Marin Symphony, Love it LIVE! 14/15 Season Program Book 1

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

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8/22/14 1:45 PM

M S

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

| MUS IC DIRECTOR

Contents 07

Love it LIVE! 14 /15 Season

09

Orchestra

11

Leadership

15

Season at a glance

17

Youth & Education Programs

19

MASTERWORKS 1: French Reverie

31

MASTERWORKS 2: Beethoven:

19

31

Eternal Revolutionary 39

HOLIDAY: Choral Concerts by Candlelight

41

HOLIDAY POPS: Home for the Holidays

42

MASTERWORKS 3: Eight Seasons

42

MASTERWORKS 4: Intersections

43

SPRING POPS: World Premiere,

Star Trek in Concert 63

Donor & Sponsor Appreciation

66

Encore Society

67

Support & Sponsorship

68

Compose your own subscription!

69

Season Sponsors

70

Advertisers & Sponsors

41

43 marinsymphony.org • 415 . 4 79.810 0

3

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

PLUS

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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E

D

I

A

Staff, Board & Contributors

OFFICERS

EMERITUS

Dr. Frances L. White President and Chair

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

ARTISTIC

Peter L. H. Thompson Immediate Past President

Alasdair Neale Music Director

Steven Machtinger* Vice President

Stephen McKersie Chorus & Chamber Chorus Director

Jim Finkelstein Vice President

Ann Krinitsky Youth Orchestra Director

Judith Walker Secretary

Anne Lerner-Wright Overture String Ensemble and Crescendo Orchestra Director

Renee Rymer Treasurer

Debra Chambliss Marin Symphony Children’s Chorus Director

BOARD OF DIRECTORS

ADMINISTRATIVE Jeff vom Saal Executive Director Angela Colombo Director of Development Dianne Provenzano Director of Marketing & Sales Marty Eshoff Director of Operations & Finance Maria Marciales Finance Associate Christina Balsdon Development Associate Craig McAmis Orchestra Personnel Manager Drew Ford Music Librarian

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

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

Subscriptions & single tickets on sale now! Compose your own subscription series. Choose 3 or more concerts — you’ll receive FREE Companion Certificates! Details on page 68

Andrei Gorchov Youth Programs Administrator Deborah Walter Accountant

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

PROGRAM BOOK CREDITS Designer/Editor: Peter Rodgers Advertising Sales, Big Cat Advertising Printer: Unicorn Print/Mail Cover photos: Alasdair Neale, © Eisaku Tokoyama, Zuill Bailey/Navah Perlman, © Lisa-Marie Mazzucco, Children’s Chorus, © Peter Rodgers

Where Luxury is Made Affordable

marinsymphony.org • 415 . 4 79.810 0

5

Love it LIVE!

Welcome to your Symphony’s 62nd Season!

14/15 S E A S O N

Our new direction takes flight... We’re continuing the momentum of the new direction we set that began with the sold out 60th Season finale, Pixar in Concert in 2013 — adding multimedia, pops and outdoor programs to our repertoire of classics — offering something for every music lover, spanning generations. Our 61st Season kicked off quite literally with a bang — the first-ever outdoor Waterfront Pops Concert featuring John Williams movie music favorites in 2 013. This year’s Love it LIVE! 14/15 Season debuted on an even higher note! Waterfront Pops, Hooray for Hollywood, broke all records for attendance in our history! We appreciate the amazing reception our new direction has inspired and the enthusiastic community support we have received. Our vastly improved ticket sales, subscriptions, sponsorships and individual financial contributions confirm that we are indeed, on the right path. This is only the beginning. We need your unwavering support to thrive. Firsts and highlights leading into our new season abound... Symphony Kids is a program subsidized by Season Sponsors, which provides free tickets to children and their families from Sunny Hills Services, Big Brothers Big Sisters and other organizations. Through this program, we’ve been able to bring hundreds of children and their families to concerts, who would otherwise be unable to attend. Our Youth and Education Programs have grown tremendously. This season, we had the highest number of talented young musicians audition in many years. For the first time, in September 2 013, Marin Symphony Crescendo and Youth Orchestras experienced a day of recording at Skywalker. It was a life-inspiring moment that will be repeated this November! Another first — in anticipation of Marin Symphony Youth Programs’ 60th Anniversary season, three awards were given at the May 2 013 Spring Youth Concerts to one student from each of our orchestral ensembles in honor of Hugo Rinaldi, Founder and long-time Conductor of the Marin Symphony Youth Orchestra. Congratulations to the first-ever Marin Symphony Teacher of the Year Award Recipients! At the September 2 014 Waterfront Pops Concert, Mary Jane Burke, County Superintendent of Schools, presented the awards to Patricia Miner (Private Studio Award) and Jeremiah Jacks (Public School Award). Leading up to the first Masterworks concert, French Reverie, on September 28 and 30, our soloist Zuill Bailey visited multiple schools as part of the most extensive in-school residency program we have ever offered. This is a good example of the continuation of the new direction we have embarked upon. We are intensely focused on connecting to the next generation of classical musicians and inspiring a deeper relationship between us, and everyone who lives here. We invite you to explore the Love it LIVE! 14/15 Season in the pages of our program book! Another first, the world premiere of Star Trek in Concert is on the horizon (page 43). Our journey together has really just begun. With your continued support, we’re confident that together, we will secure a bright future for great music in Marin. To experience an orchestra like ours is transformational. Our Marin Symphony is a community jewel. Be inspired. Be a part of it. Experience it with us!

Jeff vom Saal Executive Director

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7

PHOTO © PETER RODGERS

ORCHESTRA

Orchestra Personnel VIOLIN 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 VIOLIN II 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

CELLO 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* BASS Robert Ashley Principal Richard Worn Assistant Principal Pat Klobas Andrew Butler William Everett Andrew McCorkle FLUTE Monica Daniel-Barker Principal Katrina Walter, Piccolo OBOE Margot Golding Principal Laura Reynolds English Horn

VIOLA 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

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

HORN Darby Hinshaw Principal Nicky Roosevelt Meredith Brown Loren Tayerle TR UMPET John Freeman Principal James Rodseth Catherine Murtagh TR OMBONE Bruce Chrisp Principal Craig McAmis Kurt Patzner Bass Trombone TUBA Zachariah Spellman Principal TIMPANI Tyler Mack Principal PERCUSSION Kevin Neuhoff Principal Ward Spangler HARP Dan Levitan Principal PERSONNEL MANAGER Craig McAmis LIBRARIAN Drew Ford SANDOR SALGO Music Director Laureate Posthumous CHARLES MEACHAM Concertmaster Emeritus Posthumous

* Former member of Marin Symphony Youth Orchestra

BASSOON Carla Wilson Principal Karla Ekholm David Granger Contrabassoon

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9

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we

create

more

harmonious

$

K Bon Air Center

is proud to support

Marin Symphony

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

AR TISTIC leadership

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.

marinsymphony.org • 415 . 4 79.810 0

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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.

leadership 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.

marinsymphony.org • 415 . 4 79.810 0

13

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14

Where great music comes to life.

Love it LIVE!

MASTERWORKS 1

14/15 S E A S O N

French Reverie

19

Alasdair Neale, conductor Zuill Bailey, cello

Beethoven: Eternal Revolutionary Alasdair Neale, conductor Navah Perlman, piano

MASTERWORKS 2

31

Choral Concerts by Candlelight Marin Symphony Chamber Chorus Stephen McKersie, director

39

41

42

S U N D AY F E B R UA R Y 1 5 3:00 p.m. T U E S D AY F E B R UA R Y 1 7 7:30 p.m. MASTERWORKS 4

42

Star Trek in Concert

S U N D AY APRIL 12, 3:00 p.m. T U E S D AY APRIL 14, 7:30 p.m. SPRING POPS

Alasdair Neale, conductor WO R L D P R E M I E R E !

T U E S D AY DECEMBER 16 7:00 p.m. MASTERWORKS 3

Intersections Alasdair Neale, conductor Marin Symphony Chorus Marin Symphony Youth Orchestra

S A T U R D AY DECEMBER 6 7:30 p.m. S U N D AY DECEMBER 7 4:00 p.m. H O L I D AY P O P S

Eight Seasons Alasdair Neale, conductor Jeremy Constant, violin

S U N D AY OCTOBER 26 3:00 p.m. T U E S D AY OCTOBER 28 7:30 p.m. H O L I D AY C H O R A L

Home for the Holidays Alasdair Neale, conductor Marin Symphony Chorus Marin Symphony Children’s Chorus

S U N D AY SEPTEMBER 28 3:00 p.m. T U E S D AY SEPTEMBER 30 7:30 p.m.

43

S A T U R D AY JUNE 6, 7:00 p.m.

15

Enjoy a Classical

Island of Sanity

PHOTO Š 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 concert-goers. 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. Winter Concerts on Sunday, December 7th Marin Symphony String Ensemble and Crescendo Orchestra at 3:00 p.m. Marin Symphony Youth Orchestra at 7:00 p.m.

Concerts take place at College of Marin James Dunn Performing Arts Theatre in Kentfield

marinsymphony.org • 415 . 4 79.810 0

17

French Reverie

This season begins with a bang: Berlioz’s mold-breaking masterpiece “Symphonie fantastique,” the composer’s vivid portrait of an opium-induced dream, and works ever. Zuill Bailey makes a welcome return with Saint-Saëns’s urbane and elegant Cello Concerto No. 1.

18

Where great music comes to life.

PHOTO © LISA-MARIE MAZZUCCO

one of the most brilliant and outrageous

M A S T E R W O RKS PR OGRAM 1: FRENCH REVERIE

Alasdair Neale, conductor Zuill Bailey, cello September 28, 2 014 — Sunday at 3:00 p.m. September 30, 2 014 — Tuesday at 7:30 p.m. Smith/Key

The Star Spangled Banner

Sousa The Stars and Stripes Forever (Sunday only) Sandra Hoyer, guest conductor Bernstein

Overture to Candide

Saint-Saëns

Cello Concerto No. 1 in A minor, Opus 33

Allegro non troppo

Allegretto con moto

Molto allegro

Zuill Bailey, cello

INTERMISSION Berlioz

Symphonie fantastique, Opus 14

Reveries, Passions

A Ball

Scene in the Fields

March to the Scaffold

Dream of a Witches’ Sabbath

Ongoing support provided by the Ann and Gordon Getty Foundation, Schultz Family Foundation, The George Lucas Family Foundation and Italian Street Painting Marin

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Program 1 Notes September 28 & 30, 2 014 by Jon Kochavi Overture to Candide (

1956

)

Cello Concerto No. 1 in A minor, Op. 33 (

1872

)

Candide is beginning to look to me like a real fine old-fashioned operetta, or a comic opera... But not a musical comedy surely? ... Of course it’s a kind of operetta, or some version of musical theater that is basically European but which Americans have long ago accepted and come to love.

Today we think of Berlioz as a towering figure who ushered in the age of Romanticism with works like Symphonie fantastique, which we will hear on the second half of our program. But within his home country Camille Saint-Saëns of France, Berlioz was generally dismissed as an ( 1935 – 1921 ) eccentric during his lifetime and largely ignored by the impressionists of the next generation. Camille SaintSaëns was the major exception to this rule. Berlioz and Saint-Saëns began a friendship early in Saint-Saëns’s life, with Berlioz famously saying of the teenage prodigy “He knows everything, but lacks inexperience.” Saint-Saëns unfailingly championed Berlioz’s music throughout his career during a time that the elder composer’s music was scorned by the establishment. The musical circles would eventually catch up to SaintSaëns in both his forward-looking view on Berlioz and in the innovations found in his own music. Ironically, by the end of his long life (he would outlive Debussy), Saint-Saëns would himself be dismissed as an ultraconservative.

A 1973 reworking that lightened up both the libretto and the music proved to be more popular, enjoying a three-year Broadway run.

The Cello Concerto No. 1 is a brilliant example of Berlioz’s influence on Saint-Saëns. Years after Berlioz’s death, Saint-Saëns would write:

Even through the difficult beginnings for Candide, the overture garnered repeated praise and quickly became a popular addition to the concert repertoire. It interweaves a number of the musical numbers from the drama including the opening “Westphalian Fanfare,” the sweeping melody from “Oh, Happy We,” and the energetic theme (made famous by Dick Cavett) from “Glitter and Be Gay.”

If there is one quality that you can not deny Berlioz’s works, that his bitterest opponents have never challenged him, it’s the brightness, the prodigious color of his instrumentation. When we study the scores to seek the composer’s method, we encounter astonishment after astonishment.... Light bathes [the music] and plays like the facets of a diamond.

We begin our French Reverie with a 20th century American take on a wicked 18 th century French satire. After the success of On the Town (1944) and Wonderful Town (1953), Bernstein looked to Voltaire’s novel Candide for inspiration Leonard Bernstein for his third musical. ( 1918 – 1990 ) Originally adapted by Lillian Hellman for Bernstein, the comedic production follows the noble youth Candide’s rather disastrous journey through the “best of all possible worlds.” The initial New York run closed after only 73 performances as audiences were unsure just how to categorize the work: was it a musical or an opera? Bernstein later tried to answer this question himself:

Like Symphonie fantastique, Saint-Saëns’s concerto expands expressive horizons with close attention to instrumental timbre, while maintaining an underlying allegiance to the organicism of Classical form and balance.

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Where great music comes to life.

P R O G R A M 1 NOTES: FRENCH REVERIE Symphonie fantastique, Op. 14 (

In terms of musical form, theme, and harmony, the concerto begins surprisingly, ends surprisingly, and much of what happens in between is equally unexpected. Throughout these twists and turns, though, Saint-Saëns comes up with melodies and phrases that are so attractive and memorable that we could easily overlook these architectural innovations. The concerto is written as a single continuous movement with a structure that is unique to itself. In one sense, we can think of the concerto as a modified traditional three-movement work in which the movements have been shorten and concatenated. On the other hand, the piece can be construed as a much expanded sonata form movement with a minuet inserted into the development section. Concertos often begin with stable, solid orchestral introductions to set the groundwork for the soloist’s virtuosic drama. Here, the cellist enters immediately and within three measures has set up two motivic elements that Saint-Saëns will return to repeatedly throughout the work. The cascading triplet theme in the cello will become the most important thematic aspect of the piece, providing material for development and transition as well as unifying the lengthy movement melodically. At the end of the cascade, there is a very peculiar chromatic figure (called a “common tone German augmented sixth chord,” if you must know!), establishing the essential color palette Saint-Saëns will explore in piece. The first segment of the concerto plays with these basic building blocks, weaving in a lyrical subsidiary theme before moving to what seems like a development section. Saint-Saëns gradually slows the momentum here until the strings enter with a detached minuet theme ushering in the second segment of the work. While there’s no dedicated cadenza in the piece, the cellist is offered some moments of virtuosic solo work during this section. The final section of the concerto picks up with the original cascading theme, sounding at first like a recapitulation. But Saint-Saëns has other ideas: he eventually introduces a completely new theme — haunting and nostalgic — which leads to a thrilling second development section. The coda unexpectedly moves to A major, exiting so quickly we hardly have time to process what has hit us.

1) 2) 3) 4) 5)

1830

)

Reveries, Passions (Dreams, Passions) Un bal (A Ball) Scene aux champs (Scene in the Fields) Marche au supplice (March to the Scaffold) Songe d’une Nuit du Sabbat (Dream of a Witches’ Sabbath)

Voltaire died just 25 years before his fellow countryman Berlioz was born, but the Age of Enlightenment had already begun to give way to the Romantic era during the interim, and Berlioz was very much Hector Berlioz on the forefront of this ( 1803 – 1869 ) new movement. Voltaire was well-represented in Berlioz’s extensive library, and the composer was certainly familiar with the popular Candide, referencing the work in his letters. Though Berlioz shared certain qualities and views of Voltaire — both were astounding and prolific intellects with expertise on a wide variety of topics, both shared a skepticism of organized religion, and both were fiercely independent in their modes of thought and expression—they differed fundamentally in their assessment of the vagaries of human existence. Voltaire’s bold and biting attack on Candide’s optimism in the face of a world of unforgiving hostility leaves him to salvage what he can by “cultivating his own garden.” Berlioz, however, is deeply interested in the Romantic struggle itself, regardless of the ends it might lead to. Shakespeare is perhaps the most electrified touchstone embodying the philosophical differences between Voltaire and Berlioz. Though initially an admirer, Voltaire developed a profound distaste for Shakespeare later in life, and was not reluctant to share his views in the harshest of terms. He described Hamlet as “a vile and barbarous drama, which would not be tolerated by the vilest populace of France or Italy.” Berlioz, on the other hand, was moved and inspired by the English playwright throughout his life, composing musical interpretations of Romeo and Juliette, The Tempest, King Lear, Hamlet, and Much Ado About Nothing. Indeed, Shakespeare became a hero of the French Romantic era across the artistic genres.

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Program 1 Notes September 28 & 30, 2 014 continued...

Symphonie fantastique, Op. 14 (

1830

)

Berlioz was first introduced to Shakespeare in September 1827, when he saw a production of Hamlet that included an Ophelia played by the Irish actress Harriet Smithson. He was instantly smitten. Smithson became the object of an obsessive affection, as Berlioz wrote, “The impression made on my heart and mind by [Smithson’s] extraordinary talent, nay her dramatic genius, was equaled only by the havoc wrought in me by the poet she so nobly interpreted.” For years, Berlioz fixated on Smithson, idealizing her and identifying her with Shakespeare’s heroines. The euphoria, madness, profound longing, and emptiness this unrequited love produced in him became the basis for the drama of emotions portrayed in Symphonie fantastique. Originally autobiographically entitled “Episode from the Life of an Artist,” the five movements of the work each make use of what Berlioz called an idée fixe, a recurrent theme that represents both the artist’s muse (Smithson) and the internal passions she evokes. From the very first performance of Symphonie fantastique, Berlioz insisted that knowing the program of the piece was “indispensable to the full understanding of the dramatic plan of the work.” He provided his own program for distribution, which is reproduced below translated from the French by Nicholas Temperely.

Note The composer’s intention has been to treat various episodes in the life of an artist, insofar as they have musical quality. Since this instrumental drama lacks the assistance of words, an advance explanation of its plan is necessary. The following program, therefore, should be thought of as if it were the spoken text of an opera, serving to introduce the musical movements and to explain their character and expression. First Movement, Dreams, Passions The composer imagines that a young musician, troubled by that spiritual sickness which a famous writer has called le vague des passions, sees for the first time a woman who possesses all the charms of the ideal being he has dreamed of, and falls desperately in love with her. By some strange trick of fancy, the beloved vision never appears to the artist’s mind except in association with a musical idea, in

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which he perceives the same character — impassioned, yet refined and diffident — that he attributes to the object of his love. This melodic image and its model pursue him unceasingly like a double idée fixe. That is why the tune at the beginning of the first allegro constantly recurs in every movement of the symphony. The transition from a state of dreams melancholy, interrupted by several fits of aimless joy, to one of delirious passion, with its impulses of rage and jealousy, its returning moments of tenderness, its tears, and its religious solace, is the subject of the first movement. Second Movement, A Ball The artist is placed in the most varied circumstances: amid the hubbub of a party; in peaceful contemplation of the beauty of nature — but everywhere, in town, in the country, the beloved vision appears before him, bringing trouble to his soul. Third Movement, Scene in the Fields One evening in the country, he hears in the distance two shepherds playing a ranz de vaches; this pastoral duet, the effect of his surroundings, the slight rustle of the trees gently stirred by the wind, certain feelings of hope which he has been recently entertaining — these all combine to bring an unfamiliar peace to his heart, and a more cheerful color to his thoughts. He thinks of his loneliness; he hopes soon to be alone no longer. But suppose she deceives him! This mixture of hope and fear, these thoughts of happiness disturbed by dark, forebodings, form the subject of the adagio. At the end, one of the shepherds again takes up the ranz de vaches; the other no longer answers: Sounds of distant thunder, solitude, silence. Fourth Movement, March to the Scaffold The artist, now knowing beyond all doubt that his love is not returned, poisons himself with opium. The dose of the narcotic, too weak to take his life, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he loved, and that he is condemned to death, brought to the scaffold, and witnesses his own execution. The procession is accompanied by a march that is sometimes fierce and somber, sometimes stately and brilliant: loud crashes are followed abruptly by the dull thud of heavy footfalls. At the end of the march, the first four bars of the idée fixe recur like a last thought of love interrupted by the fatal stroke.

Where great music comes to life.

P R O G R A M 1 NOTES: FRENCH REVERIE Fifth Movement, Dream of a Witches’ Sabbath He sees himself at the witches’ Sabbath, in the midst of a ghastly crowd of spirits, sorcerers, and monsters of ever kind assembled for his funeral. Strange noises, groans, bursts of laughter, far-off shouts to which other shouts seem to reply. The beloved tune appears once, but it has lost its character of refinement and diffidence; it has become nothing but a common dance tune, trivial and grotesque; it is she who has come to the Sabbath. A roar of joy greets her arrival. She mingles with the devilish orgy. Funeral knell, ludicrous parody of the Dies irae, Sabbath dance. The Sabbath dance and the Dies irae in combination. The sonata form first movement begins with an extended Largo in C minor, based on an earlier work Berlioz had composed, before moving into the C major allegro which is introduced by the first presentation of the idée fixe in the violins and flute. The quiet harmonies that end the movement depict the “religious solace” that Berlioz mentions in his program. The second movement is an elegant waltz in ABA form with an introduction and a coda. The idée fixe is adapted to triple time in the B section. The “pastoral duet” of the third movement adagio is played by the English horn and the oboe. The idée fixe leads to a more agitated section of the movement before the calm of the beginning is restored. Ominous clouds emerge on the horizon by the end of the movement, though, as four timpanists on two sets of kettle drums create the rolling of distant thunder. The most unusual fourth movement march employs descending lines in the low strings and bassoon solos punctuated by the more traditional brass march rhythms. At the end of the march, the clarinet’s idée fixe line is literally cut off by the orchestra, gruesomely representing the decapitation of the artist in his dream. The vivid, terrifying images of witches, goblins, and the artist’s grotesquely altered beloved make the fifth movement finale one of the most hair-raising movements ever written. Berlioz would eventually get his chance to meet Smithson, and less than a year after the meeting in 1833, they were married. Predictably, however, the idealized image of Smithson that Berlioz constructed in mind could not possibly endure in the face of day-to-day reality. Although they remained on good terms for the rest of their lives, Berlioz and Smithson separated in 1842.

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PHOTO © PETER RODGERS

Guest artist: Zuill Bailey

Zuill Bailey, widely considered one of the premier cellists in the world, is a distinguished soloist, recitalist, Artistic Director and teacher. His rare combination of celebrated artistry, technical wizardry and engaging personality has secured his place as one of the most sought after and active cellists today. A consummate concerto soloist, Mr. Bailey has been featured with symphony orchestras worldwide including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Minnesota, Utah, Israel, Cape Town, and the Bruchner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, James DePriest, Jun Markl, Carlos Kalmar, Krzysztof Urbanski, Jacques Lacombe, Grant Llewellyn and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell and Janos Starker. Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ “Rhapsody for Cello and Orchestra.” In addition, he made his New York recital debut in a sold out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch and Michael Daugherty. His international appearances include notable performances with the Moscow Chamber Orchestra in its 50th anniversary tour of Russia as well as concerts in Australia, the Dominican Republic, France, Israel,

24

Spain, South Africa, Hong Kong, Jordan, Mexico, South America and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK), Wimbledon (UK), Consonances — St. Nazaire ( France), Australian Festival of Chamber Music, Deia Music Festival — Mallorca (Spain), Montreal (Canada), Santa Fe, Caramoor, Chautauqua, Bravo!, Vail Valley, Maverick Concert Series, Brevard, Cape Cod and the Music Academy of the West. In addition, he was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the World Premiere of the Doug Varrone Dance Company performance of “Victorious.” Zuill Bailey is an exclusive recording artist on Telarc International. His celebrated “Bach Cello Suites” and recently released Britten Cello Symphony/Sonata CD’s immediately soared to the Number One spot on the Classical Billboard Charts. Other critically acclaimed recordings on Telarc include the Live performance with the Indianapolis Symphony Orchestra of Elgar Cello Concerto and the Dvorak Cello Concerto, described by Gramophone magazine as the new “reference” recording and one that “sweeps the board.” In addition, the Dvorak Cello Concerto CD is listed in the “Penguin’s Guide,” as one the Top 1000 Classical Recordings and considered one of the greatest interpretations of this concerto of all time. His highly anticipated “Live” World Premiere performance with the Indianapolis Symphony Orchestra of the Nico Muhly Cello Concerto and the Bloch Schelomo Hebraic Rhapsody for Cello and Grand Orchestra will be released this season. Other Telarc CD’s include “Brahms” complete works for cello and piano with pianist Awadagin Pratt, and “Russian Masterpieces” showcasing the works of Tchaikovsky and Shostakovich performed with the San Francisco Ballet Orchestra. Mr. Bailey is featured on Concord Music’s chart topping Quincy Jonesproduced “Diversity,” with pianist/composer Emily Bear. Additional releases include his innovative “Spanish Masters” CD for Zenph Studios, where he forms a unique duo blending with recordings of composer Manuel de Falla and an all American recital program with Pianist Lara Downes on the Steinway and Sons label. His discography also includes a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saens Cello Concertos No. 1 and 2 “Live,” and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV.

Where great music comes to life.

P R O G R A M 1 NOTES: FRENCH REVERIE

Zuill Bailey Artist interview highlights. Zuill Bailey was named the 2014 Johns Hopkins University Distinguished Alumni and was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello and Piano. The highly touted two disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his recordings and appearances, Kalmus Music Masters has released “Zuill Bailey Performance Editions,” which encompasses the core repertoire of cello literature. Network television appearances include a recurring role on the HBO series “Oz,” NBC’s “Homicide,” A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s “Morning Edition,” “Tiny Desk Concert,” “Performance Today,” “Saint Paul Sunday,” BBC’s “In Tune,” XM Radio’s “Live from Studio II,” Sirius Satellite Radio’s “Virtuoso Voices,” the KDFC Concert Series, KUSC, Minnesota Public Radio, WQXR’s “Cafe Concert”, WFMT and RTHK Radio Hong Kong. Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School. His primary teachers include Loran Stephenson, Stephen Kates and Joel Krosnick. Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), guest Artistic Director of the Mesa Arts Center (Arizona) and Professor of Cello at the University of Texas at El Paso.

by Indi Young Zuill took a moment to share thoughts about what’s in his mind leading up to his return to perform with the Marin Symphony at the French Reverie concerts, as well as reflections about the importance of education and traveling the world as a professional soloist.

I always feel such visceral reactions from the arts, which is what drives me. When I think about returning to the Marin Symphony, and what I’m playing, it’s actually very interesting. About 30 years ago, I won a competition with this piece that set all of this in motion —“this” being wanting to dedicate my life to music. It was my debut with an orchestra. Saint-Saëns’ Cello Concerto No. 1. I will never forget; two things happened. Until that point, I felt I was always in a haze when I played. I would go into a hypnotic kind of state and wake up on the other side of the concert not knowing what happened. This time, I remember opening my eyes during the performance and seeing everyone in the audience with their eyes closed. As a 13-year-old, I realized I was giving people an escape. It was their chance to get away — to melt into another world for that moment. I couldn’t believe that I’d never noticed that before, and I couldn’t believe that I could be a part of that. I walked off stage bewildered, and a man came up to me and tapped me on the shoulder. He told me he wanted to give me some advice.“If you can find what you love to do and make it what you do, you’ll never work a day in your life.” I looked at him, paused, and said, “There is only music.” He smiled at me and walked away. From that day forward it really changed everything. I knew I would dedicate my life to bringing beauty to others, to make the world a better place with music. At that time, I had been practicing an hour or two a day and I changed that to four hours a day. The journey began that day that continues in my life now. When that man walked up to me, I wondered... why was I awake emotionally that moment for the first time? What lead to this kind of chain reaction of events in one day? Was it fate? What was it about this piece that enabled this to be set in motion? My passion for music is so strong, it keeps me traveling 280+ days each year, each of those days looking forward to the next day! Pure positive energy.

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Zuill Bailey Artist Interview highlights continued... When I travel, I occasionally find a moment to take a deep breath (usually on airplanes), and I can’t believe how much I’ve done. Just last week I was in Cape Town, South Africa. So much happens every day, week, and month. The most notable event that has happened since I played here with the Marin Symphony in 2010 is “coming into my age.” In the past four years, I have gained perspective on the world I’ve created and in which I live. The travels, acting as the Artistic Director of three Music Festivals, is also combined with being a professor at the University of Texas at El Paso. I appreciate the fact that all of this is cultivating the future of classical music. I am cultivating the ground and planting seeds for the next generation to have the beauty of the arts in their life. I wasn’t aware that my main missions were so clearly bringing music to the people through performance, outreach and education. The recognition of my mission has been clarifying. This is who I am, not just what I do. I’m the Professor of Cello at the University of Texas at El Paso (UTEP). I love being able to guide young people, who are just getting ready to go out in the world, about the realities of what’s out there. I help sculpt, refine and discover their musical tools to become musicians and free thinkers. It is wonderful to have the platform to share my concert and life experiences. I feel like a musical guide or life coach in many ways. I am teaching these kids to strengthen. To physically and psychologically feel free with themselves — so then they can be expressive. The whole idea of doing that while being on stage and being watched is a whole other realm. Feeling comfortable enough to express yourself as a person is the first step. Then go one step further to feel it’s okay to share it with people you don’t know. It’s hard to realize how uncomfortable it can be if you’re uncertain. We have a lot of discussion about psychology and who you are. I will tell them stories of my successes and my failures — the ones that just happened the week before. I try to help them understand how it’s okay, and how it’s just the process. They’re human beings; the struggle to know oneself goes on throughout the rest of our lives. A life in music is a very intense life. One has to want it beyond anything

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else to make this your profession. When students ask me, “Should I go into music?” my answer is, “Probably not.” I never asked that question when I was young. I felt I had no choice. It was my pure passion. Music was like this vortex pulling me forward. The young people I teach are trying to figure out the grounds for that next step. It’s the great unknown. Music festivals are the wonderful places where musicians from all over the world gather, commune, share ideas and perform events to invigorate a community and each other. At El Paso Pro Musica, we present four concerts a week for an entire month. They occur in various places all over the region: in a museum, a historic location, a church, school, a recital hall and with the Symphony. The festival features everything from soloists to duos, trios, quartets, quintets onward. The city is crawling with musicians for the duration. We provide outreach, free concerts, “informances,” and master classes. Another festival I’m heavily involved with is in Sitka, Alaska. It’s a very similar format. It invigorates the entire region and State in this case. With Sitka we also have begun the Sitka Cello Seminar. For several weeks handpicked cellists from around the world come for intensive study with renowned cello professors. These students are on the cusp of entering the profession. The third music festival is the Northwest Bach festival in Spokane, Washington. This is a Bach-inspired organization that again reaches far beyond its borders to bring a richness of the arts to all. The arts are celebrated and appreciated in these communities. The festivals simply showcase all of this. El Paso has a population of 800,000 people and the city spans 40 miles. Alaska in total is 800,000 people scattered all over the enormous state. Spokane’s population is 250,000 plus those in the region. An interesting common fact is none of them have feeder cities. They are responsible, self-fulfilled, familial communities. They take care of themselves and support themselves; they trust in their own. They know that if they don’t support x, y, or z they won’t have it. In these special places one can see the fruits of the labor. You can see that the hard work and dedication is actually making a difference. In a big city it might be taken for granted.

Where great music comes to life.

My entire childhood the arts were presented to me, to my family, and to my peers on a silver platter. It was part of our daily lives. As I began traveling as a teenager, I began to realize that other places were not so lucky with this accessibility to the arts. In Northern Virginia, we had a regional orchestra every 10 miles! I will never forget a trip to the Midwest where people didn’t even know anything about the cello, and I had the biggest thrill showing them. From that point on, all I wanted was to take music out to the people — to show them the beauty of the cello and what classical music is all about. I was the beginning stage of my love of outreach and education. The piece I am about to perform with the Marin Symphony is one of the most beautifully-crafted cello concertos that we have. It’s built very similarly to a

pop song — it’s one long movement. Most concertos are organized into movements like chapters in a book. It’s one long, winding story that builds. Like a pop song, you become very familiar with the themes through repetition. It lays on the cello nicely — which means it’s comfortable physically to play. The cello is the instrument that is most like the human voice. Saint-Saëns composed in such a caring way that this beautiful cello solo is always heard. Before writing his cello concertos, the great Shostakovich surveyed all the cello concertos. The Saint-Saëns Cello Concerto No. 1 was his favorite. Young people really enjoy getting to know the concerto literature through this work and most students will have played it. I’m very much looking forward to these performances with the Marin Symphony, for all of the young cellists there will get to say. “He’s playing what I’m playing!”

it’s playtime.

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Beethoven: Eternal Revolutionary

Are there any four more famous notes

40

At the Marin Veterans’

than the opening of Beethoven’s

Memorial Auditorium.

Fifth Symphony? This iconic work forms

Reserved Seating.

the centerpiece of a program drawn

Single tickets starting at

from the composer’s heroic “middle”

$30 Adult, $15 Youth 6 -17.

period when Beethoven established his

Call 415.473.6800

lasting reputation for greatness.

or order online.

Where great music comes to life.

M A STER WORKS PR OGRAM 2: B E E T H OVEN: ETERNAL REVOLUTIONARY

Alasdair Neale, conductor Navah Perlman, piano October 26, 2 014 — Sunday at 3:00 p.m. October 28, 2 014 — Tuesday at 7:30 p.m.

Beethoven

Overture to Leonore No. 3, Opus 72b

Beethoven

Piano Concerto No. 3 in C minor, Opus 37

Allegro con brio

Largo

Rondo. Allegro

Navah Perlman, piano

INTERMISSION

Beethoven

Symphony No. 5 in C minor, Opus 67

Allegro con brio

Andante con moto

Allegro

Allegro

Ongoing support provided by the Ann and Gordon Getty Foundation, Schultz Family Foundation, The George Lucas Family Foundation and Italian Street Painting Marin

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Program 2 Notes October 26 and 28, 2 014 by Jon Kochavi Introduction The now traditional categorization of Beethoven’s output into three periods — early, middle, and late — originated in the 19th century soon after Beethoven’s death, and quickly became canonical. Remarkably, though there has been some quibbling among musicologists, the three period division has held up under close scrutiny and varying trends in historiography over the past 150 years. In our concert today, we will hear three works from Beethoven’s middle period, a time during which Beethoven began to radically break away from the norms of Classical era expression. You might notice that all three works are in the key of C (the concerto and symphony in C minor, and Leonore in C major). This is not exactly a coincidence: Beethoven tended to associate temperaments with key areas, and those with particularly vivid connections belonged to C major (bright, direct, triumphant) and C minor (stormy, serious, intense, “impatient of any compromise” in the words of Charles Rosen).

Leonore Overture No. 3, Op. 72b (

1806

)

The titles and sequencing of the four overtures Beethoven wrote for his only opera Fidelio are particularly confusing. The original title of the 1805 opera was Leonore after the name of the heroine who disguises herself as Fidelio in an attempt to rescue her Ludwig van husband Florestan who is Beethoven being held in a Spanish ( 1770 – 1827 ) dungeon. The premiere included an overture, now known as Leonore No. 2, which Beethoven was not entirely satisfied with, so for the production in 1806 he reworked it into the highly dramatic Leonore No. 3, which we hear this evening. However, the brilliant overture proved so exciting that it nearly “annihilates the first act” in the words of Sir Donald Francis Tovey. Beethoven put together a third overture, Leonore No. 1, for an aborted Prague performance, but the manuscript was not found until after Beethoven’s death, when it was published under his very last opus number, Op. 138. In the decades to follow, faulty research led to the assumption that Leonore No. 1 was a discarded initial attempt at the overture in 1805, leading to its renumbering. Though doubts were raised as early as 1870, it was not until the 1970’s that it became generally accepted that Leonore No. 1 was actually the third overture Beethoven wrote. Beethoven’s fourth overture was composed for his 1814 revision of the opera, now entitled Fidelio.

Leonore No. 3 is cast in sonata form with a slow introduction built around the melody from Florestan’s dejected prison aria. This melody returns as the second theme of the exposition, preceded by the dazzling arch-like main tune of the overture. The development section is suddenly interrupted by an offstage trumpet call drawn from the similar interruption of the minister in the opera who arrives just in time to free Florestan and prevent a bloody denouement. (This musical detail gives away a key plot point, perhaps another reason Beethoven eventually abandoned Leonore No. 3 as the opera’s overture). The coda is pure jubilation.

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Where great music comes to life.

P R O G R A M 2 N OT E S : B E E T H OV E N : E TERNAL REVOLUTIONARY Piano Concerto No. 3 in C minor, Op. 37 ( 1800 – 1803 ) Allegro con brio Largo Rondo: Allegro

Ludwig van Beethoven (

1770 – 1827

)

In a letter to Breitkopf and Härtel on April 22, 1801, Beethoven dismisses his first two piano concertos as second rate and claims that “musical politics force the author to keep his best concertos in reserve for a certain time” referring to the C minor concerto that he had already begun. Indeed, the third concerto is the first major piece to demarcate this new middle period in Beethoven’s output, with a bold voice that would be fully established with his revolutionary Eroica Symphony composed just a couple of years later. The quote here is an interesting one historically, showing that Beethoven himself understood there to be a shift in his compositional style at this time. The musical themes themselves are particularly inventive here, and we can see Beethoven beginning to expand the Classical concerto form, anticipating the audacious innovations of his Fourth and Fifth Piano Concertos. To cite one example, the orchestral exposition of the first movement — longer than any of his other five — progresses as a symphonic exposition would; that is, the expectation of the entrance of the solo instrument is undermined (and thus, paradoxically, heightened!) by the unusual drama of the opening. But then, as Tovey says, Beethoven “saves a dangerous situation in the nick of time” with “an inimitable and individual stroke of genius” by deftly directing the orchestra back to the original key area in preparation for the soloist’s entrance. It is just this type of compositional individualism that characterizes Beethoven’s middle period of which the C minor Concerto is one of the earliest examples. The concerto was premiered in April 1803 in a mammoth concert (one of his famous “Academies”) that also included his first two symphonies and his Christus am Oelberg oratorio. Beethoven played the piano part from incomplete scrawls that his page turner, student Ignatz von Seyfried, could barely decipher. Years later, Seyfried recalled his nervousness and Beethoven’s poise: “My evident anxiety not to miss the decisive moment amused Beethoven greatly.”

The first movement opens with an understated version of the first theme which consists of a simple arpeggiation of a C minor triad, a descent back down to C, and the addition of a concluding dotted rhythm as a tag. The ominous statement is full of musical tension and concealed vigor, and Beethoven develops each of the elements of the theme as its power is unfolded. The contrasting, lyrical second theme in E-flat major in the orchestra quickly gives way to material derived from the first. The piano announces its arrival with a confident series of ascending minor scales leading right into its own solo statement of the first theme. After the magnificent cadenza, a short coda is introduced by the timpani mimicking the rhythmic tag of the opening theme, and the piano arpeggios eventually give way the final ascending scale gesture with which it began. The exquisite Largo movement maintains the ideals of Classical balance more closely associated with Beethoven’s first period. An expressive solo piano theme in the unexpected, other-worldly key of E major opens the movement and is followed by a restatement of the theme by a muted orchestra. The middle section beautifully interweaves an ornamental piano part with an exchange between the bassoon and flute. The piece ends with a raucous Rondo in C minor. The main theme, played at the opening by the piano, manifests a rhythmic vitality that seems to propel the entire movement forward. The Rondo includes three episodes interspersed between the four statements of the main theme, with the first (in E-flat major) and third (in C major) of these essentially the same. The middle episode is quite unique, introducing a fugue on material of the primary theme, followed by a short piano excerpt in E major that recalls the universe of the Largo. The stunning C major coda features a new meter and rhythm brilliantly bringing the movement and work to a close.

marinsymphony.org • 415 . 4 79.810 0

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Program 2 Notes October 26 and 28, 2 014 continued... Symphony No. 5 in C minor, Op. 67 ( 1804 – 1808 ) Allegro con brio Andante con moto Allegro Allegro

Ludwig van Beethoven (

1770 – 1827

)

For nearly anyone raised in the Western world, just uttering the words “The Fifth” immediately conjures up the sounds of the iconic four-note motive that opens the piece. Not even the biggest pop star today could dream of such market penetration. What accounts for the ubiquity of the Fifth? The symphony is undoubtedly groundbreaking, a crowning achievement of Beethoven’s middle period. The level musical cohesion here surpasses even the monumental (and significantly longer) Eroica. Beethoven continued to expand his orchestral palette with the Fifth, introducing trombones to his score for the first time, and including a prominent piccolo part in the finale. But what most seems to connect people to the music is the directness of its expression and the accessibility of its message, as the music dramatically portrays epic struggle, inner turmoil, and ultimate victory — hallmarks of Beethoven’s “C minor mood” that was also on display in the concerto. It took Beethoven four years to write his Fifth, an interval during which he began and completed two other symphonies, two major concertos, the Razumovsky Quartets, and three piano sonatas. Like the C minor piano concerto, the Fifth was premiered at a massive four-hour concert, but unlike the springtime 1803 concert, this one took place on a frigid lateDecember evening in Vienna in 1808. The concert also featured the premieres of the Symphony No. 6, the Fourth Piano Concerto, about half of the Mass in C, the aria “Ah, perfido”, and the Choral Fantasy. The composer Johann Reichardt attended the performance and reported on the problems that one might anticipate in an extensive concert of new music in a freezing concert hall:

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One can easily have too much of a good thing — and still more of a loud… Many a failure in the performance vexed our patience in the highest degree. Poor Beethoven, who from this his own concert, was having the first and only scant profit that he could find in a whole year, had found in the rehearsals and performance a lot of opposition and almost no support… It had been found impossible to get a single full rehearsal for all the pieces to be performed, all filled with the greatest difficulties… [The Fifth Symphony] is a big, highly developed work that is too long. Beethoven, commenting on the performance two weeks later, tried to put a more positive spin on the problematic premieres:

Notwithstanding the fact that several mistakes were made, which I could not help, the public accepted everything enthusiastically. The musicians were particularly angry because when a blunder was made through carelessness in the simplest, plainest place in the world, I stopped them suddenly and loudly called out “Once again!” Such a thing had never happened to them before. The public showed its enjoyment of this. Further performances of the Fifth under more favorable conditions quickly vaulted it to its celebrated position in the repertoire, with reviewer E.T.A. Hoffman calling the piece “one of the most important works of the master whose stature as a first-rate instrumental composer no one will now dispute.” Beethoven supposedly told Anton Schindler, Beethoven’s assistant and biographer, that the iconic opening of the Fifth represented “Fate knocking at the door.” Beethoven’s Fate is a force to be struggled with, a mighty power that must be met with an unparalleled intensity in order to be overcome. For all of its epic conflict, the first movement of the Fifth is extraordinarily compact, building nearly all of its material around the familiar rhythmic motto that opens the work. Only in the expansive coda (encompassing more measures than the entire exposition) does Beethoven allow the momentum of the motives to dictate the music for a short while before the music refocuses and builds to an explosive close.

Where great music comes to life.

P R O G R A M 2 N OT E S : B E E T H OV E N : E TERNAL REVOLUTIONARY The Andante is a theme with three variations. The theme itself is in two parts, the first in a dotted rhythm in the low strings and the second in a bold C major that hints at the triumph that will come later in the symphony. The variations ornament the string melody, moving from flowing 16th notes to 32nd notes. The final variation moves briefly through a darker, minor version of the melody before the full orchestra provides the definitive statement of the theme. The third movement is a scherzo and trio, but without the usual light connotations those terms imply. Here, Beethoven weaves together a mysterious arching arpeggio line with an emphatic horn gesture that recalls the familiar rhythm from the first movement. The C major trio section does little to ease the tension, with a fugal texture that builds to a furious climax. After a remarkable repeat of the scherzo proper, Beethoven writes an extraordinary bridge to the finale in which sustained strings accompany a timpani heartbeat that gradually opens up to the jubilation of the fourth movement theme. As in the Third Piano Concerto, the C minor struggle has yielded to C major triumph. Echoes of the Fate motive are now surrounded by incredible joy and exultation. In the middle of the finale, as if to emphasize the fullness of the victory, Beethoven briefly revisits the dark third movement material, which is vanquished yet again. The symphony culminates with a Presto with thrilling piccolo flourishes, a celebration well-earned.

Guest artist: Navah Perlman PHOTO © LISA-MARIE MAZZUCCO

Known for her lyrical eloquence on the stage, Navah Perlman has established herself as one of the most poetic and admired pianists of her generation. She has performed to critical acclaim in major concert venues throughout North America, Europe and Asia. Ms. Perlman began her piano studies at age six with Ronit Amir Lowenthal and later attended the Juilliard School where she worked with Herbert Stessin. She also studied chamber music with Robert Mann, Felix Galimir, and Dorothy DeLay. Ms. Perlman holds an honors degree in Art History from Brown University.

Ms. Perlman has appeared with numerous orchestras throughout North America including the Philadelphia Orchestra, Pittsburgh Symphony, Nashville Symphony and Montreal Symphony. Internationally, Ms. Perlman has appeared with the Barcelona Symphony Orchestra, the National Orchestra of Mexico, the Israel Philharmonic, the Prague Symphony and the New Japan Philharmonic in Suntory Hall. She has given recitals in Washington, D.C., Dallas, Los Angeles, Las Vegas, Scottsdale, and Baltimore. Her previous season highlights include performances with the Israel Philharmonic, Westchester Philharmonic and a duo-performance with soprano Arianna Zukerman in Washington, D.C. In addition to her successful solo career, Ms. Perlman collaborates frequently in chamber music with violinist Philippe Quint and cellist Zuill Bailey as the Perlman/Quint/Bailey Trio. The trio’s energetic and passionate performances have taken them to major concert halls, festivals and universities across North America including Lincoln Center, the Lied Centers of Kansas and Nebraska, the Kennedy Center, Ravinia and the Santa Fe Chamber Music Festival as well as in cities such as San Francisco, Chicago, St. Louis, Phoenix, Houston, Charlotte, Westchester, and Mexico City. Ms. Perlman’s 2 011-2 012 season highlights include a performance with the Perlman/Quint/Bailey Trio presented by the San Diego Symphony, a recital tour throughout Florida in the spring as well as duo recitals with Mr. Bailey. Ms. Perlman is an active and respected performer of residency and educational outreach activities. Communities in which she has given extended residencies include Raleigh, North Carolina and Vancouver, British Columbia. While in residence, Ms. Perlman teaches students of all ages in master classes, speaks to school assemblies and has also conducted pedagogy workshops for teachers. Ms. Perlman has participated in several chamber music residency programs, including those at the University of Kansas in Lawrence, the University of California at Davis, and Stanford University. Ms. Perlman’s recital recording of Bach, Beethoven, Mendelssohn, Chopin and Prokofiev is available on EMI Classics.

marinsymphony.org • 415 . 4 79.810 0

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Navah Perlman Artist interview highlights. by Indi Young Discover how Navah Perlman feels about the Third Piano Concerto, her connection with Zuill Bailey and stories about her life.

The Beethoven Third Piano Concerto … I can’t say it’s my favorite because all of Beethoven’s works are my favorites! This concerto is a great example of why Beethoven is great. It has so many different elements. It is a colorful and vivid tapestry of emotions. You get a lot of drama, intensity, and energy, yet at the same time there is a soothing serene line as well. There’s always that bubbling intensity below the line. It’s hard to imagine Beethoven without that. The first and last movements have high energy qualities and also parts that are very playful. You get that huge array as you listen, and I do too, as I’m playing it. If you ask someone on the street, “Can you sing Beethoven,” there are two responses. “Bah bah bah BAH,” and the Ode to Joy, “Dah-dah-dahdah, dah-dah dah-dah.” It would be one of these two things. This concerto starts like the symphony does — it whacks you over the head with drama. Then there is this progression with beautiful melodies. In the last movement, a rondo, the first theme repeats itself over and over. Even though it’s in a minor key and it’s dark, there’s something playful to it. I love playing pieces like that. It gives you an opportunity to express yourself on many levels. Over all the canon of music of Beethoven, there is a difference in his work from the beginning to end, but they all have this common thread through. This guy was a serious guy. That’s what comes through, even in the midst of whatever light moments there are. I have yet to meet someone who doesn’t love this concerto. People frequently ask me,“What do you fear most about the survival of classical music? With digitizing and short songs on mp3, and the short attention spans because of social media?” What I can say with certainty, in terms of real social, political turmoil, and panic, people turn to something great — that’s what they want to listen to. They don’t turn on Lady Gaga when the country is suffering and people are gathering together. Yes there is great pop music, but people also go back to Beethoven and Bach. There is a longevity there at people’s core. Even though people say, “I don’t know anything about classical music; I don’t go to concerts,” there’s nothing to explain after hearing the

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music. I remember vividly this experience that really gave me perspective. Music practice is intense and isolating. Maybe an athlete also feels this. It can be isolating and trying when you’re not achieving what you want to. You can lose track of your place in the world and where you fit in. I remember that I had concerts already scheduled for dates right after 9/11. After the airlines were up and running again, I went through the country on the concert tour on the tail of the catastrophe. I did outreach at some of the schools during the day and concerts at night. The homeroom teacher of one of the high schools I went to told me, “My entire homeroom is going to hear you tonight. And these are not kids that usually go to concerts.” I asked, “Why?” She said, “I think they feel they need to be together and do something communal, and they feel the concert is a situation that will make everyone feel better together.” I asked, “How did they come up with this idea?” A week earlier they had watched on TV a lot of performers playing at ground zero, and they had heard all the classical music. So I think they were thinking, “That’s what I want to hear.” That conversation put things in perspective for me. There is this core connection with classical music. I’ve seen this a few times with kids who have not been told that classical music is stuffy. The first time they hear the Nutcracker, even without the visuals, it’s uplifting. I remember the first time I took my three-year-old girl to a ballet class, and the teacher put the Nutcracker on first. Everyone was dancing around. Classical music really does coexist with everything in the modern world. I was talking to a bunch of people about how if I don’t do exercise every day, I don’t sleep well. I‘ve got to go run because if I don’t I won’t sleep. We were discussion how each of us motivates ourselves to get going. I can’t run without listening to music. They know I’m a classical musician, so they sort doubtfully asked me, “What do you listen to?” I said, “I run to pop music — what everyone else runs to, that’s what I run to.” It all ties together, it is food for everyone’s heart and soul.

Where great music comes to life.

P R O G R A M 2 N OT E S : B E E T H OV E N : E TERNAL REVOLUTIONARY

This would be a cool thing to ask people, even if you know them really well and socialize with them. “What music do you listen to, for what reason?” There’s something private about musical tastes. People listen in their earbuds. Of course if you go out dancing at a club, that’s different. But when you’re a grownup, and you go out to work every day, people aren’t necessarily following you into your musical world. I don’t have music on in the background in the apartment. It distracts me too much. Unless I have a project or a deliberate reason why we’re listening to something, it’s quiet in the background. I have a loud household. I have kids running around with their friends, and people are her all the time. So if my friends see me with earbuds, they have no idea what I’m listening to. Because they know I play Beethoven for a living, they have no idea I’m listening to Maroon Five on my playlist. Even my classical music colleagues, they wouldn’t necessarily know that I have my exercise playlist with all these popular bands on it. I remember listening to LPs on a record player as a kid, where everyone was listening together; the music was out in the open. Now listening music has become a private thing. I have a teenage daughter who is becoming a pretty serious cellist. She had gotten home from music camp, the picture of a typical teenager with earbuds on, connected to the phone. It is emblematic of the message to parents, “I’m shutting you out.” My friend was visiting that day — in fact my whole family and parents were all in the living room. My friend said to my daughter, “What are you listening to?” And she made me so proud. She said, “The Schubert String Quintet.” He was just like, “Wow, that’s such an awesome piece!” He didn’t suspect she was listening to classical music. On the surface that’s not what it looked like. Backstage after concerts, people will come up to me and tell me they enjoyed the concert. I have no idea what they expect me to be like. This goes back to some sort of image of the classical musician being some different species of human. Really we’re just regular people who do this extra thing. Why does this

profession breed this perception? It’s like people think classical musicians wouldn’t joke around or go to a baseball game or eat pizza straight out of the fridge — all things I’ve done! I remember when I had a concert here in New York where the venue was 20 minutes, max, from my apartment. I changed my daughter’s diaper about an hour before I was on stage. That was a very strange dual-life experience. If I told the people near my apartment, who I only see at the playground, that I’m about to be on stage wearing a long gown, playing the piano, they would think I was crazy. That is a weird thing. Who knows all the things a person is doing and thinking?! Zuill and I have been playing together for a very, very long time. He is such a good friend. I was scheduled to play a concert 17 years ago, maybe, at a chamber music festival on Cape Cod. I was going to rent a car and drive up there with the cellist, who lived across the street from me. She got tendonitis in her wrist, so she had to cancel. I heard Zuill was going to sub for her, but I didn’t know him. I drove up by myself, listening to a book-on-tape because I was afraid of nodding off. I met Zuill at the festival; he had flown up and didn’t have a car, so he was in the car with me a lot that week, getting around. A festival is a little bit like going to camp: you’re eating together, hanging out backstage, doing your work, and practicing together. He said, “I don’t want to fly back; the plane is too small.” So we had a six hour car ride back to New York, and a marathon talk about what we want out of our lives. He said, “We should really play together since we get along so easily. We should find a way to work together.” People say that a lot, but they don’t always follow through. I wasn’t taking him super seriously. Then we got in touch very shortly after that and brainstormed about a way to get a violinist to do some trio work together, without it becoming a full time situation. It’s still so much fun to play together, but now that we’re older it’s so much more relaxed.

marinsymphony.org • 415 . 4 79.810 0

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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

Holiday Choral Concer ts by Candlelight S A T U R DAY D E C E M B E R 6 , 2 0 1 4 7 : 3 0 p . m . & S U N DAY D E C E M B E R 7 , 2 0 1 4 4 : 0 0 p . m . Marin Symphony Chamber Chorus, Stephen McKersie, director This annual holiday celebration continues to be the traditional start of the spirit of the season for many people in our community of Marin. The gathering in the Church of Saint Raphael in San Rafael will again feature the Marin Symphony Chamber Chorus and other special guests. We invite you to light a candle and sing with us. Share the glow of the season again with us this year! We’re excited to welcome back very special guest artists for the celebration this year, including harpist Anna Maria Mendieta. A brass quartet featuring members of the Marin Symphony Orchestra will accompany several works and the San Domenico Girls Chorus will perform with the Marin Chamber Chorus and several pieces on their own. The program includes Stephen Paulus’ “Three Nativity Carols” (chorus, harp, oboe), Morton Lauridsen’s “Sure on this Shining Night,” Kevin Memley’s “Ave Maria,” three new pieces for chorus, string quartet, and piano by Ola Gjeilo, and many more!

At the Church of Saint Raphael in San Rafael. General Admission. Tickets: $25 in advance, $30 at the door. Call the Marin Symphony: 415.479.8100.

marinsymphony.org • 415 . 479.810 0

39

PHOTOS Š PETER RODGERS

Home for the Holidays Our Holiday Pops Concert has secured its place

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At the Marin Veterans’

as a new Marin tradition. Enjoy the celebration

Memorial Auditorium.

of a variety of holiday-inspired music with your

Reserved Seating.

friends, family, Marin Symphony Orchestra and

Single tickets starting at

Chorus ensembles! Music from favorite holiday

$35 Adult, $20 Youth 6 -17.

movies including Home Alone and Polar Express,

Group discount available

plus holiday classics including Hanukkah Festival

for 10 or more, 20%.

Overture, a Nutcracker Suite, The Night Before

Call 415.473.6800

Christmas, White Christmas and more!

or order online.

Where great music comes to life.

H O L I DAY POPS: HOME FOR THE HOLIDAYS

Alasdair Neale, conductor December 16, 2 014 — Tuesday at 7:00 p.m. Leroy Anderson

The Star Spangled Banner

Pyotr Illyich Tchaikovsky

Selections from The Nutcracker

March Dance of the Sugarplum Fairy Trepak

John Rutter

O Holy Night

John Rutter

Thee Twelve Days of Christmas

J. Daniel Smith

You’re a Mean One, Mr. Grinch

Philip Lane

The Night Before Christmas

INTERMISSION Lucas Richman

Hanukkah Festival Overture

Irving Berlin

White Christmas

Alan Silvestri

Polar Express Suite

Lucas Richman

Christmas is Coming

John Williams

Three Holiday Songs from Home Alone

George Frideric Handel

Hallelujah Chorus from Messiah

traditional

We Wish You a Merry Christmas

Marin Symphony Chorus, Stephen McKersie, director Marin Symphony Children’s Chorus, Debra Chambliss, director

Ongoing support provided by the Ann and Gordon Getty Foundation, Schultz Family Foundation, The George Lucas Family Foundation and Italian Street Painting Marin

marinsymphony.org • 415 . 4 79.810 0

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MARIN SYMPHONY MASTERWORKS 3

Eight Seasons PHOTOS © PETER RODGERS

Alasdair Neale, conductor Jeremy Constant, violin

PROGRAM Vivaldi: The Four Seasons Piazzolla: The Four Seasons of Buenos Aires

Hear Vivaldi’s beloved “The Four Seasons” as it appears juxtaposed with “The Four Seasons of Buenos Aires” by the master of the Tango, Astor Piazzolla. Jeremy Constant, now celebrating his 20 th anniversary as concertmaster of the Marin Symphony, is our soloist and will guide us through this fascinating journey. We invite you to celebrate his extraordinary talent and legacy with us!

At the Marin Veterans’ Memorial Auditorium. Reserved Seating. Single tickets starting at $30 Adult, $15 Youth 6 -17. Call 415.473.6800 or order online.

S U N DAY F E B R U A R Y 1 5 , 2 0 1 5 3 : 0 0 p . m . & T U E S DAY F E B R U A R Y 1 7 , 2 0 1 5 7 : 3 0 p . m . MARIN SYMPHONY MASTERWORKS 4

Intersections MS 60 YO

PROGRAM Bates: Mothership Poulenc: Gloria Strauss: Don Juan Sibelius: Finlandia

Alasdair Neale, conductor Marin Symphony Chorus, directed by Stephen McKersie Marin Symphony Youth Orchestra, directed by Ann Krinitsky This year the Marin Symphony Youth Orchestra turns 60 years young. Celebrate the promise of youth as these talented young musicians take the stage alongside their counterparts in the Marin Symphony Orchestra 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 zesty “Gloria” with the Marin Symphony Chorus, and Bay Area sensation Mason Bates’s propulsive “Mothership.”

At the Marin Veterans’ Memorial Auditorium. Reserved Seating. Single tickets starting at $30 Adult, $15 Youth 6 -17. Call 415.473.6800 or order online.

S U N DAY A P R I L 1 2 , 2 0 1 5 3 : 0 0 p . m . & T U E S DAY A P R I L 1 4 , 2 0 1 5 7 : 3 0 p . m . 42

Where great music comes to life.

MARIN SYMPHONY SPRING POPS

IN CONCERT WORLD PREMIERE!

S A T U R DAY J U N E 6 , 2 0 1 5 7 : 0 0 p . m .

Star Trek in Concert Alasdair Neale, conductor Our season finale takes you out of this world to a place where no orchestra has gone before. We’re honored to have the chance to bring the world premiere of Star Trek in Concert to our stage, in our community of Marin. This exciting multimedia, multisensory experience will totally immerse you into the music of Star Trek — spanning decades of movies and TV — loved by generations of fans.

At the Marin Veterans’ Memorial Auditorium. Reserved Seating. Single tickets starting at $35 Adult, $20 Youth 6 -17. Group discount available for 10 or more, 20%. Call 415.473.6800 or order online.

marinsymphony.org • 415 . 4 79.810 0

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SALON SERIES

2014-15 Exquisite Music. Intimate Venues.

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

SAVE THE DATE FEBRUARY 13–15, 2015 SPECIAL FUNDRAISER

CONTACT

415.485.9555

LOVELetters

TO RESERVE TICKETS

By A.R. GURNEY Directed by ROBERT WILSON

Please join us Valentine’s Day weekend for this limited engagement, starring James Dunn and Anne Ripley. Andrew Makepeace Ladd III and Melissa Gardner are lifelong friends whose correspondence begins with early childhood notes and continues over their lifetime. This piece is evocative, touching, and frequently funny. It’s eloquently clear that their attachment to each other remains strong through both good times and bad. A true love story that you won’t want to miss! February 13 Preview, 7:30 p.m. | Suggested donation $10 February 14, 7:30 p.m. | Suggested donation $25 February 15, 2 p.m. | Suggested donation $25 Proceeds will benefit the COM Drama Department. Studio Theatre, Performing Arts Building, Kentfield Campus 835 College Avenue, Kentfield, CA 94904 COM Drama Department | www.marin.edu/performingarts/drama/ Support COM Drama Department | www.marin.edu/advancement/

DRAMA DEPARTMENT YEARS ON STAGE www.marin.edu Individuals seeking special assistance to accommodate a disability may call the Student Affairs Office, 415.485.9376.

Marin Music Chest Over $1,000,000 in scholarships awarded to talented Marin students since 1933

Photo by Eric Chazankin

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: mar inmusicchest.org

Preparing artists for success in the 21st century

ORCHESTRA

> Scott Sandmeier conductor Jing’er Xu ’15 cello Prokofiev Piano Concerto No. 1 in D-flat Major, Op. 10 Shostakovich Symphony No. 10 in E Minor, Op. 93 Saturday, October 18, 8 pm Sunday, October 19, 2 pm Cara Gabrielson ’16 soprano Yanghe Yu ’15 violin Bach/Elgar Fantasia and Fugue in C Minor, BWV 537 Mozart Exsultate, jubilate, KV 165 Elgar Violin Concerto in B Minor, Op. 61 Saturday, December 13, 8 pm

FACULTY ARTIST SERIES

> A performance featuring principal players of the San Francisco Symphony Stravinsky L’Histoire du soldat and Suite Italiene Michael Dougherty Dead Elvis Monday, November 3, 8 pm Free, reservations required Tickets $20/15

415.503.6275 | www.sfcm.edu 50 Oak Street, San Francisco 140916_MarinSymphonyProg-AD2.indd 1

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FIND US ONLINE WWW.BIG4PARTY.COM #BIG4PARTY

M A R I N BA ROQU E Daniel Canosa, Music Director

2014-2015 Season November 15, 2014 Sturm uNd draNg music for uncertain times CPe bach & Haydn

February 14, 2015

valeNtiNe’S day CHamber CoNCert

marCH 14, 2015 birdS oF ParadiSe exotic music of the old & New World Janequin, Flecha, Fernandez & music of the South american missions

JuNe 19 & 20, 2015 PurCell’S dido & aeNeaS marla volovna, Stage director

First Presbyterian Church, San anselmo

Tickets: brownpapertickets.com or 415.497.6634 marinbaroque.org marinbaroque@gmail.com

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

Join us for Pre-Concert Talks Half-hour talks with Music Director Alasdair Neale in the concert hall reveal insights into the creative process and expose the backstory behind performances — enhancing your concert experience beyond measure. Masterworks Pre-Concert Talks begin on Sundays at 2:00 p.m. and Tuesdays at 6:30 p.m. FREE for all ticket holders.

Tuesday night Wrap Parties!

PLATO

www.MarinSanitary.com A PROUD SPONSOR OF THE MARIN SYMPHONY.

Prelude Concerts Private and intimate gatherings take place in exquisite Marin homes.

PHOTOS © PETER RODGERS

Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything.

Where else can you engage in post-concert conversations while sampling free hot hors d’oeuvres—sharing your passion for symphonic music with like-minded people and musicians at a no-host bar? Join us for the Tuesday Night Wrap Parties this season at Gaspare’s Pizzeria! FREE for all Tuesday ticket holders.

Lunch

Dinner

Full Bar

Happy Hour

Family run and operated, newly renovated, open since 1985.

• • • • • •

Trend Draperies

Custom Blinds Draperies Hardware Installation Repair 3 Week Delivery 415.454.1189

1405 Fourth St.

Family owned & operated and serving Marin since 1955!

San Rafael www.Trend-Draperies.com

Go Solar with RGS Energy and a $500 donation* will be made to the Marin Symphony. RGSEnergy.com CA Lic # 840934

888.56.SOLAR

Call today and mention ‘symphony’ to one of our helpful Representatives. *Donation made after completion of installation.

Lucca, Italy. And now Terrestra, Mill Valley. You’ve admired them in fine leather shops throughout Europe. Now the entire collection of Mywalit handbags and wallets is here at Terrestra in downtown Mill Valley. www.terrestra.com 415-384-8330

Dynamic speakers • Inspiring conversations Delicious and elegant receptions in the company of remarkable women

Grab your girlfriends and join us for our 2014/15 season of inspiration, education and fun! OCT 28, 2014 PLAYING BIG: FIND YOUR VOICE, YOUR MISSION, YOUR MESSAGE Tara Sophia Mohr | Author of "Playing Big", popular blogger and groundbreaking expert on women’s leadership and the implementation of practical skills to make real change in oneself and the world. JAN 27, 2015 TOXIC BODIES: THE UNHEALTHY TRUTH & WHAT WE CAN DO TO PROTECT OURSELVES Ken Cook | President and co-founder of Environmental Working Group, a public interest research and advocacy organization focused on protecting human health and the environment and the creator of the online consumer database Skin Deep. Ken has been named one of Washington's Top Lobbyists and is considered one of the most influential 20th Century leaders and change-makers in the world. MAR 10, 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. APR 28, 2015 SECRET LIVES OF WOMEN: THRIVING AT EVERY STAGE OF LIFE Iris Krasnow | Journalism and Women's Studies Professor 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. Tickets now available at

www.speaktomeevents.com

Advance purchase required, space is limited!

at each event... 6:30 - 9:00pm Appetizers, dessert, wine tasting, book signings & more where? Mill Valley Community Center

Premier Sponsor Series Sponsors

Check out our Media Library with audio/video of past presentations

"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." Charitable Partners

Also join us for our more intimate Lunch & Learn Series focusing on Health & Wellness and Inspiring Local Leaders.

Life at the Villa, Find Your New Tempo

• 100% Equity in your home (No Entrance Fee) • Independent living, assisted, & skilled care on-site. • Medicare Rated 5-Star Health Care Center. • Pet friendly & Resident-Directed community. • Meals, Housekeeping, and Medical transportation.

Robert Stivers DRE License # 01248885

100 Thorndale Dr., San Rafael, CA CCRC #158 Cal. Lic. H.S.: #22000161 Cal Lic. S.S.: #210108102

For more information please call/or visit our website:

www.villamarin.com

415-492-2408

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.

TOGWINES.COM

Chef-Inspired Menu Private Dining Rooms In-Home Event Catering

Trust Your Skin to the Experts We are dedicated and experienced Board-Certified Dermatologists. To have a skin-screening or have your dermatology concerns comprehensively addressed, you can rely on us. Please call us (707) 762-5531

Dr. Jennifer Krasnoff • Dr. Eitan Homa Dr. Carla Fisher • Dr. Bertha Lin

DERMATOLOGY ASSOCIATES OF THE BAY AREA Medical, Surgical & Cosmetic Dermatology 165 Lynch Creek Way, Petaluma, CA • (707) 762-5531 500 Alfred Nobel Dr., Ste 245, Hercules, CA • (510) 741-7418 www.dermatologyoffice.com

MOC INSURANCE SERVICES - “Delivering insurance that meets your unique needs.”

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

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Subscriptions & single tickets on sale now! Compose your ownsubscription series. Choose 3 or more concerts— you’ll receive FREE Companion Certificates! Details on page 68

Where great music comes to life.

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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 September 18, 2 014. Maestro’s Circle: Podium Circle $50,000 and above

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

Anonymous (1) Jack Bissinger* Steven & Susan Machtinger Catherine Munson*

William Glasgow & Nancy Floyd Hope S. Herndon Osborn Howes Grace A. Hughes Alan & Jean Kay Pell Family Foundation Barbara & Bill Peterson Erica & Larry Posner David & Dara Post The Rabb Family Joan Ring Richard & Anne Marie Ruben Herb Schuyten Joe & Heidi Shekou Claire Collins Skall Evelyn D. Spelman Dr. Michael Freeman & Victoria Stone Dr. Walter Strauss* Nate Sumner Patricia C. Swensen Wilbur & Jacqueline Tapscott Bruce C. Taylor & Lynn O’Malley Taylor Connie Vandament Dr. Frances L. White & Harley White, Sr.

Maestro’s Circle: President’s Tier $10,000 – $49,999 Anonymous (1)* Anonymous (1) Joanne Dunn George Fernbacher* Sandra D. Hoyer Bob Irwin Gloria Miner Dr. Theodore A. Montgomery* 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 (3) Robert & Patricia Bilger Jim & Lynn Finkelstein Renee Froman Kathlyn McPherson Masneri & Arno P. Masneri Fund Steve Goldman & Melanie Love Alf & Ruth Heller Keon-Vitale Family Alice T. May Alasdair Neale & Lowell Tong Joyce Palmer Sally Shekou & Robert Herbst Marco A. Vidal* Judith Walker & Bruce Weissman

Concertmaster’s Circle: $2,000 – $4,999 Anonymous (4) Mrs. Brent M. Abel Deborah & Arthur Ablin Family Fund Hans J. Adler & Wanda Headrick Brooke & Cathy Aird Dr. & Mrs. Reza Aryanpour Irmgard E. Bagshaw Lou & Marge Bartolini Frank & Lee Battat Dr. James & Caroline Boitano Otis Bruce, Jr. Scott Bucey & Jennifer Finger Richard & Carol Burnham William & Lynn Callender Crawford & Jess Cooley Dr. Robert K. & Judith D. Creasy Mary E. D’Agostino Allen & Joan Dekelboum Mary Denton & Monte Deignan Patricia S. Elvebak Chuck & Binny Fischer

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Conductor’s Circle: $1,000 – $1,999 Anonymous (3) Bill & Carol Beck Martin & Geri Brownstein David Dee & Pat Callahan Wayne & Geri Cooper Donald R. & Noel W. Dickey Abe & Suzanne Froman Alison C. Fuller Leda Goldsmith Ursula Gropper Greta Hoversten Hoytt Enterprises Peter C. Kerner Carole Klein Dr. & Mrs. James S. Levine John L. Levinsohn Carolyn Mar & Hop Le Vivienne E. Miller Jim & Jacquie Placak Verla K. Regnery Foundation Gary & Joyce Rifkind Stacy Scott & Chuck Ciaccio Madeleine Sloane & Michael Ingerman Karen Soroca Sue & Bob Spofford Marilyn & Arthur Strassburger Tamalpais Paint & Color Barbara Turrentine Grace Underwood Robert & Rebecca Verhoeff Martha Wall Sam Ziegler

Friends of the Symphony: $100–$999

Anonymous (7) Susan Adamson & George Westfall Jill Aggersbury Marjorie & Michael Alaimo James C. Allen Paula Andres Carolyn & Peter Ashby William E. Asiano Larry & Barbara Babow Al & Ellen Barr Alice Bartholomew & Chuck Herman Richard & Ann Batman Yvonne & Gary Beauchamp Gerry & Don Beers Sue Beittel Robert & 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 DeWitt & Mary Jo Bowman Peter & Susan Bowser Jack & Ute Brandon Molly Bricca Richard Bricker & Emily Hanna Johnson 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 Wendy & Ellen Smith Buchen Annie Bugher Robert & Elza Burton Anne & John Busterud Miguel & Ilene Campas Glenn & Vicki Campbell 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 Helenclare Cox

Where great music comes to life.

DONOR APPRECIATION

Friends of the Symphony: $100–$999

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 Michael P. De Santis Sam & Ellen Dederian Margaret E. Deedy-Koller Tom & Mary DeMund Nona Dennis Thomas Diettrich C. Donohoe Jenny Douglass & Andy Basnight Ben Dresden & Ann Swanson Sara Duggin Alan & Roberta Dunham Stuart & Emily Dvorin Wendy Eberhardt Paul Eldering Jane C. Ellis Lois J. Ellison Bob Ely Heather English Bill & Maxine Everest Michael & Barbara Fewer 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 Carole & Mark Friedlander James Fritz Lynn D Fuller Martha Gardiner Ray & Margot Gergus Jerry C. Gianni & Donna Bandelloni Yacov Golan Margot Golding & Mike Powers Ellen & Bob Goldman Elizabeth Greenberg & James Papanu David & Randy Greenberg Rosemary & Leonard Greenberg Robert & Evelyn Greenwood George & Anne Gregory Alan & Elsie Gregson Mary M. Griffin-Jones

Dr. & Mrs. Joseph Gryson David & Margie Guggenhime Erika Hagopian Drs. Albert & Shirley Hall Jane Hall Doug Hancock Virginia Hanna Rosemarie Hansen Helen Harper Richard & Julie Harris James & Laura Harrison William & Kathryn Harrison Gail Harter Cecile Hawkins Susan Hedge Hossfeld* Allan & Nancy Herzog Eileen Hinkson & Morton McMichael Nancy Hoffman Carol Hollenberg Ken & Donna Hoppe James C. Hormel & Michael P. Nguyen Andrew Horwitz Vincent & Marjorie Hoversten Tom & Joan Huddleston Pat & Irene Hunt Dr. Ifeoma Ikenze Irene S. Jaquette 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 Orly Kelly Dan & Valerie King Robert & Alice King Herbert & Barbara Graham Kreissler David & Elsie Krinitsky Lou & Britt La Gatta Lucinda Lee & Daniel U. Smith Lamar Leland Louis & Jeanne Leoncini Julius & Sybil Lepkowsky Catherine Less Laura Less Carl & Carol Ann Lewis Juliene G. Lipson Bill Lockett & Dottie Berges Wendy & Kevin Loder Frank & Maja Lorch Kenneth & Marsha Lovette The Lyman Family Jaqueline Deetken Mackey Dr. Susan Magnone Ruth & Martin Malkin Mary Malouf Daniel & Virginia Mardesich Lee Marken Marian Marsh Phyllis B. Mart Leonard & Deb Mattson John & Rosemary Maulbetsch

John & Mary Ellen Maurer Gordon & Marja McAuley Sandra McCreary Ilene & John Medovich Jan Mettner Frank & Mickey Meredith Don Miller Eugene & Phyllis Miller Jane 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 Ann Murphy James Murrow Drs. Brian Nagai & Robert B. Daroff, Jr. Hilda Namm Terry O’Neill Steve & Ruth Nash Louise C. Nave Diana C Nicoll Mark & Kay Noguchi 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 Nancy L. Otto Bob Koch & Cari Pace Koch Jacqueline Palmer Jim & Collette Parrinello James Parsons & Andrea Hong Ellen Pesenti Sara J. Peter Laura A Phipps Carolyn & Arnold Piatti Dr. & Mrs. Ronald O. Plambeck Suzie Pollak Robert & Donys Powell Jeanne Rathjens Pat & Art Ravicz Lucinda Ray Audrey Miller Reagan Art & Elaine Reichert Elsie Rigney Carr* Faith France & Hugo Rinaldi Sue & Bill Rochester Hannelore Rodriguez-Farrar Billie Rosenberg Leland & Jane Rosevear Craig Rossi Yvonne Roth Marty Rubino & Gayle Peterson Mary Jane Sargent Georgia F. Sagues Angelo Salarpi Family Marsha & Robert Sampson

marinsymphony.org • 415 . 4 79.810 0

Dr. Rick & Mrs. Cynthia Sapp Julio Burroughs & Carolyn Sasser Nancy & James Saunders Gary & Kathy Schaefer Georgia & Hugh Schall Nancy E. Schlegel Norman & Alice Schoenstein Schrader-Robertson Family Fund James & Lucia Schultz Sylvia Schwartz Nancy & Terry Scott 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 David & Marcia Sperling Jean Starkweather Rosine Reynolds & Steven Stein Dr. & Mrs. Richard F. Sullivan Laurence & Ann Sykes Ed Texeira Mary Ann & J. Ralph Thomas Skye Thompson Tilda Thompson Judy Torrison Robert Towler 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 Joseph and Geraldine Walsh Karlyn Ward Mike Watt & Eileen Leatherman Charles A. Weghorn Rona Weintraub Martha Wickliffe Robert & Irene Wilhelm Margaret Wilner Roney Wiseman Ingeborg Wolter William & Gloria Wong Warren Wu Diane & Lawrence Yermack Patricia York Schumacher Mary C. Young Ruth Zamist 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 September 18, 2 014.

GIFTS IN HONOR OF

GIFTS IN MEMORY OF

Renee Rymer Peter Carlson & Linda Swanson Katharine & Richard Fournier Bob Towler Elinor Towler

George Fernbacher* Audrey Miller Reagan Renee Rymer & Antonio Clementino Peter L.H. & Kathryn Thompson Gloria Northrup* Trudy Cohn William & Gloria Wong Kate Orsini* Marion E. De Heer Katherine Elizabeth Kluttz Miller* Melissa E. Rinck Laura Holter* Mark & Amy Brokering Mary Ellen Irwin* Robert Irwin Millard ‘Bud’ Ball* Judith Walker & Bruce Weissman Murray Fox* William & Lynn Callender Ruth & Sol Soroca* Karen Soroca Sheila Berg* Robert M Ness Walter G. Strauss* Rosie Appel Laura A Phipps William Murray* Frank & Lee Battat

GIFTS IN MEMORY OF 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* Lou & Marge Bartolini Mike Marcley Edward Herndon* Hope S. Herndon Florence Miner* Peter L.H. & Kathryn Thompson

60% individual, foundation & corporate contributions

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

40% subscriptions & ticket sales

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.

GIF ts , E N D OW M E N T, E N C O R E S O C I E T Y & SPONSOR APPRECIATION 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 Lou & Marge Bartolini Frank & Lee Battat Robert & Patricia Bilger Jack Bissinger* & Robert Max Klein* Dr. James & Caroline Boitano Steven & Ann Borden David Bott E. Joseph & Jo Ann Bowler Jack & Ute Brandon Robert & Elza Burton William & Lynn Callender Karen Carmody Mary Carpou Paul & Paula Cooper Dr. Robert K. & Judith D. Creasy Christina Dewey Donald R. & Noel W. Dickey Vernon & Elke Neumann Dwelly Helga Epstein

Branwell Fanning George Fernbacher* Thomas & Julianna Foris Barbara & Bill* Friede Abe & Suzanne Froman Geraldine Gains Mary M. Griffin-Jones Alf & Ruth Heller Susan Hedge Hossfeld* David* & Sandra D. Hoyer Grace A. Hughes Robert & Mary Ellen* Irwin Emily Hanna Johnson Robert* & Edith Kane Carole Klein Nancy Kohlenstein* Herbert & Barbara Graham Kreissler Lucinda Lee Barbara Brown Leibert* William Lockett Mrs. Frankie Longfellow Marian Marsh Tom* & Alice T. May Charles A. Meacham* Vivienne E. Miller

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

Argo Group Chevron Humankind IBM Matching Grants Program Oracle Piper Jaffray VISA Gap, Inc.

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

The William & Flora Hewlett Foundation Marin Community Foundation Ann and Gordon Getty Foundation The Bernard Osher Foundation Schultz Family Foundation The George Lucas Family Foundation Italian Street Painting Marin

MEDIA SPONSORS Marin Independent Journal Marin Magazine KDFC Classical Radio

Gloria Miner Theodore Montgomery* Larry & Betty Mulryan Catherine Munson* David Poff Jane T. Richards* Yvonne Roth Renee Rymer Nancy E. Schlegel Herb Schuyten Madeleine Sloane Anne* & Ellis Stephens Charles* & Patricia C. Swensen Wilbur & Jacqueline Tapscott Bruce C. Taylor & Lynn O’Malley Taylor Peter L.H. & Kathryn Thompson Sylvia F. Thompson* Audrey S. Tytus* Connie Vandament Judith Walker Weissman Rona Weintraub Dr. Frances L. & Harley White Maynard & Helen Willms Dr. Philip & Phyllis 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.

SPECIAL THANKS Marin Pacific Co.

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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

Sacred and Secular 2 014

Alasdair Neale’s Junior Conductors Sacred and Secular 2 014 2 014 Waterfront Pops Concert

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Where great music comes to life.

PHOTOS © PETER RODGERS

Youth Programs

P L A N N E D G I V I N G, S UPPOR T & SPONSORSHIP

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 attend our concerts. Timothy Murphy School and more...

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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M S

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

Seating sections:

Pops

Masterworks

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

Orchestrate your own 14 /15 Season subscription series. Celebrate 62 years of great music and Alasdair Neale’s 14th season leading the Marin Symphony Orchestra as Music Director. Love it LIVE! began on Saturday, September 13th with our second Waterfront Pops outdoor concert — Hooray for Hollywood — movie music classics with a fireworks finale! Zuill Bailey returns as the soloist for our first Masterworks concerts, French Reverie on September 28th and 30th. Our Holiday Pops Concert is happening on December 16th — now truly, a new Marin tradition. The season finale Spring Pops event is certain to be a hit: the world premiere of Star Trek in Concert on Saturday, June 6, 2 015.

When you subscribe you’ll receive FREE Companion Certificates! Simply compose your own subscription series by selecting the concerts that best fit your life and style. Choose 3 concerts and get 1 FREE Certificate. Pick 4 concerts to get 2 FREE Certificates. Subscribe to 5 or more concerts to receive 3 FREE Certificates!

Connect with us! Call us 9 a.m . – 5 p.m., Monday – Friday: 415.479.8100 Visit: 4340 Redwood Hwy., Suite 409C, San Rafael, CA 94903 Email: greatmusic@marinsymphony.org • Web: marinsymphony.org Marin Center Box Office for single ticket sales: 415.473.6800 68

Where great music comes to life.

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

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Aldersly Garden Retirement Community American Bach Soloists Best Collateral Bank of Marin Big 4 Party Bon Air Center Bradley Real Estate Brick & Bottle Cole Porter Society College of Marin Corte Madera Town Center County of Marin Cypress String Quartet Dermatology Associates of the Bay Area Dolce Violins Gaspare’s Pizzeria Kaiser Permanente KDFC Classical La Toscana Left Bank Brasserie Marin Baroque Marin Independent Journal Marin Magazine Marin Music Chest Marin Sanitary Service Marin Theatre Company MOC Insurance Services Montecito Plaza Shopping Center Pacific Gas & Electric Company Peacock Gap Perotti & Carrade Rafael Floors RGS Energy San Francisco Conservatory of Music SMART, Sonoma Marin Area Rail Transit Speak to Me Terrestra The Big Picture The Magic Flute The Other Guys, Hey Mambo Trend Draperies US Bank, The Private Client Reserve Villa Marin

PHOTO © EISAKYU TOKUYAMA

Advertisers & Sponsors

Experience it. A Marin Symphony concert isn’t simply a classical music performance, it’s an experience to awaken your senses. It’s the way we create a unique relationship with our audiences, an exciting connection with artists, and all of us, together.

Where great music comes to life.

Marin Fall 2014 Fashion

BOHO BEACH CHIC

001 SEPT_Cover.0914.indd 1

8/20/14 11:54 AM

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