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STRATEGIC ALLIANCES Strategic Alliances is a program comprised of artists and organizations closely involved with The Miami Symphony Orchestra (MISO). With primary interests in establishing strong artistic and institutional relationships with MISO, the artists and organizations forming the Strategic Alliances share an artistic vision to support MISO’s potential for enormous growth. The synergy created between the alliances and The Miami Symphony Orchestra is limitless.

CONDUCTORSGustavo Dudamel

Philippe EntremontGiancarlo GuerreroAlondra de la Parra

PIANIST

Lola Astanova Philippe Entremont

TRUMPETFrancisco Flores

CLARINET

Alexander Fiterstein

HARMONICAAntonio Serrano

OBOE Veit Stolzenberger

DOUBLE BASS

Edicson Ruiz

PERCUSSIONAntonio Guerrero

INSTITUTIONAL“El Sistema” Venezuela (Cultural Exchange and Education)

Florida International University - FIUFord Motor Company Fund “Ford Made in America” (New Music)

Hispanic Friends of IsraelRise Kern Cultural Presentations

Steinway & Sons Piano Gallery MiamiMiami Design District

Friends of The Bass Museum, Inc. No More Tears

Israel Bonds

Art cover by Mauricio Vega

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BOARD OF DIRECTORS

Rafael Diaz-Balart*, CHAIRMANRobert Rodriguez*, VICE-CHAIRMANPeggy J. Garcia*, SECRETARYEduardo A. Sarasola*, TREASURER

Daniel Andai*Marcos SantanaMarcelino BellostaLuis A. CorderoFernando Duprat*Rafael EgañezRafael Febres-CorderoJerry Haar*Eduardo Marturet*Daniel J. O’MalleySofia OchoaEduardo RabassaPedro J. Torres*Executive Committee Members

ADMINISTRATION

CLASSICAL-CROSSOVER DIRECTORRudy Pérez EXECUTIVE PRODUCER for SPECIAL EVENTSFernando Duprat FINANCE AND ADMINISTRATION DIRECTORMaricarmen Tredunlo MARKETING TEAMSahily Hernandez CREATIVE DIRECTORDaniel Batlle

ASSISTANT TO THE MUSIC DIRECTORGabriela Landaeta ASSISTANT CONDUCTORMarcoantonio Real-d’Arbelles

MISO CONDUCTING FELLOW Rebecca Tong PRODUCTION TEAMRomel FuenmayorMarcoantonio Real-d’ArbellesSahily Hernandez Gabriela Landaeta OFFICE MANAGERBeatriz Cosson

GRANTS DIRECTORPola Reydburd

MUSIC LIBRARIANTerry Bonelli

VIDEO RECORDINGGabriel Cutiño AUDIO RECORDINGRicardo Landaeta WEBMASTERSGabriel Liberatori SOCIAL MEDIASahily Hernandez OUTREACH PROGRAM COORDINATORTerry Bonelli COMPOSERS-IN-RESIDENCELola Astanova Alejandro CamposTulio CremisiniGiancarlo Castro D’AdonnaPaul DesenneFlorencia Di ConcilioOrlando GarciaAndré MehmariMauricio RodriguezTarcisio Barreto ARTISTS-IN-RESIDENCESandra MussMauricio Vegas MISO OFFICIAL PHOTOGRAPHERSRobert AndaiMiguel AyaMaria BaizElio EscalanteEduardo HernandezEduardo SegoviaSharon Levy ToledanoEdward LealRafael Montilla2KPictures MISO OFFICIAL HOTELJW Marriott Marquis Miami MISO OFFICIAL RESTAURANTPao Restaurant at Faena Hotel

MISO OFFICIAL SALON Armandeus

Eduardo Marturet

MUSIC DIRECTOR & CONDUCTOR

The Miami Symphony Orchestra10689 North Kendall DriveSuite 307, Miami, FL 33176(305) 275-5666info@themiso.orgthemiso.org@MiamiSymphony

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The Miami Symphony OrchestraINTERNATIONAL ADVISORY COUNCIL

Jose Antonio Abreu (Venezuela)Fernando Paiz (Guatemala)

Juan Antonio Perez Simon (Mexico)Raul Suarez (Cuba-USA)Nina Zambrano (Mexico)

ADVISORY BOARD

The Miami Symphony Orchestra’s 2016-2017 Concert Season is made possible thanks to the generous support of the following individual and corporate sponsors:

ACTUALIDAD 1020CORDERO & ASSOCIATES

DEEL VOLVODEEL VOLKSWAGENANGEL GONZALEZ

JW MARRIOTT MARQUISMERCANTIL COMMERCEBANK

NATCOMNEXUSiDEASSBA AIRLINES

BARBARA A. STIEFELSTEINWAY & SONS

THE MIAMI SYMPHONY ORCHESTRA IS SPONSORED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE MAYOR AND THE BOARD OF COMMISSIONERS, THE MIAMI-DADE COUNTY TOURIST DEVELOPMENT COUNCIL, THE STATE OF FLORIDA, DEPARTMENT OF STATE, DIVISION OF CULTURAL AFFAIRS AND THE FLORIDA COUNCIL ON ARTS AND CULTURE, THE CITY OF CORAL GABLES, THE MAYOR AND CITY COMMISSION OF THE CITY OF MIAMI BEACH, KNIGHT FOUNDATION AND THE MIAMI BEACH CULTURAL

ARTS COUNCIL.

While every effort has been made to ensure the accuracy of the above, we apologize for any inadvertent errors or omissions. Please notify The Miami Symphony Orchestra’s office of any changes by calling 305-275-5666.

Iran Issa-KhanPrince Mishal N. Al Faisal Al Saud

Francisco AnguloMaria Celeste Arrarás

Michelle ArecesBarbara Becker

Gingi BeltranAlfredo Beracasa

Elizabeth Kane BeracasaSusanne Birbragher

Criselda BreeneTina Carlo

Alejandro GrimaldiMatthew Growney

Carolina Lanao

Ali MahalatiDaniel Maman

Maria Gabriela PulidoBeatriz Rangel

Sam RobinDoug Thiel

Raul Valdes-FauliSheryl Tepper Weitman

Bob AbreuJosé María Aznar

Andy GarciaCarolina Herrera

Mark B. Rosenberg

Judy Drucker 2014Mark B. Rosenberg 2015

Michael Spring 2016 Eduardo Padrón 2017

HONORARY AMBASSADORS GOLDEN BATON AWARDS

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FOREVER STAR, A GIFT OF TRUE LOVEHerbert William Vogelsang

PLATINUM BATON $100,000 AND ABOVEMiami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County CommissionersCounty Mayor and Board of County CommissionersMercantil CommercebankBarbara StiefelAnonymous Donor

SILVER BATON $50,000 TO $99,999Angel GonzalezMaman Fine Arts GalleryJohn S. and James L. Knight FoundationState of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture

GRAND PATRON $15,000 TO $24,999City of Miami Beach

PATRON $10,000 TO $14,999Ocean BankMarcelino BellostaEnrique CuscoDeel VolkswagenDeel VolvoRafael Diaz-BalartDenis IgnatovEduardo MarturetRobert J. RodriguezNo more TearsKaren LeFrak

GRAND BENEFACTOR $5,000 TO $9,999Dan O’MalleyEduardo RabassaConde International SeeligerJerry HaarPedro Jose TorresAnonymous DonorMatthew & Shelley GrowneyVoices for ChildrenThe Stephen Muss FoundationArt and Design GalleryChristian Dior CoutureColdwell BankersCelineCity of Coral Gables

BENEFACTOR $2,000 TO $4,999Eric YsicoffFred JonasPranich & Associates Interior Design IncMarcos SantanaTatiana SilvaMaria SoucyPuri TunuLinda Weitz

Antonieta Marturet & Francisco MonaldiCONTRIBUTOR $500 TO $1,999Rosalie AltmarkSara ArbelAlfredo de ArmasMaría AvelloAnna CraftBig Sur PartnersMr. & Mrs. Tim ColletMr. & Mrs. Paulino CuestaFrank E. DiazRafael Díaz-BalartMatthias DietrichFantasy Theatre FactoryTui PranichMarianne Finizio & Antonio MalavéLt. Col. (Ret.) Robert StewartPaul and Beatriz Hicks Charitable FoundationJoseph Levy Family FoundationLydecker, Lee, Berga & DeZayas, LLCAntonio MalaveMatpetrol, Inc.MCCI Group Holdings, LLCMitchem Rasmussen & AssociatesMunilla Family FoundationAngel OlmetaRodolfo PaizAlfonso ReySharilyn J. RobinPietro RomanelliWahab WalidMr. & Mrs. WeitmanSandra MussVanessa Nunez

DONOR $100 TO $499All Type Construction Services Inc.Mr. & Mrs. Manuel AlvarezFay AronsonStephen BakerMaria BeguristainGraciela BoriaAstrud BoultonEric BustamanteMaricia CaballeroRegla CarrilloVojkan & Andrena DimitrijevicChristopher B. Dudley & Karen G. DudleyFonoLibro.comAndreina FuentesLeslie FuentesMiriam & Morris FuternickMr. & Mrs. Tomas GoldbergerJose HernandezRita KronheimCathy LeffCarlos MachadoMaria MaribonaMargaret MartinPhilip MartinAleida MondiolaJose MoratinosRudy NoriegaMigdalia OrtegaMr. & Mrs. Robert PaternoRichard RoerDiane T. Patrick

Agnes PiriouHanna PosniakAgustin & Isis RecioSteve G. ReismanRichard RoerPete & Debbie RostadAstrid RotembergMichael RubinMr. & Mrs. Richard SantosJennifer Sardina, P. A.Linda SteckleySuarez Ceballos Ortiz & Vega, CPA’sMarilyn TatmanM. Lewis Temares, Ph. D.and Louise TemaresClemencia & Hernan TobonPaul Adam TollesVenherlink LLCCarlos VincentelliThomas WadeWilliam WalkerUnited Way of Greater AtlantaCoral Gables Teller

GIFT IN-KIND DONORS

PLATINUM BATONSwarovski SILVER BATONNEXUSiDEASSBA AirlinesNatcom CONDUCTOR’S CIRCLEActualidad 1020Fernando DupratJ.W. Marriott Marquis MiamiAntonieta Marturet & Francisco Monaldi GRAND PATRONPeggy Garcia and Christopher Anderson of Robert Allen Law, Legal CounselLuis Cordero & Associates, Attorneys at LawFaena Hotel PATRONRobert J. Rodriguez Eduardo A. SarasolaCarolina Lanao BENEFACTORAll PrintingLeague of American OrchestrasErik & Jo SpeyerModen Luxury Miami MagazineVirgin AtlanticBrit Week Miami CONTRIBUTORAlejandro & Shari GrimaldiMiami City SocialViviana Gabeiras

FRIENDAgustin RecioYolanda Adega

Individual & Corporate Supporters

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Flute

Carol Naveira-Nicholson

Suzan DeGooyer

Oboe

Veroslav Taskov

Paul Chinen

Clarinet

Demian Martinez

Andres Candamil

Bassoon

Christina Bonatakis

Mark Slakoff

French Horn

Kaylet Torrez

Mileidy Gonzalez (assist)

Amanda Moscowitz

Karely Torrez

Lauren White

Trumpet

Bruno Lourensetto

Matthew Shefcik

Trombones

John Kricker

Mayerlin Carrero

Michael Nuñez

Timpani

Tulio Cremisini

Violin I

Dani Andai - Concertmaster

Romel Fuenmayor -

Assistant Concertmaster

Riuben Frometa

David Fernandez

Carlos Jaquez

Andrea Nedelea

Gabriela Ramirez

Carlos Cifuentes

Gregory Carreño

Grecia Rodriguez

Yasmary Marquez

Rosa Batista

Violin II

Tarcisio Barreto -

Acting Guest Principal

Anna D’Adonna

Luisa Duarte

Susan Siman

Susan Santana

Alex Bravo

Yolemny Rivera

Wendy Ocando

Silvina Parra

David Guevara

Viola

Joen Vasquez -

Guest Principal

Kenneth Jones

Andrea Oliveira

Ross Debardelaben

Manuel Frias

Laura Bueno

Lina Caceres

Manuel Frias

Cello

Grace Ho - Guest Principal

Juan Pablo Mendez

Konstantine Litvinenko

Jose Pradas

Carolina Cova

Carlos Bermudez

Maria Salas

Carolina Johnson

Fabiola Bravo

Bass

Luis Gomez-Imbert*

Terry Bonelli

Hernan Matute

Zacharie Small

Jose David Torres

Orchestra

P R E S E N T

Miami Symphony Pop-Up SeriesF R I DAY, M AY 1 2 | 5 P M

Palm Court, 140 NE 39th St, Miami Design District

A UN IQUE L IVE MUS IC EXPER IENCE

WITH SPECIAL GUE ST APPEARANCE BY

EMMY AWARD WINNER MARIA CELE STE ARRARÁS

HOST AND EDITORIAL DIRECTOR OF TELEMUNDO’S AL ROJO VIVO

ARGENTINIAN SUPERMODEL

AND VICTORIA’S SECRET ANGEL , INE S RIVERO

RADIO PERSONALIT Y AND TV HOST RAUL GONZALEZ

PERFORMING ON THE T YPEWRITER OF AUTHOR DELIA FIALLO

SOLO WHISTLER RIUBEN FRÓMETA , SOLO VIOLIN DANIEL ANDAI

E SAMBLE 7/4

EDUARDO MARTURET - CONDUCTOR

* Principal

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Patricia started learning piano at the age of 3 and half in Beijing, China. At the age of 5, Patricia studied with Na Yu

who is the top graduate from Ecole Nationale De Musique L’Hay-Les-Roses Paris. At the age of 8, Patricia studied with Yuan Ling, who is one of the most famous Chinese piano educator. Patricia now is studying with Professor Susan Starr since the age of 9 in Philadelphia, PA. Awards: In Feb 2017, Patricia was awarded the prize of 3rd place Platinum in the “Young Classical Virtuosos of Tomorrow” competition in Pennsylvania, and as the result, Patricia was invited to perform at the Kimmel Center on Jun 18, 2017. In Oct 2015, Patricia was chosen “First Prize Winner” of the “79th Steinway International Young Piano Competition” in Beijing. In Aug 2014, Patricia was given “Honorable Mention” in “Xinghai” Cup National Young Piano Competition 2014 in Beijing. In June 2014, Patricia won “Gold Medal” on “Jing Zhu” Cup 2014 in Beijing. In June 2014, Patricia was chosen as a “First

Place Winner” of “Sunflower” Cup National Young Piano Competition 2014 in Shenzhen. In May 2013, Patricia won “Gold Medal” on 2013 Beijing Piano Festival, and performed in Beijing Capital University Music Hall in Dec 2013. In Mar 2013，Patricia won “Gold Medal” on Golden Key Music Festival of the United States 2013. In Jan 2013, Patricia was chosen as a “Third Place Winner” of the American Protégé International Piano & Strings Competition 2013, and performed in Carnegie Hall New York in March 2013. In Oct 2012, Patricia was chosen as a “Second Place Winner” of the American Protégé International Music Talent Competition 2012, and performed in Carnegie Hall New York in March 2013. In July 2012, Patricia won the “Second Prize” in the 17th HONG KONG-ASIA PIANO OPEN COMPETITION in Children D Group in Beijing Preliminary contest. In Mar 2012, Patricia was chosen as a “Second Place Winner” on 2nd British Royal International Music Competition (Chinese Trials).

Patricia Zhuge

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BEETHOVENMANIASaturday, May 6th, 2017 at 6:00 p.m.

Sponsored by

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI DADE COUNTY

John S. and James L. Knight Concert Hall

Ludwig Van Beethoven

I

Leonora Overture Number 3, Op. 72b

Piano Concerto No. 1 in C major, Op. 15

Allegro con brio - Largo - Rondo

II

Symphony No. 7, Op. 92

Poco sostenuto – Vivace, Allegretto, Presto, Allegro con brio

Steinway is the official piano of The Miami Symphony Orchestra

PATRICIA ZHUGE - PIANOEDUARDO MARTURET - CONDUCTOR

Eduardo Marturet enjoys an active career on three continents. As the Music Director and Conductor of The

Miami Symphony Orchestra, he remains deeply involved in the musical life of his native Venezuela and continues to guest conduct actively in Europe. A Steinway Artist, he has made more than 40 CDs that range from a Brahms orchestral cycle to surveys of Latin America’s greatest orchestral composers.

European orchestras with which he has had an active guest conducting relationship include Berliner Symphoniker, European Community Chamber Orchestra, Staatsphilharmonie Rheinland-Pfalz, RAI Symphony Orchestra, Danish Radio Symphony, Royal Flemish Philarmonique, Nordwestdeutsche Philharmonie, Gelders Orkest, Bohemian Chamber Philharmonic, Budapest Radio Symphony, Brabant Orkest, and Concertgebouw Chamber Orchestra in Amsterdam. In 2001, he led the Berliner Symphoniker on a 12-concert tour of major South American cities including Caracas, Sao Paulo, Cordoba, Montevideo and Buenos Aires. A documentary of the tour was broadcast through the region by DirecTV.

Born in Caracas, Marturet studied in Cambridge, England where he became firmly rooted in the European tradition, obtaining a degree in Piano, Percussion, Conducting, and Composition. In 1979, he returned to Venezuela with a permanent position with the Orquesta Filarmónica de Caracas as Associate Conductor and later as

Artistic Director to the Orquesta Sinfónica Venezuela, where he served in that position until 1995. Presently, he maintains close contact with the Venezuelan National Youth Orchestra movement, giving advice and support in aid of poor children.

With the opening of the Teresa Carreño Theatre in Caracas in 1984, Marturet became its first Music Director. After three years of bringing challenging and original productions to the stage, he resigned from the Theatre to dedicate himself entirely to an international career, conducting in Italy, Greece, France, Spain, England, Denmark, Holland, Korea, Norway, Sweden, Germany, Czechoslovakia, Belgium, Canada and the United States.

He made his Asian debut with the Seoul Philharmonic in 2003, a year when he also opened the Chorin Summer Festival in Berlin and made his debut with the Buenos Aires Philharmonic in Argentina and the Florida Philharmonic in Miami.

In 2006, received a Latin Grammy nomination for “Encantamento” in the category of Best Classical Album conducting the Berliner Symphoniker.

In March 2012 the flag of the United States was flown over the U.S. Capitol in honor of Eduardo Marturet, together with the Medal of Merit of the U.S. Congress in recognition for his outstanding and invaluable service to the community.

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Eduardo Marturet

2016/2017 SEASON

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Hailed as an “Exemplary Leader” by the New York Times for leading members of the New York Philharmonic and the

Manhattan School of Music in Carnegie Hall, violinist Daniel Andai has shared his versatile artistry as a soloist, recitalist, chamber musician, concertmaster, conductor and recording artist in major concert venues in over 50 countries across five continents, the Middle East, the Caribbean and over 30 United States. He is a prizewinner of national and international competitions and has soloed with orchestras around the world.

Daniel Andai is concertmaster, frequent soloist and guest conductor of The Miami Symphony Orchestra. He was also concertmaster and frequent soloist of the Philharmonic Orchestra of the Americas in New York with whom he recorded multiple Billboard rated SONY Classical CD’s, made numerous televised solo appearances and was featured on AeroMexico’s inflight entertainment systems. These recordings are continuously aired over the radio worldwide.

He has held concertmaster positions with orchestras in Mexico, Brazil, Switzerland, and France, performed in the sections of the New York Philharmonic and the Miyazaki Festival Orchestra in Japan, and worked closely with members of major string quartets and symphony, opera and ballet orchestras around the world.

Daniel Andai is the Dean of Music at the New World School of the Arts in Miami, Florida and the Artistic Director of the Killington Music Festival in Vermont. Previously, Dr. Andai was the violin professor and The Marialice Shivers Endowed Chair in Fine Arts at the University of Texas in Edinburg after having served on faculties at Miami-Dade College and New World School of the Arts. He holds degrees from the University of Miami, the Manhattan School of Music and Lynn University.

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STEINWAY & SONS IS HONORED TO BE THE OFFICIAL PIANO FOR THE MIAMI SYMPHONY ORCHESTRA

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Nine symphonies. Five piano concertos. Thirty-two piano sonatas. Beethoven composed

in all of the major genres of his day, and wrote multiple works in most of them. With opera, however, Beethoven found himself stymied, and it would take him three productions and a decade of revisions to finally compose an opera that audiences enjoyed. Fidelio, Beethoven’s first and only opera, received its inauspicious premiere in 1805, when Vienna was occupied by the French army. In December 1804, Napoleon Bonaparte had been crowned emperor, a development which famously led Beethoven to scratch Bonaparte’s name from the Eroica Symphony in a fit of angry disillusionment.

Fidelio’s French Revolutionary plot was not especially well suited to the political climate in which it premiered. This and numerous artistic problems led to the opera’s poor initial reception. An attempt to revive the opera failed, and it was only in 1814 that a third attempt to mount the opera found success. By this point, Beethoven was utterly fed up with Fidelio, writing to his new librettist that “this whole opera business is the most tiresome affair in the world! ... I assure ... you that this opera shall win me a martyr’s crown.”

The plot of Fidelio concerns Leonore, disguised as a prison guard named

“Fidelio,” as she attempts to free her husband Florestan, a political prisoner, from a despotic ruler. At the eleventh hour, as Leonore and her husband are facing certain death, they are rescued, the prisoners are freed, and all celebrate Leonore’s bravery. Leonore No. 3, the second of four overtures Beethoven composed for Fidelio, was deemed unsuitable for the opera house: its dramatic intensity threatens to overwhelm the lighthearted events of the first scene, and its summary of the plot threatens to spoil the ending!

In the opening bars, we hear Florestan languishing in his cell, his cries of “God! What darkness here” lost to the dank stone walls. A woodwind quartet evokes memories of spring as Florestan yearns for his freedom. Pizarro, the evil governor of the prison, orders the trumpet to be sounded at the minister’s arrival. In this overture, the distant call of the trumpet indeed heralds the minister’s arrival, as the now-unmasked Leonore prepares to sacrifice herself to save Florestan. After moments of stunned silence, the flute melody leaps for joy as the pair are rescued. The prisoners sing for liberty, the minister proclaims the bonds of universal brotherhood and an end to tyranny, and the full orchestra roars the triumph and heroism of Leonore.

Ludwig Van Beethoven (1770-1827)

In 1792, in the wake of Mozart’s untimely death, Beethoven’s patron, the Archduke Maximilian Francis,

sent the young composer to Vienna to study under Joseph Haydn and Antonio Salieri. Beethoven quickly made a name for himself in Europe’s musical epicenter, performing numerous recitals and premiering a series of well-received compositions. A shrewd self-promoter, he presented many concerts of his work over the course of his career, often playing and conducting his new pieces himself. One of these concerts, presented on a bitterly cold December night in 1808, was a massive four-hour, eight-composition, all-Beethoven extravaganza that included the premiere of both his Fifth and Sixth Symphonies.

Beethoven performed the First Concerto in at least four concerts before publishing it, to better display his own remarkable talents at the keyboard. The First Piano Concerto is actually the second concerto he completed (he wrote his Piano Concerto No. 2, Op. 19 as a teenager). His decision to delay publication of Opus 19—“not one of my best,” he wrote to his publisher—would give it a higher opus number than the First, despite its earlier conception.

Contrasted with the stormy unpredictability of Beethoven’s later works, his First Piano Concerto stays

rooted in the Classical tradition of Haydn and Mozart, though even here we see glimpses of the radical approach to harmony that foreshadowed the Romantic era. The key signature, C major, was associated with festivities and exaltation, and the dotted martial rhythms and beaming brass add to the air of celebration. The piano enters with playful flutters and swift roulades, virtuoso flourishes written by and for a young master at the height of his powers.

The second movement opens with tender, slow-cresting waves in the piano’s right hand; beneath it, strings play a hushed chordal accompaniment. The soft accompaniment imbues the piano aria with a sense of solemnity not out of place in a church oratorio. Beethoven omits trumpets and timpani, heightening the contrast between the Largo and the first movement’s more celebratory tone.

The third movement returns immediately to the exultation of the first, launching into a jocular allegro. The piano dives into the middle of the orchestra’s proceedings, clearly with no need for additional introduction. Ever the prankster, Beethoven appears to conclude with a soft, unassuming cadenza for the piano; woodwinds follow sotto voce. Without warning, the full orchestra shatters this calm with an abrupt outburst, only to depart as quickly as they arrived.

Leonore Overture No. 3, Op.72b. Piano Concerto No. 1 in C major, Op. 15.

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The years Beethoven spent writing his Seventh Symphony, 1811-1812, were not happy

ones for the composer. In 1811, after a failed attempt to perform his “Emperor” piano concerto, the increasingly-deaf Beethoven decided to never again perform in public. The next year, he penned his famous letter to the still-anonymous Immortal Beloved, a ten-page message of despair that their love could never be. The larger specter looming over Beethoven’s personal troubles was the Napoleonic Wars, which had been raging throughout Europe for a decade. By the time the piece was premiered, however, the tide of the war had begun to turn, and Beethoven was asked to write a piece to commemorate the Duke of Wellington’s victory over Joseph Bonaparte (Napoleon’s older brother) in the Battle of Vitoria. That piece, the aptly-named Wellington’s Victory, received its premiere with the Seventh Symphony. Both works were very well-received, garnering Beethoven some of his greatest success as a composer up to that point and allowing him the opportunity to revise and remount his opera, Fidelio. Beethoven himself called the Seventh “one of my best works” at its first performance.

Beginning with a slow, extended introduction in A major, Beethoven quickly changes to the unrelated keys of C and F major, ensuring that even the slower moments of his symphony have the ability to disorient. Most of the latter half of the movement is

dotted with dance rhythms, giving the piece a sense of whirling exuberance that led composer Richard Wagner to declare the Seventh Symphony “the apotheosis of the dance.”

The second movement, an Allegretto (a little lively), seems slow only in comparison to its fellows. Immensely popular even at its premiere, after the second movement the Symphony’s first audience demanded an encore. Beethoven keeps the set of variations on this tragic theme interesting through changes in rhythm, texture, tempo, and orchestral color.

Where the second movement ended on a somber note, the third movement jumps right back into the joyful mood of the first. Perhaps Beethoven realized that his audience (and his orchestra!) needed a bit of a rest from his musical rushes of adrenaline, so he alternates the more exciting passages with sections of calm.

Two fortissimo chords kick off the fourth and final movement. The sense of unbridled joy released during this movement, combined with the lurching, off-beat rhythms seem at times intoxicating; in fact, many musicians and listeners in Beethoven’s day wondered if it had not in fact been written in a drunken state. The music grows to a triumphant, almost chaotic swell before ending in a final burst of fanfare.

© Andrew McIntyre, 2017.

Symphony No. 7 in A major, Op. 92.

IT’S ALL ABOUT THE LEGACY…

Without any doubt, giving back is one of the world’s most rewarding sensations. Being corresponded with a smile, a hug, a thank you, or

simply knowing you are part of something which generates fulfillment on both parts of the story. If only this feeling of gratitude could last forever.

It can, it’s called Legacy.

The Miami Symphony Orchestra is honored to present the first FOREVER STAR, our beloved

HERBERT WILLIAM VOGELSANG (September 12th 1923 - July 29th 2016)

Herbert Vogelsang and his wife Peggy, left a Legacy to the Miami Symphony Orchestra with a generous donation. He played violin, loved

classical music, and always supported his Orchestra.

Transcend by giving us your support at

foreverstar@themiso.org

“Thanks to The Miami Symphony Orchestra for the amazing time we shared.”

The following organizations have consistently enjoyed the benefits of attending our concerts season after season.

Culture Shock Miami

Florida International UniversityJewish Federation

Miami Rescue MissionOlympus Group

Positive ConnectionsUnited States Southern Command

If you happen to know of a charitable organization or school group that could benefit from a Miami Symphony performance or open rehearsal, please contact Rita Kronheim at

rita@themiso.org or (305) 275-5666.

“A wonderful orchestra, and cannot be in a better direction than with Maestro Eduardo Marturet.”

– January, 2013 Audience Survey*

*

THE MIAMI SYMPHONY ORCHESTRA BELIEVES IN THE POWER OF MUSIC

TO BUILD COMMUNITIES

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UNA EMISORA DE

Is a proud season sponsor of The Miami Symphony Orchestra

Always there to support the art and culture of our Community

Un idioma, Todos los acentos, una sola señal

T H E O F F I C I A L H O T E L O FT H E M I A M I S Y M P H O N Y O R C H E S T R A

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A W A R D - W I N N I N G L U X U R Y I N D O W N T O W N M I A M I

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• 16 season tickets with priority seating at each concert• Private dinner party with the Maestro and the Concertmaster, plus six (6) guests

chosen by donor• Professional photo session with the Maestro• Full page color advertisement in Playbills throughout the season• Name/logo listed on website, programs and brochures throughout the season • Invitation to post-concert parties• Invitation as special guests to all outreach programs and rehearsals • Four tickets for all out-of-season concerts• Special pre/post concert meeting with MISO guest artists (location/time – TBD) • Public recognition at concert as approved by donor • Advance notice and invitation to all MISO special events • Full page profile in sponsored season program: color photo, biography and recognition of your

gift to MISO programs of special interest to you, in consultation with the Executive Director• Individual/corporate underwriting credit• Chamber ensemble music concert at appropriate location of donor’s choice (4-6 musicians)• Individual/corporate name and logo will appear in all advertising materials, and on the MISO

website as a Platinum Baton sponsor of the concert season • Four passes to a MISO dress rehearsal

• 10 season tickets and priority seating at each concert• Meeting and photograph with the Concertmaster • Full page color advertisement in Playbills throughout the season• Name/logo listed on website, programs and brochures throughout the season• Invitation to post-concert parties• Invitation as special guests to all outreach programs and rehearsals • Two tickets for all out-of-season concerts • Special pre/post concert meeting with MISO guest artists (location/time – TBD)• Public recognition at concert as approved by donor• Advance notice and invitation to all MISO special events• Full page profile in sponsored season program: color photo, biography and attribution of your gift

to MISO programs of special interest to you, in consultation with the Executive Director• Individual/corporate underwriting credit• Chamber ensemble music concert at appropriate location of donor’s choice (3-4 musicians)• Individual/corporate name and logo will appear in all advertising materials, and on the MISO

website as a Gold Baton sponsor of the concert season • Two passes to a MISO dress rehearsal

DONATE

Conductor (Maestro) Artist Fund (Only One Available) - $150,000

Concertmaster Artist Fund (Only One Available) - $75,000

Sponsor Your Special Place in The Miami Symphony Orchestra and Become Intimately Instrumental in

Your Hometown Symphony

Note: While Artist Funds demonstrate your appreciation for an individual artist, they do not reflect salary compensation to the musician(s), the Funds benefit the entire orchestra. The naming of Artist and Orchestral Funds do not include Gift-in-Kind Donors. As The Miami Symphony Orchestra is a 501(c)(3) tax-exempt organization under the U.S. Internal Revenue Code, your gift to the Orchestra is tax deductible as allowable by law.

• Eight season tickets and priority seating at each concert• Meeting and photograph with orchestral members• Full page color advertisement in Playbills throughout the season• Name/logo listed on website, programs and brochures throughout the season• Invitation to post-concert parties• Invitation as special guests to all outreach programs and rehearsals• Two tickets for all out-of-season concerts• Special pre/post concert meeting with MISO guest artists (location/time - TBD)• Public recognition at concert if approved by donor• Advance notice and invitation to all MISO special events• Full page profile in sponsored season program: color photo, biography and recognition of your

gift to MISO programs of special interest to you, in consultation with the Executive Director• Individual/corporate underwriting credit• Chamber ensemble music concert at appropriate location of donor’s choice (2-3 musicians)• Individual/corporate name and logo will appear in all advertising materials, and on the MISO

website as a Silver Baton sponsor of the concert season

• Six season tickets • Meeting and photograph with artist recipient(s) • Full page color advertisement in Playbills throughout the season• Name/logo listed on website and in all programs and brochures throughout the season• Invitation to post-concert parties • Invitation as special guests to all outreach programs and rehearsals • Two tickets for all out-of-season concerts • Special pre/post concert meeting with MISO guest artists (location/time – TBD)• Individual/corporate name and logo will appear in all advertising materials, and on the MISO

website as a Conductor’s Circle sponsor of the concert season

• Four season tickets • Meeting and photograph with artist recipient(s) • Full page color advertisement for four concerts of donor’s choice • Name/logo listed on website and in all programs and brochures throughout the season• Invitation to post-concert parties• Special meeting with MISO guest artists • Individual/corporate name and logo will appear in Playbills, and on the MISO website as a Grand

Patron sponsor of the concert season

• Two season tickets • Meeting and photograph with artist recipient(s) • Full page color advertisement for two concerts of donor’s choice• Name/logos listed on website and in all programs and brochures throughout the season • Individual/corporate name and logo will appear in Playbills, and on the MISO website as a Patron

sponsor of the concert season

Orchestral Section Fund (16 Available) - $50,000 each

Principal Artist Fund (16 Available) - $35,000 each

Assistant Principal Artist Fund (10 Available) - $20,000 each

Orchestral Artist Fund (50 Available) - $10,000 each

DONATE

Thanks to our generous sponsors

Barbara A. Stiefel Angel Gonzalez