M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR
Fun. Seriously. 2 013 –14 S E A S O N
M S
M A R I N SY M P HONY ALASDA IR NE ALE
Contents 11
Inspired new direction.
13
Orchestra
15
Leadership
19
2 013 Highlights
21
2 014 Special Events & Concerts
23
MASTERWORKS 2:
| MUS IC DIRECTOR
40
American Dream 31
MASTERWORKS 3:
Quintessential Beethoven, Chic Tchaikovsky 40
FAMILY CONCERT:
41
The Magical Music of Disney 41
MASTERWORKS 4:
Sacred and Secular 42
SPRING POPS:
Pirates of the Caribbean: The Curse of the Black Pearl 52
Support & Sponsorship
54
Youth & Education Programs
55
Encore Society
56
Donors & Sponsors
60
Subscriptions & Tickets
42 Fun. Seriously. 2 013 –14 S E A S O N
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Congratulations to Marin Symphony for 61- plus years of outstanding performances! The County of Marin is proud to be a sponsor of this new season. The Marin Symphony Waterfront Pops Concert isn’t the only thing that happens outdoors on the Marin Civic Center campus. Explore and enjoy the recent enhancements to the new disabled-accessible 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 season-opening concerts are a memory, the sound of change at the Civic Center will be sweet music to our community.
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Staff, Board & Contributors ARTISTIC Alasdair Neale Music Director Stephen McKersie Chorus & Chamber Chorus Director Ann Krinitsky Youth Orchestra Director Anne Lerner-Wright Crescendo/Overture Orchestra Director Debra Chambliss Children’s Chorus Director
ADMINISTRATIVE Jeff vom Saal Executive Director Angela Colombo Director of Development Peter Rodgers Director of Marketing & Communications Marty Eshoff Director of Operations Laura Cooper Patron Relations & Administrative Coordinator Craig McAmis Orchestra Personnel Manager Drew Ford Music Librarian Andrei Gorchov Youth Programs Administrator Anne Lerner-Wright Education Programs & Community Engagement Manager Deborah Walter Accountant Maria Marciales Finance Intern
WEEKLY VOLUNTEERS James Levine, Phyllis Mart, Jan Mettner, Gloria Miner, Peri Sarganis, Judith Purdom
PROGRAM BOOK CREDITS Program Notes, Jon Kochavi Artist Interviews, Indi Young Designer/Editor, Peter Rodgers Advertising Sales, Big Cat Advertising Printer, Dwight Franklin Printing Cover Photo, Eisaku Tokuyama
Board of Directors & Advisors OFFICERS
Committee Chairs continued Marty Rubino Development
Dr. Frances L. White President and Chair
Stacy Scott Special Events
Peter L. H. Thompson Immediate Past President
Greta Hovertsen Audit Commitee
Stephen Goldman Vice President
Judith Walker Investment Commitee
Steven Machtinger* Vice President Renee Rymer Secretary
BOARD OF DIRECTORS
David S. Post Treasurer
COMMITTEE CHAIRS Stephen Goldman Audience Development Jim Finkelstein Personnel & Strategic Planning David S. Post Finance Renee Rymer Governance Jenny Douglass Youth/Education
Shirin Aryanpour Mary D’Agostino Otis Bruce Jenny Douglass* Joanne Dunn Jim Finkelstein Renee Froman* Will Glasgow Stephen Goldman Dr. Hanna Rodriguez-Farrar Greta Hoversten Sandra Hoyer Steven Machtinger* Catherine Munson Erica Posner* David S. Post Elizabeth Prior*
it’s playtime.
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Where great music comes to life.
Board of Directors continued Mary Rabb Marty Rubino Renee Rymer Stacy Scott Dr. Beth Seaman Sally Shekou Peter L. H. Thompson Judith Walker Dr. Frances L. White *Orchestra Member
EMERITUS Louis Bartolini Marge Bartolini James 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
PHOTO © EISAKU TOKUYAMA
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Fun. Seriously. 2 013 –14 S E A S O N
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Inspired new direction. Welcome to American Dream, and Quintessential Beethoven, Chic Tchaikovsky, our first Masterworks concerts in the New Year — continuing our inspired 2 013 –14 Season. Thanks to all of you who joined us for our season-opening concerts in 2 013 ! We’re thrilled at the momentum resulting from the sold out 60th Season finale, Pixar in Concert on June 9, 2 013, the first-ever outdoor Waterfront Pops Concert featuring John Williams movie music favorites climaxing with fireworks on September 15, the best-attended opening Masterworks concerts in several years, From Russia With Love in October, full-house debut Holiday Pops Concert and Holiday Choral Concerts by Candlelight in December. Looking ahead, we have multiple exciting concerts and special events on the horizon this spring. The Magical Music of Disney Family Concert on Sunday March 16 is certain to delight everyone. Sacred and Secular on April 6 and 8 featuring the Marin Symphony Chorus wraps up the Masterworks concert series. On Sunday, June 8, our 61st Season climaxes with the full-length Disney film, Pirates of the Caribbean: The Curse of the Black Pearl, with our orchestra performing the soundtrack live. The 36th consecutive Mountain Play Dress Rehearsal Benefit, is South Pacific on Saturday, May 17, and our Golf Tournament, Wine Auction and Dinner Benefit takes place on Monday, June 2 at the Marin Country Club. Be inspired. Be a part of it. Experience it with us! Our board, staff, volunteers and the amazing musicians in this fine orchestra appreciate all of you — especially our loyal patrons, donors and subscribers for providing consistent support — sustaining our Marin Symphony for more than sixty years. We would like to express our sincere appreciation to everyone who has donated to our annual fundraising challenge. We’re well on our way to achieving the goal of raising $300,000 by January 31st. There is still time to contribute to this vital campaign (details on page 61). We are continuing our journey to set a new inspired direction for our Marin Symphony’s future. Realistic goals and dreams. A renewed dedication for bringing innovative programming to the stage that resonates with Marin people. We’ve made great progress towards advancing exceptional music education programs to our community (see page 54 and 20 for recent highlights). We seek to thrive and be known for our work and our passion for excellence. To experience an orchestra like ours is transformational. Our Marin Symphony is a community jewel. We’re proactively adapting to the changes and realities of challenging times for orchestras, education, and the arts with new initiatives and efforts to secure the resources needed to continue taking your Marin Symphony to new heights. With all of us who care so deeply for the Symphony and what it offers the people in our community, we’re confident that together, we will secure a bright future for great music in Marin.
Alasdair Neale
Frances L. White, Ph.D.
Jeff vom Saal
Music Director
President and Board Chair Marin Symphony Association
Executive Director
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IS AT 90.3 | San Francisco 89.9 | Wine Country 104.9 | San Jose More info at kdfc.com 12
Where great music comes to life.
PHOTO © PETER RODGERS
ORCHESTRA
HORN Darby Hinshaw Principal Nicky Roosevelt Meredith Brown Loren Tayerle
Orchestra Personnel VIOLIN I Jeremy Constant Concertmaster The Catherine Munson Chair Philip Santos Assistant Concertmaster Karen Shinozaki Sor* Assistant Principal The Schultz Family Chair In Honor of Niels Schult z Mark Neyshloss Assistant Principal Sergi Goldman-Hull Emanuela Nikiforova Valerie Tisdel Claudia Fountain Brooke Aird Cindy Lee Van Chandler VIOLIN II Peggy Brady Principal Jeanelle Meyer Assistant Principal Dennie Mehocich* Kathryn Marshall Renee Froman* Joyce Lee Tao Nordlicht Tara Flandreau* Carla Lehmann Michelle Maruyama Akiko Kojima Thomas Yee 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
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
TR UMPET John Freeman Principal James Rodseth Catherine Murtagh TR OMBONE Bruce Chrisp Principal Craig McAmis Kurt Patzner Bass Trombone TUBA Zachariah Spellman Principal
BASS Robert Ashley Principal Richard Worn Assistant Principal Pat Klobas Andrew Butler William Everett Andrew McCorkle
TIMPANI Tyler Mack Principal
FLUTE Monica Daniel-Barker Principal Holly Williams, Piccolo Katrina Walter, Piccolo
HARP Dan Levitan Principal
OBOE Margot Golding Principal Laura Reynolds English Horn CLARINET Arthur Austin Principal The Jack Bissinger & Robert Max Klein Chair Larry Posner The Tom & Alice May Chair Douglas Fejes Bass Clarinet
PERCUSSION Kevin Neuhoff Principal Scott Bleaken Ward Spangler
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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Our Version of a Biker Gang “Come and get it Buckaroos,” my dad would yell from the front porch when dinner was ready. My brothers and I knew that this meant to pedal as fast as we could to get back to the house. Leave all toads and salamanders outside, where they belong. And scrub our muddy hands with plenty of hot, soapy water. The last one to the dinner table was a “rotten egg.” My brothers have all moved away. Dad lives with us and now calls my two sons “Buckaroos.” Dad is as sharp as a tack, but he has slowed down physically. Even the simplest of tasks can be difficult for him. As we plan our next family vacation, I know that Dad can’t stay home alone.
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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 13 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 nineteen years as Music Director of the Sun Valley Summer Symphony, Mr. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. He has brought many celebrated guest artists to these annual events. In March 2002, to enthusiastically positive reviews, Mr. Neale collaborated with director Peter Sellars and composer John Adams to open the Adelaide Festival with a production of the opera El Niño. In April 1994, he conducted the San Francisco Symphony in the world premiere of Aaron Jay Kernis’ Colored Field, featuring English horn player Julie Ann Giacobassi. In 1993, the American Symphony Orchestra League named him a Leonard Bernstein American Conducting Fellow, and he led the New Jersey Symphony in a concert at the League’s annual conference. Alasdair Neale maintains a most active guest conducting schedule, both nationally and internationally. His recordings have been released by Arco/Decca and New World Records. Alasdair Neale holds a Bachelor’s degree from Cambridge University and a Master’s from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in San Francisco.
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Where great music comes to life.
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.
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It’s our pleasure to support the Marin Symphony — a cornerstone of cultural life in Marin County
Furthering the quality of life in this very special place. Providing emotional and spiritual growth for listeners. Creating a lifetime of music enjoyment for our youth. Thank you for this opportunity to contribute to our community.
Catherine Munson www.LVPMARIN.com
2 013 Highlights Pixar in Concert Sunday, June 9 Alasdair Neale, conductor Our sold-out 60th Season finale presented music and clips from all 13 Disney/Pixar animated films! Waterfront Pops Concert Sunday, September 15 Movie music favorites by John Williams Alasdair Neale, conductor The first-ever 61st Season-opening outdoor concert at the Marin Center Lagoon was a huge success. Several thousand attendees basked in the glow of the music, youth enjoyed the Musical Instrument Petting Zoo, Alasdair Neale’s Junior Conductors made their debut and the fireworks finale was spectacular! National Young Composers Challenge Workshop West Saturday, October 6 The FREE full-day composition workshop attracted more than a hundred participants! More at: YoungComposersChallenge.org National Young Composers Challenge Composium West Sunday, October 7 More than 60 amazing compositions were submitted this year! Four chamber ensemble and three orchestral works were selected as winners — performed and recorded live with the orchestra in front of an audience — with the young composers on stage. Visit YoungComposersChallenge.org to hear the winning compositions and learn more about the next Composium.
61 st Season-Opening 007 Gala Celebration Saturday, October 26 The James Bond-themed dinner and raffle was an affair to remember. Movies, special cocktails and a special appearance by From Russia With Love guest pianist Jon Nakamatsu made it a perfect kick-off to the Masterworks season. MASTERWORKS 1 From Russia with Love October 27 & 29 Alasdair Neale, conductor Jon Nakamatsu, piano Van Cliburn Gold Medalist Jon Nakamatsu returned for Rachmaninoff’s Second Piano Concerto. And, Shostakovich’s Fifth Symphony was magnificent. Holiday Choral Concerts by Candlelight December 7 & 8 Stephen McKersie, conductor Marin Symphony Chamber Chorus Marin Girls Chorus The Golden Gate Brass Quintet Over 1000 people gathered in the Church of Saint Raphael in San Rafael for this treasured annual holiday tradition. Holiday Pops Concert: A New Marin Tradition Tuesday, December 17 Alasdair Neale, conductor Marin Symphony Chorus Marin Symphony Children’s Chorus Our first-ever Holiday Pops Concert delighted the full-house audience — rewarding the performers with rousing applause and standing ovations! Michael Pritchard added his charm as emcee. Stephen McKersie, Music Director of the Marin Symphony Chorus and Debra Chambliss, Marin Symphony Children’s Chorus Director, expertly prepared the choral elements of the program.
PHOTOS © PETER RODGERS GALA PHOTO © MO DE LONG
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2 013 HIGH L I G H T S : YO U T H & E D U CAT I O N P R O G RAMS
Our Sit-In Concerts are a chance for younger students to sit amidst our Marin Symphony Youth Orchestra members during a performance. The 2 013 concert took place at the Marin Country Mart with the Musical Instrument Petting Zoo afterwards. Skywalker Sound Event In November, our Marin Symphony Youth and Crescendo Orchestras spent the day on the Scoring Stage at Skywalker Sound recording and learning about the process from SkySound engineers. This exciting day at Skywalker sharpened their listening skills, polished their ensemble skills, and raised everyone’s performance level to new heights.
Marin Symphony Youth Program Winter Concerts Sunday, December 8 Marin Symphony Overture & Crescendo Orchestra... This was the debut concert for our new Overture Orchestra! Anne Lerner-Wright, conductor Marin Symphony Youth Orchestra Ann Krinitsky, conductor
Discover more about Marin Symphony Youth Programs on page 54.
November Skywalker Sound Event
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Where great music comes to life.
PHOTOS © PETER RODGERS
Marin Symphony Youth Orchestra Sit-In Concert Saturday, April 21 Ann Krinitsky, conductor
2 014 Special Events & Concerts MASTERWORKS 2 American Dream Sunday, January 19, 2 014 at 3:00pm Tuesday, January 21, 2014 at 7:30pm Alasdair Neale, conductor Noah Griffin, narrator
Prelude Concert with Zuill Bailey Saturday, May 3, 2 014
Program, notes and interview — see page 23.
Mountain Play Dress Rehearsal Benefit Saturday, May 17, 2 014 at 2:00pm
MASTERWORKS 3 Quintessential Beethoven, Chic Tchaikovsky Sunday, February 23, 2 014 at 3:00pm Tuesday, February 25, 2 014 at 7:30pm Alasdair Neale, conductor Austin Huntington, cello Program, notes and interview — see page 31. Magical Music of Disney Family Concert Sunday, March 16, 2 014 Ann Krinitsky, conductor Details — see page 40. MASTERWORKS 4 Sacred and Secular Sunday, April 6, 2 014 at 3:00pm Tuesday, April 8, 2 014 at 7:30pm Alasdair Neale, conductor Marin Symphony Chorus Details — see page 41.
This private in-home concert marks the return of a beloved soloist. Don’t miss this opportunity to experience his exquisite talent and charisma.
South Pacific is the 36th consecutive Mountain Play preview event that Marin Symphony patrons have the opportunity to experience. Drive up the mountain and bring refreshments! Marin Symphony Golf Tournament, Wine Auction and Dinner Monday, June 2, 2 014 Our third annual spring benefit event takes place at the Marin Country Club. This year, we are featuring a premiere Wine Auction! Sponsor: Ghirardo CPA Pirates of the Caribbean: The Curse of the Black Pearl Sunday, June 8, 2 014 at 3:00pm Alasdair Neale, conductor Details — see page 42.
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Marin Music Chest Over $1,000,000 in scholarships awarded to talented Marin students since 1933 Join us for our 2014 concerts. May 4, 2014: 2:30 PM May 18, 2014; 5:00 PM
More information on our <marinmusicchest.org>
SUMMER MUSIC WEST Inspiring Young Musicians for 30 Years
Conservatory-level training with distinguished faculty Approachable and supportive Convenient and affordable Chamber Music Composition Gilbert & Sullivan Scenes Musicianship Ages 9-18 6 SESSIONS June 16 â&#x20AC;&#x201C; August 1
415.503.6254 | www.sfcm.edu/summer 131210_MarinYouthOrchestra2.indd 1
12/9/13 2:59 PM
M A STER WORKS PR OGRAM 2: AMERICAN DREAM
Alasdair Neale, conductor Noah Griffin, narrator
January 19, 2 014 — Sunday at 3:00pm January 21, 2 014 — Tuesday at 7:30pm
Schwantner
New Morning for the World (Daybreak of Freedom)
Noah Griffin, narrator
INTERMISSION
Copland
Symphony No. 3
Molto moderato Allegro molto Andantino quasi allegretto Molto deliberato
Ongoing support provided by The William and Flora Hewlett Foundation, Marin Community Foundation, Ann and Gordon Getty Foundation, The Bernard Osher Foundation, Schultz Family Foundation and Marin Music Chest.
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Program 2 Notes January 19 & 21, 2 014 by Jon Kochavi New Morning for the World (Daybreak of Freedom) ( 1982 ) The eclectic American composer Joseph Schwantner achieved early success, winning a national composition award as a teen still playing tuba in his high school orchestra. By age 27, Schwantner had secured a faculty appointment at the Joseph prestigious Eastman School Schwantner of Music and became the ( b. 1943 ) inaugural recipient of the Charles Ives Prize, awarded to young composers of exceptional promise. This early string of success culminated in his 1978 piece Aftertones of Infinity, written for the American Composers Orchestra. Scholar Cynthia Folio sees in this work the beginnings of a stylistic shift away from the free serialism characterizing Schwantner’s earlier compositions towards a “broad spectrum of stylistic references [that] have a highly unified, coherent structure…, achiev[ing] a unique synthesis of past and present.” Aftertones of Infinity won the Pulitzer Prize in Music, and Schwantner has gone on to become among the most important American orchestral composers of his era. His still growing catalogue of works has been sampled by every major orchestra in North America. Schwantner’s later style corrals dissonance to the service of central notes (“tonics”) that are established with the use of “pedal tones,” drones often heard in the lower instruments. Sectional divides are marked by altering the droned note or shifting the tonal style that is drawn upon. Most significant is Schwantner’s use of a broad and varied orchestral tone palette, colorfully displayed in the music we hear this evening.
admired. The words that I selected for the narration were garnered from a variety of Dr. King’s writings, addresses, and speeches, and drawn from a period of more than a decade of his life. These words, eloquently expressed by the thrust of his oratory, bear witness to the power and nobility of Martin Luther King Jr.’s ideas, principles, and beliefs. This work of celebration is humbly dedicated to his memory. The piece was premiered on what would have been Dr. King’s 54 th birthday and subsequently performed on a five-city tour with the beloved recently-retired Pittsburgh Pirate MVP Willie Stargell serving as narrator. Schwantner’s work owes some debt to Copland’s 1942 Lincoln Portrait, honoring another great American with narrated text drawn from Lincoln’s writings and speeches. As the title suggests, though, Copland was focused on depicting Lincoln himself (and his times), whereas Schwantner aims to musically capture the spirit and emotion of Dr. King’s words. The piece is roughly broken into three sections, played without pause, each interspersed with texts from multiple King speeches and writings. The opening uses forceful brass and percussion interjections to express both the brutality of past injustices and the strength of resolve in those striving for equality and true freedom. The middle section begins in soft meditation, as a hymn. The texts Schwantner chooses here — excerpted from I Have a Dream and Behind the Selma March speeches — emphasize the present, with repeated inclusions of the word “now” in the narration. The music builds with the repeated refrain “How long? Not long…” and continues its dramatic journey back to the themes from the opening after the speech has concluded. The final section of the piece returns to a kind of determined tranquility that looks to the future, including the famous text from the 1963 I Have a Dream speech. The piece fades away peacefully with the brief appearance of a celestial choir, hummed by the orchestral players.
New Morning for the World was composed for the Eastman Philharmonia as a tribute to Martin Luther King Jr., whose legacy we celebrate this week to mark the 85th anniversary of his birth. Schwantner wrote of the work: I was excited by the opportunity to engage my work with the profound and deeply felt words of Dr. King, a man of great dignity and courage whom I had long
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Martin Luther King, Jr. ( 1929 – 1968 )
Where great music comes to life.
P R O G R A M 2 N OTES: AMERICAN DREAM
Third Symphony ( 1944 – 1946 )
Aaron Copland ( 1900 – 1990 )
Molto moderato — with simple expression Allegro molto Andantino quasi allegretto Molto deliberato
At the turn of the 20th century, Serge Koussevitzky had been languishing in the double-bass section of the Bolshoi Opera Orchestra, unable to gain a foothold to launch his conducting career. Things would change after he met and won the affections of Natalie Ushkov, daughter of a fantastically wealthy tea magnate. The two married in 1905, and in 1908 with his new-found wealth, Koussevitzky hired and conducted the Berlin Philharmonic in a concert of all Russian music. This success brought him to international attention. A series of subsequent conducting posts led to his appointment as music director of the Boston Symphony Orchestra in 1924. He would remain with the BSO until 1949, establishing it as the premiere orchestra for introducing important new symphonic works. Copland had met Koussevitzky in Paris while studying with Nadia Boulanger, and the two soon forged a close working relationship, with Koussevitzky championing the young composer’s works, and with Copland recommending other American composers for Koussevitzky to consider. When his wife died in 1942, Koussevitzky established a foundation in her honor whose purpose was to commission new works by contemporary composers. The foundation, which is still active today, has commissioned hundreds of works, including Bartok’s Concerto for Orchestra and Britten’s opera Peter Grimes. Copland was among the first composers to receive a commission from the foundation, and he responded with what would be the largest orchestral work of his career, the Third Symphony. Koussevitzky himself (who would conduct the premiere in Boston in 1946) offered Copland the focus for his symphony:
I knew exactly the kind of music [Koussevitzky] enjoyed conducting and the sentiments he brought to it, and I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.
Koussevitzky was indeed pleased, calling it the greatest American symphony to date, and it went on to become the most frequently programmed American symphony in the 20th century. The most recognizable part of the symphony is the final movement, built on the theme Copland had used three years earlier in his Fanfare for the Common Man. This piece had been written as part of a commission from Eugene Goossens of the Cincinnati Symphony, who commissioned 17 other American composers to write similar works to honor the country during WWII. Copland’s title and inspiration comes from a lengthy and moving address by Vice President Henry A. Wallace in 1942, detailing America’s resolve to defeat the enemies of freedom. Included in Wallace’s speech were the lines:
The century on which we are entering…can be and must be the century of the Common Man.... Everywhere the Common Man must learn to build his own industries with his own hands in a practical fashion. Everywhere the Common Man must learn to increase his productivity so that he and his children can eventually pay to the world community all that they have received. Wallace’s words were prescient. The generation emerging from the war inspired and lifted the country with an unfailing work ethic and a striving towards the American Dream that Martin Luther King envisioned for all Americans. The beginning of the symphony is like a New World “chant.” Unison E’s and B’s open the work and form the pillars around which the rest of the moving chant glides, always returning to these two notes which are often paired to form melodic fourths and fifths, evoking the wide open spaces of the country. This chant builds to a new theme in the brass, intensely chromatic and unyielding, treated in a fugato. The tranquility of the first theme alternates with the powerful majesty of the second, but it is an extension of the chant that ends the journey, as serene a close to a symphonic first movement as there is in the literature.
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Guest narrator: Noah Griffin
Program 2 Notes January 19 & 21, 2 014 continued The second movement is a kind of scherzo, with a highly energetic and rhythmic fanfare in the brass developed into birdsong by the winds. An expressive middle section provides a cantabile contrast before the piano reintroduces the original dance-like theme by gradually increasing the tempo. The second theme from the first movement returns in the third, but now pianissimo in the high register of the violins. Metrically, it is recast in a combination of 5/4 and 3/4 meters (instead of the 4/4 of the first movement). The theme is developed in new ways, leading to the use of a quick up-down motion (first in the flute) that is derived from the opening first movement theme. The famous Fanfare for the Common Man theme appears in various guises throughout the last movement, at points understated, noble, pure, and ornamented. Copland mixes in a fleet contrapuntal theme based on motivic fragments of the fanfare and a richly harmonized dolce theme presented in an odd 7/8 meter that eventually normalizes to 4/4 and appears with the opening theme of the first movement. This last musical element is merged with the fanfare theme for a fantastic climax to close the piece.
Noah Griffin’s vast range of experience uniquely qualifies him to speak on a wide range of topics. Educated at Harvard Law, Yale and Fisk University in History he’s been the recipient of two Fellowships: CORO Foundation Public Affairs and Phelps-Stokes History Fellowship. He has spent 35 years in government, politics, media and journalism. In those capacities he served on statewide staff in two Presidential Campaigns, as an administrative aide to Dianne Feinstein and Press Secretary to San Francisco Mayor Frank Jordan. He served as Director of Public Affairs at Charles Schwab Company and was Public Information Officer at San Francisco City College. His media background includes five years as a popular Talk Show Host on KGO Radio in San Francisco and Public Affairs Director at KSFO/KYA radio , where he also did Morning Drive. He was an on air Disc Jockey at the old KFOG in San Francisco and WJIB in Boston. He produced and hosted weekly interview shows on K-101 and KFRC radio. Griffin hosted Public Affairs Interview Program on San Francisco TV Stations KMPT Channel 32 and KTSF Channel 26.
Experience the contagious energy, passion, and joy of the New Century Chamber Orchestra — one of only a handful of conductorless ensembles in the world. Donizetti’s Rita, February 12-16, 2 014
with the San Francisco Opera
Atlantic Crossing, March 20-25, 2 014
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with Chanticleer Single Tickets are now available online or by calling City Box Office at 415-392-4400 (Mon-Fri 9:30am-5pm, Sat Noon-4pm).
Where great music comes to life.
P R O G R A M 2 N OTES: AMERICAN DREAM In journalism, Noah Griffin writes for the Marin IJ. He wrote for 5 years for the Hearst Examiner and was nationally syndicated with Scripps Howard. In that capacity he appeared twice on the PBS News Hour with Jim Lehrer. He has been featured in the Boston Globe, the NAACP Crisis Magazine, the San Francisco Chronicle, the San Jose Mercury News, The Saint Petersburg Times, and Jet Magazine. He’s appeared on CNN, CBS Sunday Morning and Talk of the Nation. He has been written about and or covered in the New York Times Magazine, the Wall Street Journal and San Francisco Magazine. Noah Griffin has worked with George Lucas. Griffin also worked alongside the late Bernie Averbuch to establish the Court of Historical Review and Appeals in which capacity he brought Anna Hauptman to San Francisco to retry the Lindbergh Kidnapping Case in a moot court setting. He’s dined with Lauren Bacall, shared the stage with Nat Cole, Leontyne Price, Johnny Ray and Paul Robeson. He has interviewed notables from Gore Vidal, Louis L’Amour, Milton Berle, Peggy Lee, John Huston, Paul Henried, Howard Koch, the Smothers Brothers, Cesar Chavez, Peter, Paul and Mary. He’s opened in song parody for the Capitol Steps. He’s been blessed to have counted William Warfield, George Shearing and Eddie Fisher among his musical admirers. Eddie Fisher called him a “great singer” and George Shearing “loved his work.” He wrote the preface for the book on “Who Killed Martin Luther King,” is cited in 10 books and is a student of the Kennedy Assassination. He is a published poet and has committed more than 50 poems to memory. He’s taught at the University of San Francisco, City College of San Francisco, served on numerous Boards and City Commissions and is the recipient of many awards and certificates. Of all his accomplishments he is proudest of his faith, his 12 step work, his wonderful wife Meredith and his five children Noah III, Mark, Taylor, Alex and Kate. Noah, since the age of 7, has delighted audiences with his marvelous voice. From 1953 to 1958 he sang as a soloist with the San Francisco Boy’s Chorus under the direction of the late Madi Bacon. Noah had the privilege of performing in Carmen, Boris Gudenov, Turandot and soloing in La Boheme with the San Francisco Cosmopolitan Opera Company. The Boy’s, a group with which Noah sang, performed at the 1956 Republican convention in San Francisco.
In the late 50’s Noah helped form a Rock group called the Kings, covering Ricky Nelson’s “Lonesome Town” on a USO recording which went overseas to our troops stationed in Europe. By 1960 he was off on his own singing at various local venues, teen dances and school rallies. He began study with the respected Judy Davis. The highlight of his high school career was winning a coveted opportunity to audition at the world renowned “hungri i’ nightclub . It was also during those years he was signed to a minor record label and performed on the bill with the “Shirelles”. College years at Fisk University began more intense voice study under James Van Lowe and association with the Fisk University Choir and the famed Jubilee Singers. It was during this time that the choir sang with Eugene Ormandy and the Philadelphia Philharmonic and was the choir selected to do Porgy and Bess with the Nashville Symphony where Noah had a solo. As his solo career advanced, he sang with Duke Ellington and has appeared in New York, Boston, London, Rome and Paris as well as a 6 month run at the Fairmont Hotel. Most recently he starred in A Tribute to Nat Cole. Noah and his wife Meredith have recently co-founded the Cole Porter Society of which he is the Artistic and she the Executive Director. For ten years, Noah was the soloist for the Walt Tolleson Big Band. A favorite at Giants Games, Noah, along with collaborator Bob Voss, wrote the opening day song for the Giants at then Pac Bell Park. The two collaborated for the dreamy anthem and official Ballad of the Golden Gate Bridge for the Bridge’s 75 th anniversary in May 2012. California Historian Kevin Starr has praised the work he has done on the documentary on the Golden Gate Bridge. This version is produced by former Motown producer and writer Michael B. Sutton. Noah and Bob collaborated on a highly popular Christmas CD with two original songs Noah wrote for the production. He has also written and recorded the official College of Marin Anthem. It’s never too late to do what you want to do in life. What you thought you were supposed to do in life... ‘Do what you were intended to do in life and you will succeed, do anything else and you will fail.’ Do what you want to do... Live your dream. Awaken to your Life Force.
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Noah Griffin Artist interview highlights By Indi Young Noah Griffin is a renowned writer, singer, actor, speaker, poet and more. Mr. Griffin shares thoughts about how he approaches the Schwantner piece, his upcoming performance with Alasdair Neale and the Marin Symphony, and experiences that enlighten us to the importance of remembering Martin Luther King, Jr.
I’m honored to be asked to narrate this piece. I feel impelled to do so as I have benefitted from familial and historical connections. My mother grew up with Martin Luther King’s mother; they went to school together in Atlanta. When I was 16, my mother and I were senior and junior delegates to the 1962 NAACP convention. Representative John Lewis, chairman of the Student Nonviolent Coordinating Committee during the movement, was a classmate of mine at Fisk University, and we marched together in Nashville. My closest friend’s father was a lawyer who helped the students. It’s a sacred duty to do this piece in a way that represents the composer, the times, and Martin Luther King, as realistically and as truthfully as is possible. There are people there who have never met King, known him, or lived through the times. I want to be able to be faithful to his memory and respect his contribution by portraying it as accurately as possible. Failing to do so would be sacrilege. Additionally, this is my opportunity to work with the Marin Symphony. Maestro Neale and I have appeared together in the past. Composer David Conte, historian Kevin Starr, and I made a bid to put together an original piece for the 75 th anniversary of the Golden Gate Bridge, but it did not come to pass. We now have this opportunity. Approaching this piece, I go back and read as much as I can about the period. Even though I lived through it, there is so much more I wasn’t aware of. I am reading the three Taylor Branch books that chronicle the times, beginning with Parting the Waters. The preparation for this narration is as much spiritual and historical as it is interpretive. You get centered. You immerse yourself in the work and the subject matter. Psychologist Joyce Brothers says, “Your hunches and
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intuitions are facts, long buried.” Everything you’ve lived in is in you somewhere. So, I draw from my own experiences to put myself in a position to feel what I need to feel about the words that King spoke. When I was studying music, my mother always told me to put something aside until I’d experienced it. For example, most 22-year-olds don’t have enough years of experience to really sing I Did It My Way. But if you’ve gone through the ups and downs of life, then you’re able to bring so much more to the meaning of the song. I’m tasked with eliciting these emotions. It’s my job to bring the emotions of the period to the performance. There’s not a black person alive who, at some level, has not experienced some of the psychological challenges and bias barriers of which King spoke. Total immersion is necessary. This morning I opened up a book at random and there was King’s I Have a Dream speech. Synchronicity. If things happen like that, then I know I’m on the right track. The thing that stands out as top of mind to me is the tremendous sacrifice that was made. To say, “There’s been no progress” is a disservice to those who did the work. Some of what I’ve read has brought me to tears. I had no idea the number of roadblocks put in King’s way: the arrests, the beatings, the bombings, the death threats, as well as the enervating, vexing, time- and revenue-draining law suits. There was the Hoover attack on King, trying to brand King as a communist. There were entrenched southern politicians that the Administration had to be mindful of not offending, as they tried to pass legislation. All these were attempts to thwart the movement. And decades before that, there were the abolitionists. Charles Sumner was the finest senator America has ever produced. In 1856 he made a speech in congress denouncing “Slave Power”— the slave owners who sought to keep political power and preserve slavery in this country. Sumner was then caned senseless by a Southern congressman. Northerners were outraged — it brought them together. I take this narration seriously in the sense of making every effort to understand the America in which we now live, and King’s role in helping to establish it — culminating in the election of Barack Obama. All this is progress we have made.
Where great music comes to life.
P R O G R A M 2 N OTES: AMERICAN DREAM
I immerse myself and amass as much information as I can, then I go with my own feeling. I want this to be so embedded in me that it comes out fresh. I will never try to imitate King’s cadence and intonations. I don’t want to do that. But I want to understand what King was facing when he said those things. I’m in my car a lot — it’s my workshop. I’m driving different places all the time. I’m constantly listening to the work in the car, making notes on how I would deliver a line. I record it and hear myself. Then I take what I like, and I work with the spirit. Of course, my ideas change based on what I’ve just read. I mark all the pages that illustrate events clearly, and try to see how they relate to each other. I trace back the quotes and psalms King used to their sources. I try to understand what it meant at the time. For example, King adapts a quote from Theodore Parker, an abolitionist and a minister, “The arc of the moral universe is long, but it always bends toward justice.” I could say that all on one level tone, or I could “bend” the tone when I get to that word. I’m also planning on calling the composer. The narrative that Schwantner wrote is taken from King’s words, although they are in a different context than what King was responding to. I want to talk to Schwantner and find out what inspired him to write this. I want to find out why he selected the narrative aspects of the piece. I want to bring an authenticity to it — a credibility. Making connections with people, I used to buy autographs and letters of the people I admired: Wendell Phillips, Martin Luther King Junior, Howard
Thurman. One time Mrs. Thurman, his widow, let me touch a piece of cloth that Ghandi had given her. I also have the book my mother was sent, inscribed to me by King’s mother following his assassination. All these physical things give me a personal connection to the people that had them. Once I held an axe that Lincoln lifted with one hand, which took me both hands — that’s how strong he was. I’ve touched the chair that Longfellow sat in. It makes me know that these people were real. When I was at the Holocaust museum, the thing that really struck me were the shoes, more than the pictures. I connected to the shoes because they’d been touched by the person … the person who put that shoe on that morning, then perished. That’s all you leave behind, other than the memories in the minds of the people who knew you. I like the physical part of history and memorials, too. I saw a statue from the back in Boston Gardens and somehow I knew, “That’s Wendell Philips.” And it was. We have our own triangle of memorials in San Francisco. There is the statue of Ghandi in the Ferry Plaza, then there is the bas relief with Howard Thurman in it at 235 Pine Street, and then at Yerba Buena Gardens, behind the Moscone Center, there’s a waterfall dedicated to King. You can walk the triangle. And lyrics … “We shall overcome.” There was a central political event in the Civil Rights Movement involving those lyrics. When President Lyndon Johnson adopted this anthem during a speech, it paved the way for the passage of the 1965 Voting Rights Act. So, the central event of my grandfather’s life was emancipation. For my father’s life it was the 1954 integration decision. In my lifetime it was the election of Barack Obama.
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Jeffrey Thomas, Music Director
Bach’s MAGNIFICAT January 24-27 2014
Bach’s HERCULES February 21-24 2014
Bach’s LEGACY April 25-28 2014
Belvedere - Berkeley San Francisco - Davis
americanbach.org (415) 621-7900
marin baroque 2013-2014 season
Handel | ItalIan Journey marin baroque daniel Canosa, music director
november 16, 2013
CHamber musIC serIes
January 18, 2014 artIsts tbd February 14, 2014 sHIra Kammen & FrIends
JewIsH musIC oF tHe baroque
marCH 22, 2014 marCH 24, 2014 Temple Emanu-El, San Francisco
blow | venus & adonIs FIrst englIsH opera
June 20 & 21, 2014 brow npapertick ets.com or 415.497.6634
performances at First presbyterian Church of san anselmo unless otherwise noted marinbaroQUe.orG marinbaroQUe@GmaiL.com
M A STER WORKS PR OGRAM 3: Q uintessential B eethov en, Chic Tchaikovsky
Alasdair Neale, conductor Austin Huntington, cello February 23, 2 014 — Sunday at 3:00pm February 25, 2 014 — Tuesday at 7:30pm Elgar
Introduction and Allegro, Opus 47
Tchaikovsky
Jeremy Constant, violin 1 Karen Shinozaki Sor, violin 2 Jenny Douglass, viola Jan Volkert, cello
Variations on a Rococo Theme, Opus 33
Moderato assai quasi andante — Tema: Moderato semplice Variazione I: Tempo del Tema Variazione II: Tempo del Tema Variazione III: Andante sostenuto Variazione IV: Andante grazioso Variazione V: Allegro moderato Variazione VI: Andante Variazione VII e Coda: Allegro vivo Austin Huntington, cello
INTERMISSION Beethoven
Symphony No. 7 in A Major, Opus 92
Poco sostenuto — Vivace Allegretto Presto Allegro con brio
Ongoing support provided by The William and Flora Hewlett Foundation, Marin Community Foundation, Ann and Gordon Getty Foundation, The Bernard Osher Foundation, Schultz Family Foundation and Marin Music Chest.
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Program 3 Notes February 2 3 & 2 5, 2 014 by Jon Kochavi
Introduction and Allegro, Op. 47 ( 1904 ) In September 1904, the London Symphony Orchestra asked Elgar to compose a new work for Sir Edward Elgar the all-Elgar concert it was ( 1857 – 1934 ) planning for the following March. His publisher and good friend August Jaeger suggested composing “a brilliant, quick string scherzo” or even “a modern fugue for strings.” Realizing that such a work could nicely exploit the LSO’s skillful string section, Elgar took his friend’s advice to form the framework of his piece. The extended fugue in the work serves as a brilliant centerpiece, replacing the more traditional
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development section and drawing a direct connection to the Baroque style. The novel idea of setting a string quartet against the full string orchestra is a kind of modified concerto grosso technique, also inspired by the Baroque model. Like many of his works, Introduction and Allegro makes reference to Elgar’s own life experience. In 1901, Elgar, ever the eager and curious traveler, visited Wales where he heard someone singing in the distance during a walk in the Wye Valley. According to his fellow traveler Rosa Burley, the melody had a recurring descending third and “a strangely ethereal beauty which deeply impressed us both and which remained in Edward’s mind for many years.” Elgar worked the melody, which Ian Parrott speculates could be extracted from the Welsh National Anthem, into the Introduction and Allegro as “a tribute to that sweet borderland.” The Welsh tune is first heard in the solo viola, the same instrument Elgar chose to set the canto popolare in his work from earlier in 1904, the Italyinspired In the South. The short introduction cleverly presents much of the basic thematic material for the rest of the work. The dramatic G minor entrance of the full ensemble, with orchestral strings divided, jumps right in with lush chord-pairs leading into cascading triplet figures, accented through their descent. The texture is quickly scaled back, however, and the falling triplets are replaced with rising motives in a skipping rhythm. The wonderfully lyrical Welsh tune then emerges in the viola. There are four primary themes in the allegro. The skipping motive, now in G major, becomes the main theme of the section, and is contrasted with a rapidly repeating 16th-note pattern, almost Spanish in flavor, that follows. The cascading triplets from the introduction, now broadened and played with a rich unison grandeur, build to a marvelous climax before the Welsh tune returns briefly — only to be cut off by the fugue, a tour-de-force. When the Welsh theme returns in full at the end of the recapitulation, it is heard in the full-voice of the orchestra, a fitting culmination for one of the greatest works for string orchestra of the 20 th century.
Where great music comes to life.
PROGRAM 3 NOTES: Quintessential Beethoven, Chic Tchaikovsky
Variations on a Rococo Theme, Op. 33 ( 1836 ) Like the Elgar, Tchaikovsky’s Rococo Variations draws inspiration from music of an earlier era. The term Peter Ilyitch “rococo” signifies a style Tchaikovsky of 18th century art and ( 1840 – 1893 ) architecture typified by elegance and graceful ornamentation. Carrying the term over to music from the same period was natural, but imprecise. In music, the rococo style is generally exemplified by those pieces existing in the seams of the Baroque and Classical eras. The refined clarity of Rameau and Couperin are good examples of the style, and early Mozart, with its lilt and grace, also falls into this category. Tchaikovsky idolized Mozart, going so far as to claim that Mozart was the reason he chose to devote his life to music. When his longtime correspondent and patron Nadezhda von Meck expressed surprise at Tchaikovsky’s devotion to Mozart’s music, with its measured elegance that seemed to stand in stark contrast to Tchaikovsky’s Romantic sensibility, Tchaikovsky wrote:
After a brief introduction, the cello plays the main theme, a lyrical, almost ceremonial melody that is treated with grace and clarity in the accompaniment. Each of the two sections of the theme are repeated, after which a more chromatic, intricate section — played by the winds here and in each variation — serves as a tag and a link to the variation to follow. Each of the seven subsequent variations has its own character, presenting wide degrees of adherence to the original theme. Some provide rhythmic variation and ornamentation (Variations I and IV), and others play with texture alterations (Variations II and V, the latter of which ends with a cadenza). Variation III recasts the 2/4 theme in a cantabile 3/4, while the minor key Variation VI offers a melancholy version of the theme with pizzicato accompaniment and a poignant re-harmonization of the wind tag. In the thrilling final variation, an energetic version of the theme is transformed into a series of gestures that are rapidly exchanged between soloist and orchestra, leading to a brilliant finish.
You say my worship for [Mozart] is quite contrary to my musical nature. But perhaps it is just because — being a child of my time — I feel broken and spiritually out of joint, that I find consolation and rest in the music of Mozart wherein he gives expression to that joy of life which was part of his sane and wholesome temperament, not yet undermined by reflection. Indeed, 1876 marked the beginning of a downward spiral for Tchaikovsky, with fits of severe depression and illness that culminated in a complete mental breakdown just months after he married, against his better judgment, in 1877. The sparkling Rococo Variations for cello and orchestra, written in December 1876, were a retreat into a world that brought Tchaikovsky comfort, an active form of artistic escapism that unfortunately could not stave off the crisis that was to come.
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Program 3 Notes February 23 & 25, 2 014 continued
Symphony No. 7 in A Major, Op. 92 ( 1811 – 1812 )
Ludwig van Beethoven (
1770 – 1827
)
Poco sostenuto – Vivace Allegretto Presto Allegro con brio
Beethoven’s Symphony No. 7 premiered in December, 1813, at a concert arranged by Johann Nepomuk Maelzel, the famed inventor of the metronome (among other musical devices), to benefit Austrian soldiers injured in the battle of Hanau. The extent of Beethoven’s deafness by this time was alarming, and yet he insisted on conducting the orchestra himself. Louis Spohr, who played in the violin section at the premiere, described Beethoven’s most unusual conducting techniques: “At piano, he would crouch down lower and lower... and at the entrance of the forte, he jumped into the air... [At a certain] pianissimo passage, he crouched clean under the desk!” According to Spohr, at times Beethoven — not being able to hear the softer passages at all — would be conducting bars ahead of where the orchestra was playing, and would have to re-orient himself when the louder sections arrived. Despite these difficulties, the work was received with wild enthusiasm, as Spohr reports: “[The premiere was] a brilliant success. The execution was a complete masterpiece in spite of the uncertain and frequently laughable direction of Beethoven.” In particular, the Allegretto became an instant favorite, with audiences demanding immediate encores of the movement at most of the early performances. Beethoven himself repeatedly called the symphony “one of my most excellent works,” and its magnetic rhythmic appeal and dancing melodies have made it one of the most popular symphonies in the literature.
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Where great music comes to life.
PROGRAM 3 NOTES: Quintessential Beethoven, Chic Tchaikovsky
The description Berlioz gives of the innovative opening gesture of the symphony captures its spirit perfectly: “The entire mass, striking a chord both loud and short, discovers an oboe during the silence that succeeds.... No more original mode of opening could be imagined.” The substantial introduction to the first movement ends with a slow repetition of a single note, E, that splendidly builds tension and anticipation until the Vivace finally breaks through. The main theme, played first by a solo flute, sounds like a peasant tune, its skipping dotted rhythms dominating the remainder of the movement. The movement is ripe with vitality and energy and full of remarkable moments such as the beginning of the development, which humorously continues the loping rising scale in octaves that ended the exposition. The coda crowns the movement with a monumental climax that surely elicited a wild response in Beethoven’s day when between-movement applause was the norm. With its note repetitions and continual long-short-shortlong-long rhythms, the A minor theme of the second movement is as plain as can be. Yet from this simple seed, Beethoven generates a movement of incredible power and beauty through a series of increasingly intense variations that introduce a countermelody that sings a passionate lament. Interspersed among these variations is a second theme in A major that opens up the texture and provides a breezy recollection of happier times. In the final variation, the mood is subdued again as the theme is quietly passed from section to section in the orchestra.
The F major Presto serves as a scherzo and trio, with two repetitions of the trio section giving the movement the form A-B-A-B-A. In the A section, a staccato theme dances through a series of descending scales. In contrast, the D major B section is meant to evoke an Austrian pilgrim’s hymn, sung by the winds and horns over an A, which is essentially sustained by the strings for over 50 measures. At the end of the final repetition of A, Beethoven fools us into thinking that B will be repeated again until a quick cadence brings the movement to a close. The finale has been described variously as a musical orgy, a peasant celebration, and the product of a drunken madman (!), but music commentator Martin Bookspan puts it best when he calls it “one of the great whoops in the symphonic literature.” Remarkably, the brilliantly energetic theme bears some resemblance to the somber theme of the second movement, albeit now played at warp speed in a major key. The ornamented turns in the violins drive the unrelenting momentum, and diversions through a dotted note motif accompanied by off-beat accents only serve to build suspense for the return of the boisterous first theme. The swirling movement ends with an appropriately thunderous coda.
Enjoy Music, DraMa & DancE PErforMancEs at collEgE of Marin The College of Marin Performing Arts Department presents many fine concerts, plays, and dance performances throughout the year. Experience the high-caliber talent of our students and faculty at the Kentfield campus in the award-winning James Dunn Theatre, Lefort Recital Hall, or Studio Theatre. For more information about our events: tinyurl.com/marin-arts www.marin.edu
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Where great music comes to life.
PROGRAM 3 NOTES: Quintessential Beethoven, Chic Tchaikovsky
Guest artist: Austin Huntington in Sicily, Italy. Subsequently, he was invited to perform on the two-week IBLA Grand Prize Winner’s USA Tour, ending with his New York debut at Carnegie Hall. That same year, he was selected as one of six cellists chosen to represent the United States in the 2009 Rostropovich International Cello Competition, held in Paris, France.
Cellist Austin Huntington made his solo orchestral debut at the age of 10 and is the recipient of numerous Grand and First prize awards on both the National and International levels. Austin has performed as guest soloist with orchestras such as the Indianapolis Symphony Orchestra, San Jose Chamber Orchestra, Peninsula Symphony, Kalamazoo Symphony Orchestra, Chicago Northwest Symphony Orchestra, Fort Wayne Philharmonic, South Bend Symphony Orchestra, LaPorte Symphony Orchestra, Muncie Symphony Orchestra, Chicago Youth Symphony Orchestra, and the New World Youth Symphony Orchestra, to name a few. In addition to his debut with the Marin Symphony Orchestra, Austin’s performances for the 2013-14 season include chamber music recitals as a part of Music in the Vineyards (Napa Valley, CA) and debut appearances with the Santa Cruz Symphony and the Colburn Orchestra. Austin is the First Prize winner of the 2012 Irving M. Klein International String Competition, the 2012 MUSICCAS International String Competition, the 2011 Stulberg International String Competition, the 2013 Aspen Music Festival and School Low Strings Competition, and the 2009 MTNA National String Competition, in addition to being awarded Second Place and the Audience Choice Award at the 2013 Schadt National String Competition. On invitation, Austin actively participated and performed in the 2010 Kronberg Academy Cello Masterclasses, held in Kronberg, Germany. The previous year, Austin was awarded the highest honor of Most Distinguished Artist from the IBLA International Music Competition, based on a series of concerts for both the public and members of a distinguished jury
Formerly, Austin was the Principal Cellist of both the award-winning Chicago Youth Symphony Orchestra (CYSO) and Encore, CYSO’s premiere performing ensemble. Before, at age of ten, he served as the Principal Cellist of the South Bend Youth Symphony Orchestra (2004-2006). During that time, he was also the cellist of the SBYSO String Quartet, which was awarded the 2006 Kenneth Geoffroy Memorial Award from the Fischoff National Chamber Music Competition. This past summer, Austin attended the Aspen Music Festival and School on a New Horizons Fellowship, where he was also a part of the prestigious David Finckel and Wu Han Chamber Music Studio. Previous summers, he has attended the Perlman Music Program (Shelter Island, New York), the Quartet Program, the Academie International de Musique (Montpellier, France), the Meadowmount School of Music (Westport, New York), Credo Chamber Music Festival (Oberlin, Ohio), and the Indiana University String Academy. Austin has been invited to perform in masterclass for exceptionally regarded musicians such as Truls Mork, Gary Hoffman, Steven Doane, Lynn Harrell, Ronald Leonard, Paul Katz, Richard Aaron, and Robert Nagy, as well as members of the Tokyo, Ebene, Juilliard, Guarneri, and Emerson String Quartets. He has also collaborated with such highly esteemed artists as Itzhak Perlman, Edgar Meyer, Robert DeMaine, Riccardo Muti, and Gustavo Dudamel. Austin is nineteen years old and a Bachelor of Music student at The Colburn School Conservatory of Music in Los Angeles, California, where he studies with Ronald Leonard. His previous teachers are Richard Hirschl, Hans Jorgen Jensen, and Emilie Grondin. He plays on a fine Venetian cello made by Carlo Tononi, c. 1725, on generous loan from The Colburn Foundation.
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Austin Huntington Artist interview highlights By Indi Young Austin Huntington comes to the Marin Symphony resulting from his extraordinary peformance at the International Klein Competition for Strings. He shares how he feels about his debut with the Symphony, why he loves to peform, and how he approaches performing the unique Rococo Variations .
I’m playing with the Marin Symphony because I won the Klein Competition, which is an international competition for strings in San Francisco. It’s a yearly competition; I won in June 2012. The first place award package included four concerts spread out over the next year or so. This is the last engagement of that set. ( The other orchestras included the Peninsula, Santa Cruz, and San Jose.) Maestro Alasdair Neale was on the competition jury. It’s nice to have work over more than one year. Also, since the orchestras are close to each other in terms of geography, you might have a little repetition in terms of audience, so it’s nice to spread the engagements out. And it’s nice that each engagement is a different genre: for San Jose I played a couple of short pieces, including a tango; for Santa Cruz I played Shostakovich; and for Peninsula I played Dvorak. Anyway, winning the competition was surreal. I didn’t expect it at all. Historically, violins are prone to win over cellos because there is much more music written for violin because of its projection and range. So when they announced the winners after the final performances, I was surprised. I felt humbled, and when I walked up on stage to receive the award, it was like a butterflies, light-headed, out-of-body experience. Rococo is special to me because it’s the one piece that I’ve played with a truly great orchestra — the Indianapolis Symphony. ( Talk about another surreal experience.) With a youth or community orchestra, you have to follow the orchestra, and you can’t express yourself. You have to focus on whether the orchestra is playing together or not. Maybe the violins have gotten off, so you have to slow down or speed up to stay with them. With a good orchestra, you don’t have to worry about any of that. If you want to spontaneously take time with something, then you do it. The conductor holds back the orchestra so you can express yourself freely. With the Indianapolis orchestra, I could hear
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things, harmonically and melodically, that I couldn’t otherwise. It’s much more fun than following a metronome. But above all, it was one of the most fun experiences because I could make it my own. I have listened to so many recordings, and each is unique — even the variations are unique. An older student at a summer festival told me once that each variation should have a different story that it’s trying to convey. In this instance it’s very stately. It is supposed to be a courtly dance. The trick is to have every movement very unique, but with an overarching feel that relates back to the original theme. You want every note to mean something, but that’s hard to achieve. It’s easy to fall into a place where no notes are special because every note is the same. The piece still essentially sounds the same, but everyone (cellist) has their own quirks. My favorite variation is by Leonard Rose; he’s my teacher’s teacher. His version is on my Desert Island sound track — the music I want to have with me if I got stuck on a desert island. He really makes it his own. Even something small, like taking time in one place and not another, is unique. In one of the middle variations within Rococo, half of it is a cadenza, and you can interpret it in half a dozen ways, which is the fun part. Although … my teacher is not fond of me changing the music too much. The cadenza is one of the more showy parts of the piece, and there’s something gratifying about going over and above what people normally do. By definition, a cadenza was an improvisation that eventually got written down. Classical musicians used to improvise all the time. This is the Rococo Variation, which means in the classical style. I can’t imagine anybody improvising. I’m in my second year at the Conservatory, so I’m in the stage of learning repertoire and developing technique. If I don’t have something new to play for my teacher, he may ask for scales, such as F harmonic minor, while focusing on one issue of technique, such as keeping my hands relaxed. “Okay, can you do different fingering on the last two octaves?” “Can you do this different bowing?” My mind doesn’t work that fast, so it’s embarrassing because I keep stopping and starting again. And I have to promise that I’ll bring it back better for the next lesson. So, scales are tedious for me. But they help tremendously, and I try to play them every day. Like I said about improvising — I just can’t think that quickly.
Where great music comes to life.
PROGRAM 3 NOTES: Quintessential Beethoven, Chic Tchaikovsky
It is a really intense experience. Mostly, my mind is all about music — which is nice. At the beginning of each year, my teacher and I try to schedule my repertoire for the whole year. We’re thinking, “Okay, Marin Symphony wants me to play this piece; how will we fit it in with what I am supposed to learn?” I have a recital a couple of days after Winter break ends, so we had to schedule it so I work on my recital repertoire during the holiday break, then right after that I work on The Rococo. I hadn’t taken music theory until my first year in college. One of the most important pieces that we encountered was the Prelude and Liebestod from Tristan und Isolde, an opera by Wagner. There’s this one chord that keeps appearing, one that is different and unexpected. The whole point of the repeated chord is to build suspense, and this one chord never resolves correctly until the very last cadence. This chord is a half-diminished 7th chord (a diminished triad at the bottom with a minor 7th added on top). It was so out there for that time period, since the audience expected it to resolve simply to a normal major or minor chord. Instead, it goes to a half-diminished 7th. Wagner was a very revolutionary composer. Our modern ears take some of the magical quality of those unique chords away, but the listening experience is still special. I started playing cello at the age of three. I have a brother a year and a half older; he’s a year ahead of me at the same school. He started violin when he was four, and I felt compelled to start an instrument, too. My parents took me to a concert, and they say I looked for the most opposite instrument from the violin. I pointed to the bass. I didn’t know about the sound at all — it was just this huge instrument, and that was so cool. I wanted to touch it. Three-year-olds aren’t allowed to play bass. My parents suggested I play the cello. I was disappointed the cello they got me was so small, but I saw what a full sized cello looked like, and it was big enough.
before you play it. If you just play it, you’re limited by the technicalities of the cello. Maybe it’s hard to bow or something. But singers don’t have to worry about bow or fingers. They can make it through a whole phrase in one breath while still shaping and creating wonderful subtleties. It’s hard to beat natural phrasing. The Rococo is not very lengthy. Like I said earlier, the theme reminds me of a stately dance. It’s very elegant, very ornate. Think of a ball held at the Versaille Palace in France: home to the royals, very elaborate and ostentatious. The style is almost pretentious, in a way. Then the piece keeps going to variations on a theme — first one is playful, then direct, then sad, then happy. It goes through a range of emotions, but it’s still elegant and elaborate. When you hear something simple, it means that it’s more important to keep it simple than to try to make something amazingly complex out of it. That way, when a more unique or less simple part comes along, it is more special. The composer does that for a reason. This is especially true of Tchaikovsky. Harmonically it’s essentially the same or similar, but when a new chord comes, such as a minor chord, it really changes. It’s a light happy, piece, though, overall. Once you win a competition, people expect a certain quality out of you, and you have to maintain a certain quality … you can’t just learn a piece and play it right away with an orchestra. I want to come as close as I can to perfect. I want to try to get a higher level, musically and technically. I have more maturity now than I did when I first played Rococo when I was 14, so that brings with it not only a greater level of understanding the piece, but also a greater knowledge of how others play it. I get to expand upon my story and add different things over the years. You never really finish a piece. You just put it away for later.
Now I have my own reasons for liking the cello, even though there aren’t a lot of pieces written for the cello. (It wasn’t until the Romantic age that the cello had a decent amount of solo music written for it.) The cello almost mimics exactly the range of the human voice. I can hit a low D with my voice in the morning, and the cello can go one note below that. In terms of usable range at the top of the cello, it’s about the same as a soprano. And if you hear a really good cellist, they’re using a singer’s phrasing and tone. A violin can get a little showy, not as song-like. My former teacher always stressed the importance of singing a phrase
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FAMILY CONCER T
Around the World with Disney Ann Krinitsky, conductor Sunday March 16, 2 014 3:00 p.m.
Our Family Concert features music from early Disney classics to recent releases that will take you on a musical journey to far off places where the stories, tales and myths of many cultures originated. The program incorporates visuals and musical performances from Disney’s animated films including The Lion King, Beauty and the Beast, Mary Poppins, Tarzan and many others. Immediately following the concert aspiring young musicians can try an instrument on their own at the Musical Instrument Petting Zoo sponsored by The Magic Flute. Tickets: $15 – $45. This concert takes place at the Marin Veterans’ Memorial Auditorium.
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Where great music comes to life.
M A R I N S Y M PHONY MASTER WORKS 4
MARIN SYMPHONY CHORUS
PHOTO © PETER RODGERS
Sacred and Secular Sunday April 6, 2 014 3:00 p.m. Alasdair Neale, conductor Featuring the Marin Symphony Chorus, Stephen McKersie, director
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Tuesday April 8, 2 014 7:30 p.m.
Join the Marin Symphony and Maestro Alasdair Neale for the fourth 2 013 -14 Masterworks concerts. Bernstein’s Chichester Psalms combines irresistible rhythmic bounce with meditative passages of serene beauty. Carl Orff’s Carmina Burana is a riotous and hedonistic celebration guaranteed to raise the roof at our final Masterworks concert in our 61st Season! Bernstein Chichester Psalms Orff Carmina Burana
Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.
marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony
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Pirates of the Caribbean: The Curse of the Black Pearl Alasdair Neale, conductor
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Where great music comes to life.
M A R I N S Y M P H O N Y SPRING POPS CONCER T
Sunday June 8, 2 014 3:00 p.m.
The finishing touch to our 61 Season is another first for your Marin Symphony and our community. The full-length classic fantasy Disney film shown with live music played by our orchestra is bound to please everyone. st
Tickets: $15 – $50. This concert takes place at the Marin Veterans’ Memorial Auditorium.
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Where great music comes to life.
Your Life, Your Care, Your Way
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Here’s to music and dance — and vino. Hey Mambo! 2012 DRY ROSÉ • CALIFORNIA ROSÉ WINE This wine is the perfect palate cleanser as you nibble on cheese and crackers or a summer salad with nectarine wedges and goat cheese. Take your shoes off and get comfortable while enjoying a glass of Mambo Rose.
2011 SULTRY RED • CALIFORNIA RED WINE Pair this wine with grilled chicken and grilled pineapple rings alongside some rice pilaf and green beans, Grandma’s meatloaf with sautéed carrots, mashed potatoes and gravy, or a grown-up grilled cheese sandwich with rye bread and smoked gruyere cheese with bacon. The sum of all of the parts makes a fantastic red blend to enjoy on any occasion.
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Where great music comes to life.
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Without Your Contributions Each Ticket Would Cost $120 INCOME Individual Contributions
Earned Income
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13%
41%
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EXPENSES
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32% Promotion
9% 4%
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PHOTO © SUSAN D. LEE
Foundation Grants
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Production
Maestro Alasdair Neale preparing his Junior Conductors for their 2 013 Waterfront Pops Concert debut!
Together with you. Individual donors are essential for us to thrive. 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. Join the Conductor’s Club. 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.
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Where great music comes to life.
S UPPOR T & SPONSORSHIP
Sponsorship.
be a part of it
Your Marin Symphony’s new “Symphony Kids” program and more... Improving accessibility to new audiences is central to our mission. When you or your business becomes a season sponsor you help support subsidized tickets for children and their families in our community who would otherwise be unable to afford attending Symphony events. We’ve partnered with Sunny Hills Services and Big Brothers Big Sisters of San Rafael to extend our reach with this brand new program. 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 2 013 -14 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. marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony
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PHOTO Š PETER RODGERS
YOUTH & E D U CAT I O N P R O G R A M S
Marin Symphony Youth Orchestra, Skywalker Sound, November, 2 013
Youth & Education Programs 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 Program 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.
Marin Symphony Overture Program 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. National Young Composers Challenge Workshop and Composium The Marin Symphony is honored to present two extraordinary programs designed to foster the talent and dreams of young composers. The Workshop is a FREE full-day event for youth ages 13 -18. The Composium is a competition that culminates in a LIVE interactive recording session and performance with a full orchestra. For more information and to hear the winning compositions, visit YoungComposersChallenge.org
Questions? Need more information? Contact Andrei Gorchov, Youth Programs Administrator at 415.479.8105 or yo@marinsymphony.org.
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Where great music comes to life.
PLANNED GIVING
Encore Society. A valued investment and a true value to your community. Planned giving that will sustain our live symphonic music performances and education programs now and for generations to come. The Encore Society was created to provide current recognition to those individuals who have included the Marin Symphony in their estate plans. Members of the Encore Society will be recognized in season program books and receive exclusive benefits including intimate gatherings with our Maestro and concert soloists throughout the year. You can become a member by advising the Symphony of your intention.
Your gift will enhance our ability to: • Maintain the highest quality programming and talent.
There are several ways you can become a member of the Encore Society:
• Charitable Bequest • Life Insurance Designation • Attract innovative guest artists and • IRA Designation live-symphonic programs for a multigenerational audience and community. • Pay-on-Death Account • Charitable Remainder Trust • Sustain high-quality, traditional • Charitable Gift Annuity Masterwork concerts. • Named Endowment • Virtual Named Fund • Provide music mentorship and • Planned Gift education to youth musicians • Endowed Orchestra Chairs throughout Marin County in a variety of programs aimed at providing You’ll be in good company... opportunity for students from elementary through high school. View current Encore Society members on page 59. We honor and appreciate every one of you!
Live music performances are one of the few cross-generational offerings a community can participate in without exclusion, thus helping to forge a strong sense of community in Marin and the North Bay. Your gift to the Symphony will allow us to continue to provide a strong tradition of high-quality symphonic music. For more information please call Angela Colombo, Director of Development at 415.479.8100, angela@marinsymphony.org. marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony
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Season 2 013 -2 014 Annual Donors Please note: we list here the names of those from whom financial support was received between July 1, 2 012 and December 31, 2 013. A Category Apart: $30,000 and Above
Conductor’s Club: $2000–$3,499
Jack Bissinger* Anonymous (1)
Primary Sponsor: $10,000–$29,999
Steve Goldman & Melanie Love Sandra D. Hoyer Bob Irwin Steven & Susan Machtinger Renee Rymer & Antonio Clementino, Ph. D Peter L. H. & Kathryn Thompson Audrey Tytus* Anonymous (2)
Sponsor: $6,000–$9,999
Mary D’Agostino Joanne Dunn Jim & Lynn Finkelstein Alf & Ruth Heller Gloria Miner Joyce Palmer Dr. Elizabeth Seaman Sally Shekou & Robert Herbst Marco A. Vidal Fund* Judith Walker & Bruce Weissman Anonymous (1)
Composer’s Club: $3,500–$5,999 Mrs. Brent M. Abel Hans Adler & Wanda Headrick Dr. & Mrs. Reza Aryanpour Keon-Vitale Family Catherine Munson Kathlyn Masneri & Arno P. Masneri Fund Alice T. May Alasdair Neale & Lowell Tong Erica & Larry Posner Joan Ring Claire Collins Skall Dr. Walter Strauss* Connie Vandament Mr. Harley White Sr. & Dr. Frances L. White Anonymous (1)
Benefactor: $1,000–$1,999
“
What a GREAT concert... in so many ways... the attendance was outstanding...the movies were superb...and the orchestra was AWESOME! Such great music played so well...and right in sync! Great sound. Alasdair is amazing... such a jewel. – Lynn C. Pixar in Concert
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Lou & Marge Bartolini Frank & Lee Battat Dr. James & Caroline Boitano Scott Bucey & Jennifer Finger Crawford & Jess Cooley Dr. Robert K. & Judith D. Creasy David Dee & Pat Callahan Joan & Allen Dekelboum Mary Denton & Monte Deignan Patricia S. Elvebak George Fernbacher Chuck & Binny Fischer Hope Herndon Greta Hoversten Grace A. Hughes Alan & Jean Kay Vivienne Miller Joseph & Eda Pell – Pell Family Foundation Barbara & Bill Peterson Ben & Jodi Rabb Mary & David Rabb Gary & Joyce Rifkind Yvonne Roth Richard & Anne Marie Ruben Herb Schuyten Joe & Heidi Shekou Michael Ingerman & Madeleine Sloane Nate & Pat Sumner Patricia C. Swensen Bruce C. Taylor & Lynn O’Malley Taylor Anonymous (3)
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Deborah & Arthur Ablin Muriel Adcock Irmgard E. Bagshaw Mr. & Mrs. Robert Bilger Martin & Geri Brownstein William & Lynn Callender Russ & Lynn Colombo Wayne & Geri Cooper Donald R. & Noel W. Dickey Ann & Susan Everingham Abe & Suzanne Froman Renee Froman Alison C. Fuller William Glasgow & Nancy Floyd Leda Goldsmith Osborn Howes G.G. Hoytt Foundation Peter C. Kerner Dr. & Mrs. James S. Levine Dr. Carolyn Mar & Hop Le Leslie Miller & Richard Carlton Ray Poelstra David & Dara Post Elizabeth Prior & Cesar Lagleva Verla K. Regnery Foundation Marilyn & Arthur Strassburger Grace Underwood Martha Wall Sam Ziegler Anonymous (3)
Guarantor: $400–$999
Gerry & Don Beers Edward S. Berberian Vernon Birks Bill & Patty Blanton Rosalind & David Bloom Peter & Susan Bowser DeWitt Bowman Steven Boyer Mary Jo Broderick Ava Jean Brumbaum John & Barbara Chase Elizabeth Dakin Nancy Kent Danielson Roy & Marilyn Davis Vincent & Ethel De Maio C. Donohoe Chester & Joy Douglass Stuart & Emily Dvorin Cele & Paul Eldering Lynn D. Fuller Jerry C. Gianni & Donna Bandelloni Margot Golding & Mike Powers Alan & Elsie Gregson Mary M. Griffin-Jones Dr. & Mrs. Joseph Gryson Erika Hagopian Drs. Albert & Shirley Hall James C. Hormel & Michael P. Nguyen Bonnie & Peter Jensen Robert & Alice King Lamar Leland Julius & Sybil Lepkowsky John Levinsohn Sharon L. Modrick Judith Moore Jeffory Morshead James Murrow Brian Nagai & Robert B. Daroff, Jr. Stevanie Jan Olson James Parsons & Andrea Hong Maria Pitcairn Nancy & James Saunders Cynthia Sawtell James & Lucia Schultz Carole & John Shook Alan & Paula Smith Evelyn D. Spelman Sue & Bob Spofford Mike Watt & Eileen Leatherman George Westfall & Susan Adamson Diane & Lawrence Yermack Patricia York-Schumacher
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Where great music comes to life.
The evening could not have been more perfect. Beautiful weather and John Williams theme music — the final piece accompanied appropriately by a spectacular fireworks display.
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– Joel N. Waterfront Pops Concert
DONOR APPRECIATION
Sustainer: $100–$399
Joanna Adler Jill Aggersbury Robert Akins Katherine E. Akos Michael & Marjorie Alaimo Paula Andres Kai & Kian Angermann Carolyn & Peter Ashby William E. Asiano Larry & Barbara Babow Alice Bartholomew & Chuck Herman Richard & Ann Batman Yvonne & Gary Beauchamp Edward Beck Jim Beck Raymond & Colleen Beck Roger Beck Sue Beittel Robert & Irene Belknap Fred & Yvonne Beller Maria & Charles Benet Maureen Bennett Maxine J. Bennett Philip M. Bernstein Constance B. Berto Leland & Joan Bertolone Christine Blackburn Gloria & Peter Bland Marion Blau Jeanie & Carl Blom Andrew & Shirley Bogardus Frances & Ben Borok Sydne & Allan Bortel Carroll & Eli Botvinick DeWitt Bowman Ed & Nancy Boyce Jack & Ute Brandon Richard Bricker & Emily Hanna Johnson Josh Brier & Grace Alexander Suzanne & David Broad Amy & Mark Brokering Anthony & Mary Lee Bronzo Wendy & Ellen Smith Buchen Annie Bugher Mary Jane Burke Jerry & Jane Burroni Julio Burroughs & Caroly Sasser Robert & Elza Burton Anne & John Busterud Marian & Don Byrd Joyce F. Calanchini Glenn & Vicki Campbell Mary Campbell John & Betsi Carey Peter Carlson & Linda Swanson Alice Carlston Robert & Kathleen Carrasco Lowell & Patsy Chamberlain Oscar & Joan Chambers Arthur & Jeanie Chandler Robert Child David L. Chittenden Priscilla Christopher Leslie Connarn Mary & Fred Coons Paul & Paula Cooper Bob & Betty Copple Helenclare Cox Suzanne & Joseph Crawford Dolores Cuerva Graham & Rosana Cumming Jeff Curtis & Kathleen Sanders Jon Curtis Homer Dalbey Mr. Arthur Davidson Ursula & Paul Davidson Ken & Ann Davis Judith R. Dawson
Robert De Haan & Nancy Sangster Marion E. De Heer Michael P. De Santis Sam & Ellen Dederian Dee’s Executive Limousine Service Tom & Mary DeMund Nona Dennis Thomas Diettrich Eleanor DiGiorgio Steven & Marilyn Disbrow Jenny Douglass & Andy Basnight J.B. & Lynn Dowdey Ben Dresden & Ann Swanson Sara Duggin Alan & Roberta Dunham Wendy Eberhardt Jane C. Ellis Lois Ellison Bob Ely Heather English Maxine & William Everest Bran & Carolyn Fanning Jim Farley Roy & Barbara Filly Richard & Nancy Flathman Gary Flatow Anice Flesh Erdmuth Folker Donald Ford Robert & Rita Forsyth Suzy Foster Thomas & Cynthia Foster Carlo & Diane Fowler Vivienne Freeman Lila Friday Carole & Mark Friedlander James Fritz Martha Gardiner Ray & Margot Gergus Cindy Germain Sally Germain Ghilotti Bros., Inc. Adele Gibbs Wayne Gilbert Yacov Golan Ellen & Bob Goldman Linda Goodman Margie Goodman Jane Gorsi David & Randy Greenberg Rosemary & Leonard Greenberg Robert Griffith David & Margie Guggenhime Jane Hall Doug Hancock Virginia Hanna Ethlyn Ann Hansen Joey Hardin Helen Harper Richard & Julie Harris James & Laura Harrison William & Kathryn Harrison Gail Harter Cecile Hawkins Hennessy Advisors, Inc. Hennessy Funds Allan & Nancy Herzog Eileen H Hinkson Candida Hoeberichts Nancy Hoffman Carol Hollenberg Ken & Donna Hoppe Andrew Horwitz Catherine Houghton Robin Hudnut Eleanor W. Hull Pat & Irene Hunt William & Gail Hutchinson Dr. Ifeoma Ikenze Irene Jaquette
Katherine Johnson Ted & Diana Jorgensen Rick June & Mark Brinkman Gee Kampmeyer Olga & Andrew Katanics Daniel & Judy Katsin Charles Keast Orly Kelly Dan & Valerie King Jennifer Krasnoff & Eltan Homa Lou & Britt La Gatta Barbara L. Lane Almon Larsh Lucinda Lee & Daniel U. Smith Olivia LeFeaver Louis & Jean Leoncini Catherine Less Laura Less Sandra Levitan Carl & Carol Ann Lewis Juliene G. Lipson Bill Lockett & Dorothy Berges Wendy & Kevin Loder Frank & Maja Lorch Elaine & Dwight Lubich Susan Magnone Ruth & Martin Malkin Mary Malouf Mike Marcley Daniel & Virginia Mardesich Lee Marken Marian Marsh & David Wade Phyllis B. Mart Rosemary & John Maulbetsch John & Mary Ellen Maurer Charles & Claire McBride Sandra McCreary John & Ilene Medovich Carl Mehlhop Frank & Mickey Meredith Jan Mettner Don Miller Eugene & Phyllis Miller Jane Miller Kati Miller & Michael Shea Abigail Millikan-States Glenn & Laura Miwa Stephen & Mary Mizroch Sahin & Shahrzad Moshfeghi Thomas K. Moylan* Kaneez Munjee & Hugh Davies Ann Murphy Hilda Namm Steve & Ruth Nash Louise C. Nave Diana C. Nicoll Ann Nilsson– Davis Nancy L. Nimick Mark & Kay Noguchi John & Evelyne Norris Gloria H. Northrup Lisa Nunnyork Fran & Dick O’Brien Ed & Linda O’Neil Ann W. Ocheltree Esther Oleari Walter & Elaine Olson Merle & Clyde Ongaro Harry Oppenheimer & Sharon Leach Nancy L. Otto Jacqueline Palmer Jim & Collette Parrinello Roberta Patterson Dorothee & Phillip Perloff Ellen Pesenti Laura A. Phipps Carolyn & Arnold Piatti Suzie Pollak Robert & Donys Powell Nolen Pridemore Ralph & Leslie Purdy Pat & Art Ravicz
Lucinda Ray Audrey Reagan Walt & Ilene Riethmeier Faith France & Hugo Rinaldi Judy & Richard Robinson Sue & Bill Rochester Dr. Filmore & Judith Rodich Margaret & Herbert Rosen Billie Rosenberg Leland & Jane Rosevear Craig Rossi Barbara A. Rothkrug Richard & Anne Marie Ruben Marty Rubino & Gayle Peterson Kevin Rumon Mary Jane Sargent Judith & James Saffran Georgia F. Sagues Angelo Salarpi Family Marsha & Robert Sampson San Domenico School Dr. Rick & Cynthia Sapp Gary & Kathy Schaefer Georgia & Hugh Schall Tobin Schiller Nancy Schlegel Marilyn Schneider & Edward Simon Norman & Alice Schoenstein Schrader-Robertson Family Fund Sylvia Schwartz Nancy & Terry Scott Lori Shearn Margaret C. Sheehy Eunice Sheldon Mr. & Mrs. Dean Showers Betsy H. Shuey Joel & Susan Sklar Martin & Elizabeth Sleath Jacky Smith Mr. & Mrs. Lawrence H. Smith Marilyn J. So Rhonda & Fereydoon Soofer Fred Spitz Jean Starkweather Rosine Reynolds & Steven Stein Richard & Susie Stern Inge Stiebel Michael A Freeman, MD & Victoria Stone Dr. & Mrs. Richard F. Sullivan Edward Tanner Jacqueline & Wilbur Tapscott Ed Texiera J. Ralph & Mary Ann Thomas Tilda Thompson Judy Torrison Bob Towler Barbara & Dan Turrentine United Way of the Bay Area Marilyn Vaughn & Steven Sivitz Charles & Rebecca Viebrock Jan & Mark Volkert Bruce & Judy Walker Geraldine & Joe Walsh Karlyn Ward Paula Weaver Charles A. Weghorn Arlin Weinberger Anita Weinert Rona Weintraub Carol Weitz Metta Whitcomb Martha Wickliffe Barbara J. Wilkes Margaret Wilner Roney Wiseman Ingeborg Wolter Roy Wonder & Barbara Ward William & Gloria Wong Charles & Lynne Worth Warren Wu Indi Young Judith & Steven Zimmerman Anonymous (9)
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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, 2 012 and December 31, 2 013.
GIFTS IN HONOR OF
GIFTS IN MEMORY OF
Lou Bartolini Anonymous Mr. & Mrs. William Beck’s 50th Wedding Anniversary Edward Beck Jim Beck Raymond & Colleen Beck Roger Beck Sydne & Allan Bortel DeWitt Bowman John & Betsi Carey Ken & Ann Davis Steven & Marilyn Disbrow Donald Ford Thomas & Cynthia Foster Adele Gibbs Linda Goodman Robert Griffith Hazel Carter-Hattem Robin Hudnut Eleanor W. Hull Sylvia Kronke Elaine & Dwight Lubich Consuelo H. McHugh Worth Miller Nancy L. Nimick Dorothee & Phillip Perloff Margaret & Herbert Rosen Renee Rymer & Antonio Clementino, Ph. D Eunice Sheldon Bruce & Judy Walker Anita Weinert Metta Whitcomb George Dexter Joanne Dunn Leslie Miller Daniel & Judy Katsin Jonathan Ruben Birthday Anne & Richard F Ruben Renee Rymer Peter Carlson & Linda Swanson Jonathan Ruben Birthday Anne & Richard F Ruben Bob Towler Elinor Towler Judith Walker & Bruce Weissman’s Wedding Paula Andres Robert Child Joanne Dunn Jerry C. Gianni & Donna Bandelloni Lisa Nunnyork Mary & David Rabb Renee Rymer & Antonio Clementino Ph. D. Peter L. H. & Kathryn Thompson Verla K. Regnery Foundation Marilyn Vaughn & Steven Sivitz Donna Wiuff Anonymous
Millard Ball Judith Walker & Bruce Weissman Jack Bissinger Joanne Dunn Yacov Golan Lucinda Lee & Daniel U. Smith Claire Skall Elsie Carr Lou & Marge Bartolini Mike Marcley Laura Holter Amy & Mark Brokering Mary Ellen Irwin Bob Irwin Renee Rymer & Antonio Clementino, Ph. D Florence Miner Peter L. H. & Kathryn Thompson William Muirray Frank & Lee Battat Kate Orsini Marion E. De Heer Lavon Reaber Donald R. & Noel W. Dickey Joanne Dunn Jan Mettner David Ring Bruce & Joseph Bacheller Gisela & Rolf Eiselin Carl Mehlhop Alan Spiegelman William & Gloria Wong Malini Schuyten Renee Rymer & Antonio Clementino, Ph. D Dr. Walter G. Strauss Rosie Appel Laura A. Phipps
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“
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 Karen Shinozaki, 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
It was a joy to see such a happy audience, both young, middle and old, and to see them all participating so fully. The program, from beginning to end was fabulous, from glowing batons enthusiastically waving, to fireworks lighting a late summer sky! Music was inspirational — everyone clicking on all cylinders. I am sure you have won over the “hearts and minds” of each and every person who attended. – Grace H., Waterfront Pops Concert
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 Kenneth & Barbara Adams Hanks J. Adler & Wanda Headrick Ara Apkarian Lou & Marge Bartolini Frank & Lee Battat Robert & Patricia Bilger Jack Bissinger* & Robert Max Klein* James & Caroline Boitano Steven & Ann Borden David Bott E. Joseph & Jo Ann Bowler Robert & Elza Burton William & Lynn Callender Karen Carmody Mary Carpou* Robert & Judith Creasy Christine Dewey Donald R. & Noel W. Dickey Vernon & Elke Dwelly Helga Epstein Branwell Fanning George Fernbacher
Encore Society continued
Encore Society continued
Thomas & Juliana Foris Barbara & Bill* Friede Abe & Suzanne Froman Geraldine Gains Mary M. Griffin-Jones Alf & Ruth Heller Susan Hedge Hossfeld* David* & Sandra Hoyer Grace 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* Alice & Tom* May Charles Meacham* Vivienne E Miller Gloria Miner
Theodore A. Montgomery Larry & Betty Mulryan Catherine Munson David Poff Jane T. Richards* Yvonne Roth Renee Rymer Nancy E. Schlegel Herb Schuyten Madeleine Sloane Ann* & Ellis Stephens Charles* & Patricia Swensen Wilbur & Jacqueline Tapscott Bruce & Lynn O’Malley Taylor Peter L. H. & Kathryn Thompson Sylvia F. Thompson* Audrey S. Tytus* Constance Vandament Marian Marsh & David Wade Maynard & Helen Willms Philip & Phyllis Ziring
A special thanks to all of the businesses, corporations, foundations and individuals who support our season concerts.
BUSINESS & CORPORATE SPONSORS
CORPORATE MATCHING GIFTS
Season Underwriter $20,000 Frank & Lois Noonan
Argo Group Chevron Humankind IBM Matching Grants Program Oracle Piper Jaffray VISA Gap, Inc.
Season Underwriter $15,000 Bon Air Center Pacific Gas & Electric Company Season Sponsor $10,000 Steve & Christina Fox Bank of Marin County of Marin
FOUNDATIONS
Season Supporter $5,000 Coldwell Banker Residential Brokerage Kaiser Permanente Kunst Bros. Painting Contractors LVP Marin Realtors
The William and Flora Hewlett Foundation Marin Music Chest Ann and Gordon Getty Foundation Marin Community Foundation The Bernard Osher Foundation Schulz Family Foundation
IN KIND SPONSORS
MEDIA
Hey Mambo, The Other Guys Wine Left Bank Brasserie Gaspare’s Pizzeria
KDFC Marin Independent Journal Marin Magazine
*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 The Magic Flute 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 Montecito Plaza/Seagate Properties Marin Pacific Co.
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Compose your own series! Simply choose ANY THREE 2 013 -14 concerts remaining in the season. We’ll personally work with you to make sure the best possible seats are reserved for the concerts you select. THREE EASY WAYS to order your customized subscription series:
1
Call us: 415.479.8100. We’ll work with you directly to create your custom subscription and secure great seats for you!
2
Subscribe at our office: 4340 Redwood Hwy. Suite 409c in San Rafael. We’re happy to have you come in and complete your subscription in person. Our office hours are 9:00am – 5:00pm, Monday through Friday.
3
Order your subscription online: marinsymphony.org/13 -14 ComposeYourOwn
Subscriber benefits include... • Priority seating assignments
subscribe now
• Flexible and FREE ticket exchanges • Savings of up to 50% off single tickets (ask us about our new subscriber offer!)
Purchase single tickets. Single tickets are on sale now for all concerts at the Marin Center Box Office. Phone: 415.473.6800 Open Monday through Friday, 11:00am – 6:00pm Box Office location: 10 Avenue of the Flags, San Rafael, CA 94903 You can also purchase tickets online. Go to marinsymphony.org, click on the Concerts & Events tab. $5 ticketing fee for online and phone orders NO ticket fee for in-person orders, and NO fee for tickets sold at the door
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Where great music comes to life.
S U B S C R I P T I O N S , T I C K E T S , C ONVERSATIONS & MORE!
PHOTO © PETER RODGERS
Conversations...
Pre-Concert Talk Alasdair Neale & Joyce Yang May 2 013
Pre-Concert Talks Half-hour talks with Music Director Alasdair Neale reveal insights into the creative process and expose the backstory behind performances. Guest artists appear alongside the Maestro, engaging in conversations with each other and the audience. Pre-Concert Talks begin on Sundays at 2:00pm
connect with us
and Tuesdays at 6:30pm, and are free for all ticket holders. Tuesday Night Wrap Parties The gatherings after Tuesday evening performances are a Marin Symphony tradition. All Tuesday night ticket holders are invited to mingle with guest artists, orchestra members, Alasdair Neale and each other at Gaspare’s Pizzeria, just minutes from the concert hall. Like us on Facebook. Sign up for E-Newsletters. We continuously share ideas and the latest information with our growing online community:
/marinsymphony
Participate in the giving challenge! A very generous board member has issued the following challenge: If we can raise $300,000 in donations by January 31, 2014, he will personally contribute $50,000 to the Marin Symphony! Read the letter from Alasdair Neale: marinsymphony.org/news
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M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR
Advertisers & Sponsors 14 36 30 05 02 06 35 09 07 48 48 39 20 49 10 12 51 46 29 18 30 36 08 63 22 44 48 50 26 04 34 32 33 22 47 45 21 49 16
Áegis Living Aldersly Garden Retirement Community American Bach Soloists Bank of Marin Bon Air Center Coldwell Banker Residential Brokerage College of Marin Corte Madera Town Center County of Marin Dermatology Associates of the Bay Area Financial Connections Gaspare’s Pizzeria Ghirardo CPA Hospice by the Bay Kaiser Permanente KDFC Kunst Bros. Painting Contractor Left Bank Brasserie LUXTON OPTICAL LVP MARIN REALTORS Marin Baroque Marin County School Volunteers Marin Independent Journal Marin Magazine Marin Music Chest Marin Theatre Company MOC Insurance Services Montecito Plaza Shopping Center New Century Chamber Orchestra Pacific Gas & Electric Company Perotti & Carrade R.KASSMAN Rafael Floors San Francisco Conservatory of Music San Francisco Conservatory of Music Speak to Me The Magic Flute The Other Guys Villa Marin
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.
Connect with us. Visit: 4340 Redwood Hwy., Suite 409C, San Rafael, CA 94903 Marin Center Box Office for single ticket sales: 415.473.6800 Email: greatmusic@marinsymphony.org marinsymphony.org
/marinsymphony
© Marin Symphony. All rights reserved. Programs, dates and guest artists subject to change.
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Where great music comes to life.
PHOTO © EISAKU TOKUYAMA
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M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR
we appreciate our season sponsors: media
Frank & Lois Noonan, Steve & Christina Fox Gaspare’s Pizzeria, Montecito Plaza, Marin Pacific Co. Ongoing support provided by:
Ann and Gordon Getty Foundation, Schultz Family Foundation and Marin Music Chest
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