, principal Hong Zhou, associate Yijun Liu, associate Xin Zhang Qiang Shao Xing Gang Ruixiao Li Jindi Wang Xinzhu Chen

Trumpet Guang Chen, principal Xun Wang Xiaohui Yin Ran Dang Xizheng Cheng Quang Tran Khanh

Trombone Kun Qiao, principal Huo Guo Xiao Yang Qiulai Ren Dongxiao Xu

Tuba Haiyu Wang

Timpani Qiping Liu, principal

Percussion Jingjing Li Kexin Zhu Jia Pu Ou Lv Qingya Meng Nan Zhang

Piano Dan Feng

Harp Yi Su Zhuyan Liu

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John and Nancy O’BrienEdward and Janet Orosz

K. Kamalakar RaoDebroah J. SchnapfMary Ann Smilnak

Gary SolomonYevgeny Strelsov

Marian TewksburyBarbara Thamasett

Andrei Zhimov

Anderson Center for the Performing ArtsHouse Operations, Winter 2013

We wish to express our sincere appreciation to the following staff and volunteers:

House Managers15 years of service or more

Mary Jo DeeShirley RodgersDarrell Stone

10 - 15 years of serviceSteven Bard

5 - 10 years of serviceDebra Hamilton

Janice Knight

5 years of service or lessMary Anne Gallagher

Ryan LeeSusan Pitely

Michael Vanuga

ARTSCORPS Volunteers

20 years of serviceLouise BystrickySylvia DiamondArlene Garfield

Joyce HaberElisabeth Hayes

Dorothy Martens

15-19 years of serviceNancy AgranoffHelena GaranDick MisulichJan Misulich

Eric Neff

10-14 years of serviceHelen Amidon Sandra CardDavid Fischel Joan Fischel Carol Herz

Robert PetersonMartha PetrushAnn Robilatti

Jill Yaples

Care of uniforms of the ARTSCORPS is provided through a grant from Resciniti Dry Cleaners, 140 Beethoven Street, Binghamton, New York,

bringing Greater Binghamton a family tradition of quality service since 1924.

ARTSCORPS VolunteersJim JamesVera James Ellen Jenner

Deborah Jones-BolanJackie Kenefick

Chip KinnePamela Kroft

Felina Leonard Nicole Lowe

Cathie MakowkaAntoinette Mansfield

Charles Mansfield Mary Ellen McCane

Carol McCarthy Nancy McGee Kim Meeker

Joseph Merrette Ed Misulich Joan Mueller Tammy Nist

Diane Pilgrim Barbara PochilyDennis Powell

Edward RantanenPatricia Rantanen

Nancy Reddy Christopher Roma

Robert ShuttRosalie Sloat Peggy Sniezek

Nina TaiLinda VonEsch

Carol WeissmannJudy Wentz

Janice Whipple Cori Williamson

Melanie Yaworski Gary Youmans

Nancy Youmans

5-9 years of serviceVicky BenarickAl Buchinsky Gene Clarke Carol Finch

Nancy Korba Mary Lam

Josephine MerretteAugie Mueller

Arlene NiemeyerBarbara Pasterchik

Liana Railsback Glenda Rowse

Suzanne Ruminski Daniel SniezekNorma Thomas Frank Thomas Barbara Wahila Marie Werner

I-Fang Wu Kris Zduniak

5 years of service or lessBethania AbinzanoSandra Balzhiser Carolyn BlakeCraig BowenLaurie Bowen Pat Breneman Monica Chiao Yalitza Coss

Stephanie CrawfordDeirdre DwyerPat Farthing

Kathleen FrenchMichael French Cinda GausmanPatrick Giblin

Kathleen Grasso Joanna Hennekens

Wednesday, February 13, 2013Osterhout Concert Theater | 8 p.m.

les Ballets Trockadero de monte Carlo

Tuesday, april 2, 2013Osterhout Concert Theater | 8 p.m.

Anderson Center for the Performing ArtsAdministration

Gary Pedro Executive Director

Patricia J. Benjamin Assistant to the Executive Director

Annette M. Burnett Operations Director

Rosanne Norris Marketing Director

Steven D. Machlin Technical Director

Daniel Sonnen Assistant Technical Director

Casey Korchynsky House Operations Director

Michael F. Majewski Box Office Manager

Roxanne D. Eggleston Box Office Assistant

Floyd Herzog Artistic Consultant

2012-13 SeaSONaNDerSON CeNTer FOr The PerFOrmiNg arTS

TiCkeTS aND iNFOrmaTiON: 607-777-arTS Or aNDerSON.BiNghamTON.eDu

www.binghamton.eduanderson.binghamton.edu