HSO 1920 Program Book 3 by hawaiisymphonyorchestra1

ODE TO JOY JoAnn Falletta Artistic Advisor

FUNDING FOR ODE TO JOY PROVIDED BY HAWAI’I TOURISM THROUGH THE COMMUNITY ENRICHMENT PROGRAM

A VERY MERRY HOLIDAY POPS TUESDAY, DECEMBER 10 / 7:30 PM

NEW YEAR’S DISCO PARTY

TUESDAY, DECEMBER 31 / 7:30 - 9:30 PM

ODE TO JOY

SATURDAY, JANUARY 4 / 7:30 PM SUNDAY, JANUARY 5 / 4:00 PM

AN EVENING WITH AMY HĀNAIALI‘I FRIDAY, JANUARY 10 / 7:30 PM

MOSTLY MOZART

SATURDAY, JANUARY 11 / 7:30 PM SUNDAY, JANUARY 12 / 4:00 PM

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IN THIS ISSUE

musicthatPOPS 2 | SPECIAL I | MASTERWORKS IV | musicthatPOPS 3 | MASTERWORKS V

Very Merry Holiday

ODE TO JOY

MOSTLY MOZART

On the cover: Halekulani Masterworks IV: Artistic Advisor JoAnn Falletta MASTERWORKS SPONSOR: HALEKULANI musicthatPOPS SPONSOR: SHERATON WAIKIKI

CONTENTS PROGRAM BOOK 3

5 7 8

Executive Director’s Message 2019/2020 HSO Roster Sheraton Waikiki musicthatPOPS 2

12 16 28 32 40 42 48 50 51 54

Special

A Very Merry Holiday Pops

New Year’s Eve Disco Party Featuring the Music of ABBA

Halekulani Masterworks IV Ode to Joy Guest Artists and Program Notes

Sheraton Waikiki musicthatPOPS 3 An Evening with Amy Hānaialiʻi

Halekulani Masterworks V Mostly Mozart Guest Artists and Program Notes

HSO Associates HSO Donors Tribute List ʻŌhiʻa Lehua Society HSO Board/Staff HSO Sponsors

Tickets and Patron Services 3610 Waialae Avenue, Honolulu, HI 96816 Monday - Friday, 8:30 am - 4:30 pm 94-MUSIC (808) 946-8742 Tickets@hawaiisymphonyorchestra.org HISymphony.org

CONNECT WITH US HAWA I‘ I SYMPHONY ORCHESTRA

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FILM LIVE WITH ORCHESTRA PRESENTED BY

HAWAI´I SYMPHONY ORCHESTRA FULL ORCHESTRA CONDUCTED BY STUART CHAFETZ

JANUARY 31 @ 7:30 P.M. FEBRUARY 1 @ 2:00 P.M. AND 8:00 P.M. MUSIC BY

JOHN WILLIAMS

94-MUSIC / HISYMPHONY.ORG / BLAISDELL / TICKETS FROM $27 Tickets also available at the Blaisdell Box Office, Ticketmaster.com or Ticketmaster Charge-by-Phone (800) 745-3000

PRESENTATION LICENSED BY DISNEY CONCERTS IN ASSOCIATION WITH 20TH CENTURY FOX, LUCASFILM LTD. AND WARNER/CHAPPELL MUSIC

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Since arriving in Honolulu to serve as interim executive director of your Hawai‘i Symphony Orchestra, I have been touched by the warmth and spirit of Aloha that has accompanied every meeting I’ve had, inside the organization and beyond. The representatives of this fine orchestra – board, musicians, staff and volunteers – care deeply about the impact the HSO has in communities across our state. The civic leaders and community members I’ve met are united in their desire to see our symphony prosper and continue its role as an integral part of the cultural, educational and economic fabric of the Islands.

I’ve been wowed by your symphony in a short period of time, especially by the variety and meaningfulness of the programs I experienced during my first week in Honolulu: sold-out Harry Potter performances, the Symphony of the Hawaiian Birds keiki concert program that introduced thousands of Hawaiian school children to the extinct and endangered birds and impacted ecosystems of these Islands, and a Halekulani Masterworks program that juxtaposed cultures with a scintillating performance of Schubert and Prokofiev paired with the awe-inspiring wonder of the orchestral world premiere of Nā Kau ʻElua | The Two Seasons, an oboe concerto composed by University of Hawaiʻi–West Oʻahu’s Jon Magnussen, for HSO principal oboist J. Scott Janusch to perform on the world’s first and only handcrafted oboe made of Hawaiian kauila wood.

S COT T H A R R I S O N

Many of you know that since relaunching seven years ago, the HSO has experienced numerous artistic and community accomplishments. Those achievements have allowed us to attract generous support from varied donors and funders, but we are not without our challenges in securing the level of financial stability needed to truly deliver the consistency of programs and engagement Hawai‘i deserves from its symphony. As interim executive director, I will provide leadership of the HSO while the board searches for the organization’s next permanent chief executive, but with our larger goal of sustainability in mind, I will amplify many positive stories of the difference the HSO makes and secure new resources that allow us to further look to the horizon as we solidify a bright future.

EXECUTIVE DIRECTOR

MAHALO FOR YOUR WARM WELCOME

Your pride and belief in the power and beauty of the Hawai‘i Symphony Orchestra inspires me and will inspire individuals and families across the state to join us on this journey. Please join me in becoming an ambassador for the HSO, sharing its stories and the impact it has on your life with others, because your advocacy and your stamp of approval will strengthen our organization and ensure its continuing vitality. Me ka mahalo nui! n

Scott Harrison Interim Executive Director Hawai’i Symphony Orchestra

ONCERT

HAWA I‘ I SYMPHONY ORCHESTRA

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musicthatPOPS SPONSOR

Handpicked by Billy Joel to Star on Broadway in Movin’ Out! Michael Cavanaugh is the new voice of the American Rock & Roll Songbook and a charismatic performer and musician made famous for his piano/lead vocals in the Broadway musical Movin’ Out. Michael appeared in the show for 3 years with over 1,200 performances.

Join us as Michael Cavanaugh and your HSO perform the Music of Billy Joel!

ALL-INCLUSIVE PRE-CONCERT COCKTAIL RECEPTION WITH HEAVY PUPUS AT THE HONOLULU CLUB, PLUS ONE SECTION B CONCERT TICKET, JUST $90.

FRIDAY / FEBRUARY 28 / 7:30 PM

(808) 94-MUSIC / HISYMPHONY.ORG Blaisdell Concert Hall / Tickets from $36

Tickets also available at the Blaisdell Box Office, Ticketmaster.com or Ticketmaster Charge-by-Phone (800) 745-3000

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JOANN FALLETTA | ARTISTIC ADVISOR

Fixed Violin I Member ** Fixed Violin II Member *

VIOLA

Out!

smatic ovin’ Out.

Mark Butin, Principal Steven Flanter, Associate Principal Colin Belisle Jean-Michel Jacquon Carlo Malanima^ Rebecca Matayoshi Lynn Tamayoshi^ Melvin Whitney Anna Womack Sandra Wong

CELLO

Mark Votapek, Principal Sung Chan Chang, Associate Principal Pauline Bai Anna Callner ^ Karen Fujimoto Cello (Qiele) Guo Jeff Hamano^ Nancy Masaki Joshua Nakazawa Tugce Bryant^

S 90.

DOUBLE BASS

John Gallagher, Acting Principal Matthew Love, Acting Associate Principal Vladimir Bernstein^ Hayden Joyce^ John Kolivas Randy Wong^ Sayuri Yamamoto

FLUTE

Susan McGinn, Principal Claire Starz Butin, Associate Principal

TRUMPET Zach Silberschlag, Acting Principal ^ Jo Ann Lamolino, Associate Principal Brian Prunetta

TROMBONE

Jason Byerlotzer, Principal Michael Maier, Acting Associate Principal^

BASS TROMBONE Rudi Hoehn^

TUBA

PICCOLO/3RD FLUTE Edna Jeon^

T.J. Ricer, Acting Principal^

OBOE J. Scott Janusch, Principal Michelle Feng, Associate Principal

Brad Davis, Principal Chris Cabrera, Associate Principal

ENGLISH HORN/3 OBOE Leo Ziporyn^ RD

CLARINET Louis DeMartino, Principal Norman Foster James F. Moffitt, Associate Principal E-FLAT CLARINET Norman Foster BASS CLARINET James F. Moffitt BASSOON Tommy Morrison, Acting Principal^ Philip Gottling III

TIMPANI

PERCUSSION

Becca Laurito, Principal Jordan Schifino, Associate Principal Chris Cabrera

H AWA I ‘ I SY M P H O N Y O R C H E ST R A

Ignace Jang, Concertmaster Claire Sakai Hazzard, Associate Concertmaster Judy Barrett, Assistant Concertmaster Hung Wu, Principal Violin II Darel Stark, Associate Principal Violin II Asia Doike^ Nikki Ebisu^ Rami Gepner Katharine Hafner* Helen Higa** Alexandra Khamiovich^ Ki Won Kim Timothy Leong Michael Lim Helen Liu Yuseon Nam Daniel Padilla Maile Reeves* Rachel Saul Schifino Sheryl Shohet Nancy Shoop-Wu Mio Unosawa Herzog* Emma Votapek* Fumiko Wellington Duane White

2019 / 2020 ROSTER

VIOLIN

HARP

Constance Uejio, Principal

ORCHESTRA LIBRARIAN Kim Kiyabu, Principal

PERSONNEL MANAGER Mark Breitenbach °

on leave one year position

PHOTO BY: JOHN KUAMO‘O

CONTRABASSOON Philip Gottling III HORN Anna Lenhart, Principal Jamie Sanborn Acting Associate Principal^ Colton Hironaka, Assistant Principal^ Marie Lickwar^ George Warnock Eric Kop

For more information about the Hawai‘i Symphony Orchestra or about the individual musicians, please visit: HISymphony.org/hawaiis-symphony/the-musicians The musicians employed by the Hawai‘i Symphony Orchestra are members of the Musicians’ Association of Hawai‘i, Local 677 of the American Federation of Musicians.

HAWA I‘ I SYMPHONY ORCHESTRA

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S H E R ATO N WA I K I K I M U S I C T H AT P O P S

A VERY MERRY HOLIDAY POPS

TUESDAY DECEMBER 10 | 7:30PM

Very Merry Holiday

Celebrate the music of the holiday season as Maestro Ann Krinitsky leads your HSO, local singing sensation Shari Lynn, and the Sounds of Aloha Chorus. This festive concert will warm your heart, make spirits bright and put you in a Very Merry Holiday mood! Santa will be available for photos.

SERIES SPONSOR:

We kindly ask you to silence all electronic devices. We donâ&#x20AC;&#x2122;t allow videos or photos while the musicians are performing, but we encourage you to record your experience and take advantage of our step-and-repeat backdrop in the lobby, take photos on the lanai, with guest guests during the meet and greet in the lobby, or from your seat before the show. You are free to take photos and videos all the way up until the performance begins. Intermission is 20 minutes. Once the performance has begun, seating is at the discretion of the house.

CONNECT WITH US 8

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#HISYMPHONY #MUSICTHATPOPS

H I S Y M P H O N Y. O R G

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T:6 in S:5 in

25% KAMA’AINA DISCOUNT

L O C AT E D AT T H E S H E R AT O N W A I K I K I C O M P L I M E N TA R Y S E L F - P A R K I N G

M A R R I O T T. C O M / H N LW S | 8 0 8 . 9 2 1 . 4 6 0 0

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T:9 in

S:8 in

S AV O R F A R M - F R E S H H AW A I I A N S P E C I A L T I E S

Ann Krinitsky conductor As Director of Marin Symphony Youth Performance programs and the Virtuoso Program at San Domenico School, Ann Krinitsky also conducts Family Concerts with the Marin Symphony. She graduated with honors from the University of California, Berkeley, where she studied with Michael Senturia. Ms. Krinitsky completed three summers of study with Harold Farberman and various visiting artists at the Conductors’ Institute at Hartt School of Music in Connecticut. In the Bay Area, her posts have included Director of Orchestras at Stanford University; Music Director of the Nova Vista Symphony, Palo Alto Philharmonic, Berkeley Youth and Community Women’s Orchestras; Conductor of the Acalanes Chamber Orchestra; and Assistant Conductor of the Pacific Mozart Ensemble. She has guest conducted the Women’s Philharmonic, the Camellia Symphony, the Palo Alto Chamber Orchestra, the Marin Chamber Orchestra, and the San Francisco Concerto Orchestra. She is a frequent guest conductor with the Honolulu and Hawai‘i Symphony Orchestras. She regularly conducts Ballet Hawaii’s Nutcracker and has enjoyed numerous collaborations with Chamber Music Hawaii and the Onium Ballet Project. Ms. Krinitsky received the 2000-01 JoAnn Falletta Conducting Award, given by The Women’s Philharmonic and funded by the Stein Foundation for the Arts and Sciences. She is married to conductor and timpanist Stuart Chafetz. n

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maestro

H I S Y M P H O N Y. O R G

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Shari Lynn vocalist Making Hawai‘i home since 1976, the versatile Shari Lynn is known to Hawai‘i’s audiences as a leading musical theatre actress, cabaret and jazz artist, writer and educator. She has appeared in every major showroom in Hawai‘i, starred in six concerts with the Honolulu Symphony, including two with her singing partner of thirty years, Hawai‘i’s Gentleman of Jazz, Jimmy Borges, and helmed her own radio and TV shows. Among her awards are eleven Po‘okelas, for Gypsy, Mame, Anything Goes, Funny Girl, Fiddler On The Roof and others. She has won the Grand Prize at the Hawai‘i Music Festival, received two Hoku nominations and the MVT Marquee Award, for “outstanding contributions to the arts and entertainment in Hawai‘i.” In 1999 she became the Director of Music at La Pietra - Hawai‘i School For Girls, a role she still loves. As a writer and performer, her critically acclaimed tributes to Gershwin, Berlin and Porter draw capacity crowds. Upcoming appearances include December 14 and 15, at Medici’s in Manoa for a reprise of last year’s sold out show, “Not Quite Christmas,” with her brilliant friends Annie Renick, Buz Tennent, Kip Wilborn and Don Conover. December 23 will find her at Blue Note Hawai‘i as she and Annie Renick reunite with their longtime friend Azure McCall for a little Jive Sister “boogie and blues.” n

Sounds of Aloha Chorus (SOA) For over 70 years, the Sounds of Aloha Chorus (SOA) has been entertaining Hawai‘i and mainland audiences with its unique a cappella sound, off-beat humor, and heartfelt presentation. The chorus is the Aloha Chapter of the Barbershop Harmony Society. Under the direction of Mark Conching, SOA performs a diverse repertoire of barbershop standards, hapa haole favorites, Broadway and jazz numbers, holiday music, patriotic songs, and and other songs from the Great American Songbook. Its members range in age from teenagers to nonagenarians and also comprise a number of quartets and small ensembles, including Resonance, Funny Bones, 19th Avenue, and Full Measure. SOA has produced its own popular shows, frequently featuring original comedy scripts and the best barbershop quartets in the world, and has given countless other public and private performances, on its own and in collaboration with many of Hawaii’s outstanding performing arts organizations. The chorus is available for booking, as are its quartets. The group offers quartets for singing telegrams, and its annual Singing Valentines event is especially popular. The Sounds of Aloha Chorus has organized the Hawaii A Cappella Academy for high school singers and in the past also sponsored a young men’s barbershop chorus, 8zero8. SOA was influential in planting the seeds of barbershop harmony in New Zealand and Japan and initiated the Pan-Pacific Barbershop Convention by organizing and hosting the first one in 1995. Over the years the chorus has traveled to perform and compete in California, Oregon, Australia, and New Zealand. n

Vocals

HAWA I‘ I SYMPHONY ORCHESTRA

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S P E C I A L P R E S E N TAT I O N

NEW YEAR’S EVE DISCO PARTY!

TUESDAY DECEMBER 31 | 7:30PM

Perhaps a night of ABBA music is the ultimate “guilty pleasure” for us all. With hundreds of millions of albums sold, some forty years after being formed the music of ABBA can still be heard — and seen — everywhere. They certainly knew what they were doing! We are very pleased to present Jeans ‘N Classics Dancing Queen, the Music of ABBA featuring Katalin Kiss, Andrea Koziol, Stephanie Martin and Lis Soderberg, performing the iconic songs of ABBA in all their pop, rock, dance, and evocative ballad glory … Mamma Mia!

HOSPITALITY SPONSOR:

We kindly ask you to silence all electronic devices. We don’t allow videos or photos while the musicians are performing, but we encourage you to record your experience and take advantage of our step-and-repeat backdrop in the lobby, take photos on the lanai, with guest guests during the meet and greet in the lobby, or from your seat before the show. You are free to take photos and videos all the way up until the performance begins. Intermission is 20 minutes. Once the performance has begun, seating is at the discretion of the house.

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#HISYMPHONY #MUSICTHATROCKS

H I S Y M P H O N Y. O R G

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Jeffrey Boeckman conductor Dr. Jeffrey Boeckman is the Director of Bands at the University of Hawai‘i, Mānoa. He conducts the Wind Ensemble, teaches courses in conducting and wind literature, and oversees the entire UH Bands program. In the first years under his direction, the UH Bands have embarked on an ambitious agenda of programming, commissioning, touring, and professional development, including collaborations with guest artists, the UH Conductors Workshop, and a composer residency program, all with the goal of developing the UH Bands into a national– and international-profile band program. Prior to this appointment, Dr. Boeckman held positions at California State University-San Bernardino (where he founded the Inland Empire Youth Wind Symphony) and Texas A&M University-Commerce. He also directed the bands and orchestra program at Shasta High School in Northern California, and served as conductor the Redding Symphony Youth Orchestra and guest conductor for the Redding Symphony Orchestra. Dr. Boeckman has served as conductor with the Hawai‘i Symphony Orchestra and Chamber Music Hawai‘i, and has guest conducted with both the O‘ahu Band Director Association and Central District Honor Groups. He has served as an adjudicator and clinician across the country, and as a guest conductor in several states, including the Indiana University Summer Music Clinic Symphony Orchestra and the San Diego Winds. Ensembles under his direction have performed at such venues as the California, Hawai‘i, and Texas MEA Conferences and in locations throughout North America and Europe. His scholarly work has been presented at the World Association of Symphonic Bands and Ensembles (WASBE) International Conference, College Band Directors National Association (CBDNA) National Conference, and the California & Hawai‘i Music Educators Association State Conferences, and has been published in the Journal of Band Research. His book, A Counterpoint of Characters: the Music of Michael Colgrass, was published by VDM Verlag. Dr. Boeckman holds degrees from the University of California at Berkeley, the University of Arizona, and the University of Wisconsin-Madison. His principal conducting teachers include Michael Senturia, Gregg Hanson, and James Smith. n

maestro HAWA I‘ I SYMPHONY ORCHESTRA

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Katalin Kiss vocals Katalin is known in the Canadian music industry for her staggering, tearthe-roof-off, goosebump-inducing vocals. In her travels she’s worked with many legends: Del Shannon, Chubby Checker, Chuck Berry, and Chaka Khan. A much-respected member of the Jeans ‘n Classics family, Katalin lives in Picton, Ontario with her bassist husband and kids X3. They have their own recording studio and have just begun renting a vacation cottage on their property in “beautiful Prince Edward County” over the summer months. n

Lis Soderberg vocals Lis Soderberg’s diverse career thus far includes performances on symphony and rock stages, songwriting awards, commercial work (singing/narration/voiceover), singer-songwriter coffee house gigs, liveto-air broadcasts, and guest appearances and features on albums, film soundtracks, television and radio. Songs from her 2010 solo alt/folk/pop CD, Refuge were recently used in four episodes of the acclaimed series Schitt’s Creek (2015), starring Eugene Levy and Catherine O’Hara. Other songwriting credits include All I Need (co-wrote and vocal), which received a 2008 Billboard Song Contest award in the Jazz category and was the first track on a 2009 celebrity holiday compilation alongside tracks by Huey Lewis and the News, Richard Marx, Dennis DeYoung - and William Shatner! Guest and feature performances and recordings include Stuart McLean’s Vinyl Cafe on CBC, Babar (the movie), Manson (drama-doc), A Change of Place (drama), Kevin Breit (Norah Jones, k.d. lang, Roseanne Cash), Eric Schenkman (Spin Doctors), Russell DeCarle (Praire Oyster), Gwen Swick (Quartette, the Marigolds), Lisa Dal Bello, Ivan Neville and more, as well as Jeans ‘n Classics guest artists such as Rik Emmett, Lawrence Gowan, Alan Frew, Roger Hodgson, Lorraine Segato, Mark Jordan, Amy Sky and numerous others. You may also have heard Lis narrating the Air Canada in-flight safety video, and as voiceover and/or singer on many national radio and television commercials. Lis is delighted to continue to perform with Jeans ‘n Classics, and loves the opportunity to meet and work with many fine orchestras and wonderful people along the way. www.lissoderberg.com n

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H I S Y M P H O N Y. O R G

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Stephanie Martin vocals Stephanie Martin is a bilingual Canadian songwriter, singer and actor who has performed all over the world in award-winning theatrical productions and concert tours. In the theatre, she has played leading roles in Les Misérables, Napoleon and Schwartz’s, the musical among others. In studio, she sang the voice of Pocahontas in the French version of the Disney movie as well as performing on many cast albums. On the concert scene, she has performed with symphony orchestras across North America, Europe and Asia. Her creative songwriting is inspired by a lifelong spiritual inquiry and a passionate conviction that music has an unparalleled unitive power. Her first recording of original songs shape, line and harmony was produced by Chad Irschick (Susan Aglukark, Ron Hynes, The Rankins) and received widespread airplay and was critically acclaimed (“Among the year’s best new releases” – CBC Radio One). Her second album April Snow also produced by Irschick, was released in 2016 and reached #2 in the Top 100 iTunes Adult Contemporary Chart in Canada and received rave reviews (“Luminous vocalist/composer Stephanie Martin not only possesses a delicious vocal instrument, but on her new, completely appealing recording, she also demonstrates her considerable chops as a composer of accessible, highly musical material” – The Whole Note). For music and videos visit stephaniemartin.ca n

Andrea Koziol vocals Andrea Koziol is a singer and songwriter who cut her teeth on the American Songbook. She has written and recorded 6 studio albums, crafted award winning music for radio, film and television, collaborated with more than her share of Canada’s finest musicians, toured widely across North America, received the KM Hunter Award for Music, been featured on numerous CBC radio shows, enjoyed a residency at the Banff Centre for the Arts, appeared as a guest vocalist on countless Canadian albums, and joyfully performed with Jeans ‘n Classics and symphony orchestras across the continent. In the last few years she has also developed a rewarding relationship with a group of Toronto DJs, producers and beat based improvisors. Her newest recording project (with long time collaborator pianist Bill Brennan) is a return to her jazz roots, and is set for release in 2019. www.andreakoziol.com n

HAWA I‘ I SYMPHONY ORCHESTRA

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H A L E K U L A N I M A ST E R WO R K S

ODE TO JOY

SATURDAY JANUARY 4 | 7:30PM SUNDAY JANUARY 5 | 4:00PM

JoAnn Falletta conductor

Artistic Advisor, JoAnn Falletta returns to conduct this annual event that has become a holiday tradition. The triumphal 9th symphony remains a timeless and relevant tribute to brotherhood and will kick off a year-long celebration of the 250th anniversary of Beethoven’s birthday. In 2020, the musical world, and your HSO will celebrate Tchaikovsky’s 180th birthday, starting with Francesca da Rimini a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalized in Dante’s Divine Comedy.

SPECIAL MAHALO Concert Sponsor

PYOTR ILYCH TCHAIKOVSKY Francesca da Rimini

FUNDING PROVIDED BY HAWAII TOURISM THROUGH THE COMMUNITY ENRICHMENT PROGRAM

— INTERMISSION — LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, “Choral” I. II. III. IV.

SERIES SPONSOR:

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Esther Yoo O‘ahu Choral Society

Allegro ma non troppo, un poco maestoso Scherzo. Molto vivace - Presto Adagio molto e cantabile Presto - Allegro assai Allegro molto assai (Alla marcia) Andante maestoso - Adagio ma non troppo ma divoto Allegro energico, sempre ben marcato - Allegro ma non tanto - Prestissimo

We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance. Intermission is 20 minutes. Once the performance has begun, seating is at the discretion of the house.

H I S Y M P H O N Y. O R G

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Publication HAWAII SYM ORCHESTR

RUN DATE:

Size: 5.5”x 8 Full Page

Bleed Size: Colors: 4C

DUE: 8/11/1

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JoAnn Falletta conductor Grammy-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra. Hailed for having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein”, she is a leading force for the music of our time. Ms. Falletta has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa. In 2019-20 she guest conducts orchestras in Ireland, Sweden, Germany, Mexico and across the US. As Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major America ensemble. Celebrating her 20th anniversary with the Buffalo Philharmonic this season, she has been credited with bringing the Philharmonic to an unprecedented level of national and international prominence. She and the BPO have been honored with numerous ASCAP awards, including the top award for Adventurous Programming, Other accomplishments include the establishment of the orchestra’s Beau Fleuve label, the founding of the JoAnn Falletta International Guitar Concerto Competition in partnership with WNED, four successful tours of Florida, and the national and international broadcast of concerts on NPR’s Performance Today, SymphonyCast, and the European Broadcasting Union. With a discography of over 115 titles, JoAnn is a leading recording artist for Naxos, and won her most recent Grammy in 2019 as conductor of the London Symphony for Spiritualist, by Kenneth Fuchs. Her Naxos recording of John Corigliano’s Mr. Tambourine Man received two Grammys in 2008. This season, she and the BPO will release three new recordings for Naxos, including the world premiere recording of Danielpour’s Passion of Yeshua, Salome by Florent Schmitt and Poem of Ecstasy by Scriabin as well as two recordings on the BPO’s Beau Fleuve label, BPO LIVE: Prokofiev Romeo and Juliet and Brahms Piano Concerto #2, with pianist Fabio Bidini, and Forgotten Treasures featuring five rarely played orchestral works, which was released this fall. Falletta is a member of the esteemed American Academy of Arts and Sciences, has served by presidential appointment as a Member of the National Council on the Arts during the Bush and Obama administrations and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. In March 2019, JoAnn was named Performance Today’s 2019 Classical Woman of The Year. The award, which was given for the first time, honors the women who have made a lasting impact on classical music. In June 2018, Classic FM listed JoAnn among the world’s top 10 women conductors citing her “extraordinary musicality”. Ms. Falletta has held the positions of principal conductor of the Ulster Orchestra, principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, and music director of the Denver Chamber Orchestra and The Women’s Philharmonic.

maestro

She received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School. When not on the podium, JoAnn enjoys writing, cycling, yoga and is an avid reader. For more information, visit www.joannfalletta.com. n

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Esther Yoo O‘ahu Choral Society artistic director Esther S. Yoo, a native of Toronto, Canada holds a Doctor of Musical Arts in Conducting from the College-Conservatory of Music, University of Cincinnati. She received her Undergraduate degree in Music Education and a Master’s degree in Conducting, both from the University of Toronto. Dr. Yoo also graduated with an Artist Diploma in Piano from the Hochschule für Musik in Munich and has studied extensively with Russian pianist Vera Gornostaeva. As a pianist, she has appeared in festivals and masterclasses in France, Austria and Switzerland and has given recitals in Germany, France and Italy. A versatile conductor, Dr. Yoo has worked extensively with high school, collegiate, and professional choirs and orchestras. She was invited as a conducting fellow at the Oregon Bach Festival and Toronto Bach Festival with Maestro Helmuth Rilling. She also brings professional choral singing experience, having sung under the batons of Robert Shaw, James Levine, James Conlon and Helmuth Rilling, among others. Since coming to Hawaii, Dr. Yoo continues to collaborate with the Hawai`i Symphony in bringing choral masterworks to the public. In addition to conducting choral masterworks with HSO, she has also prepared choruses for performances with David Willcocks, Andreas Delfs, Jean-Marie Zeitouni, Andrew Litton, and JoAnn Falletta. Previously, Dr. Yoo held faculty positions as Director of Choral Activities at Hollins University in Virginia, University of Hawai’i at Manoa, and Hawai`i Pacific University. She is a member of Chorus America, American Choral Director’s Association, Chorus Canada, College Music Society and International Federation of Choral Musicians. n

chorus

HAWA I‘ I SYMPHONY ORCHESTRA

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Marsha Thompson soprano Marsha Thompson is lauded by The New York Times for her “…stellar performance of Violetta in La Traviata (in Central Park)…revealing a warm agile soprano…who sang and acted expressively throughout the evening.” Ms. Thompson sang Sieglinde in Die Walküre with Trilogy Opera Company in Newark, NJ, and Aida with Boheme Opera NJ and Opera Theater of the Rockies in Colorado Springs, CO, and Abigaille in Nabucco with Union Avenue Opera in St. Louis. She has received accolades for her portrayal of Bess in Porgy and Bess (New York City Opera, Opera Carolina, Piedmont Opera). La Traviata (Opera Mississippi and New York Grand Opera), Tosca (Opera Festival di Roma) Aida (Piccolo Teatro a La Scala), Life and Times of X and Treemonisha (New York City Opera), Harriet Tubman (American Opera Projects). Ms. Thompson has been awarded considerable prizes from Opera Orchestra of New York-First Prize Winner, Altamura Caruso International Voice Competition 2019-Third Prize Winner, as well as awards from other prestigious organizations. Ms. Thompson is a former professional violinist and is a former Miss. Black California, Metroplex. You may follow Ms. Thompson on Facebook, Twitter and IG @LaDivaria, and on her website www.marshathompson.com. n

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Maya Hoover mezzo-soprano Praised for her outstanding artistry, “vocal beauty of high technical caliber,” “vocal flare and flamenco abandon,” and “gifted storytell[ing],” mezzosoprano Maya Hoover has appeared on stages throughout the United States, Europe, Latin America, and China. Her recent engagements include concerts with renowned soprano Sumi Jo and the Hawai‘i Symphony Orchestra; Fauré Requiem (Morris Choral Society, New Jersey); Brahms Alto Rhapsody (Greeley Philharmonic Orchestra, Colorado); Beethoven Symphony No. 9 (GPO, HSO, and Bellingham Festival of Music); Verdi Requiem (Tuscia Operafestival, Italy); Mozart Requiem (Orquesta Sinfónico de Trujillo, Perú; Honolulu and Kona, Hawai‘i); Handel Messiah (Maui Chamber Orchestra); Falla El sombrero de tres picos (HSO); The Magic Flute (Second Lady) and Il Trovatore (Inez) with Hawai‘i Opera Theatre; Madama Butterfly (Suzuki) with Opera Ft. Collins; Carmen (Mercédès) at the Axelrod Performing Arts Center (NJ); and Schoenberg’s Pierrot Lunaire (Chamber Music Hawai‘i) in a production staged by Henry Akina. In 2018, she was the featured artist for the Art Song Preservation Society of New York’s summer festival at the Manhattan School of Music in a program of all Latin American art songs with her musical partner of more than twenty years, pianist José Meléndez. She has also appeared with Festival Mozart y Beethoven, Festival Internacional Bach, and Festimúsica Internacional (Peru); Songs Across the Americas Festival (Bolivia); Bellingham Festival of Music; Bloomington Early Music Festival; Escuela de Artes Musicales, Universidad de Costa Rica; Auditorio Fabio Lozano (Bogotá, Colombia); and Teatro Municipal (Trujillo, Peru). As a recitalist, she has performed regularly with José Meléndez for over two decades in innovative programs frequently highlighting Latin American, Spanish, and other outstanding lesser-known works. Maya Hoover is an alumna of Binghamton University, Westminster Choir College, and Indiana University. She is the author/editor of Guide to the Latin American Art Song Repertoire: An Annotated Catalog of Twentieth-Century Art Songs for Voice and Piano (Indiana University Press) and is Professor of Music at the University of Hawai‘i at Mānoa. She is a roster artist with Wade Artist Management, and a student of Andrea DelGiudice. n

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TA‘U PUPU‘A tenor Unique in the opera world, Ta’u Pupu’a was an outstanding NFL Defensive End, until a career-ending injury changed his life and led him to a new career opera. A Juilliard Opera Center (ADOS) graduate, he is a native of the Polynesian Kingdom of Tonga. Pupu’a attended Weber State University in Utah on a football scholarship while pursuing a Bachelor of Music degree, when he was drafted to the NFL by Coach Bill Belichick of the Cleveland Browns, and later the Baltimore Ravens. After sustaining his injury, he changed career direction to follow his passion. Thrilled to perform Beethoven’s Symphony No. 9 for Hawai‘i Symphony Orchestra, in conjunction with other recitals in Honolulu, Pupu’a will also sing the title role in the world premier of Tim Finn’s (Split Enz and Crowded House) Star Navigator, making his Australian debut for West Australian Opera. Recently, he performed Bacchus in Ariadne auf Naxos for the Festival of the Aegean, Pinkerton in Madama Butterfly for Opera Connecticut, and concerts in Utah and Florida. Mr. Pupu’a made his professional opera debut, with San Francisco Opera in their 2011 world premier production of Heart of a Soldier, followed by a piano recital for Weber State University, and Dr. Caius in excerpts from Falstaff for the Richard Tucker Gala at Avery Fisher Hall. 2012 marked his European debut as Bacchus in Ariadne auf Naxos with Theater und Orchester Heidelberg. He made his British debut in Birmingham Opera’s acclaimed production of Tippett’s The Ice Break, directed by Graham Vick, as well as Robert Carsen’s world premiere production of Giorgio Battistelli’s CO2, at La Scala, Milan. He performed concerts in China, in Macau and Beijing, for the Asia America Opera Association Festival as well as Strauss’ Salome for Hong Kong Opera, and Bacchus in a concert version of Ariadne auf Naxos at the Danish Radio Concert Hall. He has established strong connections with a number of opera companies in the USA, including: Baltimore Opera (Otello, Nabucco); Cedar Rapids Opera Theatre (Turandot, Cavalleria Rusticana, Pagliacci, Beethoven Symphony No 9); Opera Connecticut (La Bohéme, Rigoletto, Tosca); Opera Fairbanks (Pagliacci); Hawaii Opera Theater (Tosca); Knoxville Opera (Norma); Opera Theater of the Rockies, and Opera Santa Barbara (Aïda). While studying at Juilliard Mr. Pupu’a also studied in Italy, under his mentor Kiri Te Kanawa, at the George Solti Bel Canto Academy, performing with her in concert and recital. Other early engagements included Mahler’s Das Lied von der Erde for the Alexandria Symphony, Verdi’s Requiem for Albany Symphony, Terrence McNally’s Masterclass at the Kennedy Center, starring Emmy and Tony Award winning actor Tyne Daly, and Bacchus in Ariadne auf Naxos under Maestro Christoph von Dohnanyi for the Tanglewood Music Centre.

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Contact and further info: taucalaf@aol.com and www.taupupua.com. n

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SeungHyeon Baek baritone Baritone SeungHyeon Baek is quickly gaining recognition, throughout the American Opera circuit, as a young artist of significant talents and versatility. Specifically, he has been applauded and recognized for recent performances, over the past few seasons, for his “full, generous baritone voice” and his considerable “histrionic abilities combined with his rich artistry.” This season, he performs Marcello in La Bohéme with Opera Ithaca and Symphony of the Mountains, Count di Luna in Il Trovatore with Opera San Jose, and Beethoven’s 9th Symphony with South Dakota Symphony Orchestra. Last season, he performed the title role in Gianni Schicchi with St. Petersburg Opera, and Lord Enrico Ashton in Lucia di Lammermoor, Sonora in La Fanciulla del West as well as a soloist in An Evening of Puccini concert all with Maryland Lyric Opera. Recently, Mr. Baek made several débuts including his début with Opera Tampa performing the role of Count Almaviva in Le Nozze di Figaro where The Tampa Bay Times praised his “commanding baritone.” He also made a role début as Tonio in Pagliacci, and house débuts with Opera North as Sharpless in Madama Butterfly and New York City Opera as Billy Jackrabbit in La Fanciulla del West. Additionally, he performed Figaro in Il Barbiere di Siviglia with MidAtlantic Opera, Tonio in Pagliacci with Opera Ithaca and Dandini in La Cenerentola with Opera Ithaca and New York City Opera for their Park Concert Series. As a concert artist, Mr. Baek made his début at Carnegie Hall as a soloist in Fauré’s Requiem with MidAmerica Productions and as a soloist in Dvorak’s Te Deum. He also performed as a soloist in Dubois’s The Seven Last Words of Christ with Christian Broadcasting System of New York, Dvořák’s Te Deum with Adelphi Chamber Orchestra and made his Lincoln Center Concert début with InterSchool Orchestras of New York as a soloist in Rose Theater at Jazz at Lincoln Center. A native of South Korea, SeungHyeon Baek received a Professional Studies Degree in Mannes College of Music. During his professional studies, he performed the title role of Gianni Schicchi, Don Alvaro in Il Viaggio a Reims and Di Cosimo in the New York Premiere of Daniel Catán’s Il Postino with Mannes Opera. He also holds his master’s degree at Manhattan School of Music where he appeared as Pandolfe in Cendrillon and Peter in Hansel and Gretel as well as Valentin in Faust with the Manhattan School of Music Opera Repertory Ensemble. Additionally, Mr. Baek holds a Bachelor of Music degree at ChungAng University in Korea. He has won NJ State Opera’s Alfredo Silipigni Competition in 2017 and Career Bridges Competition in 2015. n

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HAWA I‘ I SYMPHONY ORCHESTRA

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PROGRAM NOTES ODE TO J OY

HAL EK U L ANI M A ST ERWORKS IV

FRANCESCA DA RIMINI, SYMPHONIC FANTASY IN E MINOR (AFTER DANTE), OP. 32 Pyotr Ilych Tchaikovsky In Canto V of Dante’s Inferno, Francesca da Rimini relates her tragic story from the depths of hell, where she has been condemned for eternity. Trapped by her aristocratic father into a loveless marriage with the cruel hunchback Rimini, she fell in love with his handsome younger brother Paolo. Reading about Launcelot and Guenevere together, she and Paolo acknowledged and declared their own love. Upon discovering them in a passionate embrace, Rimini drew his knife on his brother. Francesca hurled herself between them and the dagger struck her first. Her husband then turned on Paolo, killing him as well.

b. Votkinsk, Viatka district, Russia 7 May, 1840 d. St. Petersburg, Russia 6 November, 1893 This is an HSO Premiere Approximate Duration 22 minutes

Tchaikovsky began reading Dante during the summer of 1876. He was traveling from the south of France, where he had enjoyed a holiday with his brother Modest, to Bayreuth, where he attended a

WILLIAM DYCE – PAOLO MALATESTA AND FRANCESCA DA RIMINI – SCOTTISCH NATIONAL GALLERY, EDINBURGH – 1837

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full performance of Wagner’s Ring Cycle. Modest had suggested a number of new topics for an opera, including Shakespeare’s Hamlet and Othello, and Dante’s Francesca. Tchaikovsky was attracted to the powerful subject matter of the Italian poet, with its theme of illicit love. But his librettist, Constantine Zvantsev, was quite insistent that the proposed opera adhere to Wagner’s theories. Tchaikovsky was inimical to Wagner’s principles (“With the last chords of Götterdämmerung I felt as though I’d been released from captivity,” he wrote to Modest), and could not continue with the opera project on Zvantsev’s terms. The idea of love entwined with sin appealed to him; however. Francesca’s tragic story from part I of the Divina Commedia had caught his imagination. He began composing a symphonic fantasia based on Dante’s tale. At the head of his score, Tchaikovsky included the story of Francesca’s plight, quoting 22 lines from the Italian poem. They function as a general programme for the piece. Francesca comprises three principal sections. A lengthy introduction (Andante lugubre) depicts the entrance to hell. Tchaikovsky’s extensive use of tritones emphasizes the netherworld setting. (The tritone, or diabolus in musica -- “the devil in music”-- is the principal component of the diminished seventh chord. The interval’s ominous and sinister character has historically been associated with evil. In nineteenth-century music, composers frequently employed diminished seventh chords to establish impending doom, unease, danger, and similarly ominous states.) Shrieks of angry brass and woodwinds warn of the menacing horrors of the devil’s realm. The ensuing Allegro vivo corresponds to Dante’s second circle of hell. Here is the area to which those who were slaves of passion are consigned. Their torment is a never-ending raging storm in the infernal darkness. This is where Dante encounters Francesca, who emerges out of Tchaikovsky’s musical tempest. A gentle clarinet solo provides the transition to the second principal section, Andante cantabile. Here we leave the realm of specific musical illustration and move to the psychological. Biographer David Brown calls Francesca’s theme “one of the broadest, most widely-ranging, most magnificent melodic statements Tchaikovsky had ever conceived.” Her character is central to the music, rather than details of her story. This section is lyrical and exquisite, eliciting from Tchaikovsky some gorgeous orchestral writing, particularly for woodwinds and harp. At the climax, we understand that Francesca’s nature encompasses passion as well as gentleness and tenderness. A muted brass fanfare related to one in the 1812 Overture paves the way Tchaikovsky’s closing section: a return to the fury of the storm that opened Francesca. In Dante’s poem, after Francesca concludes the narrative of her tragic tale, she and Paolo are swept up and carried back

to the raging inferno. Tchaikovsky recycles much of the violent music from the opening section, emphasizing the inexorability of his heroine’s fate. The relentless repeated chords that close the work leave little doubt that the tempest will rage in eternity. When music critic Sergei Taneyev, the dedicatee of Francesca, reported to Tchaikovsky that César Cui had detected the influence of Wagner’s Ring in the new score, Tchaikovsky responded: The remark that I wrote under the influence of the Nibelungen is very correct. I myself felt this while I was at work. If I’m not mistaken, it’s especially noticeable in the introduction. Isn’t it odd that I should have submitted to the influence of a work of art that in general is extremely antipathetic to me? Others thought they perceived the influence of Liszt, who had his own attractions both to Dante and to the realm of the infernal. Ultimately, however, the treatment of the orchestra in the outer storm sections and the rich character painting of the heroine in the central part mark Francesca da Rimini as Tchaikovsky’s own. Francesca da Rimini is scored for a large orchestra of woodwinds in pairs plus piccolo and English horn; 4 French horns, 2 trumpets, 2 cornets, 3 trombones, tuba, bass drum, cymbals, tam-tam, and strings. n —Laurie Shulman © 2019

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SYMPHONY NO. 9 IN D MINOR, OPUS 125 (“CHORAL”) Ludwig van Beethoven At the time of its premiere in 1824, Beethoven’s Ninth Symphony was the longest symphony that had ever been composed. Not until the end of the 19th century did his musical heirs, Anton Brucker and Gustav Mahler, exceed the dimensions of this monumental work. The Ninth was groundbreaking in another important way: Beethoven’s incorporation of voices into the traditionally instrumental symphony. Even at this late stage of his career, he was still a revolutionary. We know that Beethoven considered the idea of a choral component in a symphony as early as 1818. He diverted his energy to concentrate on the Missa Solemnis, Op.123 (1823). He made some progress on the Ninth Symphony in 1822. His sketch books from that year indicate that he still planned an instruental finale. Most of his work on the D-minor symphony was completed in 1823, at which point he merged Friedrich von Schiller’s An die Freude into the concluding movement. Schiller’s poem, written in 1785, was then almost 40 years old. Beethoven admired Schiller greatly, and felt a strong affinity with the poet’s philosophy of universal brotherhood. He knew the Ode well. Letters from 1793 indicate that he considered setting it then. The project, however, took three decades to come to fruition. For the Ninth Symphony, Beethoven selected about half the poem’s 18 sections, rearranging and repeating stanzas to suit his musical needs. The result is a very personal interpretation of the poem, emphasizing a call to universal brotherhood. The Ninth is, of course, inextricably identified with its choral finale, but to overlook the massive impact of the first three movements is impossible. Each segment of this enormous symphony is memorable. All four movements broke musical ground in striking ways. At the outset, the strings outline a groundswell of open fifths on the dominant key of A-minor. Against this stark and rumbling background, the main theme erupts in a decisive D-minor downward unison swoop, as unequivocal as closing chords. The battle has begun. Tonal indecision between A-minor and D-minor in these first measures sets the aural stage for artful vacillation between key centers. Analogous tonal ambiguity occurs in all four movements of the symphony. The first movement is in sonata form, with a large development section and a lengthy coda. It is the longest of all Beethoven’s opening movements. Beethoven takes all the time he requires for this sweeping, majestic music, culminating in a spine-chilling coda. At the very point of emotional exhaustion, when we are certain that the power and drama of this movement is played out, Beethoven hammers home the darkness of D-minor with thunderous finality.

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b. Bonn, Germany 16 December, 1770 d. Vienna, Austria 26 March, 1827 First Performed by the HSO 1954

Approximate Duration 65 minutes

Only in this symphony did Beethoven place his scherzo second rather than third. The Molto vivace concentrates the storm of the first movement, distilling it to sheer nervous energy. A virtuoso showpiece for orchestra, the second movement is both a brilliant five-voice fugato and a fully developed sonata form movement. Its principal rhythmic motive is underlined, with electrifying effect, by timpani tuned in octaves. Some relief from the rhythmic and harmonic tension comes in the D-major trio section. Here, some echoes of the analogous movements in the “Pastoral” and Seventh symphonies are our first glimpse/inkling of humor in this very serious symphony. All volcanic rumblings and storm clouds dissipate in the slow movement. Beethoven’s architecture starts to become clear. He transcends the earthly struggle of the symphony’s first half in an Adagio of ineffable, transcendent beauty. After the thunderclaps of the scherzo, the tranquil woodwind chords that open the Adagio are an oasis of celestial calm. The music that follows is deeply tender and emotionally intense: this is Beethoven at his most human and loving.

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Formally, the slow movement is a set of double variations. The first set is on a theme in B-flat major, in slow 4/4 time. Tonal ambiguity once again figures prominently, now underscored by both meter and tempo: the second theme, in D-major, changes to Andante moderato in 3/4 time. The switch from B-flat to D is significant, and recurs in the finale. So skillfully are the contrasting themes in different keys embellished that the equilibrium of meditation remains unruffled. Despite the distance on the circle of fifths from D-major to B-flat major, Beethoven’s transitions are smooth, inevitable, free of strain. A cacophonous shriek of dissonance announces the finale, shattering the tranquility of the slow movement. Beethoven leaves no doubt that what will follow is of major importance. Before presenting the principal thematic material of the finale, the Ode melody, he briefly alludes to each of the first three movements. This bold gesture unifies the symphony and makes his Ninth probably the first cyclic symphony. Despite the enormous length of the first three movements, they have all been preliminary to this spectacular finale. In the context of the beginning turbulence and the ensuing string bass recitative, allusion to the first three movements of the symphony heightens the dramatic efficacy of the Ode theme. By the time the orchestra delivers the simple, step-wise melody, it has the effect of a rainbow. From there, Beethoven presents several orchestral variations before he introduces the bass soloist and the chorus. As in the slow movement, the music vacillates between the polar tonalities of D-major and B-flat major. This time, D-major is the anchor key. For the first time since the trio section of the scherzo, Beethoven’s sense of humor resurfaces in the B-flat section, a march for German military band. The double fugue that ensues is the last section for orchestra alone in the symphony. Fiendishly difficult, it serves as a brilliant transition. When the chorus re-enters, it sings forth with the most exuberant declamation yet of praise and thanksgiving. The Ninth Symphony received its first performance at Vienna’s Kärntnerthor Theatre on May 7, 1824. Beethoven’s friends had arranged an allBeethoven program that included the new Consecration of the House overture (Op.124) and three movements from the Missa Solemnis, plus the new symphony. Beethoven’s biographer Maynard Solomon calls that concert “the greatest public event of this period of his career.” The orchestra for the occasion was expanded to include 24 violins, 10 violas, and 12 celli and basses; the woodwinds were doubled. Surely most music-lovers know the story, at once painful and moving, of the premiere, which was a smashing success. Thunderous applause reverberated through the theatre after the final chords. Immersed in the music within

his imagination, and oblivious that the orchestra was following the Kapellmeister Michael Umlauf and not himself, Beethoven was still beating time. Upon realizing that the composer could not hear the applause, the contralto soloist Caroline Unger gently turned Beethoven around so that he could perceive and acknowledge the acclaim of his audience. Richard Wagner believed that with the Ninth, Beethoven had sounded the death knell of the symphony. History has proved him wrong, both in terms of instrumental symphonies and others that added voices to the orchestral fabric. Wagner was correct, however, in sensing the global impact of Beethoven’s last completed symphony. The large scale of the inner movements and the enormity of the finale shifted the psychological weight of the Ninth away from the sonata-form first movement. No longer would musical substance be concentrated into the first portion of a symphony. In the same vein, Beethoven traced through his four heroic movements a struggle between minor and major, with an ultimate victory by major mode. The emergence of triumph out of tragedy is the essential message of this miraculous symphony. The “Choral” symphony is scored for woodwinds in pairs plus contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, cymbals, bass drum, and strings. The finale adds a quartet of vocal soloists plus chorus. n

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S H E R ATO N WA I K I K I M U S I C T H AT P O P S

AN EVENING WITH AMY HĀNAIALIʻI

FRIDAY JANUARY 10 | 7:30PM

Welcome to an unforgettable evening of spellbinding and inviting music by local superstar Amy Hānaialiʻi. Hawai’i’s top-selling female vocalist brings the aloha and island spirit to the Blaisdell Concert Hall through her music. Amy’s success as a recording artist speaks for itself and is evidenced by a multitude of awards and acknowledgments. Her role as a cultural force for Hawaiian Culture stems from composing in Hawaiian Language and bringing her language to the world with a current blend of diverse musical stylings.

SPECIAL MAHALO Guest Artist Sponsor Student Ticket Sponsor

Amy will perform crowd favorites peppered with songs from her latest album, Kalawai‘anui. The album has been nominated for a 2020 GRAMMY® Award in the Best Regional Roots Music Album category.

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JIM CURRY’S “THE MUSIC OF JOHN DENVER” IS THE ULTIMATE TRIBUTE EXPERIENCE. Jim has emerged as the top performer of John Denver’s music today and often performs with John Denver’s former band members. His looks and his voice are simply a pleasant coincidence that captures the true essence of John Denver’s music. Curry’s heartfelt delivery rolls out into the crowd as multi-platinum hits like Rocky Mountain High, Annie’s Song and Calypso fill the room. ALL-INCLUSIVE PRE-CONCERT COCKTAIL RECEPTION WITH HEAVY PUPUS & COCKTAILS AT THE HONOLULU CLUB, PLUS ONE SECTION B CONCERT TICKET, JUST $80.

FRIDAY / MARCH 27 / 7:30 PM (808) 94-MUSIC / HISYMPHONY.ORG

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Joseph Stepec conductor Joseph Stepec is a highly sought after conductor in Hawaiʻi. He is the current Music Director of the University of Hawaiʻi Symphony Orchestra, the symphony program director of the Hawaiʻi Youth Symphony as well as the conductor of that organization’s top orchestra, Youth Symphony I, and the Artistic Director of the Pacific Music Institute. As the director of the University of Hawaiʻi Symphony Orchestra he has given concerts collaborating with various ensembles throughout Hawaiʻi including the United States Marine Band in a performance of Respighiʻs Pines of Rome; he has also collaborated with orchestras nationally, most recently, a joint performance of Poulencʻs Gloria with the Weber State University Symphony and Chorus. Mr. Stepec has also worked frequently with the Hawaiʻi Symphony Orchestra and the Rochester Philharmonic Orchestra. With the Hawaiʻi Symphony Orchestra he has given numerous performances on the orchestraʻs Music that POPS and Music that ROCKS series. He has collaborated frequently with Chamber Music Hawaiʻi as a violinist and conductor and has was recently featured as the conductor for the premiere of a new translation of Stravinsky’s L’Histoire Du Soldat. As the Symphony Program director of the Hawaiʻi Youth Symphony, Stepec oversees three orchestras and conducts Youth Symphony I, the top youth orchestra in the state of Hawaiʻi. In November 2019, Stepec had the honor of leading the finale concert of All Nippon Airways’ (ANA) inaugural Honolulu Music Week which featured the Hawaiʻi Symphony Orchestra, the University of Hawaiʻi Symphony Orchestra and members of the Hawaiʻi Youth Symphony; all 150 members of this combined “mega orchestra” performed together as the Finale event of the festival. As a violinist he has performed nationally and abroad. He was recently a conducting fellow at the Gstaad Menuhin Academy under the tutelage of Johannes Schlaefli and Jaap Van Zweden, the Music Director of the New York Philharmonic. Mr. Stepec is an active clinician; in 2018 he began the Hawaiʻi All State String Orchestra. Mr. Stepec received his degree in violin performance from Oberlin Conservatory, where he studied with Gregory Fulkerson, and in conducting at the Eastman School of Music with master teacher, Neil Varon. n

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maestro

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Amy Hānaialiʻi Amy Hānaiali’i remains Hawai’i’s top selling female vocalist of all time. Hānaiali’i’s success as a recording artist speaks for itself and is evidenced by a multitude of awards and acknowledgements, including 6 GRAMMY® nominations for Best Regional Roots Music Album, the latest being a 2020 GRAMMY® Awards nomination for her 15th studio album, Kalawai‘anui Hanaiali’i’s talent emerges from a disciplined classical training, fused powerhouse vocals, and honoring her family’s worldly heritage and rooted ancestral responsibility. Amy’s albums have garnered 18 Nā Hōkū Hanohano awards – Hawai’i’s equivalent to the GRAMMY® awards. Amy has played for the Dalai Lama, two inaugural balls in D.C. for President Obama and the first entertainer ever to perform in the Great Hall of the People in Tiananmen Square, China. Amy has played for sold out crowds in Europe, Japan and all across America and French Polynesia. Alongside recording with the best, Amy also has performed live and opened for renowned artists like Earth, Wind and Fire, Carlos Santana, Boz Scaggs, Diana Krall, Joe Cocker and many more. She has played to sold out shows at the following world renown venues: Blue Note Jazz Club New York and Japan, Feinstienʻs, Stern Grove, The Cutting Room, and numerous performances with Orchestras in Opera Houses worldwide. n

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H A L E K U L A N I M A ST E R WO R K S

MOSTLY MOZART

SATURDAY JANUARY 11 | 7:30PM SUNDAY JANUARY 12 | 4:00PM

Carl St.Clair conductor

Norman Krieger piano

The pure genius of Mozart will be on full display with venerated pianist Norman Krieger performing one of Mozart’s most admired concertos. Carl St.Clair balances the program with Shostakovich’s powerful and provocative 10th Symphony.

WOLFGANG AMADÈ MOZART Overture to The Abduction from the Seraglio WOLFGANG AMADÈ MOZART Piano Concerto No. 24 I. Allegro II. Larghetto III. Allegretto

— INTERMISSION — DMITRI SHOSTAKOVICH Symphony No. 10

I. Moderato II. Allegro III. Allegretto – Largo – Piú mosso IV. Andante – Allegro – L’istesso tempo

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Date Night

SATURDAY AT THE SYMPHONY 2 Concert Tickets

2 Pre-Concert Reception Tickets

Saturday at the Symphony at the Honolulu Club (Includes 2 cocktails each, upscale pupus and entertainment)

A Small Box of Chocolates

1 50

CHOOSE FROM ANY SATURDAY MASTERWORKS HISYMPHONY.ORG/DATENIGHT

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Carl St.Clair conductor The 2019-20 season marks Music Director Carl St.Clair’s 30th year leading Pacific Symphony. He is one of the longest-tenured conductors of the major American orchestras. St.Clair’s lengthy history solidifies the strong relationship he has forged with the musicians and the community. His continuing role also lends stability to the organization and continuity to his vision for the Symphony’s future. Few orchestras can claim such rapid artistic development as Pacific Symphony—the largest-budgeted orchestra formed in the United States in the last 50 years, which was recently elevated to the status of a Tier 1 orchestra by the League of American Orchestras—due in large part to St.Clair’s leadership. During his tenure, St.Clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. In April 2018, St.Clair led Pacific Symphony in its sold-out Carnegie Hall debut, as the finale to the Carnegie’s yearlong celebration of pre-eminent composer Philip Glass’ 80th birthday, ending in a standing ovation, with The New York Times calling the Symphony “a major ensemble!” He led Pacific Symphony on its first tour to China in May 2018, the orchestra’s first international tour since touring Europe in 2006. The orchestra made its national PBS debut in June 2018 on Great Performances with Peter Boyer’s “Ellis Island: The Dream of America,” conducted by St.Clair. Among St.Clair’s many creative endeavors are the highly acclaimed American Composers Festival, which began in 2000; and the opera initiative, “Symphonic Voices,” which continues for the ninth season in 2019-20 with Verdi’s Othello, following the concert-opera productions of Madame Butterfly, The Magic Flute, Aida, Turandot, Carmen, La Traviata, Tosca and La Bohème in previous seasons. St.Clair’s commitment to the development and performance of new works by composers is evident in the wealth of commissions and recordings by the Symphony. The 2016-17 season featured commissions by pianist/ composer Conrad Tao and composer-in-residence Narong Prangcharoen, a follow-up to the recent slate of recordings of works commissioned and performed by the Symphony in recent years. These include William Bolcom’s Songs of Lorca and Prometheus (2015-16), Elliot Goldenthal’s Symphony in G-sharp Minor (2014-15), Richard Danielpour’s Toward a Season of Peace (2013-14), Philip Glass’ The Passion of Ramakrishna (2012-13), and Michael Daugherty’s Mount Rushmore and The Gospel According to Sister Aimee (2012-13). St.Clair has led the orchestra in other critically acclaimed albums including two piano concertos of Lukas Foss; Danielpour’s An American Requiem and Goldenthal’s Fire Water Paper: A Vietnam Oratorio with cellist Yo-Yo Ma. Carl St.Clair is a strong advocate of music education for all ages, and is internationally recognized for his distinguished career as a master teacher. He has been essential to the creation and implementation of the Symphony’s education and community engagement programs including Pacific Symphony Youth Ensembles, Heartstrings, Sunday Matinées, OC Can You Play With Us?, arts-X-press and Class Act. In addition to his professional conducting career, St.Clair has worked with most major music schools across the country. In 2018, Chapman University President Danielle Struppa appointed St.Clair as a Presidential Fellow, working closely with the students of the College of the Performing Arts at Chapman University. St.Clair has been named “Distinguished Alumni in Residence” at the University of Texas Butler School of Music beginning 2019. n

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maestro

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Norman Krieger piano A native of Los Angeles, Norman Krieger is one of the most acclaimed pianists of his generation and is highly regarded as an artist of depth, sensitivity and virtuosic flair. As the Los Angeles Times put it, “Krieger owns a world of technique-take that for granted. He always knows exactly where he is going and what he is doing. He never for instant miscalculates. He communicates urgently but with strict control. He is alert to every manner of nuance and at every dynamic level his tone flatters the ear.” Myung -Whun Chung, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Jaap van Zweden and Zubin Mehta are just a few of the conductors with whom Krieger has collaborated. Krieger regularly appears with the major orchestras of North America, among them the New York Philharmonic, Los Angeles Philharmonic, the Chicago Symphony, Minnesota Orchestra and the National Symphony. He has performed throughout Europe, Asia and South America including tours of Germany, France, Poland, Holland Scandinavia, Korea, China, New Zealand and Israel. He recently performed at the PyeongChang Music festival in Korea. In September 2014, he recorded the Brahms Sonata Op. 1 and the Piano Concerto No. 2 with the London Symphony Orchestra under the baton of Philip Ryan Mann, which will be released on Decca. In recital, Krieger has appeared throughout the United States, Europe, Mexico and Asia, while chamber music collaborations have included appearances with soprano Sheri Greenawald, violinists Paul Huang, Sarah Chang, Pamela Frank and Mihaela Martin, violist Nobuko Imai, cellists Myung Wha Chung, Jian Wang, Edward Aaron and Frans Helmersen as well as the Tokyo string quartet. His debut at New York City’s prestigious Carnegie Hall and Mostly Mozart Festival earned him an immediate invitation to Lincoln Center’s Great Performers Series. Krieger made headlines by being named the Gold Medal Winner of the first Palm Beach Invitational Piano Competition. He began his studies in Los Angeles under the tutelage of Esther Lipton. At age 15, he became a fullscholarship student of Adele Marcus at The Juilliard School where he earned both his Bachelor and Master degrees. Subsequently, he studied with Alfred Brendel and Maria Curcio in London and earned an Artist Diploma from the New England Conservatory, where he worked with Russell Sherman. A champion of contemporary music, he features the music of John Adams, Leonard Bernstein, John Corigliano, Daniel Brewbaker, Donald Crockett, Judith St. Croix, Lukas Foss, Henri Lazarof and Lowell Liebermann among his active repertoire. Krieger is the founding artistic director of The Prince Albert Music Festival in Hawaii. Since 2008, he has served on the summer faculty at the Brevard Music Festival in North Carolina. From 1997 to 2016 he was a professor at the Thornton School of Music at the University of Southern California. In August 2016 he was appointed Professor of Piano at the Jacobs School of Music at Indiana University. n

piano

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PROGRAM NOTES MOST LY MOZ ART

HAL EK U L ANI M A STERWORKS V

OVERTURE TO THE ABDUCTION FROM THE SERAGLIO, K.384 Wolfgang Amadè Mozart Until the 19th century, “the east” meant Turkey, Persia, and the countries of Northern Africa. To civilized Christian Europe, it was the domain of the heathen infidel. In Mozart’s Vienna, operas and theatre set in “the orient” enjoyed a tremendous vogue. Vienna was the capital of the Holy Roman Empire, and had been besieged by Ottoman Turks in 1683. Consequently the captured Janissaries (members of the Sultan’s personal guard) were not an unfamiliar sight. Their garb and instruments added exotic appeal to contemporary theatre. Mozart capitalized on this trend in his first popular operatic success in Vienna, Die Entführung aus dem Serail (The Abduction from the Seraglio), which was premiered in July 1782, only a month before his marriage to Constanze Weber. Perhaps because of the composer’s happy frame of mind at this time, the music of the opera exudes boundless energy and good humor. The C major overture is bright and cheery, with a jauntiness helped by its alternation of four- and

A WORD ON MOZART’S NAME Mozart was born in Salzburg on 27 January 1756 and died in Vienna 5 December 1791, not quite thirty-six years old. He was baptized with the names Joannes Chrysost[omus] Wolfgangus Theophilus. His parents gave him the names Johann and Chrysostom because he was born on that saint’s day. Wolfgang was the first name of Mozart’s maternal grandfather. The name ‘Theophilus’ (Greek for ‘beloved of God’) came from the godfather, Joannes Theophilus Pergmayr, a Salzburg businessman and local official. Days after the boy’s birth, Leopold referred to his infant son as Gottlieb (the German for Theophilus). ‘Amadeus’ is the Latinate form. In letters, the composer signed his name variously as ‘Mozart,’ ‘W.A. Mozart,’ ‘Wolfg. Amad. Mozart,’ ‘MZT,’ ‘Wolf. Amdè Mozart’ and, most frequently, ‘Wolfgang Amadè Mozart.’ As a boy in Italy, he occasionally signed in the Italianate spelling: ‘Wolfgango Amadeo.’ Despite Peter Shaffer’s stage play Amadeus and Miloš Forman’s even more popular film, Mozart did not use the name Amadeus. In recent years, the spelling ‘Wolfgang Amadè Mozart’ has supplanted the old-fashioned ‘Wolfgang Amadeus Mozart’ in common usage and printed programs. The glory of his music remains unchanged. —Laurie Shulman © 2019

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b. Salzburg, Austria 27 January 1756 d. Vienna, Austria 5 December 1791 First Performed by the HSO 1990

Approximate Duration 6 minutes

six-bar phrases. In keeping with the trappings of the “Turkish” vogue, Mozart’s customary woodwinds are augmented by piccolo, bass drum, triangle and cymbals. A slow middle section in C minor presages the opera’s first arietta. In a staged performance, the overture flows directly into that opening arietta, in the same fashion as Don Giovanni. Several concert versions of the overture exist, adapting the ending to a self-contained movement with appropriate pomp and Turkish circumstance. For these performances, Carl St.Clair has chosen the ending by Johann Anton André (1775-1842), a composer and music publisher based in Offenbach-am-Main who purchased a quantity of Mozart’s manuscripts from Constanze Mozart in 1799. Mozart’s score calls for flute (doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, triangle, cymbals, bass drum, and strings. n —Laurie Shulman © 2019

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PIANO CONCERTO NO. 24 IN C MINOR, K. 491 Wolfgang Amadè Mozart Most music-lovers know that the keys of g-minor and d-minor have special significance in Mozart’s music, calling forth works of epic tragedy that plumb the innermost depths of the composer’s soul. In fact, any work in minor mode was unusual in the late eighteenth century. Mozart’s compositions in darker keys have attracted more attention not only because they contain music of such extraordinarily high quality, but also because he himself was highly sensitive to nuances of tonality. No key was chosen lightly for any of his works, and there are decided similarities in the character of many works sharing key signature and mode. Among the Mozart compositions in C minor, a series dating from the 1780s stands out. The first of them is the Wind Serenade, K.388 (1782). The following year he wrote a Fugue for Two Pianos (1783, K.426). Then in short order followed the c-minor Piano Sonata and Fantasy (K.457 and K.475, 1784 and 1785, respectively). Also composed in 1785 was the Masonic Funeral Music, K.478. The Piano Concerto we hear this evening was completed in March 1786. Mozart’s arrangement of the Wind Serenade, K.388 for String Quintet dates from 1787 (K.406). And the formidable Adagio and Fugue in c-minor were composed in 1788. What common thread unites this series beyond the key in which they are written? Musicologist H.C. Robbins Landon has suggested that all of them are manifestations of depression, and that Mozart may have been acutely depressed in spring 1786 at the time he completed the c-minor Piano Concerto. Certainly K.491 is a work of epic grandeur and symphonic scale. Mozart employs his largest concerto orchestra in this piece; it is the sole piano concerto calling for both oboes and clarinets. Both this concerto and the well-loved Concerto No.20 in D-minor, K.466, anticipate Beethoven’s stormy emotional intensity. If the C-minor concerto does not seethe with the unbridled romantic abandon of K.466, it joins that work by peering into the nineteenth century. The primary difference is perhaps method: in this later work Mozart applies his technique with more restraint and subtlety. Indeed, a more illustrative comparison among the piano concerti may be with the transparent Concerto No.23 in A, K.488, completed only three weeks prior to the C-minor work in March 1786. Mozart’s intense expressivity and exquisitely balanced dialogue between soloist and orchestra are mirrored in these two works of strongly divergent temperament. Arthur Hutchings has called K.491’s opening Allegro Mozart’s greatest concerto movement. An expansive orchestral exposition establishes dignity, grandeur and drama that are sustained throughout the work. Mozart distributes his thematic material liberally among the orchestra, with masterly interplay between instrumental ensemble and soloist. One of the performance problems presented throughout this concerto is that the manuscript to K.491 is one of Mozart’s sketchiest. The soloist must fill in some passages that Mozart only indicated in a kind of musical shorthand. For these performances, Mr. Krieger plays his own cadenza. “I retain the style of the period, primarily using the thematic material of the exposition,” he

b. Salzburg, Austria 27 January 1756 d. Vienna, Austria 5 December 1791 First Performed by the HSO 1949

Approximate Duration 31 minutes

explains. “I use thematic transformation to highlight the ascending and descending themes, going just a bit outside of Mozart’s keyboard range [five octaves, as opposed to more than seven on the modern keyboard]. This helps project the role: musical gestures of the soloist in the modern concert hall on the modern piano.” In its pristine simplicity, the E-flat major Larghetto is one of the most perfect creations in all Mozart; a couple of years later, he emulated it closely in the lovely slow movement (also in E-flat) to the B-flat Piano Sonata, K.570. Here, given the rich color resources of the orchestra, he turns a simple A-B-A-C-A form into a sophisticated amalgam of rondo, woodwind serenade, and variation. Each of the contrasting episodes (the first in C minor, the second in A-flat major) is stated first by the woodwinds, then varied by the soloist. With the finale, Mozart produced his last essay in variation form among the mature concertos. Only this and the Concerto No. 17 in G major, K.453 conclude with variations, but the structure in K.491 is more complex and lends greater weight to the finale, lending it a sense of importance that rivals that of the first movement. Simply stated, the movement consists of a theme, eight variations and a

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coda. But variations two through seven are double variations (like the first movement of Mozart’s popular A-major piano sonata, K.331 – the one that concludes with the ‘Turkish rondo’ – in which the second half of each variation introduces a different compositional treatment). Mozart sustains interest by making the first variation almost exclusively a pianistic endeavor; whereas in the last he switches the meter to 6/8 and

adds a brilliant coda. Brilliance does not necessarily mean the clouds lift, however. Mozart sustain his tragic mood by ending in the minor key. K. 491 is scored for woodwinds, horns and trumpets in pairs, timpani, solo piano and strings. n

SYMPHONY NO. 10 IN E MINOR, OPUS 93 Dmitri Shostakovich The Soviet Union’s greatest symphonist, Dmitri Shostakovich, lived virtually his entire life in the shadow of Soviet oppression. Probably no other composer’s works are so closely and consistently tied to the turbulent politics of the day. Generally speaking, Shostakovich’s large orchestral works represent public statements, often with an overt political subtext. Several of his symphonies bear subtitles referring to important events in Soviet history: “To October,” “May Day,” “The Year 1905,” “The Year 1917.” Others are more subtle in their political allusions, even hinting at Shostakovich’s personal experience and opinions. The Tenth falls into this second category. More than three quarters of a century ago, on 10 February 1948, Stalin’s most prominent lieutenant, Andrei Zhdanov, issued a resolution condemning Dmitri Shostakovich, Sergei Prokofiev, and other Soviet composers. Their `crime’ was failure to comply sufficiently with socialist realism. Shostakovich had already been the target of Stalin’s formal censure in 1936, when a famous attack in Pravda lambasted his opera Lady Macbeth of the Mtsensk District. After that early debacle, Shostakovich was `rehabilitated,’ and had lived more or less according to Soviet party doctrine for more than a decade, including the crucial years of the Second World War. As a result, he was deeply wounded by the Zhdanov decree. He reacted by withdrawal, declining to release new compositions for several years other than film scores and some Soviet choral music. Some people knew he was writing chamber music. Privately, he worked on his Tenth Symphony during the tense years following Zhdanov’s resolution. In March 1953, Stalin died, by a peculiar quirk of fate on the same day as Sergei Prokofiev. During the months that followed, Soviet Russia gradually breathed a little easier, as the tight controls of Stalin’s police state eased. This was the beginning of the so-called “thaw.” Shostakovich emerged from his compositional shell by dusting off some works he had declined to issue and completing others. Three important premieres of his music took place late in 1953: the Fourth and Fifth String Quartets, and the Tenth Symphony. The much-anticipated symphony was by far the most important and was immediately hailed as a masterpiece. Yevgeny Mravinsky led the Leningrad Philharmonic in the first performance, at the conclusion of the city’s 250th anniversary celebrations.

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b. St. Petersburg, Russia 25 September, 1906 d. Moscow, Russia 9 August, 1975 First Performed by the HSO 1989

Approximate Duration 57 minutes

At a three-day Composers’ Union conference devoted to the Symphony in spring 1954, Shostakovich deliberately avoided references to its content or programme. Following the conference, he published a self-deprecating critical analysis of the Symphony in Sovetskaya Muzyka. Declining to state his intent or assign any specific meaning, he wrote, “I will say just one thing: in this work I wanted to portray human emotions and passions.” He remained enigmatic and non-specific about the Symphony: “Let them guess for themselves.” In his controversial memoirs, published posthumously as Testimony in 1979, Shostakovich told Solomon Volkov: I couldn’t write an apotheosis to Stalin, I simply couldn’t. I knew what I was in for when I wrote the Ninth. But I did depict Stalin in music in my next

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symphony, the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the symphony is about. It’s about Stalin and the Stalin years. The second part, the scherzo, is a musical portrait of Stalin, roughly speaking. Of course, there are many other things in it, but that’s the basis. All these remarks by the composer, spanning a quarter-century, are studiedly neutral. The music of the Tenth Symphony is anything but. In the most general terms, we may think of it as summing up Shostakovich’s emotional reaction to war and the post-war period. The overall format -- four movements arranged slow-fast-slow-fast — is similar to his structural layout in the Fifth and Seventh (“Leningrad”) Symphonies, with the addition of an introductory Andante to the finale in the Tenth Symphony. Even within that general format, however, some ambiguities emerge. There is no real slow movement; the first and third movements -- Moderato and Allegretto, respectively -- are simply slower than the second and fourth. A disproportion in movement length is evident. The first movement is unusually long; the second — the scherzo purportedly portraying Stalin — a concentrated ball of fury lasting only about four minutes. The third movement introduces Shostakovich’s musical monogram: D-S-C-H. In German transliteration, his name was spelled Dimitri Schostakovitsch. In German musical spelling, Es means E-flat, and H means B natural. (D and C are the same in English and German musical spellings.) Thus the four pitches D-Es-C-H (D, E-flat, C, B-natural on the piano keyboard) provided the composer with a musical signature. Such acronyms were not unprecedented in music; both Bach and Schumann, for example, adopted similar procedures. For Shostakovich, this four-note motive proved extremely important in many works through the 1960s. The Tenth Symphony was the first composition in which it played a significant role as a musical building block. Its prominence in the third movement and recurrence in the finale are an affirmation of self, Shostakovich’s defiant declaration of the individual in the face of Soviet oppression. The sardonic opening violin theme and a recurrent solo horn call also bind the third movement together. The lengthy Andante that opens the finale serves as a transition between the meditation of the third movement and the unbridled optimism of the symphony’s conclusion. As in the symphony’s opening, low strings introduce the material. Here, however, Shostakovich allows for some sunshine to break through these murky clouds. A series of woodwind solos -- first oboe, then flute, then bassoon -- intensify a leaden mood. Presently clarinet and flute hint at the sprightly theme that will form the basis of the march-like Allegro. Elements of cyclic structure occur in the echoes of the malevolent second movement that intrude on the positive atmosphere. Overall, however, the feeling is carnivalesque, with just enough of an edge to it for us to wonder if Shostakovich’s sarcasm has found another outlet.

quotation and implicit reference to other musical works in the Tenth Symphony. It includes not only a half-dozen of Shostakovich’s own compositions, but also works by Tchaikovsky, Liszt, Musorgsky, Bartók, Brahms, Grieg, Mahler, and, in the movement depicting Stalin, the Soviet composer Schcherbachev. This diverse collection does not mean that Shostakovich had no original ideas. His assimilation of such a broad range of material into his own music tells us a great deal about the man, more than he had revealed in five years. In the overall continuum of Shostakovich’s output, the Seventh, Eighth, and Ninth Symphonies have historically been viewed as a wartime trilogy. Some critics have suggested that Shostakovich may have intended the Tenth to be a “peace” symphony. What seems more likely is that it is an unusually detailed and personal self-portrait. The predominance of the D-S-C-H motive in the last two movements is a strong and proud assertion of individuality. Shostakovich scored his Tenth Symphony for piccolo, 2 flutes (2nd also doubling piccolo), 3 oboes (3rd doubling English horn), piccolo clarinet, 2 clarinet, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, side drum, bass drum, cymbals, tam tam, triangle, and strings. n

David Fanning, in a monograph entitled The Breath of the Symphonist: Shostakovich’s Tenth, includes an appendix devoted to thematic allusion. The appendix lists identifications in the published literature of explicit HAWA I‘ I SYMPHONY ORCHESTRA

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$1,000 to $4,999 Aloha United Way L. Leon Bailey Trust James & Helen Gary Charitable Fund of the Hawai‘i Community Foundation Honolulu Symphony Society Fund of the Hawai‘i Community Foundation David Sen Lin Lee Foundation Mrs. Violet Shaw Loo Nohara-Abaya Family Fund of the Hawai‘i Community Foundation Henk & Akemi Rogers Ohana Foundation Jhamandas Watumull Fund Wah Duck & Grace K.S. Young Memorial Fund Up to $999 Rev. Abraham Kahu Akaka Ministries Foundation AmazonSmile Foundation Edmond & Mildred Ayling Fund of the Hawai‘i Community Foundation Back to School Hawaii Bank of America Charitable Foundation Phyllis G. Glick Trust Hawaii Hotel Industry Foundation Pledgeling Foundation Andy & Jessica Stenz Family Fund, Hawai‘i Community Foundation Allen & Nobuko Zecha Foundation Individual Donors $50,000 & above Gov. Ben & Vicky Cayetano Marilyn & Steven Katzman Paul & Lisa Kosasa $25,000 to $49,999 Gloria Kosasa Gainsley & Stephen Gainsley Ginny Tiu Elizabeth E. Wong $10,000 to $24,999 Robert & Frances Bean Eleanor Chang Mitch & Bambi D’Olier Richard & Susan Ing Bob & Dee Levy Natalie Mahoney Randolph Moore & Lynne Johnson Steve Ristow & Bobbie Conlan Kenneth S Robbins Marsha Schweitzer

$5,000 to $9,999 Joan Bennet Margery Bronster Edward K. Conklin James Day & Phyllis Fong Peter G. Drewliner Louise L. Emery Jackie Mahi Erickson Dennis Francis Jack & Janet Gillmar Debra J. Liu Juli Kimura Walters Ken & Diane Matsuura Jean McIntosh Dr. Elahé Omidyar Mir-Djalali G. Mark Polivka Mr. & Mrs. Christopher C. Smith Kent & Jean Tsukamoto $1,500 to $4,999 Anonymous (3) Linn Sol Alber Robert L. Allen William & Gail Atwater Stanford & Winifred Au Mary Ann Barngrover Patricia M. Barron Emmalisa H. Bledsoe Antoinette Brown H.F. Carlin, Jr. Carol H. Case Mary (Candy) Cassarno Ann M. Castelfranco Dr. Percival & Carolyn Chee Christopher Conybeare & Kathryn Braun Janet Cooke David Schulmeister & Virginia Lea Crandall Heather Cutter Manfred Henningsen Carol R. Langner Donald W.Y. & Laura Ray Goo Marjorie Gordon Eileen Hilton & Leonard Rossoff John & Jane Hinrichs Glenn Ishioka Gary James Jean & Randy Jaycox Jean & Robert Johnson Maurice & Shelley Kaya Chester T. & Laraine K. Koga Myra Kong Jason & Beverly Kravitt

Richard L. Kurth Jodi A. Lam & Timothy M. Takaezu Edward & Stephanie Laws Worldster & Patricia Lee Peter & Mary Lou Lewis Drs. Grover & Sally Liese Dr. Jeffrey Lim Lloyd Lim Mary & Michael Macmillan Howard & Barbara Mau Audrey Mueh Dr. & Mrs. Phillip McNamee Network for Good Martha Nakajima Lyle E. Nelson Drs. Steven Nishi & Pamela Tauchi-Nishi Capt. Phillip B. Olsen Bonnie Lisa Pestana Dr. Lee Putnam Glenda K. Rother Dr. Stan & Marie Satz Andrea & Bob Snyder John & Susan M. Soong Ralph & Jackie Sprague Dr. Ulrich & Carol Stams Alan & Karen Stockton Cynthia H & Michael B Stollar Alan and Joni Tanaka Glenn & Elizabeth Tango Ina Goodwin Tateuchi Henry Timnick Robert & Marilyn Trankle Sharon Twigg-Smith Dake Vahovich Drs. William & Margaret Won Gregory Wrenn & Robert Pyburn Valerie Yee $500 to $1,499 Anonymous (6) Sandra S. Anderson John & Karen Andrews Ron Baldwin Herschel V. Beazley Terance & Jan Bigalke Pat Billington & Taka Alphons Willem & Janet Blees Jeffrey Boeckman & Joanne Hogle Joel Bradshaw & Jean Kirschenman Merle Bratlie Jeannette & Ian Capps Barbara Cargill Matthew Chapman

HAWA I‘ I SYMPHONY ORCHESTRA

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Yi-Chuan & Helen Ching Carol Ching Joan P. Chock Carol J. Coops Rebecca L. Covert The Rev. Cn. Franklin & Norma Chun John P. Dellera Bernice Dinion Nola Epp Victoria Apgar Fay Dr. P. Fujimoto & Dr. W. King John Gad Suzanne Mary Hammer, M.D. Mary J. Harbold Jeremy G. & Harriett D. Haritos Frederick & Joan Harris David and Nery Heenan Gilman & Ruth Hu Denis and Ella Isono Blake Johnson Kiku I. Kealoha Douglas G. Kreider Alexander and Alice Kufel Wilfred & Caren Kusaka Dr. Leilani Kaanehe & Sandi Kwee Geri Lambert Victor & Hai Cha Lambert William & Susan Lampe Mollie M.Y. Lee Van Lee Maria D. López-Haney Francis C.H. Lum & Bertha Y. Lum C. Jeanette Magoon Anne & John Mapes Kiyono Masaki Donald M. Matsumori Jim & Pam McCoy Pat McFadden & Helen MacNeil Peter & Luanna McKenney Guy Merola & Mark Wong Amy & David Monk Mrs. Sally Morgan Martha Lee Mullen George & Alma Nagao Joanne P. Nakashima Alvin S. & Sharon Narimatsu Jonathan Okabe Joyce Kay Okano Stephanie S. Pauling Ann M. Peters Dr. & Mrs. Robert G. Peters Robert Creps & Debra D.

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Pfaltzgraff Michael Pietsch Ralph and Pakinee Portmore David and Jacqueline Reber Kent A. & Howena H. Reinker Manning & Sarah Richards Jean Rolles Merritt & Carol Sakata Kent Savage Albert J. Schutz Richard & Yoko Scofield Cassandra Senner Joanne Shapiro Lillian Shaw & Erwin Fung Sheryl Shohet Doug Stanfield Lt. Col. Ret. Paul & Judith Stankiewicz Manfred Steger & Perle Bessermen Warren and Carolyn Stenberg Randall & Misako Steverson Patricia Takemoto & Robert Morse Susan T. Takahashi Dr. Fred & Mrs. Ann Tanabe Amy A. Taniguchi Leanora Tong Anita Trubitt Laurita P. Turner Glenn & Constance Uejio Arthur A. Ushijima Eldon L. Wegner Nancy D. White Daniel & Judith White Paul Wrege Louis P. Xigogianis Carl Yee & Mary Wong Mildred A. Yee Glenn & Kathleen Yoshinaga Shuk Fon Yuen Halina Zaleski $150 to $499 Anonymous (14) Denise & Ace Ellinwood Jean Adair-Leland Carol A. Aki Lisa Andres Ken & Gemie C. Arakawa Nancy Askew-Regidor Robert & Alexandra Bley-Vroman Mark Baker & Lisa Hendrickson

Cornelius Bates Betsy A. Behnke Carolann Biederman & Seth G. Markow Marge & Carl W. Boyer, Jr. James L. Brewbaker Barbara Bronster & Bernard Schwartz Philip & Evelyn Brown Barbara Campbell Jane Campbell Ms. Margaret Capobianco Edward H. Carus Donald & Mildred Chang Elaine M. L. Chang Hillary W Chang Simon Chang John Chilcott & Caryn Yamanaka Philip & Gerry Ching Jennifer Chiwa Eric E. Chock Timothy Y.C. Choy Juanita Chun Paul Allen & Darrell Chun Stewart Chun Jim & Sally Clemens Kikuko T. Cole John S. Corbin Patricia Sue Cornish Rosemarie Cottle Richard H. Cox Katherine Crosier Richard & Myrna Cundy David & Junko Davis Michael J. Deweert Carol Anne Dickson Tom & Kristi Dinell Elizabeth B. Donaldson Koren K. Dreher Jennifer Du-Forstner Cherie N. Dubats Denise & Ace Ellinwood Lani &Uson Ewart Joanna Z. Fan Marlies H. Farrell Paul & Jane Field Ronald & Maureen Fitch Matthew & Linda FitzGerald Marc & Alice Flitter Mary Jo Freshley Colleen Furuya Paula Gill Marilyn Wong Gleysteen

Kathleen Goto Laure & David Hadder Beverly Haid & Sue Hillman Kimberley Haines Michael Hamnett Edith Harada Margaret Y. Harada Daniel Hartline & Petra Lenz James & Constance Hastings Sally & Tom Hattemer Letitia Hickson Patricia Josephine Hildreth Stephanie Hoe Carolyn Hong John & Shizue Howe Dr. Yujen “Ted” Hsia Diana Huang Thomas & Gloria Huber Carolyn Hyman Louis & Kim Ickler Sharon Inake Lester & Carolyn Inouye John & Gail Ishihara Ethel C. Iwasaki Noel R. Jaderstrom Thomas & Paula Jech Rev. Dr. Donald K. Johnson Richard M. Johnson & Jung Nam Lee Annakaarina Jolkkonen Kim Jones Wyatt L. Jones & Dawson Jones Dr. Leilani Kaanehe & Dr. Sandi Kwee Jay & Ann Kadowaki Susan Kamon Linda Kidani Charles Kim Dr. & Mrs. Robert Kim Laurence N. Kolonel Lori Koennecke Shirley Krause E. Takeo & Barbara Kudo Julia Chin Kwan LaVay Lau Wendy Lazer & Dr. Jerome Bookin Ellen LeClair John Venizelos Levas Laurel S. Lindenbach Melissa Loy Benjamin & Eleanor Lum Lynne Matusow

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Sharon S. McPhee Deborah Merritt Amy H. Mitsuda Willson & Sally Moore Takako Morimoto Samuel & Gertrud Murray Maxine Nagamine Eric I. Nagao & Lauren Yee Marcia M. Nagao Poranee Natadecha-Sponsel Sam & Carolyn Ng Ruth Pagell Christopher & Joanne Pating Dr. Barbara B. Polk Anthony J. Radcliffe David J. Randell & Rosemary T. Fazio Zsuzsa Rastegar James & Jane Redmond Heidi Rian Donn M. Sakuda Harold & Joyce Schatz Charles C. Schenck Marcia Schultz Andrew Schumacher Jane Schwager Paul J. Schwind & Mollie Chang Ronald & Lana Marie Seki James & Nancy Schoocraft Diane Shepherd Lisa A. Shigemura Ulrike Siddiqi Paul & Therese Simeone Russell & Suzanne Young Sitch Susan Spangler Joyce G. Spoehr Susan Stahl Donna Tamasese Bruce T. & Rae. N. Teramoto Helen D. Thomas Dianne Towey Jennifer M. & Jose G. Trevino Fred J. Trupiano Rochelle Uchibori Floraine Van Orden Miguel Vasquez Robert A. Wall Timothy Walrod Richard & Lorinda L. Waltz Duane & Carol White John Allan White Marsha White Patricia Whittingslow

Thomas A. Wills Mark K. Wilson, III Calvin Y.H. & Susan Chong Wong Randy & Helen Wong George & Mary Ann Wyman Valentina Yarovaya Sally Yoshinaga Everett B. Young Laurie M.H. Zane Debra D. Zedalis Up to $149 Anonymous (29) Deborah A. Agles Heather Arias de Cordoba Jamie Asato Nelisa Asato John L. Ashby Jr. Patricia Augustine Karen Baker & Frank Marone Laura Ing Baker Austin Barnes Brian Baron Virginia Beck Denise P. Bekaert & Felicity O. Yost Zara Berg Josie Bidgood Carol Bodnar Amy Blackwell David Budd John Campbell David E. Cantor Brooke Carroll Brad & Leslie Carter James & Olivia Castro Chunmay Chang Diane E. Chang Wesley Chang Dr. Lida Chase Minja Choe David Chung Richard Chung Julia Clark Sherri Nanea Clark Ms. M. Gay Conklin Patricia M. Coughlin Marjorie L. Cox Aiko K. & Leslie G. Crandall Nancy A. Davlantes Malia Day Jerald Dunlap Laudra B. Eber

Rudolf & Edith Ecken-Genova Robert & Patricia Faus Andrew M. Fegan Soo M. Ferrante Larry & Atsuko Fish John & Anne Flanigan Vanessa J Foster Ralph & Eleanor Fujioka Joan Fujita Carol Aiko Fujiyoshi Jeffrey & Shirley Fukushima Dianne Garcia Gary & Marion Glober Patricia Godfrey Judith Goldman Lois A. Gordon Edwina Gosnell John Graves Werner H. Grebe Judith Guffey Ms. Esther Haas-Hugentobler Mrs. Nyle Hallman Susan K. Hamai Ms. Mitsue Hanabusa Lea & John Heide Lyle Hendricks Rose Herrera Victoria Hersey Glenda C. Hinchey Diane Hino Dawn M. Honda Jayne K. Honda Jenny R. Howard Lorna J. G. Hu George M. Hudes Alena Hughes Robert & Judith Hughes Susan Hurd Archie & Lynn Ikehara Wallace J. Inglis Chenise Iwamasa Sara Adah Izen Judy Jakobovits Michael Jones Judith T. Kakazu Kenneth and Patricia Kamiya Katherine E. Kaneko Ferne Kawahara Jeam Kawamura Jean K. Kawamura Elaine Kawazoe Claudia K. & Robert C.K. Keaulani Linda Keller

Ann Kelminski Marcia Kemble Elspeth J.C. Kerr Michael & Susan Killion Kevin Kimata Margaret W King Dr. Robert & Adelaide Kistner Ms. Carolyn Koehler Marga Koennecke Takako O. Kokame Floria Komer Janice Kong Christine Kurashige & Barry Whitfield Anne Kwiatkowski Mary Lacques Evelyn B. Lance Matthew S. Lau James & Susanne Lenz Herman Leong Judy & Dennis Lind Gail G. Loden Gail Long Russell Loo Karen L. Loomis Kwong Yen Lum Lois Magnussen Sue & Howard Maier William P. Malm Richard Manshardt Karen Masaki & Paul Freeman David Masunaga Clarence Y. Matsumoto June R. Matsumoto Mary & Robert McEldowney Donald O. McInnis Edward & Laurie McKeon Laurie & Ed McKeon Martin & Sharron McMorrow Mariajane C. Mee Sally & Jeffrey Mermel Ruth Merz Kenneth M. Mijo John Misailidis Roy & Catherine Miyahira Art & Val Mori Milton & Annette Morishige Lynn Murakami-Akatsuka Trent Nakasaki JP & Angie Nelson The Ohio State University Alumni Club of Hawaii Jerry & Arlene Ono

HAWA Iâ&#x20AC;&#x2DC; I SYMPHONY ORCHESTRA

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Yukiko H. Onoe Norma Parado Lorna Park Jonathan Parrish Florene D. Pell Julie Ann Peterson Kenneth W. Pierce Russell & Patricia Pinho Anne Lee Pohner Myrna L. Pung Diane M. Pyles Ms. Susan M. Quintal Judy A. Rantala Richard Rapson Mary Pecot Reese Carole Richelieu Mrs. Carol A. Rumford Ted and Ruth Sakai Robert S. & Mary Louise Sandla Rachel T. Sato Lewis Saul Janice T. Sawada Maureen Annette Schaeffer Judith Scheu John & Eudice Schick Michelle Schneider

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Marcia G. Schultz Scott Schultz Yasenta Sen’Gerni & Paulette J’Sen Beppie Shapiro Ekaterina Sherstyuk Patricia Shields Colleen Shigeta Kazuo Shirakawa Jennifer Shishido Lee and Lisa Shugart Ted and Patricia Sidor Clifford & Bobbie Slater Rosaalie Slater Mr. & Mrs. John Southworth Kathryn & Basil Sparlin Robert Stanfield Vibeke Steenberg Carolyn Steuer Noelle H. Sutherland Arnold Suzumoto Ms. Gail Switzer Ira & Marilyn Tagawa Elizabeth Tajima Mrs. Stacey Takanishi Pearl Takeuchi

Laura Dressel & David Tallant Alan Tamai Andrew & Virginia Tanji Mr. & Mrs. Remi Taum Mary M. Taylor Sadako Tengan Dr. & Mrs. John B. Thompson Ronald & Patricia Tochiki Werylend Tomczyk Sharman Torkildson Nancy Treer Jillian Turkington Poon Kay S. Uyeda & Ramona A. Ho Thomas Burke & Marie Wagner Robert A. Wall Laura Warfield Dr. Stephen & Mrs. Eugenie Werbel Nancy C. Whitman Donald Williams Leslie Charles Wilson Linda A. Wilson Kelly C. Wimberly John Wollstein Diane W. Wong Rebecca Wong

Patricia Wood Lesley A. Wright Jack & Kathy Yamada Dr. Byron Yasui Norman & Jane Yonamine Mari Yoshihara Don & Judi Young Merv & Joni Young Annette M. Zib

WE GREATLY APPRECIATE YOUR SUPPORT! TO MAKE A DONATION, PLEASE VISIT HISYMPHONY.ORG, CALL 94-MUSIC, OR MAIL A CHECK TO: 3610 WAIALAE AVENUE HONOLULU, HI 96816

H I S Y M P H O N Y. O R G

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GET OFF THE COUCH AND EXPERIENCE THE MUSIC FROM YOUR FAVORITE SHOWS IN A COMPLETELY NEW WAY! Hear the thrilling scores from hit shows and films like Lost, Downton Abbey, X-Files, Game of Thrones, X-Men: The Last Stand, Wonder Woman, Star Trek and many more of your favorites performed live by your HSO. Prepare to have your hair raised, your heart melted, and your spirits lifted by the power of music. ALL-INCLUSIVE PRE-CONCERT COCKTAIL RECEPTION WITH HEAVY PUPUS & COCKTAILS AT THE HONOLULU CLUB, PLUS ONE SECTION B CONCERT TICKET, JUST $80.

FRIDAY / MAY 29 / 7:30 PM (808) 94-MUSIC / HISYMPHONY.ORG

Make Music Happen

SUPPORT MUSIC EDUCATION AND COMMUNITY OUTREACH FOR OUR KEIKI. DONATE TO YOUR HSO AT THE MARKETING TABLE IN THE LOBBY. SET UP MONTHLY RECURRING GIFTS ONLINE AT HISYMPHONY.ORG GIVE US AT CALL AT (808) 946-8742

Mahalo for supporting your HSO

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TRIBUTE LIST

MA H A LO TO T HO S E W HO HAVE T H OU GH TF U L LY D O N ATE D

The following reflects gifts received between July 1, 2018 - November 26, 2019 IN HONOR

In Honor of Cherie Dubats’ Birthday Anonymous In Honor of Claire Hazzard Werylend Tomczyk In Honor of Elizabeth Wong and the HSO! Linn Sol Alber In Honor of Emma, Evelyn, and Mark Votapek Patricia Takemoto & Robert Morse In Honor of J. Scott Janusch , an exceptional musician and creator of musical instruments. Mahalo and Gracias Maria D. López-Haney In Honor of Jason Price, Tarisio Auctions Anonymous In Honor of Jean McIntosh & Andrea Snyder Nohara-Abaya Family Fund of the Hawaii Community Foundation In Honor of JoAnn Falletta Gary & Marion Glober Ms. Margaret Capobianco In Honor of Jonathan Parrish Eugenie Werbel Marsha Schweitzer Worldster & Patricia Lee In Honor of Lynn Alper Josie Bidgood In Honor of Makoto, Victoria, and Okaasan Anonymous In Honor of Manoa Strings Debra J. Liu In Honor of Martha Kholpin Yasenta Sen’Gerni & Paulette J’Sen In Honor of Martha Nakajima Anonymous In Honor of Michael Titterton Gilman & Ruth Hu In Honor of my mom! Matthew Chapman

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In Honor of our 50th wedding anniversary Dr. Stan & Marie Satz In Honor of Paul Kosasa Edward & Stephanie Laws In Honor of Paul Kosasa ABC Stores Chad Karasaki, Aon Risk Services, Inc. of Hawaii. In Honor of Paul Kosasa and the Kosasa Family Accuity LLP/Kent & Jean Tsukamoto In Honor of Peter Drewliner David and Nery Heenan In Honor of Susan Spangler’s 80th Birthday Rebecca Wong In Honor of the soon-to-be-new-grandparents, Constance and Glenn Uejio! Austin Barnes In Honor of Vicky Cayetano Andrew Schumacher Jennifer M. & Jose G. Trevino Ken & Gemie C. Arakawa Worldster & Patricia Lee In Honor of Vicky Cayetano & Marilyn Katzman Timothy Y.C. Choy In Honor of Vicky Cayetano’s Birthday Diane E. Chang Timothy Y.C. Choy IN MEMORY

In Memory of Ah Quon McElrath Gail Long In Memory of Arman Kitapci Anita Trubitt In Memory of Barbara Carlin Kirby H.F. Carlin, Jr In Memory of Bob Harbold Mary J Harbold In Memory of Carl Crosier Katherine Crosier In Memory of Carol Amaki Lisa Andres In Memory of Chris Uchibori Rochelle Uchibori

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In Memory of Chuck and Karen Mau, Honolulu Symphony Orchestra violinist John & Susan M. Soong

In Memory of Laurence Shohet Mrs. Nyle Hallman Ronald and Lana Marie Seki Sheryl Shohet

In Memory of Clarence C.M. Lum Francis C.H. Lum & Bertha Y. Lum

In Memory of Lillian Nishi Drs. Steven Nishi & Pamela Tauchi-Nishi

In Memory of my husband, Dwight Emery Louise L. Emery

In Memory of Luella N Spadaro Serendipity II Fund of the Hawaii Community Foundation

In Memory of Ellen Masaki Karen Masaki & Paul Freeman

In Memory of Max and Lily Lim Lloyd Lim

In Memory of Fritz Fritschel Carol R. Langner

In Memory of Minnie Kosasa Carl Yee & Mary Wong

In Memory of Gail Hudson Anonymous

In Memory of Norma Nichols Jean McIntosh Martha Nakajima Rochelle Uchibori

In Memory of George Barati Elizabeth Tajima In Memory of Ian M. Cooke Ann M. Castelfranco

In Memory of Norman D. and Esther I. Rian Linnea Rian Peterson

In Memory of Jane Campbell Patricia Takemoto & Robert Morse Rochelle Uchibori

In Memory of Otto Renelt Patricia Whittingslow

In Memory of Jean Harling and Marianne Fleece Elizabeth Tajima In Memory of Joanna Fleming Marga Koennecke In Memory of John R. Mueh, M.D. Wyatt L. Jones & Dawson Jones

In Memory of Peter Brown Antoinette Brown In Memory of Prof. Terry E. Haney and Capt. Garth M. Haney Lopez Maria D. López-Haney In Memory of Raymond Hutchinson Patricia Josephine Hildreth In Memory of Shigeko and Edward Chock Eric E. Chock In Memory of Stephen Dinion Bernice Dinion Laure & David Hadder Mari Yoshihara In Memory of Sumie Makey Poranee Natadecha-Sponsel In Memory of Suzanne Goodson Denise Ellinwood In Memory of Wah Yun Dang Stanford & Winifred Au

In Memory of Paul Barrett Benjamin & Eleanor Lum Dr. Stephen & Mrs. Eugenie Werbel In Memory of Paul Barrett, Carl Crosier, Fritz Fritschel, and Norma Nichols Paul J. Schwind & Mollie Chang

In Memory of Wesley Y. S. Chang Case Lombardi & Pettit Chenise Iwamasa Dawn M. Honda Eleanor Chang John Venizelos Levas Malia Day In Memory of William Samuel Fay Family and Friends

We deeply regret any oversight that may have occurred in our listing of donors. If we inadvertently made an error or did not acknowledge your gift, please contact Cristina Luck at (808) 946-8742 so it can be corrected. Mahalo! Tribute Gifts Please consider giving to the Hawai‘i Symphony Orchestra in honor or in memory of a loved one. Sponsorships Concert, guest artist and in-kind sponsorships are available at many levels to meet the needs of your business or your individual preferences.

HSO is a 501(c)(3) organization. Donations are tax-deductible. Tax ID (EIN) #45-2861988 HAWA I‘ I SYMPHONY ORCHESTRA

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The ‘Ōhi‘a Lehua is the first tree to grow after lava flow. It serves as an appropriate symbol for those who have the Honolulu Symphony Foundation in their estate plans. Whether it’s a straightforward bequest in your will or trust, a charitable gift annuity, or naming the Honolulu Symphony Foundation as a beneficiary of your retirement fund, planned gifts support the HSO’s long-term fiscal stability.

‘ŌHI‘A LEHUA SOCIETY MEMBERS Linn Alber Bill and Gail Atwater George and Mary C. Cassarno Eliot Deutsch and Marcia Roberts-Deutsch Scott Janusch Ignace Jang and Christine Suehisa-Jang John Levas Kristi L. Maynard Lynne Johnson and Randy Moore Natalie Mahoney Arthur Miho Mark Wong and Guy Merola

If you are interested in learning more about the ‘Ōhi‘a Lehua Society, you may email Lynne Johnson at cometkupono@gmail.com. It is not necessary to provide documentation. Your word is enough. However, we appreciate knowing the details of your plan. That way, you can be sure that the gift works as you intended.

HONOLULU SYMPHONY FOUNDATION BOARD OF DIRECTORS

The Honolulu Symphony Foundation was established in 1998 to insure that endowment funds to support a professional orchestra in Hawaii would continue in perpetuity. Lynne Johnson, President Mark Wong, Vice President Lisa Nakamichi, Secretary William E. Atwater Scott Janusch Paul Kosasa Kristi L. Maynard Jonathan Parish Kenneth Robbins

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Paul J. Kosasa, Chair Vicky Cayetano, Vice Chair Kenneth S. Robbins, Secretary Shelley Cramer H. Mitchell D’Olier

Richard Ing Marilyn Katzman Jason Kravitt G. Mark Polivka Michael Titterton Virginia Tiu

ADMINISTRATION INTERIM EXECUTIVE DIRECTOR Scott Harrison

Delila Amorin Office Assistant ARTISTIC ADMINISTRATION & PRODUCTION Merle N. Bratlie General Manager Mark Breitenbach Personnel Manager Kim Kiyabu Principal Librarian Julie Montgomery Artistic Administrator STAGE TECHNICIANS IATSE LOCAL 665 CREW Al Omo, Union Steward Charlie Roberts, Sound Sandy Sandelin, Electrician Kim Shipton, Carpenter

Ronen Zilberman HSO Photographer PATRON SERVICES Cristina Luck Patron Services Manager

2019/2020

ARTISTIC ADVISOR JoAnn Falletta

MARKETING Heather Arias de Cordoba Marketing Director

HSO BOARD / ADMIN

BOARD OF DIRECTORS

AD SALES Michael Roth, Roth Communications rothcomm@gmail.com (808) 595-4124 BOX OFFICE 3610 Waialae Avenue Honolulu, HI 96816 1 hour free parking on Center Street, second parking lot E / info@hawaiisymphonyorchestra.org W / HISymphony.org P / 94-MUSIC (946-8742)

CONNECT WITH US HAWA I‘ I SYMPHONY ORCHESTRA

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tickets start at $36 94-MUSIC / HISYMPHONY.ORG

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tickets start at $36 94-MUSIC / HISYMPHONY.ORG

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