San Diego Symphony: October 2019 Program Book

PHOTO CREDIT: LAUREN RADACK

FROM THE CHIEF EXECUTIVE OFFICER Dear Friends, To quote from Shakespeare’s ever-memorable A Midsummer Night’s Dream, we are “filled with joy and mirth” as we join together at this thrilling time to celebrate the beginning of Rafael Payare’s tenure as Music Director of the San Diego Symphony Orchestra, a much-anticipated turning point in the life of the San Diego Symphony.

It was this very idea of being filled with joy and mirth that inspired Mendelssohn to write his famous incidental music to A Midsummer Night’s Dream, which Rafael has selected as the program for his second week of his inaugural season. In this play, Shakespeare’s kaleidoscopic imagination is focused on the rich variety and deep contrasts in the human condition – our vulnerabilities and our joys, and the darkness that surrounds us and the light.

Talking of kaleidoscopic contrasts, Gustav Mahler once said, “A symphony should be like the world, it should have everything,” and his mighty Fifth Symphony certainly seems to embody this noble aspiration. Not so much a traditional symphony as something more like an epic or an opera in orchestral sounds, this great work really does seem to contain the whole world in its vast range and vivid emotional power. Mahler himself wondered how his first listeners in 1902 would hear this “foaming, roaring, raging sea of sound, these dancing stars, these breathtaking, iridescent, and flashing breakers?”

The thrilling combination of these two masterpieces suggests well what I have come to know about Rafael Payare as an artist and a man. His personal warmth, his great love of life and his compassionate view of the world are connected to a deep hunger and passion for musical expression. He is a constant, quiet searcher after truth and fidelity in his ongoing learning and preparation for each performance. Or as he himself would be more likely to put it, he is relaxed and “chill” in working through the preparation of the music, and on fire in the performances. At the core of his being he serves the music, and embraces humanity.

I have had the good fortune of traveling to hear Rafael in many places conducting a wide variety of programs.

From London to Glyndebourne, from the Grand Tetons to Chicago, from Aspen to Detroit, I have experienced his work and his performances many times in the last four years. All of that great experience with so many orchestras and opera companies is now focused on his leadership of the San Diego Symphony!

The energy of Rafael’s devotion to his forthcoming voyage with the San Diego Symphony and his tremendous excitement at the thought of connecting with San Diego audiences are palpable every time he and I speak together. Unquestionably, this is a new era for all of us which will take us to new vistas, new heights, and deep inside the human condition – through his music-making and his connection to our wonderful orchestra and our beautiful home in the San Diego region.

Sincerely,

Martha A. Gilmer Chief Executive Officer

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RAFAEL PAYARE

MUSIC DIRECTOR

The 2019-20 season will mark RAFAEL PAYARE’s inaugural season as Music Director of the San Diego Symphony. His profound musicianship, technical brilliance and charismatic presence on the podium has elevated him as one of the most sought-after conductors. He was Principal Conductor and Music Director of the Ulster Orchestra from 2014-19, with whom he appeared twice at the BBC Proms in 2016 and 2019. The Orchestra recently named him Conductor Laureate in recognition of his vast artistic contribution to the Orchestra and City of Belfast during his five year tenure.

During the 2014-15 season he made his acclaimed debut with the Vienna Philharmonic, conducting concerts at the Vienna Musikverein and Théâtre des Champs Elysées in Paris, and he returned in June 2018 to conduct them at the Vienna Konzerthaus and on a Baltic tour with mezzo soprano Elīna Garanča. Other highlights have included engagements with the London Symphony Orchestra, Mahler Chamber Orchestra, Philharmonia Orchestra, Czech Philharmonic, Pittsburgh Symphony, Accademia Nazionale di Santa Cecilia, Staatskapelle Dresden, and Deutsches Symphonie Orchester Berlin.

The current season will see return visits to the Munich Philharmonic, Chicago Symphony, NHK Symphony, Los Angeles Philharmonic, Tonhalle Orchestra Zurich, BBC Symphony Orchestra, Orchestre Symphonique de Montréal, and NDR Elbphilharmonie Orchester. He also makes his debuts with Leipzig Gewandhaus Orchester and Boston Symphony Orchestra. In 2017 he was named Honorary Conductor of Sinfonietta Cracovia and will conduct part of their 25th anniversary concerts in September 2019.

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Soloists with whom Mr. Payare has enjoyed collaborations include Daniil Trifonov, Frank Peter Zimmerman, Gil Shaham, Jean-Yves Thibaudet, Nikolai Lugansky, Christiane Karg, Alisa Weilerstein, Nikolaj Znaider, Piotr Anderszewski, Elisabeth Leonskaja, Sergey Khachatryan, Emmanuel Ax, Yefim Bronfman, and Dorothea Röschmann.

As an opera conductor, Mr. Payare made his acclaimed debut at the Glyndebourne Festival in 2019 conducting Rossini’s Il barbiere di Siviglia, and he has conducted Madame Butterfly and La bohème for Royal Swedish Opera and a new production of La traviata at Malmö Opera. In July 2012 he was personally invited by his mentor, the late Lorin Maazel, to conduct at his Castleton Festival in Virginia; in July 2015 he was subsequently appointed Principal Conductor of that Festival and conducted performances of Gounod’s Roméo et Juliette and a performance of Beethoven’s Symphony No. 9 in memory of Lorin Maazel.

A graduate of the celebrated El Sistema in Venezuela, Rafael Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the major orchestras in Venezuela, including the Simón Bolívar Symphony Orchestra.

Having also served as Principal Horn of the Simón Bolívar Symphony Orchestra, he took part in many prestigious tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Sir Simon Rattle, and Lorin Maazel.

In May 2012 Mr. Payare was awarded first prize at the Malko International Conducting Competition.

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TABLE OF CONTENTS

OCTOBER 2019

01 Letter from the Chief Executive Officer

PROGRAMS 08 October 5 & 6 | Rafael Payare’s Opening Weekend: Mahler 5 14 October 11 & 12 | A Midsummer Night’s Dream 24 October 19 | Kurt Elling Sings: A Century of Heroes 29 October 20 | “The Composer is Dead” by Nathaniel Stookey 32 October 26 | Disney · Pixar Coco In Concert Live to Film

YOUR SAN DIEGO SYMPHONY 04 Partner with a Player 06 Orchestra 34 Guest Artist Sponsors 35 Corporate Honor Roll 36 Honor Roll 39 Administration 40 Patron Information

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PARTNER WITH A PLAYER HAVE YOU EVER DREAMED OF BEING ON STAGE AT THE JOAN AND IRWIN JACOBS MUSIC CENTER? For a gift of $15,000 or more, you can join our current partners for an experience you will not want to miss.

BENEFITS • Invitation to Annual Side-by-Side onstage concert and dinner

• Keepsake photo of partner and musician

• Complimentary valet parking for our Jacobs Masterworks series

• Donor name listed in all programs

• P artner with a Player Concierge for your ticketing needs at the San Diego Symphony Orchestra or any orchestra nationwide

• I nvitation to Gould Room intermission receptions during the Jacobs Masterworks series

• P rofessional photograph on display in the Partner with a Player Gallery at the Jacobs Music Center

• Priority invitations to musician, board and concert special events • Subscription upgrade priority for Grand Tier Seating

SAN DIEGO FOUNDATION RANCHO SANTA FE FOUNDATION JEWISH COMMUNIT Y FOUNDATION ◊ DECEASED $100,000 AND ABOVE

Phyllis and Daniel Epstein Sheryl Renk, Principal Clarinet

Audrey Geisel◊ Dr. Seuss Fund Jahja Ling, Conductor Laureate

Sam B. Ersan Valentin Martchev, Principal Bassoon Julie Smith Phillips, Principal Harp

Joan and Irwin Jacobs Martha A. Gilmer, Chief Executive Officer

Dick◊ and Dorothea Laub Nancy Lochner, Associate Principal Viola

Kathy Taylor and Terry Atkinson Igor Pandurski, Violin

Maxwell Louis Shillman Gregory Cohen, Principal Percussion

$50,000–$99,999 Anonymous Anonymous Hernan Constantino, Violin Rita and Richard Atkinson Ryan J. DiLisi, Principal Timpani Una Davis and Jack McGrory Susan Wulff, Bass Silvija and Brian Devine Esther and Bud◊ Fischer Ethan Pernela, Viola

Karen and Warren Kessler Chi-Yuan Chen, Principal Viola KAREN AND WARREN KESSLER CHAIR

Linda and Shearn◊ Platt Benjamin Jaber, Principal Horn

Gayle and Donald Slate Angela Homnick, Violin

Allison and Robert Price

Phyllis and David Snyder Julia Pautz, Violin

Carol Lazier and James Merritt Sarah Skuster, Principal Oboe Sarah Tuck, Flute

Penny and Louis Rosso Andrew Watkins, Percussion and Assistant Principal Timpani

Evelyn Olson and William Lamden Andrea Overturf, Oboe and English Horn

Ivor and Colette Royston Yeh Shen, Violin

DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

Karen and Kit Sickels Jeremy Kurtz-Harris, Principal Bass SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Gloria and Rodney Stone P.J. Cinque, Bass Haeyoung Tang Sylvia and Roger Thieme Nicole Sauder, Violin Mitchell Woodbury Douglas Hall, Horn

$25,000–$49,999 Raffaella and John Belanich Christopher Smith, Principal Trumpet

Farrell Family Foundation Nuvi Mehta, Concert Commentator

Elizabeth and Dene Oliver Xian Zhuo, Cello

Sue and Bill Weber Jing Yan Bowcott, Violin

David Bialis Tricia Skye, Horn

Pam and Hal Fuson Courtney Secoy Cohen, Principal Librarian

Deborah Pate and John Forrest Jeff Thayer, Concertmaster

Kathryn and James Whistler Rachel Fields, Librarian

Pam and Jerry Cesak Samuel Hager, Bass Nikki A. and Ben G. Clay Mary Oda Szanto, Cello Karin and Gary Eastham Jason Karlyn, Viola Shirley Estes Matthew Garbutt, Principal Tuba Anne L. Evans Wesley Precourt, Associate Concertmaster

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Elaine Galinson and Herbert Solomon Yumi Cho, Violin Hervey Family Fund Piano and Celeste Chair Barbara Kjos Dorothy Zeavin, Viola Logan Chopyk, Trombone

DEBORAH PATE AND JOHN FORREST CHAIR

The Potiker Family in memory of Sheila and Hughes Potiker Sarah Schwartz, Violin

Sheryl and Harvey White Alexander Palamidis, Principal Second Violin

Raghu and Shamala Saripalli Susan Sharin and Laurina Young Rose Lombardo, Principal Flute

Sandra and Arthur Levinson

Karen and Jeff Silberman Jisun Yang, Assistant Concertmaster

Monica and Robert Oder Erin Douglas Dowrey, Percussion

Joyce and Ted Strauss Yao Zhao, Principal Cello

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Barbara and Harry Markowitz with their Partner with a Player musician Edmund Stein

Kathleen Seely Davis with her Partner with a Player musician Qing Liang

Anne Evans with her Partner with a Player musician, Associate Concertmaster, Wesley Precourt

$15,000–$24,999 Anonymous Joanna Morrison, Cello

Jill Gormley and Laurie Lipman Frank Renk, Clarinet and Bass Clarinet

Riley Mixson and Carol Young Theresa Tunnicliff, Clarinet

Dr. Miriam and Gene Summ Richard Levine, Cello

Eloise and Warren Batts Alicia Engley, Violin

Judith Harris and Dr. Robert Singer Michael Marks, Bass

Marilyn and Owen◊ O’Brien Wanda Law, Viola

Elizabeth and Joseph◊ Taft Section Horn Musician TBA

Gordon Brodfuehrer Kenneth Liao, Violin

Carol and Richard Hertzberg Nick Grant, Principal Associate Concertmaster Emeritus

Val and Ron Ontell John MacFerran Wilds, Trumpet

Linda and Raymond◊ Thomas Ray Nowak, Trumpet

Jane and Jon Pollock Amy Taylor, Flute and Piccolo

Isabelle and Melvin Wasserman Andrew Hayhurst, Cello

Seltzer Caplan McMahon Vitek Pei-Chun Tsai, Violin

Katrina W. Wu, The Wu Foundation Jian Wang, Cello

Jayne and Brigg Sherman Emily Moscoso, Oboe

Judy Gaze-Zygowicz and John Zygowicz

Julia R. Brown Leyla Zamora, Bassoon and Contrabassoon

Sheri Jamieson Zou Yu, Violin

Karen and Donald Cohn Hanah Stuart, Acting Associate Principal Second Violin Elisabeth Crouch Bass Trombone Musician TBA Kathleen Seely Davis Qing Liang, Viola Kimberly and Jeffrey Goldman John Stubbs, Violin

Marilyn James and Richard Phetteplace Jo Ann Kilty Marcia Bookstein, Cello Barbara and Harry Markowitz Edmund Stein, Violin Rena Minisi and Rich Paul Ryan Simmons, Bassoon

Stephen Silverman Ai Nihira, Violin Jeanette Stevens Kathryn Hatmaker, Violin Iris and Matthew Strauss

For more information about the Partner with a Player program, please contact Todd Schultz at 619.615.3910

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The San Diego Symphony Orchestra is supported in part by an award from the National Endowment for the Arts.

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SAN DIEGO SYMPHONY ORCHESTRA RAFAEL PAYARE Music Director

EDO DE WAART Principal Guest Conductor

JAHJA LING Conductor Laureate

VIOLIN Jeff Thayer Concertmaster

D EBORAH PATE AND

JOHN FORREST CHAIR

Wesley Precourt Associate Concertmaster Jisun Yang Assistant Concertmaster Alexander Palamidis Principal Second Violin Hanah Stuart Acting Associate Principal Second Violin

Nick Grant Principal Associate Concertmaster Emeritus Jing Yan Bowcott Yumi Cho Hernan Constantino Thomas Dougherty* Alicia Engley Kathryn Hatmaker Angela Homnick Kenneth Liao Ai Nihira Igor Pandurski Julia Pautz Nicole Sauder* Sarah Schwartz* Yeh Shen Edmund Stein John Stubbs Pei-Chun Tsai Zou Yu VIOLA Chi-Yuan Chen Principal

KAREN AND WARREN KESSLER CHAIR

Nancy Lochner Associate Principal Marcel Gemperli* Jason Karlyn* Wanda Law Qing Liang Rebecca Matayoshi* Ethan Pernela Dorothy Zeavin CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal

Andrew Hayhurst Richard Levine Joanna Morrison* Mary Oda Szanto Jian Wang* Xian Zhuo

TRUMPET Christopher Smith Principal John MacFerran Wilds Ray Nowak TROMBONE Kyle R. Covington Principal Logan Chopyk

BASS Jeremy Kurtz-Harris Principal

OPHIE AND ARTHUR BRODY S FOUNDATION CHAIR

BASS TROMBONE TBD

Susan Wulff Associate Principal P. J. Cinque Kaelan Decman* Samuel Hager Margaret Johnston+ Michael Wais

TUBA Matthew Garbutt Principal HARP Julie Smith Phillips Principal

FLUTE Rose Lombardo Principal

TIMPANI Ryan J. DiLisi Principal

Sarah Tuck

Andrew Watkins Assistant Principal

Amy Taylor PICCOLO Amy Taylor

PERCUSSION Gregory Cohen Principal

OBOE Sarah Skuster Principal

Erin Douglas Dowrey Andrew Watkins

Emily Moscoso*

ORCHESTRA PERSONNEL MANAGER Magdalena O’Neill

Andrea Overturf ENGLISH HORN Andrea Overturf DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

CLARINET Sheryl Renk Principal Theresa Tunnicliff Frank Renk BASS CLARINET Frank Renk BASSOON Valentin Martchev Principal Ryan Simmons Leyla Zamora

ASSISTANT PERSONNEL MANAGER Abigail Choi PRINCIPAL LIBRARIAN Courtney Secoy Cohen LIBRARIAN Rachel Fields

* Long Term Substitute Musician + Staff Opera Musician ˆ On leave

All musicians are members of the American Federation of Musicians Local 325.

CONTRABASSOON Leyla Zamora HORN Benjamin Jaber Principal

Financial support is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego.

Darby Hinshaw Assistant Principal & Utility Tricia Skye Douglas Hall

Marcia Bookstein

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BOARDS BOARD OF DIRECTORS

David R. Snyder, Esq., Chair* Warren O. Kessler, M.D., Immediate Past Chair* Sam Ersan, Vice Chair* Harold W. "Hal" Fuson, Vice Chair* Colette Carson Royston, Vice Chair* Kathleen Davis, Treasurer* J. William Weber, Secretary*

Terry Atkinson

Jeffrey Goldman

Sherron Schuster

Lisa Behun

Janet Gorrie

Jathan A. Segur

David Bialis

Kris Kopensky

Marivi Shivers

Julia R. Brown*

Dorothea Laub

Christopher D. Sickels

Pam Cesak*

Evelyn Olson Lamden

Donald M. Slate*

Ben G. Clay

Jeff Light

Gloria Stone

Una Davis

Adm. Riley D. Mixson

Elizabeth G. Taft

Phyllis Epstein*

Elizabeth Oliver

Margarita Wilkinson

Lisette Farrell

Deborah Pate

Mitchell R. Woodbury*

James L. Fitzpatrick

Linda Platt*

John Zygowicz*

*EXECUTIVE COMMITTEE MEMBER

HONORARY LIFETIME DIRECTORS

Dr. Irwin M. Jacobs

Anne Francis Ratner (1911-2011)

Herbert Solomon

Joan K. Jacobs

Lawrence B. Robinson

Mitchell R. Woodbury

Martha Gilmer

Beth Sirull

Judith Harris

David R. Snyder, Esq.

Warren O. Kessler, M.D.

Mark Stuart

Warren O. Kessler, M.D.

FOUNDATION BOARD OF DIRECTORS

Joan K. Jacobs, Chair Robert Caplan, Esq., Vice Chair Sandra Levinson, Secretary Mitchell R. Woodbury, Treasurer

Ellen Whelan, Esq.

PAST BOARD CHAIRS

2015-18 2014-15 2011-14 2009-11 2008-09 2007-08 2005-07 2004-05 2003-04 2001-03 2000-01 1998-00 1995-96 1994-95 1993-94

Warren O. Kessler, M.D. Shearn Platt Evelyn Olson Lamden Mitchell R. Woodbury Theresa J. Drew Steven R. Penhall Mitchell R. Woodbury Craig A. Schloss Esq. John R. Queen Harold B. Dokmo Jr. Ben G. Clay Sandra Pay Elsie V. Weston Thomas Morgan David Dorne, Esq.

1989-93 1988-89 1986-88 1984-86 1982-84 1980-82 1978-80 1976-78 1974-76 1971-74 1970-71 1969-70 1968-69 1966-68 1964-66

Warren O. Kessler, M.D. Elsie V. Weston Herbert J. Solomon M.B. “Det” Merryman Louis F. Cumming David E. Porter Paul L. Stevens Laurie H. Waddy William N. Jenkins L. Thomas Halverstadt Simon Reznikoff Robert J. Sullivan Arthur S. Johnson Michael Ibs Gonzalez Philip M. Klauber

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1963-64 1961-63 1960-61 1959-60 1956-58 1953-56 1952-53 1940-42 1938-39 1934-37 1930-33 1928-29 1927

Oliver B. James Jr. J. Dallas Clark Fielder K. Lutes Dr. G. Burch Mehlin Admiral Wilder D. Baker Mrs. Fred G. Goss Donald A. Stewart Donald B. Smith Mrs. William H. Porterfield Mrs. Marshall O. Terry Mouney C. Pfefferkorn Willett S. Dorland Ed H. Clay

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PROGRAM MASON BATES Alternative Energy Ford’s Farm, 1896 Chicago, 2012 Xinjiang Province, 2112 Reykjavik, 2222

INTERMISSION

RAFAEL PAYARE

SATURDAY, OCTOBER 5 | 8:00PM SUNDAY, OCTOBER 6 | 2:00PM

RAFAEL PAYARE’S OPENING WEEKEND: MAHLER 5

GUSTAV MAHLER Symphony No. 5 PART I 1. Trauermarsch (Funeral March) 2. Stürmisch bewegt mit größter Vehemenz (Moving stormily, with the greatest vehemence) PART II 3. Scherzo: Kräftig, nicht zu schnell (Vigorously, not too fast) PART III 4. Adagietto 5. Rondo-Finale

A JACOBS MASTERWORKS CONCERT

conductor Rafael Payare This concert is made possible, in part, through the generosity of Phyllis and Daniel Epstein and Gayle and Donald Slate.

All performances at The Jacobs Music Center’s Copley Symphony Hall The approximate running time for this program, including intermission, is two hours and five minutes.

San Diego Symphony welcomes members of the 2019 Southwest Horn Convention, who will present a pre-concert pop-up performance inside Copley Symphony Hall on Sunday, October 6.

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PROGRAM NOTES | RAFAEL PAYARE’S OPENING WEEKEND: MAHLER 5

ABOUT THE MUSIC Alternative Energy MASON BATES

Born January 23, 1977, Philadelphia, Pennsylvania.

PERFORMANCE HISTORY This concert marks the San Diego Symphony’s first performance of Mason Bates’ Alternative Energy.

APPROXIMATE PERFORMANCE TIME 25 minutes “At a junkyard looking for ‘car-part instruments’ for Alternative Energy (a new Chicago Symphony piece coming in February),” Mason Bates wrote on Twitter on October 27, 2011. Historians who used to transcribe sketches and search composer’s diaries for clues about how pieces of music came into being now scan tweets and YouTube videos—there is, in fact, a YouTube clip of Bates on a junket to Fermilab last May, where he went to collect sound samples from a particle accelerator for Alternative Energy—to understand the composition process.

Bates first made a name for himself as a composer who liked to incorporate electronics within orchestral music. That was not really unexpected from someone who first heard an orchestra listening to Pink Floyd and Moody Blues albums and was taken by the seamless fusion of orchestral and electronic elements.

When Bates started going to hear the Richmond Symphony in Virginia, where he grew up, he suddenly made contact with the great composers, and he began to develop an understanding of the orchestra’s place in history.

After a traditional musical upbringing in Richmond, which included piano lessons and singing in the choir, Bates studied composition and English literature in the Columbia–Juilliard joint program. He worked with David Del Tredici and John Corigliano, and then moved to the Bay Area in 2001 to enroll in the Ph.D. program at Berkeley’s Center for New Music and Audio Technologies. His career, like his music, is a singular mix of old-world establishment and New Age culture: he has been lavished with big-league honors, from institutions such as the American Academy in Rome and the American Academy for Arts and Letters (an award that “acknowledges the composer who has arrived at his or her own voice”), and he also has spent many nights as a DJ, spinning and mixing at dance clubs in San Francisco, New York City, Berlin, and Rome.

Alternative Energy, which occupied Bates for much of 2011, marked a new stage in his evolving—“and, perhaps, maturing,” as he says—approach to integrating electronics into the orchestra. “The sounds coming from the speakers are as carefully crafted as the sonorities in the orchestra,” he says, “and the influences reach far beyond techno.” And the use of scrap metal in his large percussion battery, as well as the Fermilab recording, is merely part of Bates’ ongoing quest to expand—and refine—his vocabulary of sound. Offsetting high-tech electronic sounds with old car parts fits perfectly with the sense of passing time and changing worlds that lies behind Alternative Energy. “The idea was that each movement would be separated by a hundred years,” Bates says, “starting with old energy (the first movement uses scrap metal to evoke a junkyard) and moving to new energy (the second movement S A N D IEGO SY M PHON Y ORCHE STR A 2 019 - 2 0 SE ASO N O C TO B E R 2 019

uses actual recordings from Fermilab to evoke a particle accelerator).”

Bates is, above all, a storyteller, and for him all music tells stories of one kind or another. “Sometimes that story is entirely on the level of pure sound,” he says, “but I find it especially exciting when fresh orchestral writing animates an imaginative extramusical narrative (as in Berlioz’s Symphonie fantastique or the Stravinsky ballets).” Bates was the Chicago Symphony Orchestra’s Mead Composer-in-Residence from 2010 to 2015. He had been tossing around the ideas behind Alternative Energy for a long time, but hearing Riccardo Muti’s performance of the Symphonie fantastique in April of 2011 and getting to know his “unique understanding of dramatic music” brought his “energy symphony” to life at last. Alternative Energy was the first work written expressly for the Chicago Symphony and Riccardo Muti as part of this residency. n

MASON BATES ON ALTERNATIVE ENERGY Alternative Energy is an “energy symphony” spanning four movements and hundreds of years. Beginning in a rustic Midwestern junkyard in the late nineteenth century, the piece travels through ever greater and more powerful forces of energy—a present-day particle collider, a futuristic Chinese nuclear plant—until it reaches a future Icelandic rain forest, where humanity’s last inhabitants seek a return to a simpler way of life.

Concert Sponsor Spotlight PHYLLIS AND DANIEL EPSTEIN DAN AND PHYLLIS have been involved with the San Diego Symphony for the last several years. Both have served on the board during this time.

Concert Sponsor Spotlight GAYLE AND DONALD SLATE Gayle and Don Slate have been staunch supporters of the San Diego Symphony Orchestra for many years. Don serves on the San Diego Symphony Orchestra Board and Executive Committee and served as Chair of the Development Committee.

Gayle was a founding member of Symphony 1000, Symphony Stars and Partner with a Player.

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PROGRAM NOTES | RAFAEL PAYARE’S OPENING WEEKEND: MAHLER 5 The idée fixe that links these disparate worlds appears early in Ford’s Farm, 1896. This melody is heard on the fiddle—conjuring a Henry Ford–like figure—and is accompanied by junkyard percussion and a “phantom orchestra” that trails the fiddler like ghosts. The accelerando cranking of a car motor becomes a special motif in the piece, a kind of rhythmic embodiment of ever more powerful energy. Indeed, this crank motif explodes in the electronics in the second movement’s present-day Chicago, where we encounter actual recordings from the Fermilab particle collider. Hip-hop beats, jazzy brass interjections, and joyous voltage surges bring the movement to a clangorous finish.

Zoom a hundred years into the dark future of the Xinjiang Province, 2112 where a great deal of the Chinese energy industry is based. On an eerie wasteland, a lone flute sings a tragically distorted version of the fiddle tune, dreaming of a forgotten natural world. But a powerful industrial energy simmers to the surface, and over the ensuing hardcore techno, wild orchestral splashes drive us to a catastrophic meltdown. As the smoke clears, we find ourselves even farther into the future: an Icelandic rain forest on a hotter planet. Gentle, out-oftune pizzicatos accompany our fiddler, who returns over a woody percussion ensemble to make a quiet plea for simpler times. The occasional song of future birds whips around us, a naturalistic version of the crank motif. Distant tribal voices call for the building of a fire—our first energy source. n

Symphony No. 5 GUSTAV MAHLER

Born July 7, 1860; Kalischt, Bohemia Died May 18, 1911; Vienna, Austria PERFORMANCE HISTORY Gustav Mahler’s Fifth Symphony was first performed by the Orchestra under the direction of Peter Erős in the 1970’s. It was last performed by the San Diego Symphony under the direction of Jahja Ling as part of the 2011-12 season.

APPROXIMATE PERFORMANCE TIME 72 minutes The lone trumpet call that opens this symphony launches a whole new chapter in Mahler’s music. Gone is the picturesque world of the first four symphonies—music inspired by folk tales and song, music that calls on the human voice and is explained by the written word. With the Fifth Symphony, as the conductor Bruno Walter put it, Mahler “is now aiming to write music as a musician.” Walter had nothing against the earlier works; in fact, he was one of the first serious musicians to understand and to conduct those pieces long before it was fashionable to champion the composer’s cause. Walter simply identified what other writers since have reemphasized: the unforeseen switch to an exclusively instrumental symphonic style, producing music, in symphonies nos. 5 through 7, which needs no programmatic discussion.

In fact, the break in Mahler’s compositional style is neither as clean nor as radical as we might at first think. The trumpet music that launches this symphony is a quotation from the climax of the first movement of the Fourth Symphony—a direct link, in other words, with the world Mahler has left behind. And Mahler has hardly given up song for symphony. In fact, the

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new focus on purely instrumental symphonies seems to have freed Mahler to produce, at the same time, an extraordinary outpouring of songs, including most of his finest. And, although they are not sung—or even directly quoted—in symphonies nos. 5 through 7, their presence, and their immense importance to Mahler, is continually felt. The great lumbering march that strides across the first movement of this symphony, for example, shares much in spirit, contour, and even detail with the first of the Kindertotenlieder and the last of his Des Knaben Wunderhorn settings, “Der Tamboursg’sell” (The drummer boy), both written while the symphony also was taking shape.

Mahler was a “summer composer,” as he put it, compressing a year’s pent-up musical work into the one holiday he enjoyed as a professional conductor. “His life during the summer months,” his wife Alma later recalled, “was stripped of all dross, almost inhuman in its purity.” He wrote night and day, and several projects took shape in his head at once. In June of 1901, he settled in a villa at Maiernigg on the Wörthersee, where, before the summer was over, he wrote four of the Rückert songs, three of the Kindertotenlieder (also to texts by Rückert), “Der Tamboursg’sell,” and drafted two movements of his Fifth Symphony. Each piece, dating from the same time, shares something with the others—the kind of cross-referencing that is at the heart of Mahler’s working method.

Although Mahler left no scenario to follow for this symphony— no outward sign that this is explicit, programmatic music—it is so obviously dramatic music. For Donald Mitchell, among the most insightful of Mahler scholars, the Fifth Symphony “initiates a new concept of an interior drama.” The idea of a programmatic symphony has not vanished, “it has gone underground, rather, or inside.”

Mahler has even left us a few clues, not dictating what the music should mean to us, but suggesting what it meant to him.

The central scherzo is “a human being in the full light of day, in the prime of his life.” And the famous Adagietto is, if we believe Willem Mengelberg’s assertion, Gustav Mahler’s declaration of his love for Alma, presented to his wife without a word of explanation.

As in the later Seventh Symphony and the projected Tenth, the Fifth Symphony is divided into five movements. But more important are the numbers defining three basic parts, with the weighty scherzo standing alone in the middle. Part 1 views life as tragedy, moving from the bleak funeral march of the first movement to the deflated climax of the second. The third part approaches, and ultimately achieves, triumph. Part 2, the lively scherzo, is the hinge upon which the music shifts.

T he first movement caused Mahler considerable trouble. He continued to retouch the orchestration until 1907, three years after the first performance, and as late as 1911, the last year of his life, he said. “I cannot understand how I could have written so much like a beginner. . . . Clearly the routine I had acquired in the first four symphonies had deserted me altogether, as though a totally new message demanded a new technique.”

Mahler had written funeral marches before—the first three symphonies all include them—but this is a new kind of funeral music: tough as nails, lean, scrubbed clean of simple pictorial touches. It is a much more concise movement than the tremendous march that opens the Resurrection Symphony.

Here the march gives way to a defiant trio—a terrible outburst of grief; then the cortege returns, followed by the trio, now dragged down to the march’s slow, lumbering pace. Near the S A N D I EGO SY MPHON Y ORC HES TR A 2 01 9 -2 0 SE A SO N O C TO B E R 2 0 1 9

PROGRAM NOTES | RAFAEL PAYARE’S OPENING WEEKEND: MAHLER 5 end there is a new idea, full of yearning—a rising minor ninth falling to the octave—that will find fulfillment in the second movement, just as that movement will echo things already developed here. The trumpet calls the first movement to a close, in utter desolation.

The second movement is both a companion to and a commentary on the first. It is predominately angry and savage music, with periodic lapses into the quieter, despairing music we have left behind. There is one jarring moment, so characteristic of Mahler, when all the grief and anger spills over into sheer giddiness—a momentary indiscretion, like laughter at the graveside. The music quickly regains its composure, but seems even more disturbed. Near the end, the trumpets and trombones begin a noble brass chorale, brave and affirmative.

For a moment it soars. And then, suddenly, almost inexplicably, it loses steam, falters, and falls flat. It is one of Mahler’s cruelest jokes.

The great central scherzo caused problems at the first rehearsal.

From Cologne Mahler wrote to Alma: The scherzo is the very devil of a movement. I see it is in for a peck of troubles! Conductors for the next fifty years will all take it too fast and make nonsense of it; and the public—oh, heavens, what are they to make of this chaos of which new worlds are forever being engendered?

It is hard to know just how fast Mahler felt this music should go—it is marked “vigorously, not too fast”—and today his peculiar mixture of ländler (a nice country dance) and waltz (more upscale) seems neither chaotic nor nonsensical, although it is still provocative. The whole is an ebullient dance of life, with moments of simple nostalgia, and, when the horns seem to call across mountain valleys, an almost childlike wonder.

The much-loved Adagietto is really the introduction to the finale, incomplete on its own, not so much musically as psychologically. Ironically, for many years this was one of the few Mahler excerpts ever played at concerts; it was later borrowed, carelessly, as movie music for Luchino Visconti’s Death in Venice, and won still more new converts. Here Mahler finds a fresh kind of lyricism that he gives not to the winds, which so often sang in the earlier symphonies, but to the strings alone, over the gentle, hesitant, almost improvisatory strumming of the harp.

This must have been very persuasive to audiences not yet ready for Mahler’s tougher, more complex movements. But it is by no means simple music, and although there are fewer notes on the page than usual, Mahler is no less precise in demanding how they should be played. (The first three notes of the melody, for example, are marked pianissimo, molto ritardando, espressivo, and crescendo.) And, if this is a song without words, it is intimately related to perhaps the greatest of all Mahler songs, the Rückert setting “Ich bin der Welt abhanden gekommen” (I am lost to the world), written that same summer.

A single note from the horn—so fresh and unexpected, with the sound of strings still in our ears—calls us back to earth.

The finale begins at once with the suggestion of one of the Wunderhorn melodies, and then changes direction. This is radiant music, so infectious that part of the Adagietto even turns up, virtually unrecognizable in these up-tempo surroundings. Mahler’s Fifth is his Eroica, moving from tragedy to triumph, and his triumph could not be more sweeping.

Ultimately, the same brass chorale that fell to defeat in the S A N D IEGO SY M PHON Y ORCHE STR A 2 019 - 2 0 SE ASO N O C TO B E R 2 019

second movement enters and carries the finale to a proper, rollicking conclusion.

Finally, a word about Mahler’s choice of key. The Fifth Symphony begins in C-sharp minor and ends five movements later in D major. Until Mahler’s time, it was customary to begin and end in the same key (or to finish in the relative major if the piece started in the minor), and some of Mahler’s symphonies do that. But many do not, and this kind of progressive tonality, as it is often called, is an essential part of his musical language, an example of how he helped to stretch the boundaries and the meaning of tonality. In the Fifth Symphony, it underlines the “inner drama” of the music: the struggle to rise from C-sharp to D, and from minor to major, underlines the music’s quest to rise from tragedy to victory. n Program Notes by Phillip Huscher, program annotator for the Chicago Symphony Orchestra. Reprinted and modified with permission. © 2019 by CSOA

Rafael Payare’s biography can be found on page 2.

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THE SAN DIEGO SYMPHONY

WELCOMES YOU TO ITS 2019-2020 SEASON

Congratulations to Principal Associate Concertmaster Emeritus NICK GRANT for Fifty Years of Service to the San Diego Symphony!

The San Diego Symphony congratulates Principal Associate Concertmaster Emeritus Nick Grant for fifty years of service to the San Diego Symphony this season. Mr. Grant first joined the violin section of the Orchestra in the 1969-70 season as a teenager, one of the youngest-ever musicians to successfully audition for the SDSO. As the longest-serving string principal in the 109-year history of the SDSO (40 years), he has played a vital role in shaping the sound and technique of the section to its current acclaimed state of polish and consistency.

Nick has served extensively as Principal 2nd Violin, Associate Concertmaster and Concertmaster of the SDSO, becoming the only musician in the 52 major orchestras of the United States to hold three different principal positions in a single major orchestra during his career. As an interesting career highlight, Nick once gave the first, and so far only, performance in San Diego history of all 24 of Nicolo Paganini’s iconic Violin Caprices in a single evening at Balboa Park’s Old Globe Theatre. He also performed the SDSO premiere and only performance of Paganini’s encore showpiece “Nel cor più non mi sento” and has been a frequent soloist with the Orchestra over the years.

Nick Grant is a San Diego native who grew up in Mission Hills and earned a Bachelor’s degree from the Curtis Institute in Philadelphia. Of his 50-year milestone he has this to say:

“I have been honored to be part of the great growth and achievements of this orchestra over these many years. Performing with these musicians has inspired several of my own accomplishments, and I am quite proud of both!”

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PROGRAM ANTONIO ESTÉVEZ Mediodía en el llano (Midday on the Plains) ROBERT SCHUMANN Piano Concerto in A minor, Op. 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace Víkingur Ólafsson, piano

INTERMISSION

VÍKINGUR ÓLAFSSON

FRIDAY, OCTOBER 11 | 8:00PM SATURDAY, OCTOBER 12 | 8:00PM

A MIDSUMMER NIGHT’S DREAM A JACOBS MASTERWORKS CONCERT

conductor Rafael Payare piano Víkingur Ólafsson soprano Tasha Koontz mezzo soprano Kira Dills-DeSurra Women of the San Diego Master Chorale music director John Russell This concert is made possible, in part, through the generosity of Phyllis and Daniel Epstein.

All performances at The Jacobs Music Center’s Copley Symphony Hall The approximate running time for this concert, including intermission, is two hours and ten minutes.

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FELIX MENDELSSOHN Incidental Music to A Midsummer Night’s Dream, Op. 61 With text from A Midsummer Night’s Dream

by William Shakespeare (adapted by Gerard McBurney) Overture Scherzo (after Act I) Act II, Sc. 1: “Over hill, over dale;” Entry of Oberon and Titania Act II, Sc. 2: “You Spotted Snakes, With Double Tongue” Act II, Sc. 2: “What thou seest, when thou dost wake” Intermezzo, after Act II Act III, Sc. 1: “What hempen homespuns have we swaggering here” Nocturne (end of Act III) Act IV, Sc. 1: “But first I will release the Fairy Queen” Wedding March (after Act IV) Act V, Sc. 1: Dialogue and Funeral March Dance of the Clowns Reprise of Wedding March (Exit of Lovers) Finale, Dialogue, and Song: “Through this house give glimmering light” Tasha Koontz, soprano Kira Dills-DeSurra, mezzo soprano Women of the San Diego Master Chorale Roger Mueller, Theseus/Oberon Jill Shellabarger, Hippolyta/Titania Matthew Krause, Lysander/Egeus Susan Shunk, Hermia Jonathan Mastro, Puck Brad Armacost, Bottom Scott Rad Brown, Quince/Flute

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PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM

ABOUT THE MUSIC

Concert Sponsor Spotlight PHYLLIS AND DANIEL EPSTEIN

Mediodía en el llano (Midday on the Plains) ANTONIO ESTÉVEZ

Born January 3, 1916, Calabozo, Venezuela Died November 26, 1988, Caracas, Venezuela

DAN AND PHYLLIS have been involved with the San Diego Symphony for the last several years. Both have served on the board during this time.

PERFORMANCE HISTORY This concert marks the first San Diego Symphony performance performance of Antonio Estévez’s Mediodía en el llano.

APPROXIMATE PERFORMANCE TIME 9 minutes Antonio Estévez learned to play the saxophone as a boy but soon switched to oboe. At age 18 he entered the Escuela de Musica y Declamación in Caracas, where he studied composition with Vicente Emilio Sojo. In the meantime, however, the young man became so proficient an oboist that he played that instrument in the Caracas Symphony Orchestra for some years. Estévez became good friends with Aaron Copland, who invited him to study with Copland at Tanglewood during the summer of 1946. Estévez’s most famous composition is his Cantata Criolla (1954), a massive work for vocal soloists, chorus and orchestra that tells of a singing contest between Florentino, a Venezuelan plainsman, and the Devil. At about age 50, Estévez became interested in electronic music and moved to Paris for further study. Among his later compositions were such electronic works as Cosmovibraphonia and Cromofonia, which were sometimes used to accompany art exhibits.

Mediodía en el llano is the work of a very young composer – Estévez was only 26 when his teacher Sojo commissioned an orchestral composition from him in 1942. Estévez responded with the Suite Llanera (Suite of the Plains), a three-movement piece that depicted the Venezuelan plains at morning, noon and evening. The composer made his conducting debut when he led the premiere later that year, but he was dissatisfied with the outer movements and discarded them. The middle movement, Mediodía en el llano, now stands alone as an independent work.

Mediodía en el llano is a brief tone poem that sets out to capture the stillness and the expanse of the Venezuelan plains at mid-day. This is a very subtle score – even as a young man Estévez was an accomplished orchestrator. Mediodía is for the most part quite subdued: the pace is slow, the mood calm, the dynamic very quiet. Yet within that quiet, Estévez writes with great imagination for the wind instruments, whose parts give character to the vast wilderness the music depicts. At about the mid-point, Mediodía suddenly flares up: the tempo increases slightly, the entire orchestra suddenly awakens, and matters drive to a spirited climax. And just as suddenly the mood of calm returns, we are surrounded by stillness, and the music seems to vanish into the distance. n Program note by Eric Bromberger

Piano Concerto in A minor, Op. 54 ROBERT SCHUMANN

Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany PERFORMANCE HISTORY In 1951 Fabien Sevitzky led the San Diego Symphony with Menahem Pressler as soloist. Most recently it was performed under the direction of Jahja Ling with pianist Andrew von Oeyen during the 2012-13 season.

APPROXIMATE PERFORMANCE TIME 31 minutes When, in 1828, at the age of eighteen, Robert Schumann began his piano studies with Friedrich Wieck, Wieck’s daughter Clara was just nine and already a prodigy. Perhaps she peeked in on her father’s lessons as Robert played Hummel’s A minor concerto, his first assignment. Eighteen years later, Robert Schumann would unveil his own A minor piano concerto, played by his young bride, the same Clara, now grown up and a major talent. We wouldn’t know from this effortless and exuberant music that their wedding in September 1840 met with her father’s fierce disapproval, or that Schumann had been struggling to write a concerto for nearly twenty years.

As early as 1827, Schumann’s diary mentions the “beginnings of a piano concerto in F minor.” That piece was completed in 1830 in a version for piano alone and published as his op.

1, the Abegg Variations (named for the young woman who held Robert’s affections before Clara). There’s evidence of work on another piano concerto, in D minor, the year before his marriage to Clara. Then, secure in the strength of his love, following the extraordinary outpouring of song in the months surrounding his wedding, Schumann dashed off a fantasy in A minor for piano and orchestra—a one-movement work written in little more than a week. Clara played through the piece at a reading rehearsal in the Leipzig Gewandhaus in August 1841.

(She gave birth to their first child, Marie, barely two weeks later, establishing the balance of career and family she would maintain for many years.)

The first year of his marriage was a remarkably productive period for Schumann—within a matter of weeks he wrote his first two symphonies, began other orchestral works, and turned his attention to opera and then chamber music, while

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PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM the fantasy sat on a shelf, unpublished, for some time. In the summer of 1845, Schumann composed a rondo-finale and a middle movement to go with the fantasy to complete the piece we now know as his Piano Concerto in A minor. Clara gave the first performance of the concerto at the Leipzig Gewandhaus on New Year’s Day, 1846.

This A minor concerto owes a debt to the concertos by Moscheles and Hummel rather than to the Viennese models of Mozart and Beethoven. Schumann calls it “something between symphony, concerto, and grand sonata.” It’s not any of those, but an extensive work for piano solo with an indispensable orchestral commentary. Schumann ignores the powerful drama and delicate balance of orchestra and piano favored by Mozart and Beethoven—his orchestration is conveniently transparent, allowing the spotlight to fall on the piano in the opening measures and never shift thereafter. The concerto reflects the ebullient, unforced lyricism that marks Schumann’s work at its best. It is, in Donald Tovey’s admiring opinion, “recklessly pretty.”

Although it relies on sonata form, the first movement was written as a fantasy, not as the opening of a concerto, and so it doesn’t feature the double exposition (one for orchestra alone, another in which the solo joins) common to early nineteenth-century concertos. It opens with a flamboyant piano flourish that establishes the prominence of the piano solo and continues with a plaintive four-note descending motif that will tie all three movements together. Although this is essentially the same motif often associated with longing and farewell in Schumann’s other music from this period, here it finds a home in one of the sunniest, most untroubled works ever written in a minor key.

The texture is a tapestry of brilliant, endless filigree in the piano part woven with the strong strands of melody which periodically emerge in other instruments. After the first orchestral outburst, the piano ventures into the unexpected key of A-flat to meditate at length on the first motif, now as expansive and eloquent as a Chopin nocturne (Schumann had already done an outright Chopin imitation in one section of Carnaval). After a fairly standard recapitulation, the piano gathers momentum and plays on, right through music designed for orchestra alone, into a grand, written-out cadenza. Finally, orchestra and piano march off together with a snappy version of the main theme, which retreats into the distance, though the piano lingers to provide the final cadence.

The second movement begins with awkward exchanges between piano and orchestra—the halting, careful conversation of recent acquaintances. A lovely, swinging theme that appears in the cello brings the movement to life. The conversation starts up again, but is interrupted by ghostly reminders of the concerto’s opening four-note motif, and then, without pause, by the full force of the finale’s rondo theme.

The finale has nearly a thousand measures of music, but it flies by as one coherent, nearly breathless statement. In addition to the boldly assertive rondo theme itself, Schumann tosses out a number of felicitous tunes, some, like his most characteristic melodies, rhythmically playful enough to discourage a tapping foot. After a final orchestral reprise of the rondo theme, the piano launches an extensive coda, which seems quite reluctant to bring such exuberance to an end. n Program Notes by Phillip Huscher, program annotator for the Chicago Symphony Orchestra. Reprinted and modified with permission. © 2019 by CSOA

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Incidental Music to A Midsummer Night’s Dream, Op. 61 FELIX MENDELSSOHN

Born February 3, 1809, Hamburg, Germany Died November 4, 1847, Leipzig, Germany PERFORMANCE HISTORY In 1936 Nino Marcelli conducted the San Diego Symphony in its first performance of excerpts of the incidental music. This will be the first performance of the complete score.

APPROXIMATE PERFORMANCE TIME 70 minutes In recent decades, music lovers have given Mendelssohn little thought, and the 200th anniversary of his birth in 2009 passed with little fanfare. His life wasn’t dramatic enough to inspire plays or motion pictures (he was born wealthy and died richer); his profile is too ordinary to grace a T-shirt. But during his lifetime, Robert Schumann said that “Mendelssohn is the Mozart of the nineteenth century, the most illuminating of musicians, who sees more clearly than others through the contradictions of our era and is the first to reconcile them.”

Goethe went so far as to claim that Mendelssohn bore “the same relation to the little Mozart that the perfect speech of a grown man does to the prattle of a child.” Throughout the nineteenth century, Mendelssohn was regularly discussed in the same breath as Bach, or as Beethoven’s natural successor.

Today, however, we are apt to take Mendelssohn for granted, despite the real beauty of his music and the undeniable significance of his achievements.

Mendelssohn was the most astonishing child prodigy among composers. Mozart, for all his brilliance, didn’t find and master his own voice at so early an age, and even Schubert, one of history’s most amazing early achievers, produced nothing to compare with the Octet for Strings Mendelssohn composed at sixteen or the overture to Shakespeare’s A Midsummer Night’s Dream he wrote the following year.

Mendelssohn, admittedly, was no ordinary child. He was born into a wealthy German Jewish family and grew up in a home filled with music and literature and frequented by distinguished guests. His father Abraham was a prosperous banker, and his grandfather was the famous philosopher Moses Mendelssohn.

(Years later, after Felix had made his mark, Abraham would say, “First I was the son of my father. Now I am the father of my son.”) His sister Fanny, four years older, showed exceptional musical talent, although, for reasons that have nothing to do with art, she was fated to become one of the nineteenth century’s lost composers.

From an early age, Felix displayed many talents: he wrote poetry, played the piano, sketched, and drew—one of his first teachers thought his young pupil might make his name as a painter. At ten, he began to study composition with Carl Friedrich Zelter, a conservative composer who never wrote anything as impressive as Mendelssohn’s first efforts. The Mendelssohn family home in Berlin was a gathering place for the most important creative artists and intellectuals of the day, and it was there, during the regular Sunday musicales, that young Felix first heard his music performed, sometimes almost as soon as the ink was dry.

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PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM The most famous of Shakespeare’s plays were often read aloud (in August Wilhelm Schlegel’s new German translation) and sometimes even acted out in the Mendelssohn parlor.

The Mendelssohn family library added Schlegel’s edition of A Midsummer Night’s Dream to its collection in 1826, and it apparently was for an at-home performance of the play that year that Felix wrote this overture, originally scored for two pianos. Perhaps recognizing the magnificence of his own achievement, he orchestrated it almost at once. It was publicly performed within the year—the concert, which also featured the eighteen-year-old composer as piano soloist, marked his first public appearance—and often again during the composer’s life; its popularity hasn’t faded since.

In August 1843, the king of Prussia, Frederick William IV, who liked Mendelssohn’s music, asked him to write incidental music for a new production of A Midsummer Night’s Dream.

Now established, famous, and already even considered old-hat by the avant-garde, Mendelssohn quickly set to work on a “sequel” to his most celebrated work, in the process recapturing his childhood love for Shakespeare and creating some of his greatest music. (He didn’t tamper with the overture, recognizing that it was arguably his most perfect composition.)

Mendelssohn interspersed the play with a series of songs, dances, entr’actes, and short melodramas (music designed to underlay the spoken words)—all taking their stylistic cues and sometimes also thematic material from the earlier overture.

The result, despite the seventeen years and forty opus numbers that separate them—the overture was published as op. 21, the incidental music as op. 61—is a remarkably integrated, unified, and seamless work of theatrical music.

The overture immediately sets the scene. With four simple, yet entirely distinctive, woodwind chords—a real “once upon a time” beginning—Mendelssohn transports us to Shakespeare’s magic-filled woods near Athens, where the play is set. The fleet,

“Shall we their fond pageant see?

Lord, what fools these mortals be!”

Mendelssohn’s A Midsummer Night’s Dream on Stage – A Note from the Director In 1826, at the age of just 17, Felix Mendelssohn created a blazing masterpiece, his concert overture to Shakespeare’s A Midsummer Night’s Dream. This extraordinary score vividly reimagines in musical terms all the central characters and ideas of Shakespeare’s comedy - you hear the beautiful rising moon at the beginning, the magical dancing of fairies in the forest, the grandeur of the King and Queen, the sentimental passions of the lovers, the lumpen dancing of the “rude mechanicals” and, most famously, the “heehaw” braying of Bottom when he is “translated” and given a donkey’s head, as well as the hunting horns and wedding celebrations at the end. The astonishing success of this highly pictorial music made the teenage composer internationally famous.

16 years later, when Mendelssohn was 33 years old and one of the leading composers in Europe, he was invited by the King of Prussia to use the same musical ideas to create a full-length theater score to accompany a spoken performance of the whole play. (The original overture was

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scurrying music that follows, catching fire when the last of the chords turns from major to minor, creates an indelible sonic image of the fairy world that no one, including Mendelssohn himself, has ever surpassed. And just as surely, Mendelssohn represents other elements in the play, including the young lovers and, in the homely braying of the closing theme, Bottom the Weaver turned ass.

The incidental music includes some of Mendelssohn’s loveliest and most enduring work, even though it is rarely performed in conjunction with the play it was designed to accompany. The breathtaking scherzo that introduces Shakespeare’s second act—and transports us to Shakespeare’s fairy world—is the most celebrated example of the featherlight, will-o’-the-wisp style for which Mendelssohn is known. The first of two vocal pieces is a fleet, gossamer setting of “You spotted snakes” for women’s voices. The impassioned intermezzo—it serves as an entr’acte between acts 2 and 3—and the atmospheric nocturne, with its haunting horn calls, have both found a home in the concert hall. The famous wedding march—actually another entr’acte, dividing acts 4 and 5—manages to sound fresh and ingenious despite its near over-familiarity. (Listen to how Mendelssohn switches keys from the opening fanfare to the big tune that follows.) Mendelssohn lavished more music on Shakespeare’s fifth and final act than any other, including a tiny funeral march that seems to anticipate Mahler and a clown dance based on Bottom’s donkey theme from the overture. The finale is almost operatic in its sweep, incorporating both song and melodrama, and revisiting earlier music in a new light.

Mendelssohn ends as he began, though the same chords, once filled with childlike anticipation, now seem forever changed. n Program Notes by Phillip Huscher, program annotator for the Chicago Symphony Orchestra. Reprinted and modified with permission. © 2019 by CSOA

never intended to be played in a theater.) What resulted is the mature Mendelssohn’s only theater work – he planned an opera at the end of his life but died before completing more than a few minutes of music. And from the time of its first performance in 1843, for around a century theater companies the world over nearly always included this music to accompany the play whenever possible.

In more recent years, tastes have changed. Dramatic theaters no longer have orchestra pits, or the budget to pay for them, so Mendelssohn’s complete score is rarely heard. Suites from it are played quite often, but a very large part of this music is written – like movie underscoring – to accompany the actors as they speak.

In this special new production, with beautiful atmospheric projections by the Chicago artist Mike Tutaj, the audience will hear every delicious note that Mendelssohn wrote for Shakespeare’s comedy, while seven San Diego actors perform a cut-down version of the original play, allowing us to follow the twists and turns of the story, enjoy the humor and the tears, and experience exactly what Mendelssohn meant when he composed the music in this way. n – Gerard McBurney, Creative Consultant to San Diego Symphony

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PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM FOR THIS PRODUCTION OF A MIDSUMMER NIGHT’S DREAM: Gerard McBurney, stage director Mike Tutaj, projection designer Amanda Zieve, lighting designer Jenny Harber, stage manager

ABOUT THE ARTISTS Rafael Payare’s biography can be found on page 2.

Pianist VÍKINGUR ÓLAFSSON’s remarkable originality and powerful musical conviction have seen him, in just a few years, take the music world by storm to become one of the most sought-after artists of today.

Mr. Ólafsson made an unforgettable impact with the release of his two landmark albums, Philip Glass Piano Works and Johann Sebastian Bach on Deutsche Grammophon, for whom he is an exclusive recording artist. Praised for revealing new possibilities within the music, Johann Sebastian Bach – featuring diverse original compositions and transcriptions, including Mr. Ólafsson’s own – deeply resonated with audiences and critics around the world. It appeared in multiple best albums of the year lists, was named one of the greatest-ever Bach recordings in Gramophone and won Best Instrumental and overall Album of the Year at the BBC Music Magazine Awards 2019.

Mr. Ólafsson’s previous album, Philip Glass Piano Works was an equal success and saw him named “Iceland’s Glenn Gould” by the New York Times and “breathtakingly brilliant pianist” by Gramophone, while Le Monde heralded the pianist’s “volcanic temperament, great virtuosity, taste for challenges.” Mr. Ólafsson’s anticipated next album on Deutsche Grammophon will be launched in the 2019-20 season.

With a captivating ability to communicate both on and off-stage, Mr. Ólafsson’s coming seasons are marked by a series of high-profile international artist residencies at some of the world’s top concert halls. This begins in 2019-20 at the Konzerthaus Berlin with 14 performances over 11 different projects, playing concertos by Thomas Adès, Schumann, Daníel Bjarnason and Mozart, two solo recitals and chamber programs with the likes of Martin Fröst and Florian Boesch.

This season will see Víkingur Ólafsson give the French premiere of John Adams’ Piano Concerto No. 2 with Orchestre Philharmonique de Radio France; he will also perform the work with Netherlands Radio Philharmonic Orchestra – both with Adams conducting. Other upcoming concerts include: Konzerthausorchester Berlin with Christoph Eschenbach; Hallé with Klaus Mäkelä; Hong Kong Philharmonic with Jaap van Zweden; Bergen Philharmonic Orchestra with Ed Gardner; San Diego Symphony with Rafael Payare; and Iceland Symphony Orchestra with Daníel Bjarnason. Mr. Ólafsson will also give solo recitals at Wiener Konzerthaus, Lucerne Festival, Konzerthaus Berlin, Gothenburg Concert Hall and across Japan for a recital tour. n

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Recognized by The San Diego Union Tribune for her “luscious tone,” soprano TASHA KOONTZ is an artist garnering attention from coast to coast. Ms. Koontz was recently honored to be named a Finalist in the Fritz and Lavinia Jensen Foundation Vocal Competition in New York City and is the Third Prize All-Around Winner in the Musical Merit Foundation of Greater San Diego Competition, recognizing the best talent in the categories of winds, strings, piano, pipe organ, and voice.

Ms.Koontz lends her unique combination of nuanced and vocally exciting performances to a gallery of leading ladies in her repertoire, including Violetta in La traviata, Mimi in La bohème, and Donna Anna in Don Giovanni, among many others. Recent performances include her debut with Chicago Symphony Orchestra singing High Priestess in Aida under the baton of Maestro Riccardo Muti. In the fall of 2019 Ms.Koontz will reprise the role of High Priestess with San Diego Opera.

Ms. Koontz is a Master of Music graduate of the Jacobs School of Music at Indiana University and received her Bachelor of Music from Northwestern University. n

KIRA DILLS-DESURRA is a vibrant American mezzo soprano whose magnetic stage presence communicates effortless charm and truth. Last season she debuted with Opera Colorado as Flora (La traviata), Gertrude Stein (Tom Cipullo’s After Life), and Cherubino (Le nozze di Figaro). She was also featured in touring productions as Stéphano (Roméo et Juliette) and Hansel (Hansel and Gretel).

Ms. Dills-DeSurra was a Central City Opera Apprentice Artist 2017 and 2018, singing Zweite Dame (Die Zauberflöte) and Mercédès (Carmen). This summer she endeavoured into early music, playing Diana in La Calisto with Opera NEO. In 2019/20 she returns to Opera Colorado as an Artist in Residence for a performance of Rosina (Il barbiere di Siviglia) and Shepherd Boy (Tosca).

A champion of new and rarely performed works, Ms. DillsDeSurra has performed in many American premieres, including several coproductions with Chicago Opera Theater and Long Beach Opera. She has also cultivated skills in musical improvisation and circus arts as part of her broad-ranging palate of storytelling tools.

Ms. Dills-DeSurra earned her Artist Diploma and Master of Music from Roosevelt University: Chicago College of Performing Arts and Bachelor of Music from the University of Southern California. n

The SAN DIEGO MASTER CHORALE (SDMC) is San Diego’s premier choral ensemble, showcasing more than 100 of San Diego’s finest singers. Established in 1961, SDMC is the preferred choral ensemble for the San Diego Symphony Orchestra and other leading performing arts organizations and

S A N D I EGO SY MPHON Y ORC HES TR A 2 01 9 -2 0 SE A SO N O C TO B E R 2 0 1 9

PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM produces an annual series of concerts featuring the world’s greatest choral works.

Legendary choral composer Alice Parker personally presented the San Diego Master Chorale with the prestigious ASCAP/ Alice Parker Award for Innovative Choral Programming at the 2009 Chorus America Convention, in recognition of its debut performance of Daniel Kellogg’s The Fiery Furnace with the San Diego Symphony Orchestra.

In 2012 the San Diego Master Chorale was also chosen to perform under the direction of celebrated Chinese composer Tan Dun in the San Diego premiere of his Water Passion According to St. Matthew, which was lauded by reviewers as “riveting” and the La Jolla Music Society SummerFest’s “finest hour” since the annual event was launched 25 seasons ago.

Longtime classical music reviewer Ken Herman shared his thoughts on the March 25, 2019 performance of Puccini’s Messa di Gloria with the San Diego Symphony: “The outer sections of the Kyrie found the Master Chorale spinning out Puccini’s gentle, beautifully shaped themes of petition with a warm, ingratiating sonority, adding just the right amount of brilliance and ardor for the center section, the “Christe Eleison”.... In Puccini’s exuberant “Et resurrexit” and “Et vitam venturi,” the Master Chorale flexed its ample musical muscle, displaying vibrant and astutely balanced fortes that testified to the superb work behind the scene of its Music Director John K. Russell.”

The mission of the San Diego Master Chorale is to connect all people to the joy of professional-caliber live choral music and thus excite, comfort and inspire audiences across San Diego County spanning languages, cultures, religions and generations. The SDMC serves San Diego by promoting choral education and community outreach. Visit sdmasterchorale.org, and follow us on Facebook and Twitter. n

SAN DIEGO MASTER CHORALE SOPRANO

Julie Ames Dawn Belie Theodora Bellinger Lauren Carlson Caroline Chesney Phyllis Graham Anita Hansen Patricia Hay Cindy Heuer Jessica Hubbard Jillian LaDow Amy Long Priscilla McManaway Lisa Newton Lorraine Padden Jantina Perry Emily Riggs Mari Rogoff Libby Weber

ALTO

Cali Bolyard Bonnie Campbell-Davis Maureen Caton Elaine Edelman Kristen Fallon Leslie Green Steph Ishihara Loydeen Keith Amanda Lautieri Tarina Lee Stacey LaVasseur Krissy Meckel-Parker Kay-Marie Moreno Christine Rousseau Martha Shaver Bella Son Amy Stein Julie Torres Pamela Wong Evangelina Woo

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ROGER MUELLER has partaken in multiple Gerard McBurney/Martha Gilmer Beyond the Score® projects, including those exploring Ives’ 2nd, Mendelssohn’s 4th, and Prokofiev’s 5th symphonies, and RimskyKorsakov’s Scheherazade. He has been an actor based in Chicago for 48 years, and portrayed Joe Keller in the critically acclaimed All My Sons at Timeline Theatre. An original ensemble member of Body Politic Theatre, he won the Joseph Jefferson Award for Tristram in Ayckbourn’s Taking Steps. He also won the Joseph Jefferson Award for portraying John Dickson in 1776.

He’s been seen at Chicago Shakespeare, Marriott Theatre, and Musical Theatre Works. Additionally, Mr. Mueller has narrated the audiobooks The Ice Diaries, Deception, Courageous (2012 Audie Award Winner), and WM. Paul Young’s The Shack, Cross Roads, and Eve. n

JILL SHELLABARGER has been a Chicago theatre and voice-over actress for over 40 years, last seen with the San Diego Symphony Orchestra in 2017 (Beyond the Score®: Ives Symphony No 2: Things Our Fathers Loved). She has also appeared with the Chicago, Cincinnati, and Des Moines Symphony Orchestras in works created by Gerard McBurney and Martha Gilmer. n

MATTHEW KRAUSE is returning to the San Diego Symphony, having appeared previously as Hector Berlioz in Beyond the Score®: Symphonie fantastique. Other Beyond the Score® portrayals include Igor Stravinsky and Manuel de Falla with the Chicago Symphony Orchestra and the National Symphony at the Kennedy Center. Mr. Krause has been seen on numerous Chicago stages, including the Goodman, Chicago Shakespeare, Court, Steppenwolf, TimeLine, and Northlight. n

SUSAN SHUNK is an actress from Chicago. Credits include work with Chicago Shakespeare Theatre, Goodman Theatre, Apple Tree Theatre, and Remy Bumppo Theatre.

She has worked nine seasons with American Players Theatre in Spring Green, WI. Productions at APT include The Glass Menagerie, The Tempest, Another Part of the Forest, The Circle, Widowers’ Houses, Hay Fever, The Merchant of Venice, and The Cherry Orchard. Regional credits include work with Clarence Brown Theatre, Utah Shakespearean Festival, Colorado Shakespeare Festival, and Montana Shakespeare in the Parks.

Susan holds a BA from the University of Wisconsin-Madison and an MFA from the P.T.T.P at the University of Delaware. n PERFORM A N C E S M AGA ZIN E

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PROGRAM NOTES | A MIDSUMMER NIGHT’S DREAM JONATHAN MASTRO is a screenwriter, playwright, composer, musical director, and actor. His first produced screenplay, Viper Club, starring Susan Sarandon, Edie Falco, and Matt Bomer premiered at the Toronto International Film Festival, and was released nationwide in fall 2018. Under Gerard McBurney’s direction, he has played the roles of Puck and Leonard Bernstein, with the Cincinnati and Chicago Symphony Orchestras, respectively. In New York City, he performed in David Cromer’s Our Town, #DateMe, Julie Taymor’s A Midsummer Night’s Dream, Arin Arbus’s Taming of the Shrew, and Cabaret, with Ms. Emily Bergl, at such venues as 54 Below, Café Carlyle, and the Algonquin Oak Room. He has also performed at Goodman, Lookingglass, Second City, Huntington, and London’s Almeida. Mr. Mastro is a proud member of AEA, AFM, and WGA. Love to G, H and S. n

BRADLEY ARMACOST is delighted to once again join San Diego Symphony Orchestra Creative Consultant Gerard McBurney as part of this Jacobs Masterworks Concert. He has appeared in Mr. McBurney’s Beyond The Score® series with the Chicago Symphony Orchestra (as well as the Memphis and Cincinnati Symphony Orchestras) with conductors Esa-Pekka Salonen, Mei-Ann Chen, Miguel Harth-Bedoya, Andrey Boreyko, and Charles Dutoit. He is honored to join Music Director Rafael Payare in Mendelssohn’s A Midsummer Night’s Dream.

A Joseph Jefferson Award winning actor in Chicago, Mr. Armacost has appeared onstage at Steppenwolf, Goodman and Chicago Shakespeare Theatres and appears on Fox TV’s Empire, The Exorcist and NBC’s Chicago Fire. He has appeared in films

by Robert Altman, John Sayles, and Michael Nankin. n

SCOTT RAD BROWN is a San Diego based actor, theater-maker, and teaching artist. Originally from New York, Mr. Brown has worked at theaters around the country largely in new play development and comedy.

Since moving to San Diego in 2018, he has performed locally in readings and workshops with organizations including the San Diego Symphony and the San Diego Repertory Theatre.

He has also developed programing and play readings with local artists’ collective Paradise Arts Company. In addition, Mr. Brown teaches acting and devised theater at the San Diego Junior Theatre. n

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GERARD MCBURNEY is a British composer, writer, and deviser, working in theatre, radio, television, concert hall, and on the web.

In 2006, at the invitation of Martha Gilmer, he became Artistic Programming Advisor at the Chicago Symphony Orchestra, and Creative Director of the audience-building initiative Beyond the Score®. Ten years later, again at the invitation of Martha Gilmer, he became Creative Consultant at the San Diego Symphony Orchestra.

He is the Artistic Advisor to Esa-Pekka Salonen and the Philharmonia Orchestra in London, for whom he is devising a series of performances around the music and culture of the Weimar Republic. He is also currently working on projects for the celebration of Beethoven’s 250th anniversary with the Beethoven Orchester Bonn and the Barbican Centre, London, and a re-enactment of Beethoven’s 1808 Akademie. n

Based in Chicago, MIKE TUTAJ’s designs have been seen and heard on the stages of The Goodman, Steppenwolf, the Chicago Symphony Orchestra, Chicago Shakespeare Theatre, The Second City, Victory Gardens, Lookingglass, Writers’ Theatre, Court Theatre, TimeLine, American Theater Company, Paramount Theatre, The Hypocrites, and many more. Off-Broadway credits include MCC Theater, p73, EnGarde Arts, and The York Theatre. Regional credits include Indiana Repertory Theatre, The Alliance Theatre, Philadelphia Theatre Company, South Coast Rep, Center Stage, Syracuse Stage, Virginia Stage, Children’s Theatre Company (Minneapolis), City Theatre Company (Pittsburgh), and Theatre Squared.

Mike has taught Projection Design in the Theatre Department of Columbia College Chicago. He is an artistic associate with TimeLine Theatre, and a member of United Scenic Artists local 829. n

AMANDA ZIEVE is delighted to make her design debut with the San Diego Symphony. She recently designed Tiny Beautiful Things, Barefoot in the Park, Native Gardens, The Wanderers, and Rich Girl (The Old Globe), Put Your House In Order (La Jolla Playhouse), Rock of Ages (Cygnet Theatre), Sweeney Todd and Roof of the World (Kansas City Repertory Theatre), Billy Elliot: The Musical and Titanic (Signature Theatre Company), and Approval Junkie (Alliance Theatre). Her associate credits include Escape to Margaritaville, Hollywood, The Hunchback of Notre Dame, and Chasing the Song (La Jolla Playhouse), The Heart of Rock & Roll, Bright Star, and Allegiance (The Old Globe). She had the privilege of working on her 17th Broadway production last spring. One of her most rewarding experiences has been assisting on Hamilton. She received her B.A. in Theatre from California State University, Northridge. amandazieve.com. n S A N D I EGO SY MPHON Y ORC HES TR A 2 01 9 -2 0 SE A SO N O C TO B E R 2 0 1 9

SAT NOV 16, 8PM

RUFUS WAINWRIGHT WITH THE SAN DIEGO SYMPHONY FRI FEB 14, 8PM

LOVE ME TONIGHT: FEATURING NORM LEWIS AND EMILY SKINNER

2019-2020

BROADWAY @ THE JACOBS

SAT MAR 21, 8PM

AN EVENING WITH SUTTON FOSTER

NEW THIS YEAR!

CELEBRATE THE HOLIDAYS WITH THE SAN DIEGO SYMPHONY FRI DEC 13, 7:30PM

IN CONCERT LIVE TO FILM

DISNEY IN CONCERT: MARY POPPINS SAT DEC 14, 7:30PM | SUN DEC 15, 2PM FRI DEC 20, 7:30PM SAT DEC 21, 2PM & 7:30PM SUN DEC 22, 2PM

FAMILY CONCERT

NOEL NOEL FILM WITH LIVE ORCHESTRA

V ENU E

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DAY, MONTH 4TH Full Orchestra and Choir Conducted by

NAME

music by NAME lyrics by NAME and NAME score by NAME concert produced by NAME concert creative direction NAME

ยบPRESENTATION LICENSED BY

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THE SAN DIEGO SYMPHONY ORCHESTRA PROUDLY PRESENTS

The Beethoven Society is designed to raise consistent, critical funding for artistic, educational and community programs. Members pledge multi-year support and commit to annual gifts of $50,000 and higher, designated for projects ranging from classical and jazz concerts to education and military programs.

$5 MILLION and above

JOAN AND IRWIN JACOBS

$1 MILLION and above

The Symphony and its Board of Directors are pleased to thank the following for their leadership and to acknowledge them as Members of The Beethoven Society.

For information about supporting

PHYLLIS AND DANIEL EPSTEIN

AUDREY GEISEL ◊

DOROTHEA LAUB

the San Diego Symphony Orchestra through membership in The Beethoven Society, please call Todd Schultz at (619) 615-3910.

$500,000 and above

◊

deceased

DOCTOR BOB AND MAO SHILLMAN

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$200,000 and above

RITA AND RICHARD ATKINSON

TERRY ATKINSON AND KATHY TAYLOR

UNA DAVIS AND JACK MCGRORY

SILVIJA AND BRIAN DEVINE

SAM B. ERSAN

SAM ERSAN ESTHER FISCHER

PAM AND HAL FUSON

KAREN AND WARREN KESSLER

ROBERT GLENN RAPP FOUNDATION EVELYN AND WILLIAM LAMDEN

CAROL LAZIER AND JAMES MERRITT

LINDA AND SHEARN â—Š PLATT

PENNY AND LOUIS ROSSO

KAREN AND KIT SICKELS

GAYLE AND DONALD SLATE

PHYLLIS AND DAVID SNYDER

GLORIA AND RODNEY STONE GLORIA AND RODNEY STONE

HAEYOUNG TANG

SYLVIA AND ROGER THIEME

JAYNE AND BILL TURPIN

ANONYMOUS (4 )

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PROGRAM Selections to be announced from the stage.

Performance will be approximately 2:00 hours with a 20 minute intermission.

KURT ELLING

SATURDAY, OCTOBER 19 | 8:00PM

KURT ELLING SINGS: A CENTURY OF HEROES A JAZZ @ THE JACOBS CONCERT SERIES CURATOR GILBERT CASTELLANOS

vocals Kurt Elling piano Stu Mindeman bass Clark Sommers drums Ulysses Owens saxophone Diego Rivera trumpet Tito Carrillo The Jazz @ The Jacobs Series is sponsored by Doctor Bob and Mao Shillman.

All performances at The Jacobs Music Center’s Copley Symphony Hall The San Diego Symphony does not appear on this concert.

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PROGRAM NOTES | KURT ELLING SINGS: A CENTURY OF HEROES

ABOUT THE ARTIST

Series Sponsor Spotlight

DOCTOR BOB AND MAO SHILLMAN

Renowned for his singular combination of robust swing and poetic insight, Grammy® winner KURT ELLING has secured his place among the world’s foremost jazz vocalists. Declared “the standout male vocalist of our time” by The New York Times, Elling has garnered unprecedented accolades, including a 14-year run atop the DownBeat Critics Poll, a dozen Grammy® nominations, and eight Jazz Journalists Association awards for “Male Singer of the Year.”

Elling’s voice is instantly recognizable, embracing listeners with his warm, rich baritone and navigating the full span of his fouroctave range as a virtuoso instrumentalist and a compelling storyteller. Whether transforming timeless standards or crafting his own enthralling originals, Elling balances elegant lyricism and technical mastery with wry humor, emotional depth, and keen observations into the human condition.

“Elling combines authenticity with stunning originality,” is how The Wall Street Journal describes his talents, while The Guardian has called him “a kind of Sinatra with superpowers.”

The Toronto Star has gone so far as to say that “Kurt Elling is the closest jazz will ever get to having its own saint,” while The Guardian makes up one voice in a chorus calling him “one of jazz’s all-time great vocalists.”

Elling’s most recent release, The Questions, vividly exemplifies his ability to respond to the world around him with both urgent immediacy and a unique perspective. Co-produced by NEA Jazz Master and acclaimed saxophonist Branford Marsalis, the album searches for answers to the culture’s most divisive

THE SHILLMANS generously support all San Diego Symphony Orchestra jazz programming through their sponsorships of Jazz @ the Jacobs and Thursday Night Jazz.

social, political, and spiritual issues in the songs of Bob Dylan, Carla Bley, and Leonard Bernstein, and the poetry of Rumi and Wallace Stevens. Elling had previously joined Marsalis and his long-running Quartet for 2016’s Grammy®-nominated Upward Spiral, which All About Jazz hailed as “suffused with graciousness, beauty, and, on occasion, heartbreak.”

Taking the long view of Elling’s audacious and richly varied career, The Washington Post lauded, “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” n

JAZZ @ THE JACOBS

COMING IN NOVEMBER SAT NOV 30, 8PM

LADY DAY: A BILLIE HOLIDAY TRIBUTE* With one of the most distinctive voices in jazz and popular music history, Billie Holiday remains beloved around the world decades after the end of her too-short life. “Lady Day” set the standard for jazz singing with her unique phrasing and warm vocal qualities, eloquently bending tempo and pitch.

Gilbert Castellanos assembles an outstanding lineup of musicians and a very special guest vocalist to pay tribute to this elegant, essential artist. *The San Diego Symphony Orchestra does not appear in this concert.

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2019 SUMMER MEMORIES THANK YOU FOR AN AMAZING SEASON OF MUSIC ON THE BAY!

(top left) San Diego Symphony Board of Directors at Bayside Performance Park Groundbreaking ceremony. (top right) Father our Concert Under the Stars: CHAKA KHAN*Military Appreciation Concert. (middle left) The musical petting zoo is always a hit! (bottome left) Lou and Penny Rosso with daughter Nancy and son-in-law Greg meeting the B-52s! (bottom right) Our CEO Martha Gilmer with members of the Central San Diego Black Chamber of Commerce, Judy McDonald and Adam Jacobs during a meet and greet with Common.

daughter enjoying SINGIN’ IN and THE RAIN IN CONCERT

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JOIN US THIS SEASON 2019-2020 CHAMBER MUSIC SERIES The San Diego Symphony’s Chamber Music Series presents some of the finest artists in the world performing quintessential works and some surprising new pieces. Over the course of the season, you will experience great artists like Alisa Weilerstein and Pacho Flores perform at The Conrad Prebys Performing Arts Center in La Jolla.

Mackenzie Melemed / pianist TUE MAR 31, 7:30PM

TUE NOV 12, 7:30PM

2019-2020 Publicity Images ALISA WEILERSTEIN CLASSICAL, JAZZ, Photo credit: Jiyang Chen PLAYS BACH’Sto CELLO request high-resolution JPEGs: mackenzie@mackenziemelemed.com LATIN FUSION Pacho Flores, trumpet SUITES

BACH: Suites for Solo Cello No. 2, 4 & 6

Musicians from the San Diego Symphony

TUE DEC 10, 7:30PM

TUE APR 14, 7:30PM

PIANO TRIOS OF BEETHOVEN & ARENSKY

MOZART’S PIANO CONCERTO NO. 13

Mackenzie Melemed, piano Musicians from the San Diego Symphony

Fabio Bidini, piano Musicians from the San Diego Symphony TUE JAN 14, 7:30PM

BEETHOVEN: PORTRAIT OF THE ARTIST AS A YOUNG MAN

Shai Wosner, piano Musicians from the San Diego Symphony

TUE MAY 12, 7:30PM

Photo 1

YEFIM BRONFMAN PLAYS SCHUMANN

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Yefim Bronfman, piano Musicians from the San Diego Symphony

TUE FEB 18, 7:30PM

BRAHMS, GYPSIES AND HUNGARIANS

Stefan Jackiw, violin Musicians from the San Diego Symphony

ALL PERFORMANCES AT THE CONRAD PREBYS PERFORMING ARTS CENTER

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www.mackenziemelemed.com/press-kit

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HIGH SCHOOL AMBASSADOR JOB TRAINING PROGRAM This summer, 8 high school students from across San Diego County participated in the San Diego Symphony’s High School Ambassadors program. High School Ambassadors is a job-skills development opportunity that aims to assist high school students ages 15 and up. The summer program consisted of professional development workshops at the Jacobs Music Center, as well as job shadowing opportunities with the staff of the San Diego Symphony. The participants also worked as ambassadors for the San Diego Symphony at Bayside Summer Nights concerts every Friday, and served as promotional ambassadors for the San Diego Symphony within the community.

Over the course of six weeks in July and August the Ambassadors learn about front of house and behind the scenes work at the San Diego Symphony. They develop job skills in customer service, community building, creative design, responsibility, networking, public speaking, and presentation.

The students shadow arts administration industry professionals in the Artistic, Institutional Advancement, Marketing, Orchestra Personnel, and Learning and Community Engagement departments. They are given the opportunity to develop a broader artistic palette through attendance and participation at Bayside Summer Nights concerts or rehearsals. Through an ambassador model, the students enhance awareness of San Diego Symphony concerts and programs in communities in San Diego County.

The people that I have met were so passionate and enthusiastic about music. They’re always looking for ways to improve and reach more people/different audiences. The energy that I felt from the collective Symphony staff as well as my fellow ambassadors was contagious. I couldn’t wait to get back the following week. This is a truly once-in-a-lifetime experience for high school students so it would be an absolute shame to pass it up.”

— HIGH SCHOOL AMBASSADOR PARTICIPANT, SUMMER OF 2019 The High School Ambassador Program is generously underwritten through a gift from Roger and Sylvia Thieme.

IN MEMORIAM

JOHN LORGE

February 4, 1956 – May 13, 2019 Former San Diego Symphony Principal Horn JOHN LORGE passed away peacefully this last May in his home after a courageous battle with cancer. John was born in Oshkosh, Wisconsin, and studied music at the University of Wisconsin, Madison. He served as Principal Horn of the San Diego Symphony and San Diego Opera from 1987 through 2009, and first began playing for both organizations in 1978. Throughout his career John was frequently called upon to play horn for other orchestras such as the LA Philharmonic, Milwaukee Symphony, and St Paul Chamber Orchestra, as well as for many TV and film recording sessions in Los Angeles. He can be heard on the soundtracks for Alien Resurrection, The Siege, The Negotiator, Collateral Damage and She’s So Lovely, among others. John also recorded for several pop artists including Barry Manilow, Michael Jackson, Whitney Houston, Sammy Nestico, Harry Connick Jr., and Christina Aguilera. He also had the honor of performing as lead horn on over ten years of Emmy® awards television broadcasts. John served extensively as a soloist and chamber artist during his career, including a critically-acclaimed performance of Richard Strauss’ Horn Concerto No. 1 with the San Diego Chamber Orchestra in 2005.

John was equally known for his composing endeavors, creating numerous works for the San Diego Symphony and chamber ensembles across the nation, including the tone poem Ginan Nishnabe and a Tuba Concerto, premiered with the SDSO’s Matthew Garbutt in 1993. In October 1998, when the San Diego Symphony returned to performing at Copley Symphony Hall after being dark for two years, John’s Jubilations for Orchestra was the commissioned work that opened the debut concert of the reconstituted orchestra, with Jung-Ho Pak conducting. According to his longtime SDSO horn section-mate Douglas Hall, “John was a thoughtful, compassionate, beautiful musician. Such incredible ears!…but also blessed with a wry sense of humor. As Principal Horn he was a consummate professional.”

John Lorge married his high school sweetheart, Becky, and adopted her two sons, Greg and Patrick, as his own. The family has made their home in Lakeside since 1995. There they enjoyed raising chickens and lop-eared rabbits on their “mini farm,” complete with numerous dogs and cats. In his later years John also became a masterful carpenter, completing several home improvement projects for his SDSO colleagues. The San Diego Symphony is most grateful for John’s many years of service to the Orchestra, and extends its heartfelt condolences to John’s family. n

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PROGRAM CAMILLE SAINT-SAËNS Danse macabre, Op. 40 NATHANIEL STOOKEY The Composer is Dead, with text by Lemony Snicket ERNESTO LECUONA / ARR. FERDE GROFÉ “Malagueña” from Andalucia Suite Espagnole

SUNDAY, OCTOBER 20 | 2:00PM

“THE COMPOSER IS DEAD” BY NATHANIEL STOOKEY WITH TEXT BY LEMONY SNICKET

FAMILY CONCERT SERIES

conductor Lina González-Granados

Performance at The Jacobs Music Center’s Copley Symphony Hall The approximate running time for this concert is fifty minutes, with no intermission.

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PROGRAM NOTES | “THE COMPOSER IS DEAD”

ABOUT THE ARTISTS Praised for her “attention to orchestral colors” (OperaWire) and the ability to create “lightning changes in tempo, meter and effect” (Boston Musical Intelligencer), LINA GONZÁLEZGRANADOS has firmly established herself locally and abroad as a talented conductor of opera, classical and contemporary music.

Starting in the fall of 2019, she will begin her new appointments as Conducting Fellow of the Philadelphia Orchestra and Seattle Symphony. Ms. González-Granados is also the 2017-19 Taki Concordia Fellow, a position created by Maestro Marin Alsop to foster the entrepreneurship and talent of female conductors.

Recent guest appearances have included the Tulsa Opera, where Ms. González-Granados made history by being the first Latina conductor to lead a major production in a U.S. Opera House, as well as the Orquesta Sinfónica Nacional de Colombia and the Filarmónica de Medellin. She has been the Assistant Conductor for the Chicago Symphony at the Ravinia Festival, London Philharmonic, Carnegie Hall’s National Youth Orchestra of the United States and Orchestra of the Americas, She has worked as cover conductor of the Nashville Symphony, working with artists such as Yefim Bronfman, Pinchas Zukerman and Giancarlo Guerrero, among others.

In 2019 Ms. González-Granados was named one of five finalists selected for the 2019 Sir Georg Solti International Conducting Competition in Chicago. She was also selected for the 2019 Tanglewood Conducting Seminar, working with Maestro Stefan Asbury. Ms. González-Granados has attended the Lucerne Festival Masterclass with Maestro Bernard Haitink and the Cabrillo Festival of Contemporary Music with Marin Alsop and James Ross. She participated in the Linda and Mitch Hart Institute for Conductors at the Dallas Opera, making her the first Hispanic conductor selected for that role.

Ms. González-Granados is a staunch proponent of the music of Latin American composers, work that earned her recognition as one of the “Latino 30 Under 30” by the El Mundo newspaper in 2016. In 2014 she founded the Unitas Ensemble, a Bostonbased chamber orchestra specializing in Latin American music.

Her work with the Unitas Ensemble has yielded multiple World, North-American and American premieres, as well as the creation and release of the Unitas Ensemble album Estaciones, recorded alongside the Latin Grammy®-winning Cuarteto Latinoamericano.

(Continued from page 33) KRIS ANDERSON is a highly accomplished guitar, bass, and drum instructor and native Georgian. A graduate of the Atlanta Institute of Music, Mr. Anderson holds the 2016 teacher of year award from the Atlanta Society Of Entertainers. He has had the honor and pleasure of teaching country music legend Travis Tritt’s two sons for almost 5 years now, and has proficiency in a variety of different styles; including jazz, country, rock classical, and punk.

An active performer, session guitar player, and songwriter, Kris has toured internationally both performing and hosting clinics in Italy, Poland, Great Britain, Germany, France and several other European countries. Among the many accolades and achievements he has gained, Kris has had the opportunity

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Born and raised in Cali, Colombia, Lina González-Granados made her conducting debut in 2008 with the Youth Orchestra of Bellas Artes in Cali. She earned her Master’s Degree in Conducting and a Graduate Diploma in Choral Conducting from the New England Conservatory, and she is pursuing her Doctoral degree in Orchestral Conducting at Boston University.

Her principal mentors include Bernard Haitink, Bramwell Tovey, Stefan Asbury and Marin Alsop. n

First commissioned by the San Francisco Symphony at age 17, NATHANIEL STOOKEY has collaborated with many of the world’s great orchestras including The Philadelphia Orchestra, The Cleveland Orchestra, The Chicago Symphony Orchestra, The Los Angeles Philharmonic, The National Symphony, The Toronto Symphony, The City of Birmingham Symphony Orchestra and The Hallé Orchestra, where he was composer-inresidence under Kent Nagano.

Mr. Stookey’s concerto for two violins and strings, Double, was commissioned to represent the year 1999 in the millennial Festival of 999 Years of Music in Sheffield, England. The San Francisco Symphony commissioned, premiered and recorded The Composer Is Dead (2006), a sinister guide to the orchestra with narration by Lemony Snicket. It has been performed by hundreds of orchestras worldwide and cited as one of the five most-performed works of the 21st century. Mr. Stookey’s Mahlerwerk (2011), commissioned by NDR-Sinfonie (Hamburg) for their centennial Mahler cycle, was premiered under Christoph Eschenbach before an audience of ten thousand people. Mr. Stookey’s critically-acclaimed String Quartet No. 3: The Mezzanine was commissioned and premiered by Kronos Quartet in 2013. April 2016 marked the premiere of Yield to Total Elation for chamber orchestra, commissioned by the San Francisco Symphony and inspired by the architect A.G. Rizzoli’s imaginary city.

As a composer of vocal and theatrical music, Nathaniel Stookey’s work has received considerable acclaim for innovation and emotional immediacy. Frederica von Stade kicked off her 2009 farewell tour with Mr. Stookey’s setting of her personal texts Into the Bright Lights. The following year he scored John Doyle’s production of Brecht’s Caucasian Chalk Circle. Mr. Stookey’s monodrama Ivonne (2014) for soprano and trio was commissioned and premiered by Opera Memphis for the “Ghosts of Crosstown” project. A recording of ZIPPERZ

by Magik*Magik Orchestra, with Manoel Felciano and Robin Coomer, was released in August 2017 on Ghostlight Records. n to work with Grammy® Award winning artist such as Bryan White with his classic country group Kris Anderson and The Would Be Thieves and such names as Doyle Dykes, Richard Smith, and Thom Bresh with his Dixie Jazz group The VaudeVillains. Kris has been featured on several esteemed local and national radio programs as well as television.

Not only does Mr. Anderson maintain an active membership with the Nashville Songwriters association, but he is also an established member of the Atlanta Guitar Guild and an endorsed artist by Fred Kelly Picks, Cleartone Strings, and Eastman Guitars. n S A N D I EGO SY MPHON Y ORC HES TR A 2 01 9 -2 0 SE A SO N O C TO B E R 2 0 1 9

A vibrant cultural community and internationally recognized arts organizations are vital to the Salk Institute, and to San Diego’s tech and biotech institutions in general, because they help us attract, recruit, and retain the highest quality scientists. Rafael Payare joining the San Diego Symphony as its Music Director is an important moment. He’s an exciting, next-generation musician of international stature and importance.”

GREG LEMKE, FRANÇOISE GILOT-SALK PROFESSOR OF MOLECULAR BIOLOGY AT THE SALK INSTITUTE

THE BUSINESS COMMUNITY WELCOMES RAFAEL PAYARE TO SAN DIEGO! Thanks to the following businesses and associations for laying the groundwork for Rafael Payare’s success in San Diego by demonstrating their support of his inaugural season.

San Diego Regional Chamber of Commerce

Downtown San Diego Partnership

Central San Diego Black Chamber of Commerce

San Diego Tourism Authority

San Diego County Hispanic Chamber of Commerce

San Diego County Taxpayers Association

San Diego Regional Economic Development Corporation

Asian Business Association San Diego

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Salk Institute for Biological Studies

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PROGRAM MICHAEL GIACCHINO Coco Federico Ramos, guitar Kris Anderson, guitar

Directed by LEE UNKRICH Co-Directed by ADRIAN MOLINA Produced by DARLA K. ANDERSON, p.g.a.

Executive Producer JOHN LASSETER Screenplay by ADRIAN MOLINA MATTHEW ALDRICH Original Story by LEE UNKRICH JASON KATZ MATTHEW ALDRICH ADRIAN MOLINA Original Score by MICHAEL GIACCHINO

SATURDAY, OCTOBER 26 | 2:00PM SATURDAY, OCTOBER 26 | 7:30PM

DISNEY · PIXAR COCO IN CONCERT LIVE TO FILM FOX THEATRE FILM SERIES conductor Sarah Hicks guitar Federico Ramos guitar Kris Anderson

Original Songs by KRISTEN ANDERSON-LOPEZ & ROBERT LOPEZ and GERMAINE FRANCO & ADRIAN MOLINA Voice Cast Miguel Héctor Enesto de la Cruz Mamá Imelda Abuelia Papá Papá Julio Tío Oscar & Tío Felipe Clerk Plaza Mariachi & Gustavo Mamá Coco Frida Kahlo Tía Rosita Chicharrón Mamá

Anthony Gonzalez Gael García Bernal Benjamin Bratt Alanna Ubach Renée Victor Jaime Camil Julio Alfonso Arau Herbert Siguenza Gabriel Iglesias Lombardo Boyar Ana Ofelia Murguía Natalia Cordova-Buckley Selene Luna Edward James Olmos Sofía Espinosa

This concert is made possible, in part, through the generosity of Southwest Airlines and Entravision.

All performances at The Jacobs Music Center’s Copley Symphony Hall The approximate running time for this concert, including intermission, is two hours and twelve minutes.

Presentation licensed by Disney Concerts © All rights reserved.

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PROGRAM NOTES | DISNEY · PIXAR COCO IN CONCERT LIVE TO FILM

ABOUT THE ARTISTS Composer MICHAEL GIACCHINO (pronounced “Juh-key-no”) has credits that feature some of the most popular and acclaimed film projects in recent history, including The Incredibles, War for the Planet of the Apes, Ratatouille, Star Trek, Jurassic World, Rogue One: A Star Wars Story, and Coco. Mr. Giacchino’s 2009 score for the Pixar hit Up earned him an Oscar®, a Golden Globe®, the BAFTA, the Broadcast Film Critics’ Choice Award, and two Grammy® Awards.

Mr. Giacchino studied filmmaking at the School of Visual Arts in NYC. After college, he landed a marketing job at Disney and began studies in music composition, first at Juilliard, and then at UCLA. He moved from marketing to producing in the newly formed Disney Interactive Division where he had the opportunity to write music for video games.

After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, Steven Spielberg hired him as the composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Mr. Giacchino went on to score numerous video games including Spielberg’s Medal of Honor series.

Mr. Giacchino’s work in video games sparked the interest of J.J. Abrams, and thus began their long-standing relationship that would lead to scores for the hit television series Alias and Lost, and the feature films Mission Impossible III, Star Trek, Super 8 and Star Trek Into Darkness. (The San Diego Symphony performed his score to Star Trek Beyond live at that film’s world premiere at the Embarcadero during Comic-Con, the first-ever presentation of a film outdoors in the IMAX format.) Additional projects include collaborations with Disney Imagineering on music for Space Mountain, Star Tours (with John Williams), the Ratatouille ride in Disneyland Paris and the Incredicoaster on Pixar Pier at California Adventure.

Mr. Giacchino was the musical director of the 81st Annual Academy Awards®. His music can be heard in concert halls internationally with all three Star Trek films, Ratatouille, Jurassic World, Up, and Coco being performed live-to-picture with a full orchestra. In June 2018, Mr. Giacchino premiered his first work for symphony orchestra, Voyage. Commissioned by the National Symphony Orchestra and the Cincinnati Pops Orchestra, the piece celebrates the 60th anniversary of the founding of NASA. Michael Giacchino serves as the Governor of the Music Branch of the Academy of Motion Picture Arts and Sciences and sits on the advisory board of Education Through Music Los Angeles.

His most recent projects include Spider-Man: Far From Home and as well as Jojo Rabbit, a new film by Taika Waititi. n

Concert Sponsor Spotlight

Noted in The New York Times, SARAH HICKS’ versatile and vibrant musicianship has secured her place in “the next generation of up-andcoming American conductors.”

She currently holds the positions of Principal Conductor, Pops and Presentations of the Minnesota Orchestra, and Staff Conductor of the Curtis Institute of Music in Philadelphia. Throughout her career she has collaborated with diverse artists such as Jamie Laredo, Ben Folds, Hilary Hahn, Josh Groban, Smokey Robinson, Sting, Dmitri Hvorostovsky, Sumi Jo, and Jackie Evancho.

Ms. Hicks was a member of the Faculty of the Curtis Institute of Music from 2000-05 and continues her affiliation with Curtis as Staff Conductor. Her past positions include Associate Conductor of the North Carolina Symphony, Associate Conductor of the Richmond Symphony Orchestra, Resident Conductor of the Florida Philharmonic, and Assistant Conductor of the Philadelphia Singers, the chorus of the Philadelphia Orchestra, whom she has led in radio broadcasts heard nationwide. She has also been Music Director of the Hawaii Summer Symphony, an ensemble she founded in 1991 in her hometown of Honolulu, and which she led for five seasons.

Ms. Hicks has guest conducted extensively both in the United States and abroad, including the Boston Pops, Cincinnati Pops, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Atlanta Symphony, Milwaukee Symphony, Detroit Symphony, National Symphony, New Jersey Symphony, Indianapolis Symphony, Phoenix Symphony, St. Louis Symphony, Toronto Symphony, Melbourne Symphony, St. Petersburg Philharmonic, Tokyo Philharmonic, Nagoya Philharmonic, Osaka Philharmonic, Malaysian Philharmonic, and Prime Philharmonic (Seoul, Korea). She led the Los Angeles Philharmonic in July 4th concerts at the Hollywood Bowl in 2012, 2013, and 2015. 2016-17 highlights included debuts with the Brisbane Symphony, Lisbon Symphony, Calgary Symphony, and Dallas Symphony Orchestras as well as return engagements in San Diego, San Francisco, and Cincinnati.

In her spare time, Sarah Hicks enjoys running, yoga, her Papillon, cooking (and eating) with her husband, traveling and sketching. n

Uruguayan-born musician FEDERICO RAMOS is the principal guitarist in the multiple award-winning Disney-Pixar animated film Coco. He performed the song "Remember Me" at the Academy Awards ceremony, on the same night it won the Oscar® for the Best Song.

Mr. Ramos grew up in Spain playing Flamenco music and holds a degree in Jazz Studies from California Institute of the Arts.

Ramos has performed for the President of the United States, the President of Mexico, and the King of Spain. He is featured in numerous major film soundtracks with composers Hans Zimmer, Danny Elfman, Michael Giacchino, James Horner, John Powell, and Germaine Franco, and he has toured and recorded with Dr. Yusef Lateef, Sir Elton John, James Moody, Dionne Warwick and Jon Anderson of Yes, among others. n

Continued on page 30

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SAN DIEGO SYMPHONY ORCHESTRA

GUEST ARTIST SPONSORS WE GRATEFULLY ACKNOWLEDGE OUR GUEST ARTIST SPONSORS. PLEASE CALL 619.615.3908 TO PARTICIPATE!

$500,000+

The Conrad Prebys Foundation ALISA WEILERSTEIN

KURT ELLING

$250,000+

Phyllis and Daniel Epstein Dorothea Laub

$200,000+

Sam B. Ersan

$50,000+

EMANUEL AX

YEFIM BRONFMAN

ROB FISHER

Alan Benaroya Vail Memorial Fund Jean and Gary Shekhter Rita and Richard Atkinson

$30,000+

Anonymous Maryanne and Irwin Pfister Darlene Shiley

$20,000+

Anonymous David Bialis Mary Smith, Jim Nelson and David Nelson

LEGACY SOCIET Y — OCTOBER 2019 The Legacy Society recognizes individuals who have committed a trust or bequest to the Endowment and/or Annual Fund, ensuring the future success of the San Diego Symphony Orchestra.

Leonard Abrahms ◊ Anonymous Alfred F. Antonicelli ◊ Susan Banks Oldham Stillings Charles G. Barany, Jr. * and Willis J. Larkin William Beamish Michele ◊ and Stephen Beck-von-Peccoz Rosanne B. and W. Gregory Berton Dr. James L. Bowers Lt. Margaret L Boyce USN ◊ Gordon Brodfuehrer Sophie and Arthur Brody ◊ Joseph H. Brooks and Douglas Walker Julia Brown Roberta and Malin Burnham Robert Caplan and Carol Randolph The Carton Charitable Trust Barbara and Paul Chacon Melanie and Russ Chapman Nikki and Ben Clay Catherine Cleary Warrine and Ted Cranston ◊ Elisabeth and Robert ◊ Crouch Peter V. Czipott and Marisa SorBello Caroline DeMar Penny ◊ and Harold Dokmo, Jr. Alice Dyer ◊ Arthur S. Ecker ◊ Elizabeth and Newell A. Eddy ◊ Jeanne and Morey Feldman ◊ Esther and Bud ◊ Fischer Teresa and Merle Fischlowitz Margaret A. Flickinger John Forrest and Deborah Pate Norman Forrester and Bill Griffin Pauline Foster ◊ Judith and William Friedel Pam and Hal Fuson Jr. Carol J. Gable ◊ Elaine and Murray ◊ Galinson Edward B. Gill Nancy and Fred Gloyna Muriel Gluck ◊ Madeline and Milton Goldberg ◊ Helene Grant ◊ Dorothy and Waldo Greiner ◊

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Judith Harris and Dr. Robert Singer Susan and Paul Hering Joan and Irwin Jacobs Marjory Kaplan Barbara M. Katz Patricia A. Keller Karen and Warren Kessler Anne and Takashi Kiyoizumi William and Evelyn Lamden Carol Lazier and James Merritt Inge Lehman ◊ Sandra and Arthur Levinson Beatrice P. and Charles W. Lynds ◊ Pamela Mallory Richard Manion Patricia and Peter Matthews Elizabeth R. Mayer ◊ Vance M. McBurney ◊ Antoinette Chaix McCabe ◊ Jack McGrory Sandra Miner Judith A. Moore Ermen and Fred Moradi ◊ Mona and Sam Morebello Helen and Joseph R. Nelson ◊ Joani Nelson Lawrence Norquist ◊ and Pat Baker Elizabeth and Dene Oliver Mariellen Oliver ◊ Val and Ron Ontell Steven Penhall Margaret F. Peninger ◊ Pauline Peternella ◊ Shona Pierce ◊ Linda and Shearn◊ Platt Robert Plimpton Elizabeth Poltere Sheila Potiker ◊ Jim Price and Joan Sieber Patty and Jack Queen Anne Ratner ◊ Sarah Marsh-Rebelo and John Rebelo Ellen C. Revelle ◊ Jane and Frank Rice Debra Thomas Richter and Mark Richter Dr. Arno Safier ◊

Joan and Jack ◊ Salb Julia and Craig Schloss Melynnique and Edward Seabrook Pat Shank Lewis Shuster Karen and Christopher “Kit” Sickels Stephen M. Silverman Lyn Small and Miguel Ikeda Linda and Bob Snider Phyllis and David Snyder Elene ◊ and Herbert Solomon Suellen and James Sorenson Pat Stein ◊ Richard Stern ◊ Marjorie A. Stettbacher Joyce and Ted Strauss Gene Summ Miriam Summ Sheryl Sutton Elizabeth and Joseph ◊ Taft Debra A. Thomas Joyce and Joseph Timmons Harriet and Maneck Wadia Ralph ◊ and Pauline ◊ Wagner Norton F. and Barbara ◊ Walbridge Betty and Philip Ward PIF Fund ◊ Leslie and Joe Waters Sue and Bill Weber Martha Jean Winslow ◊ Marga Winston ◊ Edward Witt Carolyn and Eric Witt David A. Wood Mitchell R. Woodbury Zarbock 1990 Trust ◊ LeAnna S. Zevely Dr. Phillip and Phyllis Ziring

Deceased * San Diego Foundation ◊

IF YOU WOULD LIKE TO JOIN THE LEGACY SOCIETY, PLEASE CONTACT TANIA BATSON AT 619.615.3908 OR E-MAIL TBATSON@SANDIEGOSYMPHONY.ORG

S A N D I EGO SY MPHON Y ORC HES TR A 2 01 9 -2 0 SE A SO N O C TO B E R 2 0 1 9

SAN DIEGO SYMPHONY ORCHESTRA

CORPORATE HONOR ROLL The San Diego Symphony Orchestra would like to thank our corporate partners for their participation in supporting our vision for the future success of the Orchestra

$100,000+

$50,000+

$30,000+

$15,000+

JOIN THE HONOR ROLL!

Show your company’s civic pride by supporting the San Diego Symphony.

FOR MORE INFORMATION, CALL MEGAN PEET AT 619.237.1960 S A N D IEGO SY M PHON Y ORCHE STR A 2 019 - 2 0 SE ASO N O C TO B E R 2 019

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SAN DIEGO SYMPHONY ORCHESTRA

HONOR ROLL

We gratefully acknowledge the growing list of friends who give so generously to support the San Diego Symphony.

Call 619.615.3908 today to make your gift count.

Please remember that the honor roll is updated 4-6 weeks prior to the distribution of this monthly magazine.

SAN DIEGO FOUNDATION

The Musicians, members of the Board of Directors and the Administrative Staff of the San Diego Symphony wish to gratefully acknowledge each donation in these pages. However, space limitations in our programs require us to limit the listings to contributions of $500 or more to our annual fund during the last twelve months.

STRADIVARIUS CIRCLE $100,000 AND ABOVE

City of San Diego Commission for Arts and Culture H Phyllis and Daniel J. Epstein Epstein Family Foundation Sam B. Ersan Dr. Seuss Fund Joan and Irwin Jacobs Dorothea Laub Rebecca Moores The Conrad Prebys Foundation Doctor Bob and Mao Shillman Kathy Taylor and Terry Atkinson

MAESTRO CIRCLE $50,000-$99,999

Anonymous Anonymous Rita and Richard Atkinson Alan Benaroya Nikki A. and Ben G. Clay County of San Diego Una Davis and Jack McGrory Silvija and Brian Devine Shirley Estes Esther and Bud◊ Fischer Pam and Hal Fuson Ann and Gordon Getty Foundation Karen and Warren Kessler Dr. William and Evelyn Lamden

BAYSIDE PERFORMANCE PARK

The San Diego Symphony Orchestra thanks the following donors who have made a gift of $50,000 or more toward the proposed Bayside Performance Park. $1,000,000 AND ABOVE Anonymous Kathy Taylor and Terry Atkinson Roberta and Malin Burnham A gift made possible by Una Davis Joan and Irwin Jacobs Jack McGrory The Alexander & Eva Nemeth Foundation Louis and Penny Rosso T. Denny Sanford Karen and Kit Sickels Karen and Jeff Silberman Gayle and Donald Slate Haeyoung Tang Sue and Bill Weber Marion and Robert Wilson

RANCHO SANTA FE FOUNDATION

Carol Lazier and James Merritt League of American Orchestras The Parker Foundation Linda and Shearn◊ Platt Allison and Robert Price Penny and Louis Rosso Ivor and Colette Royston Jean and Gary Shekhter Karen and Kit Sickels Karen and Jeffrey Silberman Family Fund Gayle and Donald Slate Phyllis and David Snyder Gloria and Rodney Stone Haeyoung Tang Sylvia and Roger Thieme Jayne and Bill Turpin Vail Memorial Fund Catherine Van Dyke◊ Mitchell Woodbury

ROBERT SHAW CIRCLE $25,000-$49,999

Anonymous Charles Barany◊ and Willis Larkin Rafaella and John Belanich David Bialis Pam and Jerry Cesak Karin and Gary Eastham Anne L. Evans Lisette and Michael Farrell Farrell Family Foundation Elaine Galinson and Herbert Solomon Ann and Ben Haddad Clarence Heller Charitable Foundation Hervey Family Fund Barbara Kjos Sandra and Arthur Levinson

$250,000 AND ABOVE Anonymous

James and Susan Blair Julia R. Brown David C. Copley Foundation Sam B. Ersan Harold and Pamela Fuson Karen and Warren Kessler Linda G. Platt Robert Glenn Rapp Foundation Phyllis and David Snyder Gloria and Rodney Stone Elizabeth G. Taft Jayne and Bill Turpin Kathyrn and James Whistler $100,000 AND ABOVE Alan Benaroya David Bialis Kathleen Seely Davis Diane and Elliot Feuerstein Lori Moore Clarice and Bill Perkins Jeanne and Arthur L. Rivkin Mitchell R. Woodbury

JEWISH COMMUNITY FOUNDATION

National Endowment for the Arts Monica and Robert Oder Elizabeth and Dene Oliver Deborah Pate and John Forrest Maryanne and Irwin Pfister Potiker Family in memory of Sheila and Hughes Potiker◊ Qualcomm Charitable Foundation Raghu and Shamala Saripalli Susan Sharin and Laurina Young Darlene Shiley Mary Smith, Jim Nelson and David Nelson Joyce and Ted Strauss Sue and Bill Weber Kathryn and James Whistler Sheryl and Harvey White

VIRTUOSO CIRCLE $10,000-$24,999

Anonymous Anonymous Jane Bastien◊ Eloise and Warren Batts Gordon Brodfuehrer Julia Richardson Brown Foundation Sophie Bryan and Matthew Lueders Karen and Donald Cohn David C. Copley Foundation Elisabeth and Robert◊ Crouch Kathleen Seely Davis Walt Fidler Gail Fliesbach Marilyn James and Richard Phetteplace Kimberly and Jeffrey Goldman Norman Forrester and Bill Griffin Judith Harris and Dr. Robert Singer Vicki Garcia-Golden and Tim Jeffries

CENTENNIAL CAMPAIGN AND CAPITAL CAMPAIGN

The San Diego Symphony Orchestra thanks the following donors who made a gift toward the 2010-2011 Centennial Campaign at $50,000 or more and the 2008 Capital Campaign at $5,000 or more. $100 MILLION AND ABOVE Joan and Irwin Jacobs $20 MILLION - $99,999,999 Cathy and Larry Robinson $2 MILLION - $19,999,999 Anonymous $1 MILLION - $1,999,999 Sophie and Arthur Brody Foundation Sam B. Ersan Norman Forrester and Bill Griffin Pauline Foster ◊ Audrey Geisel Hélène and George Gould Grosvenor Family Karen and Warren Kessler $500,000 - $999,999 Rosanne B. and W. Gregory Berton Dr. William and Evelyn Lamden Linda and Shearn ◊ Platt

H

SYMPHONY STAR

◊ DECEASED

Arthur J. Gallagher Insurance Jill Gormley and Laurie Lipman Janet and Wil Gorrie Laurie Henson Carol and Richard Hertzberg H Becky Ivans Sheri Jamieson Jo Ann Kilty Brooke and Dan Koehler Las Patronas Carol Ann and George Lattimer Jeffrey E. Light Barbara and Carl Maggio Mandell Weiss Charitable Trust Barbara and Harry Markowitz Mark C. Mead Rena Minisi and Rich Paul Riley Mixson and Carol Young The Kenneth T. and Eileen L. Norris Foundation Marilyn O’Brien H H Val and Ron Ontell Jane and Jon Pollock Evelyn and Ernest Rady ResMed Foundation Sheli and Burton Rosenberg Ellen Browning Scripps Foundation SDG&E / Sempra Energy Seltzer Caplan McMahon Vitek Jayne and Brigg Sherman Stephen M. Silverman Jeanette Stevens Iris and Matthew Strauss Miriam and Gene Summ USS Midway Elizabeth and Joseph◊ Taft Revocable Trust Jack Thomas Linda and Ray◊ Thomas

$250,000 - $499,999 Anonymous Nikki A. and Ben G. Clay Elizabeth and Eddy Newel ◊ Muriel Gluck ◊ Janet and Wil Gorrie Susan and Paul Hering Inge Lehman ◊ Rebecca Moores Gayle and Donald Slate Mitchell R. Woodbury $100,000 - $249,999 Julia R. Brown Susan and Peter Crotty Shona Pierce ◊ Phyllis and David Snyder Vail Memorial Fund Hugh Wolff ◊ $50,000 AND UNDER Elizabeth E. Bruton Tanya and Sutton Chen Lael and Jay Kovtun Michael and Adele Lapadula Sheila and Hughes Potiker ◊ San Diego Symphony Musicians Joyce and Ted Strauss Torrey Pines Bank

SAN DIEGO SYMPHONY ORCHESTRA R.V. Thomas Family Fund Ingrid Van Moppes H Isabelle and Melvin Wasserman Margarita and Philip Wilkinson Katrina W. Wu The Wu Foundation Judy Gaze-Zygowicz and John Zygowicz

ORCHESTRA CIRCLE $5,000- $9,999

Anonymous Steven Adler and Carol Rolf Behram and Rena Baxter Dr. Thomas Beers The Bjorg Family Dr. Paul Black and Mrs. Evelyn Truitt Barbara Bloom Donna and Ken Bullock Jane and Christopher Crane Cushman Foundation Michael Davies and Julie Moritz Domain Associates Berit and Tom Durler Florence Nemkov and Dr. Bernard Eggertsen The Rev. Canon Joan Butler Ford Deborah Reynolds Frank and Jim Frank Arthur J. Gallagher Insurance Martha and William Gilmer Phyllis and Gordon Harris Monica Fimbres Susie and Fredrick Harrison Susan and Paul Hering Nancy and Ross Stephen Howard Deborah and James Idell Fran and Larry Irving Dr. Natasha Josefowitz Linda and Mel Katz Mike Keefe Aline Koppel Helen Kupka Adele and Michael Lapadula Ruth Wikberg-Leonardi and Ron Leonardi Pamela Lester Gary And Lisa Levine Fund Sally and Luis Maizel Eileen Mason Mayer Hoffman McCann Anne and Andy McCammon Menard Family Foundation Cathy and Douglas Moore Cdr. Robert Morris Trupti and Pratik Multani Alex Ning Sigrid Pate-Butler Paul, Plevin, Sullivan & Connaughton, LLP Franklin and Dorothy Piacentini PostalAnnex+ Gail Lee Powell Peggy and Peter Preuss Arlene Quaccia Pam and Steve Quinn Marie Raftery and Dr. Robert Rubenstein Sarah Marsh-Rebelo and John Rebelo Stephanie and Jeff Richard Ryan Family Charitable Foundation Elizabeth Seibold Marivi Shivers Drs. Bella and Alexander◊ Silverman Sheila Sloan

Dr. Robert E. and Meredith Sobol Hon. Stephanie Sontag and Hon. David Oberholtzer Margie and Bruce Sutherland Carol and Ed Thomason Niki and George Thorsen Stephen L. Tierney Jocelyn and Richard Vortmann Ginger E.◊ and Robert D. Wallace Leslie and Joe Waters Jo and Howard Weiner Rebecca and Gary Welch Wilson, Sonsini, Goodrich & Rosati K. Nikki Waters Drs. Mara and Larry Ybarrondo Anna and Edward Yeung

BAYSIDE / SYMPHONY CIRCLE $2,500 - $4,999

Marilyn and Hayes Anderson Tim and Celeste Bailey DeAnne Steele and Carlo Barbara Michele and Stephen Beck-vonPeccoz Catherine and Phil Blair Sondra Boddy and Robert C. Smith Benjamin Brand Lisa and Michael Brooks Leia Brune and Russell Purcell Janice and R. Nelson Byrne Cole Casey City of Encinitas and the Mizel Family Foundation Linda and Richard Claytor Dr. Peter Czipott and Maria SorBello Caroline S. DeMar William and Carolyn Doherty Karen and William◊ Dow Anna and Tom Fay Corey Fayman and Maria Carrera Linda Anne Ferguson Samuel I. and John Henry Fox Foundation Anne and Steve Furgal Elizabeth “Nancy” Gaffrey Caitlin and Craig Griffin H H Nancy and David Herrington Judith and Verne E. Hildebrand Mary and Russell Johnson Roger Karnopp Maurice Kawashima Deborah Klatskin and Burton Sutker Bob Leone Terry and Tom Lewis Sylvia and Jaime Liwerant San Diego Lions Welfare Foundation Christen and Rob Mills Helga Moore Paul Mosher Lynn Nelson Clarice and Bill Perkins Pratt Memorial Fund The Stainrook Foundation Sandy and Greg Rechtsteiner Keith Reed Lois Richmond Sandra and Bob Rosenthal Jennifer and Eugene Rumsey Jr. M.D. Todd Schultz Colin Seid and Dr. Nancy Gold Wilson Sexton Lari Sheehan Sheila and Gilbert◊ Sloan

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HONOR ROLL

Stanley and Marilyn Smiedt Daniel Soto LuAnn Sudarich and Joseph D. Patello Susie and Steve Swinton Rosemary T. Ward and Thomas P. Ward Dr. and Mrs. Howard R. Toole Ricardo Torres and Nat Damon Norton S. and Barbara Walbridge Fund Judy and Robert Weisman Shirli Weiss Ellen G. and Edward G. Wong Family Foundation Dorothy and AC Wood Luann and Brian E. Wright Chester Yamaga Mike and Naima Yelda

CONCERTO CIRCLE $1,000-$2,499

Anonymous Anonymous Anonymous Anonymous Anonymous Fund K. Andrew Achterkirchen Sybil◊ and B.J. Adelson Arij Aljalabi Maria Araujo and Diego Echeverria Patricia and Brian Armstrong Tania and Greg Batson Toni and Deron Bear Lauren L. Beaudry Sondra Berk Steve Black Virginia and Robert Black Gerald Bordin and Shela Wosk-Bordin Adam Breslow Deb and Brand Brickman LaVerne and Blaine Briggs Joseph H. Brooks and Douglas Walker Loyce Bruce Jolie and Glenn Buberl John M. Burns and Dr. CC Cameron Burton Landscape Architecture Studio Dr. Carol August Butler and Dr. Lawrence B. Gratt Jian Chan, Samson Chan Films, LLC Susan Channick Peter Clark Stan Clayton Nathaniel L. Cohen Melvin Cohn Colwell Family Distributable Fund Community Service Association, San Diego Unified School District Anne and Alan Compaan Jeanette and Hal Coons Stan Clayton Sandra Daley, M.D. and Joseph Carmellino Gary and Carol Coburn Hilda and Neal Cohen Raul Collazo, Ph. D. Dean M. Crowder H Pearl Cutler Gill Davis Anne and Charles Dick H Ann Green Diggdon Audrey Doherty Garrettson Dulin, Jr. Barbara and John Edgington Morey A. Feldman & Jeanne D.

Feldman Family Endowment Fund H Nomi Feldman George Fern Marilyn Field Kenneth Fitzgerald Gertrude B. Fletcher Susan and John Fratamico Judy Frazer Dr. Charles Freebern Dr. Joy Frieman Judith Fullerton Richard and Sharon Gabriel Dr. Joyce Gattas Lynn and Charles Gaylord Nancy Ghio Kenneth F. Gibsen Memorial Fund Larry and Gigie Price Fund Alison Frost Gildred and George Gildred Joyce Glazer Cai Gogwilt Brenda and Michael Goldbaum Dr. John Grimaldi Georgette Hale Anne Marie and William Haney Torrey and Susan Harmon Sharon and Garry Hays Derek Helton Jamie Henson and Robert Houskeeper Suzanne and Lawrence Hess Nancy and Bill Homeyer Maryka and George Hoover Anne Janda Bjorn Jensen Virginia and Peter Jensen Jimbo’s... Naturally!

Juliana and Jerry Jordan Louise D. Kasch Donor Advised Fund Thomas Kelly Julia Kenyon Anona Kuehne Nancy and William Kurimay Sue Lasbury and John Cochran Eliza Lee Karen Lee and Joseph Drag Greg Lemke Gayle M. Lennard Littman Family Fund Jaimi Lomas Jennifer Luce Kiyoe MacDonald Deborah and Fred Mandabach Carole and Henry Manfredo Lois Marriott Robert McCommins Larry McDonald and Clare White-McDonald Elizabeth and Edward McIntyre Susan and Douglas McLeod Ellen and Hal Meier Karyn Meletis Julie and James Merkel Colleen and Brad Michels Elena M. Mickelson Andrew R. Midler Lynn Miller H Dr. Sandra E. Miner Ilene and Charles Mittman Rachel Mora Nancy and Robert Morgan Judith Morgan Karen and Michael Mudgett continued on page 38 PERFORM A N C E S M AGA ZIN E

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HONOR ROLL Shirley and Hank Murphy Anne and Thomas Nagel Adrian and Loma Nemcek David C. Nielsen Dr. J. Nicholas Nowak Raquel Olson H Birte Owenmark Sam Patella Frances L. Pierce Larry and Gigie Price Fund H H Michael Rensink and Marilyn Friesen Christa and Gerald Reynolds William and Mary Richardson Theodore E. Roberts Miguel Romero H Judith Rosen Sandra and Robert Rosenthal Dorann and Tuck Russell Sherry Santa Cruz and Alexander Ardwin Phyliss and David Sarkaria Ann◊ and Herb Schnall Margaret and Robert Schneider Barbara and Lawrence Sherman Julia and Ben Shiller Linda Silverman Sharon E. Starr Steve and Carmen Steinke Victor and Irene Stevens The Drs. Stewart John Stubbs Jan Suitts-Sopher Paula Tallal and Colleen Osburn Col. and Mrs. Joseph C. Timmons Laura Torres Brian and Tracey Trexel Joan Urdan Diana and Roger Van Duzer Victor Van Lint and Janet A. Anderson Elianna Vasquez Amanda Laine Vaughn R. Vilkutaitis Lori and Bill Walton Dr. and Mrs. J.P. Wasserstrom Inessa Weintraub Ellen and Bill Whelan Ida Sandico-Whitaker Joseph Witztum David A. Wood Oscar and Olga Worm Drs. Maria and Randy Zack Janet and Harry Zanville Claudia and Paul Zimmer Dr. and Mrs. Philip Ziring Herb and Margaret Zoehrer

SONATA CIRCLE $500-$999

Anonymous Anonymous Anonymous Anonymous Anonymous June and Daniel Allen Nancy Assaf Joe Baressi Jr. Mary Bauer Patricia and Bruce Becker Drs. John and Karen Berger Karen and Jerry Blakely Elizabeth and Steven Bluhm Kimberley and Marcus Boehm Greg Bowcott

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Sarah and John Boyer Lu Bucknell Barry and Debbie Burris Diane Bradley and Lawrence Forman Michael Cagle and Debra Colarusso Rebekah and Glen Campbell Dr. Terry Cashmore Helen and Frank Cavignac Carol and Stephen Center Lynne Champagne Caroline Chen and George Boomer Tanya and Sutton Chen Marian Ciborski Shem and Geoff Clow Donald Cole Dr. Richard and Stephanie Coutts Patrick and Megan Cusick Kathryn K. Dabbs Kathleen Di Giacinto Wendy and Alexander Dority Douglas P. Doucette Elizabeth Dreisbach B. Epperson and P. Doss Jeane Erley Jan and Lynne Erikson Joel Ewan and Carol Spielman-Ewan Felix Family Max Fenstermacher John Foltz Jean Fort Linda Fortier William Fox Judith and William Friedel Cynthia and Joe Furlong Henry J. George Michael Gilbert Donna Gordon Laurie M. Gore Carrie and James Greenstein James Greer Phillip and Patricia Grudzinski Charles Gyselbrecht Noel and Fred Hafer Linda and David Hagerty Susan Larson Hanson Dr. Marilyn Haring and Dr. Kathy Chambery Ruth and James Harris The Herr Family Mert and Joanne Hill Theresa A. Hill Barbara and Paul Hirshman Janet and Clive Holborow Peggy and John Holl Alicia Hopkins and Whitney Treadwell Matt Huang Julie Hutchinson Faith and Steve Jennings Bjorn Jensen Bruce A. Johnson Tandy and Gary Kippur John and Cindy Klinedinst Joyce and Michael Kole Kovelman-Ottilie Family Fund Andrea and Stephen Kowalewsky Wendy Laugesen “Mimi” Lee Elizabeth Leech Lewis Leicher Mort Levy and Ruth Stern Jean Lim and Richard Levine Joan Lewan Eva Lindsey Estelle and Hamilton Loeb Richard M. Long Esq.

Claudia Lowenstein Anna Lussier Laura and Donald James Malcolm Susan Marberry John Marchand David McCall and Bill Cross Joseph McGonigle Jonathan McMullen Sydney Miller Patricia Moises Steve Morrison Kathryn Murphy Network For Good Jan and Mark Newmark Laura Ann Nothdurft Col. Edgar A. Northrup Jr. Oliphant Family Fund Marilyn and Ronald Palermo Julie Park Dennise Pentecostes David Perry Edward Phelan Robert Plimpton II Dr. Lee R. Polk and Robert Betzer Sandra and David Polster Mary and Marty Pope Dean and Sharon Popp Phillip Poth Dr. Robert and Fran Preisman Jeff Quinn Barbara Rabiner Janet and Bill Raschke Erin Gourley Reid Marlene and Gerald Repholz William and Janet Rogers Rhonda and Gustavo Romero Laura and Dan Roos Rose Marie and Allan Royster Sharon and Robert Russakoff Dr. Jyotu Sandhu Gretchen Louise Schafer Selati Family Fund Robert Sharpe John Sheridan Kathleen and Lewis Shuster Anne and Ronald Simon Holland M. Smith II Marilyn and Brian Smith Larry and Pamela Stambaugh Vicki Stambaugh Craig Starkey Rebecca and Mitchell Steller Nancy and Charles Stewart Autumn and Michael Stoff John L. Stover Dr. Mary Strobbe Emily Renee Stroebel Helga and Sam Strong Derek Stults John E. Sturla II Dr. and Mrs. David E. Summers Cliff and Kay Sweet Elliott and Lynn Tarson Marilyn and Lou Tedesco Phoebe and Eugene◊ Telser Mike Tierney and Andrea Migdal Mr. and Mrs. Robert Thibodeau Melesse and Robert C. Traylor Sue Van Lenten Helen Wagner J. Susan Watson Rex and Kathy Warburton Carol and Thomas Warschauer Frank E. Watson Stephen Lloyd Webb

Matthew Wikler Karen and Rod Wood Dr. and Mrs. R. Ronald Wood Derek Woodman Suzy and James Yates Dr. Joseph Yedid Sandra and Peter Zarcades

MATCHING GIFTS Bank of America DLA Piper Sempra Energy Foundation U.S. Bank

MEMORIAL In Memory of Judith Stainrook Harry, Eric and Jennifer Stainrook In Memory of Jim and Molly Nelson Mary Smith, Jim Nelson and David Nelson In Memory of Jim Lester Pamela Lester In Memory of Dallis Ferguson Linda Anne Ferguson In Memory of Shearn Platt Barbara Bloom In Memory of Robert B. Crouch Elisabeth Crouch In Memory of Shearn Platt Lee and Frank Goldberg In Memory of Alex McDonald Carol Ann and George Lattimer In Memory of Neil Morgan Judith B. Morgan In Memory of Jane Bastien Barbara Kjos In Memory of Richard Olson Raquel Olson

HONORARIA In recognition of Mitch Woodbury who was named Lifetime Director of the San Diego Symphony Orchestra Lana and Roger Brenes In Honor of Dr. Warren Kessler Gayle Lennard In Honor of Sarah Skuster and Eric Starr Sharon E. Starr In Honor of Dave Snyder Matthew Garrett In Honor of Margarita and Philip Wilkinson Kathleen Einspanier In Honor of Martha Gilmer and Maria Araujo “Mimi” Lee In Honor of Concertmaster, Jeff Thayer Phillip Poth

IN MEMORY OF THOMAS ALBERT MORGAN:

Nancy and Robert Morgan Dr. Peter Czipott and Marisa SorBello Bradford Hutchins Brian Hutchins Eileen Wingard Celia and Sal Sutera Deborah Edge

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ADMINISTRATION

EXECUTIVE OFFICE Martha Gilmer, Chief Executive Officer Katy McDonald, Chief of Staff Darla Lopez, Executive Assistant to CEO and Board of Directors Cynthia Navarro, Front Desk Representative

ARTISTIC Lea Slusher, Vice President of Artistic Administration and Audience Development Clement So, Director of Artistic Planning Theodora Bellinger, Artistic Operations Manager Sean Dowgray, Artistic Assistant Angela Chilcott, Director of Orchestra Operations Magdalena O’Neill, Orchestra Personnel Manager Abigail Choi, Assistant Orchestra Personnel Manager Gerard McBurney, Creative Consultant OPERATIONS AND FACILITIES Travis Wininger, Vice President of Venue Operations Paige Satter, Director of Production Nicole Houghton, Assistant Production Manager Dennis Legg, Director of Facility Operations Kurt Bartelt, Facilities Operations Manager Diane Littlejohn, Facilities Support Specialist Terry Peterson, Senior Technician of Facilities Robert Saucedo, Facilities Technician Pete Perez, Facilities Technician Jeffrey Brace, Facilities Technician Dylan Avelar, Facilities Technician Jan Ted Briones, Facilities Technician Stage Personnel: Troy Castelblanco, Head Carpenter/Technical Director Evan Page, Electrical Department Head Shafeeq Sabir, Property Department Head Eric Clinton, Audio Department Head/Engineer James Fogarty, Video Department Head Ralph Miyashiro, PIano Technician House Personnel: George Kutchins, House Manager Assistant House Managers: Robert Bryan, Christine Harmon House Staff: Judy Bentovim, Sue Carberry, Vicki Duffy, Kerry Freshman, Billy Gomez, Sue Gomez, Bonnie Graham, Sharon Karniss, Nell Murray, Jackie Stetter-Shannon, Linda Thornhill, Marilyn Weiss, Phil Weiss INSTITUTIONAL ADVANCEMENT Todd Schultz, Vice President of Institutional Advancement Tania Batson, Director of Advancement, Planned Giving and Major Gifts Em Ezell, Campaign Director Jennifer Nicolai, Associate Director, Major Gifts and Stewardship Anne Wolverton, Associate Director, Donor Programs and Special Events Megan Peet, Assistant Director, Advancement Operations Paige Kobdish, Annual Fund Manager Jamie Karatkiewicz, Special Events Manager Tyler Kirk Haney, Special Events Coordinator Ludivine De Anda, Advancement Operations Manager Aaron Brenes, Advancement Ticket Concierge Barbara Broderick, Foundation and Government Grants LEARNING AND COMMUNITY ENGAGEMENT Maria Araujo, Vice President for Learning and Community Engagement Jesse Schiffman, Manager of Learning and Community Engagement Emily Persinko, Learning and Community Engagement Coordinator

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FINANCE AND ADMINISTRATION Maureen Melville, Chief Financial Officer Ashley Madigan, Controller Chris Cline, Accounting Manager Rachel Rosado, Accounts Payable Clerk Alicia Gonzalez, Director of Human Resources Susan Cochran, Payroll Administrator/Human Resources Coordinator Tim White, IT Manager Sabina Spilkin, Digital Systems Analyst Noé Bustamante, IT Support Specialist MARKETING AND COMMUNICATIONS Joan Cumming, Vice President of Marketing and Communications Jenie Dahlmann, Senior Director of Marketing and Communications J.D. Smith, Director of Marketing and Sales Technology Hilary Huffman, Marketing Manager Alyssa Villaseñor, Marketing Coordinator Nuvi Mehta, Concert Commentator

TICKET OFFICE Octavia Person, Ticket Services Manager Brianne Siegel, Assistant Ticket Services Manager/Rental Coordinator Kym Pappas, Assistant Ticketing Manager Cheri LaZarus, Ticket Services Associate-Lead Subscriptions Mario Machado, Subscriptions Representative/ Ticket Donations Coordinator Ticket Services Associates: Curtis Bellfy, Eddie Lamas, Tarina Lee, Lindsay Ross

How To Contact Us (Jacobs Music Center) TICKET OFFICE 750 B Street Monday through Friday, 10 am to 6 pm Concert Thursdays & Fridays: 10 am through intermission Concert Weekends: 12 noon through intermission Non-Concert Weekends: 12noon to 5pm Phone: 619.235.0804 • Fax: 619.231.3848 ADMINISTRATIVE OFFICES Mailing address: 1245 Seventh Ave. San Diego, CA 92101 Hours: 9am – 5pm Phone: 619.235.0800 • Fax: 619.235.0005 sandiegosymphony.com

SPECIAL THANKS FOR VALUABLE SUPPORT • Sound, Lighting and Video support provided by MSI Production Services • Backline support provided by Unisound • Fireworks support provided by Fireworks America and Pacific Tug & Barge (summer)

The stage crew employed by the San Diego Symphony Orchestra are members of the International Alliance of Theatrical Stage Employees (IATSE), Local 122, AFL-CIO.

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PATRON INFORMATION TICKET OFFICE HOURS Jacobs Music Center Ticket Office (750 B Street) Monday through Friday, 10 am to 6 pm Concert Tuesdays through Fridays: 10 am through intermission Concert Weekends: 12 noon through intermission

SUBSCRIPTIONS San Diego Symphony Orchestra offers an attractive array of subscription options.

Subscribers receive the best available seats and (for traditional subscribers) free ticket exchanges (up to 48 hours in advance for another performance within your series).

Other subscriber-only benefits include priority notice of special events and (for certain packages) free parking.

TICKET EXCHANGE POLICY • Aficionado subscribers may exchange into most Winter series concerts for free! All exchanges are based on ticket availability.

• Traditional subscribers receive the best available seats and may exchange to another performance within their series for free. Build Your Own subscribers and Non-subscribers can do the same, with a $5 exchange fee per ticket.

• Exchanged tickets must be returned to the Ticket Office 24 hours prior to the concert by one of the following ways: In person, by mail (1245 Seventh Ave., San Diego, CA 92101, Attn: Ticket Office) or by fax (619.231.3848).

LOST TICKETS San Diego Symphony concert tickets can be reprinted at the Ticket Office with proper ID. GROUP SALES Discount tickets for groups are available for both subscription and non-subscription concerts (excluding outside events). For further information, please call 619.615.3941.

YOUNGER AUDIENCES POLICY Jacobs Masterworks, Classical Specials, and Chamber Music: No children under five years of age will be allowed into the concert hall. Children five and older must have a ticket and be able to sit in an unaccompanied seat.

City Lights, Jazz @ The Jacobs, Fox Theatre Film Series: No children under the age of two years will be allowed into the concert hall. Children two and older must have a ticket and be able to sit in a seat.

Family Concerts: Children three years and older must have a ticket and be able to sit in a seat. Babies and children two years old and younger who are accompanied by a parent will be allowed into the concert hall.

They must be held by an adult and may not occupy a seat, unless they have a ticket.

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GIFT CERTIFICATES Gift certificates may be purchased in any amount at the Jacobs Music Center Ticket Office in person, online, by phone, or by mail. They never expire!

UNUSED TICKETS Please turn in unused subscription tickets for resale to the Ticket Office or by mailing them to 1245 Seventh Ave., San Diego, CA 92101 (Attn: Ticket Office). Tickets must be turned in anytime up to 24 hours in advance of your concert. A receipt will be mailed acknowledging your tax-deductible contribution.

QUIET ZONE Please turn all cellular and paging devices to the vibrate or off position upon entry into Symphony Hall. Your cooperation is greatly appreciated by fellow concertgoers and performers.

RECORDING DEVICES During concerts that feature the San Diego Symphony, unauthorized recording or photography of any kind (including by smart phones) is expressly prohibited during performances.

SMOKING POLICY Smoking is not permitted in Jacobs Music Center, its lobbies or the adjoining Symphony Towers lobby. Ashtrays can be found outside the building on both Seventh Avenue and B Street.

ALCOHOLIC BEVERAGES AND REFRESHMENTS Alcoholic beverages are available for sale in Jacobs Music Center lobbies before the concert and during intermission. Please have valid identification available and please drink responsibly. Refreshment bars offering snacks and beverages are located on both upper and lower lobbies for most events. Food and beverages are not allowed in performance chamber for concerts.

LATE SEATING Latecomers will be seated at an appropriate interval in the concert as determined by the house manager. We ask that you remain in your ticketed seat until the concert has concluded. Should special circumstances exist or arise, please contact the nearest usher for assistance.

SPECIAL ACCOMMODATIONS Seating: ADA seating for both transfer and non-transfer wheelchairs, as well as restrooms, are available at each performance.

Please notify the Ticket Office in advance at 619.235.0804, so that an usher may assist you.

Assistive Listening Devices: A limited number of hearing enhancement devices are available at no cost. Please ask an usher for assistance.

Large-Print Programs: Large-print program

notes are available for patrons at all Jacobs Masterworks concerts. Copies may be obtained from an usher.

PUBLIC RESTROOMS AND TELEPHONES Restrooms are located on the north and south ends of the upper lobby, and the north end of the lower lobby. An ADA compliant restroom is located on each floor.

Please ask an usher for assistance at any time. Patrons may contact the nearest usher to facilitate any emergency telephone calls.

COUGH DROPS Complimentary cough suppressants are available to symphony patrons. Please ask our house staff for assistance.

LOST & FOUND Report all lost and/or found items to your nearest usher. If you have discovered that you misplaced something after your departure from Jacobs Music Center, call the Facilities Department at 619.236.5402.

PRE-CONCERT TALKS Patrons holding tickets to our Jacobs Masterworks Series concerts are invited to come early for “What’s The Score?” pre-performance conversations beginning 45 minutes prior to all Jacobs Masterworks programs (Fridays and Saturdays, 7:15 pm; Sundays, 1:15 pm).

HALL TOURS Free tours of the Jacobs Music Center are given each month of the winter season.

Check the “Jacobs Music Center” section of the website, or call 619.615.3955 for more details. No reservations are necessary.

JACOBS MUSIC CENTER TICKET OFFICE 750 B Street (NE Corner of 7th and B, Downtown San Diego) San Diego, CA 92101 Phone: 619.235.0804 Fax: 619.231.3848 SAN DIEGO SYMPHONY ADMINISTRATION OFFICE 1245 Seventh Avenue San Diego, CA 92101 Phone: 619.235.0800 Fax: 619.235.0005

Our Website: SanDiegoSymphony.org Contact us to receive mailed or e-mailed updates about Orchestra events.

All artists, programs and dates are subject to change.

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