FROM THE
CHIEF EXECUTIVE OFFICER
PHOTO CREDIT: LAUREN RADACK
DEAR FRIENDS, November is a month during which we are focused on giving thanks. Thanksgiving is our American holiday celebrating a bountiful and abundant harvest and sharing it with others. Recently I was privileged to travel to New York to celebrate two distinguished honors being given to our very own generous and sharing philanthropists, Joan and Irwin Jacobs. Of course the San Diego Symphony is only one of the many institutions they support throughout the U.S. and internationally. The gift that they made on January 14, 2002, remains the largest gift ever given to an orchestra, and their annual generosity continues to this day. On October 15th Joan and Irwin were awarded the prestigious Carnegie Medal of Philanthropy created by Andrew Carnegie. Just four days later, on October 19th, the Americans for the Arts awarded Joan and Irwin Jacobs a National Arts Award for Philanthropy in the Arts. What most impresses me is that the gifts of Joan and Irwin to so many institutions that they care for, made so that the organizations can thrive, are in large part making a difference right here in their own home city, San Diego. They are wise stewards of our institution, offering counsel and advice; and they firmly believe that the orchestra belongs to this community, not to any individual, regardless of the size of their financial contribution. Martha Gilmer, Chief Executive Officer
This idea of giving during one’s lifetime, to the level of our individual ability, is something that honors the work of all recipients, and especially for us, our musicians. At the same time, it sets the example of philanthropy for the next generation, making manifest the ideal of being able to share our blessings with those who can benefit. Joan and Irwin spoke eloquently about their desire to give so generously to so many institutions. Irwin talked about their recent support of our Downtown San Diego Library, expressing early skepticism about why, in a digital age, we would need a library to house physical books. After much thought and exploration, Joan and Irwin came to the conclusion that libraries are a place where people gather, enjoying literature and coming together to share the joy of the written word. The same can be said about concert halls. In this new era of easy accessibility to recorded music, why do we need our concert halls? The answer is the same. As human beings we need and desire the opportunity to come together to experience our art form. Concert halls allow us to experience this act of creation with others in “real time.” The San Diego Symphony is grateful to all individuals, corporations and foundations that support our institution. Over 65% of our operating costs are funded annually through the generosity of others. As you reflect on your musical experiences with the San Diego Symphony, we ask you to consider making an end-of-year gift to support our many programs that reach audiences in San Diego through vibrant concerts in the Jacobs Music Center; in San Diego County performing spaces; at our outdoor venue at the Embarcadero; and in schools, community centers and libraries. Whatever the size of your gift, our thanks is abundant and heartfelt. You will be part of touching lives through live music. Through your giving you honor our city, its citizens and our musicians.
Sincerely,
COVER PHOTO CREDIT: Compañia Flamenca José Porcel – Columbia Artists Management, Inc.
Martha Gilmer Chief Executive Officer
SAN DIEGO SYMPHONY ORCHESTRA WINTER SEASON NOVEMBER 2015
PERFORMANCES MAGAZINE P1
SAN DIEGO SYMPHONY ORCHESTRA
JAHJA LING, MUSIC DIRECTOR
MATTHEW GARBUTT
Principal Summer Pops Conductor
SAMEER PATEL
Assistant Conductor
VIOLIN Jeff Thayer Concertmaster DEBORAH
PATE AND JOHN FORREST CHAIR
Jisun Yang Acting Associate Concertmaster Wesley Precourt Acting Assistant Concertmaster Alexander Palamidis Principal II Jing Yan Acting Associate Principal II Nick Grant Principal Associate Concertmaster Emeritus Randall Brinton Yumi Cho Hernan Constantino Alicia Engley Pat Francis Kathryn Hatmaker Angela Homnick Mei Ching Huang ˆ Ai Nihira* Igor Pandurski Julia Pautz Susan Robboy Shigeko Sasaki Yeh Shen Anna Skálová Edmund Stein John Stubbs Pei-Chun Tsai Joan Zelickman VIOLA Chi-Yuan Chen Principal KAREN AND WARREN KESSLER CHAIR
Nancy Lochner Associate Principal Rebekah Campbell Wanda Law Qing Liang Caterina Longhi Thomas Morgan Adam Neeley* Ethan Pernela Dorothy Zeavin CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal Marcia Bookstein Glen Campbell
Andrew Hayhurst Richard Levine Ronald Robboy Mary Oda Szanto Xian Zhuo
Tricia Skye Douglas Hall
BASS
John MacFerran Wilds Ray Nowak
Jeremy Kurtz-Harris ˆ Principal OPHIE AND ARTHUR BRODY S FOUNDATION CHAIR
Susan Wulff Acting Principal Samuel Hager Acting Associate Principal W. Gregory Berton ˆ P. J. Cinque Jory Herman Margaret Johnston+ Daniel Smith* Michael Wais Sayuri Yamamoto* FLUTE Rose Lombardo Principal Sarah Tuck Erica Peel PICCOLO Erica Peel OBOE Sarah Skuster Principal
TRUMPET Micah Wilkinson Principal
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
Harrison Linsey Andrea Overturf
Erin Douglas Dowrey Andrew Watkins
ENGLISH HORN Andrea Overturf
PIANO/CELESTE Mary Barranger
DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR
CLARINET Sheryl Renk Principal
ORCHESTRA PERSONNEL MANAGER Magdalena O’Neill ASSISTANT PERSONNEL MANAGER TBA
Theresa Tunnicliff Frank Renk
PRINCIPAL LIBRARIAN Courtney Secoy Cohen
BASS CLARINET Frank Renk
LIBRARIAN Rachel Fields
BASSOON Valentin Martchev Principal Ryan Simmons Leyla Zamora CONTRABASSOON Leyla Zamora HORN Benjamin Jaber Principal Darby Hinshaw Assistant Principal & Utility
* Long Term Substitute Musician + Staff Opera Musician ˆ On leave All musicians are members of the American Federation of Musicians Local 325.
Financial support is provided by the City of San Diego Commission for Arts and Culture.
Danielle Kuhlmann
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NOVEMBER 14 THE ART OF MUSIC In collaboration with The San Diego Museum of Art SATURDAY November 14, 2015 – 8:00pm JACOBS MASTERWORKS SERIES
conductor Johannes Debus
Performance at The Jacobs Music Center’s Copley Symphony Hall
PROGRAM SERGEI RACHMANINOFF
The Isle of the Dead, Op. 29
ADAM SCHOENBERG
Finding Rothko Orange Yellow Red Wine
OTTORINO RESPIGHI
Trittico Botticelliano Primavera L’adorazione dei Magi La nascita di Venere
CLAUDE DEBUSSY
La mer De l’aube à midi sur la mer Jeux de vagues Dialogue du vent et de la mer
The approximate running time for this program, including intermission, is one hour and fifty-five minutes.
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ABOUT THE ARTIST
ABOUT THE COMPOSERS
anadian Opera Company Music Director JOHAN N E S D EBU S graduated from the Hamburg Conservatoire before being engaged as répétiteur and, subsequently, Kapellmeister by Frankfurt Opera. While at Frankfurt he acquired an extensive repertoire, from Mozart to Thomas Adès, and worked closely with such conductors as Paolo Carignani, Markus Stenz and Sebastian Weigle.
The Isle of the Dead, Op. 29 S E R G E I R ACH M A N I NO FF Born April 1, 1873, Oleg Died March 28 1943, Beverly Hills (Approx. 20 minutes)
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At home both in contemporary music and the core repertoire, Mr. Debus has conducted a wide range of world premieres and works of the Twentieth and Twenty-first century, notably Salvatore Sciarrino's Macbeth and Luciano Berio's Un re in ascolto. He has collaborated with internationally acclaimed ensembles such as Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien and Musikfabrik. As a guest conductor Mr. Debus has appeared at several international festivals such as the Biennale di Venezia, Schwetzinger Festspiele, Festival d'Automne in Paris, Lincoln Center Festival, Ruhrtriennale, Suntory Summer Festival and Spoleto Festival. He conducts regularly at Bayerische Staatsoper Munich, Staatsoper unter den Linden Berlin and Frankfurt Opera; he has also appeared in new productions at English National Opera and Opéra National de Lyon. In 2008 Johannes Debus conducted Prokofiev’s War and Peace for Canadian Opera Company. Such was his success with the piece and rapport with the company that he was immediately offered the Music Directorship, a position recently extended through the 2016-17 season. In 2010 Mr. Debus was invited to replace James Levine in a performance of Mozart’s Die Entführung aus dem Serail at Tanglewood with the Boston Symphony Orchestra; he was subsequently invited to replace Sir Colin Davis in works JOHANNES DEBUS, CONDUCTOR by Mozart and Haydn in four subscription concerts, marking his Symphony Hall debut. He made his debut with The Cleveland Orchestra at the Blossom Music Festival in the summer of 2012 and with the Toronto Symphony in January 2013; the same month he made his debut with Philharmonia in London. He recently returned to Frankfurt to conduct The Adventures of Mr Broucek and Rusalka. Future productions for Canadian Opera Company include Falstaff, Die Walküre, Bartók’s Duke Bluebeard’s Castle and Schönberg’s Erwartung. In 2014-15 Johannes Debus returned to Blossom with The Cleveland Orchestra and conducted the Nashville, New Jersey and Montreal Symphonies and the National Arts Centre orchestra in Ottawa. He made his debut at the BBC Proms with Britten Sinfonia in September 2014 and conducted a production of The Tales of Hoffmann at the 2015 Bregenz Festival. n
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n 1880 the Swiss artist Arnold Böcklin painted the first of what would be a series of one of the spookiest, most evocative images ever committed to canvas. Over the next few years he would produce four variations of that painting, which would eventually come to be known as Die Toteninsel: “The Isle of the Dead.” All versions of the painting show essentially the same thing. Against a dark and threatening sky, a small island reflects the late afternoon sun, which illuminates its rock cliffs and towering cypresses, a tree identified with cemeteries and with death. In the foreground a small boat approaches the island. A dark-clad oarsman sits in the stern, and in front of him a figure shrouded in pure white stands slightly hunched over a long white box garlanded (in some versions of the painting) with red flowers. All who see the painting are quick to interpret what it “means.” Some have seen it as a depiction of Charon bearing the dead across the River Styx, but Böcklin refused to offer an explanation of his work. He is reported to have told a friend that “it must produce such an effect of stillness that anyone would be frightened to hear a knock on the door,” And so he intentionally left it mysterious (even the name Die Toteninsel was supplied by someone else). But no one can see that painting without an immediate visceral response, and over a century later it continues to haunt all who see it. Among those haunted was Serge Rachmaninoff, who composed his tone poem The Isle of the Dead in 1909, eight years after Böcklin’s death. One of the most effective things about Böcklin’s painting is his eerie combination of colors (gray, gold, black, dark green, deep blue), but the curious thing is that Rachmaninoff first encountered the image in Paris in Böcklin’s black and white sketch for the painting, and the composer much preferred that to the color version, which he came to know only later. He said: “I was not much moved by the color of the painting. If I had seen the original first, I might not have composed my Isle of the Dead. I like the picture best in black and white.” In any case, Rachmaninoff caught the mood of Böcklin’s painting perfectly. The Isle of the Dead has one of the most somber openings in all of music. It begins quietly and slowly, with the 5/8 meter catching perfectly the sound of softlylapping water as the oarsman directs the boat toward the forbidding island. A lonely horn solo sets the bleak mood, and this figure is quickly taken up solo oboe and then trumpet. Pay particular attention to that horn solo: embedded within it is the shape of the ancient Dies Irae plainchant, a theme that virtually obsessed Rachmaninoff (and Berlioz and Liszt before him). The music builds to a great brass chorale on this shape, and soon a dancing violin melody arcs high above. This has been called the “life theme,” a counterbalance to the dark opening, though one should not interpret this music too literally – it remains a moodpiece throughout. The Isle of the Dead builds to a huge climax on great chords spit out by brass and timpani. In the aftermath of that violence, tremolo strings gloomily intone the Dies Irae motif, the music winds down on a quiet wind chorale, and on the
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ABOUT THE COMPOSERS
THE ART OF MUSIC – NOVEMBER 14
rocking 5/8 meter from the very beginning The Isle of the Dead fades into mysterious silence. n
Finding Rothko ADA M S C H O E NBER G Born November 15, 1980, Northampton, MA (Approx. 16 minutes)
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dam Schoenberg graduated from the Oberlin Conservatory of Music and went on to receive his Masters and DMA from the Juilliard School, where he studied with John Corigliano and Robert Beaser. His music, which has been widely performed, includes works for orchestra, chamber ensembles, piano and film scores. Schoenberg lives in Los Angeles and teaches at the UCLA Herb Alpert School of Music. He has been composer-in-residence with the Aspen Music Festival and with the Kansas City Symphony, which has recorded several of his works. The premiere of Finding Rothko, by the IRIS Orchestra under the direction of Michael Stern, took place on January 13, 2007. On his website, the composer has offered a program note: Finding Rothko was Schoenberg’s first real professional commission, arranged by Michael Stern for the IRIS Chamber Orchestra, and was written in 2006 while the composer was just beginning doctoral studies at Juilliard. After experiencing a “visceral reaction” to a group of paintings at MOMA by the Abstract Expressionist artist Mark Rothko, Schoenberg decided to make Rothko’s art the “muse” for this piece. Although played without a break, it is in four distinct movements, each devoted to a specific Rothko painting and named after the principal color used in the painting. (Coincidentally, the order of the four movements turned out to be exactly the same as the order in which Rothko completed the paintings.) These four movements are delineated and linked by a gentle three-chord motif the composer has labeled “Rothko’s theme.” Finding Rothko doesn’t try to portray Rothko’s use of color and shape, or attempt to “set” the paintings to music. The artworks are simply a pretext, an inspiration. Yet the choice of paintings and the color connections between them formed a narrative in the composer’s imagination that is expressed
clearly in the music. “Orange” opens with “Rothko’s theme” and is somewhat atmospheric – a Copland-esque dawn, perhaps. The composer describes it as “a reflective moment yet to be fully realized.” “Yellow,” on the other hand, “is the realization of that moment,” and is the most upbeat of the four movements, beginning with a rocking minimalist accompaniment that gradually expands into a broad, bright landscape. The painting on which “Yellow” was based included a streak of red, providing an immediate narrative connection to the third movement. “Red” is intense, drawing on the saturated colors of the painting; the composer interprets that intensity in the movement’s jagged, irregular rhythms and mercurial personality. The final movement, “Wine,” is based on the last of the four paintings Schoenberg saw in person. It was the most difficult to locate and gain access to, and the journey to find it inspired the spirit of the piece and is the source of its title. “Wine” repeats “Rothko’s theme” and develops it gradually through slow, haunting phrases toward a shining final apotheosis. n PROGRAM NOTES BY LUKE HOWARD, PH.D.
Trittico Botticelliano OT TORINO R E S P I G H I Born July 9, 1879, Bologna Died April 18, 1936, Rome (Approx. 18 minutes) Many composers have written music inspired by paintings; the opportunity to take a static arrangement of color, shape and space, and transform that frozen moment into dynamic music-drama has been difficult to resist. In the nineteenth-century, such works were usually written as virtuoso vehicles for pianists: Liszt wrote some pieces inspired by the Italian masters, and Mussorgsky composed his Pictures at an Exhibition, based on paintings by his friend Viktor Hartmann. But in the twentieth century, particularly after sensing the range of color Richard Strauss had discovered in the virtuoso orchestra, composers turned to the orchestra for their paintinginspired music. Some of these works have become accepted parts of the repertory, such as Hindemith’s symphony Mathis der Maler, based on paintings from Matthias Grünewald’s Isenheim altarpiece. More recent examples include Martinů’s Frescoes of Piero della Francesca and Gunther Schuller’s Seven Studies on Themes of Paul Klee.
SAN DIEGO SYMPHONY ORCHESTRA WINTER SEASON NOVEMBER 2015
It was natural that Ottorino Respighi, a cultured man who was much in love with the Italian renaissance (and heavily influenced by Strauss’ tone poems), should turn to masterpieces of Italian painting for the inspiration of one of own his orchestral works. Doubtless Ravel’s dazzling orchestration of Mussorgsky’s Pictures in 1922 had an influence on him as well. But when Respighi composed his Trittico Botticelliano (“Botticelli Triptych”) in 1927, he used not the huge orchestra of Ravel’s orchestration or of his own Pines and Fountains of Rome, but a chamber orchestra. He chose three paintings of Sandro Botticelli (c.1440-1515), a Florentine artist famous for his use of color and his paintings on mythological and religious subjects, and wrote a three-movement orchestral score that is all the more effective for being modest in scope and restrained in manner. This is not to suggest that the Trittico Botticelliano is dull or muted music. Far from it. But the use of a small orchestra brings a restraint to this score, a welcome change from the opulence of Respighi’s Roman tone poems. The first movement, based on Botticelli’s painting Spring, is full of swirling motion as the season comes to powerful life. In Botticelli’s painting, Venus, Mercury, and dancing graces stand on striking black grass, while above their heads the trees burst with flowers and oranges. Respighi’s delicate writing for winds here contrasts with powerful fanfares and canonic writing, and the music reaches a climax full of trills and shimmering sounds as the power of spring unfolds. Botticelli’s Adoration of the Magi features the Virgin with the Child in her lap at the center of the painting; before and below her are figures in robes of rich reds, blues and browns. The music begins with lonely bassoon and oboe solos, like the sound of shepherds’ pipes. Soon comes a long melody, clearly based on the old hymn “O come, O come, Emanuel/And ransom captive Israel,” and this develops nobly; Respighi includes a number of exotic sounds to depict the three kings. The music rises to a climax, then falls away to end quietly on the lonely bassoon theme from the beginning, now under high string chords. The final movement is based on one of the most famous of all paintings, The Birth of Venus, in which the goddess of love rises from the sea on a shell. The music opens with gently-rocking string chords (the lapping of foamy waves?), and this lulling sound continues throughout. This movement
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ABOUT THE COMPOSERS
THE ART OF MUSIC – NOVEMBER 14 too is full of shimmering sounds, but here the music remains calm, almost radiant. It rises to an ecstatic climax that gives way to sudden silence. The rocking accompaniment resumes, and the music moves to a glowing close. n
La mer C L AUDE DE BU S SY Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris (Approx. 23 minutes) In the summer of 1903, the 41-year-old Debussy took a cottage in the French wine country, where he set to work on a new orchestral piece inspired by his feelings about the sea. To André Messager he wrote, “I expect you will say that the hills of Burgundy aren’t washed by the sea and that what I’m doing is like painting a landscape in a studio, but my memories are endless and are in my opinion worth more than the real thing which tends to pull down one’s ideas too much.” That last phrase is a key to this music. While each of its three movements has a descriptive heading, La mer is not an attempt to describe the ocean in sound. Had Richard Strauss written La mer (he would have called it Das Meer), he would have made us hear the thump of waves along the shoreline, the cries of wheeling sea-birds, the hiss of foam across the sand. Debussy’s aims were far different. He was interested not in musical scenepainting but in writing music that makes us feel the way we feel in the presence of the ocean; what mattered for Debussy was not the thing itself but his idea of that thing. At the premiere in 1905 the critic Pierre Lalo,
misunderstanding Debussy’s intentions in this music, complained: “I neither hear, nor see, nor feel the sea.” La mer sets out not to make us see white-caps but to awaken in us our own sense of the sea’s elemental power and beauty. Debussy subtitled La mer “Three Symphonic Sketches,” and it consists of two moderatelypaced movements surrounding a scherzo. But these movements are not in the forms of German symphonic music, nor does Debussy write melodic themes capable of symphonic development. Rather, he creates what seem fragments of musical materials – hints of themes, rhythmic shapes, flashes of color – that will reappear throughout, like kaleidoscopic bits in an evolving mosaic of color and rhythm. From Dawn til Noon on the Sea begins with a quiet murmur, a quiet nevertheless full of elemental strength. Out of this darkness glints of color and motion emerge, and solo trumpet and English horn share a fragmentary tune that will return – both thematically and rhythmically – here and in the final movement. As the morning brightens, the music becomes more animated, and a wealth of ideas follows: swirling rhythmic shapes, a noble chorale for horns, a dancing figure for the cello section divided into four parts. From these fragments, Debussy builds his first movement, and at its close the horn chorale builds to an unexpectedly powerful climax. Out of this splendid sound, a solitary brass chord winds the music into silence. Play of the Waves opens with shimmering swirls of color, and this movement is brilliant, dancing and surging throughout; it has a nice sense of fun and play, as a scherzo should. One moment it can be sparkling and light, the next it will surge up darkly. The
movement draws to a delicate close in which a few solo instruments seem to evaporate into the shining mist. The mood changes sharply at the beginning of the final movement. Debussy specifies that he wants Dialogue of the Wind and the Sea to sound “animated and tumultuous.” The ominous growl of lower strings prefaces a restatement of the trumpet tune from the very beginning, and soon the horn chorale returns as well. Debussy’s transformation of his material is particularly impressive here. A gentle chorale for woodwinds (marked “expressive and sustained”) sings wistfully at first, but the music builds to a huge explosion. Moments later that chorale tune returns in a touch of pure instrumental magic: against rippling harps and the violins’ high harmonics, solo flute brings back this tune with the greatest delicacy, and the effect is extraordinary – suddenly we feel a sense of enormous space and calm. Yet within seconds this same shape roars out with all the power of the full orchestra. As the movement proceeds, Debussy recalls themes from earlier movements, and the opening trumpet figure, the horn chorale, and the flute tune from this movement are all whipped into the vortex as the music hurtles to a tremendous climax. Debussy may be popularly identified as the composer of “impressionistic” moods, full of muted color and subtle understatement, but the conclusion of La mer roars with savage power as dissonant brass shriek out the final chord. This is not the music of water lilies but music driven by a force beyond human imagination, and the normally understated Debussy makes us feel that wild strength in the most violent ending he ever wrote. n PROGRAM NOTES BY ERIC BROMBERGER
PERFORMANCE HISTORY by Dr. Melvin G. Goldzband, SDSO Archivist Yoav Talmi conducted the only San Diego Symphony Orchestra performances of the Rachmaninoff tone-painting of Boecklin's haunting The Isle of the Dead, during the 1992-93 season. Talmi and the San Diego Symphony subsequently recorded the piece, along with several shorter Rachmaninoff works for Intersound Recordings, in the then-new, digital-surround sound format. The Adam Schoenberg piece, Finding Rothko, has never before been played at these concerts. The same, unfortunately, may be said for the exquisite little tone poems by Respighi, too often overpowered in popularity by the composer's big tone poems about Rome. The Trittico Botticelliano, however, is a remarkable musical interpretation of three of the artist's fabulous paintings: Spring, The Adoration of the Magi and, most famously, The Birth of Venus. The delicacy of the composer's colors are an accurate match to the artist's palette, and a tribute to Repighi's ability to paint in music without using such a heavy brush. In contrast, Debussy's La mer is a justifiable audience favorite here. In San Diego, it was first played by the Orchestra during the 1965-66 season when Earl Bernard Murray conducted. The work has been repeated at these concerts nine times since then, most recently during the 2009-10 season, when Philip Mann conducted it. n
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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
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GIFT CERTIFICATES Gift certificates may be purchased in any amount at the Jacobs Music Center Ticket Office in person, online, by phone, or by mail. They never expire!
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.
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