San Diego Symphony - October 2016 Program Book

FROM THE

CHIEF EXECUTIVE OFFICER DEAR FRIENDS, Photo Credit: Lauren Radack

Last year I wrote that the opening of a new season is like opening a new book. Each chapter unfolds as the season goes on – and takes us away from our everyday life into a different world where we encounter different characters, places and experiences.

Our 2016-17 Season has been designed more like a series of quilts, each created uniquely, with great care, evoking memories and experiences from the past while creating something of value along with lasting memories.

The quilt is the perfect metaphor for a season focused on exploration of the many facets of music made in America. In every quilt, each tile of fabric finds its place in a larger framework that creates a complete image when stitched together with other pieces. That is exactly how I would hope you, our audience, would experience our new season of concerts.

The American melting pot has brought people from all over the world to our country – from our coasts to our heartland, north woods and southern bayous; we represent so many different cultures, different languages and different music. And yet, when we consider it all as a whole, the patterns that emerge speak volumes about what it is to be an American. This season is an exploration of that American voice, and an important part of that exploration is the element of discovery!

There are ten pieces of music included in this season’s classical programs which have never been performed before by the San Diego Symphony Orchestra. Having been involved in making programs for well over 30 years, one of the most rewarding experiences I have is when someone comes up to me and says, “I loved that piece of music and I had never heard it before.” The unfamiliar may turn out to be your most favorite piece of music after all.

The opening of our Jacobs Masterworks season features an American from the heartland, violinist Gil Shaham, performing the great Mendelssohn Concerto. Gil was born in Champaign-Urbana, Illinois, but moved to Israel when he was seven years old. It is fitting that the season begins with a work by William Schuman (1910-92) which is entitled American Festival Overture. Schuman, who grew up in Manhattan, wrote sweeping melodies that reflects our American roots. It is a perfect kick off to our America-focused season, which culminates in January with our American Variations Festival.

During October we launch our Family Concerts Series with the very familiar work by Prokofiev, Peter and the Wolf. Much of Prokofiev’s career was centered in America, writing his Love for Three Oranges for the Chicago Opera and performing throughout this country as a pianist. After returning to Russia in 1936 and writing his legendary children’s piece in four days for a Moscow children’s theatre commission, Prokofiev briefly returned to America in 1938, stopped by Walt Disney’s LA studios and played the whole score on Disney’s rickety office piano; the episode inspired Disney to make his famous animated version of Peter in 1946. Our concert, a perfect introduction to orchestral music for the entire family, is a collaboration with San Diego Junior Theatre.

The Fox Theatre, now Copley Symphony Hall, has a long history of cinematic presentations, and we honor that history by screening the ultimate Silent Era horror classic, The Phantom of the Opera (1925), complete with live organ. And just in time for Halloween, we'll have a performance with our Orchestra of the music of film composer Danny Elfman. Finally, on October 30th we celebrate Día de los Muertos, the Mexican Day of the Dead, with a special concert accompanied by the creation of traditional ceremonial alters.

I hope you will join us throughout the season as we create our musical quilt – the old and new, familiar and surprising – discovering along the way how music connects us all.

Sincerely,

Martha A. Gilmer Chief Executive Officer S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

COVER DESIGN BY: Raindrop Marketing P E R FOR M AN C E S MAGAZ I NE P1

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 • I nvitation to Annual Side-by-Side onstage concert and dinner

• Keepsake photo of partner and musician

• C omplimentary valet parking for our Jacobs Masterworks series

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

• P artner with a Player Concierge for your ticketing needs at the SDSO or any orchestra nationwide • P rofessional photograph on display in the Partner with a Player Gallery at the Jacobs Music Center

• Donor name listed in all programs

• P riority invitations to musician, board and concert special events • Symphony lapel pin • Subscription upgrade priority for Grand Tier Seating

OR MORE INFORMATION ABOUT THE PARTNER WITH A PLAYER PROGRAM, PLEASE CONTACT F JANE RICE AT 619.237.1966.

† DECEASED SAN DIEGO FOUNDATION $150,000 AND ABOVE

Phyllis and Daniel Epstein

Joan and Irwin Jacobs

Audrey Geisel Dr. Seuss Fund

Dick † and Dorothea Laub

Sheryl Renk, Principal Clarinet

Jahja Ling, Music Director

Martha A. Gilmer, Chief Executive Officer Nancy Lochner, Associate Principal Viola

$50,000–$99,999 Sam B. Ersan

Kyle R. Covington, Principal Trombone Valentin Martchev, Principal Bassoon Julie Smith Phillips, Principal Harp

$25,000–$49,999 Rita and Richard Atkinson

Ryan J. DiLisi, Principal Timpani

Raffaella and John Belanich

Micah Wilkinson, Principal Trumpet

Barbara Kjos

Allison and Robert Price

Rebekah Campbell, Viola Logan Chopyk, Trombone

Sameer Patel, Assistant Conductor

Evelyn and Ernest Rady

Rose Lombardo, Principal Flute

Carol Lazier and James Merritt

Shirley Estes

Matthew Garbutt, Principal Tuba

Sarah Skuster, Principal Oboe Sarah Tuck, Flute

Penny and Louis Rosso

Farrell Family Foundation

Deborah Pate and John Forrest

Gregory Cohen, Principal Percussion

Nuvi Mehta, Concert Commentator

Hervey Family Fund

Courtney Secoy Cohen, Principal Librarian

Karen and Warren Kessler

Chi-Yuan Chen, Principal Viola KAREN AND WARREN KESSLER CHAIR

P 2 PE RFORMA NCES MAGAZ IN E

Maxwell Louis Shillman

Jeff Thayer, Concertmaster

DEBORAH PATE AND JOHN FORREST CHAIR

Linda and Shearn Platt

Gayle and Donald Slate Angela Homnick, Violin

Benjamin Jaber, Principal Horn

Joyce and Ted Strauss

The Potiker Family in memory of Sheila and Hughes Potiker

Sheryl and Harvey White

Yao Zhao, Principal Cello Alexander Palamidis, Principal Violin II

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

Sam B. Ersan with his three Partner with a Player Musicians, Principal Bassoon Valentin Martchev (far left), Principal Trombone Kyle R. Covington (middle left) and Principal Harp Julie Smith Phillips (right).

Elaine Galinson and Herbert Solomon with their Partner with a Player Musician, violinist Yumi Cho (center).

$15,000–$24,999 Anonymous

Marilyn James and Richard Phetteplace

Anonymous

Evelyn Olson and William Lamden

Chia-Ling Chien, Associate Principal Cello

Jane Bastien

John Stubbs, Violin

Andrea Overturf, Oboe and English Horn

Tricia Skye, Horn

DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

Julia R. Brown

Sandra and Arthur Levinson

Leyla Zamora, Bassoon and Contrabassoon

Sophie Bryan and Matthew Lueders Caterina Longhi, Viola

Nikki A. and Ben G. Clay Mary Oda Szanto, Cello

Karen and Donald Cohn Glen Campbell, Cello

Elisabeth Crouch

Michael Priddy, Trombone and Bass Trombone

Kathleen Seely Davis Qing Liang, Viola

Karin and Gary Eastham

Erica Peel, Flute and Piccolo

Anne L. Evans

Wesley Precourt, Associate Concertmaster

Esther and Bud† Fischer Pauline E. Foster†

Jisun Yang, Assistant Concertmaster

Elaine Galinson and Herbert Solomon Yumi Cho, Violin

Jill Gormley and Laurie Lipman

Frank Renk, Clarinet and Bass Clarinet

Rachel Grosvenor

Anna Skálová, Violin

Papa Doug Manchester Barbara and Harry Markowitz Edmund Stein, Violin

Dennis E. Mayer, MD and Dean T. Rutherford

Andrew Watkins, Percussion and Assistant Principal Timpani

Rena Minisi and Rich Paul Ryan Simmons, Bassoon

Admiral Riley D. Mixson

Theresa Tunnicliff, Clarinet

Marilyn and Owen† O’Brien Wanda Law, Viola

Monica and Robert Oder

Erin Douglas Dowrey, Percussion

Gloria and Rodney Stone P.J. Cinque, Bass

Iris and Matthew Strauss Shigeko Sasaki, Violin

Elizabeth and Joseph† Taft Danielle Kuhlmann, Horn

Sylvia and Roger Thieme Joan Zelickman, Violin

Linda and Raymond Thomas R.V. Thomas Family Fund Ray Nowak, Trumpet

Helen N. Tomlinson

Marcia Bookstein, Cello

Isabelle and Melvin Wasserman Andrew Hayhurst, Cello

Leslie and Joe Waters

Darby Hinshaw, Assistant Principal and Utility Horn

Sue and Bill Weber Jing Yan, Violin

Kathryn and James Whistler

Val and Ron Ontell

Penny Wing and Victor Nacif

Xian Zhuo, Cello

Rachyl Duffy, Viola

Colette and Dr. Ivor Royston Yeh Shen, Violin

Rachel Fields, Librarian Ethan Pernela, Viola

Mitchell Woodbury Douglas Hall, Horn

Seltzer Caplan McMahon Vitek Pei-Chun Tsai, Violin

Alicia Engley, Violin

Jayne and Brigg Sherman Harrison Linsey, Oboe

Judith Harris and Dr. Robert Singer

Stephen M. Silverman

Susan Wulff, Associate Principal Bass

Nick Grant, Principal Associate Concertmaster Emeritus

Phyllis and David Snyder

Becky Ivans-Downer

Hon. Stephanie Sontag and Hon. David Oberholtzer

Jory Herman, Bass

Kathryn Hatmaker, Violin

Elizabeth and Dene Oliver

Ann and Ben Haddad

Carol and Richard Hertzberg

Jeanette Stevens

Julia Pautz, Violin

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

Richard Levine, Cello

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S MAGAZ I NE P3

ABOUT THE MUSIC DIRECTOR

JAHJA LING

(released in summer of 2009) and a new CD of Lucas Richman’s Behold the Bold Umbrellaphant and Saint-Saëns’ Carnival of the Animals with soloists Jon Kimura Parker and Orli Shaham distributed by Naxos in 2013. Under his leadership, the San Diego Symphony Orchestra has been designated a Tier One major orchestra by the League of American Orchestras, based on a new level of unprecedented artistic excellence, its continuing increase in audience attendance as well as its solid financial stability.

JA HJA L I NG ‘s distinguished career as an internationally renowned conductor has earned him an exceptional reputation for musical integrity, intensity and expressivity. Born in Jakarta, Indonesia, and now a citizen of the United States, he is the first and only conductor of Chinese descent who holds a music director position with a major orchestra in the United States and has conducted all of the major symphony orchestras in North America including Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, Pittsburgh and San Francisco.

Season 2016-17 marks his 13th and final season as Music Director of the San Diego Symphony Orchestra; thereafter he will become conductor laureate for the Orchestra. In October of 2013 Mr. Ling led the Orchestra for a sold out concert at Carnegie Hall with Lang Lang as soloist, followed by a tour to China where the Orchestra appeared in five concerts in Yantai (sister city of San Diego), Shanghai and Beijing (at the National Centre for the Performing Arts and at Tsinghua University) with soloists Joshua Bell and Augustin Hadelich. This two week tour was the first international tour and the first appearance of the San Diego Symphony Orchestra at Carnegie Hall (received with great acclaim) in their 100+ year history. The Orchestra’s performances conducted by Mr. Ling have also received the highest praise from public and critics alike, having been broadcast both locally and nationally. Mr. Ling and the Orchestra have recently released eight new live recordings (the Orchestra’s first in a decade). Together they have undertaken commissions as well as premieres of many new works and recorded new works of Bright Sheng for Telarc Records P 4 PE RFORMA NCES MAGAZ IN E

In recent and upcoming seasons Mr. Ling returns as guest conductor with the Adelaide Symphony, Cleveland Orchestra, Hangzhou Philharmonic, Hong Kong Philharmonic, Jakarta Symphony, Louisiana Philharmonic, Macao Symphony, Pasadena Symphony, Philharmonia Taiwan (National Symphony of Taiwan), Royal Philharmonic of London, Sydney Symphony Orchestra, Vancouver Symphony, West Australia Symphony as well as Yale Philharmonia and Curtis Symphony Orchestra. In June of 2012 he conducted the Schleswig Holstein Festival Orchestra in Berlin’s O2 World on the occasion of Lang Lang’s 30th birthday concert with Lang Lang, Herbie Hancock and 50 young pianists from around the world. The concert, attended by more than 10,000 people, was also telecast live by German and Spanish TV. Mr. Ling holds one of the longest continuous relationships with one of the world’s greatest orchestras, The Cleveland Orchestra. In 2014 he celebrated his 30th anniversary with that esteemed ensemble with performances at Severance Hall, the Blossom Music Festival and Palm Beach, Florida.

He first served as Associate Conductor in the 1984-85 season, and then as Resident Conductor for 17 years from 1985-2002 and as Blossom Music Festival Director for six seasons (2000-05). During his tenure with the Orchestra, he conducted over 450 concerts and 600 works, including many world premieres. Among his distinguished services as Resident Conductor, Mr. Ling led the Orchestra’s annual concert in downtown Cleveland, heard by more than 1.5 million people. His telecast of A Concert in Tribute and Remembrance with the Orchestra for 9/11/2011 received an Emmy® Award. The United States House of Representatives presented a Congressional Record of his outstanding achievements in the United States Capitol in September 2006.

Prior to his Cleveland appointment, Mr. Ling

served as Assistant and Associate Conductor of the San Francisco Symphony. Deeply committed to education, Mr. Ling served as founding Music Director of the Cleveland Orchestra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84).

Mr. Ling made his European debut with the Leipzig Gewandhaus Orchestra in 1988 to great acclaim. His other engagements abroad have taken him to the Chamber Orchestra of Lausanne, Copenhagen Philharmonic Orchestra, China Philharmonic in Beijing, Guangzhou Symphony, Malaysian Philharmonic, Macao Symphony, MDR Symphony Orchestra in Leipzig, Netherlands Radio Philharmonic, NDR Radio Philharmonie in Hannover, NDR Symphony Orchestra in Hamburg, Orchestre Nationale du Capitole de Toulouse, Royal Philharmonic of London, Rundfunk-Sinfonieorchester Berlin, Shanghai Symphony, Singapore Symphony, Stockholm Philharmonic and Tokyo’s Yomiuri Nippon Symphony.

Mr. Ling began to play the piano at age four and studied at the Jakarta School of Music. At age 17 he won the Jakarta Piano Competition and one year later was awarded a Rockefeller grant to attend The Juilliard School, where he studied piano with Mieczysław Munz and conducting with John Nelson. After completing a master’s degree at Juilliard, he studied orchestral conducting at the Yale School of Music under Otto-Werner Mueller and received a Doctor of Musical Arts degree in 1985. He was also awarded an honorary doctorate by Wooster College in 1993. In the summer of 1980 Mr. Ling was granted the Leonard Bernstein Conducting Fellowship at Tanglewood, and two years later he was selected by Mr. Bernstein to be a Conducting Fellow at the Los Angeles Philharmonic Institute.

As a pianist Mr. Ling won a bronze medal at the 1977 Arthur Rubinstein International Piano Master Competition in Israel and was awarded a certificate of honor at the following year’s Tchaikovsky International Piano Competition in Moscow. He made his Cleveland Orchestra debut as a pianist in 1987 and has appeared as both soloist and conductor with a number of orchestras in the United States and internationally.

Mr. Ling makes his home in San Diego with his wife, Jessie, and their young daughters Priscilla and Stephanie. n

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

SAN DIEGO SYMPHONY ORCHESTRA

JAHJA LING, MUSIC DIRECTOR

SAMEER PATEL

Associate Conductor

VIOLIN Jeff Thayer Concertmaster DEBORAH

PATE AND JOHN FORREST CHAIR

Wesley Precourt Associate Concertmaster Jisun Yang Assistant Concertmaster Alexander Palamidis Principal II Zou Yu Associate Principal II Nick Grant Principal Associate Concertmaster Emeritus Yumi Cho Hernan Constantino Alicia Engley Kathryn Hatmaker Angela Homnick Ai Nihira* Igor Pandurski Julia Pautz Shigeko Sasaki Yeh Shen Anna Skálová Edmund Stein Hanah Stuart John Stubbs Pei-Chun Tsai Jing Yan Joan Zelickman VIOLA Chi-Yuan Chen Principal KAREN AND WARREN KESSLER CHAIR

Nancy Lochner Associate Principal Rebekah Campbell Rachyl Duffy Jason Karlyn* Wanda Law Qing Liang ^ Caterina Longhi Thomas Morgan Ethan Pernela Dorothy Zeavin CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal Marcia Bookstein Glen Campbell Andrew Hayhurst Richard Levine Mary Oda Szanto Xian Zhuo

BASS Jeremy Kurtz-Harris Principal OPHIE AND ARTHUR BRODY S FOUNDATION CHAIR

Susan Wulff Associate Principal P. J. Cinque Samuel Hager Jory Herman Margaret Johnston+ Daniel Smith* Michael Wais FLUTE Rose Lombardo Principal Sarah Tuck Erica Peel PICCOLO Erica Peel OBOE Sarah Skuster Principal Harrison Linsey

TROMBONE Kyle R. Covington Principal Logan Chopyk Richard Gordon+ Michael Priddy BASS TROMBONE Michael Priddy TUBA Matthew Garbutt Principal HARP Julie Smith Phillips Principal TIMPANI Ryan J. DiLisi Principal Andrew Watkins Assistant Principal PERCUSSION Gregory Cohen Principal

Andrea Overturf

Erin Douglas Dowrey Andrew Watkins

ENGLISH HORN Andrea Overturf

ORCHESTRA PERSONNEL MANAGER Magdalena O’Neill

DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

CLARINET Sheryl Renk Principal Theresa Tunnicliff Frank Renk

ASSISTANT PERSONNEL MANAGER Victoria Moore PRINCIPAL LIBRARIAN Courtney Secoy Cohen LIBRARIAN Rachel Fields

BASS CLARINET Frank Renk BASSOON Valentin Martchev Principal Ryan Simmons Leyla Zamora CONTRABASSOON Leyla Zamora HORN Benjamin Jaber Principal

* Long Term Substitute Musician + Staff Opera Musician ˆ On leave All musicians are members of the American Federation of Musicians Local 325.

Darby Hinshaw Assistant Principal & Utility Danielle Kuhlmann Tricia Skye Douglas Hall TRUMPET Micah Wilkinson Principal John MacFerran Wilds Ray Nowak

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

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

P E R FOR M AN C E S MAGAZ I NE P5

SAN DIEGO SYMPHONY ORCHESTRA

BOARDS BOARD OF DIRECTORS

Warren O. Kessler, M.D., Chair* David R. Snyder, Esq., Chair-Elect* Shearn Platt, Imm. Past Chair* Sam Ersan, Vice Chair* Deborah Pate, Vice Chair* James Wendler, Treasurer* Kathleen Davis, Secretary*

*EXECUTIVE COMMITTEE MEMBER

Terry Atkinson

Evelyn Olson Lamden*

Julia R. Brown*

Jeff Light

Sophie Bryan

Adm. Riley Mixson

Pamela Cesak

Elizabeth Oliver

Ben G. Clay*

Jacqueline L. Parks*

Chukuka S. Enwemeka, Ph.D.

Colette Carson Royston*

Phyllis Epstein*

Donald M. Slate*

Lisette Farrell

J. William Weber

James L. Fitzpatrick

Penny Wing

Damon Francis

Mitchell R. Woodbury*

Janet Gorrie

John Zygowicz*

Ann Haddad*

HONORARY LIFETIME DIRECTORS

Dr. Irwin M. Jacobs

Anne Francis Ratner (1911-2011)

Herbert Solomon

Joan K. Jacobs

Lawrence B. Robinson

Mitchell R. Woodbury

Sophie Bryan

Sandra Levinson

Martha Gilmer

Kathlyn Mead

Judith Harris

Jeremy Pearl

Warren O. Kessler, M.D.

Mitchell R. Woodbury

1989-93 Warren O. Kessler M.D. 1988-89 Elsie V. Weston 1986-88 Herbert J. Solomon 1984-86 M.B. “Det” Merryman 1982-84 Louis F. Cumming 1980-82 David E. Porter 1978-80 Paul L. Stevens 1976-78 Laurie H. Waddy 1974-76 William N. Jenkins 1971-74 L. Thomas Halverstadt 1970-71 Simon Reznikoff 1969-70 Robert J. Sullivan 1968-69 Arthur S. Johnson 1966-68 Michael Ibs Gonzalez

1964-66 Philip M. Klauber 1963-64 Oliver B. James Jr. 1961-63 J. Dallas Clark 1960-61 Fielder K. Lutes 1959-60 Dr. G. Burch Mehlin 1956-58 Admiral Wilder D. Baker 1953-56 Mrs. Fred G. Goss 1952-53 Donald A. Stewart 1940-42 Donald B. Smith 1938-39 Mrs. William H. Porterfield 1934-37 Mrs. Marshall O. Terry 1930-33 Mouney C. Pfefferkorn 1928-29 Willett S. Dorland 1927 Ed H. Clay

Warren O. Kessler, M.D.

FOUNDATION BOARD OF DIRECTORS

Joan K. Jacobs, Chair Robert Caplan, Esq., Vice Chair Shearn Platt, Secretary Marjory Kaplan, Treasurer

PAST BOARD CHAIRS

2014-15 Shearn Platt 2011-14 Evelyn Olson Lamden 2009-11 Mitchell R. Woodbury 2008-09 Theresa J. Drew 2007-08 Steven R. Penhall 2005-07 Mitchell R. Woodbury 2004-05 Craig A. Schloss Esq. 2003-04 John R. Queen 2001-03 Harold B. Dokmo Jr. 2000-01 Ben G. Clay 1998-00 Sandra Pay 1995-96 Elsie V. Weston 1994-95 Thomas Morgan 1993-94 David Dorne, Esq.

P 6 PE RFORMA NCES MAGAZ IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

THE SAN DIEGO SYMPHONY ORCHESTRA IS PROUD TO ANNOUNCE THE ESTABLISHMENT OF

The

BEETHOVEN SOCIETY

$5 MILLION and above

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.

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

JOAN AND IRWIN JACOBS

$1 MILLION and above

PHYLLIS AND DANIEL EPSTEIN

DOROTHEA LAUB

TERRY ATKINSON

SAM ERSAN

DONALD AND GAYLE SLATE

MITCHELL WOODBURY

$200,000 and above

KAREN AND WARREN KESSLER

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S MAGAZ I NE P7

OCTOBER 8 OPUS 2016: GALA CONCERT SATURDAY October 8, 2016 – 8:00pm conductor Thomas Wilkins

Michael Feinstein Patti Austin

Performance at The Jacobs Music Center's Copley Symphony Hall

PROGRAM TO INCLUDE THE FOLLOWING ORCHESTRAL SELECTIONS: FREDERICK LOEWE / Arr. Conrad Salinger and John Mauceri

Gigi: Concert Suite

DAVID RASKIN

Theme from Laura Michael Feinstein and Patti Austin will announce their program from the stage.

ABOUT THE CONDUCTOR Conductor chair with the Boston Symphony.

Past positions have included resident conductor of the Detroit Symphony and Florida Orchestra (Tampa Bay) and associate conductor of the Richmond (VA) Symphony.

He also has served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga and Virginia Commonwealth University in Richmond.

THOMAS WILKINS, CONDUCTOR

T

HO MAS WI L KI NS is Principal Conductor of the Hollywood Bowl Orchestra. He has held a titled position at the Hollywood Bowl since 2008 when he was named Principal Guest Conductor, and in the spring of 2014 he became Principal Conductor.

Additionally he holds positions as Music Director of the Omaha Symphony, a post he has held since 2005. Also he holds the Germeshausen Family and Youth Concert

P 8 PE RFORMA NCES MAGAZ IN E

Devoted to promoting a life-long enthusiasm for music, Mr. Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.”

In 2014 Mr. Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards, for his significant contribution to music in the state.

During his conducting career, Mr. Wilkins has led orchestras throughout the United States, including the Philadelphia Orchestra (where he will return this season), the Cleveland Orchestra, the New York Philharmonic, the Atlanta Symphony, the Rochester Philharmonic, the Cincinnati Symphony, the Dallas Symphony, the Houston Symphony, the San Diego Symphony, the Buffalo Philharmonic, the Baltimore Symphony, the Utah Symphony, Chicago’s Grant Park

Symphony (where he returned this last summer) as well as the National Symphony in Washington, D.C., to name a few.

A native of Norfolk, VA, Thomas Wilkins is a graduate of the Shenandoah Conservatory of Music and the New England Conservatory of Music in Boston. He resides with his wife Sheri-Lee in Omaha. They are the proud parents of twin daughters, Erica and Nicole. n

M

I CH A E L FE I N STE I N has built a dazzling career over the last three decades bringing the music of the Great American songbook to the world. From recordings that have earned him five Grammy® Award nominations to his Emmy-nominated PBS-TV specials, his acclaimed NPR series and concerts spanning the globe – in addition to his appearances at iconic venues such as The White House, Buckingham Palace, Hollywood Bowl, Carnegie Hall and Sydney Opera House – his work as an educator and archivist define Feinstein as one of the most important musical forces of our time.

In 2007 he founded the Great American Songbook Foundation, dedicated to celebrating the art form and preserving it through educational programs, Master Classes, and the annual High School Songbook Academy. This summer intensive

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE ARTISTS

OPUS 2016: GALA CONCERT - OCTOBER 8

nationally syndicated public radio program Song Travels, Mr. Feinstein interviews and performs alongside of music luminaries such as Bette Midler, Neil Sedaka, Liza Minnelli, Rickie Lee Jones, David Hyde Pierce and more.

Michael Feinstein was named Principal Pops Conductor for the Pasadena Symphony in 2012 and made his conducting debut in June 2013 to critical acclaim. Under Mr. Feinstein’s leadership, the Pasadena Pops has quickly become a premier orchestral presenter of the Great American Songbook with definitive performances of rare orchestrations and classic arrangements.

He launched an additional Pops series at the Kravis Center for the Performing Arts in Palm Beach, Florida in 2014.

MICHAEL FEINSTEIN

open to students from across the country has produced graduates who have gone on to record acclaimed albums and appear on television programs such as NBC’s America’s Got Talent. Michael serves on the Library of Congress’ National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation and increased public availability of America’s sound recording heritage.

The most recent album from his multiplatinum recording career is A Michael Feinstein Christmas from Concord Records.

The CD features Grammy® Award -winning jazz pianist Alan Broadbent (Paul McCartney, Diana Krall, Natalie Cole). Mr. Feinstein earned his fifth Grammy® Award nomination in 2009 for The Sinatra Project, his CD celebrating the music of “Ol’ Blue Eyes.” The Sinatra Project, Volume II: The Good Life was released in 2011. He released the CDs The Power Of Two – collaborating with Glee and 30 Rock star Cheyenne Jackson – and Cheek To Cheek, recorded with Broadway legend Barbara Cook. For Mr. Feinstein’s CD We Dreamed These Days, he co-wrote the title song with the late Dr. Maya Angelou.

His Emmy Award-nominated TV special Michael Feinstein – The Sinatra Legacy, which was taped live at the Palladium in Carmel, IN, aired across the country in 2011. The PBS series Michael Feinstein’s American Songbook, the recipient of the ASCAP Deems-Taylor Television Broadcast Award, was broadcast for three seasons and is available on DVD. His most recent primetime PBS-TV Special, New Year’s Eve at The Rainbow Room – written and directed by Desperate Housewives creator Marc Cherry – aired in 2014. For his

Mr. Feinstein’s book The Gershwins and Me – the Los Angeles Times best-seller from Simon & Schuster – features a new CD of Gershwin standards performed with Cyrus Chestnut at the piano.

Mr. Feinstein serves as Artistic Director of the Palladium Center for the Performing Arts, a $170 million, three-theatre venue in Carmel, Indiana, which opened in January 2011. The theater is home to diverse live programming and a museum for his rare memorabilia and manuscripts. Since 1999 he has served as Artistic Director for Carnegie Hall’s “Standard Time with Michael Feinstein” in conjunction with ASCAP. In 2010 he became the director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center.

Feinstein’s at the Nikko, Michael’s nightclub at San Francisco’s Nikko Hotel, has presented the top talents of pop and jazz since 2013.

He debuted at Feinstein’s/54 Below, his new club in New York, late in 2015. His first venue in New York, Feinstein’s at the Regency, featured major entertainers such as Rosemary Clooney, Glen Campbell, Barbara Cook, Diahann Carroll, Jane Krakowski, Lea Michele, Cyndi Lauper, Jason Mraz and Alan Cumming from 1999 to 2012.

He has designed a new piano for Steinway called “The First Ladies,” inspired by the White House piano and signed by several former First Ladies. It was first played to commemorate the Ronald Regan centennial on February 6, 2011.

In 2013 Mr. Feinstein released Change Of Heart: The Songs of Andre Previn in collaboration with four-time Oscar® and eleven-time Grammy® Award-winning composer-conductor-pianist Andre Previn.

The album celebrates Previn’s pop songs and motion picture classics. Earlier album

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

highlights include Hopeless Romantics, a songbook of classics by Michael’s late friend Harry Warren, recorded with legendary jazz pianist George Shearing. His album with songwriting icon Jimmy Webb, Only One Life – The Songs of Jimmy Webb, was named one of “10 Best CDs of the Year” by USA Today.

Mr. Feinstein received his fourth Grammy® nomination for Michael Feinstein with the Israel Philharmonic Orchestra, his first recording with a symphony orchestra. The year before, Rhino/Elektra Music released The Michael Feinstein Anthology, a two-disc compilation spanning 1987 to 1996 and featuring old favorites and previouslyunreleased tracks.

Michael Feinstein was born and raised in Columbus, Ohio, where he started playing piano by ear as a 5-year-old. After graduating from high school, he moved to Los Angeles when he was 20. The widow of legendary concert pianist-actor Oscar Levant introduced him to Ira Gershwin in July 1977.

Mr. Feinstein became Gershwin’s assistant for six years, which earned him access to numerous unpublished Gershwin songs, many of which he has since performed and recorded.

Gershwin’s influence provided a solid base upon which Mr. Feinstein evolved into a captivating performer, composer and arranger of his own original music. He also has become an unparalleled interpreter of music legends such as Irving Berlin, Jerome Kern, Johnny Mercer, Duke Ellington and Harry Warren. Mr. Feinstein has received three honorary doctorates.

Through his live performances, recordings, film and television appearances, and his songwriting (in collaboration with Alan and Marilyn Bergman, Lindy Robbins, Bob Merrill and Marshall Barer), Michael Feinstein is an all-star force in American music. n

A

consummate artist of the first order, PATTI AU STI N celebrates an incredible sixth decade in the music industry with the BJM Jazz release of Ella: Now & Then, her second recorded tribute to the legendary Ella Fitzgerald, following her 2002 Grammy®-nominated best-selling album, For Ella.

Featuring some of the pioneering vocalist’s classic material, Ella: Now & Then finds Grammy®-winner Austin (who declares she’s “busier than ever!”) lending her finely-honed craft to treasures from the vast Fitzgerald legacy, including songs like “Mack the Knife,”

P E R FOR M AN C E S MAGAZ I NE P9

ABOUT THE ARTISTS

OPUS 2016: GALA CONCERT - OCTOBER 8

“April in Paris,” “Sing Me A Swing Song” and “Lullaby Of Birdland.”

In the past decade, it’s in the world of jazz (a genre that is close to her heart) that Ms. Austin has been building a solid international audience. Aside from a decade-and-a-half of performing live the songs from For Ella worldwide, Ms. Austin was awarded a 2008 Grammy® Award for “Best Jazz Vocal Performance” for her best-selling Top 10 Jazz album, Avant-Gershwin.

PATTI AUSTIN

The New York native is in constant demand globally for live performances, thanks to a legacy of recordings that started in 1955; she continued through the ‘60s with success as a teenage R&B star before establishing herself as a mainstay among jazz and soul audiences through her ‘70s recordings. By the ‘80s Ms. Austin became known to the wider international audience as a result of the Grammy®-nominated “Baby Come to Me” and “How Do You Keep the Music

Playing”, her early ‘80s classic duets with James Ingram, masterminded by musical godfather Quincy Jones.

Notes Austin: “I'm in an interesting place because I'm 65, I'm not a teenager and yet, for some reason, I seem to have an appeal with younger audiences and now we are creating different platforms to help establish my brand, with a weekly radio show, my mentoring organization (Over My Shoulder) and my new Ella record.”

Unquestionably a 21st century renaissance woman, Patti Austin continues to create milestones in an incredible career; a further testament to her status as a member of that rare breed: a true artist whose creativity knows no limits. n

THANK YOU

TO OUR OPUS CO-CHAIRS Joye Blount • Nikki Clay • Phyllis Epstein Joyce Gattas • Ann Haddad • Lisa Kendall Evelyn Lamden • Jane McAuliffe • Kris Michell Jacqueline Parks • Patti Roscoe • Colette Royston Phyllis Snyder • Carrie Vilaplana • Penny Wing

P 10 PE RFORMA NCES MAG A Z IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

IN MEMORIAM

CONRAD PREBYS The San Diego Symphony honors the memory of a dear friend, CONRAD PREBYS, whose far-reaching, thoughtful generosity will have a transformational impact on this city for generations to come.

As a boy in South Bend, Indiana, Conrad became a highly proficient pianist and developed a lifelong passion for music. In 1965 he relocated to San Diego, where he built a real estate empire through hard work, expertise and optimism, all the while retaining his youthful curiosity and warm, down-toearth Midwestern charm. Along with his life partner Debra Turner, Conrad was a cherished member of the Symphony family, and together they served as Guest Artist Season Sponsors for the last two classical seasons, enabling the Symphony to bring to San Diego some of the world’s most highly acclaimed artists.

San Diego is a far better place because of Conrad Prebys. His years of work building homes for San Diegans led to an unparalleled life of philanthropy that will continue to benefit residents throughout the entire county for many years.

IN MEMORIAM

PAULINE FOSTER From her earliest years, PAULINE FOSTER was a devoted fan of the San Diego Symphony. In 2014, in recognition of her leadership and support, the San Diego Symphony Boards passed resolutions honoring Pauline and naming the Pauline and Stanley Foster lobby. The resolutions noted the Foster and Ratner families’ deep involvement in the life and well-being of this Orchestra for more than 100 years. Pauline’s dedication to the Symphony culminated in a $1 million endowment gift that she directed be made upon her death through the Jewish Community Foundation.

Pauline was born in San Diego, and her mother Anne Ratner was an Honorary Symphony Lifetime Director. Pauline met her husband Stanley while she was attending Reed College, and they raised their three daughters in San Diego. Pauline had a lifelong interest in the arts and attended symphony concerts throughout her life. She was a founding member of the Symphony Stars and of the Partner with a Player program.The extended Symphony family is deeply grateful to Pauline, her family and their legacy of support and will continue to honor her cherished memory.

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P11

OCTOBER 14, 15 & 16

OPENING WEEKEND WITH GIL SHAHAM

A JACOBS MASTERWORKS CONCERT FRIDAY October 14, 2016 – 8:00pm SATURDAY October 15, 2016 – 8:00pm SUNDAY October 16, 2016 – 2:00pm conductor Jahja Ling violin Gil Shaham

All performances at The Jacobs Music Center's Copley Symphony Hall This concert is made possible through the generosity of Raffaella and John Belanich.

PROGRAM JOHN STAFFORD SMITH / Arr. H. W. Davis WILLIAM SCHUMAN FELIX MENDELSSOHN

"The Star-Spangled Banner" American Festival Overture

Violin Concerto in E minor, Op. 64

Allegro molto appassionato Andante

Allegretto non troppo - Allegro molto vivace Gil Shaham, violin

INTERMISSION JOHANNES BRAHMS

Symphony No. 3 in F Major, Op. 90

Allegro con brio Andante

Poco allegretto Allegro The approximate running time for this program, including intermission, is one hour and fifty minutes.

P12 PE RFORMA NCES MAG A Z IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE ARTIST

OPENING WEEKEND WITH GIL SHAHAM - OCTOBER 14, 15 & 16

GIL SHAHAM, VIOLIN

G

IL SHAHAM is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy® Awardwinner is sought after throughout the world for concerto appearances with leading orchestras and conductors. He regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Highlights of recent seasons include performances with the Berlin Philharmonic, Boston Symphony, Los Angeles Philharmonic, Orchestre de Paris, New World Symphony, Singapore Symphony, Chicago Symphony, Philadelphia Orchestra, residencies with the Montreal Symphony and Carolina Performing Arts and on an extensive North American tour with The Knights, to celebrate the release of Violin Concertos of the 1930s, Vol. 2. Mr. Shaham has also toured Bach’s complete unaccompanied sonatas and partitas to London’s Wigmore Hall and key North American venues in a special multimedia collaboration with photographer/video artist David Michalek.

The violinist already has more than two dozen concerto and solo CDs to his name, including bestsellers that have ascended the charts in the U.S. and abroad. These recordings have earned multiple Grammys®, a Grand Prix du Disque, Diapason d’Or and Gramophone Editor’s Choice. His recent recordings are issued on the Canary Classics label, which he founded in 2004. They include J.S. Bach: Sonatas & Partitas for Violin; 1930s Violin Concertos (Vol. 1), recorded live with the New York Philharmonic, Boston Symphony, BBC Symphony, Staatskapelle Dresden and Sejong; Haydn Violin Concertos and Mendelssohn’s Octet with the Sejong Soloists; Sarasate: Virtuoso Violin Works with Adele Anthony, Akira Eguchi and the Orquesta Sinfónica de Castilla y León; Elgar’s Violin Concerto with the Chicago Symphony Orchestra and David Zinman; The Butterfly Lovers and Tchaikovsky’s Violin Concerto with the Singapore Symphony; Tchaikovsky’s Piano Trio in A Major with Yefim Bronfman and cellist Truls Mork; The Prokofiev Album and Mozart in Paris, both with his sister, pianist Orli Shaham; The Fauré Album with Akira Eguchi and cellist Brinton Smith; and Nigunim: Hebrew Melodies, also recorded with Orli Shaham, which features the world premiere recording of a sonata written for the violinist by Avner Dorman.

Dorman’s sonata is one of several new works

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

commissioned for the violinist, who has also premiered and championed pieces by composers including William Bolcom, David Bruce, Avner Dorman, Julian Milone and Bright Sheng.

Mr. Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of seven, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellermann at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with DeLay and Hyo Kang.

He also studied at Columbia University.

Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012 he was named “Instrumentalist of the Year” by Musical America, which cited the “special kind of humanism” with which his performances are imbued. He plays the 1699 “Countess Polignac” Stradivarius and lives in New York City with his wife, violinist Adele Anthony, and their three children. n

Concert Sponsor Spotlight

JOHN AND RAFAELLA BELANICH RAFFAELLA AND JOHN BELANICH are longtime supporters of classical music and education in San Diego and are sponsoring our Opening Weekend concerts with Gil Shaham.

P E R FOR M AN C E S M AGAZ I NE P13

ABOUT THE MUSIC

OPENING WEEKEND WITH GIL SHAHAM - OCTOBER 14, 15 & 16 American Festival Overture WILLIAM SCHUMAN Born August 4, 1910, New York City Died February 15, 1992, New York City The San Diego Symphony’s season-long survey of American music gets off to the best possible start with William Schuman’s American Festival Overture. This overture was Schuman’s first great success; it brought him a popular and critical triumph, and it was the first of the series of impressive works he composed across the decade of the 1940s. Schuman’s path to this success had not been quick, nor was it easy. He had resolved to become a composer after hearing a concert by the New York Philharmonic in 1930, but he became one very slowly: he earned bachelor’s and master’s degrees from Columbia, studied privately and spent a summer at the Mozarteum in Salzburg before taking a job as choral conductor at Sarah Lawrence. His early attempts at composition met with little success, and what had seemed a breakthrough – Koussevitsky’s performance of his Second Symphony in February 1939 – instead turned into a disaster: critics hated it, the audience thought it the worst piece they had ever heard, and one disgruntled listener who had heard it on the radio wrote to tell the composer that “Your symphony made me lose my faith in the power of aspirin.”

The one person who did not lose faith in the struggling composer was Koussevitzky, and later that year the conductor’s faith was justified. Koussevitzky had scheduled a Festival of American Music for the fall of 1939, and over the summer Schuman – then 29 years old – retreated to Martha’s Vineyard, where he composed an overture full of energy and based in large part on its opening threenote figure. Schuman was quite specific about the origins of this figure: “The first three notes of this piece will be recognized by some listeners as the ‘call to play’ of boyhood days.

In New York City it is yelled on the syllables ‘Wee-Awk-Eee’ to get the gang together for a game or a festive occasion of some sort. This call very naturally suggested itself for a piece of music being composed for a very festive occasion.” The American Festival Overture, as Schuman called the piece, was premiered by Koussevitzky and the Boston Symphony on October 6, 1939, and it remains to this day one of Schuman’s most frequently performed and recorded scores.

The source of its popularity is no secret: the American Festival Overture rockets along on

P 14 PE RFORMA NCES MAG A Z IN E

an endless supply of white-hot energy. Aptly marked Allegro con spirito, the overture opens with the three-note motif, and this figure then saturates the piece: it is tossed rapidly between sections of the orchestra, varied, inverted, shouted out, whispered – in fact, the figure is almost continuously present throughout the overture’s opening section.

Its initial energy spent, the overture makes a quiet transition to the central section, a lengthy fugue announced by the violas and full of a bristling energy all its own. Schuman gives the exposition of the fugue to strings alone (the violas have a lovely counter-theme along the way), and a grand brass cadence opens the door to the concluding section, marked Un poco presto. The last minutes of the overture are a sizzling romp home on variants of the opening three-note figure. n

Violin Concerto in E minor, Op. 64 FELIX M ENDELSS OHN Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig “I would like to write you a violin concerto for next winter. One in E minor keeps running through my head, and the opening gives me no peace.” So wrote Mendelssohn to his lifelong friend, violinist Ferdinand David, in 1838, and that opening has given millions of musiclovers no peace ever since, for it is one of the most perfect violin melodies ever written.

Mendelssohn’s Violin Concerto seems so polished, so effortless in its easy flow that this music feels as if it must have appeared in one sustained stroke of Mendelssohn’s pen.

Yet this concerto took seven years to write.

Normally a fast worker, Mendelssohn labored very carefully on this music, revising, polishing and consulting with David – his concertmaster at the Leipzig Gewandhaus Orchestra – at every step of its composition. He completed the score while on vacation in Soden, near Frankfurt, during the summer of 1844, and David gave the premiere in Leipzig on March 13, 1845. Mendelssohn was sick at that time and could not conduct, so his assistant, the Danish composer Niels Gade, led the first performance.

We do not normally think of Mendelssohn as an innovator, but his Violin Concerto is as remarkable for its originality as for its endless beauty. So over-familiar has this music become that it is easy to miss its many innovations. These begin in the first instant: Mendelssohn does away with the

standard orchestral exposition and has the violin enter in the second bar with its famous theme, marked Allegro molto appassionato and played entirely on the violin’s E-string.

This soaring idea establishes the movement’s singing yet impassioned character from the very beginning. Other themes follow in turn: a transitional figure for the orchestra and the true second subject, a chorale-like tune first given out by the woodwinds.

This concerto offers wonderful violin music.

Mendelssohn played the violin himself, and he consulted with David at every point. The result is a concerto that sits gracefully under the violinist’s hand and sounds to its listeners as poised and idiomatic as it actually is. It is also easy to miss how deftly this concerto is scored: Mendelssohn writes for what is essentially the Mozart-Haydn orchestra (pairs of woodwinds, trumpets and horns, plus timpani and strings), and he is able to keep textures transparent and the soloist audible throughout. However, he can also make that orchestra ring out with a splendor that Mozart and Haydn never dreamed of. The quiet timpani strokes in the first few seconds, which subtly energize the orchestra’s swirling textures, are just one of many signs of the hand of a master. Another innovation: Mendelssohn sets the cadenza where we do not expect it, at the end of the development rather than just before the coda, and that cadenza – a terrific compilation of trills, harmonics and arpeggios – appears to have been largely the creation of David, who fashioned it from Mendelssohn’s themes. The return of the orchestra is a masterstroke: it is the orchestra that brings back the movement’s main theme as the violinist accompanies the orchestra with dancing arpeggios.

Mendelssohn hated applause between movements, and he tried to guard against it here by tying the first two movements together with a single bassoon note. (This has not always stopped audiences, however!)

The two themes of the Andante might by themselves define the term “romanticism.”

There is a sweetness about this music that could – in other hands – turn cloying, but Mendelssohn skirts that danger gracefully.

The soloist has the arching and falling opening melody, while the orchestra gives out the darker, more insistent second subject. The writing for violin in this movement, full of double-stopping and fingered octaves, is a great deal more difficult than it sounds.

Mendelssohn joins the second and third movements with an anticipatory bridge

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE MUSIC

OPENING WEEKEND WITH GIL SHAHAM - OCTOBER 14, 15 & 16 passage that subtly takes its shape from the concerto’s opening theme. Resounding fanfares from the orchestra lead directly to the soloist’s entrance on an effervescent, dancing melody so full of easy grace that we seem suddenly in the fairyland atmosphere of Mendelssohn’s own incidental music to A Midsummer Night’s Dream. Several other themes appear along the way (Mendelssohn combines some of them in ingenious ways), but it is the sprightly opening melody that dominates as the music flies through the sparkling coda and concludes on the violin’s exultant three-octave leap. n

Symphony No. 3 in F Major, Op. 90 JOH A N N E S BR A H M S Born May 7, 1833, Hamburg Died April 3, 1897, Vienna Brahms spent the summer of 1883 in Wiesbaden, where he took a second-story apartment looking out over the Rhine. He had just turned 50, which is a bad birthday for anyone, but at this moment in his life he was feeling new energy. In January of that year he had heard a contralto. Her name was Hermine Spiess, she was 26, she had a beautiful voice, and Brahms fell in love with her. Hermine lived in Wiesbaden, so Brahms found an apartment there, and that summer – with a magnificent view of the Rhine and very much in love with a young woman – Brahms composed his Third Symphony. At 50, Brahms was a supremely accomplished composer – powerful, subtle, refined and passionate – and his mastery is evident in every measure of the Third Symphony. Of his four symphonies, the Third is the shortest, most concise and most subtle (all four movements end quietly), and it is marked by an attention to instrumental color rare in Brahms’ music.

The opening Allegro con brio is extraordinary music, even by Brahms’ standards. It is built around a three-note motto: the rising sequence F-A-flat-F. Brahms said that motto was a reflection of his personal credo “Frei aber froh” (“Free but happy.”) That rising threenote figure will saturate this movement: they are the first three notes of the symphony, and that motto will function melodically, serve as an accompaniment and bind sections together.

After the brass blazes out the motto to open the symphony, the main theme – marked passionate – comes crashing downward in the violins like a mighty wave. It is characteristic of this symphony that the three-note motto

has been instantly transformed into the bass-line beneath this powerful theme, and over the next few moments the motto will be woven into the texture of the music countless times. The second theme, sung by solo clarinet and quickly taken up by the violas, dances gracefully in the unusual meter 9/4, but surprisingly the development is quite short. A noble horn call (derived from the opening motto) leads to an extended – and very agitated – recapitulation before the movement closes on a quiet restatement of the opening theme.

The two middle movements are also unusual: the Third Symphony has no true slow movement, nor is there a scherzo. Instead, Brahms offers two moderately-paced central movements, both littered with his constant reminder to performers: dolce, espressivo. The Andante (in sonata form) opens with a graceful tune announced by clarinets and bassoon, and – curiously – those two instruments also have the slightly-sprung second theme. The luminous closing moments of this gentle movement are particularly beautiful. The cellos’ C minor melody at the start of the Poco Allegretto, with its subtle shadings and gypsy turns, is one of the most haunting themes Brahms ever wrote. A slightly rustic middle section, full of off-the-beat accents, gives way to the return of the opening theme, but now – in a magical touch – Brahms assigns it to the solo horn, which soars above shimmering string accompaniment.

The finale opens ominously in F minor, but this quickly gives way to the heroic main theme in C Major for cellos and horns. A powerful development – with secondary material derived from the second movement – leads

to a conclusion full of even more original touches. The music turns quiet, and – very subtly – Brahms begins to bring back themes from earlier movements: the three-note motto from the first movement, the second theme from the Andante and finally – at the very end – the opening theme of the first movement. That theme had been heroic at the very beginning of the symphony, but now it returns in dignified calm. Its quiet concluding descent has been compared by one critic to the fall of autumn leaves, and this very concise symphony ends not in thunder but on a restrained wind chord.

The premiere of the Third Symphony in Vienna on December 2, 1883, was the occasion of one of the major collisions between the Wagner and Brahms factions in that city. The followers of Wagner (the composer had died earlier that year) tried to hiss each movement of the symphony, but they were drowned out by the cheers of Brahms’ supporters. The young Hugo Wolf, a passionate Wagnerian and a sworn enemy of the “classical” Brahms, wrote a searing review of the symphony, calling it “Disgustingly stale and prosy. Fundamentally false and perverse. A single cymbal-stroke of a work by Liszt expresses more intellect and emotion than all three symphonies of Brahms and his serenades taken together.”

Brahms’ lifelong friend Clara Schumann, however, had quite a different view. She wrote the composer: “What a harmonious mood pervades the whole! All the movements seem to be of one piece, one beat of the heart, each one a jewel. From start to finish one is wrapped about with the mysterious charm of the woods and forests.”

-Program notes by Eric Bromberger

PERFORMANCE HISTORY Dr. Melvin G. Goldzband, Symphony Archivist

Y

oav Talmi introduced William Schuman's American Festival Overture to San Diego Symphony audiences during the 1993-94 season, and Jahja Ling also conducted it during the 2006-07 season. The lovely Mendelssohn Violin Concerto in E minor has always been (justifiably) one of the most popular and crowd-pleasing violin concertos.

The orchestra's first music director, Buren Schryock, programmed it here during the 1917 season with Helen Babson as soloist. In 1936, then-music director Nino Marcelli led it with Enzo Pascarelli as soloist. The post-Second World War, reorganized orchestra was led by Fabien Sevitzky when Robert Gerle re-introduced it to these concerts. Since then, it has been programmed 16 times here, most recently when Jahja Ling conducted it with Viviane Hagner as soloist, during the 2012-13 season.

Brahms' Third Symphony is being heard for the sixth time at these concerts. Introduced here under the baton of Zoltan Rozsnyai during the 1967-68 season, it was last played by the San Diego Symphony Orchestra when Jahja Ling led it during the 2012-13 season. n

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P15

SAN DIEGO SYMPHONY ORCHESTRA

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

JOYCE YANG

ITZHAK PERLMAN

LANG LANG

$500,000

$50,000

Phyllis and Daniel Epstein Dorothea Laub Conrad Prebys † and Debbie Turner

Raffaella and John Belanich Vail Memorial Fund Sahm Family Foundation

$100,000 - $250,000 Sam B. Ersan Dorothy McCrink

AUGUSTIN HADELICH

SIMONE PORTER

YEFIM BRONFMAN

LEGACY SOCIETY — OCTOBER 2016 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 † Michele and Stephen Beck-von-Peccoz Rosanne B. and W. Gregory Berton Dr. James L. Bowers Gordon Brodfuehrer Sophie and Arthur Brody † Joseph H. Brooks and Douglas Walker Julia Brown Robert Caplan and Carol Randolph The Carton Charitable Trust Barbara and Paul Chacon Nikki and Ben Clay Catherine Cleary Warrine and Ted Cranston † Elisabeth and Robert † Crouch Peter V. Czipott and Marisa SorBello 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 † Carol J. Gable † Elaine and Murray † Galinson Edward B. Gill Nancy and Fred Gloyna Muriel Gluck † Madeline and Milton Goldberg † Dorothy and Waldo Greiner † 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 † 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 † Ellen C. Revelle † Jane and Frank Rice Dr. Arno Safier † Joan and Jack Salb Craig Schloss Melynnique and Edward Seabrook Pat Shank Stephen M. Silverman 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 Sheryl Sutton Elizabeth and Joseph † Taft Debra A. Thomas Joyce and Joseph Timmons Harriet and Maneck Wadia Betty and Philip Ward PIF Fund † Leslie and Joe Waters Sue and Bill Weber Marga Winston † Edward Witt Eric Witt David A. Wood Mitchell R. Woodbury Zarbock 1990 Trust LeAnna S. Zevely Deceased * San Diego Foundation †

IF YOU WOULD LIKE TO JOIN THE LEGACY SOCIETY, PLEASE CONTACT KAIA HILL AT 619.615.3902 OR E-MAIL KCHILL@SANDIEGOSYMPHONY.ORG P16 PE RFORMA NCES MAG A Z IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

MAKING THE CASE FOR THE MUSIC OF OUR TIME

By James Chute

T

here’s no question the 1885 Patent Motorwagen is an intriguing invention. The world’s first automobile, it was created by Karl Benz and continues to fascinate visitors in museums around the world. Nevertheless, we’ve moved on, even if the Benz name still stands for the highest standard in automotive design and engineering.

music. Compositional styles range from the experimental to tonal works that make Brahms sound dissonant. And much of it (contrary to the preconception some listeners have about contemporary music) has been redirected toward the audience and inevitably reflects the sensibility of an individual living in the present.

Yet, as music lovers, we’re still back in the 19th century. In 1883, the same year Benz and his partners founded Benz & Cie, composer Johannes Brahms wrote his Third Symphony.

That beloved work opens the San Diego Symphony’s 2016-17 season. Indeed, Brahms’ four symphonies, along with those of Beethoven, form the bedrock of the classical repertoire. We may progress to the latest cars, electronic devices, movies, home appliances and who-knows-what, but as classical music lovers, many of us remain bound to the past, as do the cultural institutions that represent us.

Perhaps the solace of a Brahms symphony is that we can lose ourselves in another world. It’s a wonderful place to visit, but inevitably, our lives are in the present. To the degree American symphony orchestras have become museums where audiences can go to visit the great masterworks of the past, they have found themselves in trouble, especially over the last two decades. Preserving and presenting those masterworks is vital to an orchestra and its audience. But musical institutions are also discovering that their relevance depends on a connection and commitment to the present and they are moving in that direction.

Not that there’s anything wrong with being connected to the past. That this music continues to speak to a contemporary audience, an audience living in a world that would be as alien to Benz or Brahms as living with Martians might be to us, confirms Brahms’ genius and speaks to our common humanity. Nevertheless, these works are the creations of another time and place. Why do we have such issues with the “classical” music of our own time and place?

“People who are not deeply into the new-music world have a very clear picture in their minds about how they don’t like it,” said Lincoln Center artistic director Jane Moss in a recent Sunday New York Times article. “You’re dealing with an antipathy.”

Exactly how “old music good; new music bad” came to be a widely held assumption is part of a complex story regarding classical music in the 20th and 21st centuries, with factors ranging from the cult of the virtuoso performer to composers’ stronger affiliation, at least until relatively recently, with academic institutions rather than classical music institutions and their audiences. The “who cares if you listen” philosophy of academic composers of the ‘50s and ‘60s undoubtedly took a toll. If audiences have a preconception about contemporary music, it’s likely that it is complex, dissonant, incomprehensible and pretentious.

No wonder they dislike it.

Of course there is music that fits that stereotype, although too much of it has been compromised by under-rehearsed, uncommitted performances. That type of music can unfortunately seem like medicine: it’s good for you, so open wide.

It’s a mistake, however, to think that contemporary music is only one kind of music. In fact, there has never been such a remarkable range and diversity of contemporary

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

That’s no easy task, however. Music of the 18th and 19th centuries is written in a style familiar to even non-classical audiences and history has largely taken care of the curatorial aspect. The music of most of the composers who were Brahms’ contemporaries has simply faded away. We’re largely left to our own devices to figure out who is worthy among the thousands of contemporary composers writing a staggering amount and diversity of music Fortunately, music is music, and the way it can engage us, move us or even transform us is unchanging. Identifying those contemporary composers whose music is affecting, however, requires insight and sensitivity.

As the San Diego Symphony increasingly moves into the present, it is concerning itself with American music of the 20th and 21st century. The season-opening program sets the tone with William Schuman joining Brahms and Mendelssohn. The season also includes works by John Adams, Steven Stucky and Andrew Norman as well as pieces by an earlier generation of American composers: Aaron Copland, Leonard Bernstein, Samuel Barber and Morton Gould. And there’s Charles Ives, an early 20th century American composer who could be considered the father of them all.

Will any of those composers still be performed in the mid-22nd century, when people will be marveling at iPhones in museums? Who knows? That’s somebody else’s time. This is your time. And this is your music. n James Chute is the former music critic of the San Diego Union-Tribune, the Orange County Register, the Milwaukee Journal and the Cincinnati Post. He has covered the arts for nearly four decades and has been a Pulitzer Prize finalist for criticism.

P E R FOR M AN C E S M AGAZ I NE P17

SUMMER MEMORIES Thank You For an Amazing Season

(Clockwise From Top Left: Marilyn James & Richard Phetteplace; Evelyn & Bill Lamden; Shirley Estes & Guests; Joan, Irwin, Gary & Jerri-Ann Jacobs; Bill & Sue Weber; Phyllis & David Snyder) P18 PE RFORMA NCES MAG A Z IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

(clockwise from top left) Concert Under the Stars audience members; Sterling Wolfe with Trace Adkins; Diana Ross sold-out crowd; Associate Concertmaster Wesley Precourt, Principal Harp Julie Smith Phillips, Substitute Clarinet & Saxophone Mark Shannon, Principal Tuba and former Principal Summer Pops Conductor Matthew Garbutt, Principle Flute Rose Lombardo, Substitute Violin Marlyse Martinez, Concertmaster Jeff Thayer, and Violin Alicia Engley; Gloria Rasmussen with Bernadette Peters S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P19

OCTOBER 23 PETER AND THE WOLF SUNDAY October 23, 2016 – 2:00pm conductor Sameer Patel

Performance at The Jacobs Music Center's Copley Symphony Hall

PROGRAM IGOR STRAVINSKY

SERGE PROKOFIEV

Danses concertantes Marche-introduction

Pas d'action

Pas de deux Marche-conclusion Peter and the Wolf, Op. 67

SAN DIEGO JUNIOR THEATRE CAST LIST FOR PETER AND THE WOLF

San Diego Junior Theatre is pleased to partner with the San Diego Symphony for this production of Peter and the Wolf.

SDJT is committed to providing engaging, innovative and highquality theatre education and productions to enhance the lives of children of all ages, cultural backgrounds, abilities and levels of interest. SDJT is the oldest, continually producing youth theatre in the country.

P 20 PE RFORMA NCES MAGA Z IN E

Peter: Aaron Chin Wolf: Imahni King-Murillo Bird: Kelli Morris Grandfather: Jacob Rodebaugh Cat: Anastasia Raymond Duck: Maia Gilbert Hunter 1: Max Webster Hunter 2: Jaxon Poland Hunter 3: Martina Greco Hunter 4: Soshian Wisner Director: James Saba

For San Diego Junior Theatre: SDJT Musical Director: Mary Elledge SDJT Costume Designer: Heidi Devlin SDJT Production Manager/Puppet Designer: Tony Cucuzzella SDJT Education Director: Kim Montelibano-Heil

NEXT UP: Chitty Chitty Bang Bang from October 28 – November 13, in the historic Casa del Prado Theatre. For more information on classes, camps and our upcoming productions, visit: juniortheatre.com or call 619.239.1311.

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE CONDUCTOR

PETER AND THE WOLF - OCTOBER 23 Symphony Orchestra, Alabama Symphony Orchestra, Naples Philharmonic, Reading Symphony Orchestra, Muncie Symphony Orchestra, Leipziger Sinfonieorchester, the Jacksonville Symphony Orchestra and the Chicago Sinfonietta. Additionally, Mr. Patel has worked with the Tonhalle Orchestra of Zurich, Simon Bolivar Youth Orchestra of Venezuela, Lucerne Festival Strings, Orchestra da Camera di Trento, the Ensemble Zandonai, the Festival Orchestra of Sofia at the Accademia Musicale Chigiana, the Oslo Chamber Orchestra and the Royal Northern College of Music Orchestra at the Stresa Festival. He has also conducted at the David Oistrakh Festival and the Leigo Music Days Festival in Estonia in appearances with the Estonian National Youth Symphony and the St. Petersburg Festival Orchestra.

SAMEER PATEL, ASSOCIATE CONDUCTOR

I

ncreasingly recognized by audiences and musicians for his musicality and passionate communication, SAMEER PAT E L is one of America's most engaging young conductors. He is one of 11 young American conductors to receive the 2016 Solti Foundation U.S. Career Assistance Award. He recently spent three seasons as Associate Conductor of the Fort Wayne Philharmonic, where he conducted the orchestra in over 100 performances and invigorated the orchestra's engagement with the community. He joined the San Diego Symphony as Assistant Conductor in 2015, and was promoted to Associate Conductor in July of 2016.

In 2013 Mr. Patel was one of only six conductors selected by the League of American Orchestras for the Bruno

Walter National Conductor Preview with the Jacksonville Symphony Orchestra, an event that showcases emerging and talented conductors to orchestra industry professionals. He was a 2011 Felix Mendelssohn-Bartholdy Scholar, an honor given to him by former New York Philharmonic Music Director Kurt Masur.

As part of this award, Mr. Patel traveled to Europe to study with and assist Maestro Masur with the Leipzig Gewandhaus Orchestra and the Finnish Radio Symphony Orchestra.

Recent and upcoming engagements include appearances with the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Knoxville Symphony Orchestra, San Diego Symphony Orchestra, Pacific Symphony, Phoenix Symphony, Toledo

Mr. Patel began his musical training as a pianist and received both his graduate and undergraduate degrees at the University of Michigan, where he studied conducting with Kenneth Kiesler. He furthered his training internationally with acclaimed conductors Kurt Masur, Bernard Haitink, David Zinman, Gianandrea Noseda, Neeme Järvi, Paavo Järvi, Larry Rachleff, JoAnn Falletta, Günther Herbig, Mei-Ann Chen and Marin Alsop. He has held prestigious conducting fellowships with the Boston Philharmonic and the Chicago Sinfonietta, and he credits his time with these organizations for developing his passionate approach to engaging with audiences of all backgrounds and to reimagining the concert experience. Also an enthusiastic advocate for music education, Sameer Patel has worked with school and youth orchestras in North America, South America, and Europe. n

Holiday Family Concert

SUN DEC 18—2pm

Sameer Patel, conductor; San Diego Master Chorale; San Diego Children’s Choir A one-hour afternoon version of our annual holiday concert spectacular, complete with all your favorite traditional Christmas music, the San Diego Master Chorale and a visit from Santa Claus!

Tickets and Information SANDIEGOSYMPHONY.ORG • 619.235.0804

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P21

OCTOBER 23 PHANTOM OF THE OPERA (1925)* STARRING LON CHANEY AND MARY PHILBIN SUNDAY October 23, 2016 – 7:30pm FOX THEATRE FILM SERIES

organ Russ Peck

Screening is at The Jacobs Music Center’s Copley Symphony Hall

PROGRAM The Phantom of the Opera (1925) Starring Lon Chaney and Mary Philbin | Directed by Rupert Julian Based on the novel by Gaston Leroux

* The San Diego Symphony Orchestra does not appear on this program

ABOUT THE ARTIST

PHANTOM OF THE OPERA (1925) - OCTOBER 23

R

U S S PEC K began his musical studies with piano in 1965, moving to the organ in 1970, while starting percussion lessons in junior high school.

Forming a band called The Young Oldtimers (with Russ on the Hammond organ), he and three high school buddies played Elks Clubs and other small venues throughout San Diego County. Mr. Peck then studied classical

P 22 PE RFORMA NCES MAGA Z IN E

organ under a scholarship with Professor Stanley R. Plummer at Whitman College in Walla Walla, Washington. Returning to San Diego, Russ joined Voice and Video as a video engineering technician, staying with the firm for 28 years.

Specializing in the creation and performance of Silent Era film scores, Mr. Peck is currently the organist for the Fox Theatre Film Series

at the Jacobs Music Center in San Diego. In addition to this solo work, he has performed with the San Diego Symphony for silent film presentations. Russ is also the “House Organist” at the Balboa Theatre in San Diego. His other organ work includes being an official guest organist at the Spreckels outdoor pipe organ in San Diego, and guest organist at Trinity Presbyterian Church in

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE ARTIST

PHANTOM OF THE OPERA (1925) - OCTOBER 23 Lemon Grove (on a Wurlitzer Theatre pipe organ he helped install and continues to maintain). Not content with just the organ, Russ is Principal Timpanist for the Tifereth Israel Community Orchestra and does “pickup” percussion work for the Imperial Valley Symphony, the Coronado Concert Band, The Hillcrest Wind Ensemble and other bands and orchestras in San Diego County.

By day, Russ Peck owns and operates V dash V Service, a professional audio, video and musical equipment service (including pipe and electronic organs) throughout Southern California. He is the Rodgers Organ authorized service technician for San Diego County and does subcontract work for Shoberg Pipe Organs and The Knight Organ Company. Russ also gives private lessons on all keyboard and percussion instruments.

Mr. Peck operates an amateur radio station, KG6CLA, and keeps busy in his spare time by maintaining the growing pile of instruments throughout his home, including reed and

RUSS PECK, ORGAN

electronic organs and a small RobertMorton theatre pipe organ. He currently holds memberships in The American Theatre Organ Society, The American Guild of Organists and The Reed Organ Society.

Mr. Peck’s recent Fox Theatre Film Series performances include The Thief of Bagdad, Nosferatu, several Charlie Chaplin short films, Harold Lloyd’s Safety Last!, Dr. Jekyll and Mr. Hyde, The Mark of Zorro, The Son of the Sheik, My Best Girl, The Cabinet of Dr. Caligari, The Three Musketeers, The Cat and the Canary, Cyrano de Bergerac, Flesh and the Devil and The Phantom of the Opera. n

Prelude Dinners Last season, the Symphony launched a new series of pre-performance dinners, as a way to connect Symphony friends with one another. Donors who give $1,000 or more annually receive invitations by email for pre-concert dinners at the University Club, which are only $70 PER PERSON and include a three-course meal and wine. Guests also get to hear behind-the-scenes insight and Symphony updates from CEO Martha Gilmer and other guest speakers. Concert ticket not included.

Join us on the following dates: FRIDAY FRIDAY FRIDAY SATURDAY SATURDAY

| | | | |

November 18, 2016 - Beyond the Score: Dvořák Symphony No. 9 January 6, 2017 - Americans and Paris March 3, 2017 - Shostakovich and Beethoven April 1, 2017 - Russia and Paris April 29, 2017 - Big Band Bash For more details, please contact Malina Baker at 619.615.3906 or For more details, please contact Malina Baker mbaker@sandiegosymphony.org. at 619.615.3906 or mbaker@sandiegosymphony.org.

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P23

ABOUT THE MUSIC

PHANTOM OF THE OPERA (1925) - OCTOBER 23 role in the movie that it only seems natural that my score should pull from his great work. The ballet scene, Marguerite at her spinning wheel and various solos and incidental music from the opera all play a part in the score I have prepared.

I have also liberally drawn from the scary cues in my movie music collection.

One cue that deserves special attention is that of the Phantom at his pipe organ deep in the sewers (gulp!) of the Paris Opera House. The instrument he sits at is a modified Robert Morton organ (sound familiar?). He plays with maximum effect, swaying and emoting all over the place.

(I have been accused of the same thing…) A brief close-up in the film reveals the music he is performing. The notes are there, just copy it and play them, right? Well, the music makes little sense and many accompanists ignore it and play something appropriately creepy. Liking a challenge, I decided to try to make something of this mess and you will hear it tonight. I am sure it is not going to be a hit, but it is authentic!

CHASING THE PHANTOM: A MUSIC NOTE FROM ORGANIST RUSS PECK

T

he Phantom of the Opera! This title elicits more “Oooohs!” than any other movie I have ever performed. It is a “property” that keeps on entertaining generations of theater goers, regardless of age.

This was how I opened my essay the last time I played “Phantom” for you at the Fox Theatre. All I said is still true!

As I stated the last time I presented this wonderful motion picture, scoring a scary movie is just plain fun! And what better instrument to perform scary music on than the Fox Theatre organ? Charles Gounod's opera, Faust, plays such an important

P24 PE RFORMA NCES MAG A Z IN E

One other bit of trivia involves the version of the movie that you will see tonight. The Phantom of the Opera was originally released in 1925 as a silent movie (no surprise there). Such was its popularity that in 1929 (that same key year The Fox Theatre opened its doors) the studios decided a re-release was in order. Sound had come to films by then, so the producers decided to re-edit the picture and add some sound to various scenes.

One such scene occurs at the beginning of the movie. A man with a lantern (we film buffs call him “The Lantern Man”...cute, eh?) delivers an introductory speech. Unfortunately, the sound discs (on records) appear to have been lost, so all we have today is the script. You will enjoy the rare treat of hearing this very speech tonight and will not have to leave the theater saying, as most audiences do, “What was that guy with the lantern doing?”

Prepare to be horrified!

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

OCTOBER 29 DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON SATURDAY October 29, 2016 – 8:00pm SPECIAL CONCERT

conductor Scott Dunn

Performance at The Jacobs Music Center's Copley Symphony Hall

PROGRAM DANNY ELFMAN

Danny Elfman's Music from the Films of Tim Burton

Charlie and the Chocolate Factory

Pee Wee's Big Adventure Beetlejuice Sleepy Hollow Mars Attacks Big Fish

Batman / Batman Returns

INTERMISSION Planet of the Apes Tim Burton's Corpse Bride Dark Shadows Frankenweenie Tim Burton's The Nightmare Before Christmas Edward Scissorhands Alice in Wonderland

THE MUSIC OF DANNY ELFMAN FROM THE FILMS OF TIM BURTON Credits: Music Composed and Arranged by Danny Elfman Films & Artwork by Tim Burton Concert Produced by Columbia Artists Management, LLC - Tim Fox & Alison Ahart Williams, Kraft-Engel Management - Richard Kraft & Laura Engel Supervising Orchestrator: Steve Bartek Orchestrations: Steve Bartek, Edgardo Simone, David Slonaker, Jeff Atmajian Additional Orchestrations: Scott Dunn Music Production Supervisor: Melisa McGregor Midi Supervision & Choir Music Preparation: Marc Mann Synth Programming & Technical Supervision: TJ Lindgren Score Proofreading: Misha Morgovsky, Tim Rodier Music Preparation: Dakota Music Services - David Hage, Reprise Music Services - Rob Skinnell Assistant to Mr. Elfman: Melissa Karaban Pre-record Mix Engineer: Noah Snyder Chief Studio Tech: Greg Maloney Transcriptions: Tim Rodier Midi Mock-ups: Dan Negovan, Peter Bateman, Miles Bergsma Technical Directors: Mike Edelman, Brendon Boyd Librarian: Travis Hendra Sibelius Set-up: Sandra Schneiders Project Interns: Alex Arntzen, Seth Kaplan, Sergei Stern Video Editing: Todd Miller & Chris Lebenzon Concert Producers' Assistants: Jonathan Clark, Sarah Kovacs, Sarah Ruiz

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P25

Credits Continued: Special thanks to: Derek Frey, Holly Kempf Keller and Leah Gallo at Tim Burton Productions, Bill Abbott, Bob Badami, Peter Cobbin, Bobby Fernandez, Isobel Griffiths, Mike Higham, Doug Mark, Shawn Murphy, Bobbi Page, Shie Rozow, Dennis Sands, Steve Savitsky, Ellen Segal, Nick Woolidge, Gina Zimmitti, Patti Zimmitti, Cinesamples, In Loving Memory of Richard Zanuck Assets from Alice in Wonderland, Frankenweenie and The Nightmare Before Christmas courtesy of Disney Enterprises, Inc. Footage and Stills from Planet of the Apes (2001) and Edward Scissorhands courtesy of Twentieth Century Fox. All rights reserved.

Sleepy Hollow courtesy of Paramount Pictures Big Fish courtesy of Columbia Pictures Corpse Bride, Pee-Wee’s Big Adventure, Batman, Batman Returns, Mars Attacks!, Charlie and the Chocolate Factory, Dark Shadows and Beetlejuice courtesy of Warner Brothers.

Music provided for: Alice in Wonderland, Frankenweenie and The Nightmare Before Christmas courtesy of Wonderland Music Company, Inc. and Buena Vista Music Company Edward Scissorhands and Planet of the Apes courtesy of JoAnn Kane Music Service Sleepy Hollow and Big Fish courtesy of Mandalay Entertainment Group & Sony/ATV Music Publishing LLC Licensing of copyrighted material for Corpse Bride, Pee-Wee’s Big Adventure, Batman, Batman Returns, Mars Attacks!, Charlie and the Chocolate Factory, Dark Shadows and BEETLEJUICE provided by Alfred Music on behalf of Warner Bros. Entertainment

ABOUT THE ARTISTS

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON - OCTOBER 29

O

DANNY ELFMAN

P 26 PE RFORMA NCES MAGA Z IN E

ver the last 30 years, fourtime Oscar nominee DA N N Y ELFMA N has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored a broad range of films, including: Milk (Oscar®-nominated), Good Will Hunting (Oscar®-nominated), Big Fish (Oscar®-nominated), Men in Black (Oscar®nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas and Alice in Wonderland. More recently he has provided the music for David O. Russell’s award-winning Silver Linings Playbook, Tim Burton’s Dark Shadows, Frankenweenie and Big Eyes, Sasha Gervasi’s Hitchcock, as well as

Sam Raimi’s Oz: The Great and Powerful, Chris Wedge’s animated film Epic and the Errol Morris documentary The Unknown Known: The Life and Times of Donald Rumsfeld. He has also contributed tracks to 2015’s Fifty Shades of Grey, Avengers: Age of Ultron and The End of the Tour. His latest music can be heard in the Tim Burton-produced Alice Through the Looking Glass.

A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity.

He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure. 25 years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony entitled Serenada Schizophrana for Carnegie Hall, an overture

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

COMING UP IN NOVEMBER AT THE JACOBS MUSIC CENTER

Rachmaninoff and Mozart

Beyond the Score®: Dvořák Symphony No. 9: Whose World?

Friday, November 11 – 8pm Saturday, November 12 – 8pm Sunday, November 13 – 2pm

Friday, November 18 – 8pm

Johannes Debus, conductor Joyce Yang, piano

A production of The Chicago Symphony Orchestra, Gerard McBurney, creative director Cristian Mācelaru, conductor

Diego el Cigala, Master of Flamenco

Count Basie Orchestra: Sinatra's Jazz

Saturday, November 19 – 8pm

Saturday, November 26 – 8pm

Winner of multiple Latin Grammys, El Cigala has enhanced his Spanish gypsy heritage with acclaimed forays into the Argentine tango tradition.

Count Basie Orchestra Jane Monheit, vocals

Tickets and Information

SANDIEGOSYMPHONY.ORG (619) 235-0804

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P27

ABOUT THE ARTISTS

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON - OCTOBER 29 called The Overeager Overture for the Hollywood Bowl, and Iris—a Cirque du Soleil show. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.” n

Wonderland also received a Golden Globe nomination for Best Picture – Musical or Comedy, and won two Academy Awards®, for Best Art Direction and Best Costume Design.

Burton was previously honored with an Academy Award® nomination for Best Animated Feature for the 2005 stop-motion film Corpse Bride, which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama Big Fish. More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on Sweeney Todd: The Demon Barber of Fleet Street, which also won the Golden Globe for Best Film – Musical or Comedy. Johnny Depp earned an Oscar® nomination for his performance in the title role of Burton’s 2007 film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and Alan Rickman.

which he also produced, and the 2001 remake of Planet of the Apes, which marked his first collaboration with producer Richard Zanuck. His latest film, Miss Peregrine's Home for Peculiar Children, is currently in wide release.

Burton also conceived and produced the stop-motion animated feature The Nightmare Before Christmas, which remains an enduring holiday favorite. In addition, he has produced such films as Cabin Boy, Batman Forever, the recent Alice through the Looking Glass and the animated features James and the Giant Peach and 9.

In 2010, the filmmaker released The Art of Tim Burton, a 430-page book comprising more than 40 years of his personal and project artwork. In November of that year, the Museum of Modern Art (MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Toronto, Los Angeles, Paris and Seoul. n

Burton began his film career in animation, and, in 1982, directed the stop-motion animated short Vincent, narrated by Vincent Price, which was an award winner on the film festival circuit. He made his feature film directorial debut in 1985 with the hit comedy Pee-Wee’s Big Adventure.

TIM BURTON

T

I M BU RTO N widely regarded as one of the cinema’s most imaginative filmmakers, has enjoyed great success in both the live-action and animation arenas.

Most recently Burton directed and produced the critically acclaimed Frankenweenie (which was a 2012 Academy Award® nominee for Best Animated Picture) and Big Eyes.

Earlier in 2012 Burton directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothic thriller Dark Shadows, based on the cult favorite television show. He also produced the fantasy horror film Abraham Lincoln: Vampire Hunter which was directed by Timur Behmambetov.

In 2010, he directed Alice in Wonderland, an epic fantasy based on the classic story

by Lewis Carroll, and starring Johnny Depp, Helena Bonham Carter, Anne Hathaway and Mia Wasikowska in the title role. The film earned more than a billion dollars at the worldwide box office, making it the secondhighest-grossing release of 2010. Alice in

P 28 PE RFORMA NCES MAGA Z IN E

In 1988, Burton helmed the inventive comedy hit Beetlejuice, starring Michael Keaton as the title character. He then reteamed with Keaton on the action blockbusters Batman (which became the top-grossing film of 1989 and also starred Jack Nicholson as the Joker) and Batman Returns, also starring Michelle Pfeiffer and Danny DeVito.

In 1990, Burton directed, co-wrote and produced the romantic fantasy Edward Scissorhands, which was acclaimed by both critics and audiences. The film also marked the start of his successful cinematic partnership with Johnny Depp, who delivered a poignant performance in the title role. Their subsequent collaborations include the Burton-directed films Ed Wood, also starring Martin Landau in an Oscar®winning portrayal of Bela Lugosi; Sleepy Hollow, adapted from the classic tale by Washington Irving; and the 2005 worldwide smash Charlie and the Chocolate Factory, which was based on Roald Dahl’s beloved book and grossed more than $470 million worldwide.

Burton’s additional directing credits include the all-star sci-fi comedy Mars Attacks!,

SCOTT DUNN, CONDUCTOR

A

merican conductor S COT T D UN N is the Associate Conductor of the LA Philharmonic’s Hollywood Bowl Orchestra. He has also conducted the Atlanta Symphony, Los Angeles Philharmonic, Orchestra of St. Luke’s, Orchestre Nationale de France, Pittsburgh Symphony, Seattle Symphony, Vancouver Symphony, Vienna Radio Orchestra (RSO), the St Petersburg (Russia) Philharmonic, Sydney Symphony Orchestra and many other distinguished ensembles.

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE CONDUCTOR

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON - OCTOBER 29 Dunn has an affinity for American and contemporary music with a special passion for film and so-called crossover composers — ranging from George Gershwin and Vernon Duke to Leonard Bernstein and Danny Elfman. Noteworthy projects include Scott Dunn conducts Richard Rodney Bennett at London’s Barbican with singer Claire Martin, the BBC Orchestra and Chorus in a wide ranging program including new orchestrations of Bennett jazz songs for Martin by Dunn; Disney’s Fantasia with the Seattle Symphony and with the RSO at the Konzerthaus in Vienna; Danny Elfman’s Music from the Films of Tim Burton (with additional orchestrations by Dunn) at the Sydney Opera House, the Atlanta Symphony and in Mexico; The Duke Violin Concerto and the Complete Violin Works of Vernon Duke for Uhrlicht Audiovisual; the cast recording of a “new” Vernon Duke musical Misia (with music arranged and adapted by Dunn) for PS Classics; Elvis Costello and Ben Folds with the LA Phil at the Hollywood Bowl; Sondheim and Jazz Side by Side with pianist Bill Charlap and others at the 92nd Street Y; the world premiere, with Dunn as pianist and conductor, of Daron Hagen’s Chaplin’s Tramp: a Concerto for Piano, Orchestra and Film; symphonic concerts with Phish front-man and guitarist Trey Anastasio with the LA Phil, Atlanta, Colorado, Oregon, Pittsburgh and Seattle symphonies; Il Volo at the Greek Theatre in LA; a Serge Gainbourg tribute concert at the Hollywood Bowl with Beck, Sean Lennon, Lulu Gainbourg and

others; an Atlanta Symphony gala concert with Steve Martin and the Steep Canyon Rangers; work on the Boston Symphony presentations of Bernstein’s CANDIDE as well as on Gershwin’s 1935 original production version of Porgy and Bess (which Dunn helped recreate); and publication

by Universal Editions/Belmont of Dunn’s arrangements of Arnold Schoenberg’s Four Brettl-Lieder (for voice and chamber orchestra) and Notturno (for string quartet and piano).

A former student of the great Byron Janis, Mr. Dunn has performed since childhood as a piano soloist appearing in many of the world’s greatest venues. He is known for his performances of Ives and has championed the works of his mentors Richard Rodney Bennett, Lukas Foss and Leonard Rosenman.

A true “composer’s pianist,” he has also premiered and/or recorded works by John Adams, Franco Alfano, Irwin Bazelon, Elliot Carter, Vernon Duke, R.I. Gordon, John Harbison, Daron Hagen, Peter Lieberson, Nico Muhly, Roger Reynolds, Ned Rorem and many others.

As a “composer’s conductor,” Mr. Dunn recently premiered Roger Bourland’s opera La Paloma y la Ruiseñor (with additional orchestrations and Spanish adaptations

by Dunn); for Mohammed Fairouz, the NY premieres of Audenesque and Sadat and the acclaimed Bridge Records recording of the opera Sumeida’s Song; a world premiere recording of unknown choral works by Leon

Kirchner; the west coast premiere of Phillip Glass’s Another Look at Harmony Part IV (“Dunn conducted almost as if he were in the trance of sacred Bruckner…” – LA Times); the LA premiere of the fiendishly difficult Ligeti Piano Concerto with pianist Gloria Cheng; and finally, multiple memorial concerts in New York, London and elsewhere for the late Sir Richard Rodney Bennett featuring American and world premieres of works by Bennett and Nico Muhly.

He studied music at the Manhattan School, Aspen Festival and School, University of Southern California and University of Iowa.

Though he does not practice medicine, Dunn also earned an MD, Board Certification in Ophthalmology and Fellowship in the American College of Surgeons. His professional conducting career began in 1999 when Lukas Foss appointed him Associate Music Director for the Music Festival of the Hamptons. He subsequently help posts at Glimmerglass Opera and Pittsburgh Opera. In 2007, he joined the conducting staff of the LA Philharmonic’s Hollywood Bowl Orchestra and in 2010 was named Associate Conductor.

Of his remarkable musicianship, one New York critic noted…”he is a conductor of great promise, a pianist of note, and a sensitive and intelligent artist. All of these elements came together to give the audience an experience closer to heaven than most of us will get in this lifetime.” n

A NOTE FR OM JOHNNY DEPP Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would be neither here, there, nor probably anywhere without them and their general magnificence.

Now, the world is fully aware of the individual genius to be found betwixt the two, but what is more important here is the way in which these unique talents combine and ultimately complement one another, allowing the other’s work to bloom in a way unforeseen independently.

Essentially, Danny’s darkly sonorous creations are the audio manifestations of Tim’s singularly shadowy visions. He is the Ralph Steadman to Tim’s Hunter S. Thompson. Together they breathe color into one another’s worlds – from my initial experience, working alongside them both – on Edward Scissorhands, throughout the many projects that constitute a relationship, which now spans some 20 years…and counting. His music, so warm and inviting, yet somehow unnerving, ultimately manages to sound both elegant and haunting, perfectly defining the character of that very first collaboration. Having then unearthed the precise mood of Tim’s film, within the divine notes of his celestial score, Danny soundtracked the tale’s soul deep into the hearts of millions.

Subsequently, their working relationship has never floundered. Time after time, their industry gives birth to new beings of wonder and weirdness, charged to delight and excite cinema goers the planet ‘round.

So, a match made in the stars, you might say. Tim and Danny, it was simply meant to be.

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P29

ABOUT THE MUSIC

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON - OCTOBER 29

DANNY ELFMAN & TIM BURTON

A PROGRAM NOTE: DANNY ELFMAN AND TIM BURTON DA N N Y E L FM AN’S working relationship with T I M BU RTO N is one of the longest and most successful filmmaker/ composer collaborations in the history of film — and one of the most unexpected. Elfman was drawn to the movies his entire life, but only came to music as a young adult and with no formal training. It was at 18, during a year of traveling in West Africa, when Elfman picked up his first musical instrument (violin) and began to toy with the fantasy of a musical direction for his life.

At 19 he teamed up with his brother Richard, who founded the avant-garde musical cabaret troupe “The Mystic Knights of the Oingo Boingo”, and it was there Elfman taught himself to write music by doing transcriptions of early 1930’s jazz bands. He also began writing his first compositions.

After eight years with the troupe, Elfman started the idiosyncratic rock band known simply as Oingo Boingo. As their writer and singer he performed and recorded with them for almost two decades.

But there was another side to Danny Elfman — the kid who religiously attended Saturday matinees, watching every type of horror and fantasy movie imaginable. The young Danny had no interest in music — he wanted to be a scientist, or a “radiation biologist” as he once explained. When he did begin to notice music, it was movie music, and he found a particular delight in the filmmaker/composer relationship of stop-motion animator Ray Harryhausen and Bernard Herrmann. “If I saw the names Harryhausen and Herrmann in the same title sequence,” he said, “I already knew the movie was going to be a huge favorite— something really special.”

In high school Elfman began listening to the classical composers who would later become his inspiration. The Russian composers Stravinsky, Prokofiev and Shostakovich particularly got under his skin. He also began to refine his interest in film, rediscovering Bernard Herrmann through the legendary composer’s other

P 30 PE RFORMA NCES MAGA Z IN E

great collaborator, Alfred Hitchcock. Elfman was absorbing the language of movie music. His first taste in scoring would come from another collaboration with his brother, who directed the cult film Forbidden Zone in the late ’70s—but he wouldn’t truly become a film composer until 1985, when he got a strange call from an extraordinary young animator he had never heard of.

Tim Burton came out of the suburbs of Burbank and the California Institute for the Arts (CalArts), and, like Elfman, he had been mesmerized by Ray Harryhausen’s stop-motion fantasies as a child, as well as the vivid black-and-crimson iconographies of horror films. Burton had made an uncomfortable fit for the Walt Disney Company, toiling as a conceptual artist and animator on movies like The Fox and the Hound. But his short film Frankenweenie grabbed the attention of executives and filmmakers in Hollywood...including Paul Reubens, the performer who created and portrayed Pee-wee Herman. Reubens and Phil Hartman had written a movie for the character called Pee-wee’s Big Adventure, and after seeing Frankenweenie, Reubens quickly lobbied for Burton to direct it.

Both Burton and Reubens were familiar with Danny Elfman through Oingo Boingo and Forbidden Zone, and when editor Billy Webber tracked a scene from the movie with music from Bernard Herrmann’s score to the Harryhausen movie The 7th Voyage Of Sinbad, Burton loved the effect. When Elfman came in to interview for the job, he happened to mention that very same score as one of his life-long favorites. Burton was sold, and Elfman, after some hesitation, decided to jump into a completely new world, figuring he’d either learn to swim or drown in the attempt. He was certain of one thing: the score would not be a rock score. He would explore an insane mashup of Bernard Herrmann and Nino Rota (who did Federico Fellini’s scores) and in the process created an alternately joyous and manic sound that fit the hyper-enthusiastic Pee-wee character like a glove.

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

ABOUT THE MUSIC

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON - OCTOBER 29 Elfman’s score to Pee-wee’s Big Adventure was a revelation, and an instantly indelible musical personality had invaded film. And Elfman was also now hooked on a new addiction…film scoring. He immediately began getting offers to score other films, but it was already clear he had a special working relationship with Burton.

Their next collaboration was another comedy, but one out of left field — the “ghost exterminator” story Beetlejuice, a movie that allowed Burton to express his own personality more than he had on Pee-wee’s Big Adventure. Elfman’s frantic opening music demonstrated his love for the “danse macabre” — the ability to have a fiendishly good time.

Elfman and Burton would both have to prove themselves on their next project: Batman. Shot well before the current vogue of costumed superheroes, Burton’s take on the Caped Crusader created a shadowy world halfway between a film noir and an animated graphic novel. The film required a major symphonic score, which he knew would be an enormous challenge. Elfman’s score was a sensation — as quirky and unpredictable as his earlier comic works, yet so muscular and violently stark that it instantly helped define the comic book genre.

Amazingly, Elfman faced doubts again on his fourth collaboration with Burton, Edward Scissorhands. With three successes under his belt, Burton could afford to make a film that was truly his, and Edward was nakedly autobiographical, depicting an inarticulate, artistic character adrift in a hostile world that looked suspiciously like the suburbs of Burbank. There were no questions about whether Elfman could score this kind of a movie, because no one knew what kind of a movie Edward Scissorhands was. But from the opening celeste notes of Elfman’s score, it was clear he had found Edward’s soul. Edward Scissorhands became a film music genre just as much as Burton’s film defined his output as a director — and it’s still perhaps Elfman’s most imitated and personal work.

Burton and Elfman revisited Batman with Batman Returns, expanding on the gothic landscape both men had initiated in their first effort, with Elfman providing distinctive approaches to Michelle Pfeiffer’s Catwoman and Danny DeVito’s Penguin.

But for their next project, the two men dug into their past love of stop-motion animation and took advantage of Elfman’s skills as a songwriter and performer. The Nightmare Before Christmas turned vintage Rankin-Bass holiday specials inside out, exploring a monsters-eye-view of Christmas through the character of Jack Skellington, brought to life with the singing voice of Elfman himself. The Nightmare Before Christmas was a vivid, original vision and a cult smash, throwing songs like “This is Halloween” into the cultural marketplace and again demonstrating Elfman’s versatility.

Mars Attacks! bubbled with subversive humor, kicked off by Elfman’s Russian-inspired main title march, which grows from an impishly comic rhythm into a full-blown sci-fi anthem complete with theremin.

Elfman and Burton explored more serious genre territory in their next two collaborations. Sleepy Hollow was Burton’s love poem to the British Hammer horror movies he’d loved as a child, and Elfman responded with a richly atmospheric and gothic score. For Planet of the Apes, Elfman stepped into the footsteps of legendary composer Jerry Goldsmith, fashioning his own musical world of

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

simian rule using the massive collection of exotic percussion instruments he’d collected as far back as his teenage trip to Africa.

As he had with Batman, Burton followed up Planet of the Apes with a more personal project. Big Fish mixed Burtonesque fantasy with a more serious personal drama, as a resentful son tries to come to terms with his father’s predilection for tall tales — lies, as the son sees them. By the time he scored Big Fish, Danny Elfman had been completely accepted in Hollywood — in 1997 he received his first Oscar® nominations for both Good Will Hunting and Men in Black.

For his touching Americana score to Big Fish, Elfman received his first Oscar® nomination earned by one of his collaborations with Tim Burton.

For Charlie and the Chocolate Factory, Elfman again took advantage of his rock and performance background to create the songs performed by the movie’s diminutive Oompa-Loompas (all voiced by Elfman) in a pageant of pop rock styles — everything from Beatles-esque to Bollywood, all alongside an evocative orchestral score to characterize the edible environment of Willy Wonka’s sweets factory.

Burton and Elfman returned to the gothic stop-motion territory of The Nightmare Before Christmas in Corpse Bride, with Elfman creating songs whose inspiration ranged from Gilbert and Sullivan to Cab Calloway.

Burton’s adaptation of Alice in Wonderland became one of the biggest money makers in movie history in 2010, a hugely challenging technical exercise for the director, who shot the majority of the film on green screen sets so most of his cast could be transformed into computer-generated versions of Lewis Carroll’s classic characters. Elfman responded to the controlled chaos by writing one of his grandest scores, driven by his stirring “Alice’s Theme.”

For their most recent collaborations, Burton and Elfman once again turned to their genre pasts. Burton cast Johnny Depp, the star of numerous Burton films, as Barnabas Collins in his tonguein-cheek remake of the Dark Shadows television series, which showed the director still has chops for the offbeat comedy he demonstrated in Pee-wee’s Big Adventure and Beetlejuice. Elfman created a lush score dominated by the iconic, sensuous flutes inspired by the eerie vibe on from the ’70s television series.

Burton mounted an animated version of his own Frankenweenie in 2012 (which ironically, was his first live-action film). Filmed in black-and-white, Frankenweenie sprang directly from Burton’s illustrations, and Elfman returned to his gothic, yet emotionally charged style to accompany the story of a young boy who brings his pet dog back to life.

Elfman and Burton continue their movie music relationship with Burton’s forthcoming Big Eyes, which will mark their 16th collaboration spanning over 25 prolific years.

(Jeff Bond is the author of Danse Macabre: 25 Years of Danny Elfman and Tim Burton.)

P E R FOR M AN C E S M AGAZ I NE P31

CHAMBER MUSIC SERIES 2016-17

AT T H E AU D I TO R I U M AT T S R I & THE JACOBS MUSIC CENTER 8 CONCERTS FOR ONLY $200!

Joyce Yang

Cristian Mācelaru

Art of Élan

Yefim Bronfman

David Danzmayr

Tickets and Information SANDIEGOSYMPHONY.ORG | 619.235.0804

AN M O RD E!

Vienna Boys Choir * SUNDAY December 4 – 7:30PM The internationally-renowned, charming young choristers from a centuries-old singing tradition return to the Jacobs Music Center for one night only. Expect heart-warming choral classics from the heart of the European tradition.

FILL THE HOLIDAY SEASON WITH MUSIC!

Noel Noel FRIDAY December 16 – 8PM SATURDAY December 17 – 2PM & 8PM SUNDAY December 18 – 7:30PM The San Diego Symphony celebrates the holidays in style with this delightful concert of popular music of the season featuring the San Diego Master Chorale and special guests.

Expect heart-warming choral classics plus a touch of holiday cheer!

Treat yourself and your family to a holiday concert this season—a gift everyone will remember.

Chanticleer * MONDAY December 19 – 7:30PM

TICKETS START AT $20!

Chanticleer has been known around the world for almost four decades as “an orchestra of voices” for the seamless blend of its twelve male voices. The first vocal ensemble voted into the American Classical Music Hall of Fame will bring a festive holiday program to San Diego.

TICKETS AND INFORMATION

SANDIEGOSYMPHONY.ORG 619.235.0804

P32 PE RFORMA NCES MAGA Z IN E

*San Diego Symphony Orchestra does not appear.

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

OCTOBER 30 DÍA DE LOS MUERTOS*

A MUSICAL CELEBRATION OF THE MEXICAN DAY OF THE DEAD

SUNDAY October 30, 2016 – 7:30pm SPECIAL CONCERT

Symphonic Mariachi Champaña Nevin Special Appearance by "The Queen of Ranchera Music," Aida Cuevas soprano Mónica Ábrego tenor Rafael Palomar

Mariachi Garibaldi from Southwestern College Ballet Folklórico Jalisciense de Mary Lopez Directed by Jeff Nevin Performance at The Jacobs Music Center’s Copley Symphony Hall

PROGRAM Selections to be announced from stage. *The San Diego Symphony Orchestra does not appear on this program.

ABOUT THE ARTISTS

DÍA DE LOS MUERTOS - OCTOBER 30

MARIACHI CHAMPAÑA NEVIN

M A R I ACH I CH A MPAÑA NEVIN Jeff Nevin, Ph.D., Artistic Director

M

ARIACHI CHAMPAÑA NEVIN is internationally regarded as one of the leading proponents of “classical mariachi music” in the world.

Comprised of virtuoso mariachi and classical musicians, this unique ensemble fully

embraces the ideals of traditional Mexican music and European Classical music. Led by composer and trumpeter Jeff Nevin, they have delighted diverse audiences across the US, Mexico, and as far away as Russia, France and China for nearly two decades.

Jeff Nevin has created a large canon of original music scored for mariachi and symphony orchestra, including the world’s

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

first Concerto for Mariachi and Orchestra (Pasión Mexicana), an enchanting classical song cycle for scored for mariachi and orchestra (Al aire libre, based on the poetry of Alberto Blanco), a magical Mexican Christmas celebration (La fiesta de la nochebuena) and numerous original arrangements of traditional mariachi songs. Together with Mariachi Champaña Nevin, and occasionally alone as soloist/conductor, Jeff Nevin has performed his music with the symphonies of San Diego, Colorado, Aguascalientes, Grant Park, Jalisco, Pasadena, San Bernardino, Baja California, Zacatecas, East Texas, Santa Rosa, Idaho Falls, La Jolla, Key West, the San Diego Chamber Orchestra, Orchestra Nova and the American Philharmonic in Sonoma County. And Mariachi Champaña Nevin has performed with many of Mexico’s finest singers, including Placido Domingo, Jorge Lopez-Yañez, Mónica Ábrego, José Luis Duval, Rafael Jorge Negrete, Florencia Tinoco and José Medina.

P E R FOR M AN C E S M AGAZ I NE P33

ABOUT THE ARTISTS

DÍA DE LOS MUERTOS - OCTOBER 30 Mariachi Champaña Nevin recently released their fifth album, Nuestra Navidad, a groundbreaking two-CD set featuring beloved Mexican and American Christmas carols along with classical favorites including Tchaikovsky’s Nutcracker Suite and Pachelbel’s Canon. And their annual “Día de Muertos” celebration has received wide acclaim, becoming a much-anticipated tradition in San Diego.

Visit VirtuosoMariachi.com to learn more. n

JEFF NEVIN, TRUMPET & ARTISTIC DIRECTOR

J

E FF NEVI N, PH. D. , is a professional classical trumpet player, mariachi trumpeter and soloist, a conductor specializing in the interpretation of Mexican music, and an award-winning composer whose works have been performed by the San Diego Symphony and other orchestras of the western U.S. as well as Mariachi Vargas de Tecalitlán and Sol de México. Together with Mariachi Champaña Nevin, he has established a reputation for presenting the highest quality classical and mariachi music performed with the mariachi alone, soloing with symphony orchestras, and appearing with world-renowned singers including Placido Domingo, Aida Cuevas, Fernando de la Mora, Jorge Lopez-Yañez, José Luíz Duval, Mónica Ábrego, Florencia Tinoco, Rafael Jorge Negrete and others. In addition to numerous performances in the US and Mexico, he recently returned from performing tours in France (2010, 2012), China (2010), and Russia (2009, 2012), Brazil (2014), Canada (2015), India (2015) and P34 PE RFORMA NCES MAGA Z IN E

Germany and the Czech Republic (2016).

Dr. Nevin earned his Bachelor’s, Master’s and Ph.D. in Music Theory and Composition from the University of Illinois, Arizona State University and UC San Diego respectively. He is currently Professor of Music and Director of Mariachi Activities at Southwestern College in Chula Vista, CA, where he devised and is now offering the world’s first college degree in mariachi music. He is also the conductor of the Southwestern College Symphony Orchestra.

He was a Faculty Associate at Arizona State University in the 2012-13 school year. In 2011 the Mexican government presented him with the first “Award for Arts and Culture” for his work promoting Mexican music abroad. In 2008 he was named “California Multicultural Music Educator of the Year” and accepted the position of Director of Youth Music Programs for San Bernardino’s Sinfonía Mexicana.

In addition to countless television, radio and print interviews, Dr. Nevin has been featured in the documentary films In the Name of Mariachi Music, Viva el Mariachi and The History Channel en Español’s El Mariachi.

His first book, Virtuoso Mariachi (University Press of America, 2002), was called “a major milestone in the history of mariachi music” by the Tucson Citizen newspaper, and he has written a comprehensive set of method books, Mariachi Mastery (Neil A Kjos Music Company, 2006), that is used to teach mariachi music in classrooms across the United States and Mexico. He is a founding member of the Mariachi Scholarship Foundation and has served as its President since 2013. n

MA R I ACH I G A R I BA LD I FRO M S O U TH WE STE R N CO LLE G E

M

A R I ACH I G A R I BA L D I is the performing ensemble from Southwestern College, the first school in the world to offer a college degree in mariachi music. Students study mariachi performance, music theory, instrumental and vocal technique, mariachi history, as well as general education requirements.

Former students have moved on to receive Bachelor's and Master’s degrees in Music, perform mariachi professionally, and they are beginning to fill the great need for mariachi teachers that exists across the US today.

Mariachi Garibaldi has performed countless engagements in and around San Diego including several national education conferences. They have been featured in both American and Mexican national news broadcasts, including a prominent role in the documentary In the Name of Mariachi Music which details the impact the U.S. is having on the history and future of mariachi. Mariachi Garibaldi’s concerts at Southwestern College consistently sell out.

They have traveled to perform for the famed “Encuentro de Mariachi” in Guadalajara nearly every year since 2002, and they have recently performed in Germany (2016), Canada (2015), Brazil (2014), Russia (2012 & 2009), France (2012 & 2010) and China (2010); they just returned from performing in India this year. Their newest CD, Un canto por el mundo, was inspired by their world travels and features music they performed on four continents. They also recorded a 2-CD set called Mariachis Garibaldi in 2009, and their version of “Hotel California” was featured on the release Mariachi Rock-O along with Mariachi Vargas, Sol de Mexico and others. n

MARIACHI GARIBALDI

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

SAN DIEGO SYMPHONY ORCHESTRA

HONOR ROLL

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

Music Director Jahja Ling, 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 or endowment during the last twelve months.

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

H

SYMPHONY STAR

† DECEASED

STRADIVARIUS CIRCLE $100,000 AND ABOVE

Anonymous Rosanne B. and W. Gregory Berton Sophie and Arthur Brody Foundation City of San Diego Commission for Arts and Culture Dow Divas Epstein Family Foundation Phyllis* and Daniel J. Epstein Sam B. Ersan Diane and Elliot Feuerstein Norman Forrester and Bill Griffin Foster Family Foundation Audrey Geisel Dr. Seuss Fund Muriel Gluck† Janet and Wil Gorrie The Grosvenor Family Rachel Grosvenor Joan and Irwin Jacobs Karen and Warren Kessler Dr. William and Evelyn Lamden Dick† and Dorothea Laub Inge Lehman† Dorothy McCrink Rebecca Moores Linda and Shearn Platt Debbie Turner and Conrad Prebys† Cathy and Larry Robinson Denny Sanford Shona Pierce Charitable Remainder Uni Trust Slate Family Foundation, Gayle* and Donald Slate Phyllis and David Snyder Marion and Robert Wilson Mitchell Woodbury

MAESTRO CIRCLE $50,000-$99,999

Anonymous Raffaella and John Belanich Helen K. and James S. Copley Foundation Susan and Peter Crotty Shirley Estes Carol Lazier and James Merritt Ermen† and Fred Moradi† The Parker Foundation Qualcomm Charitable Foundation

Sahm Family Foundation June and Bob Shillman Vail Memorial Fund

ROBERT SHAW CIRCLE $25,000-49,999 Rita and Richard Atkinson Sophie Bryan and Matthew Lueders Catherine and Andrew Clark Karen and Donald Cohn County of San Diego Farrell Family Foundation Lisette and Michael Farrell Pauline E. Foster*† Hervey Family Fund Barbara Kjos* Papa Doug Manchester Monica and Robert Oder Potiker Family in memory of Sheila and Hughes Potiker† Allison and Robert Price Evelyn and Ernest Rady Robert Glenn Rapp Foundation Sheli and Burton Rosenberg Penny and Louis Rosso Colette and Dr. Ivor Royston Joyce and Ted Strauss Roger and Sylvia Thieme Leslie and Joe Waters Sheryl and Harvey White

VIRTUOSO CIRCLE $10,000-$24,999

Anonymous Anonymous Anonymous American Symphony Orchestra League Marilyn and Hayes Anderson Jane Bastien Barbara Bloom* Gordon Brodfuehrer Julia Richardson Brown Foundation Seltzer Caplan McMahon Vitek Nikki A. and Ben G. Clay Valerie and Harry Cooper David C. Copley Foundation

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

Elisabeth and Robert† Crouch Kathleen Seely Davis Alice Dyer Trust Karin and Gary Eastham Anne L. Evans Esther and Bud† Fischer The Rev. Canon Joan Butler Ford Carol J. Gable† Elaine Galinson and Herbert Solomon Ann and Gordon Getty Foundation Jill Gormley and Laurie Lipman Ann and Ben Haddad Judith Harris and Dr. Robert Singer Carol and Richard Hertzberg Becky Ivans-Downer* Marilyn James and Richard Phetteplace Sandra and Arthur Levinson Jessie Chang and Jahja Ling Mandell Weiss Charitable Trust Barbara and Harry Markowitz Dennis Mayer and Dean Rutherford Mark C. Mead Rena Minisi and Rich Paul Admiral Riley D. Mixson National Endowment for the Arts Lyn Nelson Lawrence Norquist† and Pat Baker The Kenneth T. and Eileen L. Norris Foundation Marilyn and Owen† O’Brien Elizabeth and Dene Oliver Val* and Ron* Ontell ResMed Foundation Ryan Family Charitable Foundation Ellen Browning Scripps Foundation Jayne and Brigg Sherman Drs. Bella and Alexander Silverman Stephen M. Silverman Hon. Stephanie Sontag and Hon. David Oberholtzer Richard Stern† Jeanette Stevens Gloria and Rodney Stone Iris and Matthew Strauss Elizabeth and Joseph† Taft Linda and Ray Thomas R.V. Thomas Family Fund Helen N. Tomlinson Ingrid M. Van Moppes

P E R FOR M AN C E S M AGAZ I NE P35

SAN DIEGO SYMPHONY ORCHESTRA

HONOR ROLL

Isabelle* and Melvin Wasserman Bill and Sue Weber James and Kathryn Whistler Penny Wing and Victor Nacif Zarbock 1990 Trust

Lori and Bill Walton M. Faye Wilson

$2,500 - $4,999

ORCHESTRA CIRCLE $5,000- $9,999 Anonymous Rusti Bartell The Bjorg Family Dr. Paul Black and Mrs. Evelyn Truitt Joy* and Robert Callicott Cheyney Family Fund Lee Clark and Jerry Pikolysky The Clinton Family Fund Silvija and Brian Devine Berit and Tom Durler Florence Nemkov and Dr. Bernard Eggertsen Jim Frank and Deborah Reynolds Frank Pamela and Harold W. Fuson Jr. Sharon and Richard Gabriel G.A. Fliesbach Foundation Dawn and Milton Gilman Lee* and Frank Goldberg Jennifer and Richard Greenfield Jill and Jerry Hall Susan and Paul Hering HKT Foundation II Nancy and Stephen Howard Foundation Mary and Russell Johnson Jeanne Jones and Don Breitenberg Dr. Natasha Josefowitz Barbara M. Katz Lynda and Richard Kerr Helen Kupka Adele and Michael Lapadula Sheila and Jeffrey Lipinsky Mary Keough Lyman Elizabeth and Robert Mallon Anne and Andy McCammon Menard Family Foundation Erica Pascal and Dr. Michael J. Hostetler, Esq. Patricia Plovanich Sarah Marsh-Rebelo and John Rebelo Sandra and Robert A. Rosenthal Colin Seid and Dr. Nancy Gold Margie and Bruce Sutherland Patricia and Jack Thomas The William Hall and Ruth Rathell Tippett Foundation Catherine M. Van Dyke Rudy Vilkutaitis and Marsha Morgan† Harold Walba Ginger E. † and Robert D. Wallace

P36 PE RFORMA NCES MAG A Z IN E

SYMPHONY CIRCLE Anonymous Anonymous Michele and Stephen Beck-vonPeccoz Charles and Ruth Billingsley Foundation Susan and James Blair Kenneth A. Bullock California Arts Council City of Encinitas and Mizel Family Foundation Caroline S. DeMar Karen and William† Dow Judy and Lou Ferrero Samuel I. and John Henry Fox Foundation Nancy Gaffrey and Bob Brennan William and Martha Gilmer Nancy* and David* Herrington M. Suzanne and Lawrence Hess Margaret and Robert Hulter Louise D. Kasch Rosalie Kostanzer*† and Mike Keefe Liwerant Family Fund Macy’s Deborah and Fred Mandabach Nordson Foundation Marie Raftery and Dr. Robert Rubenstein Lari Sheehan Sheila and Gilbert† Sloan Jan Sopher Stephen L. Tierney Barbara Walbridge † Jo and Howard Weiner Sterling Wolfe Ellen G. and Edward G. Wong Family Foundation Mike and Naima Yelda

CONCERTO CIRCLE $1,000-$2,499

Anonymous Anonymous Anonymous Anonymous Anonymous Sybil* and B.J. Adelson Alexander Ardwin and Sherry Santa Cruz Patricia and Brian Armstrong Aleica Ayers and Joseph Milchen Rena and Behram Baxter Lauren L. Beaudry

Dr. Thomas Beers Sondra and Dr. Robert Berk Virginia and Robert Black Joye Blount and Jessie Knight Benjamin Brand La Verne and Blaine Briggs Joseph H. Brooks and Douglas Walker Janice and R. Nelson Byrne Susan Channick Peter Clark Clarke & Rice Professional Corporation John Cochran and Sue Lasbury Nathaniel L. Cohen Jaclyn Cooper Pearl Cutler* Anne and Charles Dick Ann Green Diggdon* William and Carolyn Doherty Eloise and Russell Duff Garrettson Dulin, Jr. Barbara and John Edgington Louise* and Victor† Engleman Nomi Feldman* Marilyn Field Kenneth Fitzgerald Gertrude B. Fletcher Dr. Joy Frieman Sally Fuller* Lynn and Charles Gaylord The Bequest of Kenneth Gibsen Claude R. and Jacqueline Gigoux Alison and George Gildred Joyce Glazer Dr. and Mrs.† Melvin G. Goldzband Georgette Hale Ann Marie and William Haney Margaret Hannegan Susan and Torrey Harmon Richard and Gail Harriss Kathryn Hattox Sharon and Garry Hays Joan E. Henkelmann* Robert D. Heylmun Ingrid and Joseph W. Hibben Advised Fund Mr. and Mrs. Verne E. Hildebrand Barbara and Paul Hirshman James and Deborah Idell Maho Jordan Roger Karnopp Marge and Jerald Katleman Sarah Price-Keating and Brian Keating Thomas Kelly Edythe and William† Kenton Julia Kenyon Kinder Morgan Foundation Kelly and Mark Kjos Carol Ann and George Lattimer Carole Laventhol

Karen Lee and Joseph Drag Gayle M. Lennard Robert Leone Littman Family Fund of the Jewish Community Foundation Estelle and Hamilton Loeb Jr. Kiyoe MacDonald Kristin Mallory Carole and Henry Manfredo Patricia Maxwell* Tonita K. and Francis McKone Karyn Meletis Julie and James Merkel Lynn Miller Dr. Sandra E. Miner* Ilene and Charles Mittman CDR Robert E. Morris, USN Ret. Helga and Francis Mulligan Dr. J. Nicholas Nowak Greg Olmstead and Jean Greaves Birte Owenmark* Ricki and Alden Pedersen The Pratt Memorial Fund Larry and Gigie Price Fund of the Jewish Community Foundation Michael Rensink* and Marilyn Friesen* Christa and Gerald Reynolds Mary* and William Richardson Lois Richmond* Theodore E. Roberts Murray and Patty* Rome Judith Rosen * Beverly Rulon Paul Sager and Natalie Venezia San Diego City Schools – CSA Mrs. Walter D. Schmier Ann† and Herb Schnall Sherman Family Fund of the Jewish Community Foundation Alice and Lewis Silverberg Sylvia Smulyan* William Snyder Francy Starr* Sharon E. and Shirley Ann Starr Stifel Nicolaus Marilyn Elizabeth Thompson* Niki and George Thorsen Col. and Mrs. Joseph C. Timmons Francis J. Tonello Dr. and Mrs. Howard R. Toole Joan and James† Urdan Victor Van Lint Alberta and Richard Waggoner Dr. and Mrs. J.P. Wasserstrom Irene* and David† Weinrieb Ellen and Bill Whelan Ida Sandico-Whitaker Ruth Wikberg-Leonardi and Ron Leonardi

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

SAN DIEGO SYMPHONY ORCHESTRA

HONOR ROLL

Andrea and Victor Wild Joseph Witztum David A. Wood Luann and Brian E. Wright Suzy and James Yates Michelle Youngers Marvin and Bebe* L. Zigman Claudia and Paul Zimmer Capt. Herbert and Mrs. Margaret Zoehrer

OVERTURE CIRCLE $750-$999

Anonymous K. Andrew Achterkirchen Colleen Bechtel Patricia and Bruce Becker Donna Bullock Jeane F. Erley Beverly and Harold Martyn Robert McCommins Jan L. and Mark Newmark Ryde Family Memorial Foundation Daniel Soto Judith Ware Elsie Weston Dr. and Mrs. Philip Ziring

SONATA CIRCLE $500-$749 Anonymous Anonymous Charles H. Adair Calixto Aguinaldo Suzanne and Gary Baker Karen and Jerry Blakely Jennifer and Daniel Blanchard Priscilla and Stephen Bothwell Deb and Brand Brickman Sadako and William H. Browning Loyce Bruce Elizabeth E. Bruton Pamela K. Caldwell Nancy Calo Helena and Joseph Chan Betty L. Chaney Caroline Chen Stan Clayton Dr. and Mrs. Harold Coons Patricia Cullmer Jenifer Delson Kay DiGiacinto Richard G. Dooley Donna Dotson Douglas P. Doucette Jean K. Duncan Lynne and Jan Erikson Carol Spielman-Ewan and Joel Ewan

John Foltz Ron Forrester Jorgina Franzheim Friends of the Escondido Public Library Martha Gafford* Christel and John Gerstenberg Summer Girgis Brenda and Michael Goldbaum Roanne Gotthelf Irma and Gilbert Greenspan Carrie and James Greenstein Ruth and James Harris Theresa A. Hill Shirley and Ken Hinckley Nancy and Bill Homeyer Jamie Henson and Robert Houskeeper Julie Hutchinson Lt. Cmdr. Kenneth Ivary Nancy B. James Elaine and Dimitri Jeon Bruce A. Johnson Diane Justice Tandy and Gary Kippur Ned F. Krumrey and Susan E. Farrell Willis J. Larkin Patricia and Jeffrey Leach Melissa Leitch Norman Leitman Greg Lemke Dr. Stanley Levenson Claudia Lowenstein Sally and Luis Maizel Donald James Malcolm Mercy and Ron Mandelbaum Sivia and Norman Mann Charles McCorkell Katy McDonald Mr. and Mrs. Edward J. McIntyre Susan and Douglas McLeod Paul Kelly Mikules Leslie and Gordon Monteath Kathryn Murphy Lorna and Adrian Nemcek Edward Phelan Patrice and Steve Quinn Kay F. Raines Marlene and Gerald Repholz Sue B. Roesch Ellen Romberg Rhonda and Gustavo Romero Selati Family Fund Lise and William Shanahan Valerie and Jim Shattock Kathleen and Lewis Shuster John R. Sprengle Rebecca and Mitchell Steller Jeffrey Stern John L. Stover

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

Helga and Sam Strong Suzanne and William Sutton Lynn and Elliott Tarson Arlene and Irving Tashlick Phoebe and Eugene† Telser Tamara and Robert Thibodeau Maxine and Gerald Trimble Diana Van Duzer Helen Wagner Frank Watson Franz Weinhandl Dr. and Mrs. R. Ronald Wood Anna and Edward Yeung Barry Zemel

In Honor of Dr. Warren Kessler Ellen and Bill Whelan

In Honor of Sarah Skuster and Eric Starr Sharon E. and Shirley Ann Starr

MATCHING GIFTS IBM International Foundation Sempra Energy Foundation Qualcomm

In Honor of Dr. Warren Kessler’s Special Birthday Roanne Gotthelf In Honor of Warren O. Kessler, M.D. Gayle M. Lennard In Honor of Nuvi Mehta Sarah Price-Keating and Brian Keating In Honor of the New Partnership between Martha Gilmer and David Bennett Carol Lazier and James Merritt

MEMORIAL In Memory of George Nelson Gafford Audrey S. Geisel Ingrid Hibben Joan and Irwin Jacobs Barbara Kjos In Memory of Daniel J. Mallory Kristin Mallory In Memory of Joseph H. Mason Stifel Nicolaus In Memory of Edward McCrink Dorothy McCrink In Celebration of Paul Pinegar Ellen Romberg In Memory of Mariellen Oliver Mr. Joseph Brooks and Mr. Douglas Walker

HONORARIA In Honor of the Bjorg Family The Bjorg Family In Honor of Martha Gilmer, CEO The Clinton Family Fund In Honor of Janet Gorrie Leslie and Gordon Monteath In Honor of Georgette Hale’s Birthday Anonymous In Honor of Judith Harris and Robert Singer and Karen and Warren Kessler Anonymous In Honor of Warren Kessler Sharon and Richard Gabriel Carole Laventhol

P E R FOR M AN C E S M AGAZ I NE P37

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.

PLATINUM SPONSOR ($35,000 OR MORE)

DIAMOND SPONSOR ($15,000–$34.999)

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.

P 38 PE RFORMA NCES MAGA Z IN E

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016

SAN DIEGO SYMPHONY ORCHESTRA

ADMINISTRATION

EXECUTIVE OFFICE Martha Gilmer, Chief Executive Officer Katy McDonald, Chief of Staff Darla Lopez, Executive Assistant to CEO and Board of Directors Diane Littlejohn, Administrative Assistant

FINANCE AND ADMINISTRATION Seth Goldman, Chief Financial and Administrative Officer Tejal Kaji, Director of Human Resources Tim White, Network Administrator Sabina Spilkin, Database Analyst

ARTISTIC Megan Swan, Associate Director of Artistic Planning Bryanna Reed, Artistic Coordinator

MARKETING AND COMMUNICATIONS Joan Cumming, Vice President of Marketing and Communications J.D. Smith, Associate Director of Marketing Courtney Koscheka, Marketing Manager Kayla Wilson, Social Media Manager Samer Naoum, Group Sales and Promotions Manager Nuvi Mehta, Concert Commentator

ORCHESTRA AND BUILDING OPERATIONS Daniel Song, Vice President of Orchestra and Building Operations Robert Wilkins, Chief Operating Officer, Emeritus Daniel Espinoza, Director of Production and Building Operations Dennis Legg, Director of Facility Operations Magdalena O’Neill, Orchestra Personnel Manager Jennifer Ringle, Production Manager Kurt Bartelt, Facilities Operations Manager Victoria Moore, Assistant Orchestra Personnel Manager Virginia Tunnell, Facilities Operations Assistant Robert Saucedo, Lead Facilities Technician Facility Technicians: Jeffrey Brace, Aaron Brenes, Pete Perez Stage Personnel: Thayne Greene, Technical Director Evan Page, Electrical Department Head Mark Wildman, Property Department Head Eric Clinton, Audio Department Head/Engineer Shafeeq Sabir, Video Department Head MSI Production Services, Audio, Video, Lighting Equipment Supplier Villalpando & Associates, Backline Support 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. House Personnel: George Kutchins, House Manager Assistant House Managers: Robert Bryan, Christine Harmon, Bill Kiesel, Dave Netzer 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 INSTITUTIONAL ADVANCEMENT Todd Schultz, Vice President of Institutional Advancement Jane Rice, Director of Special Donor Projects Dane Lighthart, Advancement Officer Megan Peet, Advancement Officer Kaia Hill, Senior Development Officer Jamie Karatkiewicz, Special Events Manager Alana Lewis, Development Officer Malina Baker, Special Events Coordinator Alina Popescu-Strauss, Development Coordinator

TICKET OFFICE Octavia Person, Ticket Services Manager Brianne Siegel, Ticket Services Assistant Manager-Rental Coordinator Kym Pappas, Lead Tickets Services Associate/Subscriptions Representative Cheri LaZarus, Ticket Services Associate-Lead Subscriptions Mario Machado, Ticket Services Associate/Subscriptions Representative SeeJay Lewis, Ticket Services Associate Kimberly Moyeda, Ticket Services Associate Cynthia Navarro, Ticket Services Associate

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: Monday through Friday 9 am - 5 pm 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 Villalpando & Associates • Fireworks support provided by Fireworks America and Pacific Tug & Barge (summer)

EDUCATION AND COMMUNITY ENGAGEMENT Adrienne Valencia, Director of Youth Education Chelsea Allen, Manager of Community Engagement Donna Bullock, Volunteer

S AN DI EG O SYMPHO NY O RCHEST RA 2016- 17 SEA SO N OC TOB E R 2016

P E R FOR M AN C E S M AGAZ I NE P39

SAN DIEGO SYMPHONY ORCHESTRA

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

be allowed into the concert hall.

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

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.

For more information, call the Ticket Office at 619.235.0804.

UNUSED TICKETS Please turn in unused subscription tickets for resale to the Ticket Office or by mailing them to 1245 7th 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.

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, International Passport, 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 Festival 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

P 40 PE RFORMA NCES MAGA Z IN E

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!

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.

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.

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 619.615.3909.

RECORDING DEVICES No unauthorized cameras or recording devices of any other kind are allowed inside the concert hall. Cell phone photography is not permitted.

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

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 7th 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.

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 7th Avenue San Diego, CA 92101 Phone: 619.235.0800 Fax: 619.235.0005

Our Website: SanDiegoSymphony.com

Contact us to receive mailed or e-mailed updates about Orchestra events.

All artists, programs and dates are subject to change.

SAN DI E GO SYM P H O N Y O R C H E ST R A 2 016 - 17 S E AS ON O CTO BER 2016