Marin Symphony 2012-2013 Season, Program Book 3, April through May

2 0 1 2 –1 3

60 th

SEASON A P R – M AY

M S

M A R I N SY M P H ONY ALASDA IR NE ALE

| MUS IC DIRECTOR

Where great music comes to life.

The story of two prestigious awards and what it means for you.

Award No. 1

Our president Greg Friedman’s previous firm — Friedman & Associates — won the Schwab IMPACT® Award for Best-In-Tech in 2007, just before the firm became part of Private Ocean.

The award recognized the firm’s innovative use of technology to enhance both its operations and its client experience.

Award No. 2

Last November, Richard Stone, Private Ocean’s CEO, was honored with the Schwab IMPACT® Leadership Award. The award is given to “trailblazing leaders with the highest standards of professionalism and integrity” in the field of independent investment advice.

What this means for you

We believe these, and other awards we’ve won, are indicative of the caliber of people and experience that await you at Private Ocean: Our exhaustive approach to personal financial planning.

Our academic-based investment discipline. Our commitment to active client education and communication. And, underlying it all, our ethics.

Learn more at www.privateocean.com

Personal, powerful wealth management Private Ocean and its employees are independent of and are not employees or agents of Charles Schwab & Co., Inc. (“Schwab”). Schwab does not prepare, verify or endorse information distributed by Private Ocean. Neither the Leadership Award, nor the Best-in-Tech Award, each part of Schwab’s IMPACT® Awards program, is an endorsement, testimonial endorsement, recommendation or referral to Private Ocean with respect to its investment advisory and other services.

2 0 1 2 –1 3

60 th

SEASON

Contents 4 5 6 7 9 10 11 13 15 19 21 25 35 53 53 54 56 61 62

Pixar in Concert 61st Season Highlights Mountain Play Dress Rehearsal Preview Benefit Golf Tournament, Dinner, Live and Silent Auction Staff & Contributors Board & Advisors 60th Season, Our journey together...

Marin Symphony Orchestra Leadership Youth Concerts in April & May 2013 2013 – 2014 Season Preview PROGRAM 4: Remembrance and Renewal PROGRAM 5: Vive la France!

National Young Composers Challenge West Prelude In-Home Concerts Youth & Education Programs Donors, Gifts & Sponsor Appreciation Support Your Symphony Advertisers & Sponsors

4

PHOTO © PETER RODGERS

5

PHOTO © EISAKU TOKUYAMA

15

13 marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

3

MARIN SYMPHONY Pixar in Concert: Sunday, June 9th, 2 013 at 3:00pm Visual highlights and music from 13 Disney/Pixar classic animation films!

Don’t miss this first-ever in the North Bay, single concert experience.

Maestro Alasdair Neale will lead the Symphony playing music along with memorable clips and imagery from Brave, Up, Cars, Toy Stor y, Finding Nemo, Monsters Inc., Wall-e, Ratatouille, and The Incredibles.

Advance tickets on sale for Marin Symphony friends and patrons April 10th, 2 013.

Tickets on sale to general public Saturday, April 20th, 2013 at 11:00am.

CONCERT SPONSOR

MEDIA SPONSOR

marinsymphony.org/pixarinconcert

61st Season Preview 2 013 – 2 014: Liberated Music — Movies to Masterpieces

Alasdair Neale Music Director

Subscription renewals: May 1, 2 013 New subscriptions: June 15, 2 013 Single tickets on sale: August 1, 2 013

Waterfront Pops Concert John Williams Movie Scores

Sunday, September 15, 2 013 Movie music favorites by John Williams

61st Season–Opening 007 Gala Celebration Saturday, October 26, 2 013 Black Tie Event

From Russia With Love October 27 & 29, 2 013 Jon Nakamatsu, piano

Jon Nakamatsu

Holiday Choral Concerts

by Candlelight December 7 & 8, 2 013 Marin Symphony Chamber Chorus

Holiday Pops Concert Tuesday, December 17, 2 013 A New Marin Tradition

Marin Symphony Chamber Chorus

American Dream January 19 & 2 1, 2 014 Noah Griffin, narrator

Quintessential Beethoven, Chic Tchaikovsky February 2 3 & 2 5, 2 014 Austin Huntington, cello

Austin Huntington

Magical Music of Disney Family Concert Sunday, March 16, 2 014 Ann Krinitsky, conductor

Sacred and Secular April 6 & 8, 2 014 Marin Symphony Chorus

Pirates of the Caribbean: The Curse of the Black Pearl Marin Symphony Chorus

Sunday, June 8, 2 014 Live in concert — feature film with orchestra.

marinsymphony.org/61st–season

Noah Griffin

2 013 Mountain Play Dress Rehearsal Benefit Saturday, May 18th, 2 013 at 2:00pm Don’t miss this annual Marin Symphony and Mountain Play tradition.

The Mountain Play is celebrating its 100 ß anniversary, the Marin Symphony is in its 60 th season — and together we are celebrating 35 consecutive years of partnership presenting the Dress Rehearsal/Preview. Gates open at 11:00am.

Only 1000 tickets are sold for this intimate event.

Tickets are $40 for adults, $30 for children 6-18, and children under 6 are FREE. You can drive up the mountain...and bring your own chairs and refreshments!

CALL FOR TICKETS 415.479.8100

marinsymphony.org /2013-mountain-play-dress-rehearsal-benefit

2 013 Marin Symphony Golf Tournament & Dinner Monday, June 3rd, 2 013 — a full day and evening event.

You’re invited to our second annual Golf Tournament, Silent and Live Auction at the Marin Country Club. All proceeds benefit Marin Symphony programs.

Join us for golf, dinner and auction, or both — your choice!

Golf: $200 Golf + Dinner: $250 Foursome Golf: $750 Foursome Golf + Dinner and Auction: $1,000 Dinner and Auction only, per person: $125 Table, Dinner and Auction only, for 10 people: $1,000

Eagle Sponsor: Bon Air Center Hole in One* Sponsor: Marin Luxury Vehicles

Win on Hole 16!

2013 Jaguar XK Convertible* valued at approx. $95,000 *depending on availability, a different car of equal value will be provided.

GOLF & DINNER RESERVATIONS CALL: 415.479.8100

marinsymphony.org /2013-golf-dinner-auction

Marin Independent Journal Apps

Free at your

App Store or Market place Exclusive local coverage Breaking headlines Sports & More

iPad, iPhone and Android available here

Staff & Contributors ARTISTIC Alasdair Neale Music Director Stephen McKersie Chorus & Chamber Chorus Director Ann Krinitsky Youth Orchestra Director Anne Lerner-Wright Crescendo Orchestra 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 Dawn Madole Music Librarian Andrei Gorchov Youth Programs Administrator Chris Jennings Symphony@Schools Coordinator Deborah Walter Accountant Erica Qiao Maria Marciales Nicky Church Interns

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

Board of Directors continued

Dr. Frances L. White President and Chair

Dr. Beth Seaman Youth/Education

Peter L. H. Thompson Immediate Past President

Mary D’Agostino Development

Stephen Goldman Vice President

Dr. Frances L. White Strategic Planning

Renee Rymer Vice President

BOARD OF DIRECTORS

Elizabeth Prior* Mary Rabb Renee Rymer Stacy Scott Dr. Beth Seaman Sally Shekou Peter L. H. Thompson Judith Walker Dr. Frances L. White *Orchestra Member

Steven Machtinger* Secretary David S. Post Treasurer

COMMITTEE CHAIRS Stephen Goldman Audience Development Richard Kalish Personnel Leslie Miller Audit & Investment David S. Post Finance Renee Rymer Governance

Shirin Aryanpour Edward S. Berberian Mary D’Agostino Jenny Douglass* Joanne Dunn Jim Finkelstein Renee Froman* Will Glasgow Stephen Goldman Greta Hoversten Sandra Hoyer Richard Kalish Sepi Kazemi Steven Machtinger* Leslie Miller Catherine Munson Erica Posner* David S. Post

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

. . .

sales rentals repairs

a new full-service violin shop in marin county 0pen by appointment 1115 irwin street suite 100 san rafael, ca moses@dolceviolins.net 415.453.1517

www.dolceviolins.net

10

Where great music comes to life.

PHOTO © EISAKU TOKUYAMA

“ 2 0 1 2 –1 3

60

You, the audience, are the spark that ignites our creative passions. We live to perform, and there’s nothing like playing live music for a great audience to bring out the best in us. We hope it brings out the best in you too, stimulating your imaginations and enriching your souls.

th

SEASON

”

Alasdair Neale, Music Director

Our journey together...

Welcome to the final two Masterworks concerts in our 2012–2013 Marin Symphony 60th anniversary season and our first-ever Spring Pops, Pixar in Concert. Whether you’re a seasoned concertgoer or here for the very first time, we are thrilled and honored to be making music for you. We appreciate you, our loyal patrons and subscribers. It is you who truly are the owners of this organization.

Our board, staff, volunteers and the amazing musicians in this fine orchestra owe our thanks to you for providing consistent support — sustaining our Marin Symphony for sixty years.

We have ambitious, yet realistic goals and dreams. A passion for bringing innovative programming to the stage that speaks to the heart of Marin people. We aspire to provide extraordinary music education programs to our community which challenge and nurture our children, encouraging them to think for themselves and act on behalf of others. We seek not just to survive: our desire is to thrive and be known for our work and our thirst for excellence, both on stage and off.

To experience an orchestra like ours in full flight is nothing short of spiritual. Our Marin Symphony is, by its very nature, a community gem and should be treated as such. We’re proactively adapting to the changes and realities of challenging times for orchestras, education, and the arts.

With all of us working together, we’re confident that our community can continue taking your Marin Symphony to new heights.

Join us for a dazzling journey straight to the heart of the music, where conductor, orchestra, soloists and audience become one. Experience Remembrance and Renewal, our Masterworks season finale Vive la France! and Pixar in Concert on Sunday, June 9, 2013. Liberated Music — Movies to Masterpieces, our brilliant new 2013 – 2014 season of inspired performances begins with another first, a Waterfront Pops Concert on Sunday, September 15, 2013! Discover more about where great music comes to life throughout our 61st Season beginning on page 21.

Alasdair Neale

Frances L. White, Ph.D.

Jeff vom Saal

Music Director

President and Board Chair Marin Symphony Association

Executive Director

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

11

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 ** Meredith Brown*** Nicky Roosevelt 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 BASS Robert Ashley Principal Richard Worn Assistant Principal Pat Klobas Andrew Butler William Everett Andrew McCorkle FLUTE Monica Daniel-Barker Principal Holly Williams Katrina Walter Piccolo 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 BASSOON Carla Wilson Principal Karla Ekholm David Granger Contrabassoon

TR UMPET Carole Klein Principal James Rodseth Catherine Murtagh TR OMBONE Bruce Chrisp Principal Craig McAmis Kurt Patzner Bass Trombone TUBA Zachariah Spellman Principal TIMPANI Tyler Mack Principal PERCUSSION Kevin Neuhoff Principal Scott Bleaken Ward Spangler HARP Dan Levitan Principal KEYBOARD Heather Creighton Principal PERSONNEL MANAGER Craig McAmis LIBRARIAN Dawn Madole SANDOR SALGO Music Director Laureate Posthumous CHARLES MEACHAM Concertmaster Emeritus Posthumous

* Former member of Marin Symphony Youth Orchestra ** Principal, Program 3 *** Principal, Programs 1, 2, 4 & 5

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

13

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.

Áegis Living can help. We offer short-term stays to accommodate a parent who needs daily assistance and caring companionship while their primary caregivers take a vacation, business trip or much needed break. Áegis Living is the trusted, local senior care provider, specializing in assisted living and memory care.

Come in for a tour with your parent and ask about a short-term stay. Let them experience all that our community has to offer on a temporary basis.

Who knows, they may want to make it their permanent home.

Call us today to learn more about how short-term stays can make a difference for your loved one and you.

Áegis of Corte Madera 5555 Paradise Dr. Corte Madera, CA 94925

Áegis of San Rafael 111 Merrydale Road San Rafael, CA 94903

AegisofCorteMadera.com

AegisofSanRafael.com

415-493-8980 RCFE # 216803029

415-754-3999 RCFE # 216801281

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 12 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 eighteen years as Music Director of the Sun Valley Summer Symphony, Mr. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. He has brought many celebrated guest artists to these annual events.

In March 2002, to enthusiastically positive reviews, Mr. Neale collaborated with director Peter Sellars and composer John Adams to open the Adelaide Festival with a production of the opera El Niño. In April 1994, he conducted the San Francisco Symphony in the world premiere of Aaron Jay Kernis’ Colored Field, featuring English horn player Julie Ann Giacobassi.

In 1993, the American Symphony Orchestra League named him a Leonard Bernstein American Conducting Fellow, and he led the New Jersey Symphony in a concert at the League’s annual conference.

Alasdair Neale maintains a most active guest conducting schedule, both nationally and internationally. His recordings have been released by Arco/Decca and New World Records.

Alasdair Neale holds a Bachelor’s degree from Cambridge University and a Master’s from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in San Francisco.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

15

leadership Dr. Frances L. White Board President Dr. Frances L. White, Superintendent/President Emerita and a community college educator for 32 years, retired as Superintendent/President of the Marin Community College District in June 2010. 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 2010 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 new 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.

Outside the Symphony, Jeff enjoys sailing, cycling, cooking and spending time with friends and family. Jeff has been married to his wife, Robyn, for nine years. They have two children, Melina and Max. The vom Saals live in Mill Valley.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

17

Explore Marin’s Hidden Jewel

Ultimate Setting for Any Event . Championship Golf . Public Welcome . Visit us at StoneTreeGolf.com

ncco.org 18

Auerbach World Premiere, May 23-26, 2013 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.

PHOTO © KRISTIN LOKEN ANSTEY

Experience the contagious energy, passion, and joy of the New Century Chamber Orchestra — one of only a handful of conductorless ensembles in the world.

YOUTH CONCER TS

Youth Concerts in April & May 2 013 Marin Symphony Youth Orchestra Sit-In Concert

Marin Symphony Crescendo Spring Concert

Sunday April 21, 2013, 2:30pm at Marin Country Mart, Larkspur Landing

Anne Lerner-Wright, conducting May 12, 2013, 2:30pm at the College of Marin James Dunn Performing Arts Theatre in Kentfield

Our Sit-In Concerts are a chance for younger students to sit amidst our Marin Symphony Youth Orchestra members during a performance. We’re thrilled this year to be appearing at the Marin Counrty Mart.

PROGRAM Bedrich Smetana: Dance of the Comedians from The Bartered Bride Antonio Vivaldi: Piccolo Concerto in C Major, excerpts Ludwig van Beethoven: Symphony No. 1, excerpts John Philip Souza: The Stars and Stripes Forever

2 013 –14 Auditions...

Take note, we’re accepting applications for the 2013-14 Season.

Auditions will be held at College of Marin August 24, 25, 31 and September 1, 2013.

You can apply online.

Questions? Need more information?

Contact Andrei Gorchov, Youth Programs Administrator at 415.479.8105 or yo@marinsymphony.org.

More information about our Youth and Education Programs is found on page 54.

PROGRAM Theme: 1st symphonies – 4th movements: Mendelssohn Symphony no. 1 movement 4 Brahms Symphony no. 1 movement 4 Beethoven Symphony no. 1 movement 4

Marin Symphony Youth Orchestra Spring Concert Ann Krinitsky, conducting May 12, 2013, 7:00pm at the College of Marin James Dunn Performing Arts Theatre in Kentfield PROGRAM Bedrich Smetana: Dance of the Comedians from The Bartered Bride Alex Ehrenberg: Sogno di Speranza Ernest Bloch: Suite Hebraique, Kira Collins, viola soloist Ludwig van Beethoven: Piano Concerto No. 1, Matthew Lee, soloist Ludwig van Beethoven: Symphony No. 1

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

19

Sometimes you can’t put your finger on it — and it’s not the same for everyone. Perhaps it’s the flow, the details or just how it makes you feel. What draws you to fine music is not unlike what draws you to a fine home.

To view more fine homes, we invite you to visit us at fhallen.com.

Isn’t it time to love where you live?

Love where you live sm

Pictured: 10 Margarita, San Rafael

fhallen.com

|

Handel’s APOLLO & DAFNE Friday May 3 2013 8:00 pm

Jeffrey Thomas - Artistic Director

Saturday May 4 2013 8:00 pm Sunday May 5 2013 4:00 pm BELVEDERE ~ BERKELEY ~ SAN FRANCISCO

Handel’s dramatic cantata about pride, yearning, and transformation will be sung by two of the brightest stars of early music vocalism. Soprano Mary Wilson noted for her “stage presence that is mesmerizing” (Arizona Daily Star) joins baritone Mischa Bouvier, praised for his “immensely sympathetic, soulful voice” (SFCV).

Order online for advance purchase instant discount. Tickets start at $20.

americanbach.org (415) 621-7900

61ST SEASON

61st Season Preview 2 013 – 2 014: Liberated Music — Movies to Masterpieces MS 2.0: A Brand New Musical View Marin Symphony 2.0: a brand new take on symphonic music experiences. We’ve completely redesigned our 2 013 – 2014 concerts, keeping the essence of pure classical alive and bringing new vision to music in Marin. Four exquisite Masterworks Concerts. Establishing a new tradition with our Holiday Pops Concert. We’re continuing the excitement of our Pixar in Concert experience with another Spring Pops Concert. On Sunday, June 8, 2014, it’s the full-length movie with live orchestra: Disney’s Pirates of the Caribbean: The Curse of the Black Pearl.

Waterfront Pops Concert Sunday, September 15, 2013 at 6:00pm Movie music favorites by John Williams Alasdair Neale, conductor Including Superman, Jurassic Park, Schindler’s List, Star Wars Medley, Harry Potter Symphonic Suite and Raiders of the Lost Ark. Bring the family. Bring a picnic. Sit back and soak up the Marin sun and the music of the incomparable John Williams as your Marin Symphony orchestra presents its first-ever outdoor concert on the Marin Center grounds at the Lagoon.

61 st Season-Opening 007 Gala Celebration Saturday, October 26, 2013 at 6:00pm Black Tie Dinner, Silent and Live Auction, Dancing, including a special appearance by Jon Nakamatsu on the evening before our season-opening concert.

MASTERWORKS 1 From Russia with Love Sunday, October 27, 2013 at 3:00pm Tuesday, October 29, 2013 at 7:30pm Alasdair Neale, conductor Jon Nakamatsu, piano We open our season with a spectacular display of Russian Fireworks. Van Cliburn Gold Medalist Jon Nakamastu returns for Rachmaninoff’s Second Piano Concerto, a work overflowing with gorgeous melodies and jaw-dropping virtuosity.

Shostakovich’s Fifth Symphony is an epic struggle that will have you on the edge of your seats right up to the end.

Holiday Choral Concerts by Candlelight Saturday, December 7, 2013 at 7:30pm Sunday, December 8, 2013 at 4:00pm Stephen McKersie, conductor Marin Symphony Chamber Chorus Start your holiday season with a favorite tradition when our community gathers in the Church of Saint Raphael in San Rafael. Add your voice to the celebration and sing along with our Marin Symphony Chamber Chorus.

Share the glow again with us this year!

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

21

MARIN BAROQUE Daniel Canosa, Music Director

Handel | acis & Galatea Marla Volovna, Stage Director

June 8 & 9, 2013 7:30 P.M.

Handel | italian Journey November 16, 2013

CHamber music series

January 18, 2014 Artists TBD February 14, 2014

The SubTle ArT

with

Shira K ammen & FriendS

JewisH music of tHe baroque MarcH, 2014 temple emmanuel, San FranciSco tBd, BerKeley & San raFael

Blow | venus & adonis FirSt engliSh opera

June 2014 All performances at FirSt preSByterian church oF San a nSelmo unless otherwise indicated brow n pa pert ick et s . com

or 415- 497- 6634

MARINBAROQUE@GM AIL .COM M ARINBAROQUE .ORG

61ST SEASON Holiday Pops Concert: A New Marin Tradition Tuesday, December 17, 2013 at 7:30pm Alasdair Neale, conductor Including Sleigh Ride by Leroy Anderson, Waltz of the Flowers from Tchaikovsky’s Nutcracker, White Christmas by Irving Berlin and more classics like Joy to the World!

Maestro Alasdair Neale conducts the Marin Symphony orchestra performing holiday classics with choir and special guest soloists.

MASTERWORKS 2 American Dream Sunday, January 19, 2014 at 3:00pm Tuesday, January 21, 2014 at 7:30pm Alasdair Neale, conductor Noah Griffin, narrator Joseph Schwantner’s “New Morning for the World” draws on the inspiring words of Martin Luther King, Jr. to create a memorable and moving experience. Aaron Copland’s Third Symphony is a testament to the American spirit of optimism and self-renewal that weaves into its fabric the iconic “Fanfare for the Common Man.” MASTERWORKS 3 Quintessential Beethoven, Chic Tchaikovsky Sunday, February 23, 2014 at 3:00pm Tuesday, February 25, 2014 at 7:30pm Alasdair Neale, conductor Austin Huntington, cello

“The Apotheosis of the Dance” was how Richard Wagner described Beethoven’s Seventh Symphony, a work teeming with volcanic energy from start to finish. Tchaikovsky’s elegant Rococo Variations showcases young virtuoso cellist Austin Huntington in his MSO debut.

Magical Music of Disney Family Concert Sunday, March 16, 2014 Ann Krinitsky, conductor

Around the World with Disney features music from early classics to recent releases — taking audiences 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.

MASTERWORKS 4 Sacred and Secular Sunday, April 6, 2014 at 3:00pm Tuesday, April 8, 2014 at 7:30pm Alasdair Neale, conductor Marin Symphony Chorus 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!

Pirates of the Caribbean: The Curse of the Black Pearl Sunday, June 8, 2014 at 3:00pm Alasdair Neale, conductor Live in concert — feature film with orchestra.

The finishing touch to our 61 st Season is another first for us and Marin. The full length classic fantasy Disney film is bound to please everyone!

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

23

One Bank Stands Apart.

At Bank of Marin you’ll bank with people who share your same values and commitment to the community. We do everything we can to help local businesses succeed, with a service level unique to an award winning community bank. Call, stop by, or visit us today.

San Francisco | Marin | Sonoma | Napa | bankofmarin.com | Member FDIC

P R O G R A M 4: REMEMBRANCE A ND RENEWAL

Alasdair Neale conducting April 14, 2013 — Sunday at 3:00pm April 16, 2013 — Tuesday at 7:30pm

Christopher Stevens

Clyne

Dedicated in fond memory of John Christopher Stevens, U.S. Ambassador to Libya 2012, son of Mary Commanday, Marin Symphony cellist for over 30 years, and Robert Commanday, founder of San Francisco Classical Voice.

Within Her Arms

INTERMISSION

Brahms Ein deutsches Requiem (A German Requiem), Opus 45

Selig sind, die da Leid tragen (Blessed are those who mourn) Denn alles Fleisch es ist wie Gras (For all flesh is as the grass) Herr, lehre doch mich (Lord, teach me) Wie lieblich sind deine Wohnungen, Herr Zebaoth!

(How lovely are your dwellings, O Lord of Hosts!)

Ihr habt nun Traurigkeit (You now have sadness) Denn wir haben hie keine bleibende Statt (For here we have no permanent place) Selig sind die Toten (Blessed are the dead)

Marina Harris, soprano Ao Li, baritone Marin Symphony Chorus Stephen McKersie, director

Concerts made possible in part by the generous support of Bank of Marin with sustaining support from William & Flora Hewlett Foundation and Marin Community Foundation

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

25

Program 4 Notes April 14 & 16, 2 013

by Jon Kochavi

Within Her Arms (

2008 – 2009

)

Anna Clyne is a young British composer who relocated to the States for her music studies in New York and has been earning a steady stream of accolades for her dramatic and communicative scores.

Anna Clyne Her music is eclectic but can ( b. 1980 ) be described as evocatively vivid, often combining acoustic and electronic media and crossing traditional genre boundaries. Clyne’s music has been featured by mainstream and experimental artists all over the world.

She currently serves as composer in residence for the Chicago Symphony Orchestra, the youngest composer ever to hold the post.

Composed for the Los Angeles Philharmonic, Within Her Arms is a deeply felt elegy for strings that bears some resemblance in tone and expression to Kernis’s Musica Celestis played at our concerts last month.

With its moving scalar lines cascading above low sustained pedal tones, Clyne’s work is even more closely connected to minimalist Arvo Pärt’s Cantus

in Memory of Benjamin Britten (1977), featured on concerts during last year’s season. In Clyne’s work, however, the strings periodically break out of their sustained statements of grief to offer moments of exuberance, as if in swirling understanding.

Clyne wrote this piece in memory of her mother who died in 2008, and its message resonates with that of Brahms’s great work, also associated with his mother’s death. With her score, Clyne includes a quote from Vietnamese Zen Buddhist monk, Thích Nhât Hanh, which reads:

Earth will keep you tight within her arms dear one – So that tomorrow you will be transformed into flowers – This flower smiling quietly in this morning field – This morning you will weep no more dear one – For we have gone through too deep a night.

This morning, yes, this morning,

I kneel down on the green grass – And I notice your presence.

Flowers, that speak to me in silence.

The message of love and understanding

has indeed come.

Like Brahms, Clyne conveys a reflection on death by those left behind, but rather than culminating in triumph over the abyss, Clyne’s elegy ultimately communicates a celebration of death as a transformation, the crossing of a threshold as beautiful as birth.

College of Marin SCienCe · Math · nurSing grand opening May 10, 2013

1:30 p.m. to 5 p.m.

835 College Ave., Kentfield, CA

www.marin.edu

26

Featuring a special presentation by COM alumnus and NASA Mars Rover Lead Mechanical Engineer Adam Steltzner. Admission is free.

Call 415.485.9648 for more information.

Where great music comes to life.

P R O G R A M 4 N OT E S : R E M E MBRANCE AND RENEWAL Ein deutches Requiem (A German Requiem), Opus 45 ( 1865 – 1868 )

Johannes Brahms ( 1833 – 1897 )

I. Selig sind, die da Leid tragen II. Denn alles Fleisch es ist wie Gras III. Herr, lehre doch mich IV. Wie lieblich sind deine Wohnungen, Herr Zebaoth!

V. Ihr habt nun Traurigkeit VI. Denn wir haben hie keine bleibende Statt VII. Selig sind die Toten

After his 1859 piano concerto, A German Requiem was only Brahms’ second large scale work, and it ended up being the largest piece he would compose during his lifetime. A project that he originally considered at the time of the tragic death of his mentor Robert Schumann in 1856, the Requiem did not coalesce until his mother’s death in 1865. Schumann himself had written of Brahms in 1853, “If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him its might, yet more wonderful glimpses into the mysteries of the spirit world await us.” These words were prescient as the stirring Requiem established Brahms’ international reputation and has come to be among the most beloved works in the repertoire.

Brahms’ mother was 44 when he was born, and by all accounts, she provided a warm and loving home for him and his two siblings. After the children had grown, tensions between his parents heightened mostly due to money issues, and in 1864, they acrimoniously divorced. Just months later, his mother — still furiously bitter — died suddenly from a stroke. Brahms could not make it to her bedside in time to say goodbye, and when he did arrive, he was confronted with a chaotic scene involving funeral plans and challenging family dynamics. A couple of weeks after the burial, Brahms wrote to Clara Schumann:

Time changes everything for better or for worse, no, not changes, but shapes and unfolds. And so, after this unhappy year, it will only be later on that I lose and miss my good and dear mother more and more… And I can only thank heaven that it let mother become so old ( 76 years) and let her pass away so gently.

While the shock and the hectic demands in the wake of his mother’s passing were a source of this inability to fully process the reality, Brahms seems to have been even more anxious about the effect her death could have on his older sister Elise, whose own health was marginal and who had been living in a kind of mutual caregiving situation with their mother at the time.

A new living arrangement for Elise was a practical concern, but Brahms was more worried about her emotional state. In a brief letter to Clara written four days after his mother’s death, Brahms mentions Elise’s handling of the situation no fewer than five times, repeating that the family is doing everything they can to “take pains that our sister does not feel [her loss] too harshly.”

It was in this state of mind that Brahms began work on his Requiem in earnest over the ensuing months.

Eschewing the usual Latin mass text, Brahms chose his own excerpts from the Lutheran bible in the vernacular German (the title of the piece is meant to reference the language, not the nationality). Selecting texts from 15 different sections, Brahms carefully crafted the message he wanted to convey in his work.

The themes of the text, consolation to the bereaved and a spiritual journey from sorrow to joy, were derived from his concerns for his sister and his words to Clara regarding the stages of grief. Brahms intentionally left out direct references to Christ, hoping for a more universal message that could be adapted to individual belief systems. It is interesting that the most intimate expression of his own grief, with the text “As a mother comforts her child, so I will comfort you” in the middle movement featuring a soprano solo, was added to the Requiem in 1868, suggesting a lengthy journey towards acceptance for Brahms himself.

The first movement radiates a gentle warmth, rather than the somber lament one usually associates with the opening of a Requiem. Traditionally, the Requiem Mass begins with an Introit that pleads with God to “Grant eternal rest” to the dead. Brahms’ text instead focuses on the mourner, with the chorus pleading for their comfort, drawn from the Beatitudes. The music skips to life as the psalm text predicts the return of joy to the grieving, but this relief will only come at the harvest, and the consoling blanket of sound from the opening returns to embrace the mourner as the movement closes.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

27

Program 4 Notes April 14 & 16, 2 013

fugue that affirms the grounding force of God’s protection with a continuous pedal note D spanning its entirety — perhaps the only fugue in the tonal literature with this feature.

continued Despite being in 3/4 time, the profoundly moving second movement has the feel of a slow march, as life’s ephemeral nature is compared to the withering grass. The intensity here builds dramatically with the repeated rhythmic utterances in the timpani. Brahms again evokes the image of the patient farmer as music suddenly lightens. As in the opening, the darker material returns, but now it gives way to one of the three huge fugues in the Requiem, celebrating the triumph of joy over sorrow.

The third movement has the mourner contemplating his own mortality in the terrifying vacuum of solitude.

The choral repetitions of the soloist’s contemplations of the meaning of his existence can be heard as internal echoes, heightening the expression. At the nadir of despair, though, a slowly rising line quietly emerges from the depths of the orchestra and chorus, declaring, “My hope is in Thee.” This sets up another remarkable

Grands Baby Grands Professional Uprights Designer Consoles Player Pianos

Since 1979, we have met the demands of the world’s most discriminating musicians.

Let us show you why

Just as the middle movement is enclosed by three movements on either side of it, its content is a simple expression of the deep spiritual embrace offered by the literal and symbolic house of God. Brahms carefully chooses which elements of the text to emphasize in his music throughout the Requiem. In the first movement, he gives extra care musically to the text “Selig sind” (“Blessed are they”), and here, he embodies the word “lieblich” with special beauty and resonance.

The equivalent word in the King James translation of Psalm 84 is “amiable,” but Brahms’ musical treatment hews closer to the original meaning, the more ardent “beloved.” Brahms returns to this initial verse after each subsequent one, and upon its final repetition, the chorus intones “wie lieblich” no fewer than seven consecutive times, vividly expressing the solace offered by spiritual immersion.

The peaceful fifth movement returns directly to the sentiments of the first: sorrow transformed into joy through divine consolation. The three verses are taken from widely varying sources, but each speaks in the first person (ich will, ich habe) offering comfort (Trost, trösten, tröstet) or promising joy (Freude, freuen).

These textual connections allow Brahms to very effectively have the chorus sing the third verse under the first two verses, sung in long lyrical lines by the solo soprano.

R.KASSMAN is the resounding choice of enthusiasts worldwide.

“Personally and professionally… every success encountered by R.KASSMAN Piano in their new facility will be greatly merited and highly deserved.”

Robin Sutherland

Principal Pianist, San Francisco Symphony

www.rkassman.com

843-B Gilman St. Berkeley • (510) 558.0765

28

With the sixth movement, we arrive at the dramatic climax of the Requiem. The terrors of mortality from the second movement give way to the realization that earthly cities are just a stopping point on the way to something else. A chromatic, mysterious solo baritone line reveals the promise of eternal transformation, and the tone of the music shifts to an exuberant expression of triumph over death (“O Death, where is thy sting?”).

The movement ends with one final massive fugue in celebration and praise.

The final movement brings us full circle. The words “Selig sind” from the first movement now return, with a new melody, set as a hymn to bless the dead. When this text returns towards the end of the movement, Brahms brings back the original melody from the opening of the Requiem, its expression of comfort now fulfilled for both the living and the dead.

Where great music comes to life.

P R O G R A M 4 N OT E S : R E M E MBRANCE AND RENEWAL

Marin Symphony Orchestra 2 013 Brahms Requiem Chorus Jean Adams Hans Adler Joanna Adler Lucy Arnold Carolyn Ashby Ted Bakkila Grace Barner Michele Baroody Kevin Baum Lindsey Beaven Bill Best Gloria Bland Felix Braendel Candyce Brock Amy Brokering Theresa Brunner Bob Burton Peter Butcher Jean Campbell Elizabeth Clark Arthur Colman Michael Crozier Bob Dauphin Nancy Davis Robert De Haan Cammie Dingwall Lynne Dombrowski Carol Donohoe Mary Douglas Christine Dowell Marty Eshoff Chris Evans Marty Friesen Jon Goerke Robin Grean John Griffin Deborah Hahn David Hanchette Linda Harlow John Hart Eleanor Hillyer Martin Hillyer Laura Holter Sally Johnson Ralph Kalbus Jim Kamphoefner Charlotte Kissling Gretchen Klein Britt La Gatta

Deborah Learner Charles Little Gareth Loy Miranda Mallard Mary Malouf Phyllis Mart Michael Mello Norlin Merritt Abigail Millikan-States Pilar Montero Kaneez Munjee Jon Oldfather Francisco Ortiz Darrell Parker Naomi Peck Anne Perry Pat Perry Ron Plambeck Mary Claire Rake Bob Randig Erna Randig David Raub Lucinda Ray Cynthia Reese-McKersie Roberta Rigney Gail Rolka Renee Rymer Ellen Schulz Nancy Scott Meagan Seeley Patty Sempell David Sheehan Jeanne Skybrook Karen Soroca David Styers Cristina Swanson Izabela Tekiela Skye Tenaya Jim Turner Martha Wall Karlyn Ward Tom Warrington Ronald Whitney Martha Wickliffe Patty Wolfe Diane Yermack Helene Zindarsian Paul Smith, accompanist

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

29

Brahms Requiem Translation:

German Text:

Movement I

Blessed are those who mourn for they shall be comforted.

Those who sow with tears shall reap with joy.

They go out and weep, carrying precious seeds, and return wth joy, bringing their sheaves.

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen samen, und kommen mit Freuden und bringen ihre Garben.

(Matthew 5:4; Psalm 126: 5-6)

Movement II

For all flesh is as the grass, and all the glory of the people is as the flowers of the grass.

The grass has dried up, and the flower has fallen off.

So now be patient, dear brethren, until the life hereafter with the Lord.

Behold, a farmer waits for the precious fruit of the earth and in the meantime is patient until he receives the morning and evening rain.

So now be patient.

But the word of the Lord endures forever.

Those liberated by the Lord will come again, and come to Zion with shouts of joy; joy, eternal joy, will be upon their heads; joy and ecstasy will overcome them, and pain and sighing must flee.

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen.

Das Gras ist verdorret und die Blume abgefallen.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn.

Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

So seid geduldig.10 Aber des Herrn Wort bleibet in Ewigkeit.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude, wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

( 1 Peter 1:24; James 5:7, 8a; 1 Peter 1:25; Isaiah 35:10)

Movement III

Lord, teach me that I must have an end, and that my life has an end, and that I must die.

Behold, my days here are as a hand’s width before you, and my life is as nothing in your presence.

Ah, how all people are nothing at all, and yet they live so positively.

They go about like a shadow and create much needless disturbance; they accumulate things and know not, who will accept them.

Now, Lord, in whom shall I find comfort?

My hope is in you.

The souls of the righteous are in God’s hands, and no suffering touches them.

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss.

Siehe, meine Tage sind einer Hand breit vor Dir, und mein Leben ist wie nichts vor Dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben.

Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht, wer es kriegen wird.

Nun Herr, wes soll ich mich trösten?

Ich hoffe auf Dich.

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

( Psalm 39:4-7; Wisdom of Solomon 3:1)

30

Where great music comes to life.

P R O G R A M 4 N OT E S : R E M E MBRANCE AND RENEWAL Brahms Requiem Translation: Movement IV

How lovely are your dwellings, O Lord of Hosts!

My soul desires and longs for the courts of the Lord; my body and soul delight in the living God. Blessed are they who live in your house; they will praise you forever more.

German Text: Wie lieblich sind Deine Wohnungen, Herr Zebaoth!

Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; Mein Leib und Seele freuen sich in dem lebendigen Gott.

Wohl denen, die in Deinem Hause wohnen, die loben Dich immerdar.

(Psalm 84: 1, 2, 4)

Movement V

You now have sadness; but I will see you again, and your heart shall rejoice, and no one shall take your joy from you.

Look at me: I have labored and worked hard for a short time, and have found great comfort.

I want to comfort you, as one is comforted by his mother.

Ihr habt nun Traurigkeit; aber ich will euch wiedersehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe grossen Trost funden.

Ich will euch trösten, wie einen seine Mutter trösten.

(John 16: 22; Isaiah 66: 13; Ecclesiasticus 51: 35)

Movement VI

For here we have no permanent place, but we seek the one to come.

Behold, I tell you a mystery: We will not all die, but we will all be changed, and changed suddenly, in the blink of an eye, at the time of the last trumpet.

For the trumpet will sound, and the dead will rise up incorruptible; and we will be changed.

Then will be fulfilled the word that is written: “Death is swallowed up in victory.

Death, where is your sting?

Hell, where is your victory?”

Lord, you are worthy to receive, praise and honor and might for you have created all things, and through your will they have their being and are created.

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich in einem Augenblick zu der Zeit der letzten Posaune.

Denn es wird die Posaune schallen und die Toten werden auferstehen unverweslich; und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben steht.

Der Tod is verschlungen in den Sieg, Tod, wo ist dein Stachel?

Hölle, wo ist dein Sieg?

Herr, Du bist würdig zu nehmen Preis und Ehre und Kraft, denn Du hast alle Dinge geschaffen, und durch Deinen Willen haben sie das Wesen und sind geschaffen.

(Hebrews 13: 14; 1 Corinthians 15: 51, 52, 54, 55; Revelation 4: 11)

Movement VII

Blessed are the dead who die in the Lord from now on.

Yea, the Spirit says, that they may rest from their labor, for their works follow after them.

Selig sind die Toten, die in dem Herrn sterben von nun an.

Ja, der Geist spricht, dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

( Revelation 14: 13)

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

31

Guest soloist: Ao Li, baritone Baritone Ao Li, a third-year Adler Fellow, is a native of Dezhou, China and studied at Shangdong Normal University. In the 2010-2011 Season at San Francisco Opera, he sang the role of Ascanio Petrucci (Lucrezia Borgia) and El Dancairo (Carmen for Families).

His recent roles at the Company include Lorenzo (Capuleti e i Montecchi) and Sciarrone (Tosca) and his upcoming roles include Ben Weatherstaff (Secret Garden) and Luther (Tales of Hoffmann). As a participant in the 2010 Merola Opera Program, he sang the role of Belcore in their production of L’Elisir d’Amore. A frequent recitalist in China, Li is a past recipient of the prestigious Youth of China award, third prize in both the Shandong Qilu Style Contest and the Taipei World Chinese Vocal Competition, the bronze award in The People’s Republic of China Ministry of Culture’s Eighth National Vocal Competition, and he was selected as a member of the Young Singer in Shandong Province Tenth Television Competition, where he won an Award of Excellence.

Guest soloist: Marina Harris, soprano Praised in the San Francisco Chronicle for her “powerhouse vocal display” and “flair and well placed high notes,” twenty-seven year old soprano Marina Harris, is exciting critics and audiences alike. As a second year Adler Fellow with the San Francisco Opera and a graduate of the prestigious Merola Opera Program, this season she will sing in three world premieres with the company; as Susan Sowerby in Nolan Gasser’s The Secret Garden, Tamar in Mark Adamo’s The Gospel of Mary Magdalene, and a Maid in Tobias Picker’s Dolores Claiborne. Ms. Harris will also cover the roles of Fiordiligi in Così fan tutte and Alice Ford in Falstaff.

32

No stranger to the concert stage, Ms. Harris has been featured as the soprano soloist in Mahler’s Symphony No. 2, Bach’s Mass in B minor, as well as Beethoven’s Symphony No. 9. She is a four time soloist with the Los Angeles Bach Festival and has performed works such Magnificat, Johannes-Passion, and Wachet, betet! with the Festival Orchestra and Choir.

In 2010, Harris was chosen as a Western Regional Finalist for the Metropolitan Opera National Council auditions and was the Second Place Winner in the Finals. She was also a Metropolitan Opera National Council Auditions Western Regional Finalist in 2009, and took home the Special Encouragement Award.

Both years, Ms. Harris was the highest ranking female singer in the Western Region. In 2012, she won first place in the James M. Collier Young Artist Vocal Competition and the Henry and Maria Holt Memorial Vocal Scholarship Competition.

Also an accomplished recital singer, Marina recently made her Carnegie Hall debut as part of The Weill Music Institute’s The Song Continues in a master class with legendary soprano Jessye Norman. While a 2010 Vocal Fellow at the prestigious Music Academy of the West, she was a student of legendary mezzo-soprano Marilyn Horne, and was selected as an Encouragement Award Winner at the Marilyn Horne Foundation 2010 Vocal Competition for her performance of art song repertoire. Internationally, Marina has sung with the International Lyric Academy in Rome, Italy and with the Operafestival di Roma. Harris has worked with acclaimed directors Ken Cazan, José Maria Condemi, Peter Kazaras and Nicolas Muni, and has sung recent master classes with Marilyn Horne, John Churchwell, and Warren Jones. She received her bachelor’s degree from California State University Long Beach and a Graduate Certificate in Vocal Arts from the University of Southern California. Marina currently studies with Cesar Ulloa.

A graduate of the prestigious Merola Opera Program and the Music Academy of the West, Marina’s recent stage experience includes diverse repertoire such as Geraldine in Samuel Barber’s A Hand of Bridge, Berta in Il Barbiere di Siviglia, Arminda in Mozart’s La finta giardiniera, Tatiana in scenes from Eugene Onegin and Arabella in scenes from Richard Strauss’ Arabella.

Where great music comes to life.

P R O G R A M 4 N OT E S : R E M E MBRANCE AND RENEWAL

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

33

It’s our pleasure to support the Marin Symphony — a cornerstone of cultural life in Marin County

We want to fur ther the quality of life in this ver y special place.

We want to provide emotional and spir itual growth for listeners.

We want to create a lifetime of music enjoyment for our youth.

Thank you for this oppor tunity to contr ibute to our community.

• Residential • Commercial • Por tfolio Development • Proper ty Management

Catherine Munson 14 Commercial Boulevard, Suite119 Novato, CA 94949 • 415.883.0555

www.LVPMARIN.com

34

Where great music comes to life.

P R O GRAM 5: VIVE LA FRANCE!

Alasdair Neale conducting

May 5, 2013 — Sunday at 3:00pm May 7, 2013 — Tuesday at 7:30pm

Debussy/Matthews

Selections from Préludes

Side-by-side with Joyce Yang, piano Minstrels (Minstrels) Les collines d’Anacapri (The Hills of Anacapri) Bruyères Ce qu’a vu le vent d’ouest (What the West Wind Saw) La cathédrale engloutie (The Sunken Cathedral)

Ravel

INTERMISSION Concerto for Piano in G Major

Allegramente Adagio assai Presto

Debussy

Joyce Yang, piano

La Mer

De l’aube à midi sur la mer

(From Dawn to Noon on the Sea)

Jeux de vagues (Play of the Waves)

Dialogue du vent et de la mer

(Dialogue of the Wind and Sea)

Concerts made possible in part by the generous support of LVP Marin Realtors with sustaining support from William & Flora Hewlett Foundation and Marin Community Foundation Joyce Yang sponsored by Steve and Christina Fox

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

35

Program 5 Notes May 5 & 7, 2 013

by Jon Kochavi Selections from Préludes (

Claude Debussy ( 1862 – 1918 )

1909 – 1913

)

Minstrels (Minstrels), Book I, No. 12 Les collines d’Anacapri (The Hills of Anacapri), Book I, No. 5 Bruyères (Heather / town in Eastern France), Book II, No. 5 Ce qu’a vu le vent d’ouest (What the West Wind Saw), Book I, No. 7 La cathédrale engloutie (The Sunken Cathedral), Book I, No. 10

Debussy wrote two sets of piano preludes, 24 miniatures designed evoke moods, memories, and images rather than a specific arr. Colin Matthews event or narrative. The widely ( b. 1946 ) varying, vividly colorful character of these pieces connects them to the Preludes of Chopin, whose Op. 28 set of 24 caused much confusion when they were published in 1839. Rather than introducing something else (as did, say, the Bach preludes), Chopin’s works stood on their own, capturing the essence of a feeling in a manner “analogous to those of a great contemporary poet, who cradles the soul in golden dreams,” as Liszt gracefully put it. Debussy was a great admirer of Chopin, having edited his works for publication and later dedicating his 1915 Études to his memory. In his Préludes, Debussy was reinventing Chopin’s style of pianism, coaxing from the instrument a stunning variety of timbres as if from “an instrument without hammers,” as he put it. Debussy achieved his effects through a free approach to register, rhythm, and form; an innovative use of the sustain pedal; and an expanded richness of sonic texture by layering sounds, made more dramatic by his particularly resonant piano — his instrument included a fourth string for each upper note that vibrated sympathetically with the usual three without being actually struck by the hammer.

36

The brilliant tonal palette of these pieces translates naturally to a full symphonic setting. The Hallé Orchestra in Manchester, England, commissioned British composer Colin Matthews to orchestrate all 24 of the Préludes in 2002. The comical Minstrels was inspired by American minstrel troupes Debussy encountered during his stay in England, but more generally evokes the exaggerated emotions of clowning in circus shows which had always fascinated Debussy. Matthews takes the expressive markings in Debussy’s score (“with humor,” “drum-like,” “mocking”) as cues in his setting.

Les collines d’Anacapri captures the picturesque landscape of the village of Anacapri, situated high on the island of Capri in the Bay of Naples (it is said that Debussy was inspired by a picture of the town on a wine bottle). The piece is an amalgam of Italian-style folk tunes, which Matthews evokes with an emphasis on rustic sounding winds and percussive punctuations of the tambourine.

Debussy chooses a somewhat more conventional tonal idiom for his depiction of wide pastoral fields in Bruyères and the orchestration imbues the music with warmth through varying chamber textures and rich sustained tones in the strings.

Ce qu’a vu le vent d’ouest is arguably the most violent and virtuosic number from either set, depicting the tumultuous West Wind, perhaps from a Hans Christian Andersen story in which it claims to have blown in a storm in which “ancient trees were split up into splinters.” The orchestration here trades the piano’s percussive effects for sweeping dynamic shifts. We end with the luminous La cathédrale engloutie, an evocative portrayal of the mythical cathedral that was said to slowly rise up from the ocean waters off of the Island of Ys and then sink back underwater. Matthews’ gloriously rich orchestration perfectly captures the spirit of the original, intensifying the effect with layering textures and adding in the pealing of the church bells.

Where great music comes to life.

P R O G R A M 5 NOTES: VIVE LA FRANCE! Concerto for Piano in G Major (

1929 – 1931

)

Allegramente Adagio assai Presto Rhythmic, melodic, and formal clarity characterized Ravel’s style throughout his career. Like Debussy, Maurice Ravel Ravel believed that the ( 1875 – 1937 ) “Wagnerian formula” was a dead end, and he sought out earlier models to combine with new techniques of tone coloring developed by Debussy to evoke moods and scenes. This combined approach was especially evident in his concertos. At the same time, he wanted to move away from the Romantic conception of a concerto as a battleground for the solo instrument and the orchestra, describing his work as “a concerto in the strict sense, written in the spirit of Mozart and Saint-Saëns. I believe that a concerto can be gay and brilliant, and that there is no necessity for it to aim at profundity or big dramatic effects. It has been said that the concertos of some great classical composers were written not for but against the piano, and I think that this criticism is quite justified.”

prominently featuring a bluesy augmented fourth.

An unusual andante section focuses on the harp which is given a kind of cadenza.

The captivating Adagio opens with a long, unaccompanied solo passage. When the orchestra makes its appearance, the melody is eventually taken up by the English horn, and the graceful piano accompaniment is seamlessly integrated into the texture. Despite its broad and rich continuity, Ravel actually struggled with composing this movement which he surprisingly called “scholastic.” The description perhaps refers to the compositional process he employed in modeling the movement after the Larghetto from the Mozart Clarinet Quintet.

The finale is a sparkling virtuoso display for the pianist. After a short rhythmic motif in the brass, bassoon, and strings, the piano takes off and the movement never slows down. Jazz effects such as trombone glissandi and the periodic appearances of the opening rhythm in various instrumental combinations serve as points of reference in the perpetual motion of this animated showstopper.

American jazz harmonies and rhythms were another source of new material for Ravel, as he acknowledged in a speech delivered during a trip he made to America just before beginning to write his Concerto in G major and his Concerto for the Left Hand (composed concurrently from 1929-31):

To my mind, the “blues” is one of your greatest musical assets, truly American.... While I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music that I have written....

I wish to say how very happy I am in visiting your country, and all the more so because my journey is enabling me to become still more conversant with those elements which are contributing to the gradual formation of a veritable school of American music.

With an opening whip, the pianist is thrown immediately into quick moving arpeggios in both hands; the left is confined to black keys and the right to white. These accompany a piccolo melody that is picked up by the trumpet and then the strings as the arpeggios are transformed into glissandi. The new theme given to the piano is written in a pentatonic scale drawn from the jazz idiom, and the orchestral answer to this theme continues in the same vein,

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

37

Program 5 Notes May 5 & 7, 2 013 continued

La Mer (

1903 – 1905

) De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of the Wind and Sea)

Claude Debussy ( 1862 – 1918 )

Debussy had a lifelong love affair with the sea. He continually turned to it for peace and perspective, solace and inspiration. His idealized vision of the sea invoked an awe and respect for what he considered the epitome of Nature unspoiled by mankind. In the summer of 1906, shortly after completing La Mer, Debussy wrote from the Normandy seafront:

Here I am again with my old friend the sea, always innumerable and beautiful. It is truly the only thing in nature that puts you in your place; one does not sufficiently respect the sea. To submerge in it human bodies deformed by daily life should not be allowed: these arms and legs that move in ridiculous rhythms — it is enough to make the fish weep.

Debussy’s depictions of water and the sea, most notably in La Mer but also in others such as his Sirènes from Nuages, his Jeux d’eau, and his opera Pelleas et Melisande, capture not just the physical aspects of the waters, but the sensations that he ascribes to them, which he felt were inherently musical. Debussy once wrote, “Music expresses the motion of the waters, the play of curves described by changing breezes.” If the impressionist painters were drawn to the sea for its reflective qualities and the games that it played with light and color, Debussy saw in it a reflection of the whole range of human emotion.

Debussy’s imaginative representation of the sea was lost on initial audiences of La Mer, who perhaps expected a more programmatic portrayal of the sea.

38

Debussy began composing La Mer in August, 1903, while in Burgundy. The following month, he wrote about the inspiration for the work to fellow composer André Messager:

You may not know that I was destined for a splendid career as a sailor and that it was only the fortunes of life which made me change direction.

None the less, I’ve retained a passionate love for the sea. You may well reply that the Atlantic doesn’t exactly lap the hills of Burgundy!... My seascape could easily look like a studio landscape, but I have countless memories which in my view are worth more than reality, whose beauty often deadens thought.

Difficulties with his marriage (he and his wife separated in the summer of 1904) delayed the completion of the work. The complex orchestration, which Debussy called “wild and capricious — like the sea,” slowed the process even further. The critical and popular failure of the premiere in October, 1905, was a bitter disappointment for Debussy, but by 1908 reaction to the piece had turned 180 degrees. La Mer would go on to be one of the most frequently performed works of the 20th century.

In depicting the sunrise in the first movement, the music seems to gradually broaden and almost literally brighten up. In startlingly effective fashion, repetitive background patterns evoke the rhythms of the sea as the themes in the foreground reflect its many states: tranquil, kinetic, forceful, angry, and majestic. The middle movement is an illustration of both glittering playfulness and the powerful crashing of waves against the shore. The piece ends with a dramatic finale that is built around two themes: the first is a brass theme borrowed from the first movement, and the second, in the winds, is an achingly beautiful chromatic melody that slowly rises before quickly falling. The menacing wisps of wind that open the movement seem to evolve into a collaborative dance that grows to a majestic climax.

Where great music comes to life.

P R O G R A M 5 NOTES: VIVE LA FRANCE!

Guest Artist: Joyce Yang

Described as “the most gifted young pianist of her generation” with a “million-volt stage presence” pianist Joyce Yang captivates audiences across the globe with her stunning virtuosity combined with heartfelt lyricism and interpretive sensitivity. At just 26, she has established herself as one of the leading artists of her generation through her innovative solo recitals and notable collaborations with the world’s top orchestras. In 2010 she received an Avery Fisher Career Grant, one of classical music’s most prestigious accolades. Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work.

Since her spectacular debut, Yang has blossomed into an “astonishing artist” (Neue Zürcher Zeitung), and she continues to appear with orchestras around the world. She has performed with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, Houston Symphony, and BBC Philharmonic — among many others, working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson, Bramwell Tovey and Jaap van Zweden. In recital, Yang has taken the stage at New York’s Lincoln Center and the Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle.

Her 2012-2013 season features debuts with the Toronto and Detroit Symphonies, both under Peter Oundjian; abroad, she makes her German debut with the Deutsches Symphonie-Orchester Berlin, led by James Conlon, and travels to Australia for a concert with the Sydney Symphony. Also this season, Yang joins de Waart and the Milwaukee Symphony to continue her Rachmaninoff cycle with the orchestra, this time performing the Russian master’s First Piano Concerto. In October she returns to the Buffalo Philharmonic, after impressing audiences and critics two seasons ago as a last-minute substitute with the orchestra. Yang devotes much of her new season to chamber music, presenting collaborations with the Takàcs Quartet, the Modigliani Quartet, and violinist Augustin Hadelich, along with recitals in Honolulu, Des Moines, San Antonio, Cambridge (UK debut), Melbourne, and Vancouver. The season follows a busy summer of performances at the Aspen Music Festival, the Santa Fe Chamber Music Festival, and at Lincoln Center’s Mostly Mozart Festival — where she joined members of the Emerson String Quartet for Schubert’s “Trout” Quintet, prompting the New York Times to praise Yang for her “vivid and beautiful playing.”

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

39

country. By age ten, she had entered the School of Music at the Korea National University of Arts, and subsequently she made a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School in New York with Dr. Yoheved Kaplinsky. During her first year at Juilliard, she won its pre-college division Concerto Competition, resulting in a performance of the Haydn Concerto in D major with the Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Competition, she performed Prokofiev’s Piano Concerto No. 3 with that orchestra when she was just twelve. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won the school’s 30th Annual William A. Petschek Piano Recital Award.

Guest Artist: Joyce Yang continued Yang made her celebrated New York Philharmonic debut with Lorin Maazel at Avery Fisher Hall in November 2006 and performed on the orchestra’s tour of Asia, making a triumphant return to her hometown, Seoul, South Korea. Since then, she has appeared with the Philharmonic frequently, including the opening night of the Leonard Bernstein Festival in September 2008, at the special request of Lorin Maazel in his final season as Music Director. The New York Times called Yang’s performance in Bernstein’s Age of Anxiety a “knock-out.”

In November 2011, Yang released a solo album for Avie Records, Collage, featuring piano works

by Scarlatti, Liebermann, Debussy, Currier, and Schumann. Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

American Record Guide called Collage “an outstanding first recording” and a “display of her wide-ranging talent.”

Born in Seoul, South Korea, Yang received her first piano lesson at age four from her aunt. She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in her native

40

Joyce Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition, and she is a frequent guest on American Public Media’s nationally syndicated radio program Performance Today. A Steinway artist, she currently resides in New York City.

Joyce Yang Artist interview highlights

By Indi Young Joyce Yang is a truly extraordinary artist in very high demand. She performs on average, 60-70 concerts in a season. Ms. Yang took precious time out of her busy schedule to share experiences and insights into the works she will present with Maestro Alasdair Neale at the our season finale concert, Vive la France!

I think it is believing that is what’s important in life.

I have to absolutely believe in what I do. People come to concerts to be, somehow, for that hour or two hours … to experience something remote from everyday life.

We all take a journey for that little time together. You’re giving me your time to experience something, perhaps new, perhaps familiar, but you want to be transported somehow. That’s a great duty for me. Having people’s attention for one or two straight hours, thousands of people the significance of that is embedded in me.

It is my great duty to move people.

I will be performing the Ravel Concerto in G as well as the Debussy preludes transcribed for piano and orchestra by Colin Matthews. The Ravel Concerto in G is probably the most gorgeous music ever written.

It sparkles. It shimmers from the very beginning.

Where great music comes to life.

P R O G R A M 5 NOTES: VIVE LA FRANCE! The greatest Ravel performances all happen like a dream. It bubbles to a shimmer, and just when you think you’re grasping it, it disappears before you. It’s a portrait out of a dream. The second movement has one of the most breathtaking melodies. A concerto like this, you can play all the right notes, and that’s only 10% of the music. It needs to be intimate, welltimed, beautifully colored, and well-coordinated. It’s something very precious because there aren’t that many notes, compared to a Rachmaninoff concerto.

It’s only about 20 minutes; each moment is so precious. It has everything that is precious and indulgent — everything is there, but it leaves you wanting more. It’s definitely worth hearing it at least a few times, or a hundred! I think it will illuminate the way you think of French music in general.

It’s gorgeous. It is a slow waltz, but there is a dichotomy in subdivision in the right hand vs the left hand. It is the interaction between the right and the left hand that gives the opening section to have a timeless feel. The second movement starts with a piano solo for two minutes, and then the orchestra enters, and it feels like you’ve been hugged — a big, wonderful hug.

I thought it was a spectacular idea to play both the Debussy and Ravel in the same concert. The idea came from Maestro Neale. I have never explored the Debussy preludes transcribed by piano and orchestra — and it is something that I am very excited to learn. I think very often, people like to bunch Ravel and Debussy together, or all 19th century French composers together, into a big French Impressionist genre. Debussy and Ravel each have their unique, distinct musical vocabulary that creates their signature sound. To hear Debussy and Ravel back to back will be interesting.

Some jazz musicians say we just play the same thing over and over, because we play the notes that are written in the score and don’t vary the notes. In another words, we do not improvise in its usual sense. What we vary is the energy level. The smallest nuances are being improvised in each and every concert. As classical musicians, we have a wealth of spectacular repertoire to choose from — all the wonderful repertoire written by the most creative and brilliant minds. It’s there for me to bring to life. It’s such an asset to have.

If I were a chef, I would be a chef with the best and the most special ingredients. I feel I need to be the best messenger I can, to deliver the music the way it is meant to be delivered — to bring it to life so it goes straight to your heart. That drives me forward.

I know what it can be. I guess that’s some kind of confidence — feeling I know what it should be. I know what it feels like, what it sounds like, how it gets

delivered, the execution when it’s good. I have to put in time and energy, when it goes from “head to hands,” or “heart to hands.” There are no shortcuts.

Everyone is trying to get away with something, like to not practice so much and have great concerts.

No, it takes everything you’ve got, and probably it won’t be enough. Given that I’m a pianist, we feel the need to practice all the time. When I talk to pianists, it seems like we’re freaking out more than others. “Oh my god, where’s the piano?” I have to spend everything I’ve got, and maybe I’ll be able to give you what you want to hear. People say, “ You do need to relax from time to time,” and I do, but the thought process never gets relaxed.

If someone tells me they don’t like classical music, I will go into a three hour soliloquy about how great classical music is.

I’m in my seventh year. It takes a while to get used to constantly moving around and playing something tonight but practicing for something else, which is three days away, in the morning. My life would be so much simpler if I had just one performance to prepare for at a time. Time management … it takes time for me to figure it out … when things come flying at me all at the same time. That’s what’s hard: to absolutely focus on one thing when I have 40 things in my head. I always feel like I’m running out of time. Everyone feels this way, I’m sure. You focus on what’s important to you. Whatever happens on stage, I have to make sure when I walk off stage I can say, “That is the best I could do.” The worst feeling is that you know you could have done the timing better.

There is no end. You never get to your goals in practice. If you do, you’re probably not practicing the right way. The way to grow is to constantly be frustrated, so you get better. I’ve gotten to this point, say it’s 85%, a passing grade; it will be fine. But what makes you go, “Oh, that’s so beautiful,” versus absolutely lose it and the tears come out — it’s a tiny difference. Such a tiny delay makes the different — the smallest timing. Only classical and jazz musicians think this way: .1 seconds of delay is lovely and .2 seconds is bad, bad taste. In order to control your nerves on stage when there’s 4000 ears on you, that takes hours of calming your nerves, understanding your nerves, and understanding the music. It comes from being totally obsessed with what I do. When kids ask, “Should I be a pianist?”

I ask them, “Can you see yourself being anything else?” If the answer is yes, if you absolutely must do it over everything else, I say, “Go for it.” It is the most exciting way to spend one’s life.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

41

ApĂŠritif EntrĂŠes Cocktails Wines Desserts Celebrations www.leftbank.com 507 Magnolia Avenue, Larkspur 415.927.3331

42

Where great music comes to life.

Fabulous Evenings, Dynamic Speakers, Food & Wine in the Company of Remarkable Women

APRIL 30 REBECCA COSTA

Adapting to an Increasingly Complex World

Sociobiologist, futurist, nationally syndicated radio host and author of The Watchman’s Rattle: Thinking Our Way Out of Extinction. As a recognized thought-leader and provocative new voice in the mold of Thomas Friedman, Malcolm Gladwell and Jared Diamond, she examines “the big picture”– providing compelling insight and encouraging solutions to the global gridlock of our day.

Tuesday evening from 6:30-9:00pm at the Mill Valley Community Center Presenting Sponsor

Season Sponsors

Charitable Partners

TICKETS AVAILABLE NOW AT WWW.SPEAKTOMEEVENTS.COM marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

43

Where it all begins.

ORCHESTRA Christopher Rountree guest conductor Dukas The Sorcerer’s Apprentice Joseph Marx Five Songs and Stravinsky’s The Rite of Spring in a 100th anniversary performance Saturday, May 4, 8 p.m.

ALUMNI RECITAL SERIES Robin Sutherland (’75) piano, with Conservatory artists in works by Rachmaninoff, Fauré and Nicholas Pavkovic (’11) Wednesday, April 24, 8 p.m.

OPERA PROGRAM Mark Adamo Little Women A staged production with piano accompaniment Friday, May 3, 7:30 p.m.* Sunday, May 5, 2 p.m.*

Tickets $20/15/*Free | 415.503.6275 | 50 Oak Street, San Francisco

SEASON MEDIA SPONSOR

The hills are alive with the sound of music…

O

O

R

D

TD

IT

IO

OU

N

May 19 – June 16

•

T H E AT R E

•

TR

A

MountainPlay.org

Peter Levi Plumbing Inc. Quality Craftsmanshp at a Reasonable Price Peter Levi Residential & Commercial Repairs • Remodeling • New Construction California License #687489 • Bonded / Insured

415/454-7771 • 415/455-9908 (fax) 415/271-5030 (cell) • www.peterleviplumbinginc.com

SHOPS & 42 FINE RESTAURANTS

At Third & Grand Streets in San Rafael Owned and Managed by Seagate Properties, Inc. (415) 455-0300 | www.seagateproperties.com 48

Where great music comes to life.

Innovations in Eyewear 210 Bon Air Center • Greenbrae 461-9222

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

49

MORE COMFORT. MORE VALUE. Travel the way you like without the added costs. We have what matters most to you, like free WiFi and bottled water, free parking and more.

Just 1 mile from the Marin Symphony and only 20 minutes from the Golden Gate Bridge and Sonoma Wine Country.

Four Points by Sheraton San Rafael BOOK NOW AT FOURPOINTS.COM/SANRAFAEL OR CALL 800 325 3535 AND ASK FOR THE MARIN SYMPHONY RATE

GREAT HOTELS. GREAT RATES.

©2011-2012 Starwood Hotels & Resorts Worldwide, Inc. All rights reserved. Aloft, Element, Four Points, Le Méridien, Sheraton, St. Regis, The Luxury Collection, W, Westin and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates.

S PECIAL CONCER T EVENTS

Pre-Concert Talks

PHOTO © PETER RODGERS

Half-hour talks with Music Director Alasdair Neale reveal insights into the creative process and expose the backstory behind performance s. Guest artists appear alongside the Maestro, engaging in conversations with each other and the audience.

Pre-Concert Talks begin on Sundays at 2:00pm and Tuesdays at 6:30pm, and are free for all ticket holders.

Tuesday Night Wrap Parties The gatherings after the evening’s performance are a Marin Symphony tradition. All Tuesday night ticket holders are invited to mingle with guest artists, orchestra members and Maestro Alasdair Neale at Four Points by Sheraton San Rafael.

Book locally.

Travel globally.

DIMENSIONS IN TRAVEL

350 Ignacio Blvd., Suite 201 Novato, CA 94949 415-883-3245 or 800-828-2962 info@dimensionsintravel.com

Creating beautiful memories since 1978

2013 LEGENDARY USA & CANADA SAILINGS Cunard Line® sailings offer onboard experiences with: t Royal Academy of Dramatic Arts t Juilliard School Jazz Series t Royal Astronomical Society Plus enrichment lectures, opera performances and author talks.

CST #1001493-10

Dimensions in Travel offers VIP service and value pricing. Mention “Marin Symphony” when you book a tour or cruise with us and we’ll donate $50 to the Marin Symphony. marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

51

Your family. Your legacy.

Building wealth today and sustaining it for future generations can be challenging. Effective investment management must be integrated with strategic tax and estate planning, philanthropy and family culture.

At City National, we’ll help you master the complexity of wealth management so you can more fully enjoy your version of the good life.

We’re with you every step of the way as you grow your wealth, enjoy it with your family and build a lasting legacy.

Experience the City National Difference.SM Please call Sepi Kazemi at (415) 576-3982.

City National Wealth Management Non-deposit Investment Products:

n

are not FDIC insured

Past performance is not an indication of future results.

n

cnb.com Member FDIC

are not Bank guaranteed

n

may lose value

©2012 City National Bank

Mark your calendar for Composium West: Sunday, October 6, 2013

Marin Symphony was proud to host the National Young Composers Challenge “Workshop West” at San Domenico School on Saturday, October 6, 2012. The free full day event attracted more than 130 participants from throughout the Bay Area, California, and some, from other parts of the U.S. Attendees discovered the principles of composition, orchestration, music notation, and scoring software from nationally recognized composers.

Young composers ages 13-18 may write their own score for either chamber ensemble or full orchestra and enter the National Young Composers Challenge Composium West, which takes place the day after Workshop West. This is an amazing afternoon of excitement, drama, and music for both the particpants and the audience! You’ll hear the winning compositions by America’s best young composers rehearsed, discussed, and performed by Maestro Christopher Wilkins and the Marin Symphony at the Marin Veterans’ Memorial Auditorium in San Rafael, CA.

PHOTO © MARTIN SCHIFF

The first-ever “Workshop West” was a huge success!

Save the date for this year’s Workshop West: Saturday, October 5, 2013

PHOTOS © PETER RODGERS

We’re excited about what will be the second Workshop West event. Aspiring young musicians ages 13-18 are invited to attend the free full day program.

Discover more about the National Young Composers Challenge, the premier orchestra composition event in America, with entries from top young composers, ages 13-18, from across the United States: YoungComposersChallenge.org

Prelude concerts...

Intimate in-home recitals take place within exquisite Marin homes.

Sponsored by City National Bank.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

PHOTOS © PETER RODGERS

Sponsored by Marin Symphony, Orlando Philharmonic, University of Central Florida, Rollins College, Full Sail University, and Goldman Charitable Foundation.

53

Youth Concerts & 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 elementary schoolchildren, teaching young musicians standard orchestral ensemble techniques and musicianship. The program is a stepping stone to the Marin Symphony Youth Orchestra.

Our youth orchestras performed to standing ovations in 2 012 & 13!

Crescendo Concert, December 8, 2012 Marin Symphony Youth Orchestra Concert, December 9, 2012 “Sing, Dance, Play” An exciting Marin Symphony Youth Orchestra collaboration with Marin Girls Chorus and Marin Dance Theater took place at the Marin Veterans’ Memorial Auditorium on March 24, 2013.

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.

54

PHOTOS © PETER RODGERS

Spring 2012...

Symphony@Schools event for over 500 students at Hall Middle School featuring Marin Symphony orchestra members.

Where great music comes to life.

PHOTOS © CALVIN JOW

YO U T H & EDUCATION PROGRAMS

The Marin Symphony Youth Orchestra at the Bay Area Youth Orchestra Festival in January 2012 at Davies Symphony Hall.

2 013 Bay Area Youth Orchestra Festival

PHOTOS © CALVIN JOW

On Sunday, January 20 th at 3pm, our Marin Symphony Youth Orchestra took part in the annual Bay Area Youth Orchestra Festival, this year hosted by the Santa Rosa Symphony at the Green Music Center at Sonoma State University. Every year, six of the Bay Area’s most talented young orchestral ensembles participate in this festival hosted by the San Francisco Symphony on a biannual basis.

Proceeds from the concert benefit six organizations, one within each orchestra’s local community, that provide resources to underserved and homeless youth.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

55

Season 2 012-2 013 Annual Donors Please note: we list here the names of those from whom financial support was received between August 25, 2011 and April 4, 2013.

A Category Apart: $30,000 and Above

Composer’s Club continued

Primary Sponsor: $10,000–$29,999

Conductor’s Club: $2000–$3,499

Herb & Malini Schuyten Dr. Elizabeth Seaman Sally Shekou & Robert Herbst Anonymous (2)

William & Flora Hewlett Foundation Patrick M. McCarthy Foundation Anonymous (1)

Bon Air Center Donald R. & Noel W. Dickey Steve Goldman & Melanie Love Sandra D. Hoyer Estate of Audrey W. S. Tytus Estate of Barbara Leibert Steven & Susan Machtinger Frank & Lois Noonan Ellis Stephens Marco A. Vidal Fund Anonymous (1)

Sponsor: $6,000–$9,999

Bank of Marin Marin Community Foundation Joanne Dunn George Fernbacher Steve & Christina Fox Ruth & Alf Heller Gloria Miner Alasdair Neale & Lowell Tong The Bernard Osher Foundation Roland & Giti Underhill Jeff & Robyn vom Saal Peter L. H. & Kathryn Thompson Mr. Harley White Sr. & Dr. Frances L. White

Composer’s Club: $3,500–$5,999

Hans Adler & Wanda Headrick Bank of America Lou & Marge Bartolini Jack Bissinger City National Bank Mary E. D’Agostino Tracy & Jaison Layney Marin Music Chest Llenroc Capital LLC LVP Marin Realtors, Catherine Munson Katherine McPherson, Masneri & Arno P. Masneri Fund The Rabb Family Robert & Erna Randig Renee Rymer & Antonio Clementino, Ph.D. The Schultz Foundation

56

Deborah & Arthur Ablin Family Fund Autodesk Frank & Lee Battat Edward S. Berberian James & Caroline Boitano Mrs. John E. Cahill William & Lynn Callender Crawford & Jess Cooley Dr. Robert K. & Judith D. Creasy David Dee & Pat Callahan Joan & Allen Dekelboum Patricia S. Elvebak Helga Epstein Jennifer Finger & Scott Bucey Jim & Lynn Finkelstein Grace A. Hughes Kaiser Permanente Alice T. May Vivienne Miller Montecito Plaza Shopping Center Joyce Palmer Joseph & Eda Pell – Pell Family Foundation Barbara & Bill Peterson Joan Ring Rose Creek Fund Yvonne Roth Richard & Anne Marie Ruben Claire Collins Skall Dr. Walter Strauss Patricia C. Swensen Bruce C. Taylor & Lynn O’Malley Taylor Connie Vandament Anonymous (4)

Benefactor: $1,000–$1,999 Mrs. Brent M. Abel Muriel Adcock Roy & Barbara Allen Mr. & Mrs. Robert Bilger Bill & Patty Blanton Russ & Lynn Colombo Mary Denton & Monte Deignan Cele & Paul Eldering Chuck & Binny Fischer Renee Froman

Benefactor continued

Abe & Suzanne Froman Alison C. Fuller Hope Herndon Michael Ingerman & Madeleine Sloane Mary Ellen & Bob Irwin Bonnie & Peter Jensen Alan & Jean Kay Peter C. Kerner Marin Pacific Company, Inc. Ray Poelstra Larry & Erica Posner Joyce & Gary Rifkind Schrader-Robertson Family Fund Sam Ziegler Anonymous (2)

Guarantor: $400–$999

Vernon Birks Rosalind & David Bloom DeWitt Bowman Ava Jean Brumbaum Faye D’Opal Elizabeth Dakin Nancy Kent Danielson Roy & Marilyn Davis C. Donohoe Chester & Joy Douglass Jenny Douglass & Andy Basnight Stuart & Emily Dvorin Eckhoff Accountancy Corporation Ann Everingham Michael A. Freeman, MD & Victoria Stone Margot Golding & Mike Powers Mary M. Griffin-Jones Drs. Albert & Shirley Hall James C. Hormel & Michael P. Nguyen Sepi Kazemi Lamar Leland Dr. & Mrs. James S. Levine Marian Marsh & David Wade Mass Mutual Margaret Melsh Eugene & Phyllis Miller Leslie Miller & Richard Carlton Marnie Moore & Mike Mackenzie Larry & Betty Mulryan Brian Nagai & Robert B. Daroff, Jr. Timothy & Alice Pidgeon Maria Pitcairn Gary T. Ragghianti Attorney at Law Rick & Marilyn Riede Cynthia Sawtell Carole & John Shook Pat Small Alan & Paula Smith Sue & Bob Spofford Dr. & Mrs. Richard F. Sullivan Dom & Lee Tarantino Jan & Mark Volkert Jutdith Walker George Westfall & Susan Adamson Indi Young

Where great music comes to life.

DONOR APPRECIATION Sustainer: $100–$399

Kenneth & Barbara Adams Jill Aggersbury Tony Agpoon & Maia Welch Katherine E. Akos Michael & Marjorie Alaimo Kai & Kian Angermann Peter & Carolyn Ashby William E. Asiano Bruce & Joseph Bacheller David & Jennifer Bailey Alice Bartholomew Richard & Ann Batman Yvonne & Gary Beauchamp Bill & Carol Beck Raymond & Colleen Beck Roger Beck Gerry & Don Beers Sue Beittel Fred & Yvonne Beller Maria & Charles Benet Maxine J. Bennett Sheila Berg Philip M. Bernstein Gloria & Peter Bland Marion Blau Jeanie & Carl Blom Aaron Bogarske Al & Pat Boro Frances & Ben Borok Sydne & Allan Bortel Carroll & Eli Botvinick Pete & Sue Bowser Jack & Ute Brandon Richard Bricker & Emily Hanna Johnson Josh Brier & Grace Alexander Suzanne & David Broad Hon. & Mrs. Henry J. Broderick Amy & Mark Brokering Martin & Geri Brownstein Wendy Buchen Annie Bugher Mary Jane Burke Jerry & Jane Burroni Anne & John Busterud Marian & Don Byrd Bill & Jeanne Cahill Joyce F. Calanchini Glenn & Vicki Campbell Peter Carlson Lowell & Patsy Chamberlain Oscar & Joan Chambers Priscilla Christopher Stephen & Elizabeth Clark Leslie Connarn Mary & Fred Coons Geri & Wayne Cooper Paul & Paula Cooper Bob & Betty Copple Dolores Cuerva Graham & Rosana Cumming Jon Curtis Mr. & Mrs. Arthur Davidson Ursula & Paul Davidson Linda Davis & Michael Carroll Ken & Ann Davis Robert De Haan Sam & Ellen Dederian Margaret E. Deedy, Coldwell Banker Tom & Mary DeMund Helene Denebeim Nona Dennis William C. Diebel Thomas Diettrich Eleanor DiGiorgio Steven & Marilyn Disbrow Mervyn & Betty Dowd Ben Dresden & Ann Swanson Sara Duggin Ethel & Miles Durr Wendy Eberhardt

Gisela & Rolf Eiselin Kathi Elliot Jane C. Ellis Elizabeth Enemark Heather English Maxine & Bill Everest Bran & Carolyn Fanning Jim Farley Jean & Conger Fawcett Margaret Feldstein Michael & Barbara Fewer Roy & Barbara Filly Anice Flesh Matthew & Jan Fleumer RoyAnne & Jerry Florence Erdmuth Folker Donald Ford Suzy Foster Thomas & Cynthia Foster Carlo & Diane Fowler Margot Fraser Fund Vivienne Freeman Lila Friday Carole & Mark Friedlander James Fritz Peggy & Bob Fujimoto I. & S. Gambera Betty E. Gandel Margot & Ray Gergus Sally Germain Ghilotti Bros., Inc. Jerry C. Gianni & Donna Bandelloni John & Betty Goerke Ellen & Bob Goldman Margie Goodman Rev. Paul & Jean Gravrock Elizabeth Greenberg & James Papanu Rosemary & Leonard Greenberg Deborah Breiner Grund & John Grund Dr. & Mrs. Joseph Gryson David & Margie Guggenhime Joseph Gutstadt, M.D. Erika Hagopian Dottie & Robert Hamilton Ethlyn Ann Hansen Joey Hardin Helen Harper Richard & Julie Harris James & Laura Harrison William & Kathryn Harrison Cecile Hawkins Hennessy Funds Allan & Nancy Herzog Conn & Christina Hickey Louis & Faye Hinze Nancy Hoffman Joe & Clydene Hohenrieder Carol & Mickey Hollenberg Jennifer & Eitan Homa Ken & Donna Hoppe Catherine Houghton Robin Hudnut Doris N. Hunker Pat & Irene Hunt William & Gail Hutchinson Dr. Ifeoma Ikenze Dr. & Mrs. John Jansheski Irene Jaquette Frank Johnson Nancy M. Johnson-Curron, Victoria Johnson & Jennifer Johnson Liz Johnstone-Cecchi

Dorothy Jones Ted & Diana Jorgensen Gee Kampmeyer Olga B. Katanics Daniel & Judy Katsin John Keefe Orly Kelly Keon-Vitale Family Dan & Valerie King Josephine Kreider Ann Krinitsky & Stuart Chafetz Olivia LeFeaver Louis & Jeanne Leoncini Jules & Sybil Lepkowsky Catherine Less Iyana Leveque Dorothy Lindskog Bill Lockett & Dottie Berges Paul & Rebecca Lofholm Mr. & Mrs. Frank Lorch Susan Magnone Ralph & Maylee Maiano Mary Malouf Mike Marcley Daniel & Virginia Mardesich Lee Marken Lillian Marks Terrel J. & Stephanie A. Mason Kira & Chris Matthews Rosemary & John Maulbetsch Charles & Claire McBride Nion McEvoy Christine McMasters Carl Mehlhop Steve & Lynn Merlo Jan Mettner Frank & Mickey Meredith Anne S. Miller Jane Miller Mr. & Mrs. William Miller Abigail Millikan-States Dino Misailidis Glenn & Laura Miwa Mary & Steve Mizroch Sharon L. Modrick Mrs. G.R. Monkhouse Alan Mooers & Heather Preston Susan Morris Sahin & Shahrzad Moshfeghi Thomas K. Moylan Lettie S. Multhauf Kaneez Munjee & Hugh Davies James Murrow Hilda Namm Louise C. Nave Ann Nilsson-Davis Mark & Kay Noguchi John & Evelyne Norris Gloria H. Northrup Fran & Dick O’Brien Ed & Linda O’Neil Ann W. Ocheltree Esther Oleari Stevanie Jan Olson Walter & Elaine Olson Merle & Clyde Ongaro Harry Oppenheimer & Sharon Leach William M. Palmer Gerald & Nancy Parsons Roberta Patterson Charles Penman Ellen Pesenti J. & M. Pettipas Joy & James Phoenix Carolyn & Arnold Piatti Jim & Jacquie Placak

Robert C. Placak & Associates Dr. & Mrs. R. Plambeck Janet Poelstra Michael & Stephanie Poley Suzie Pollak Robert & Donys Powell Ralph & Leslie Purdy Joan & David Quinn, Jr. Charles & Patricia Raven Pat & Art Ravicz Erick K. & Martha Richter-Smith Walt & Ilene Riethmeier Faith France & Hugo Rinaldi Judy & Richard Robinson Sue & Bill Rochester Adrienne Roth Diane Roth Richard & Anne Marie Ruben June E. Rubin & W. David Stern Helen Rutledge Georgia F. Sagues Angelo Salarpi Family Eva M. Sampson Dr. Rick & Cynthia Sapp Peri Sarganis Nancy & James Saunders Gary & Kathy Schaefer Georgia & Hugh Schall Nancy Schlegel Marilyn Schneider & Edward Simon Patricia York Schumacher Sylvia Schwartz Nancy & Terry Scott John & Elinor Severinghaus Andre & Lesley Shashaty Margaret C. Sheehy Betsy H. Shuey Joel & Susan Sklar Jacky Smith Kay Smith Marylyn J. So Rhonda & Fereydoon Soofer David & Marcia Sperling Alan Spiegelman Jean Starkweather Richard & Susie Stern John W. Stewart Inge Stiebel Marilyn & Arthur Strassburger Bettina M. Strongoli Edward Tanner Ed Texiera J. Ralph & Mary Ann Thomas L. Thomas Tobin Bob Towler Lee & Ginny Turner Bruce & Judy Walker Martha Wall Charles A. Weghorn Arlin Weinberger Sandra Weiss Carol Weitz Metta Whitcomb Jolley F. White Barbara J. Wilkes Randy Wilkinson Maynard & Helen Willms Margaret Wilner Roy Wonder & Barbara Ward William & Gloria Wong Ellie Wood Charles & Lynne Worth Warren Wu Judith Yarling Margery Zelles Ellie Zengler Anonymous (11)

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

57

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 August 25, 2011 and April 4, 2013.

GIFTS IN HONOR OF Lou Bartolini Richard & Anne Marie Ruben Peter L. H. & Kathryn Thompson Maynard & Helen Willms 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 Douglas Connor George Fernbacher Ann & Joan Fernbacher George Fernbacher Norma Fogel George Fernbacher William Larkin George Fernbacher D.K. MacDonald George Fernbacher Steve Machtinger Michael A. Freeman, MD

58

Gifts in Honor Of continued

Leslie Miller Daniel & Judy Katsin Tom Miller George Fernbacher Noralee Monestere Amy & Mark Brokering Boyd Quinn George Fernbacher Mary & David Rabb Susan Morris Jonathan Ruben Birthday Richard & Anne Marie Ruben Edward Shelton George Fernbacher Harry Ziegler George Fernbacher

GIFTS IN MEMORY OF Jean Airola William & Gloria Wong Richard Bechelli Lou & Marge Bartolini Elsie Carr Mike Marcley George Dexter Joanne Dunn Martha Harrison Iyana Leveque Edward C. Herndon Hope Herndon Mary Ellen Irwin Renee Rymer & Antonio Clementino, Ph. D Amy Jones Lou & Marge Bartolini Susan Pegues Mason William & Gloria Wong Lora May Lou & Marge Bartolini Grace Northrup William & Gloria Wong John Pitcairn Joanne Dunn George Fernbacher Institute of Chartered Accountants of Manitoba Richard & Anne Marie Ruben Claire Collins Skall Peter L. H. & Kathryn Thompson Diane Post George Fernbacher Rollin Post Lou & Marge Bartolini Lavon Reaber Donald R. & Noel W. Dickey Joanne Dunn Jan Mettner

Gifts in Memory Of continued Jonathan Ruben Richard & Anne Marie Ruben David Ring Bruce & Joseph Bacheller Gisela & Rolf Eiselin Carl Mehlhop Alan Spiegelman William & Gloria Wong Malini Schuyten Renee Rymer & Antonio Clementino, Ph. D Barbara Veatch Hope Herndon Edsel Yarling Judith Yarling

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

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

Encore Society continued

Kenneth & Barbara Adams Hans 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 Christina Dewey Donald R. & Noel W. Dickey Vernon & Elke Dwelly Helga Epstein Branwell Fanning George Fernbacher Thomas & Julianna Foris Barbara & Bill* Friede Abe & Suzanne Froman Geraldine Gains Mary M. Griffin-Jones Alf & Ruth Heller Susan Hedge Hossfeld* David* & Sandra 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

*deceased

IN KIND An Affair to Remember Catering David & Jennifer Bailey Four Points by Sheraton San Rafael KDFC Marin Magazine Marin Independent Journal Stacy Scott Catering Peter L. H. & Kathryn Thompson White Oak Vineyards & Winery

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

BUSINESS , CORPORATE & FOUNDATION SPONSORS Bank of America Bank of Marin Bon Air Center City National Bank Steve & Christina Fox Four Points by Sheraton William & Flora Hewlett Foundation Kaiser Permanente KDFC LVP Marin Realtors Marin Community Foundation Marin Independent Journal Marin Magazine Marin Pacific Company Patrick M. McCarthy Foundation Montecito Plaza Shopping Center Frank & Lois Noonan Bernard Osher Foundation Schultz Foundation U.S. Bank White Oak Vineyards & Winery Xfinity

CORPORATE MATCHING GIFTS Argonaut Group Chevron Humankind City National Bank Genex Morgan Stanley Smith Barney Oracle Piper Jaffray VISA

REHEARSAL FACILITIES Good Shepherd Lutheran Church

MUSICAL INSTRUMENTS & FOLDERS

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

PHOTOS © JAMES HALL

The Magic Flute

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

59

Through music we create more harmonious communities.

Bon Air Center is proud to support the Marin Symphony www.bonair.com Over 50 unique shops & restaurants.

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

SUPPOR T

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.

Beyond our concerts, there are dozens of ways you can enhance your experience with us and expand the reach of our Marin Symphony.

As a 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 wide-ranging Educational and Youth Orchestra Programs as well.

PHOTOS © STUART LIRETTE

Be a part of it.

Conductor’s Club Gatherings in the Green Room bring donors, sponsors and friends together to share fine wines, food and our love of music. It’s just one of the benefits offered to those who annually donate more than $2000 to the Symphony.

Concert sponsors...

Every gift makes a real difference.

Ticket sales for arts organizations cover only a portion of the costs associated with producing our exceptional artistic, education, and community initiatives.

Your support at any level is vital and appreciated. Donors also receive priority seating assignments.

For information about making a gift, creating an enduring legacy with your estate planning, or simply to learn more about taking advantages of benefits and privileges designed to enhance your concert-going experience, please call us at 415.479.8100, or visit marinsymphony.org/support.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

61

14 22 20 33 24 60 52 26 09 51 10 50 20 39 12 42 49 34 22 08 63 49 45 48 48 47 18 29 48 02 28 37 64 44 46 43 18 49 16

Áegis Living Aldersly Garden Retirement Community American Bach Soloists Bank of America Bank of Marin Bon Air Center City National Bank College of Marin Corte Madera Town Center Dimensions in Travel Dolce Fine Violins Four Points by Sheraton San Rafael Frank Howard Allen Realtors Kaiser Permanente KDFC Left Bank LUXTON OPTICAL LVP MARIN REALTORS Marin Baroque Marin Independent Journal Marin Magazine Marin Music Chest Marin Theatre Company MOC Insurance Services Montecito Plaza Shopping Center Mountain Play New Century Chamber Orchestra Perotti & Carrade Peter Levi Plumbing, Inc. Private Ocean R.KASSMAN Rafael Floors Redwood Credit Union San Francisco Conservatory of Music San Rafael Pacifics Speak to Me Stonetree Golf Club The Magic Flute Villa Marin

PHOTO © EISAKU TOKUYAMA

Advertisers & Sponsors

Experience it.

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

Connect with us.

Call us 9am–5pm, Monday–Friday: 415.479.8100 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.

62

Where great music comes to life.

2 0 1 2 –1 3

60 th

SEASON

Marin Âť GET THAT PROJECT STARTED Home Renovation Resource Guide

The World Is Watching San Francisco Bay Has Its Moment in the Sun

001_April.COVER.0413.F.indd 1

3/7/13 3:54 PM