Maryland Symphony Orchestra presents:

January 12, 2000

Maryland Symphony Orchestra

... featuring the symphony's principal musicians; program includes Barber's Overture to The School for Scandal, Martin's Concerto for Seven Winds, Bloch's Concerto Grosso No. 2 and Hanson's Symphony No. 2, Op. 30 "Romantic"

When: Saturday, Jan. 15, 8 p.m.; Sunday, Jan. 16, 3 p.m.; Prelude at 7 p.m. Saturday, 2 p.m. Sunday

Where: The Maryland Theatre

21 S. Potomac St.


Tickets: $12 to $28; children and full-time students receive a 50-percent discount.

For information, call 301-797-4000.

By KATE COLEMAN / Staff Writer

Elizabeth Schulze's appointment to the post of Maryland Symphony Orchestra music director was announced last March, and, during the same month, she asked members of the orchestra to give her a list of music they would like to play.


Two of the pieces on this weekend's program were suggested by MSO players, and Schulze is excited about that.

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Their involvement makes playing more interesting for them, and they will come to the performance with a little more excitement, she believes.

"My ambition is to take this as far as we can go in terms of quality," Schulze says.

The weekend's performances will feature Maryland Symphony Orchestra players. Valerie Clemans, violinist and concertmaster; Petia Radneva-Manolova, principal second violin; Denise Setny Nathanson, cellist; and Phyllis Freeman, violist, will be highlighted on Bloch's Concerto Grosso No. 2.

Concerto for Seven Winds, by Frank Martin, will feature Frances Lapp Averitt, flutist; Cecilia Papendick, oboist; Beverly Butts, clarinetist; Karen Smith Manar, bassoonist; Wayne Wells, trombonist; Charles Grab Jr. on trumpet; and Joseph Lovinsky on horn.

What's exciting is that the audience will have a chance to know these members of the orchestra, Schulze says. It will be an opportunity for Schulze to let people know how proud she is of "our players" and how excited she is to be able to show them off. "These are just wonderful people," she says.

She also foresees benefits beyond the weekend concerts. Working together, a sense of camaraderie and communication will develop among the musicians. They will get a sense of each others' style and intonation, she says. They will get to know each other a little bit better, too, she believes.


Joseph Lovinsky didn't pick up a musical instrument until he was in high school in what he says was the poorest district of Miami, Fla. He told the beginning band teacher that he wanted to play trumpet, but was handed a French horn instead. "This is what I have," the teacher told him.

It worked out. Lovinsky loves the horn. "The sound is unique," he says. It's closest to the sound of the human voice, he believes.

And the horn apparently loves him. He earned full scholarships for study at Curtis Institute in Philadelphia and Juilliard in New York. He also took private lessons in college.

When he finished school, Lovinsky auditioned for first horn positions in both Hong Kong Philharmonic and the national symphony of the Dominican Republic. He was picked for both jobs, but thought Hong Kong sounded a little scary and chose the closer-to-home opportunity, learning to speak Spanish as he went along. After a year in the Caribbean, Lovinsky opened the musicians' union paper to look for a job, deciding to get and take the first one he found.

The opening was for the position of co-principal horn with the Army band in Washington, D.C., and he had to do boot camp like any other soldier. Staff Sgt. Lovinsky likes his job. He also plays with the army's brass quintet, and this fall performed at Carnegie Hall one day and left the next day for a tour of Alaska.

Recently, Lovinsky, 35, also started substituting with National Symphony Orchestra.

Lovinsky, who lives in Odenton, Md., has been a member of Maryland Symphony Orchestra for five years and plans to stay for a while. Being featured as a soloist in this weekend's performances is different, he says. He describes the Martin composition as having a few lyrical things, 20th-century harmonies and some real jazzy rhythms. He's looking forward to it.


Although she didn't choose the Bloch piece she'll be featured in this weekend, MSO concertmaster Valerie Clemans is happy that it's on the program.

She describes an interlude played by the string quartet as a window on the piece that explains the inner meaning of the music.

The quartet has met for additional practice, and Clemans expects that their collaboration will provide greater coherence to the orchestra's string section.

This is Clemans' fourth season with the MSO. When she's not rehearsing or playing with the Hagerstown-based group, she freelances, substituting in other Washington, D.C.-area orchestras. Just last week she had a studio gig, playing music for something called "Seafari," a Universal Studios undersea-life theme park planned in Barcelona, Spain. She also teaches: Her 17 private students range in age from 3 to 30.

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