Program Josquin des Prez: Missa De Beata Virgine
Irvine Barclay Theatre presents
The Tallis Scholars in
Beata Virgine
December 6, 2009 Cheng Hall
-IntervalJohn Nesbett: Magnificat Thomas Tallis: Tunes for Archbishop Parker’s Psalter William Byrd: Ye Sacred Muses William Byrd: Tribulationes civitatum William Byrd: Vigilate Director Peter Philips Soprano Janet Coxwell Amy Haworth Alto Patrick Craig Caroline Trevor Tenor Christopher Watson Simon Wall George Pooley William Balkwill Bass Donald Greig Robert Macdonald There will be one 15-minute intermission.
Artist Manager, Hazard Chase Limited 25 City Road, Cambridge CB1 1DP, United Kingdom www.hazardchase.co.uk
IRVINE BARCLAY THEATRE | 9
program
notes
The term “Renaissance polyphony” is applied to an enormous amount of different kinds of music. Of course, we only have other terms, such as “Baroque” or “Romantic,” to compare it with, but it is the great breadth and variation of style, aesthetic, and – of course – historical and cultural background exhibited by different types of “polyphony” when compared with other, later styles that makes the term only a blunt categorization tool at best or a colloquialism at worst. During the last 150 years of the Renaissance, the pace of cultural change, and the intensity of the cultural conflicts which resulted, increased remarkably and the musical manifestations of these changes and conflicts necessarily reflected this. Josquin des Prez was one of the most famous composers of his day. Today, he overshadows completely his contemporaries from the final third of the 15th century and is mentioned in the same breath as Palestrina or William Byrd as one of a handful of composers who defined “Renaissance polyphony.” Born in the early 1450s, however, he lived most of his life free from the religious turmoil of the 16th century which would have such a great influence on later music. He brought late-Medieval music very much up to date, pioneering most of the major genres which followed and bringing both an intense clarity and passionate humanity to music in a way unknown to his predecessors. His Missa de Beata Virgine displays all of these characteristics; it appears, either whole or in part, in no fewer than 69 different sources – in manuscripts originating in 5 countries, 8 printed publications spanning nearly 30 years, 2 theory treatises, and 15 tablatures. Compared with his contemporaries, this is an enormously varied and thorough distribution, indicating that Josquin’s fame had spread completely throughout Europe by the beginning of the 16th century, and that both his individual reputation and that of this piece in particular continued long after his death. The 10 | IRVINE BARCLAY THEATRE
regular singing of the Ordinary of the Mass (the Kyrie, Gloria, Credo, Sanctus and Agnus movements with which we are familiar) to a polyphonic setting was only just becoming commonplace during Josquin’s lifetime, and that fact is reflected in this mass; from examining the many sources, it is apparent that Josquin wrote it – and that it was distributed – as separate movements and not as a group of five. Unlike most mass settings written in the Renaissance which were based on a single model – either a melody drawn from plainchant or a secular song or an entire polyphonic framework taken from a motet – this “chant paraphrase” mass takes as its inspiration the collection of plainsong melodies associated with the Mass Ordinary texts. The movements lack the characteristic unity of melodic theme and sonority found in later masses, but because of this they stand on their own as individually conceived and performed works. The absolute clarity so characteristic of Josquin’s music is apparent from the start, imitative passages worked so thoroughly that it is often difficult for the listener to distinguish imitation from canon. Strict canon, a favorite of Josquin, does indeed appear in the Credo, Sanctus and Agnus movements of this work. Austerity, logic, and Josquin’s complete command of compositional form and contrapuntal symmetry permeate this music, suggesting a purity of conception meant to please God in its perfection, not excite the passions of men. There is a good chance that John Nesbett was older than Josquin. However, so little is known of his biography, other than that he was an English composer active in Canterbury in the 1470s and 1480s, that any meaningful description of his temporal or musical relation to the Flemish composer is impossible. Only two pieces of music by Nesbett survive, but his Magnificat survives in the two most famous musical sources of the first decade of the 16th century in the British Isles, the Carvor Choirbook compiled in Scotland and the much more important Eton Choirbook compiled at Eton College in Berkshire, England. As a member of the “Eton Choirbook composers,” Nesbett is considered part of a unique musical tradition, the “florid English style” identified as a self-contained musical movement which differed
greatly from continental music written at the time. This contrast is immediately obvious here when comparing Nesbett’s Magnificat with the Josquin mass which precedes it on tonight’s program. This music blasts sound at the listener, rhythmically overwhelming the Josquin in terms of exuberance and flare. The pre-meditated predictability of the Josquin is nowhere to be found here; this music impresses and shines with an energetic pomp and swagger. While Tallis’ earliest music doesn’t quite reach these heights of exuberance, he wrote much which can easily be traced to its Eton Choirbook influences. Tallis, however, is the perfect example of a composer caught in cultural chaos. Born around 1505, living 80 years, and almost always employed by the English crown, Tallis sang and wrote music under four monarchs and – crucially – two warring religious ideologies. His Tunes for Archbishop Parker’s Psalter were included in a book published in 1567 of all 150 psalms translated and versified in English by Matthew Parker, the first Archbishop of Canterbury appointed by Elizabeth I. These versified psalm books were common in Elizabethan England, but a remarkable feature of Parker’s book was that he divided the psalm texts into eight groups, based on the emotional moods of their texts, said to be inherent in each of the eight musical modes. Tallis wrote a simple tune for each of these eight groups. Printed in the book are the words sung tonight, but it is clear that many different psalms could be sung to each tune, depending on the emotional character of the words. The ninth tune was written to provide a musical setting for a few other texts which appear after the psalm texts in the volume. These include translations of the Te Deum, Benedictus, Magnificat, Nunc Dimitis and other service texts. This ninth tune, as well as the eighth, are popular hymn tunes today and the third tune, Why fumeth in fight, was immortalised by Vaughan Williams in his Fantasia on a Theme by Thomas Tallis. The relationship between Tallis and William Byrd, some 35 years his junior, was a remarkable one. Byrd was very close personal friends with Tallis, undoubtedly his life-long mentor; they
were constant musical colleagues and business partners and Tallis was godfather to Byrd’s son Thomas. In 1583, Byrd witnessed Tallis’ will. It is no surprise, then, that when Tallis died on the 23rd of November, 1985, Byrd wrote a lament on his mentor and friend’s death. Ye sacred muses is a short piece, originally conceived as a consort song – a simple melody sung by one singer, in this case the soprano, and accompanied by instruments, usually viols or perhaps a lute. The intimacy and simplicity of the top line, colored with slight madrigalian touches giving each individual word attention and care, displays the deep, tender, and personal connection Byrd felt with this text. Byrd’s ability to wrap woe and misery in such beautiful polyphonic packages is here displayed with poignancy and sincerity. If Ye sacred muses represented a personal expression of grief for a lost friend, Tribulationes civitatum is much more like what we’re used to from Byrd; a politically charged lament for the state of Protestant England. Byrd remained a Catholic throughout his life and the large number of anguished works bemoaning the plight of the Catholic recusancy in England has come to virtually summarise for many Byrd’s entire life and work. It is indeed impossible to truly understand Byrd’s music without understanding his political affiliations and the real oppression he no doubt experienced in his life and that of his friends. Byrd’s political audacity is sometimes overlooked, however, as he would choose specific and often obscure texts, such as Tribulationes civitatum – drawn from four responsories of the old Sarum rite, the English Catholic liturgy – tailor them as he saw fit to exaggerate their political significance (the term civitatum and all the derivations of civic imagery that occur in this collection and his work as a whole are largely believed to refer to England as a state), set them to music, and then publish them using the monopoly on music printing granted to him by Queen Elisabeth herself! Both Tribulationes civitatum and Vigilate come from his first published collection of music after Tallis’s death, his Cantiones Sacrae of 1589. Indeed, this was his musical debut, in a way, showing to the wider musical world (these publications were IRVINE BARCLAY THEATRE | 11
program
notes
largely intended for a continental audience) that Byrd was no longer Tallis’ protegé, that he had firmly grasped the torch from his mentor. Byrd’s political audacity is perhaps best summed up in the character and mood of Vigilate. Here, Byrd abandons his usual pleas to God for mercy and instead goes on the offensive. This piece sets a passage from Mark’s gospel in which Jesus charges his disciples to keep watch for the coming End Times. All who knew this passage, as all of his liteners would have done, would know it comes as the final punctuation to a chapter describing the cultural degredation, falsity and – specifically – oppression and strife preceeding the triumphal return of the Messiah, who would judge the evil
doers and restore righteousness. The subtext here is that Byrd implies to his listeners that the Protestant political climate in England, and the oppression of the Catholic failthful, are precisely what was being proficied. Byrd warns both his Catholic bretheren and English society at large that their judgement is just around the corner and that a vengeful God is watching! The forthright, energetic, and powerful setting of these words makes Byrd’s intentions clear. Watch out! Your time is coming. Comparing this tortured, passionate, and vivid music with the serenity and undisputed confidence of Josquin’s mass highlights precisely the sort of contrasts in “Renaissance polyphony” which make listening to and understanding this music and its culture so richly rewarding. (Program notes by Greg Skidmore © 2009)
the
Glory be to God on high, and in earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glorify thee. We give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father almighty.
Josquin: Missa de Beata Virgine
O Lord the only-begotten Son, Jesu Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; thou that takest away the sins of the world, receive our prayer; thou that sittest at the right hand of God the Father, have mercy upon us.
libretto
Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen. 12 | IRVINE BARCLAY THEATRE
For thou only art Holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen. Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quem omnia facta sunt.
the
libretto
Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per prophetas; Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen. I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the onlybegotten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made: being of one substance with the Father; by whom all things were made. Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate; he suffered death and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end. And I believe in the Holy Ghost, the Lord, and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is worshipped and glorified, who spoke by the prophets. And I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Blessed is he that cometh in name of the Lord. Hosanna in the highest. Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, grant us thy peace. Nesbett: Magnificat Magnificat anima mea Dominum Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est, et sanctum nomen eius. Et misericordia eius a progenie in progenies timentibus eum. Fecit potentiam in bracchio suo, dispersit superbos mente cordis sui. Deposuit potentes de sede et exaltavit humiles. Esurientes implevit bonis et divites dimisit inanes, Suscepit Israel puerum suum recordatus misericordiæ suæ, Sicut locutus est ad patres nostros, Abraham et semini eius in sæcula. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.
IRVINE BARCLAY THEATRE | 13
My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. For he hath regarded: the lowliness of his handmaiden. For behold, from henceforth: all generations shall call me blessed. For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that fear him: throughout all generations. He hath showed strength with his arm: he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat: and hath exalted the humble and meek. He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel: as he promised to our forefathers, Abraham and his seed, for ever. Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end. Amen. Tallis: Tunes for Archbishop Parker’s Psalter Man blest no doubt who walk’th not out In wicked men’s affairs, And stand’th no day in sinner’s way Nor sit’th in scorner’s chairs: But hath his will in God’s law still, This law to love aright, And will him use, on it to muse, To keep it day and night. Let God arise in majesty And scattered be his foes. Yea, flee they all his sight in face, To him which hateful goes. As smoke is driv’n and com’th to naught, Repulse their tyranny. At face of fire, as wax doth melt, God’s face the bad must fly. Why fum’th in fight the Gentiles spite, In fury raging stout? Why tak’th in hand the people fond, Vain things to bring about? The Kings arise, the Lords devise, In counsels met thereto, Against the Lord with false accord, Against His Christ they go.
14 | IRVINE BARCLAY THEATRE
O come in one to praise the Lord And him recount our stay and health. All hearty joys let us record To this strong rock, our Lord of health. His face with praise let us prevent; His facts in sight let us denounce, Join we, I say, in glad assent. Our psalms and hymns let us pronounce. Even like the hunted hind The waterbrooks desire, E’en thus my soul, that fainting is, To thee would fain aspire. My soul did thirst to God, To God of life and Grace. It said e’en thus: when shall I come To see God’s lively face? Expend, O Lord, my plaint of word In grief that I do make. My musing mind recount most kind; Give ear for thine own sake. O hark my groan, my crying moan; My King, my God thou art, Let me not stray from thee away, To thee I pray in heart. Why brag’st in malice high, O thou in mischief stout? God’s goodness yet is nigh All day to me no doubt. My tongue to muse all evil It doth itself inure. As razor sharp to spill, All guile it doth procure. God grant we grace, he us embrace. In gentle part bless he our heart. With loving face shine he in place. His mercies all on us to fall. That we thy way may know all day, While we do sail this world so frail. Thy health’s reward is night declared, As plain as eye all Gentiles spy. Come Holy Ghost, eternal God, Which dost from God proceed; The Father first and eke the Son, On God as we do read.
Byrd: Ye sacred muses Ye sacred Muses, race of Jove, whom Music’s lore delighteth, Come down from crystal heav’ns above to earth where sorrow dwelleth, In mourning weeds, with tears in eyes: Tallis is dead, and Music dies. Byrd: Tribulationes civitatum Tribualtiones civitatum audivimus quas passae sunt, et defecimus. Domine ad te sunt oculi nostri, ne pereamus. Timor et hebetudo mentis cecedir super nos, et super liberos nostros: ipsi montes nolunt recipere fugam nostram. Domine, miserere. Nos enim pro peccatis nostris haec patimur. Aperi oculos tuos Domine, et vidi afflictionem nostram.
Fear and confusion have fallen upon us, and upon our children: even the mountains offer us no refuge. Lord, have mercy. For it is because of our sins that we are suffering these things. Open thine eyes O Lord, and behold our affliction. Byrd: Vigilate Vigilate, nescitis enim quando Dominus domus veniat, sera an media nocte an gallicantu, an mane. Vigilate ergo, necum venerit repente, inveniat vos dormientes. Quod autem dico vobis omnibus dico: Vigilate. Watch ye alway, for that ye know not at what hour the Lord will come again: eventide, or haply at midnight, or at the cockcrow, or morning. Watch ye therefore alway, lest if suddenly he cometh he findeth you then sleeping. What then I say unto you, I say unto all: Watch ye alway.
We have heard of the trials which the cities have suffered, and have lost heart. Our eyes are fixed on thee O Lord, and do not wander.
about
the tallis scholars
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serve the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which the Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 70 concerts each year. The group continues to commission living composers and gave the world premieres of
two works written for 40 voices, I Have Thee by the Hand, O Man by Robin Walker and When the Wet Wind Sings by Errollyn Wallen. In January 2006, they premiered Sir John Tavener’s Tribute to Cavafy (the full realization of In the Month of Athyr, the work he wrote for their 25th anniversary), narrated by Vanessa Redgrave. Much of The Tallis Scholars’ reputation for their pioneering work has come from their association with Gimell Records, set up by Peter Phillips and Steve Smith in 1980 solely to record them. Recent and future engagements include hugely successful tours of Australia, the US and Japan and multiple performances across Europe, highlights of which include performances at the BBC Proms, the Edinburgh Festival and the Moscow Pushkin Museum. In 2005, Peter Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture, a decoration intended to honor individuals who have contributed to the understanding of French culture in the world. www.thetallisscholars.co.uk | www.peterphillips.info | www.gimell.com. IRVINE BARCLAY THEATRE | 15
about the
director
Peter Phillips has made an impressive if unusual reputation for himself in dedicating his life’s work to the research and performance of Renaissance polyphony. Having won a scholarship to Oxford in 1972, Peter Phillips studied Renaissance music with David Wulstan and Denis Arnold, and gained experience in conducting small vocal ensembles, already experimenting with the rarer parts of the repertoire. He founded the Tallis Scholars in 1973, with whom he has now appeared in over 1600 concerts and made over 50 discs, encouraging interest in polyphony all over the world. As a result of his work, through concerts, recordings, magazine awards, publishing editions of the music and writing articles, Renaissance music has come to be accepted for the first time as part of the mainstream classical repertoire. Apart from the Tallis Scholars, Peter Phillips continues to work with other specialist ensembles. Amongst others he has appeared with the Collegium Vocale of Ghent, the Netherlands Chamber Choir, the Choeur de Chambre de Namur, the Finnish Radio Choir, Musix of Budapest, the Studio de Musique ancienne de Montreal, and numerous others around the world. Peter also works extensively with the BBC Singers with whom he gave a Promenade concert, in collaboration with the Tallis Scholars, from the Royal Albert Hall in July 2007, which was broadcast live and attended by over five thousand people. He gives numerous master-classes and choral workshops every year around the world and is also artistic director of the Tallis Scholars Summer Schools – annual choral courses based in Oakham (UK), Seattle (USA) and Sydney (Australia) dedicated to exploring the heritage of Renaissance choral music, and developing a performance style appropriate to it as pioneered by the Tallis
16 | IRVINE BARCLAY THEATRE
Scholars. Peter has recently been appointed director of music at Merton College, Oxford, where the new choral foundation he helped to establish began singing services in October 2008. In addition to conducting, Peter Phillips is wellknown as a writer. For many years he has contributed a regular music column (as well as one on cricket) to The Spectator. In 1995, he became the owner and publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549–1649, was published by Gimell in 1991, while his second, What We Really Do, an unblinking account of what touring is like, alongside insights about the make-up and performance of polyphony, was published in 2003. Peter Phillips has made numerous television and radio broadcasts. Besides those featuring the Tallis Scholars (which include live broadcasts from the 2001, 2003, 2007 and 2008 Proms, the 2007 Edinburgh Festival, the Aldeburgh Festival and the Bath Festival), he has appeared several times on the BBC’s Music Weekly and on the BBC World Service, on Kaleidoscope (BBC Radio 4), on Today (BBC Radio 4), National Public Radio in the US and on German, French and Canadian radio, where he has enjoyed deploying his love of languages. In 1990, ITV’s The South Bank Show featured Peter’s “personal odyssey” with the Tallis Scholars; while in 2002, they made a special television documentary for the BBC about the life and times of William Byrd. In 2005, Peter Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture, a decoration intended to honor individuals who have contributed to the understanding of French culture in the world. In 2006, his song-cycle for contralto, Four Rondeaux by Charles d’Orleans, premiered in the Guggenheim, New York, to critical acclaim. Peter’s personal website is at www.tallisman.wordpress.com | www.tallisscholars.co.uk | www.tsss.co.uk.
Irvine Barclay Theatre Board of Directors Patricia L. Murphy Chairman RSM McGladrey, Inc. Francisco J. Ayala Arlene Cheng Bobbi Cox Bobbi Cox Realty Rosemary Cumming Ginny Davies Tony Ellis Citizens Business Bank Morgan Evans Bartel & Evans, LLP Robert Farnsworth Sonnet Technologies, Inc. Sam Goldstein Kurt Hagel Skip Johnson ROHL, LLC Michael A. Kerr Bluestone Communities Leason Pomeroy LP3 Architecture Ryan Rieches RiechesBaird Mickie L. Shapiro Gary Singer O’Melveny & Myers Cheryl Trosky Lisa Bhathal Vogel RAJ Manufacturing Representatives City of Irvine Mary Ann Gaido Sean Joyce Rick Paikoff Representatives UCI Mike Clark Alan Terricciano Ex Officio Sukhee Kang Mayor, City of Irvine Michael V. Drake, M.D. Chancellor, UCI
welcome Dear Patron: On behalf of the theatre’s Board of Directors and its staff, let me wish you and yours a happy holiday season. We are midway through Irvine Barclay Theatre’s 20th season. The special 20/20/20 program (20th season, 20 featured events, all priced in the $20’s) has been particularly well-received. During the holiday season, from Thanksgiving through Christmas Eve, Irvine Barclay Theatre will present or be host to programs ranging from philosopher-daredevil, Philippe Petit; the sublime London choral ensemble, Tallis Scholars; an Irish Christmas concert organized by Kerry Records; a fund-raising recital by the incomparable Yo-Yo Ma; to the traditional, always appreciated The Nutcracker, this year produced by Orange County’s Festival Ballet Theatre. In fact, we expect to welcome nearly 20,000 audience members during this period. The year 2010 – we wish you all the best in the New Year – will bring some extraordinary international music and dance; folk, New Orleans jazz, cabaret, classical and classic rock; and a series of top-tier contemporary dance. Please take one of our brochures with you. However, before the end of 2009, we hope that you will consider a gift of whatever amount to the theatre’s Annual Fund for Excellence. This fund enables us to provide our audiences and patrons with the quality and imaginative range of programming for which we are known. We have a calling campaign in progress. You may go to our website at www.thebarclay.org to make a contribution. Write us. Telephone us. Your gift to us becomes a gift to our community. Sincerely,
Douglas C. Rankin President Irvine Barclay Theatre IRVINE BARCLAY THEATRE | 1
Irvine Barclay Theatre gratefully acknowledges the following individuals and businesses for their contributions to the Annual Fund for Excellence. Tax-deductible gifts to the fund assist the Barclay in presenting a wide range of artists of the highest standards, keeping ticket prices affordable, and delivering ArtsReach programs to young people throughout Orange County. The following list of names reflects contributions made within the past twelve months. Add your name to the list of donors supporting Irvine Barclay Theatre’s Annual Fund for Excellence. For more information, or to make a gift, please call us at (949) 854-4607.
Bravo Barclay Presenting Sponsor $10,000 and above Drs. Francisco & Hana Ayala George & Arlene Cheng & the Cheng Family Foundation City of Irvine Marc Crane & Erika Dadura Bobbi Cox Ginny Davies Anne C. Earhart Haskell & White, LLP Human Kind Philanthropic Fund The Maloney Family, in loving memory of Hal Maloney Miracle Foundation Fund Patricia L. Murphy National Endowment for the Arts Pacific Life Foundation Rohl, LLC – Ken & Amber Rohl Ronald M. Simon Family Foundation Cheryl & Ben Trosky University of California, Irvine Wells Fargo Foundation Bravo Barclay Partner $5,000-$9,999 The Allergan Foundation Ford Motor Company William Gillespie Foundation Steve & Dee Dee Jones Kari & Michael Kerr Frank Lynch Marjorie T. Rawlins Michele Rohé Lynda Thomas Bravo Barclay Benefactor $2,500-$4,999 Anonymous The Beall Family
Lydia Yang Chou & Michael Sanders New England Foundation for the Arts Karen McCulley Leason & Marlene Pomeroy Smith-Walker Foundation Linda I. Smith Foundation Target Stores Mr. Edward Vogel & Mrs. Lisa Bhathal Vogel Bravo Barclay Patron $1,000-$2,499 Anonymous James & Elaine Alexiou Mr. and Mrs. Rick Aversano Caroline Beeson Mr. & Mrs. Richard Bergstrom The Cirila Fund Thelma Friedel Mr. & Mrs. Milton Stanley Grier, Jr. Mary & Tim Harward Traute R. Huycke Barbara & Victor Klein Carl & Pat Neisser Mr. & Mrs. Peter Neptune Tom & Marilyn Nielsen Joy Owens William & Janice Parker Frank & Deborah Rugani Edward & Helen Shanbrom Family Fund Sally Anne & Don Sheridan Dr. & Mrs. Askia Sonyika Richard & Ann Sim Connie & Peter Spenuzza Larry Thomas Lydia & Dennis Tyler Samuel & Alice Vena Judith White Alan & Barbara Wiener Louis & Myra Wiener
Encore Circle Enthusiast $250-$999 Anonymous Larry & Phyllis Agran Wylie & Bette Aitken John W. Ballantyne Gregory Bates & Joann Leatherby Alexander Bhathal Kimberly Carter John Coyne Mary Ann Desmond & Bill McKee Roger du Plessis Rad & Toni Dwyer Eric & Xinia Erickson Manu Joseph Nathaniel & Sally Kurnick Helen & Fritz Lin Albert & Diana LoSchiavo Charles & Michelle Moore Bruce & Esmeralda Ogilvie Erica Pardun Douglas Rankin & Leila Palmer Gary & Melanie Singer John Sorich Dr. Simon & Seta Tchekmedyian
IRVINE BARCLAY THEATRE | 17
ENCORE CIRCLE SUPPORTER $100–$249 Oscar R. Aguirre Anonymous Corinne Akahoshi & Daniel Futterman Chris G. Alexander Charlotte & Richard Alexander Nick & Sue Alexopoulos Joyce Allison Martha Alvarado Martin & Jennifer Lee-Anderson Nora & Faustino Armenta Marian & Alexander Armstrong Debbie Aslanian Thomas & Linda Bacon Robert & Delphi Ballinger Rivka Barasch Viki Barie Jessica Barkley Karin & Ronald Beard Larry Beaty Dr. and Mrs. Nicholas Begovich Alan & Linda Beimfohr Ronald Belkin Mr. & Mrs. Dwayne Bellow & Family Sally & Paul Bender Chuck & Tina Benson Vahe & Betty Bereberian Catherine Bergel Honorable Marian Bergeson Richard H. Bigelow Alan & Anne Block Mr. & Mrs. J. Michael Brennan William Brennan Randall & Andrea Brown Donna & Jon M. Brownell J.Herbert & Phoebe Brownell Douglas T. Burch,Jr. David Burkett James W. Burns Nancy L. Caldwell Laverne J. Carbone H. C. Carpenter Bruce & Michelle Carter Ruth Casteel Maria Theresa Cerna Susan & Ronald Channels Mr. & Mrs. James Chronley Gay Lynn Clasen Marjorie & David Cleugh Robert J. Collar William Compton & Mailoan Le 18 | IRVINE BARCLAY THEATRE
Michael Connolly Karen A. Cooper Pamela Courtial Mrs. Joan C. Crisci Madeleine & Alan J. Crivaro Lynn & Joseph Cundall-Hintz Hilary Davis & Dr. Sandy Ratner Phil & Gina deCarion Rui & Isabel De Figuairedo Arturo & Domna Del Rio Elaine & Jack Delman Joan Donahue Patrick & Paula Donahue Milena M. Dostanich Maureen Downes & Gregoryu Kiraorowicz Don & Linda Dressler Rosemary & Alan Dugard Dr. James E. & Yuno K. Dunning Joel & Melanie Durst Gretchen & John Elg Christin & David Ellis David Falconer Ron & Jeanette Fernandez Barbara & Bill Ficker Nancy Field Daniel & Kim Fitzgerald Dr. & Mrs. John E. Fleming Susan M. Fountain Roberta Fox Suzanne & Michael Fromkin Elizabeth Fruth Heather Fuller Laurel Vest Funk Galeos Dressings Rachel Gamby & Hugh Roberts Raul Garcia & Susan Fallon Jean Gardner & Philip Boos Marcella Gilmore Steven Ginn S. Glass Family Robert & Jeannette Goeke Ben & Sandie Goelman Cris & Kristen Gonzalez June Grade & Joe Torneo Janice & Raymond Grant Robert & Margaret Green Linda & George Greene Max & Carol Greenwald Anita Gregory Sanjiv & Geeta Grover Hadley & Webb Christina Hansen & Bill Pulaski Jim & Berri Harris Mr. & Mrs. Charles R. Hartman III
Hayden Design, Inc. Richard Holder & Barbara Dresel Juliann Holmes Daniel & Nicole Honigman Andrew & Pamela Horowitz The Howe Family Lesli Hughes Regina M. Hunsaker David & Lynn Isrealsky Dennis & Irene Iverson Gary & Linda Jackson Laurie Jacobs Nilda Jara Mark & Sharon Jillson Douglas E. Jones Bob & Pat Jones Judy & Terry Jones Clyde & Tobi Kaplan Fred Karam Joel & Jennifer Katz Judy Kaufman Raouf Kayaleh William H. Keiser Mr. & Mrs. Van R. Kelsey III Sharo Khastoo Merv Kim Russell Kitagawa Wayne & Diane Kopit Henry Korn Virginia Koury Arthur S. Kroll Solly & Beth Krom Cecilia Lance Vicki & Richard Lee Tom & Terry Lee Susan Leinderger Avi & Karen Lev Paul & Sue Liles Mr. Lloyd L. Freeberg & The Honorable Wendy S. Lindley Anne Llewellyn Janet Loranger R. Duncan Luce Larry Lukanish Serah Lukoff Jack Lyons Robert & Patricia MacDonald Andrea & James Maginn Flo Martin Carol & Ted Martin Scott & Nicole Mather Molly McCray Richard McDonough Christina McKinley Kristy & Danny Melita
Janet & Mark Merryfield June & Miles Merwin Janet & Timothy Metzger Shamsi & A. Michael Moheimani Charles & Michelle Moore Mr. Moreno Dr. R. Bruce & Michelle Moricca Hiroko & Yoshiharu Moriwaki William Morrow Glenn Murray Harish Murthy & Ramya Harishankar Albert Murtz Reiko & Mitsuhiko Nakano Neurocare, Inc. Helen Nicholas Anne B. Nutt Wanda & John O ’Brien Bruce & Esmeralda Ogilvie Mikel & Gail Olds Mrs. Kim L. Olenicoff James Olney & Laura O’Connor Christian & Darcie Olson Mark Ou William Owen Nicholas Pardon Thomas Paris & Lauren Smith Shelley & Stephen Pate Jeff & Sharon Pence Ray Pentz Kira Perov The Petersen Family Lynn Petersen
Janice & Richard Plastino Melvin & Alfreda Posin Helga Pralle John B. Price Laureen Primmer Martha & Charles Purcell Mary E. Raney Vanna Regner Mary B. Rence Paul & Valeria Ricci Dr. Michael Riley & Jan Riley Stephen Roberts Dr. Stephen M. Rochford Scott & Motoko Roney Nancy Lee Ruyter Michael & Ofelia Saldivar Judith M. Schmidt George Schreyer Jeff & Linda Schulein Linda & Herbert Schwarz Louise Schwennesen Frances Segal & Michael Friedson Alexis Self Patrick & Melody Selitrennikoff Sherri & Bernie Selmanson Margaret & Albert Sepe Ella Serebryannik Diana Serio Hooman Shahidi Nick & Donna Shubin Kathleen & James Sigafoos Dorothea Silavas John J. Silva, Jr.
Keith Simmons Grace & Lewis Slater John Slauson Mr. & Mrs. John L. Smith Dorothy T. Solinger Diane Stovall Ingrid Strayer John & Monica Sullivan Ahmad & Carolyn Tajik Dorothy & Lloyd Taylor Nancy T. Thorne Andrew & Camerone Thorson Johanna C.Tilley Eric Tobiessen Gary & Peranza Topjon Sylvia Turner Mansoor & Gitty Vakili Jerre & Joan Van Gorder Kathy Vickers & Jeremy Freimund Emily Vogler & Daniel Flynn Kim Waterson Stanley & Edda White Diane Wick Carlos & Peggy Williams Alexandria Wilson John S. Wilson Dr. Jennifer Lynn Wong Charles & Marilyn Wright Theresa & Chao Yu Magshid Zahed Zigmund Zeamonster
IRVINE BARCLAY THEATRE | 19
Ticket Services Monday through Friday from 10am until 6pm; Saturday and Sunday from noon until 4pm. On days of a performance, the box office remains open through intermission. MasterCard, VISA, American Express, and Discover accepted. Phone Online Ticketmaster
(949) 854-4646 www.thebarclay.org (714) 740-7878 (213) 365-3500 www.ticketmaster.com [TM surcharges will apply]
Children We welcome children. However, not all of our events are appropriate for small children. A paid ticket is required for everyone entering the theatre, including infants and children. The box office can provide advice regarding an event’s suitability for children. Theatre Tours Backstage tours of the Barclay are offered through the theatre’s ArtsReach program. For information, or to reserve tours for schools or community groups please call (949) 854-4193.
Late Seating To prevent disruption of a performance in progress, latecomers or patrons who have not entered the theatre when the performance begins will be asked to wait in the lobby until there is a suitable interval in the performance to accommodate late seating.
Irvine Barclay Theatre Online Get the latest information on what’s happening at Irvine Barclay Theatre. Join the Barclay’s E-list to receive email updates and special discount offers on selected events. Go to the Barclay’s website at www.thebarclay.org or email us at info@thebarclay.org.
Ushers Ushers are located at each auditorium entrance and at designated stations in the lobby. Please consult an usher if you need assistance. If you are interested in joining the usher staff, please contact the Patron Services Manager at: (949) 854-4193; Main@thebarclay.org.
Administration Douglas C. Rankin, President Domenick Ietto, Vice President Christopher Burrill, General Manager Karen Drews Hanlon, Director of Communications Gary Payne, Director of Finance Luanne Bauer, Box Office Manager Jeremy Bolnick, Assistant Production Manager Helena Danovich, Marketing Assistant Ginny Hayward, Assistant to the President Ryan Main, Patron Services Manager Brianna Sparks, Assistant Box Office Manager Jeff Stamper, Production Manager
Parking Public parking is provided for a fee in the structure located at the corner of West Peltason and Campus Drive. Facilities Restrooms are located on the main lobby level near the box office. Drinking fountains are located on either side of the main lobby staircase and on the second level. Listening Devices Listening devices for amplifying stage sound are available at the concessions counter free of charge.
Cellular Phones, Beepers, Watch Alarms As a courtesy to all patrons, please turn these units to off or non-audible before the performance begins. Cameras and Recording Equipment The taking of photographs or use of any mechanical or digital recording devices is strictly prohibited.
20 | IRVINE BARCLAY THEATRE
Advertising OnStage Publications (937) 424-0529 | (866) 503-1966 e-mail: korlowski@jusbiz.com www.onstagepublications.com This program is published in association with OnStage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. OnStage Publications is a division of Just Business, Inc. Contents ©2009. All rights reserved. Printed in the U.S.A.