Marin Symphony Program 2014/2015 Issue 2

Page 1

M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR

Love it LIVE! 14/15 S E A S O N

MS 60 YO

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M S

M A R I N SY M P HONY ALASDA IR NE ALE

| MUS IC DIRECTOR

Contents 07 Thanks for a great season 09 Orchestra 13 Leadership 17 Youth Education Programs

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19 MASTERWORKS 3: Eight Seasons 23 Featured Artist: Jeremy Constant 24 Q&A with Jeremy Constant 31 MASTERWORKS 4: Intersections 39 Youth Orchestra 40 MSYO Music, Memories, and More! 48 Up Close and Musical 62 Donor & Sponsor Appreciation 66 Encore Society 67 Support & Sponsorship 68 Season Sponsors

MS 60 YO

31

69 Hear & Now 15/16 Season Preview 70 Advertisers & Sponsors

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Celebrate Marin Best Bets | Lib at Large Film & Theater | Dining & Food Events Calendar | Sports and more! C1

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Contact us Vicki Larson, Plus Life, vlarson@marinij.com; Derek Arild, Plus Sports, darild@marinij.com

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By Ed Yevelev eyeveley@marinij.com @marinij on Twitter

It’s every hurdler’s nightmare scenario, and Monica Bi was glad she experienced it early. Now a Tam High senior standout, she looks back and laughs at her own moment — a miscalculated timing and jump, leading to a face-ďŹ rst fall onto the track during a practice. “I ate it really really hard,â€? she joked. “But it wasn’t that bad. It was actually kind of good that it

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happened.� Bi said it was helpful in removing some nervousness — something she has rarely shown in attacking the hurdles for the past four years. A top MCAL contender in both the 100 and 300 races this spring, Bi is known not just for her consistent performance, but also her bubbly, fun-loving personality — even in the tensest of races. Hurdler Monica Bi puts on her shoes at practice on Tuesday, Apr. 15, 2014, at Tamalpais High School in Mill Valley, Calif. (Frankie Frost⠄Marin Hurdler Monica Bi puts on her shoes at practice on Tuesday, Apr. 15, 2014, at Tamalpais High School in Mill Valley, Calif. (Frankie Frost⠄Marin Independent Journal) Frankie Frost “She’s always the one breaking that tension. She always brings

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Staff, Board & Contributors

OFFICERS Dr. Frances L. White President and Chair Peter L. H. Thompson Immediate Past President

ARTISTIC Alasdair Neale Music Director Stephen McKersie Chorus & Chamber Chorus Director Ann Krinitsky Youth Orchestra Director Anne Lerner-Wright Overture String Ensemble and Crescendo Orchestra Director Debra Chambliss Marin Symphony Children’s Chorus Director

ADMINISTRATIVE Jeff vom Saal Executive Director Angela Colombo Director of Development Dianne Provenzano Director of Marketing & Sales Marty Eshoff Director of Operations & Finance Nuri Kye Patron Relations & Administrative Coordinator Craig McAmis Orchestra Personnel Manager Drew Ford Music Librarian Andrei Gorchov Youth Programs Administrator Deborah Walter Accountant

Steven Machtinger* Vice President Jim Finkelstein Vice President Judith Walker Secretary Renee Rymer Treasurer

BOARD OF DIRECTORS Shirin Aryanpour Mary D’Agostino Otis Bruce, Jr. Lynn Callender Jenny Douglass* Joanne Dunn Renee Froman* William J. Glasgow Stephen Goldman Greta Hoversten

Sandra Hoyer Catherine Munson † Erica Posner* Elizabeth Prior* Mary Rabb Dr. Hannelore Rodriguez-Farrar Marty Rubino Stacy Scott Dr. Beth Seaman Sally Shekou *Orchestra Member

EMERITUS Louis Bartolini Marge Bartolini Jim Boitano Crawford Cooley Donald Dickey Alfred Heller Grace Hughes Ronald Johnson Stafford Keegin Alice T. May Gloria Miner Elizabeth Mulryan David Poff Hugo Rinaldi Madeleine Sloane

Season Preview and subscription dates on page 69!

WEEKLY VOLUNTEERS James Levine, Phyllis Mart, Jan Mettner, Gloria Miner, Peri Sarganis, Judith Purdom

PROGRAM BOOK CREDITS Designer/Editor: James Anderson Advertising Sales: Big Cat Advertising Printer: Unicorn Print/Mail Cover photos: Alasdair Neale, © Eisaku Tokoyama, Jeremy Constant, © Peter Rodgers Mason Bates, © Todd Rosenberg

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Love it LIVE! 14/15 S E A S O N

So much to celebrate… As we enter the final half of our 62nd season, we are proud to look back on our accomplishments thus far. This year, we embarked on a bold mission to connect with more music lovers than ever before. Between our wildly successful 2nd annual Waterfront Pops Concert in September and our first ever In-School Residency Program, the Marin Symphony has entertained, educated and enriched the lives of more people in one year than at any other point in our history. Our Waterfront Pops, Hooray for Hollywood concert reached more than 3,000 people – our biggest single audience ever! We believe our Waterfront Pops concerts bring the community together and allow us to relax and celebrate life in beautiful Marin. It has already become a beloved tradition for many folks and we hope it will continue with the support of patrons like you. We also welcomed renowned cellist, Zuill Bailey, to Marin Schools as part of our first ever extensive In-School Residency Program. During his visit, Zuill was able to inspire more than 2,200 students at 17 schools over seven days. He not only performed and spoke to students about the beauty and value of music in their lives, but he provided expert instruction to high school music students. The positive feedback from teachers and parents was overwhelming. Of course the program is designed to connect young people with classical music but we are so gratified to know it’s truly working. (Read more about Zuill’s visit on page 48.) We wrap up our 62nd season with two more Masterworks concerts. Our Masterworks 3 concert: Eight Seasons features Jeremy Constant who has been our beloved concertmaster for 20 years now. He celebrates this anniversary with what will surely be an unforgettable solo performance. (Read more about Jeremy on page 23.) Our Marin Symphony Youth Orchestra is also celebrating 60 years this season and we couldn’t be more proud as they take the stage alongside their orchestra counterparts in our Masterworks 4 concert: Intersections. This concert also showcases our Marin Symphony Chorus and the incomparable electronica composer, Mason Bates, in what is sure to be a phenomenal finale. It’s been a great season with so much to celebrate. And it wouldn’t have been possible without the support of individual and corporate donors like you. Unfortunately, we still have challenges ahead. If you enjoy your experience tonight and you have not yet donated this year, I encourage you to use the envelope in this program and contribute as much as you can. Your support means the world to us. (Learn more about how you can support the Marin Symphony on page 67.) I hope you enjoy tonight’s performance and then join us next year too. Our 2015/2016 Season is shaping up to be a fantastic year of programming designed to showcase the incredible talent of your Marin Symphony. I hope to see you there! With gratitude,

Jeff vom Saal Executive Director

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Orchestra Personnel VIO L IN I Jeremy Constant Concertmaster The Catherine Munson Chair Philip Santos Assistant Concertmaster Mark Neyshloss Assistant Principal Sergi Goldman-Hull Acting Assistant Principal The Schultz Family Chair In Honor of Niels Schult z Emanuela Nikiforova Valerie Tisdel Claudia Fountain Brooke Aird Cindy Lee Van Chandler VIO L IN I I Peggy Brady Principal (on leave) Karen Shinozaki Sor Acting Principal Evelyn Kwark Assistant Principal Dennie Mehocich* Kathryn Marshall Renee Froman* Joyce Lee Tao Nordlicht Tara Flandreau* Carla Lehmann Michelle Maruyama Akiko Kojima Thomas Yee

CEL L O Jan Volkert* Principal Nancy Bien-Souza Assistant Principal Louella Hasbun David Wishnia Kelley Maulbetsch Elizabeth Vandervennet Isaac Melamed Robin Bonnell Adele-Akiko Kearns Erica Posner* BAS S Robert Ashley Principal Richard Worn Assistant Principal Pat Klobas Andrew Butler William Everett Andrew McCorkle FL U T E Monica Daniel-Barker Principal Katrina Walter, Piccolo OBOE Margot Golding Principal Laura Reynolds English Horn

VIO L A Jenny Douglass Principal The Elsie Rigney Carr Chair Elizabeth Prior Assistant Principal The Constance Vandament Chair Jennifer Sills Meg Eldridge Darcy Rindt Betsy London Oscar Hasbun Dan Kristianson Steven Machtinger Ann Coombs-Kenney

CL ARI N ET Arthur Austin Principal The Jack Bissinger & Robert Max Klein Chair Larry Posner The Tom & Alice May Chair Douglas Fejes Bass Clarinet

PHOTO © PETER RODGERS

ORCH ES TRA

HORN Darby Hinshaw Principal Nicky Roosevelt Meredith Brown Loren Tayerle TR UM PET John Freeman Principal James Rodseth Catherine Murtagh TR OM BONE Bruce Chrisp Principal Craig McAmis Kurt Patzner Bass Trombone TUBA Zachariah Spellman Principal TIM PANI Tyler Mack Principal PERCUSSION Kevin Neuhoff Principal Ward Spangler HARP Dan Levitan Principal PERSONNEL M ANAGER Craig McAmis LIBRARIA N Drew Ford SA NDOR SALGO Music Director Laureate Posthumous CHARLES M EACHA M Concertmaster Emeritus Posthumous

* Former member of Marin Symphony Youth Orchestra

BAS S O O N Carla Wilson Principal Karla Ekholm David Granger Contrabassoon

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is proud to support

Marin Symphony

Just off Highway 101 on Sir Francis Drake Blvd. in Greenbrae

AR TI S TI C LEADERS H I P

PHOTO © EISAKU TOKUYAMA

San Francisco Symphony in widely praised performances of Mahler’s Fifth Symphony in Germany. His most recent appearance with that orchestra was in February 2007 when he replaced an indisposed Carlos Kalmar to lead the San Francisco Symphony in successful subscription performances.

Alasdair Neale, Music Director There’s nothing like experiencing live classical music played by our Marin Symphony under the leadership of Maestro Alasdair Neale. This is his 14 th season leading our orchestra and he has taken the musicians progressively to higher levels of excellence over the past decade. He’s one of the leading Bay Area conductors and a champion of youth education initiatives. Maestro Neale has made appearances on many of the world’s stages with renowned orchestras and soloists. Music Director Alasdair Neale began his tenure as Music Director of the Marin Symphony in 2001. He also holds the positions of Music Director of the Sun Valley Summer Symphony and Principal Guest Conductor of the San Francisco Conservatory of Music. Mr. Neale’s appointment with the Marin Symphony followed 12 years as Associate Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. During that time he conducted both orchestras in hundreds of critically acclaimed concerts both here and abroad. In 1999, he substituted for an ailing Michael Tilson Thomas, conducting the

In his twenty years as Music Director of the Sun Valley Summer Symphony, Mr. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. He has brought many celebrated guest artists to these annual events. In March 2002, to enthusiastically positive reviews, Mr. Neale collaborated with director Peter Sellars and composer John Adams to open the Adelaide Festival with a production of the opera El Niño. In April 1994, he conducted the San Francisco Symphony in the world premiere of Aaron Jay Kernis’ Colored Field, featuring English horn player Julie Ann Giacobassi. In 1993, the American Symphony Orchestra League named him a Leonard Bernstein American Conducting Fellow, and he led the New Jersey Symphony in a concert at the League’s annual conference. Alasdair Neale maintains a most active guest conducting schedule, both nationally and internationally. His recordings have been released by Arco/Decca and New World Records. Alasdair Neale holds a Bachelor’s degree from Cambridge University and a Master’s from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in San Francisco.

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Congratulations to Marin Symphony for 62-plus years of outstanding performances! The County of Marin is proud to be a sponsor of this Pops concert. Music isn’t the only thing moving outdoors on the Marin Civic Center campus. Explore and enjoy the recent enhancements to the new disabledaccessible plaza in front of the Marin Veterans Memorial Auditorium, which make it much easier to move around. And there are more upgrades on the way. In the next few years, you’ll see better sidewalks, bus stops, bike lanes and aesthetic accents along Civic Center Drive as we prepare for the new SMART train. You can also look forward to exciting changes from another Civic Center partner, the Marin County Farmers Market, as its staff works on plans for a permanent site for the market. All of these moves are designed to complete the mission of Frank Lloyd Wright, the famed architect who designed our National Historic Landmark. Even after the Pops concert ends, the sound of change at the Civic Center will be sweet music to our community.

LEADERSH I P Dr. Frances L. White Board President Dr. Frances L. White, Superintendent/President Emerita and a community college educator for 33 years, retired as Superintendent/President of the Marin Community College District in June 2 010. Previously, she served five years as President of Skyline College in San Bruno, California. Her administrative experience in community colleges covers a variety of roles including serving as the Executive Vice Chancellor at City College of San Francisco and the Interim Chancellor of the San Jose/ Evergreen Community College District. Dr. White has a Ph.D. in education administration from the University of California at Berkeley, a master’s degree in counseling psychology and a bachelor’s degree in psychology from the California State University at Hayward. As a professional, Dr. White has served on numerous local, state and national boards, commissions and committees. She is the statewide recipient of the 2 010 Harry J. Buttimer Distinguished Administrator Award in the California Community Colleges and was named “Women in Business: Education Leader of 2009” for the North Bay Business Journal. Dr. White currently serves as a lecturer in the Ed.D. Education Leadership Program at San Francisco State University, and is a founding adjunct faculty member of the program. She also works as a CEO search consultant for community colleges; as well as a consultant in strategic planning, organizational review and accreditation management for large and small community colleges. She currently serves as the president and chair of the Board of Directors for the Marin Symphony Association; and she is a board member for the San Rafael Rotary. She is the author of several publications on educational leadership and lives in Marin with her husband, Harley.

Jeff vom Saal Executive Director Jeff vom Saal was appointed Executive Director of the Marin Symphony Association in July 2012. A native of upstate New York, Jeff began playing the trumpet at age four. Jeff attended and graduated from the New England Conservatory of Music in Boston, Massachusetts, and studied with Peter Chapman and Charles Schlueter, members of the Boston Symphony Orchestra at the time. After graduating from the New England Conservatory of Music in Boston, Massachusetts in 2001, Jeff became interested in arts administration. His first orchestra job was as Executive Director of the Metrowest Youth Symphony Orchestra in Framingham, Massachusetts. In 2005, Jeff and his family moved to Fargo, North Dakota, where he was the Executive Director of the Fargo-Moorhead Symphony. In 2007, Jeff was asked to assume the leadership of the Quad City Symphony Orchestra, which he did until his move to California this past summer. During his tenure with the QCSO, season ticket sales increased every year, educational programs grew, and the organization expanded the number and style of concerts significantly.

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Where great music comes to life.

Mountain Play

Exclusive Benefit Performance

Peter Pan Saturday May 23, 2015 2:00 p.m.

Tickets are $45 for adults, $30 for children 4-18. Pack your picnic, park on the mountain and pick the best seat!

See the Show and Support Your Symphony! marinsymphony.org/mountainplay

Enjoy a Classical

Island of Sanity

PHOTO © PETER RODGERS

Marin Symphony Youth Orchestra, A Day in the Studio, recording at Skywalker, November, 2 013

Youth & Education Programs Celebrating 60 years connecting our communities to the future of live music... Marin Symphony Youth and Music Education Programs are at the heart of our mission to foster the dreams and aspirations of young musicians. Exposing young people early and continuing to engage them is one of the best ways to ensure that the next generation develops a love of music. Multiple programs are designed to teach and inspire both young musicians and future concertgoers. Marin Symphony Youth Orchestra has been providing gifted young musicians ages 12 18 an opportunity to be a part of our orchestra community since 1954. Directed and conducted by Ann Krinitsky, the orchestra performs winter and spring concerts and special Sit-In concerts at local schools, where younger students sit amidst the Youth Orchestra during the performance. Marin Symphony Crescendo is designed for intermediate students, teaching young musicians standard orchestral ensemble techniques and musicianship. Led by Anne Lerner-Wright, the program is a stepping stone to the Marin Symphony Youth Orchestra.

Questions? Contact us! Andrei Gorchov, Youth Programs Administrator 415.479.8105 or yo@marinsymphony.org.

Marin Symphony Overture String Ensemble is designed for beginning students, teaching aspiring young musicians orchestral ensemble techniques and musicianship. This program, led by Anne Lerner-Wright, helps prepare young musicians for the Marin Symphony Crescendo Program and Youth Orchestra. Symphony@Schools brings guest artists and Symphony musicians into classrooms where kids interact with the performers. Symphony@ Schools also provides tickets to Marin Symphony performances, giving young people and their families a chance to experience the sound of a full orchestra playing live in the concert hall. A day in the studio at Skywalker... Marin Symphony Crescendo and Youth Orchestras will again spend a day in the studio at Skywalker this November. The priceless experience provides an opportunity for members to hone their skills and perform at a live recording session. Side-by-Side Concert with Marin Symphony Sunday, April 12, 2015 – 3:00 p.m. Tuesday, April 14, 2015 – 7:30 p.m. Spring Concert Sunday, May 10, 2015 Overture Ensemble and Crescendo Orchestra – 3:00 p.m. Marin Symphony Youth Orchestra – 7:00 p.m.

College of Marin’s James Dunn Theatre.

marinsymphony.org • 415 . 4 79.810 0

17

Eight Seasons

Celebrating 20 years as Marin Symphony’s Concertmaster, Jeremy Constant will guide us through a journey exploring Vivaldi’s beloved The Four Seasons as it appears juxtaposed with

The Four Seasons of Buenos Aires by tango master, Astor Piazzolla.

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Where great music comes to life.

M A S T ER WO R K S 3 : E IG HT S EA SONS

Alasdair Neale, conductor Jeremy Constant, violin February 15, 2015 — Sunday at 3:00 p.m. February 17, 2015 — Tuesday at 7:30 p.m.

Vivaldi’s The Four Seasons Piazzolla’s The Four Seasons of Buenos Aires

In celebration of the 20 th Anniversary of Jeremy Constant as Concertmaster of the Marin Symphony Vivaldi Spring

La primavera

Piazzolla Autumn

Otoño Porteño

Vivaldi Autumn

L’autunno

Piazzolla Winter

Invierno Porteño

INTERMISSION Piazzolla Spring

Primavera Porteño

Vivaldi Summer

L’estate

Piazzolla Summer

Verano Porteño

Vivaldi Winter

L’inverno

Ongoing support provided by Clarence E. Heller Charitable Foundation, Ann and Gordon Getty Foundation, US Bancorp Foundation, The Bernard Osher Foundation, Schultz Family Foundation, Italian Street Painting Marin, Rotary Club of Central Marin and George Lucas Family Foundation

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Program 3 Notes February 15 & 17, 2 015 by Jon Kochavi The Four Seasons, Op. 8 ( 1725 )

La primavera (Spring) L’autunno (Autumn) L’estate (Summer) L’inverno (Winter) Vivaldi was among the most prolific and influential composers who ever lived. This was especially true in the realm of the concerto. Vivaldi wrote over 500 during his lifetime, including at least 230 for violin, his own instrument. Antonio Vivaldi (He once bragged that he ( 1678-1741 ) could compose a concerto in less time than it took to copy out an existing score, which was probably not far from the truth!) In many ways, he defined the genre for both his contemporaries and for generations of composers to come. He standardized the three movement fast-slowfast form for concertos and refined the alternating use of ritornello sections (in which the entire orchestra plays a recurring theme) and episodes (usually featuring the solo instrument with contrasting melodic material). The musical connections between the Vivaldi and Piazzolla “concertos” help us understand how forward-looking Vivaldi’s approach to ritornello form really was. Classical and romantic era composers took the ritornello idea and molded it into a sonata form narrative, presenting a story of struggle and resolution through thematic development. But it was the rise of jazz in the 20th century that truly saw the resurgence of the ritornello idea: the full ensemble theme (or “head”) presented at the beginning and end, with instrumental solos appearing in between. Piazzolla leans on both the jazz ritornello structure and the Baroque counterpoint and harmonic progression, making our pairing tonight particularly apt. Unlike the Piazzolla pieces, Vivaldi’s Four Seasons aim not only to capture the essence of each portion of the yearly cycle, but also to convey very specific programmatic elements. Vivaldi published the works in 1725 as part of a collection he entitled Il Cimento dell’Armnia

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e dell’Inventione (“The Conflict between Harmony and Invention”). His goal with these works was to mesh the requirements of concerto form with vivid depictions of poetic stories. The narrative he depicts in each concerto from the Four Seasons was spelled out in four sonnets about the seasons probably written by Vivaldi himself. The music references elements in each poem, which Vivaldi makes clear in the printed score. The first movement of Spring is wonderfully evocative, setting the tone for the set: we hear bird calls, the murmuring of the springs fed by the melting snow, and even rolls of the thunder from the seasonal rains. In the second movement, the gentle melody of the soloist represents the sleeping goatherd, the violins sway as the leaves and plants, and the insistent interjections of the violas evoke a barking dog. The final movement is a springtime country dance.

Autumn opens with what at first seems like a simple stately village dance, but a stumbling drunk throws the proceedings into chaos. Order is only restored when the fellow passes out (listen for the sustained “breathing” in the solo part). The brief middle movement depicts this peaceful sleep, “the great pleasure of sweetest slumber”. Morning has arrived in the third movement, and the villagers go out for a bird hunt. The soloist eventually takes on the role of the doomed bird, and the music briefly turns minor as the gunshots meet their mark. The halting, chromatic opening of Summer is meant to evoke a laziness brought on by the heat. This music alternates with the soloist representing calls of the cuckoo, turtledove, and goldfinch before the winds pick up—the first hints of the coming storm. The middle movement has the accompaniment buzzing with flies and wasps, but also interjecting distant thunder. The storm finally arrives in full fury in the glorious final movement. The icy opening to Winter uses repeated-note figures to alternately represent shivering, teeth chattering, harsh winds, and stomping of feet to keep warm. Pizzicato articulation in the violins in the middle movement represents the drenching rain heard outside from the comfort of a spot indoors by the fire. The sustained tones in the accompaniment of the final movement represent the slick ice as the soloist steps carefully, falling despite. When the sustained tones cutoff, we hear the ice break, and the concerto ends with the return of the winter winds.

Where great music comes to life.

P R O GR A M 3 NOTES : EI GH T S EASONS Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) ( 1965-70, arr. Leonid Desyatnikov, 1996-98 )

Otoño Porteño (Buenos Aires Autumn) Invierno Porteño (Buenos Aires Winter) Primavera Porteña (Buenos Aires Spring) Verano Porteño (Buenos Aires Summer) Like Vivaldi, Argentinian composer Astor Piazzolla was astoundingly prolific, penning an estimated 3000 works, many of which fall under the broad category of the tango, a genre he redefined during his lifetime. After traveling to Paris in Astor Piazzolla ( 1921 – 1992 ) 1954 to study with the legendary Nadia Boulanger, Piazzolla returned to Argentina and embarked on his new path, ultimately changing the face of the tango by ushering in the era of nuevo tango. This approach melded elements of jazz and classical music with the characteristic emotive style of the tango, and introduced new instruments (such as cello, vibraphone, and electric guitar) into the tango ensemble. The cross-over appeal of Piazzolla’s highly original and compelling music has had a strong pull on audiences all over the world.

The Four Seasons of Buenos Aires is actually a compilation and arrangement of four separate tangos by Piazzolla. In the 1990s, violinist and Piazzolla champion Gidon Kremer began asking composers for companion pieces to Vivaldi’s Four Seasons to no avail. Simultaneously, Kremer was delving more deeply into Piazzolla’s large opus and he discovered these four seasonal tangos written for Piazzolla’s tango quintet. He enlisted composer Leonid Desyatnikov to arrange these tangos under the same instrumentation as Vivaldi’s. The new versions of the pieces were completed in 1998 and recorded with Kremer soon thereafter. The four movements of the piece stand on their own, but are often programmed with the Vivaldi as they are for our concert (and as they were in Kremer’s original

release). Desyatnikov added in direct references to the Vivaldi pieces creating a fascinating dialogue. However, rather than quoting, say, Vivaldi’s Winter in Piazzolla’s Invierno (Winter), he chose to quote the opposite season in his arrangements, so we find Vivalidi’s Winter in Piazzolla’s Verano instead. (Note, of course, that “winter” always refers to the coldest season: July/August in Venice, but January/February in Buenos Aires). This choice can be interpreted in various ways. A more standard pairing (winter with winter, summer with summer, etc.) would focus on the varying musical interpretations of a season across centuries. Desyatnikov’s choice emphasizes Vivaldi and Piazzolla’s distance in space, not time: if they both lived during the same period, one would be experiencing summer while the other would be experiencing winter in the other hemisphere. The resulting dialogue between these pieces effectively collapses time altogether; the season is different but the musical voices—in some fundamental ways— are the same. The percussive, scratchy rhythm—created by the violinist playing on the “wrong” side of the bridge— in Otoño Porteño (Buenos Aires Autumn) also appears in the original version of the movement from 1969. The material from this lively opening section returns twice more, and in this way functions as a 20th century update of the Vivaldi ritornello. Interspersed are very free, dreamy solo sections, functioning as accompanied cadenzas. Desyatnikov expands these sections considerably, rewriting them for cello and then violin (replacing the original bandoneon and viola). During the final “ritornello”, Desyatnikov works in a clever reference to the opening of Vivaldi’s Spring in the solo violin line. Invierno Porteño (Buenos Aires Winter) offers an interior view of the season, devoid of the harsh depictions in Vivaldi’s Winter—after all, even the coldest days in Buenos Aires rarely see temperatures below 40oF. The music here is contemplative and nostalgic, with the feel of a musical reliquary of memories. The structure of the movement is rather free (again, quite unlike Vivaldi): sectional and discursive, with wildly varying moods juxtaposed sequentially. One jarring interjection is a heavy-footed dance resembling a Native American ceremony over which Desyatnikov has the soloist play an excerpt from the final movement of Vivaldi’s Summer.

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Program 3 Notes February 15 & 17, 2 015 continued... When a lush version of the first theme of Invierno returns, Desyatnikov accompanies it with the dramatic falling scales from the same Vivaldi movement. The final section is a brief, sunny passacaglia based on Pachabel’s Canon into which Desyatnikov inserts a clever pizzicato reference to the slow movement from Vivaldi’s Winter. Like Vivaldi’s Spring, Desyatnikov’s reworking of Piazzolla’s Primavera Porteña (Buenos Aires Spring) features multiple solo instruments extracted from the larger ensemble, as well as a reappearance of the behind-the-bridge percussive effects from Otoño Porteño. The movement is infectious fun, with Baroque-like counterpoint from Piazzolla’s original score and quickly stumbling downward scales interjected by Desyatnikov from Vivaldi’s Autumn (at the point in the Vivaldi concerto meant to depict the drunkard “glowing with the liquor of Bacchus”). The slower middle section is a sort of shout-out—in style and in melody—to

the slow movement from Vivaldi’s Spring. At the end of the absolutely wild return of the initial section, Desyatnikov includes an aggressive Stravinskian cadenza. As the final note fades away, we hear a faint echo of the opening of Vivaldi’s Autumn in the harpsichord, as if to emphasize the distance traversed on our musical journey today. Verano Porteño (Buenos Aires Summer) comes from a tango Piazzolla wrote as incidental music for the play Melenita de Oro in 1965. Desyatnikov’s arrangement hews closely to Piazzolla’s original, which already seemed to evoke Vivaldi obliquely: heavily accented downbeats push the momentum forward through the use of frequent repetitions following prescriptive harmonic patterns. The ABA, fast-slowfast, pattern was also already in thee 1965 version. Desyatnikov includes direct references to the first movement of Vivaldi’s Winter with perfect insertions at the end of the first A section in the solo violin and at the end of the piece in the entire orchestra. The violin glissandi are much more prominent in Desyatnikov’s version, suggesting the same kind of languor found in the beginning of Vivaldi’s Summer.

it’s playtime.

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Where great music comes to life.

P R O GR A M 3 NOTES : EI GH T S EASONS

Featured artist: Jeremy Constant

PHOTO Š STUART LIRETTE

Violin I, Concertmaster

After winning the Grand Prize in the 1979 Du Maurier competition in Canada, Jeremy studied in New York with Ivan Galamian and then with the great violinist Itzhak Perlman before making the San Francisco Bay Area his home. He became a member of the San Francisco Symphony in 1984, with whom he continues to perform as Assistant Concertmaster. He has been Concertmaster of the Marin Symphony since 1994 and in 2000 was named Concertmaster of the Sun Valley Summer Symphony. He is a frequent soloist with the orchestra and participant in the Edgar M. Bronfman Chamber Series. As an active soloist and chamber musician both here and abroad, Jeremy has performed on radio and television around the world. He was violinist in the San Francisco Piano Trio, and a founding member of the Navarro Trio and Navarro Quartet. He can be heard as Assistant Concertmaster on Grammy Award winning releases such as the continuing Mahler cycle by the San Francisco Symphony and can been seen on their ongoing television project Keeping Score. Jeremy plays the ex-Heberlein Stradivarius, from the year 1700. This Stradivarius was donated to the San Francisco Symphony for his exclusive use. Residing in Oakland with his wife Sharon, Jeremy is a pilot who took over 7 years to build a plane which he currently enjoys flying.

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Q&A with Jeremy Constant Q: How did you end up in Marin? A: I’m originally from Canada and was studying in New York when I discovered the San Francisco Bay Area while playing a festival. I came to Carmel to work with Sandor Salgo and was drawn to Marin after learning he was conducting the Marin Symphony. I fell in love with Marin and the whole San Francisco Bay Area. I’ve been here ever since. Q: Did you start as Concertmaster or did you join as a violinist first? A: I actually joined Marin Symphony as Concertmaster. I had been with the San Francisco Symphony for years before I was hired as Concertmaster by, then Conductor, Gary Sheldon. Q: What do you like about the Marin Symphony? A: I consider it an undiscovered jewel of Marin County. The symphony members are all old and dear friends. It’s always great to see them. Sometimes I can feel insulated in the city but because so many Marin Symphony members are freelancers from all over the bay area, I get an opportunity to meet new people. Q: How do you like being concertmaster? A: I love it. It’s high pressure and nerve wracking but it really provides a chance to show what you can do. I can have a direct impact on the vibe of the orchestra. I know all my interactions set the tone. I’m very protective of tone and what it’s like to be part of the Marin Symphony. Q: What has music and your relationship to your instrument meant to you? A: When I was very young, what got me interested in the violin was that I heard a record and it was the violin, the physical beauty of the sound, not the piece of music specifically that I wanted to play. Then I did my studies and played in competitions and eventually played in my first youth orchestra and it was this giant amplification of the emotion of the music that grabbed me. Later on I was good enough to play in the adult orchestra and all of the sudden it was “wait a second you can make a living doing this?” And that was it, that was all

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I wanted to do, make a living playing in as good of an orchestra as I could get into. And as I got better and more experienced, I began to be able to discern good from bad orchestras and it made it very clear that I need to work really hard to be able to play in a good orchestra and that was what really motivated me. Everybody likes to play with players who are better than they are, because it makes you sound better. So one of the things that always drove me was to “fool” people into thinking I was better than I was, so that I could play with people who were better than me. It’s a psychological trick that makes you practice your tail off and get better. Q: How has your practice and preparation changed over the years of your career? A: We learn to be more efficient. One of the aspects is that in working as much and as hard as we do, just the physical amount of training is limited, so you learn to really be very aware of maximizing every moment you are playing to benefit yourself, there can be no wasted time. The wear and tear on your body is such that you can’t be playing and not getting something out of it, otherwise you’ll start going backwards. We learn to weed out the extraneous. What many people notice, as performers get older, is that they seem to be less physical in their playing. And sometimes that can come across as aloof or unengaged. The more and more experience you get, the more you get to be really efficient and what winds up not looking very impressive, that means that everything is going into the sound production and conveying that musical idea, without any extraneous or superfluous actions for either the musician or the audience. You get very efficient as you get older with both practice and performance. Q: What are your plans for the future? A: I’d like to continue as Concertmaster in Marin – that is, as long as my body holds up and the people will have me. I serve at the will of the Conductor. As long as Alasdair wants me here, I will continue.

Where great music comes to life.

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Join us for our 2015 concerts: May 3, 2015, at 2:30 PM May 17, 2015, at 5:00 PM More information on our website: marinmusicchest.org

INTERSECTIONS Featuring Mason Bates, the Marin Symphony Youth Orchestra, and Marin Symphony Chorus.

Celebrate the promise of youth as the Marin Symphony Youth Orchestra takes the stage alongside their counterparts for a special side-by-side performance of Sibelius’s rousing Finlandia in a program that also includes Strauss’s virtuoso Don

Juan , Poulenc’s Gloria with the Marin

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Where great music comes to life.

PHOTO BY TODD ROSENBERG

Symphony Chorus and Mason Bates performing his propulsive Mothership .

M A S T ER WO R K S 4 : IN TE R SECT IONS

Alasdair Neale, conductor April 12, 2 015 — Sunday at 3:00 p.m. April 14, 2 015 — Tuesday at 7:30 p.m.

Strauss

Don Juan

Sibelius

Finlandia

Marin Symphony Youth Orchestra

Ann Krinitsky, director

Side-by-side performance in celebration of the Marin Symphony Youth Orchestra 60th Anniversary

Poulenc

INTERMISSION

Gloria

Nikki Einfeld, soprano

Marin Symphony Chorus Stephen McKersie, director

Bates

Mothership

Mason Bates, electronica

Ongoing support provided by Clarence E. Heller Charitable Foundation, Ann and Gordon Getty Foundation, US Bancorp Foundation, The Bernard Osher Foundation, Schultz Family Foundation, Finlandia Foundation National, Italian Street Painting Marin, Rotary Club of Central Marin and George Lucas Family Foundation

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Program 4 Notes April 12 and 14, 2 015 by Jon Kochavi

Don Juan, Op. 20 ( 1887 - 1888 ) Don Juan was the second tone poem that Strauss wrote (Macbeth from the previous year was his first). Together with Death and Transfiguration composed the following year, Don Juan served to cement his reputation as a composer of exceptional talent, a worthy Richard Strauss successor to Liszt and ( 1864 - 1949 ) Wagner. Strauss drew his portrait not from Tirso de Molina’s original characterization of the libertine (which music lovers know best from Mozart’s Don Giovanni), but from the verse-play of the Austrian poet Nikolaus Lenau (1802-1850).

Lenau depicts Don Juan as the tragic Romantic Hero whose quest for the Ideal fuels an internal struggle that ultimately leads to his demise. Lenau described his take on Don Juan:

My Don Juan is no hot-blooded man eternally pursuing women. There is a longing in him to find a woman who is to him womanhood incarnate, and to enjoy in this one all the women on the earth.... Because he does not find her, reeling from one to another, at last Disgust seizes hold of him and this Disgust is the Devil that fetches him. In the play, Don Juan’s futile conquests leave him disillusioned with life itself. Simply losing his will to live, he drops his sword during a duel with the son of a man he murdered, salvaging what meaning he can from his existence by willing his estate to his spurned lovers. The brilliant and free-wheeling exuberance of Strauss’ Don Juan was a shock to the inexperienced orchestra that Strauss conducted in its premiere in 1889. By all accounts, Strauss took it all in stride. During one rehearsal, Strauss corrected some sluggishness by telling the musicians, “I would ask those of you who are married to play as if you had just become engaged and then all will be well.” Without a doubt, the witty repartee that Strauss had with the orchestra during the rehearsals brought out the best in their performance of this tremendously difficult piece. Strauss later commented, “I felt really sorry for the poor horns and trumpets. They were quite blue in the face, the whole affair was so strenuous.” Nevertheless, the premiere was an unmitigated success, and Don Juan entered the standard repertoire almost immediately. Some music analysts have attempted to correlate each moment in Strauss’ tone poem with specific events in Lenau’s play, but Strauss himself never claimed to have written such a literal adaptation. In fact, he later wrote with evident bitterness, “Programme music is a derogatory word in the mouths of those who have no ideas of their own.” More likely than not, Strauss intended his tone poem to capture the spirit, not necessarily the progression, of Lenau’s play. The feisty introduction and subsequent first theme in the violins, meant to evoke the essence of Lenau’s Don Juan, are as rousing and heroic as one

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Where great music comes to life.

P R O GR A M 4 NOTES : I NTERS ECTI ONS can imagine. Midway through the piece, a dramatic build-up leads to a second heroic Don Juan theme, stated boldly in the horns, which is almost immediately combined with elements of the opening. Along the way, there are subdued themes stated by solo violin, flute, oboe, and clarinet, associated with the feminine ideal that Don Juan seeks. After a recap of the main heroic themes, there is a grand pause followed by a gradual tapering in texture and volume, and a shift to E minor, finally ending on the single note, E. The tragic hopelessness of the ending embodies Don Juan’s final line in Lenau’s play: “My deadly foe is in my power, and this too bores me, as does life itself.”

Finlandia, Op. 26, No. 7 ( 1899 ) Only a year younger than Strauss, Sibelius must have been profoundly impressed when he heard the Berlin premiere of Don Juan in January 1890. He had only just left Helsinki a few months before, and the music along with the Jean Sibelius applause-acknowledging ( 1865 - 1957 ) appearance on stage of “a timid young man with a large shock of hair” left a lasting impression. Ten years later, Sibelius began sketching his own version of a tone poem based on Don Juan, but over some months, the dark music he wrote depicting a visit to Don Juan by Death was transformed into a statement of nationalist resolve. It was eventually incorporated into the second movement of his Symphony No. 2 of 1901. By this time, Sibelius had become an artistic leader in the movement towards Finnish independence in large part due to his wildly popular symphonic poem Finlandia. For hundreds of years, Sweden and Russia fought bitterly over the region of Scandinavia now known as Finland. Assurances of constitutional autonomy for the vast area led to its temporary stability as a Grand Duchy in the Russian Empire in 1809. By the end of the century, however, the Tsars were clamping down. In February 1899, Tsar Nicholas II declared in an official Manifesto that Russia could impose its

will upon the Grand Duchy without the approval of local governments. This decree only served to fuel the determination of Finns to establish a true independent country. Finlandia was written in the midst of this nationalist fervor, and came to serve as a cultural rallying cry to strengthen the resolve of the resistance, and eventually as a celebratory anthem when Finland finally achieved its independence in 1917.

Finlandia was originally entitled “Finland Awakens”, composed as the finale of six selections of incidental music to accompany a series of staged historical vignettes. Sibelius quickly reworked the piece into the tone poem that we now know, and its popularity was immediate. Scholar James Hepokoski summarizes the piece’s thematic content succinctly: “political subjugation, sudden awakening and conflict, and a nationally centered hymnic liberation into the future.” The music is simple and glorious, powerful and stirring. The moving “Finlandia Hymn” that leads to the culminating triumph has become akin to a second national anthem for Finland, a country that still celebrates Sibelius as a national hero. Gloria ( 1959 - 60 )

Gloria Laudamus te Domine Deus Domini Fili Unigenite Domine Deus, Agnus Dei Qui sedes ad dexteram Patris Poulenc’s choral music began to blossom after dramatic and emotional events in late summer 1936. While vacationing in southern France, Poulenc received word of the violent death of Francis Poulenc his friend, fellow com( 1899 - 1963 ) poser Pierre-Octave Ferroud, in a car accident. Deeply distressed, Poulenc made a pilgrimage to the nearby town

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Gloria text and translation 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, Iesu Christe. Domine Deus, Agnus Dei, Filius Patris, [Rex caelestis]. 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, Iesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen. Glory to God in the highest, and on earth peace, good will 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. O Lord, the only-begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father, [heavenly King], 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. For thou only art holy; thou only art the Lord; thou only art most high, Jesus Christ, with the Holy Ghost in the glory of God the Father. Amen.

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Program 4 Notes April 12 and 14, 2 015 continued... of Rocamadour, a centuries-old monastic retreat associated with 4th-century Saint Amadour. The pilgrimage had a profound and ultimately long-lasting effect on Poulenc, one that might be characterized as a religious epiphany. He later told of the experience:

On this visit I was completely overcome by the wonder of this Sanctuary. Perilously situated alongside a winding road up a rocky path, this almost unknown pilgrimage, one of the oldest in France, is a retreat inspiring in those who have been privileged to visit it a feeling of unbelievable peace. You enter the humble chapel built into the rocky mountain side through a small courtyard surrounded by pink laurel trees; and inside the chapel there is a wonderful Virgin carved out of black wood, the work of Saint Amadour, it is said, who had climbed up a tree to see Christ.... From that day onward, I returned often to Rocamadour.... On the very day he first arrived at Rocamadour, he began work on Litanies à la Vierge Noire for women’s chorus. He would go on to compose his Mass in G (1937), Stabat Mater (1950), Dialogues des carmélites (1956), and Sept répons des ténèbres (1961), in addition to the Gloria, all large scale vocal works on liturgical themes. Though his father came from a devoutly Catholic background, Poulenc had mostly abandoned his faith after his childhood. While dramatic, the shift back to his religious upbringing he experienced in 1936 was not total, and he struggled with his faith. Later in 1936, he would write to his good friend Georges Auric (a fellow member of the French composers group Les Six): “I wish I could think like you and have your faith...but what can be done when one doesn’t believe? If I had at least one belief—even contrary [to yours]—it would be something, but I absolutely do not.” Nevertheless, Poulenc seemed to relish the opportunity to depict his spirituality in his music; his inspiration from a connection to the divine at Racamadour was genuine and deeply personal. The sense that the Gloria conveys is not one simply of reverence

Where great music comes to life.

but more of relevance: we hear Poulenc’s own connection to the text in the music, not just a depiction of a religious abstraction. In writing his Gloria, Poulenc follows in the footsteps of a number of composers—most notably Vivaldi— who have chosen to set its text in isolation rather than part of a complete Roman Catholic mass. The Latin text for the doxology offers possibilities for contrasting musical moods, which Poulenc takes full advantage of, choosing to set each section of the text in minimovements. The opening Gloria, with text derived from the angels’ song at Christ’s birth in Luke, is a jubilant fanfare. Most of the Laudamus te continues in this same vein, with a childlike playfulness, until a strikingly solemn a capella intonation of “Gratias agimus tibi” (“We give thanks to You”) by the sopranos. The combination of the sacred and profane here is pure Poulenc; he would later say of this movement in particular: “I was thinking...of the Gozzoli frescoes in which angels stick out their tongues, and also of the serious Benedictines whom I saw playing soccer one day.” In Domine Deus, Poulenc evokes God’s three appellations—as ruler, heavenly being, and almighty Father—with a setting that alternates between being reverential, celestial, and powerful. The brief Domini Fili Unigenite repeats its text homophonically, with a celebratory insistence. Exquisite word painting characterizes the Domine Deus, Agnus Dei section, with nearly every text phrase set with the same music at each repetition (notice the hopeful resolve on suscipe (“receive”) and the cleansing clarity of qui tollis peccata mundi (“who takes away the sins of the world”) for example). The brass fanfares from the opening of the piece return in final section, Qui sedes ad dexteram Patris, now extended with flowing a capellas interspersed. Triumph gives way to peaceful reflection by the final “Amen”.

Mothership ( 2010 )

classical composers who have embraced the liberation afforded by transgressing the boundaries between “classical” and “popular” genres of music making. Bates spent time straddling these two worlds during his early career, finding ways to bridge them in ways Mason Bates ( b. 1977 ) that seem perfectly natural to him. While working towards his Ph.D. at Berkeley, concentrating on symphonic composition, Bates would spend his nights mixing techno beats at Oakland clubs. He maintains a presence in the Bay area club scene, appearing at clubs and lounges as DJ Masonic. Elements of electronica, so prominent in the dance scene, have found their way into many of Bates’ symphonic scores, and he has explored the options available to him in the digital age by collaborating with the YouTube Symphony Orchestra (YTSO). Under the direction of Michael Tilson Thomas, the YTSO commissioned Bates’ Mothership as both an audition piece for putting the musicians together from around the globe and as an inspiration for soloists to submit improvisations. Four improvisers were chosen to premiere the piece in March, 2011, with Tilson Thomas and the YTSO in Sydney, a performance viewed online by an audience of 1.8 million. Bates likens the piece to a “techno-Scherzo”, where the “mothership”—represented by the orchestra—sets up a driving rhythmic theme, eventually sending out a signal to the soloist beginning a cadenza over a more subdued texture. There are two such solo sections, the “trios”, with the first projecting a jazz swing feel and the second a more melodic, lyrical feel. Bates calls these improvisatory solos “docking episodes”. In marrying synthetically produced sounds with acoustic, Bates creates a unique sonic palette here, remarking that “technological innovations have often given birth to musical innovations, and it is with a nod to history that Mothership will lift off.”

Mason Bates is a composer whose approach to music combines elements that appeal across the generational divide, a composer who has made it his business to live in this stylistic intersection. He is among the dynamic younger generation of American

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PHOTO © TODD ROSENBERG

P R O GR A M 4 NOTES : I NTERS ECTI ONS

Nikki Einfeld Biography Lyric Coloratura soprano, Nikki Einfeld, has been widely recognized for her “high flying virtuosity” (New York Times) as well as “a bright, lithe tone, pinpoint accuracy and a saucy stage demeanor” (San Francisco Chronicle). Highlights of Ms. Einfeld’s recent engagements include the world premiere of the opera Death with Interruptions by Kurt Rhode; with San Francisco Opera in several roles including the world premiere of Delores Claiborne by Tobias Picker, Gianetta in The Elixer of Love, Papagena in The Magic Flute, Barbarina in Le Nozze di Figaro; appearances with Vancouver Opera and New Orleans Opera as Susanna in Le Nozze di Figaro; with West Bay Opera in Die Entführung

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aus dem Serail as Konstanze; with Syracuse Opera and Green Mountain Opera Festival she has sung the title role of Lucia di Lammermoor; with Opera Lyra Ottawa as Ophelia in Hamlet; Edmonton Opera as Nanetta in Falstaff and as Mabel in The Pirates of Penzance; Canadian Opera Company as Queen of the Night in The Magic Flute; and a number of appearances with Manitoba Opera, including Rosina in The Barber of Seville, Marie in The Daughter of the Regiment, and Norina in Don Pasquale. A former Adler Fellow and Merola Alumnus with the San Francisco Opera, this Canadian soprano also received acclaim as a Grand Finalist in the 2006 Metropolitan Opera National Council Auditions.

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Her affinity for recital and concert repertoire, including many 20th and 21st century work Premieres, has led to guest appearances with the San Francisco Symphony, Berkeley Symphony Orchestra, Winnipeg Symphony Orchestra New Music Festival, Calgary Philharmonic Orchestra, the Left Coast Chamber Orchestra, Montreal Chamber Orchestra, and the Empyrean Ensemble.

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Where great music comes to life.

P R O G R A M 4 NOTES: I NTERSECTI ONS

Mason Bates Recently awarded the Heinz Medal in the Humanities, Mason Bates writes music that fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno. Widely performed by orchestras large and small, his symphonic music has been the first to receive widespread acceptance for its expanded palette of electronic sounds, and it is championed by leading conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony, or through his classical/DJ project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehrydesigned concert halls into exciting, hybrid musical events drawing over a thousand people. In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.” The San Francisco Symphony continues its exploration of Bates’ music with its Beethoven & Bates Festival. Each of his three largest works — Alternative Energy, Liquid Interface, and The B-Sides — will be recorded and paired with a Beethoven work this season and next. Another major work, his Violin Concerto, was recorded by Leonard Slatkin, the London Symphony, and extraordinary violinist Anne Akiko Meyers, who will perform the work with the Chicago Symphony and many others. Continuing performances of works such as Mothership, which premiered at the Sydney Opera House by the YouTube Symphony to an online audience of 1.8 million, have demonstrated that electronic sounds can be a welcome addition to the orchestral palette with minimal logistics. While Bates often performs the electronica onstage with orchestras, dozens of repeat performances of his symphonic music happen without him. Many purely acoustic works complement his diverse catalogue, such as Sirens, an a cappella work recently recorded by the superstar

PHOTO © MIKE MINEHAN

Biography

chorus Chanticleer, and Desert Transport, which conjures a helicopter trip over the Arizona landscape. Bringing classical music to new audiences is a central part of Bates’ activities as a curator. With composer Anna Clyne, he has transformed the Chicago Symphony’s MusicNOW series into an imaginative concert experience drawing huge crowds, with cinematic program notes and immersive stagecraft. Another new take on new music is Mercury Soul, which embeds sets of classical music into a fluid evening of DJing and immersive stagecraft. With ongoing collaborations with the Chicago Symphony and the San Francisco Symphony, and debuting last season in a sold-out show with the Pittsburgh Symphony at Static, Mercury Soul has become an important game-changer in both club culture and the leading “alt classical” audience development project within the symphonic world. For more info, go to www.masonbates.com and www.mercurysoul.org.

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2014–15 26th Season Jeffrey Thomas Artistic Director

MESSIAH IN GRACE CATHEDRAL December 16–19 2014

ACIS AND GALATEA January 23–26 2015

ST. MATTHEW PASSION February 27–March 2 2015

BACH’S BIRTHDAY CELEBRATION

March 20 2015

BACH, VIVALDI, & LEO

May 1–4 2015

2015 FESTIVAL & ACADEMY: VERSAILLES & THE PARISIAN BAROQUE

August 7–16 2015

Concerts in Belvedere, Berkeley, San Francisco, and Davis

americanbach.org (415) 621-7900

PHOTO © PETER RODGERS

Marin Symphony Youth Orchestra VIO L IN I

Anna Okada, Concertmaster Myer Johnson-Potter, Assistant Concertmaster Stephanie Oh Douglas Wei Katya Schane Megan Amaglio Katy Wearing Michelle Verghese Jacob Hershman Maya Schane Maya Nesbitt-Schnadt Christopher Giddings

Alex Eaton Nathan Smith Piper Adee

BA SSOON

CEL L O

HORN

Willa Nagy, Principal Seong Bahn Olivia Lease Alex Le BAS S

Jacob Nishimura, Principal Eytan Schillinger-Hyman Célian Nyuong

VIO L IN II

FL U T E

Madeleine Reeds, Principal Christian Li Lex Liang Phoebe Zheng Nicholas Tanaka Ivan Liang Audrey Genest Yuma Overturf Viviana Garcia Mason Weems

Eva Wang, Principal Daniel Jordan Shiriel King Abramson Grace Won, Piccolo

VIO L A

Nicholas Forester, Principal Taylor Kong

OBOE

* Karl Tietze, Principal  Cynthia Hanson

Annalisa Blackadar, Principal Gavin Taub Luis Jasper Mychal Nishimura TR UM PET

Brendan Wilhelmsen, Principal Ben Dailor Satya Karri TR OM BONE

* Tetsuya Endo, Principal  Trevor Bjorklund Thomas Faville TUBA

Aaron Hawkey

Kayla Yee, Principal

TIM PANI & PERCUSSION

CL ARI N ET

Alex Price Liam Wallace

Matthew DeFilippis, Principal Claire Rowland Alison Schwartz Christopher Wand Kayla Dolberg, Bass clarinet

* Guests

 Alumni

Manager, Associate Conductor Andrei Gorchov

Save the dates... Marin Symphony Youth Orchestra Side-by-Side Concert with Marin Symphony, Sunday, April 12, 2015, 3:00 p.m. & Tuesday, April 14, 2015, 7:30 p.m. at Marin Center. Spring Concert, May 10, 2015, 7:00 p.m. at College of Marin’s James Dunn Theatre.

Marin Symphony Overture & Crescendo Orchestra Spring Concert, May 10, 2015, 3:00 p.m. at College of Marin’s James Dunn Theatre.

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Marin Symphony Youth Orchestra members at San Rafael High School. (1955.)

Marin Symphony Youth Orchestra: Music, Memories, and More! By Cari Lynn Pace 60 years ago, in 1955, dozens of young musicians auditioned to become part of the first Marin Symphony Youth Orchestra, as it is called today. They nervously performed for visionaries Hugo Rinaldi, Director of Music for the San Rafael City Schools, and Barry Boland, a Marin Symphony violinist. Aspiring musicians played every type of instrument and came from all walks of life, in all sizes, shapes, and ages. They had different personalities but one common bond: to elevate their love of classical music. Their goals were many: some primarily wanted the chance to improve their skills, some sought to perform professionally, and others wanted a social outlet for their musical interests. The first concert of the Marin Symphony Youth Orchestra took place on June 5, 1955, and featured 58 students, performing works by Haydn, Beethoven, Saint-Saens and Humperdinck. Hugo Rinaldi’s phi-

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losophy resonated with his young students: “Honesty in music, work and commitment to that work, excellence in performance... and believing that through the music we play we become better human beings and have a better direction in life.” Mr. Rinaldi built MSYO on that solid foundation, and eventually earned a Steinway and Sons Award for the most innovative music program in the State of California. Over the years, three ensembles were formed to provide stepped-up training to the Youth Orchestra: Workshop for Strings (Intermediate and Advanced) and Workshop for Winds. At one point, these ensembles were eliminated for financial reasons. Today, these programs are back and continue to expand. Crescendo offers students their first full orchestra experience, while Overture provides excellent early training to young string players.

Where great music comes to life.

PHOTO © RENEE FROMAN

Hugo Rinaldi conducting Orchestra Piccola for a local television appearance. (Christmas 1972.)

Ann Krinitsky, Youth Orchestra Director, ensures this foundation remains strong as she enthuses, “I love being directly involved in a musical endeavor in which the group effort yields more than an individual could achieve alone. To be at the center of all that focused energy is one of the greatest feelings I’ve experienced. The music takes on a life of its own, and everyone is caught up in the flow.” Anne Lerner-Wright, Director of Crescendo, has a group of about fifty 4th to 11th graders including brass, wind instruments, and percussion. She points to the skill set for improvement emphasized in the program. “This is a team effort, where students learn to take criticism gracefully – an important life lesson for sure.” She adds, “Our goal is to help students find answers to problems. We encourage them to always rise to the challenge, and break apart difficult pieces, and build on what they’ve already learned. Watching them grow is so incredibly rewarding.” Ann Krinistsky adds, “We push ourselves to excel technically, but the true meaning and message is expression - feelings, ideas, stories. It’s very gratifying to watch students make progress - during a concert

set as well as over the course of their years participating in the various Youth Programs ensembles. They often surprise themselves with their degree of improvement over time.” Students learn self-reliance quite young as they take private lessons, practice on their own, and meet for weekly rehearsals. There are two performances each year, one on Mother’s Day and the other in December. Both Crescendo and Overture, the smaller chamber orchestra of strings, can audition for the Youth Orchestra. Once students reach 12th grade, they’re typically off to college or conservatory; many aspire to professional careers. Do the students achieve their lofty goals? The proof is in the present. Famous alumni include Joe Alessi, Principal Trombone of NY Philharmonic, Mark Isham, trumpet and award-winning composer, Wendy and Carol Tomlinson, pianist and cellist, Mariko and Dan Smiley, brother-sister team SF Symphony violinists, Charles Chandler, SF Symphony string bass, Scott Kluksdahl, cellist and faculty University of South Florida,

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SALON SERIES

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Beethoven | Schoenberg | Cotton | Ligeti Oct. 24-26 Feb. 6-8 May 8-10

Berkeley | Fridays 8pm | Maybeck Studio for the Performing Arts San Francisco | Saturdays 8pm | Kanbar Performing Arts Center Palo Alto | Sundays 3pm | Woman’s Club of Palo Alto Tickets & Info: salon.cypressquartet.com | (415) 500-2150

PHOTO © RENEE FROMAN

San Rafael City Schools Music Director, Marin Symphony Youth Orchestra Co-Founder and original Conductor, Hugo Rinaldi. (1972.)

Marin Symphony Youth Orchestra continued... Jennifer Steele, flutist, Pittsburgh Symphony, Gillian Benet, harpist, Cincinnati Symphony, Christopher Whiting, violinist and conductor, Tonhalle Orchestra (Switzerland), Rick Shinozaki, Del Sol String Quartet (SF) violinist, and Marin Symphony’s own Karen Shinozaki, Meg Eldridge, Erica Posner, Jan Volkert, and Renee Froman. What of those musical youngsters whose goals are not as serious? Is it all work and no play? Hardly – Andrei Gorchov, MSYO’s Manager and Assistant Conductor, reveals, “We played an outreach concert one time for very young children at Park Elementary school and we were doing the Toreador Scene from Carmen. One of my students had this great idea that I should dress up like a bull, steal the

baton from the conductor, and finish off the piece on the podium. I can’t believe they actually got me to do that, but the next thing I knew I was up there conducting in a bull suit. They’ll never get me to do that again!” he laughs. Ann Krinistsky chuckles, “While MSYO was on tour to Australia in 1983, I was chased by a kangaroo in a wildlife preserve. Back home, we used to have “Play-a-thons” at Northgate Mall to raise funds for the tour. One of the most popular pieces we played was the Star Wars theme, and Darth Vader showed up in full costume to conduct the orchestra. That was a big deal in the 1980s!” Graduates of MSYO relate many fond memories of their bonding years together. Renee Froman remembers, “We were high school kids in the 70’s, just 22 of us, working with Mr. Rinaldi as the Orchestra Piccola, a small chamber orchestra. What a thrill we had when we were invited to perform in the Festival of Two Worlds at the Spoleto Festival in Italy. They even

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DRAMA PROGRAM Be part of a drama program recognized for providing a well-balanced education in many different aspects of the theatrical profession. Work sideby-side with our expert theatre artists to develop a rich theatrical vocabulary through classroom studies and practical stage experience in our acting, directing, design, production, and literature classes. Earn your A.A. in drama or A.A.T. in theatre arts for transfer. Scholarships are available.

INTRODUCING NEW CLASSES — Production Stagecraft and Stage Costume Would you like to learn how to build scenery, costumes, or props? Are you curious about theatrical lighting, sound, or rigging? Are you interested in theatrical costuming and design? For the first time in over 20 years we are offering production stagecraft and stage costume classes where you can learn about costume history, design, and basic construction techniques including pattern making and draping. For more information: 415.485.9555 COM Drama Department: www.marin.edu/performingarts/drama/ Support COM Drama Department: www.marin.edu/advancement/

COME SEE A SHOW! THE COMEDY OF ERRORS By William Shakespeare Directed by James Dunn March 5, 6, 7, 13, 14, 20, 21 — 7:30 p.m. March 15, 22 — 2 p.m. James Dunn Theatre, Kentfield Campus

THE SEAGULL By Anton Chekhov Directed by Molly Noble

April 30 — 7:30 p.m. May 1, 2, 8, 9, 15, 16 — 7:30 p.m. May 10, 17 — 2 p.m. Studio Theatre/PA32, Kentfield Campus

Maestro Rinaldi with students at San Rafael High School. (Circa 1955.)

Marin Symphony Youth Orchestra

professional sound studio environment. It’s unbelievably exciting!”

continued...

Today, Overture, Crescendo, and the Marin Symphony Youth Symphony continue the 60-year legacy of a fun, powerful, and positive orchestral experience for over 130 young musicians. Students strive towards their full potential, enabling those who may be interested in a professional career in music begin learning and preparing themselves. Regardless of ambition, all students cultivate a genuine and lifelong appreciation for what orchestral music offers participants and listeners. Gorchov notes, “We’re creating memories and experiences in our rehearsals and concerts that will be with these kids forever, just as they are with me and all the other alumni.”

awarded us the Cultural Medal of Honor. I’ll never forget that trip.” Many MSYO experiences become more than wonderful memories of friendships. Former MSYO student Wendy met fellow student Kevin Loder at MSYO rehearsals. The two must have made sweet music together as they remain happily married today. Loder laughs, “I remember a group of us Virtuoso girls being crammed into Hugo Rinaldi’s Ford Fiesta from San Domenico to Davidson for rehearsals, too. Fun times!” What’s in the future? Lerner-Wright enthuses, “For two years now we have gone to Skywalker Sound to record a CD. The kids in Crescendo and Youth Orchestra raise money to have this annual “field trip”. These kids do a practice-athon with pledges to raise funds to experience this

Krinitsky sums up the program’s goals when she adds, “Future generations of young musicians in our community can feel both the historical connection with a centuries-old art form that has produced some of humanity’s greatest masterworks, and the vitality of music-making across contemporary genres and styles today.”

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PHOTO © JENNY DOUGLASS

Zuill teaches Hamilton School students about the art of listening.

UP CLOSE & MUSICAL By Jenny Douglass This picture says it all – anyone…everyone…can feel the power of music. Over the course of seven days in September, the Marin Symphony inaugurated its Visiting Artist Educational Residency program. The purpose was to bring live classical music into Marin County schools. Fifteen public and private schools hosted events, reaching over 2200 students of all ages, elementary through college. With additional performances at the Spirit of Marin luncheon, the Marin Symphony Gala, and two concerts at the Veterans Memorial Auditorium, over 5000 souls were

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touched by music during this epic week. The success of this residency was largely due to our outstanding Visiting Artist, cellist Zuill Bailey. A world-class musician who thrills Marin Symphony audiences every time he appears as a soloist, Zuill is known for his commitment to outreach activities. He regularly visits schools, hospitals, and even prisons to touch as many lives as possible with music. As Chair of the Marin Symphony’s Youth and Education Committee, I served as project manager for

Where great music comes to life.

the residency. My additional roles were chauffeur, photographer, and witness. The latter was my favorite. At every location, once Zuill was onstage and the event was underway, I watched the audiences experience the sound of Zuill’s 320 year old cello. I also witnessed how naturally Zuill connected with each audience, tailoring his presentations to what he sensed the people in the room needed to hear.

Zuill Bailey performs during a visit to Hamilton School in Novato during the Residency Program. (September 2014.)

At many schools, Zuill asked the audience to close their eyes and to internally observe where the music took them. He would play Brahms’ Lullaby and gradually fade out, letting the music transition into the sounds heard in a ‘silent’ room. Every single assembly stayed in that silence, eyes closed, until Zuill softly said, “Okay, open your eyes.” Students reported sensations of feeling “safe,” “sleepy,” and “like they were floating.” One young boy said, “I felt like my father was leaving and not coming back.” Zuill handled this gently, pointing out that music connects us to big emotions inside ourselves, like sadness or fear.

A seventh grade girl asked if Zuill had ever been made fun of for playing an instrument. He said yes, but he knew that those kids didn’t understand him or what it means to be a musician, so their insults didn’t matter. The smile on that girl’s face assured me that she will continue to play her instrument and will have the strength to ignore anyone who tries to shake her confidence. Who knows how many other individuals received a message that spoke directly to their own lives and hearts during Zuill’s week in Marin. On behalf of the Marin Symphony, I want to thank Zuill Bailey for being so generous with his talent, energy, and heart. Thanks also to the music teachers

PHOTO © JENNY DOUGLASS

Middle school musicians asked the most poignant questions, revealing the many issues and emotions they are dealing with at their age. Zuill was asked if there had been times growing up when he wanted to quit the cello. He said yes, but then offered the wisdom that periods of frustration are usually followed by big leaps in ability, and consequently, more confidence in yourself and a deeper enjoyment of music. One music teacher reported that after Zuill’s class, her advanced students went directly to their instruments and began practicing “in a determined way.”

in our county for the work they do every day. And huge thanks to Mary Jane Burke, Superintendent of Schools, for energetically supporting the Marin Symphony’s educational efforts. The Marin Symphony’s goal is to inspire, educate, and enrich the lives of every student - to get up close and musical.

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Grab your girlfriends and join us for our 2015 Winter/Spring season of inspiration, education and fun!

EVENING SERIES

Dynamic speakers, inspiring conversations, delicious and elegant receptions in the company of remarkable women

MAR 31, 2015 DIGITAL GENERATION: HOW TECHNOLOGY IS SHAPING OUR YOUTH Jim Steyer | CEO and Founder of Common Sense Media, nationally known author of several books including "Talking Back to Facebook" and "The Other Parent: The Inside Story of the Media's Effect on Our Children." Jim is one of the most respected experts on issues related to children's media and education in the U.S.

"Thanks so much, for everything Speak To Me is doing for women, our communities, and the world at large. A phenomenal season of fun and inspiring evenings out."

APR 28, 2015 SECRET LIVES OF WOMEN: THRIVING AT EVERY STAGE OF LIFE Iris Krasnow | Journalism and Women's Studies Professor and Academic Director at American University, and best-selling author of several books including "Sex After...Women Share How Intimacy Changes as Life Changes," ”The Secret Lives of Wives," and “Surrendering to Motherhood.” Iris is an expert in the field of relationships, personal growth and “female generational angst" and has been featured in The Wall Street Journal, The New Yorker, on Oprah and several times on CNN. 6:30 - 9:00pm at the Mill Valley Community Center

LUNCH & LEARN SERIES

Informative, thought-provoking sessions over lunch

MAR 19, 2015 WHAT’S HAPPENING TO ME? HORMONES & OTHER "TABOO" TOPICS K. Jennifer Voss, MD | Chair of the OB/GYN Department at Marin General Hospital and honored as one of the“Top Doctors in Marin in 2014”. Sujatha D. Pathi, MD | Urogynecologist at Marin General Hospital nationally recognized for research in urogynecology and published in numerous peer-reviewed journals.

11:30am - 1:30pm at Piatti Restaurant, Mill Valley

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Here’s to music and dance — and vino. Hey Mambo! 2012 DRY ROSÉ • CALIFORNIA ROSÉ WINE This wine is the perfect palate cleanser as you nibble on cheese and crackers or a summer salad with nectarine wedges and goat cheese. Take your shoes off and get comfortable while enjoying a glass of Mambo Rose.

2011 SULTRY RED • CALIFORNIA RED WINE Pair this wine with grilled chicken and grilled pineapple rings alongside some rice pilaf and green beans, Grandma’s meatloaf with sautéed carrots, mashed potatoes and gravy, or a grown-up grilled cheese sandwich with rye bread and smoked gruyere cheese with bacon. The sum of all of the parts makes a fantastic red blend to enjoy on any occasion.

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Season 2 014 -2 015 Annual Donors Please note: we list here the names of those from whom financial support was received between July 1, 2 013 and January 15, 2 015. Maestro’s Circle: Podium Circle $50,000 and above Anonymous (1) Steven & Susan Machtinger

Maestro’s Circle: President’s Tier $10,000 – $49,999

Anonymous (1) Joanne Dunn Jim & Lynn Finkelstein Sandra D. Hoyer Bob Irwin Gloria Miner Alasdair Neale & Lowell Tong Renee Rymer & Antonio Clementino, Ph.D. Schroeder Family Fund Dr. Elizabeth Seaman Peter L.H. & Kathryn Thompson

Maestro’s Circle: Orchestra Tier $5,000 – $9,999

Anonymous (4) Hans J. Adler & Wanda Headrick Robert Bilger Catherine Munson* Renee Froman Kathlyn McPherson Masneri* and Arno P. Masneri* Fund Gap Inc. William Glasgow & Nancy Floyd Steve Goldman & Melanie Love Alf & Ruth Heller Keon-Vitale Family Alice T. May Joyce Palmer Erica & Larry Posner Sally Shekou & Robert Herbst Bruce C. Taylor & Lynn O’Malley Taylor Connie Vandament Visa, Inc. Judith Walker Weissman & Bruce Weissman

Concertmaster’s Circle: $2,000 – $4,999

William & Lynn Callender Chevron Humankind Employee Engagement Fund Crawford & Jess Cooley Dr. Robert K. & Judith D. Creasy Mary E. D’Agostino Allen and Joan Dekelboum Mary Denton & Monte Deignan Donald R. & Noel W. Dickey Patricia S. Elvebak Chuck & Binny Fischer Abe & Suzanne Froman Ursula Gropper Hope S. Herndon Osborn Howes Grace A. Hughes Alan & Jean Kay Lucinda Lee & Daniel U. Smith Dr. & Mrs. James S. Levine Vivienne E. Miller Joseph and Eda Pell Barbara & Bill Peterson David & Dara Post The Rabb Family Gary & Joyce Rifkind Joan Ring Richard & Anne Marie Ruben Herb Schuyten Joe & Heidi Shekou Claire Collins Skall Evelyn D. Spelman Dr. Michael Freeman & Victoria Stone Marilyn & Arthur Strassburger Dr. Walter Strauss* Nate Sumner Patricia C. Swensen Wilbur & Jacqueline Tapscott Dr. Frances L. White and Harley White, Sr.

Conductor’s Circle: $1,000 – $1,999

Conductor’s Circle: $1,000 – $1,999

Jane Miller Jim & Jacquie Placak Piper Jaffray Community Relations Marty Rubino & Gayle Peterson Stacy Scott & Chuck Ciaccio Madeleine Sloane & Michael Ingerman Karen Soroca Sue & Bob Spofford Tamalpais Paint & Color Barbara Turrentine Grace Underwood Robert & Rebecca Verhoeff Martha Wall Verla K. Regnery Foundation Sam Ziegler

Friends of the Symphony: $100–$999 Anonymous (8) Susan Adamson & George Westfall Jill Aggersbury Marjorie & Michael Alaimo James C. Allen Paula Andres Argo Group, Inc. Carolyn & Peter Ashby William E. Asiano Autodesk Foundation Employee Engagement Fund Larry and Barbara Babow Grace Barner Al & Ellen Barr Alice Bartholomew & Chuck Herman Richard & Ann Batman Yvonne & Gary Beauchamp Gerry & Don Beers Sue Beittel Robert and Irene Belknap Fred & Yvonne Beller Maureen Bennett Maxine J. Bennett Philip M. Bernstein Constance B. Berto Ginger Bertolli Leland & Joan Bertolone Vernon Birks Christine Blackburn Peter & Gloria Bland Jeanie & Carl Blom Rosalind & David Bloom Andrew & Shirley Bogardus Frances & Ben Borok Eli & Caroll Botvinick James Bourgeois DeWitt & Mary Jo Bowman Peter and Susan Bowser Lois Brainard Jack & Ute Brandon Molly Bricca Richard Bricker & Emily Hanna Johnson

Anonymous (4) Mrs. Brent M. Abel Deborah & Arthur Ablin Family Fund Brooke & Cathy Aird Dr. & Mrs. Reza Aryanpour Irmgard E. Bagshaw Lou & Marge Bartolini Frank & Lee Battat Dr. James & Caroline Boitano Sherrye & Otis Bruce, Jr. Scott Bucey & Jennifer Finger Richard & Carol Burnham David Dee & Patricia Callahan

Anonymous (2) Bill & Carol Beck Martin & Geri Brownstein Wayne & Geri Cooper C. Donohoe Alison C. Fuller Lynn D Fuller Leda Goldsmith Elizabeth Greenberg & James Papanu Alan & Elsie Gregson James C. Hormel & Michael P. Nguyen Greta Hoversten Hoytt Enterprises Peter C. Kerner Carole Klein John L. Levinsohn Dr. Carolyn Mar & Dr. Hop Le

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Where great music comes to life.

Concertmaster’s Circle: $2,000 – $4,999

Friends of the Symphony: $100–$999 Josh Brier & Grace Alexander Suzanne & David Broad Mary Jo Broderick Amy & Mark Brokering Anthony & Mary Lee Bronzo Louis & Caroline Brownstone Helen Broyles Ava Jean Brumbaum The Brunner Family Wendy & Ellen Smith Buchen Annie Bugher Robert & Elza Burton Anne & John Busterud Miguel & Ilene Campas Glenn & Vicki Campbell Mary Campbell Peter Carlson & Linda Swanson Robert & Kathleen Carrasco Oscar & Joan Chambers Arthur & Jeanie Chandler John & Barbara Chase Robert Child Priscilla Christopher Russ & Lynn Colombo Leslie Connarn Mary & Fred Coons Paul & Paula Cooper Bob & Betty Copple William Corbett Neil & Patricia Cormia Helenclare Cox Suzanne & Joseph Crawford Margrit & Herb Crowhurst Dolores Cuerva Graham & Rosana Cumming Jeff Curtis & Kathleen Sanders Jon M. Curtis Faye D’Opal Elizabeth Dakin Nancy Kent Danielson Arthur Davidson Ursula & Paul Davidson Ann Nilsson Davis Roy & Marilyn Davis Judith Dawson Robert De Haan & Nancy Sangster Sam & Ellen Dederian Dee’s Executive Limousine Service Margaret E. Deedy-Koller Tom & Mary DeMund Nona Dennis Michael P. De Santis Thomas Diettrich Jenny Douglass & Andy Basnight Ben Dresden & Ann Swanson Sara Duggin Alan & Roberta Dunham Carol Dutton-Hollenberg Stuart & Emily Dvorin Wendy Eberhardt Paul Eldering Jane C. Ellis Lois J. Ellison

DONOR AP P RECI ATI ON Friends of the Symphony: $100–$999 Bob Ely Elizabeth Enemark Heather English Bill & Maxine Everest Michael & Barbara Fewer Marian & Jack Fielder Roy & Barbara Filly Richard & Nancy Flathman Gary Flatow Anice Flesh Erdmuth Folker Robert & Rita Forsyth Suzy Foster Katie & Rick Fournier Diane Fowler Cathy Fox Julia S. Frank Vivienne Freeman Baerbel Freytag Carole & Mark Friedlander James Fritz Ann Gagliardi Martha Gardiner Ray & Margot Gergus Debra and Ken Getz Jerry C Gianni & Donna Bandelloni Jon and Betty Goerke Yacov Golan Margot Golding & Mike Powers Ellen & Bob Goldman Elizabeth S. Graham Phyllis & Dennis Gray David & Randy Greenberg Rosemary & Leonard Greenberg Robert & Evelyn Greenwood George & Anne Gregory Mary M. Griffin-Jones Hildegard Griffin Dr. & Mrs. Joseph Gryson David & Margie Guggenhime Anne & Paul Guthrie Erika Hagopian Drs. Albert & Shirley Hall Jane Hall Doug Hancock Virginia Hanna Rosemarie Hansen Helen Harper Richard & Julie Harris James & Laura Harrison Louise Harrison William & Kathryn Harrison Gail Harter Cecile Hawkins Allan & Nancy Herzog Eileen Hinkson & Morton McMichael Nancy Hoffman Carol Hollenberg Ken & Donna Hoppe Andrew Horwitz Vincent & Marjorie Hoversten Tom & Joan Huddleston Jayne Hulbert Eleanor W. Hull Don & Ginger Humphreys Doris N. Hunker Pat & Irene Hunt Dr. Ifeoma Ikenze Irene S. Jaquette

C. Chris Jennings Bonnie & Peter Jensen Daniel & Anne Jordan Claron & Fay Jorgensen Ted & Diana Jorgensen Rick June & Mark Brinkman Richard Kalish & Denise Kendall Gee Kampmeyer Olga & Andrew Katanics Daniel & Judy Katsin John & Tania Kelley Jill Kelly Orly Kelly Dan & Valerie King Robert & Alice King Nicole Kowalski Herbert & Barbara Graham Kreissler David & Elsie Krinitsky Lou & Britt La Gatta Barbara L. Lane Mike Watt & Eileen Leatherman Donald & Patricia Leisey Lamar Leland Louis & Jeanne Leoncini Barbara Leopold Julius & Sybil Lepkowsky Catherine Less Laura Less Levi Strauss Foundation Carl & Carol Ann Lewis Susanne Light Carol K. Lind & James L. English Bernice Lindstrom Juliene G. Lipson Bill Lockett & Dottie Berges Barbara Lockhart Wendy & Kevin Loder Frank & Maja Lorch Kenneth and Marsha Lovette The Lyman Family Jaqueline D. Mackey Dr. Susan Magnone Ruth & Martin Malkin Mary Malouf Daniel & Virginia Mardesich Marin Music Study Club Lee Marken Marian Marsh Phyllis B. Mart Mary Ann & J. Ralph Thomas Terrel J. & Stephanie A. Mason Leonard and Deb Mattson John & Rosemary Maulbetsch John & Mary Ellen Maurer Gordon and Marja McAuley Sandra McCreary John & Ilene Medovich Jan Mettner Mill Valley Market Frank & Mickey Meredith Don Miller Eugene & Phyllis Miller Kati Miller & Michael Shea Leslie Miller & Richard Carlton Abigail Millikan-States Glenn & Laura Miwa Stephen & Mary Mizroch Sharon L. Modrick Marnie Moore & Mike Mackenzie

Katrina Morgan & Family Shahin & Shahrzad Moshfeghi Kaneez Munjee & Hugh Davies Ann Murphy James Murrow Drs. Brian Nagai & Robert B. Daroff, Jr. Hilda Namm Nancy Marsh Sangster Terry O’Neill Steve & Ruth Nash Louise C. Nave Diana C Nicoll David B. & Virginia M. Nielsen Mark & Kay Noguchi Mark C. & Donna Norstad Lisa Nunnyork Fran & Dick O’Brien Ed & Linda O’Neil Ann W. Ocheltree Stevanie Jan Olson Walter & Elaine Olson Whitney & Dennis O’Neill Merle & Clyde Ongaro Harry Oppenheimer & Sharon Leach Barbara Z. Otto Nancy L. Otto Bob Koch & Cari Pace Koch Jacqueline Palmer Raymond Park Jim & Collette Parrinello James Parsons & Andrea Hong Raymond and Barbara Perkins Ellen Pesenti Sara J. Peter J. & M. Pettipas Gary & Linda Phillips Laura A Phipps Joy & James Phoenix Carolyn & Arnold Piatti Dr. & Mrs. Ronald O. Plambeck Suzie Pollak Robert & Donys Powell Mr. & Mrs. Joshua Rafner Ron Ramin Jeanne Rathjens Pat & Art Ravicz Lucinda Ray Audrey Miller Reagan Art & Elaine Reichert Faith France & Hugo Rinaldi Jillian Robinson Sue & Bill Rochester Hannelore Rodriguez-Farrar Mr. & Mrs. Lawrence H. Smith Billie Rosenberg Leland & Jane Rosevear Craig Rossi Adrienne Roth Yvonne Roth Guy & Diane Russell Mary Jane Sargent Georgia F. Sagues Angelo Salarpi Family Marsha & Robert Sampson Bonnie Sanders Dr. Rick & Mrs. Cynthia Sapp Julio Burroughs & Carolyn Sasser Nancy & James Saunders Gary & Kathy Schaefer Georgia & Hugh Schall

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Nancy E. Schlegel Norman & Alice Schoenstein Schrader-Robertson Family Fund James & Lucia Schultz Sylvia Schwartz Nancy & Terry Scott Janet Seifert Lori Shearn Margaret C. Sheehy Nancy Coder Shehi Carole & John Shook Mr. & Mrs. Dean Showers Betsy H. Shuey Ivory Susan Sidell Patricia Sims Joel & Susan Sklar Martin & Elizabeth Sleath Alan & Paula Smith Eric Smith & Martha Richter Smith Hoyt & Jacquie Smith Jacky Smith Kay & Roger Smith Scott Smith Joanne Sobel Rhonda & Fereydoon Soofer David & Marcia Sperling Jean Starkweather Rosine Reynolds & Steven Stein Dr. & Mrs. Richard F. Sullivan Laurence & Ann Sykes Ed Texeira Tilda Thompson Skye Thompson Judy Torrison Joel E. Toste Robert Towler Martin Treistman Lee & Virginia Turner United Way of the Bay Area Kiran Vaswani Verghese Marilyn Vaughn & Steven Sivitz Rebecca & Charles Viebrock Forest & Loretta Van Vleck Jan & Mark Volkert Jeff vom Saal Joseph and Geraldine Walsh Karlyn Ward Charles A. Weghorn Rona Weintraub Sandra Weiss Colin and Hartley West Elaine Weston Martha Wickliffe Robert & Irene Wilhelm Barbara J. Wilkes Margaret Wilner Roney Wiseman Ingeborg Wolter William & Gloria Wong Warren Wu Louise Yahnian Diane & Lawrence Yermack Patricia York Schumacher Claire Young Mary C Young Bonnie Yuen Ruth Zamist Michael R. Jobe and Susan Zelinsky Judith & Steven Zimmerman * deceased

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Thank you... The Symphony’s Tribute Program offers a memorable way to celebrate milestones such as weddings, anniversaries and births, and to honor the memory of family and friends. These gifts were received between July 1, 2 013 and January 15, 2015.

GIFTS IN HONOR OF

GIFTS IN MEMORY OF

David & Rosalind Bloom Diane B. & Robert Neuhaus Edward Herndon Hope S. Herndon Florence Miner Peter L.H. & Kathryn Thompson Jack Golan Bernard Meyers Jean Stevens Arthur B & Jeanie Chandler Judith Walker & Bruce Weissman Wedding Paula Andres Robert Child Joanne Dunn Jerry C Gianni & Donna Bandelloni Lisa Nunnyork Mary & David Rabb Renee Rymer & Antonio Clementino Peter L.H. & Kathryn Thompson Marilyn Vaughn & Steven Sivitz Gretchen Wallerich Kate Orsini Marion E De Heer Lou & Marge Bartolini Anne & Richard F Ruben Renee Rymer Peter Carlson & Linda Swanson Katharine & Richard Fournier Robert Towler Elinor Towler Ruth & Sol Soroca Karen Soroca Sheila Berg Robert M Ness Stephen McKersie Bernice Lindstrom William Murray Frank & Lee Battat

Al Noble* William & Lynn Callender Arnold Riesen* William & Gloria Wong Catherine Munson* Donald R. & Noel W. Dickey George Fernbacher* Yacov Golan Gee Kampmeyer Renee Rymer & Antonio Clementino Joanne Sobel Peter L.H. & Kathryn Thompson Dan Turrentine* Barbara Turrentine George Fernbacher* Audrey Miller Reagan Renee Rymer & Antonio Clementino Peter L.H. & Kathryn Thompson Gloria Northrup* Trudy Cohn William & Gloria Wong Katherine Elizabeth Kluttz Miller* Melissa E. Rinck Laura Holter* Mark & Amy Brokering Lila Seidler* Libby Ashil Debra and Ken Getz Connie Kirwin & Angela Hinckley Rhoda Kapan Martin Treistman Mary Ellen Irwin* Robert Irwin Millard “Bud” Ball* Judith Walker Weissman & Bruce Weissman Murray Fox* William & Lynn Callender Walter G. Strauss* Rosie Appel Laura A Phipps

The Board has arranged that monies designated to the ChairNaming Endowment Fund may be paid over time. The Marin Symphony expresses its profound gratitude to the following visionary individuals who have already claimed the chairs of their own:

CONCERTMASTER’S CHAIR presently honoring Jeremy Constant, is now The Catherine Munson Chair

PRINCIPAL VIOLA CHAIR presently honoring Jenny Douglass, is now The Elsie Rigney Carr Chair

PRINCIPAL CLARINET CHAIR presently honoring Art Austin, is now The Jack Bissinger & Robert Max Klein Chair

ASSISTANT PRINCIPAL FIRST VIOLIN CHAIR presently honoring Sergi Goldman-Hull, is now The Schultz Family Chair In Honor of Niels Schultz

ASSISTANT PRINCIPAL VIOLA CHAIR presently honoring Elizabeth Prior, is now The Constance Vandament Chair

SECTION CHAIR, CLARINET presently honoring Larry Posner, is now The Tom & Alice May Chair

Individual giving is vital for us to thrive. The tax-deductible contributions you provide to our Annual Fund helps us continue to bring great live music to life in Marin. Your subscription and ticket sales support only about 40% of the costs associated with producing our exceptional concerts, education programs and community outreach initiatives. Three ways you can make your gift today: 1. Include your contribution in the envelope provided with this program now at the concert, by sending via mail following the concert, or dropping it off at our office. 2. Visit marinsymphony.org and click on the “Donate now” button on any page. 3. Call the Symphony: 415.479.8100 64

Where great music comes to life.

GIFT S , E N D OW M EN T, EN C O R E S O C I ET Y & SP ONS OR AP P RECI ATI ON The Marin Symphony is most grateful to the members of the Encore Society and wish to applaud their gifts of lasting importance.

ENCORE SOCIETY Anonymous (1) Kenneth & Barbara Adams Hans J. Adler & Wanda Headrick Ara Apkarian Audrey S. Tytus* Barbara Leibert* Lou & Marge Bartolini Frank & Lee Battat Robert Bilger Dr. James & Caroline Boitano Steven & Ann Borden David Bott & Susan Naber E. Joseph & Jo Ann Bowler Jack & Ute Brandon Richard Bricker & Emily Hanna Johnson Robert & Elza Burton William & Lynn Callender Catherine Munson* Charles A. Meacham* Paul & Paula Cooper Dr. Robert K. & Judith D. Creasy Christina Dewey Donald R. & Noel W. Dickey Vernon & Elke Neumann Dwelly

Helga Epstein Bran & Carolyn Fanning Thomas & Julianna Foris Frankie Longfellow* Barbara Friede Abe & Suzanne Froman Geraldine Gains George Fernbacher* Mary M. Griffin-Jones Alf & Ruth Heller Sandra D. Hoyer Grace A. Hughes Bob Irwin Jack Bissinger* Jane T. Richards* Mrs. Robert V. Kane Karen Carmody Carole Klein Herbert & Barbara Graham Kreissler Lucinda Lee & Daniel U. Smith Bill Lockett & Dottie Berges Marian Marsh Mary Carpou* Alice T. May Vivienne E. Miller Gloria Miner

A special thanks to all of the businesses, corporations, foundations and individuals who support our season concerts.

SEASON SPONSORS

CORPORATE MATCHING GIFTS

Season Underwriter $20,000 Frank & Lois Noonan Season Underwriter $15,000 Gloria Miner Bon Air Center Pacific Gas & Electric Company Season Sponsor $10,000 Steve & Christina Fox Bank of Marin County of Marin

FOUNDATION PARTNERS

Season Supporter $5,000 Kaiser Permanente Best Collateral In Kind Sponsors $5,000 Left Bank Brasserie The Big Picture Brick & Bottle Gaspare’s Pizzeria Hey Mambo Wine, The Other Guys La Toscana Ristorante Viansa Winery

SPECIAL THANKS Marin Pacific Co.

Argo Group, Inc. Autodesk Foundation Employee Engagement Fund Chevron Humankind Employee Engagement Fund Gap Inc. Levi Strauss Foundation Piper Jaffray Community Relations Visa, Inc.

Clarence E. Heller Charitable Foundation The Bernard Osher Foundation Ann & Gordon Getty Foundation US Bancorp Foundation Schultz Family Foundation The Finlandia National Foundation Italian Street Painting Marin Rotary Club of Central Marin The George Lucas Family Foundation

MEDIA SPONSORS

Larry & Betty Mulryan Nancy Kohlenstein* Gloria Helen Marie Northrup* David Poff Yvonne Roth Renee Rymer & Antonio Clementino, Ph.D. Nancy E. Schlegel Herb Schuyten Madeleine Sloane & Michael Ingerman Ellis & Ann* Stephens Susan Hedge Hossfeld* Patricia C. Swensen Sylvia F. Thompson* Wilbur & Jacqueline Tapscott Bruce C. Taylor & Lynn O’Malley Taylor Theodore Montgomery* Peter L.H. & Kathryn Thompson Connie Vandament Rona Weintraub Judith Walker Weissman Dr. Frances L. White and Harley White, Sr. Maynard & Helen Willms Dr. & Mrs. Philip Ziring

*deceased Marin Symphony in kind contributors come from all kinds of businesses, individuals and organizations in our community.

DONATIONS IN KIND An Affair to Remember Catering Bananas at Large Big Cat Advertising Anne Bonaparte & Judd Williams Joanne Dunn The Magic Flute Rob & Claire Newman Schramsberg Stacy Scott Fine Catering Peter L. H. & Kathryn Thompson Unicorn Group White Oak Vineyards & Winery

REHEARSAL FACILITIES Good Shepherd Lutheran Church, Novato St. Anselm School, San Anselmo

MEMBERSHIP The Marin Symphony is a member of the Association of California Symphony Orchestras.

Marin Independent Journal Marin Magazine KDFC Classical Radio

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Encore Society Remember us in your will — leave a legacy. The Encore Society provides recognition to those loyal and generous individuals who have included the Marin Symphony in their bequests or other estate plans. You become a member simply by informing us of your charitable giving intentions. Encore Society members are acknowledged online and in the Symphony’s season-long concert program books. Members are also recognized at an annual appreciation luncheon and receive exclusive invitations to other special events. You can partner with the Marin Symphony to help us achieve our vision and fulfill our values. Your planned gift is an investment that will have an impact on the Symphony for years to come. The Marin Symphony is one of Marin County’s longest-running and most highly regarded cultural organizations. If you share our vision and values, please consider including the Symphony in your estate plans. Your legacy gift will enhance the Symphony’s ability to: • • • •

Maintain the highest quality repertoire and musicians Attract outstanding guest artists Provide a variety of youth programs to talented young musicians Continue as a community asset bringing live symphonic music to patrons of all ages

Planned giving options. Encore Society — a gift, a legacy, a celebration.Let us honor your love for the Symphony in perpetuity. Planned giving options include Charitable Bequests, Life Insurance and IRA Designations, Pay-On-Death Account, Charitable Remainder Trusts, Charitable Gift Annuities. For more information call or email Angela Colombo, Director of Development: 415.479.8100, angela@marinsymphony.org. In addition, you may visit our website at marinsymphony.org/ support/planned-giving/ for more information. A variety of planned giving vehicles are available. Benefits of these options are that they may be revocable by nature, may lower estate taxes, and allow you to remain in control of your assets. Please consult your attorney or financial advisor to explore all options.

Recording at Skywalker 2 013

Holiday Pops 2 014

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Navah Perlman, Masterworks II

Alasdair Neale’s Junior Conductors 2014 Waterfront Pops Concert

Where great music comes to life.

PHOTOS © PETER RODGERS

Youth Programs

P L A N N ED G I VI N G, S U P P OR T & S P ONSORSH I P

Support & Sponsorship Become an individual contributor. Live symphonic music lifts spirits and improves our quality of life. It shines a light of hope and touches our emotions like no other form of entertainment. There are multiple dimensions to bringing symphonic performances to our stage. Ticket sales revenue accounts for only about 40% of the costs associated with producing our exceptional artistic, education, and community initiatives. Donations from individuals like you make our events possible. As an indivdual donor, you play a vital role in allowing us to share the profound and transformative experience of live music. When you contribute, you provide crucial support for Marin Symphony’s season events, youth education and programs for the underserved. There are many ways to be a part of it. Become a Friend of the Symphony. Join the Conductor’s Circle or any one of our higher tier donor groups for special VIP benefits. Become a major donor and Encore Society member. Explore Fund Chair Naming opportunities. As a donor, you also receive priority seating assignments. Your support at any level is vital and appreciated.

Sponsorship opportunities connect you and your business to us. Marin Symphony strives to continue embracing and deepening our loyal and passionate audience relationships and attract new audiences, in particular, underserved community members, youth and families in Symphony Kids Partners Marin County. Marin Symphony’s “Symphony Kids” Program is supported by either an individual or entity in order to provide tickets to youth members of our community who would otherwise be unable to St. Vincent’s Timothy Murphy School and more… attend our concerts.

PHOTO © SUSAN D. LEE

PHOTOS © PETER RODGERS

Season sponsors enjoy a wide-range of benefits including tickets to season events and intimate gatherings of VIPs, special employee concert ticket prices and more throughout the 2 014 -15 Season. Marketing appearances include our program books, website, postcards and advertisements. For information about making a gift, creating an enduring legacy with your estate planning, or simply to learn more about taking advantage of benefits and privileges designed to enhance your concert-going experience, please call Angela Colombo, Director of Development at 415.479.8100, or visit marinsymphony.org/support.

Waterfront Pops Concert 2 014

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We appreciate our season sponsors! media

Frank & Lois Noonan, Gloria Miner, Steve & Christina Fox

Special thanks: Marin Pacific Co.

Ongoing support provided by:

Ann and Gordon Getty Foundation, Schultz Family Foundation, The George Lucas Family Foundation , Italian Street Painting Marin

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Where great music comes to life.

Alasdair Neale Celebrating 15 years as Music Director!

Season Preview

Subscription renewals begin March 1, 2015!

Masterworks 1

Russian Spectacular October 25 & 27

Rachmaninoff Piano Concerto No. 3 in D Minor Gleb Ivanov, piano Tchaikovsky Symphony No. 5 in E Minor

Holiday Pops

Winter Wonderland December 15

Beloved holiday classics performed by the Marin Symphony Orchestra and Adult and Children’s Choruses

Masterworks 2

The Romance of Rodrigo February 21 & 23

Mozart Symphony No. 35 in D Major, "Haffner" Rodrigo "Concierto de Aranjuez" for Guitar Robert Belinic, guitar Beethoven Symphony No. 2 in D Major

Masterworks 3

Bolero! April 17 & 19

DuruflĂŠ Requiem Marin Symphony Chorus Stephen McKersie, Director Bizet Excerpts from Carmen Suites 1 and 2 Ravel Bolero

Call 415.479.8100

Renew current subscriptions before May 31, 2015. Get a new subscription starting June 1, 2015. Buy single tickets after August 1, 2015.

marinsymphony.org

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M A R I N SY M P H ONY ALASDA IR NE ALE | MUS IC DIR E C TOR

54 Aldersly 38 American Bach Soloists 14 Bank of Marin 05 Best Collateral 50 Big 4 Party 10 Bon Air Center 72 Bradley Real Estate 59 Brick and Bottle 44 College of Marin 12 County of Marin 42 Cypress String Quartet 60 Dermatology Assoc. of Bay Area 26 Dolce Violins 53 Gaspare’s Pizzeria 59 Hey Mambo Wines 22 Kaiser Permanente 16 KDFC 55 La Toscana 27 Left Bank 52 Lucas Valley Cleaners 51 Marin Baroque 28 Marin Center 04 Marin IJ 71 Marin Magazine 29 Marin Music Chest 52 Marin Sanitary Service 56 MOC Insurance Services 61 Montecito Plaza 47 MTC 46 Pacifics Baseball 02 Peacock Gap Clubhouse 23 Perotti & Carrade 08 PG&E 32 Rafael Floors 56 RGS Energy 25 SF Conservatory of Music 54 SMART Train 57 Speak to Me Events 26 Terrestra 55 The Big Picture 14 The Magic Flute 06 Town Center 56 Trend Draperies 60 US Bank 58 Villa Marin 52 Yelp 70

PHOTO © EISAKYU TOKUYAMA

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Where great music comes to life.

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