Marin Symphony 2013-14, Program Book 2

M A R I N SYM P HONYA L A S D A I R N E A L E | M U S I C D I R E C T O R

Fun. Seriously.2 013 –14 S E A S O N

11 Inspired new direction.

13 Orchestra

15 Leadership

19 2 013 Highlights

21 2 014 Special Events & Concerts

23 MASTERWORKS 2:

American Dream

31 MASTERWORKS 3:

Quintessential Beethoven,

Chic Tchaikovsky

40 FAMILY CONCERT:

The Magical Music of Disney

41 MASTERWORKS 4:

Sacred and Secular

42 SPRING POPS:

Pirates of the Caribbean:

The Curse of the Black Pearl

52 Support & Sponsorship

54 Youth & Education Programs

55 Encore Society

56 Donors & Sponsors

60 Subscriptions & Tickets

Contents

3marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony


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The Marin Symphony Waterfront Pops Concert isn’t the only thing that happens outdoors on the Marin Civic Center campus. Explore and enjoy the recent enhancements to the new disabled-accessible plaza in front of the Marin Veterans Memorial Auditorium, which make it much easier to move around. And there are more upgrades on the way. In the next few years, you’ll see better sidewalks, bus stops, bike lanes and aesthetic accents along Civic Center Drive as we prepare for the new SMART train.

You can also look forward to exciting changes from another Civic Center partner, the Marin County Farmers Market, as its staff works on plans for a permanent site for the market.

All of these moves are designed to complete the mission of Frank Lloyd Wright, the famed architect who designed our National Historic Landmark.

Even after the season-opening concerts are a memory, the sound of change at the Civic Center will be sweet music to our community.

Congratulations to Marin Symphony for 61- plus years of outstanding performances! The County of Marin is proud to be a sponsor of this new season.

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Staff, Board &ContributorsARTISTIC

Alasdair NealeMusic Director

Stephen McKersieChorus & Chamber Chorus Director

Ann KrinitskyYouth Orchestra Director

Anne Lerner-WrightCrescendo/Overture Orchestra Director

Debra ChamblissChildren’s Chorus Director

ADMINISTRATIVE

Jeff vom SaalExecutive Director

Angela ColomboDirector of Development

Peter RodgersDirector of Marketing & Communications

Marty EshoffDirector of Operations

Laura CooperPatron Relations & Administrative Coordinator

Craig McAmisOrchestra Personnel Manager

Drew FordMusic Librarian

Andrei GorchovYouth Programs Administrator

Anne Lerner-WrightEducation Programs & Community Engagement Manager

Deborah WalterAccountant

Maria MarcialesFinance Intern

WEEKLY VOLUNTEERS

James Levine, Phyllis Mart, Jan Mettner, Gloria Miner,Peri Sarganis, Judith Purdom

PROGRAM BOOK CREDITS

Program Notes, Jon KochaviArtist Interviews, Indi YoungDesigner/Editor, Peter RodgersAdvertising Sales, Big Cat AdvertisingPrinter, Dwight Franklin PrintingCover Photo, Eisaku Tokuyama

Board of Directors & AdvisorsOFFICERS

Dr. Frances L. WhitePresident and Chair

Peter L. H. ThompsonImmediate Past President

Stephen GoldmanVice President

Steven Machtinger*Vice President

Renee RymerSecretary

David S. PostTreasurer

COMMITTEE CHAIRS

Stephen GoldmanAudience Development

Jim FinkelsteinPersonnel & Strategic Planning

David S. PostFinance

Renee RymerGovernance

Jenny DouglassYouth/Education

Board of Directors continued Mary Rabb Marty Rubino Renee RymerStacy ScottDr. Beth SeamanSally ShekouPeter L. H. ThompsonJudith WalkerDr. Frances L. White*Orchestra Member

EMERITUS

Louis BartoliniMarge BartoliniJames BoitanoCrawford CooleyDonald DickeyAlfred HellerGrace HughesRonald JohnsonStafford KeeginAlice T. MayGloria MinerElizabeth MulryanDavid PoffHugo RinaldiMadeleine Sloane

Committee Chairs continuedMarty RubinoDevelopment

Stacy ScottSpecial Events

Greta HovertsenAudit Commitee

Judith WalkerInvestment Commitee

BOARD OF DIRECTORS

Shirin AryanpourMary D’Agostino Otis BruceJenny Douglass*Joanne DunnJim FinkelsteinRenee Froman*Will GlasgowStephen Goldman Dr. Hanna Rodriguez-FarrarGreta HoverstenSandra HoyerSteven Machtinger*Catherine Munson Erica Posner*David S. PostElizabeth Prior*

10 Where great music comes to life.

it’s playtime.

Inspired new direction.Welcome to American Dream, and Quintessential Beethoven, Chic Tchaikovsky, our first Masterworks concerts in the New Year—continuing our inspired 2013–14 Season. Thanks to all of you who joined us for our season-opening concerts in 2013 ! We’re thrilled at the momentum resulting from the sold out 60th Season finale, Pixar in Concert on June 9, 2013, the first-ever outdoor Waterfront Pops Concert featuring John Williams movie music favorites climaxing with fireworks on September 15, the best-attended opening Masterworks concerts in several years, From Russia With Love in October, full-house debut Holiday Pops Concert and Holiday Choral Concerts by Candlelight in December.

Looking ahead, we have multiple exciting concerts and special events on the horizon this spring. The Magical Music of Disney Family Concert on Sunday March 16 is certain to delight everyone. Sacred and Secular on April 6 and 8 featuring the Marin Symphony Chorus wraps up the Masterworks concert series. On Sunday, June 8, our 61st Season climaxes with the full-length Disney film, Pirates of the Caribbean: The Curse of the Black Pearl, with our orchestra performing the soundtrack live. The 36th consecutive Mountain Play Dress Rehearsal Benefit, is South Pacific on Saturday, May 17, and our Golf Tournament, Wine Auction and Dinner Benefit takes place on Monday, June 2 at the Marin Country Club. Be inspired. Be a part of it. Experience it with us!

Our board, staff, volunteers and the amazing musicians in this fine orchestra appreciate all of you—especially our loyal patrons, donors and subscribers for providing consistent support—sustaining our Marin Symphony for more than sixty years. We would like to express our sincere appreciation to everyone who has donated to our annual fundraising challenge. We’re well on our way to achieving the goal of raising $300,000 by January 31st. There is still time to contribute to this vital campaign (details on page 61).

We are continuing our journey to set a new inspired direction for our Marin Symphony’s future. Realistic goals and dreams. A renewed dedication for bringing innovative programming to the stage that resonates with Marin people. We’ve made great progress towards advancing exceptional music education programs to our community (see page 54 and 20 for recent highlights). We seek to thrive and be known for our work and our passion for excellence.

To experience an orchestra like ours is transformational. Our Marin Symphony is a community jewel. We’re proactively adapting to the changes and realities of challenging times for orchestras, education, and the arts with new initiatives and efforts to secure the resources needed to continue taking your Marin Symphony to new heights. With all of us who care so deeply for the Symphony and what it offers the people in our community, we’re confident that together, we will secure a bright future for great music in Marin.

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Alasdair NealeMusic Director

Frances L. White, Ph.D.President and Board ChairMarin Symphony Association

Jeff vom SaalExecutive Director


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ORCHESTRA

VIOLIN IJeremy Constant Concertmaster The Catherine Munson ChairPhilip Santos Assistant ConcertmasterKaren Shinozaki Sor* Assistant Principal The Schultz Family Chair In Honor of Niels SchultzMark Neyshloss Assistant PrincipalSergi Goldman-HullEmanuela NikiforovaValerie TisdelClaudia FountainBrooke Aird Cindy LeeVan Chandler

VIOLIN IIPeggy Brady PrincipalJeanelle Meyer Assistant Principal Dennie Mehocich*Kathryn Marshall Renee Froman*Joyce Lee Tao NordlichtTara Flandreau*Carla Lehmann Michelle MaruyamaAkiko KojimaThomas Yee

VIOLAJenny Douglass Principal The Elsie Rigney Carr Chair Elizabeth Prior Assistant Principal The Constance Vandament ChairJennifer SillsMeg EldridgeDarcy RindtBetsy LondonOscar HasbunDan KristiansonSteven MachtingerAnn Coombs-Kenney

HORNDarby Hinshaw PrincipalNicky Roosevelt Meredith BrownLoren Tayerle

TRUMPETJohn Freeman PrincipalJames RodsethCatherine Murtagh

TROMBONE

Bruce Chrisp PrincipalCraig McAmisKurt Patzner Bass Trombone

TUBAZachariah Spellman Principal

TIMPANITyler Mack Principal

PERCUSSIONKevin Neuhoff PrincipalScott BleakenWard Spangler

HARPDan Levitan Principal

PERSONNEL MANAGERCraig McAmis

LIBRARIANDrew Ford

SANDOR SALGOMusic Director LaureatePosthumous

CHARLES MEACHAMConcertmaster EmeritusPosthumous

* Former member of Marin Symphony Youth Orchestra

CELLOJan Volkert* PrincipalNancy Bien-Souza Assistant PrincipalLouella HasbunDavid WishniaKelley MaulbetschElizabeth VandervennetIsaac MelamedRobin BonnellAdele-Akiko KearnsErica Posner

BASSRobert Ashley PrincipalRichard Worn Assistant PrincipalPat KlobasAndrew ButlerWilliam EverettAndrew McCorkle

FLUTEMonica Daniel-Barker PrincipalHolly Williams, PiccoloKatrina Walter, Piccolo

OBOEMargot Golding PrincipalLaura Reynolds English Horn

CLARINETArthur Austin Principal The Jack Bissinger & Robert Max Klein ChairLarry Posner The Tom & Alice May ChairDouglas Fejes Bass Clarinet

BASSOONCarla Wilson PrincipalKarla EkholmDavid Granger Contrabassoon


Orchestra Personnel

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ARTIST IC LEADERSHIP

Alasdair Neale,Music Director

There’s nothing like experiencing live classical music played by our Marin Symphony under the leadership of Maestro Alasdair Neale. This is his 13th season leading our orchestra and he has taken the musicians progressively to higher levels of excellence over the past decade. He’s one of the leading Bay Area conductors and a champion of youth education initiatives. Maestro Neale has made appearances on many of the world’s stages with renowned orchestras and soloists.

Music Director Alasdair Neale began his tenure as Music Director of the Marin Symphony in 2001. He also holds the positions of Music Director of the Sun Valley Summer Symphony and Principal Guest Conductor of the San Francisco Conservatory of Music.

Mr. Neale’s appointment with the Marin Symphony followed 12 years as Associate Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. During that time he conducted both orchestras in hundreds of critically acclaimed concerts both here and abroad. In 1999, he substituted for an ailing Michael Tilson Thomas, conducting the

San Francisco Symphony in widely praised performances of Mahler’s Fifth Symphony in Germany. His most recent appearance with that orchestra was in February 2007 when he replaced an indisposed Carlos Kalmar to lead the San Francisco Symphony in successful subscription performances.

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

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

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

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

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


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LEADERSHIP


Dr. Frances L. WhiteBoard President

Dr. Frances L. White, Superintendent/President Emerita and a community college educator for 33

years, retired as Superintendent/President of the Marin Community College District in June 2010. Previously, she served five years as President of Skyline College in San Bruno, California. Her administrative experience in community colleges covers a variety of roles including serving as the Executive Vice Chancellor at City College of San Francisco and the Interim Chancellor of the San Jose/Evergreen Community College District.

Dr. White has a Ph.D. in education administration from the University of California at Berkeley, a master’s degree in counseling psychology and a bachelor’s degree in psychology from the California State University at Hayward.

As a professional, Dr. White has served on numerous local, state and national boards, commissions and committees. She is the statewide recipient of the 2010 Harry J. Buttimer Distinguished Administrator Award in the California Community Colleges and was named “Women in Business: Education Leader of 2009” for the North Bay Business Journal. Dr. White currently serves as a lecturer in the Ed.D. Education Leadership Program at San Francisco State University, and is a founding adjunct faculty member of the program. She also works as a CEO search consultant for community colleges; as well as a consultant in strategic planning, organizational review and accreditation management for large and small community colleges. She currently serves as the president and chair of the Board of Directors for the Marin Symphony Association; and she is a board member for the San Rafael Rotary. She is the author of several publications on educational leadership and lives in Marin with her husband, Harley.

Jeff vom SaalExecutiveDirector

Jeff vom Saal was appointed Executive Director of the Marin Symphony Association in July 2012.

A native of upstate New York, Jeff began playing the trumpet at age four. Jeff attended and graduated from the New England Conservatory of Music in Boston, Massachusetts, and studied with Peter Chapman and Charles Schlueter, members of the Boston Symphony Orchestra at the time. After graduating from the New England Conservatory of Music in Boston, Massachusetts in 2001, Jeff became interested in arts administration. His first orchestra job was as Executive Director of the Metrowest Youth Symphony Orchestra in Framingham, Massachusetts. In 2005, Jeff and his family moved to Fargo, North Dakota, where he was the Executive Director of the Fargo-Moorhead Symphony. In 2007, Jeff was asked to assume the leadership of the Quad City Symphony Orchestra, which he did until his move to California this past summer. During his tenure with the QCSO, season ticket sales increased every year, educational programs grew, and the organization expanded the number and style of concerts significantly.

Furthering the quality of life in this very special place.Providing emotional and spiritual growth for listeners.Creating a lifetime of music enjoyment for our youth.Thank you for this opportunity to contribute to our community.

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Pixar in Concert Sunday, June 9 Alasdair Neale, conductor

Our sold-out 60th Season finale presented music and clips from all 13 Disney/Pixar animated films!

Waterfront Pops ConcertSunday, September 15Movie music favorites by John WilliamsAlasdair Neale, conductor

The first-ever 61st Season-opening outdoor concert at the Marin Center Lagoon was a huge success. Several thousand attendees basked in the glow of the music, youth enjoyed the Musical Instrument Petting Zoo, Alasdair Neale’s Junior Conductors made their debut and the fireworks finale was spectacular!

National Young Composers Challenge Workshop West Saturday, October 6

The FREE full-day composition workshop attracted more than a hundred participants! More at: YoungComposersChallenge.org

National Young Composers Challenge Composium West Sunday, October 7

More than 60 amazing compositions were submitted this year! Four chamber ensemble and three orchestral works were selected as winners— performed and recorded live with the orchestra in front of an audience —with the young composers on stage. Visit YoungComposersChallenge.org to hear the winning compositions and learn more about the next Composium.

61st Season-Opening 007 Gala Celebration Saturday, October 26

The James Bond-themed dinner and raffle was an affair to remember. Movies, special cocktails and a special appearance by From Russia With Love guest pianist Jon Nakamatsu made it a perfect kick-off to the Masterworks season.

M A S T E RW O R K S 1From Russia with LoveOctober 27 & 29Alasdair Neale, conductorJon Nakamatsu, piano

Van Cliburn Gold Medalist Jon Nakamatsu returned for Rachmaninoff’s Second Piano Concerto. And, Shostakovich’s Fifth Symphony was magnificent. Holiday Choral Concerts by Candlelight December 7 & 8Stephen McKersie, conductorMarin Symphony Chamber ChorusMarin Girls ChorusThe Golden Gate Brass Quintet

Over 1000 people gathered in the Church of Saint Raphael in San Rafael for this treasured annual holiday tradition.

Holiday Pops Concert: A New Marin TraditionTuesday, December 17Alasdair Neale, conductorMarin Symphony ChorusMarin Symphony Children’s Chorus

Our first-ever Holiday Pops Concert delighted the full-house audience—rewarding the performers with rousing applause and standing ovations! Michael Pritchard added his charm as emcee. Stephen McKersie, Music Director of the Marin Symphony Chorus and Debra Chambliss, Marin Symphony Children’s Chorus Director, expertly prepared the choral elements of the program.

2 013 Highlights


PHOTOS © PETER RODGERSGALA PHOTO © MO DE LONG


________________________________

2 013 HIGHLIGHTS: YOUTH & EDUCATION PROGRAMS

Marin Symphony Youth Orchestra Sit-In Concert Saturday, April 21 Ann Krinitsky, conductor

Our Sit-In Concerts are a chance for younger students to sit amidst our Marin Symphony Youth Orchestra members during a performance. The 2013 concert took place at the Marin Country Mart with the Musical Instrument Petting Zoo afterwards. Skywalker Sound Event

In November, our Marin Symphony Youth and Crescendo Orchestras spent the day on the Scoring Stage at Skywalker Sound recording and learning about the process from SkySound engineers. This exciting day at Skywalker sharpened their listening skills, polished their ensemble skills, and raised everyone’s performance level to new heights.

Marin Symphony Youth Program Winter ConcertsSunday, December 8

Marin Symphony Overture & Crescendo Orchestra... This was the debut concert for our new Overture Orchestra!Anne Lerner-Wright, conductor

Marin Symphony Youth Orchestra Ann Krinitsky, conductor

Discover more about Marin Symphony Youth Programs on page 54.

November Skywalker Sound Event

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M A S T E RW O R K S 2American DreamSunday, January 19, 2014 at 3:00pmTuesday, January 21, 2014 at 7:30pm Alasdair Neale, conductorNoah Griffin, narrator

Program, notes and interview—see page 23.

M A S T E RW O R K S 3Quintessential Beethoven, Chic TchaikovskySunday, February 23, 2014 at 3:00pmTuesday, February 25, 2014 at 7:30pm Alasdair Neale, conductorAustin Huntington, cello

Program, notes and interview—see page 31. Magical Music of Disney Family ConcertSunday, March 16, 2014Ann Krinitsky, conductor

Details—see page 40. M A S T E RW O R K S 4Sacred and SecularSunday, April 6, 2014 at 3:00pmTuesday, April 8, 2014 at 7:30pm Alasdair Neale, conductorMarin Symphony Chorus

Details—see page 41.

Prelude Concert with Zuill BaileySaturday, May 3, 2014

This private in-home concert marks the return of a beloved soloist. Don’t miss this opportunity to experience his exquisite talent and charisma.

Mountain Play Dress Rehearsal BenefitSaturday, May 17, 2014 at 2:00pm

South Pacific is the 36th consecutive Mountain Play preview event that Marin Symphony patrons have the opportunity to experience. Drive up the mountain and bring refreshments!

Marin Symphony Golf Tournament, Wine Auction and DinnerMonday, June 2, 2014

Our third annual spring benefit event takes place at the Marin Country Club. This year, we are featuring a premiere Wine Auction!Sponsor: Ghirardo CPA

Pirates of the Caribbean: The Curse of the Black PearlSunday, June 8, 2014 at 3:00pmAlasdair Neale, conductor

Details—see page 42.

2 014 Special Events & Concerts

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131210_MarinYouthOrchestra2.indd 1 12/9/13 2:59 PM


MASTERWORKS PROGRAM 2:AMERICAN DREAM

Alasdair Neale, conductorNoah Griffin, narrator

January 19, 2 014 — Sunday at 3:00pmJanuary 21, 2 014 — Tuesday at 7:30pm

Ongoing support provided by The William and Flora Hewlett Foundation,

Marin Community Foundation, Ann and Gordon Getty Foundation,

The Bernard Osher Foundation, Schultz Family Foundation and Marin Music Chest.

Schwantner New Morning for the World (Daybreak of Freedom) Noah Griffin, narrator

Copland Symphony No. 3 Molto moderato Allegro molto Andantino quasi allegretto Molto deliberato

I N T E R M I S S I O N


Program 2 NotesJanuary 19 & 21, 2 014by Jon Kochavi New Morning for the World (Daybreak of Freedom) ( 1982 )

The eclectic American composer Joseph Schwantner achieved early success, winning a national composition award as a teen still playing tuba in his high school orchestra. By age 27, Schwantner had secured a faculty appointment at the prestigious Eastman School of Music and became the inaugural recipient of the

Charles Ives Prize, awarded to young composers of exceptional promise. This early string of success culminated in his 1978 piece Aftertones of Infinity, written for the American Composers Orchestra. Scholar Cynthia Folio sees in this work the beginnings of a stylistic shift away from the free serialism characterizing Schwantner’s earlier compositions towards a “broad spectrum of stylistic references [that] have a highly unified, coherent structure…, achiev[ing] a unique synthesis of past and present.” Aftertones of Infinity won the Pulitzer Prize in Music, and Schwantner has gone on to become among the most important American orchestral composers of his era. His still growing catalogue of works has been sampled by every major orchestra in North America.

Schwantner’s later style corrals dissonance to the service of central notes (“tonics”) that are established with the use of “pedal tones,” drones often heard in the lower instruments. Sectional divides are marked by altering the droned note or shifting the tonal style that is drawn upon. Most significant is Schwantner’s use of a broad and varied orchestral tone palette, colorfully displayed in the music we hear this evening.

New Morning for the World was composed for the Eastman Philharmonia as a tribute to Martin Luther King Jr., whose legacy we celebrate this week to mark the 85th anniversary of his birth. Schwantner wrote of the work: I was excited by the opportunity to engage my work with the profound and deeply felt words of Dr. King, a man of great dignity and courage whom I had long

Joseph Schwantner ( b. 1943 )

admired. The words that I selected for the narration were garnered from a variety of Dr. King’s writings, addresses, and speeches, and drawn from a period of more than a decade of his life. These words, eloquently expressed by the thrust of his oratory, bear witness to the power and nobility of Martin Luther King Jr.’s ideas, principles, and beliefs. This work of celebration is humbly dedicated to his memory.

The piece was premiered on what would have been Dr. King’s 54th birthday and subsequently performed on a five-city tour with the beloved recently-retired Pittsburgh Pirate MVP Willie Stargell serving as narrator. Schwantner’s work owes some debt to Copland’s 1942 Lincoln Portrait, honoring another great American with narrated text drawn from Lincoln’s writings and speeches. As the title suggests, though, Copland was focused on depicting Lincoln himself (and his times), whereas Schwantner aims to musically capture the spirit and emotion of Dr. King’s words. The piece is roughly broken into three sections, played without pause, each interspersed with texts from multiple King speeches and writings. The opening uses forceful brass and percussion interjections to express both the brutality of past injustices and the strength of resolve in those striving for equality and true freedom. The middle section begins in soft meditation, as a hymn. The texts Schwantner chooses here—excerpted from I Have a Dream and Behind the Selma March speeches—emphasize the present, with repeated inclusions of the word “now” in the narration. The music builds with the repeated refrain “How long? Not long…” and continues its dramatic journey back to the themes from the opening after the speech has concluded. The final section of the piece returns to a kind of determined tranquility that looks to the future, including the famous text from the 1963 I Have a Dream speech. The piece fades away peacefully with the brief appearance of a celestial choir, hummed by the orchestral players.

Martin Luther King, Jr. ( 1929 – 1968 )

PROGRAM 2 NOTES: AMERICAN DREAM


Third Symphony ( 1944 – 1946 )

Molto moderato —with simple expressionAllegro moltoAndantino quasi allegrettoMolto deliberato

At the turn of the 20th century, Serge Koussevitzky had been languishing in the double-bass section of the Bolshoi Opera Orchestra, unable to gain a foothold to launch his conducting career. Things would change after he met and won the affections of Natalie Ushkov, daughter of a fantastically wealthy tea magnate. The two married in 1905, and in 1908 with his new-found wealth, Koussevitzky hired and conducted the Berlin Philharmonic in a concert of all Russian music. This success brought him to international attention. A series of subsequent conducting posts led to his appointment as music director of the Boston Symphony Orchestra in 1924. He would remain with the BSO until 1949, establishing it as the premiere orchestra for introducing important new symphonic works. Copland had met Koussevitzky in Paris while studying with Nadia Boulanger, and the two soon forged a close working relationship, with Koussevitzky championing the young composer’s works, and with Copland recommending other American composers for Koussevitzky to consider.

When his wife died in 1942, Koussevitzky established a foundation in her honor whose purpose was to commission new works by contemporary composers. The foundation, which is still active today, has commissioned hundreds of works, including Bartok’s Concerto for Orchestra and Britten’s opera Peter Grimes. Copland was among the first composers to receive a commission from the foundation, and he responded with what would be the largest orchestral work of his career, the Third Symphony. Koussevitzky himself (who would conduct the premiere in Boston in 1946) offered Copland the focus for his symphony: I knew exactly the kind of music [Koussevitzky] enjoyed conducting and the sentiments he brought to it, and I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.

Koussevitzky was indeed pleased, calling it the greatest American symphony to date, and it went on to become the most frequently programmed American symphony in the 20th century.

The most recognizable part of the symphony is the final movement, built on the theme Copland had used three years earlier in his Fanfare for the Common Man. This piece had been written as part of a commission from Eugene Goossens of the Cincinnati Symphony, who commissioned 17 other American composers to write similar works to honor the country during WWII. Copland’s title and inspiration comes from a lengthy and moving address by Vice President Henry A. Wallace in 1942, detailing America’s resolve to defeat the enemies of freedom. Included in Wallace’s speech were the lines: The century on which we are entering…can be and must be the century of the Common Man.... Everywhere the Common Man must learn to build his own industries with his own hands in a practical fashion. Everywhere the Common Man must learn to increase his productivity so that he and his children can eventually pay to the world community all that they have received.

Wallace’s words were prescient. The generation emerging from the war inspired and lifted the country with an unfailing work ethic and a striving towards the American Dream that Martin Luther King envisioned for all Americans.

The beginning of the symphony is like a New World “chant.” Unison E’s and B’s open the work and form the pillars around which the rest of the moving chant glides, always returning to these two notes which are often paired to form melodic fourths and fifths, evoking the wide open spaces of the country. This chant builds to a new theme in the brass, intensely chromatic and unyielding, treated in a fugato. The tranquility of the first theme alternates with the powerful majesty of the second, but it is an extension of the chant that ends the journey, as serene a close to a symphonic first movement as there is in the literature.

Aaron Copland ( 1900 – 1990 )

Program 2 NotesJanuary 19 & 21, 2 014continued

The second movement is a kind of scherzo, with a highly energetic and rhythmic fanfare in the brass developed into birdsong by the winds. An expressive middle section provides a cantabile contrast before the piano reintroduces the original dance-like theme by gradually increasing the tempo.

The second theme from the first movement returns in the third, but now pianissimo in the high register of the violins. Metrically, it is recast in a combination of 5/4 and 3/4 meters (instead of the 4/4 of the first movement). The theme is developed in new ways, leading to the use of a quick up-down motion (first in the flute) that is derived from the opening first movement theme.

The famous Fanfare for the Common Man theme appears in various guises throughout the last movement, at points understated, noble, pure, and ornamented. Copland mixes in a fleet contrapuntal theme based on motivic fragments of the fanfare and a richly harmonized dolce theme presented in an odd 7/8 meter that eventually normalizes to 4/4 and appears with the opening theme of the first movement. This last musical element is merged with the fanfare theme for a fantastic climax to close the piece.


Guest narrator:Noah GriffinNoah Griffin’s vast range of experience uniquely qualifies him to speak on a wide range of topics. Educated at Harvard Law, Yale and Fisk University in History he’s been the recipient of

two Fellowships: CORO Foundation Public Affairs and Phelps-Stokes History Fellowship. He has spent 35 years in government, politics, media and journalism. In those capacities he served on statewide staff in two Presidential Campaigns, as an administrative aide to Dianne Feinstein and Press Secretary to San Francisco Mayor Frank Jordan. He served as Director of Public Affairs at Charles Schwab Company and was Public Information Officer at San Francisco City College.

His media background includes five years as a popular Talk Show Host on KGO Radio in San Francisco and Public Affairs Director at KSFO/KYA radio, where he also did Morning Drive. He was an on air Disc Jockey at the old KFOG in San Francisco and WJIB in Boston. He produced and hosted weekly interview shows on K-101 and KFRC radio. Griffin hosted Public Affairs Interview Program on San Francisco TV Stations KMPT Channel 32 and KTSF Channel 26.

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In journalism, Noah Griffin writes for the Marin IJ. He wrote for 5 years for the Hearst Examiner and was nationally syndicated with Scripps Howard. In that capacity he appeared twice on the PBS News Hour with Jim Lehrer. He has been featured in the Boston Globe, the NAACP Crisis Magazine, the San Francisco Chronicle, the San Jose Mercury News, The Saint Petersburg Times, and Jet Magazine. He’s appeared on CNN, CBS Sunday Morning and Talk of the Nation. He has been written about and or covered in the New York Times Magazine, the Wall Street Journal and San Francisco Magazine.

Noah Griffin has worked with George Lucas. Griffin also worked alongside the late Bernie Averbuch to establish the Court of Historical Review and Appeals in which capacity he brought Anna Hauptman to San Francisco to retry the Lindbergh Kidnapping Case in a moot court setting. He’s dined with Lauren Bacall, shared the stage with Nat Cole, Leontyne Price, Johnny Ray and Paul Robeson. He has interviewed notables from Gore Vidal, Louis L’Amour, Milton Berle, Peggy Lee, John Huston, Paul Henried, Howard Koch, the Smothers Brothers, Cesar Chavez, Peter, Paul and Mary. He’s opened in song parody for the Capitol Steps. He’s been blessed to have counted William Warfield, George Shearing and Eddie Fisher among his musical admirers. Eddie Fisher called him a “great singer” and George Shearing “loved his work.” He wrote the preface for the book on “Who Killed Martin Luther King,” is cited in 10 books and is a student of the Kennedy Assassination. He is a published poet and has committed more than 50 poems to memory.

He’s taught at the University of San Francisco, City College of San Francisco, served on numerous Boards and City Commissions and is the recipient of many awards and certificates. Of all his accomplishments he is proudest of his faith, his 12 step work, his wonderful wife Meredith and his five children Noah III, Mark, Taylor, Alex and Kate.

Noah, since the age of 7, has delighted audiences with his marvelous voice. From 1953 to 1958 he sang as a soloist with the San Francisco Boy’s Chorus under the direction of the late Madi Bacon. Noah had the privilege of performing in Carmen, Boris Gudenov, Turandot and soloing in La Boheme with the San Francisco Cosmopolitan Opera Company. The Boy’s, a group with which Noah sang, performed at the 1956 Republican convention in San Francisco.

In the late 50’s Noah helped form a Rock group called the Kings, covering Ricky Nelson’s “Lonesome Town” on a USO recording which went overseas to our troops stationed in Europe. By 1960 he was off on his own singing at various local venues, teen dances and school rallies. He began study with the respected Judy Davis. The highlight of his high school career was winning a coveted opportunity to audition at the world renowned “hungri i’ nightclub . It was also during those years he was signed to a minor record label and performed on the bill with the “Shirelles”. College years at Fisk University began more intense voice study under James Van Lowe and association with the Fisk University Choir and the famed Jubilee Singers. It was during this time that the choir sang with Eugene Ormandy and the Philadelphia Philharmonic and was the choir selected to do Porgy and Bess with the Nashville Symphony where Noah had a solo. As his solo career advanced, he sang with Duke Ellington and has appeared in New York, Boston, London, Rome and Paris as well as a 6 month run at the Fairmont Hotel. Most recently he starred in A Tribute to Nat Cole. Noah and his wife Meredith have recently co-founded the Cole Porter Society of which he is the Artistic and she the Executive Director.

For ten years, Noah was the soloist for the Walt Tolleson Big Band. A favorite at Giants Games, Noah, along with collaborator Bob Voss, wrote the opening day song for the Giants at then Pac Bell Park. The two collaborated for the dreamy anthem and official Ballad of the Golden Gate Bridge for the Bridge’s 75th anniversary in May 2012. California Historian Kevin Starr has praised the work he has done on the documentary on the Golden Gate Bridge. This version is produced by former Motown producer and writer Michael B. Sutton. Noah and Bob collaborated on a highly popular Christmas CD with two original songs Noah wrote for the production. He has also written and recorded the official College of Marin Anthem.

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Noah GriffinArtist interview highlightsBy Indi Young

Noah Griffin is a renowned writer, singer, actor, speaker, poet and more. Mr. Griffin shares thoughts about how he approaches the Schwantner piece, his upcoming performance with Alasdair Neale and the Marin Symphony, and experiences that enlighten us to the importance of remembering Martin Luther King, Jr.

I’m honored to be asked to narrate this piece. I feel impelled to do so as I have benefitted from familial and historical connections. My mother grew up with Martin Luther King’s mother; they went to school together in Atlanta. When I was 16, my mother and I were senior and junior delegates to the 1962 NAACP convention. Representative John Lewis,

chairman of the Student Nonviolent Coordinating Committee during the movement, was a classmate of mine at Fisk University, and we marched together in Nashville. My closest friend’s father was a lawyer who helped the students.

It’s a sacred duty to do this piece in a way that represents the composer, the times, and Martin Luther King, as realistically and as truthfully as is possible. There are people there who have never met King, known him, or lived through the times. I want to be able to be faithful to his memory and respect his contribution by portraying it as accurately as possible. Failing to do so would be sacrilege.

Additionally, this is my opportunity to work with the Marin Symphony. Maestro Neale and I have appeared together in the past. Composer David Conte, historian Kevin Starr, and I made a bid to put together an original piece for the 75th anniversary of the Golden Gate Bridge, but it did not come to pass. We now have this opportunity.

Approaching this piece, I go back and read as much as I can about the period. Even though I lived through it, there is so much more I wasn’t aware of. I am reading the three Taylor Branch books that chronicle the times, beginning with Parting the Waters. The preparation for this narration is as much spiritual and historical as it is interpretive. You get centered. You immerse yourself in the work and the subject matter. Psychologist Joyce Brothers says, “Your hunches and

intuitions are facts, long buried.” Everything you’ve lived in is in you somewhere. So, I draw from my own experiences to put myself in a position to feel what I need to feel about the words that King spoke.

When I was studying music, my mother always told me to put something aside until I’d experienced it. For example, most 22-year-olds don’t have enough years of experience to really sing I Did It My Way. But if you’ve gone through the ups and downs of life, then you’re able to bring so much more to the meaning of the song. I’m tasked with eliciting these emotions. It’s my job to bring the emotions of the period to the performance. There’s not a black person alive who, at some level, has not experienced some of the psychological challenges and bias barriers of which King spoke.

Total immersion is necessary. This morning I opened up a book at random and there was King’s I Have a Dream speech. Synchronicity. If things happen like that, then I know I’m on the right track. The thing that stands out as top of mind to me is the tremendous sacrifice that was made. To say, “There’s been no progress” is a disservice to those who did the work. Some of what I’ve read has brought me to tears. I had no idea the number of roadblocks put in King’s way: the arrests, the beatings, the bombings, the death threats, as well as the enervating, vexing, time- and revenue-draining law suits. There was the Hoover attack on King, trying to brand King as a communist. There were entrenched southern politicians that the Administration had to be mindful of not offending, as they tried to pass legislation. All these were attempts to thwart the movement. And decades before that, there were the abolitionists. Charles Sumner was the finest senator America has ever produced. In 1856 he made a speech in congress denouncing “Slave Power”—the slave owners who sought to keep political power and preserve slavery in this country. Sumner was then caned senseless by a Southern congressman. Northerners were outraged— it brought them together.

I take this narration seriously in the sense of making every effort to understand the America in which we now live, and King’s role in helping to establish it—culminating in the election of Barack Obama. All this is progress we have made.



I immerse myself and amass as much information as I can, then I go with my own feeling. I want this to be so embedded in me that it comes out fresh. I will never try to imitate King’s cadence and intonations. I don’t want to do that. But I want to understand what King was facing when he said those things.

I’m in my car a lot—it’s my workshop. I’m driving different places all the time. I’m constantly listening to the work in the car, making notes on how I would deliver a line. I record it and hear myself. Then I take what I like, and I work with the spirit.

Of course, my ideas change based on what I’ve just read. I mark all the pages that illustrate events clearly, and try to see how they relate to each other. I trace back the quotes and psalms King used to their sources. I try to understand what it meant at the time. For example, King adapts a quote from Theodore Parker, an abolitionist and a minister, “The arc of the moral universe is long, but it always bends toward justice.” I could say that all on one level tone, or I could “bend” the tone when I get to that word.

I’m also planning on calling the composer. The narrative that Schwantner wrote is taken from King’s words, although they are in a different context than what King was responding to. I want to talk to Schwantner and find out what inspired him to write this. I want to find out why he selected the narrative aspects of the piece. I want to bring an authenticity to it—a credibility.

Making connections with people, I used to buy autographs and letters of the people I admired: Wendell Phillips, Martin Luther King Junior, Howard

Thurman. One time Mrs. Thurman, his widow, let me touch a piece of cloth that Ghandi had given her. I also have the book my mother was sent, inscribed to me by King’s mother following his assassination. All these physical things give me a personal connection to the people that had them. Once I held an axe that Lincoln lifted with one hand, which took me both hands—that’s how strong he was. I’ve touched the chair that Longfellow sat in. It makes me know that these people were real. When I was at the Holocaust museum, the thing that really struck me were the shoes, more than the pictures. I connected to the shoes because they’d been touched by the person … the person who put that shoe on that morning, then perished. That’s all you leave behind, other than the memories in the minds of the people who knew you.

I like the physical part of history and memorials, too. I saw a statue from the back in Boston Gardens and somehow I knew, “That’s Wendell Philips.” And it was. We have our own triangle of memorials in San Francisco. There is the statue of Ghandi in the Ferry Plaza, then there is the bas relief with Howard Thurman in it at 235 Pine Street, and then at Yerba Buena Gardens, behind the Moscone Center, there’s a waterfall dedicated to King. You can walk the triangle.

And lyrics … “We shall overcome.” There was a central political event in the Civil Rights Movement involving those lyrics. When President Lyndon Johnson adopted this anthem during a speech, it paved the way for the passage of the 1965 Voting Rights Act. So, the central event of my grandfather’s life was emancipation. For my father’s life it was the 1954 integration decision. In my lifetime it was the election of Barack Obama.


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MASTERWORKS PROGRAM 3:QuINTESSENTIAl BEETHOvEN, CHIC TCHAIKOvSKY

Alasdair Neale, conductorAustin Huntington, cello

February 23, 2 014 — Sunday at 3:00pmFebruary 25, 2 014 — Tuesday at 7:30pm

Ongoing support provided by The William and Flora Hewlett Foundation,

Marin Community Foundation, Ann and Gordon Getty Foundation,

The Bernard Osher Foundation, Schultz Family Foundation and Marin Music Chest.

Elgar Introduction and Allegro, Opus 47 Jeremy Constant, violin 1 Karen Shinozaki Sor, violin 2 Jenny Douglass, viola Jan Volkert, cello

Tchaikovsky Variations on a Rococo Theme, Opus 33 Moderato assai quasi andante — Tema: Moderato semplice Variazione I: Tempo del Tema Variazione II: Tempo del Tema Variazione III: Andante sostenuto Variazione IV: Andante grazioso Variazione V: Allegro moderato Variazione VI: Andante Variazione VII e Coda: Allegro vivo Austin Huntington, cello

Beethoven Symphony No. 7 in A Major, Opus 92 Poco sostenuto — Vivace Allegretto Presto Allegro con brio

I N T E R M I S S I O N

Program 3 NotesFebruary 23 & 25, 2 014by Jon Kochavi

Introduction and Allegro, Op. 47 ( 1904 )

In September 1904, the London Symphony Orchestra asked Elgar to compose a new work for the all-Elgar concert it was planning for the following March. His publisher and

good friend August Jaeger suggested composing “a brilliant, quick string scherzo” or even “a modern fugue for strings.” Realizing that such a work could nicely exploit the LSO’s skillful string section, Elgar took his friend’s advice to form the framework of his piece. The extended fugue in the work serves as a brilliant centerpiece, replacing the more traditional

Sir Edward Elgar ( 1857 – 1934 )

development section and drawing a direct connection to the Baroque style. The novel idea of setting a string quartet against the full string orchestra is a kind of modified concerto grosso technique, also inspired by the Baroque model. Like many of his works, Introduction and Allegro makes reference to Elgar’s own life experience. In 1901, Elgar, ever the eager and curious traveler, visited Wales where he heard someone singing in the distance during a walk in the Wye Valley. According to his fellow traveler Rosa Burley, the melody had a recurring descending third and “a strangely ethereal beauty which deeply impressed us both and which remained in Edward’s mind for many years.” Elgar worked the melody, which Ian Parrott speculates could be extracted from the Welsh National Anthem, into the Introduction and Allegro as “a tribute to that sweet borderland.” The Welsh tune is first heard in the solo viola, the same instrument Elgar chose to set the canto popolare in his work from earlier in 1904, the Italy-inspired In the South.

The short introduction cleverly presents much of the basic thematic material for the rest of the work. The dramatic G minor entrance of the full ensemble, with orchestral strings divided, jumps right in with lush chord-pairs leading into cascading triplet figures, accented through their descent. The texture is quickly scaled back, however, and the falling triplets are replaced with rising motives in a skipping rhythm. The wonderfully lyrical Welsh tune then emerges in the viola.

There are four primary themes in the allegro. The skipping motive, now in G major, becomes the main theme of the section, and is contrasted with a rapidly repeating 16th-note pattern, almost Spanish in flavor, that follows. The cascading triplets from the introduction, now broadened and played with a rich unison grandeur, build to a marvelous climax before the Welsh tune returns briefly—only to be cut off by the fugue, a tour-de-force. When the Welsh theme returns in full at the end of the recapitulation, it is heard in the full-voice of the orchestra, a fitting culmination for one of the greatest works for string orchestra of the 20th century.

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PROGRAM 3 NOTES: QUINTESSENTIAL BEETHOVEN, CHIC TCHAIKOVSKY

Variations on a Rococo Theme, Op. 33 ( 1836 )

Like the Elgar, Tchaikovsky’s Rococo Variations draws inspiration from music of an earlier era. The term “rococo” signifies a style of 18th century art and architecture typified by

elegance and graceful ornamentation. Carrying the term over to music from the same period was natural, but imprecise. In music, the rococo style is generally exemplified by those pieces existing in the seams of the Baroque and Classical eras. The refined clarity of Rameau and Couperin are good examples of the style, and early Mozart, with its lilt and grace, also falls into this category.

Tchaikovsky idolized Mozart, going so far as to claim that Mozart was the reason he chose to devote his life to music. When his longtime correspondent and patron Nadezhda von Meck expressed surprise at Tchaikovsky’s devotion to Mozart’s music, with its measured elegance that seemed to stand in stark contrast to Tchaikovsky’s Romantic sensibility, Tchaikovsky wrote:

You say my worship for [Mozart] is quite contrary to my musical nature. But perhaps it is just because— being a child of my time—I feel broken and spiritually out of joint, that I find consolation and rest in the music of Mozart wherein he gives expression to that joy of life which was part of his sane and wholesome temperament, not yet undermined by reflection.

Indeed, 1876 marked the beginning of a downward spiral for Tchaikovsky, with fits of severe depression and illness that culminated in a complete mental breakdown just months after he married, against his better judgment, in 1877. The sparkling Rococo Variations for cello and orchestra, written in December 1876, were a retreat into a world that brought Tchaikovsky comfort, an active form of artistic escapism that unfortunately could not stave off the crisis that was to come.

Peter Ilyitch Tchaikovsky

( 1840 – 1893 )

After a brief introduction, the cello plays the main theme, a lyrical, almost ceremonial melody that is treated with grace and clarity in the accompaniment. Each of the two sections of the theme are repeated, after which a more chromatic, intricate section—played by the winds here and in each variation—serves as a tag and a link to the variation to follow. Each of the seven subsequent variations has its own character, presenting wide degrees of adherence to the original theme. Some provide rhythmic variation and ornamentation (Variations I and IV), and others play with texture alterations (Variations II and V, the latter of which ends with a cadenza). Variation III recasts the 2/4 theme in a cantabile 3/4, while the minor key Variation VI offers a melancholy version of the theme with pizzicato accompaniment and a poignant re-harmonization of the wind tag. In the thrilling final variation, an energetic version of the theme is transformed into a series of gestures that are rapidly exchanged between soloist and orchestra, leading to a brilliant finish.


Program 3 NotesFebruary 23 & 25, 2 014continued

Symphony No. 7 in A Major, Op. 92 ( 1811 – 1812 )

Poco sostenuto – VivaceAllegrettoPrestoAllegro con brio

Beethoven’s Symphony No. 7 premiered in December, 1813, at a concert arranged by Johann Nepomuk Maelzel, the famed inventor of the metronome (among other musical devices), to benefit Austrian soldiers injured in the battle of Hanau. The extent of Beethoven’s deafness by this time was alarming, and yet he insisted on conducting the orchestra himself. Louis Spohr, who played in the violin section at the premiere, described Beethoven’s most unusual conducting techniques: “At piano, he would crouch down lower and lower... and at the entrance of the forte, he jumped into the air... [At a certain] pianissimo passage, he crouched clean under the desk!” According to Spohr, at times Beethoven—not being able to hear the softer passages at all—would be conducting bars ahead of where the orchestra was playing, and would have to re-orient himself when the louder sections arrived. Despite these difficulties, the work was received with wild enthusiasm, as Spohr reports: “[The premiere was] a brilliant success. The execution was a complete masterpiece in spite of the uncertain and frequently laughable direction of Beethoven.” In particular, the Allegretto became an instant favorite, with audiences demanding immediate encores of the movement at most of the early performances. Beethoven himself repeatedly called the symphony “one of my most excellent works,” and its magnetic rhythmic appeal and dancing melodies have made it one of the most popular symphonies in the literature.

Ludwig van Beethoven

( 1770 – 1827 )


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The F major Presto serves as a scherzo and trio, with two repetitions of the trio section giving the movement the form A-B-A-B-A. In the A section, a staccato theme dances through a series of descending scales. In contrast, the D major B section is meant to evoke an Austrian pilgrim’s hymn, sung by the winds and horns over an A, which is essentially sustained by the strings for over 50 measures. At the end of the final repetition of A, Beethoven fools us into thinking that B will be repeated again until a quick cadence brings the movement to a close.

The finale has been described variously as a musical orgy, a peasant celebration, and the product of a drunken madman (!), but music commentator Martin Bookspan puts it best when he calls it “one of the great whoops in the symphonic literature.” Remarkably, the brilliantly energetic theme bears some resemblance to the somber theme of the second movement, albeit now played at warp speed in a major key. The ornamented turns in the violins drive the unrelenting momentum, and diversions through a dotted note motif accompanied by off-beat accents only serve to build suspense for the return of the boisterous first theme. The swirling movement ends with an appropriately thunderous coda.

The description Berlioz gives of the innovative opening gesture of the symphony captures its spirit perfectly: “The entire mass, striking a chord both loud and short, discovers an oboe during the silence that succeeds.... No more original mode of opening could be imagined.” The substantial introduction to the first movement ends with a slow repetition of a single note, E, that splendidly builds tension and anticipation until the Vivace finally breaks through. The main theme, played first by a solo flute, sounds like a peasant tune, its skipping dotted rhythms dominating the remainder of the movement. The movement is ripe with vitality and energy and full of remarkable moments such as the beginning of the development, which humorously continues the loping rising scale in octaves that ended the exposition. The coda crowns the movement with a monumental climax that surely elicited a wild response in Beethoven’s day when between-movement applause was the norm.

With its note repetitions and continual long-short-short-long-long rhythms, the A minor theme of the second movement is as plain as can be. Yet from this simple seed, Beethoven generates a movement of incredible power and beauty through a series of increasingly intense variations that introduce a countermelody that sings a passionate lament. Interspersed among these variations is a second theme in A major that opens up the texture and provides a breezy recollection of happier times. In the final variation, the mood is subdued again as the theme is quietly passed from section to section in the orchestra.


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Guest artist:Austin Huntington

Cellist Austin Huntington made his solo orchestral debut at the age of 10 and is the recipient of numerous Grand and First prize awards on both the National and International levels. Austin has performed as guest soloist with orchestras such as the Indianapolis Symphony Orchestra, San Jose Chamber Orchestra, Peninsula Symphony, Kalamazoo Symphony Orchestra, Chicago Northwest Symphony Orchestra, Fort Wayne Philharmonic, South Bend Symphony Orchestra, LaPorte Symphony Orchestra, Muncie Symphony Orchestra, Chicago Youth Symphony Orchestra, and the New World Youth Symphony Orchestra, to name a few. In addition to his debut with the Marin Symphony Orchestra, Austin’s performances for the 2013-14 season include chamber music recitals as a part of Music in the Vineyards (Napa Valley, CA) and debut appearances with the Santa Cruz Symphony and the Colburn Orchestra.

Austin is the First Prize winner of the 2012 Irving M. Klein International String Competition, the 2012 MUSICCAS International String Competition, the 2011 Stulberg International String Competition, the 2013 Aspen Music Festival and School Low Strings Competition, and the 2009 MTNA National String Competition, in addition to being awarded Second Place and the Audience Choice Award at the 2013 Schadt National String Competition.

On invitation, Austin actively participated and performed in the 2010 Kronberg Academy Cello Masterclasses, held in Kronberg, Germany. The previous year, Austin was awarded the highest honor of Most Distinguished Artist from the IBLA International Music Competition, based on a series of concerts for both the public and members of a distinguished jury

in Sicily, Italy. Subsequently, he was invited to perform on the two-week IBLA Grand Prize Winner’s USA Tour, ending with his New York debut at Carnegie Hall. That same year, he was selected as one of six cellists chosen to represent the United States in the 2009 Rostropovich International Cello Competition, held in Paris, France. Formerly, Austin was the Principal Cellist of both the award-winning Chicago Youth Symphony Orchestra (CYSO) and Encore, CYSO’s premiere performing ensemble. Before, at age of ten, he served as the Principal Cellist of the South Bend Youth Symphony Orchestra (2004-2006). During that time, he was also the cellist of the SBYSO String Quartet, which was awarded the 2006 Kenneth Geoffroy Memorial Award from the Fischoff National Chamber Music Competition.

This past summer, Austin attended the Aspen Music Festival and School on a New Horizons Fellowship, where he was also a part of the prestigious David Finckel and Wu Han Chamber Music Studio. Previous summers, he has attended the Perlman Music Program (Shelter Island, New York), the Quartet Program, the Academie International de Musique (Montpellier, France), the Meadowmount School of Music (Westport, New York), Credo Chamber Music Festival (Oberlin, Ohio), and the Indiana University String Academy.

Austin has been invited to perform in masterclass for exceptionally regarded musicians such as Truls Mork, Gary Hoffman, Steven Doane, Lynn Harrell, Ronald Leonard, Paul Katz, Richard Aaron, and Robert Nagy, as well as members of the Tokyo, Ebene, Juilliard, Guarneri, and Emerson String Quartets. He has also collaborated with such highly esteemed artists as Itzhak Perlman, Edgar Meyer, Robert DeMaine, Riccardo Muti, and Gustavo Dudamel.

Austin is nineteen years old and a Bachelor of Music student at The Colburn School Conservatory of Music in Los Angeles, California, where he studies with Ronald Leonard. His previous teachers are Richard Hirschl, Hans Jorgen Jensen, and Emilie Grondin. He plays on a fine Venetian cello made by Carlo Tononi, c. 1725, on generous loan from The Colburn Foundation.


Austin HuntingtonArtist interview highlightsBy Indi Young

Austin Huntington comes to the Marin Symphony resulting from his extraordinary peformance at the International Klein Competition for Strings. He shares how he feels about his debut with the Symphony, why he loves to peform, and how he approaches performing the unique Rococo Variations.

I’m playing with the Marin Symphony because I won the Klein Competition, which is an international competition for strings in San Francisco. It’s a yearly

competition; I won in June 2012. The first place award package included four concerts spread out over the next year or so. This is the last engagement of that set. ( The other orchestras included the Peninsula, Santa Cruz, and San Jose.) Maestro Alasdair Neale was on the competition jury. It’s nice to have work over more than one year. Also, since the orchestras are close to each other in terms of geography, you might have a little repetition in terms of audience, so it’s nice to spread the engagements out. And it’s nice that each engagement is a different genre: for San Jose I played a couple of short pieces, including a tango; for Santa Cruz I played Shostakovich; and for Peninsula I played Dvorak.

Anyway, winning the competition was surreal. I didn’t expect it at all. Historically, violins are prone to win over cellos because there is much more music written for violin because of its projection and range. So when they announced the winners after the final performances, I was surprised. I felt humbled, and when I walked up on stage to receive the award, it was like a butterflies, light-headed, out-of-body experience. Rococo is special to me because it’s the one piece that I’ve played with a truly great orchestra—the Indianapolis Symphony. ( Talk about another surreal experience.) With a youth or community orchestra, you have to follow the orchestra, and you can’t express yourself. You have to focus on whether the orchestra is playing together or not. Maybe the violins have gotten off, so you have to slow down or speed up to stay with them. With a good orchestra, you don’t have to worry about any of that. If you want to spontaneously take time with something, then you do it. The conductor holds back the orchestra so you can express yourself freely. With the Indianapolis orchestra, I could hear

things, harmonically and melodically, that I couldn’t otherwise. It’s much more fun than following a metronome. But above all, it was one of the most fun experiences because I could make it my own.

I have listened to so many recordings, and each is unique—even the variations are unique. An older student at a summer festival told me once that each variation should have a different story that it’s trying to convey. In this instance it’s very stately. It is supposed to be a courtly dance. The trick is to have every movement very unique, but with an overarching feel that relates back to the original theme. You want every note to mean something, but that’s hard to achieve. It’s easy to fall into a place where no notes are special because every note is the same.

The piece still essentially sounds the same, but everyone (cellist) has their own quirks. My favorite variation is by Leonard Rose; he’s my teacher’s teacher. His version is on my Desert Island sound track—the music I want to have with me if I got stuck on a desert island. He really makes it his own. Even something small, like taking time in one place and not another, is unique. In one of the middle variations within Rococo, half of it is a cadenza, and you can interpret it in half a dozen ways, which is the fun part. Although … my teacher is not fond of me changing the music too much.

The cadenza is one of the more showy parts of the piece, and there’s something gratifying about going over and above what people normally do. By definition, a cadenza was an improvisation that eventually got written down. Classical musicians used to improvise all the time. This is the Rococo Variation, which means in the classical style. I can’t imagine anybody improvising.

I’m in my second year at the Conservatory, so I’m in the stage of learning repertoire and developing technique. If I don’t have something new to play for my teacher, he may ask for scales, such as F harmonic minor, while focusing on one issue of technique, such as keeping my hands relaxed. “Okay, can you do different fingering on the last two octaves?” “Can you do this different bowing?” My mind doesn’t work that fast, so it’s embarrassing because I keep stopping and starting again. And I have to promise that I’ll bring it back better for the next lesson. So, scales are tedious for me. But they help tremendously, and I try to play them every day. Like I said about improvising—I just can’t think that quickly.



It is a really intense experience. Mostly, my mind is all about music—which is nice. At the beginning of each year, my teacher and I try to schedule my repertoire for the whole year. We’re thinking, “Okay, Marin Symphony wants me to play this piece; how will we fit it in with what I am supposed to learn?” I have a recital a couple of days after Winter break ends, so we had to schedule it so I work on my recital repertoire during the holiday break, then right after that I work on The Rococo.

I hadn’t taken music theory until my first year in college. One of the most important pieces that we encountered was the Prelude and Liebestod from Tristan und Isolde, an opera by Wagner. There’s this one chord that keeps appearing, one that is different and unexpected. The whole point of the repeated chord is to build suspense, and this one chord never resolves correctly until the very last cadence. This chord is a half-diminished 7th chord (a diminished triad at the bottom with a minor 7th added on top). It was so out there for that time period, since the audience expected it to resolve simply to a normal major or minor chord. Instead, it goes to a half-diminished 7th. Wagner was a very revolutionary composer. Our modern ears take some of the magical quality of those unique chords away, but the listening experience is still special.

I started playing cello at the age of three. I have a brother a year and a half older; he’s a year ahead of me at the same school. He started violin when he was four, and I felt compelled to start an instrument, too. My parents took me to a concert, and they say I looked for the most opposite instrument from the violin. I pointed to the bass. I didn’t know about the sound at all— it was just this huge instrument, and that was so cool. I wanted to touch it. Three-year-olds aren’t allowed to play bass. My parents suggested I play the cello. I was disappointed the cello they got me was so small, but I saw what a full sized cello looked like, and it was big enough.

Now I have my own reasons for liking the cello, even though there aren’t a lot of pieces written for the cello. (It wasn’t until the Romantic age that the cello had a decent amount of solo music written for it.) The cello almost mimics exactly the range of the human voice. I can hit a low D with my voice in the morning, and the cello can go one note below that. In terms of usable range at the top of the cello, it’s about the same as a soprano. And if you hear a really good cellist, they’re using a singer’s phrasing and tone. A violin can get a little showy, not as song-like. My former teacher always stressed the importance of singing a phrase

before you play it. If you just play it, you’re limited by the technicalities of the cello. Maybe it’s hard to bow or something. But singers don’t have to worry about bow or fingers. They can make it through a whole phrase in one breath while still shaping and creating wonderful subtleties. It’s hard to beat natural phrasing.

The Rococo is not very lengthy. Like I said earlier, the theme reminds me of a stately dance. It’s very elegant, very ornate. Think of a ball held at the Versaille Palace in France: home to the royals, very elaborate and ostentatious. The style is almost pretentious, in a way. Then the piece keeps going to variations on a theme—first one is playful, then direct, then sad, then happy. It goes through a range of emotions, but it’s still elegant and elaborate. When you hear something simple, it means that it’s more important to keep it simple than to try to make something amazingly complex out of it. That way, when a more unique or less simple part comes along, it is more special. The composer does that for a reason. This is especially true of Tchaikovsky. Harmonically it’s essentially the same or similar, but when a new chord comes, such as a minor chord, it really changes. It’s a light happy, piece, though, overall.

Once you win a competition, people expect a certain quality out of you, and you have to maintain a certain quality … you can’t just learn a piece and play it right away with an orchestra. I want to come as close as I can to perfect. I want to try to get a higher level, musically and technically. I have more maturity now than I did when I first played Rococo when I was 14, so that brings with it not only a greater level of understanding the piece, but also a greater knowledge of how others play it. I get to expand upon my story and add different things over the years. You never really finish a piece. You just put it away for later.


FAMILY CONCERT


Tickets: $15 – $45. This concert takes place at the Marin Veterans’ Memorial Auditorium.

Sunday March 16, 2014

3:00 p.m.

Around the

World with

DisneyAnn Krinitsky, conductor

Our Family Concert features music from early Disney classics to recent releases that will take you on a musical journey to far off places where the stories, tales and myths of many cultures originated. The program incorporates visuals and musical performances from Disney’s animated films including The Lion King, Beauty and the Beast, Mary Poppins, Tarzan and many others. Immediately following the concert aspiring young musicians can try an instrument on their own at the Musical Instrument Petting Zoo sponsored by The Magic Flute.

MARIN SYMPHONY MASTERWORKS 4

SundayApril 6, 2014

3:00 p.m.

Tuesday April 8, 2014

7:30 p.m.

&

Join the Marin Symphony and Maestro Alasdair Neale

for the fourth 2013-14 Masterworks concerts. Bernstein’s

Chichester Psalms combines irresistible rhythmic bounce with meditative

passages of serene beauty. Carl Orff’s Carmina Burana is a riotous and

hedonistic celebration guaranteed to raise the roof at our final Masterworks

concert in our 61st Season!

Alasdair Neale, conductor

Featuring the Marin Symphony Chorus,

Stephen McKersie, director


Sacredand Secular

M A R I N S Y M P H O N Y C H O R U S

Bernstein Chichester Psalms

Orff Carmina Burana

Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.

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Alasdair Neale, conductor

Pirates of the Caribbean:The Curse of the Black Pearl


MARIN SYMPHONY SPRING POPS CONCERT

Sunday June 8, 2014

3:00 p.m.

The finishing touch to our

61st Season is another first for

your Marin Symphony and our community.

The full-length classic fantasy Disney

film shown with live music played by our

orchestra is bound to please everyone.

Tickets: $15 – $50.This concert takes place at the Marin Veterans’ Memorial Auditorium.

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2 0 1 2 D R Y R O S É • C A L I F O R N I A R O S É W I N E

Here’s to music and dance —and vino. Hey Mambo!

2 0 1 1 S U L T R Y R E D • C A L I F O R N I A R E D W I N E

This wine is the perfect palate cleanser as you nibble on cheese and crackers or a summer salad with nectarine wedges and goat cheese. Take your shoes off and get comfortable while enjoying a glass of Mambo Rose.

Pair this wine with grilled chicken and grilled pineapple rings alongside some rice pilaf and green beans, Grandma’s meatloaf with sautéed carrots, mashed potatoes and gravy, or a grown-up grilled cheese sandwich with rye bread and smoked gruyere cheese with bacon. The sum of all of the

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Together with you.

Live symphonic music lifts spirits and improves our quality of life. It shines a light of hope and

touches our emotions like no other form of entertainment. There are multiple dimensions to

bringing symphonic performances to our stage. Ticket sales revenue accounts for only about

40% of the costs associated with producing our exceptional artistic, education, and community

initiatives. Donations from individuals like you make our events possible.

As an indivdual donor, you play a vital role in allowing us to share the profound and

transformative experience of live music. When you contribute, you provide crucial support

for Marin Symphony’s season events, youth education and programs for the underserved.

There are many ways to be a part of it. Join the Conductor’s Club. Become a major donor

and Encore Society member. Explore Fund Chair Naming opportunities. As a donor, you also

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

Individual donors are essential for us to thrive.

Maestro Alasdair Nealepreparing his Junior Conductors

for their 2013 Waterfront Pops Concert debut!

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25%41%

6%13%6%

9%

Earned IncomeIndividual Contributions

Bequests Special Events

ConcertSponsorship

FoundationGrants

34%32%

9%4% 21%

Production

Artistic

Fundraising

Promotion

Administration

Without Your Contributions Each Ticket Would Cost $120

INCOME

EXPENSES

Improving accessibility to new audiences is central to our mission. When you or your business

becomes a season sponsor you help support subsidized tickets for children and their families

in our community who would otherwise be unable to afford attending Symphony events. We’ve

partnered with Sunny Hills Services and Big Brothers Big Sisters of San Rafael to extend our

reach with this brand new program.

Season sponsors enjoy a wide-range of benefits including tickets to season events and

intimate gatherings of VIPs, special employee concert ticket prices and more throughout the

2013-14 Season. Marketing appearances include our program books, website, postcards and

advertisements. For information about making a gift, creating an enduring legacy with your

estate planning, or simply to learn more about taking advantage of benefits and privileges

designed to enhance your concert-going experience, please call Angela Colombo, Director of

Development at 415.479.8100, or visit marinsymphony.org/support.

Your Marin Symphony’s new “Symphony Kids” program and more...

Sponsorship.


SUPPORT & SPONSORSHIP

be a partof it

Marin Symphony Overture Program is designed for beginning students, teaching aspiring young musicians orchestral ensemble techniques and musicianship. This program, led by Anne Lerner-Wright, helps prepare young musicians for the Marin Symphony Crescendo Program and Youth Orchestra.

Symphony@Schools brings guest artists and Symphony musicians into classrooms where kids interact with the performers. Symphony@Schools also provides tickets to Marin Symphony performances, giving young people and their families a chance to experience the sound of a full orchestra playing live in the concert hall.

National Young Composers Challenge Workshop and Composium The Marin Symphony is honored to present two extraordinary programs designed to foster the talent and dreams of young composers. The Workshop is a FREE full-day event for youth ages 13 -18. The Composium is a competition that culminates in a LIVE interactive recording session and performance with a full orchestra. For more information and to hear the winning compositions, visit YoungComposersChallenge.org


YOUTH & EDUCATION PROGRAMS

Youth & Education Programs

Connecting our communities to the future of live music...

Marin Symphony Youth and Music Education Programs are at the heart of our mission to foster the dreams and aspirations of young musicians. Exposing young people early and continuing to engage them is one of the best ways to ensure that the next generation develops a love of music. Multiple programs are designed to teach and inspire both young musicians and future concert goers.

Marin Symphony Youth Orchestra has been providing gifted young musicians ages 12 -18 an opportunity to be a part of our orchestra community since 1954. Directed and conducted by Ann Krinitsky, the orchestra performs winter and spring concerts and special Sit-In concerts at local schools, where younger students sit amidst the Youth Orchestra during the performance.

Marin Symphony Crescendo Program is designed for intermediate students, teaching young musicians standard orchestral ensemble techniques and musicianship. Led by Anne Lerner-Wright, the program is a stepping stone to the Marin Symphony Youth Orchestra.

Questions? Need more information?Contact Andrei Gorchov, Youth Programs Administrator at

415.479.8105 or [email protected].

Marin Symphony Youth Orchestra, Skywalker Sound, November, 2013

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PLANNED GIVING


A valued investment and a true value to your community.

Encore Society.

Planned giving that will sustain our live symphonic music performances and

education programs now and for generations to come. The Encore Society was

created to provide current recognition to those individuals who have included

the Marin Symphony in their estate plans. Members of the Encore Society will be

recognized in season program books and receive exclusive benefits including intimate

gatherings with our Maestro and concert soloists throughout the year. You can

become a member by advising the Symphony of your intention.

Your gift will enhance our ability to:

• Maintain the highest quality programming and talent.

• Attract innovative guest artists and live-symphonic programs for a multi- generational audience and community.

• Sustain high-quality, traditional Masterwork concerts.

• Provide music mentorship and education to youth musicians throughout Marin County in a variety of programs aimed at providing opportunity for students from elementary through high school.

There are several ways you can become a member of the Encore Society:

• Charitable Bequest• Life Insurance Designation• IRA Designation• Pay-on-Death Account• Charitable Remainder Trust • Charitable Gift Annuity• Named Endowment• Virtual Named Fund• Planned Gift• Endowed Orchestra Chairs You’ll be in good company...

View current Encore Society members on page 59. We honor and appreciate every one of you!

Live music performances are one of the few cross-generational offerings a community

can participate in without exclusion, thus helping to forge a strong sense of

community in Marin and the North Bay. Your gift to the Symphony will allow us to

continue to provide a strong tradition of high-quality symphonic music.

For more information please call Angela Colombo, Director of Development at

415.479.8100, [email protected].

Season 2 013-2 014 Annual Donors

A Category Apart:$30,000 and AboveJack Bissinger*Anonymous (1)

Primary Sponsor: $10,000–$29,999Steve Goldman & Melanie LoveSandra D. Hoyer Bob IrwinSteven & Susan MachtingerRenee Rymer & Antonio Clementino, Ph. DPeter L. H. & Kathryn ThompsonAudrey Tytus*Anonymous (2)

Sponsor: $6,000–$9,999Mary D’AgostinoJoanne DunnJim & Lynn FinkelsteinAlf & Ruth HellerGloria MinerJoyce PalmerDr. Elizabeth SeamanSally Shekou & Robert HerbstMarco A. Vidal Fund*Judith Walker & Bruce WeissmanAnonymous (1)

Composer’s Club: $3,500–$5,999Mrs. Brent M. AbelHans Adler & Wanda HeadrickDr. & Mrs. Reza AryanpourKeon-Vitale FamilyCatherine MunsonKathlyn Masneri & Arno P. Masneri FundAlice T. MayAlasdair Neale & Lowell TongErica & Larry PosnerJoan RingClaire Collins SkallDr. Walter Strauss*Connie VandamentMr. Harley White Sr. & Dr. Frances L. WhiteAnonymous (1)

Guarantor: $400–$999Gerry & Don BeersEdward S. BerberianVernon BirksBill & Patty BlantonRosalind & David BloomPeter & Susan BowserDeWitt BowmanSteven BoyerMary Jo BroderickAva Jean BrumbaumJohn & Barbara ChaseElizabeth DakinNancy Kent DanielsonRoy & Marilyn DavisVincent & Ethel De MaioC. DonohoeChester & Joy DouglassStuart & Emily DvorinCele & Paul ElderingLynn D. FullerJerry C. Gianni & Donna BandelloniMargot Golding & Mike PowersAlan & Elsie GregsonMary M. Griffin-JonesDr. & Mrs. Joseph GrysonErika HagopianDrs. Albert & Shirley HallJames C. Hormel & Michael P. NguyenBonnie & Peter JensenRobert & Alice KingLamar LelandJulius & Sybil LepkowskyJohn LevinsohnSharon L. ModrickJudith MooreJeffory MorsheadJames MurrowBrian Nagai & Robert B. Daroff, Jr.Stevanie Jan OlsonJames Parsons & Andrea HongMaria PitcairnNancy & James SaundersCynthia SawtellJames & Lucia SchultzCarole & John ShookAlan & Paula SmithEvelyn D. SpelmanSue & Bob SpoffordMike Watt & Eileen LeathermanGeorge Westfall & Susan AdamsonDiane & Lawrence YermackPatricia York-Schumacher

Conductor’s Club: $2000–$3,499Lou & Marge BartoliniFrank & Lee BattatDr. James & Caroline BoitanoScott Bucey & Jennifer FingerCrawford & Jess CooleyDr. Robert K. & Judith D. CreasyDavid Dee & Pat CallahanJoan & Allen DekelboumMary Denton & Monte DeignanPatricia S. ElvebakGeorge FernbacherChuck & Binny Fischer Hope HerndonGreta HoverstenGrace A. HughesAlan & Jean KayVivienne MillerJoseph & Eda Pell – Pell Family FoundationBarbara & Bill PetersonBen & Jodi RabbMary & David RabbGary & Joyce RifkindYvonne RothRichard & Anne Marie RubenHerb SchuytenJoe & Heidi ShekouMichael Ingerman & Madeleine SloaneNate & Pat SumnerPatricia C. SwensenBruce C. Taylor & Lynn O’Malley TaylorAnonymous (3) Benefactor: $1,000–$1,999Deborah & Arthur AblinMuriel AdcockIrmgard E. BagshawMr. & Mrs. Robert BilgerMartin & Geri BrownsteinWilliam & Lynn CallenderRuss & Lynn ColomboWayne & Geri CooperDonald R. & Noel W. DickeyAnn & Susan EveringhamAbe & Suzanne FromanRenee FromanAlison C. FullerWilliam Glasgow & Nancy FloydLeda GoldsmithOsborn HowesG.G. Hoytt FoundationPeter C. KernerDr. & Mrs. James S. LevineDr. Carolyn Mar & Hop LeLeslie Miller & Richard CarltonRay PoelstraDavid & Dara PostElizabeth Prior & Cesar LaglevaVerla K. Regnery FoundationMarilyn & Arthur StrassburgerGrace UnderwoodMartha WallSam ZieglerAnonymous (3)

Please note: we list here the names of those from whom financial support was received between July 1, 2 012 and December 31, 2 013.


“

”

What a GREAT concert...in so many ways...the attendance was outstanding...the movies were superb...and the orchestra was AWESOME! Such great music played so well...and right in sync! Great sound. Alasdair is amazing...such a jewel.

–Lynn C. Pixar in Concert

“”

The evening could not have been more perfect. Beautiful weather and John Williams theme music—the final piece accompanied appropriately by a spectacular fireworks display.

–Joel N.Waterfront Pops Concert

DONOR APPRECIATION

Sustainer: $100–$399Joanna AdlerJill AggersburyRobert AkinsKatherine E. AkosMichael & Marjorie AlaimoPaula AndresKai & Kian AngermannCarolyn & Peter AshbyWilliam E. AsianoLarry & Barbara BabowAlice Bartholomew & Chuck HermanRichard & Ann BatmanYvonne & Gary BeauchampEdward BeckJim BeckRaymond & Colleen BeckRoger BeckSue BeittelRobert & Irene BelknapFred & Yvonne BellerMaria & Charles BenetMaureen BennettMaxine J. BennettPhilip M. BernsteinConstance B. BertoLeland & Joan BertoloneChristine BlackburnGloria & Peter BlandMarion BlauJeanie & Carl BlomAndrew & Shirley BogardusFrances & Ben BorokSydne & Allan BortelCarroll & Eli BotvinickDeWitt BowmanEd & Nancy BoyceJack & Ute BrandonRichard Bricker & Emily Hanna JohnsonJosh Brier & Grace AlexanderSuzanne & David BroadAmy & Mark BrokeringAnthony & Mary Lee BronzoWendy & Ellen Smith BuchenAnnie BugherMary Jane BurkeJerry & Jane BurroniJulio Burroughs & Caroly SasserRobert & Elza BurtonAnne & John BusterudMarian & Don ByrdJoyce F. CalanchiniGlenn & Vicki CampbellMary CampbellJohn & Betsi CareyPeter Carlson & Linda SwansonAlice CarlstonRobert & Kathleen CarrascoLowell & Patsy ChamberlainOscar & Joan ChambersArthur & Jeanie ChandlerRobert ChildDavid L. ChittendenPriscilla ChristopherLeslie ConnarnMary & Fred CoonsPaul & Paula CooperBob & Betty CoppleHelenclare CoxSuzanne & Joseph CrawfordDolores CuervaGraham & Rosana CummingJeff Curtis & Kathleen SandersJon CurtisHomer DalbeyMr. Arthur DavidsonUrsula & Paul DavidsonKen & Ann DavisJudith R. Dawson

Katherine JohnsonTed & Diana JorgensenRick June & Mark BrinkmanGee KampmeyerOlga & Andrew KatanicsDaniel & Judy KatsinCharles KeastOrly KellyDan & Valerie KingJennifer Krasnoff & Eltan HomaLou & Britt La GattaBarbara L. LaneAlmon LarshLucinda Lee & Daniel U. SmithOlivia LeFeaverLouis & Jean LeonciniCatherine LessLaura LessSandra LevitanCarl & Carol Ann LewisJuliene G. LipsonBill Lockett & Dorothy BergesWendy & Kevin LoderFrank & Maja LorchElaine & Dwight LubichSusan MagnoneRuth & Martin MalkinMary MaloufMike MarcleyDaniel & Virginia MardesichLee MarkenMarian Marsh & David WadePhyllis B. MartRosemary & John MaulbetschJohn & Mary Ellen MaurerCharles & Claire McBrideSandra McCrearyJohn & Ilene MedovichCarl MehlhopFrank & Mickey MeredithJan MettnerDon MillerEugene & Phyllis MillerJane MillerKati Miller & Michael SheaAbigail Millikan-StatesGlenn & Laura MiwaStephen & Mary MizrochSahin & Shahrzad MoshfeghiThomas K. Moylan*Kaneez Munjee & Hugh DaviesAnn MurphyHilda NammSteve & Ruth NashLouise C. NaveDiana C. NicollAnn Nilsson–DavisNancy L. NimickMark & Kay NoguchiJohn & Evelyne NorrisGloria H. NorthrupLisa NunnyorkFran & Dick O’BrienEd & Linda O’NeilAnn W. OcheltreeEsther OleariWalter & Elaine OlsonMerle & Clyde OngaroHarry Oppenheimer & Sharon LeachNancy L. OttoJacqueline PalmerJim & Collette ParrinelloRoberta PattersonDorothee & Phillip PerloffEllen PesentiLaura A. PhippsCarolyn & Arnold PiattiSuzie PollakRobert & Donys PowellNolen PridemoreRalph & Leslie PurdyPat & Art Ravicz

Robert De Haan & Nancy SangsterMarion E. De HeerMichael P. De SantisSam & Ellen DederianDee’s Executive Limousine ServiceTom & Mary DeMundNona DennisThomas DiettrichEleanor DiGiorgioSteven & Marilyn DisbrowJenny Douglass & Andy BasnightJ.B. & Lynn DowdeyBen Dresden & Ann SwansonSara DugginAlan & Roberta DunhamWendy EberhardtJane C. EllisLois EllisonBob ElyHeather EnglishMaxine & William EverestBran & Carolyn FanningJim FarleyRoy & Barbara FillyRichard & Nancy FlathmanGary FlatowAnice FleshErdmuth FolkerDonald FordRobert & Rita ForsythSuzy FosterThomas & Cynthia FosterCarlo & Diane FowlerVivienne FreemanLila FridayCarole & Mark FriedlanderJames FritzMartha GardinerRay & Margot GergusCindy GermainSally GermainGhilotti Bros., Inc.Adele GibbsWayne GilbertYacov GolanEllen & Bob GoldmanLinda GoodmanMargie GoodmanJane GorsiDavid & Randy GreenbergRosemary & Leonard GreenbergRobert GriffithDavid & Margie GuggenhimeJane HallDoug HancockVirginia HannaEthlyn Ann HansenJoey HardinHelen HarperRichard & Julie HarrisJames & Laura HarrisonWilliam & Kathryn HarrisonGail HarterCecile HawkinsHennessy Advisors, Inc.Hennessy FundsAllan & Nancy HerzogEileen H HinksonCandida HoeberichtsNancy HoffmanCarol HollenbergKen & Donna HoppeAndrew HorwitzCatherine HoughtonRobin HudnutEleanor W. HullPat & Irene HuntWilliam & Gail HutchinsonDr. Ifeoma IkenzeIrene Jaquette

Lucinda RayAudrey ReaganWalt & Ilene RiethmeierFaith France & Hugo RinaldiJudy & Richard RobinsonSue & Bill RochesterDr. Filmore & Judith RodichMargaret & Herbert RosenBillie RosenbergLeland & Jane RosevearCraig RossiBarbara A. RothkrugRichard & Anne Marie RubenMarty Rubino & Gayle PetersonKevin RumonMary Jane SargentJudith & James SaffranGeorgia F. SaguesAngelo Salarpi FamilyMarsha & Robert SampsonSan Domenico SchoolDr. Rick & Cynthia SappGary & Kathy SchaeferGeorgia & Hugh SchallTobin SchillerNancy SchlegelMarilyn Schneider & Edward SimonNorman & Alice SchoensteinSchrader-Robertson Family FundSylvia SchwartzNancy & Terry ScottLori ShearnMargaret C. SheehyEunice SheldonMr. & Mrs. Dean ShowersBetsy H. ShueyJoel & Susan SklarMartin & Elizabeth SleathJacky SmithMr. & Mrs. Lawrence H. SmithMarilyn J. SoRhonda & Fereydoon SooferFred SpitzJean StarkweatherRosine Reynolds & Steven SteinRichard & Susie SternInge StiebelMichael A Freeman, MD & Victoria StoneDr. & Mrs. Richard F. SullivanEdward TannerJacqueline & Wilbur TapscottEd TexieraJ. Ralph & Mary Ann ThomasTilda ThompsonJudy TorrisonBob TowlerBarbara & Dan TurrentineUnited Way of the Bay AreaMarilyn Vaughn & Steven SivitzCharles & Rebecca ViebrockJan & Mark VolkertBruce & Judy WalkerGeraldine & Joe WalshKarlyn WardPaula WeaverCharles A. WeghornArlin WeinbergerAnita WeinertRona WeintraubCarol WeitzMetta WhitcombMartha WickliffeBarbara J. WilkesMargaret WilnerRoney WisemanIngeborg WolterRoy Wonder & Barbara WardWilliam & Gloria WongCharles & Lynne WorthWarren WuIndi YoungJudith & Steven ZimmermanAnonymous (9)


Thank you...

GIFTS IN HONOR OF

Lou Bartolini AnonymousMr. & Mrs. William Beck’s 50th Wedding Anniversary Edward Beck Jim Beck Raymond & Colleen Beck Roger Beck Sydne & Allan Bortel DeWitt Bowman John & Betsi Carey Ken & Ann Davis Steven & Marilyn Disbrow Donald Ford Thomas & Cynthia Foster Adele Gibbs Linda Goodman Robert Griffith Hazel Carter-Hattem Robin Hudnut Eleanor W. Hull Sylvia Kronke Elaine & Dwight Lubich Consuelo H. McHugh Worth Miller Nancy L. Nimick Dorothee & Phillip Perloff Margaret & Herbert Rosen Renee Rymer & Antonio Clementino, Ph. D Eunice Sheldon Bruce & Judy Walker Anita Weinert Metta WhitcombGeorge Dexter Joanne DunnLeslie Miller Daniel & Judy KatsinJonathan Ruben Birthday Anne & Richard F RubenRenee Rymer Peter Carlson & Linda SwansonJonathan Ruben Birthday Anne & Richard F RubenBob Towler Elinor TowlerJudith Walker & Bruce Weissman’s Wedding Paula Andres Robert Child Joanne Dunn Jerry C. Gianni & Donna Bandelloni Lisa Nunnyork Mary & David Rabb Renee Rymer & Antonio Clementino Ph. D. Peter L. H. & Kathryn Thompson Verla K. Regnery Foundation Marilyn Vaughn & Steven Sivitz Donna Wiuff Anonymous

GIFTS IN MEMORY OF

Millard Ball Judith Walker & Bruce WeissmanJack Bissinger Joanne Dunn Yacov Golan Lucinda Lee & Daniel U. Smith Claire SkallElsie Carr Lou & Marge Bartolini Mike Marcley Laura Holter Amy & Mark BrokeringMary Ellen Irwin Bob Irwin Renee Rymer & Antonio Clementino, Ph. D Florence Miner Peter L. H. & Kathryn ThompsonWilliam Muirray Frank & Lee BattatKate Orsini Marion E. De HeerLavon Reaber Donald R. & Noel W. Dickey Joanne Dunn Jan Mettner David Ring Bruce & Joseph Bacheller Gisela & Rolf Eiselin Carl Mehlhop Alan Spiegelman William & Gloria Wong Malini Schuyten Renee Rymer & Antonio Clementino, Ph. D Dr. Walter G. Strauss Rosie Appel Laura A. Phipps

The Symphony’s Tribute Program offers a memorable way to celebrate milestones such as weddings, anniversaries and births, and to honor the memory of family and friends. These gifts were received between July 1, 2 012 and December 31, 2 013.

The Board has arranged that monies designated to the Chair-Naming Endowment Fund may be paid over time. The Marin Symphony expresses its profound gratitude to the following visionary individuals who have already claimed the chairs of their own:

CONCERTMASTER’S CHAIR

presently honoring Jeremy Constant, is now The Catherine Munson Chair

PRINCIPAL VIOLA CHAIR

presently honoring Jenny Douglass, is now The Elsie Rigney Carr Chair

PRINCIPAL CLARINET CHAIR

presently honoring Art Austin, is now The Jack Bissinger & Robert Max Klein Chair

ASSISTANT PRINCIPAL FIRST VIOLIN CHAIR

presently honoring Karen Shinozaki, is now The Schultz Family Chair In Honor of Niels Schultz

ASSISTANT PRINCIPAL VIOLA CHAIR

presently honoring Elizabeth Prior, is nowThe Constance Vandament Chair

SECTION CHAIR, CLARINET

presently honoring Larry Posner, is now The Tom & Alice May Chair


“”

It was a joy to see such a happy audience, both young, middle and old, and to see them all participating so fully. The program, from beginning to end was fabulous, from glowing batons enthusiastically waving, to fireworks lighting a late summer sky! Music was inspirational—everyone clicking on all cylinders. I am sure you have won over the “hearts and minds” of each and every person who attended.

–Grace H., Waterfront Pops Concert

GIFTS , ENDOWMENT, ENCORE SOCIETY & SPONSOR APPRECIATION

The Marin Symphony is most grateful to the members of the Encore Society and wish to applaud their gifts of lasting importance.

ENCORE SOCIETY

Kenneth & Barbara AdamsHanks J. Adler & Wanda HeadrickAra ApkarianLou & Marge BartoliniFrank & Lee BattatRobert & Patricia BilgerJack Bissinger* & Robert Max Klein*James & Caroline BoitanoSteven & Ann BordenDavid BottE. Joseph & Jo Ann BowlerRobert & Elza BurtonWilliam & Lynn CallenderKaren CarmodyMary Carpou*Robert & Judith CreasyChristine DeweyDonald R. & Noel W. DickeyVernon & Elke DwellyHelga EpsteinBranwell FanningGeorge Fernbacher

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

BUSINESS & CORPORATE SPONSORS

Season Underwriter $20,000Frank & Lois Noonan

Season Underwriter $15,000Bon Air CenterPacific Gas & Electric Company

Season Sponsor $10,000Steve & Christina Fox Bank of MarinCounty of Marin

Season Supporter $5,000Coldwell Banker Residential BrokerageKaiser PermanenteKunst Bros. Painting ContractorsLVP Marin Realtors

IN KIND SPONSORS

Hey Mambo, The Other Guys Wine Left Bank BrasserieGaspare’s Pizzeria

SPECIAL THANKS

Montecito Plaza/Seagate PropertiesMarin Pacific Co.

Encore Society continuedThomas & Juliana ForisBarbara & Bill* FriedeAbe & Suzanne FromanGeraldine GainsMary M. Griffin-JonesAlf & Ruth HellerSusan Hedge Hossfeld*David* & Sandra HoyerGrace HughesRobert & Mary Ellen* IrwinEmily Hanna JohnsonRobert* & Edith KaneCarole KleinNancy KohlensteinHerbert & Barbara Graham KreisslerLucinda LeeBarbara Brown Leibert*William LockettMrs. Frankie Longfellow*Alice & Tom* MayCharles Meacham*Vivienne E MillerGloria Miner

MEMBERSHIP

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

Encore Society continuedTheodore A. MontgomeryLarry & Betty MulryanCatherine MunsonDavid PoffJane T. Richards*Yvonne RothRenee RymerNancy E. SchlegelHerb SchuytenMadeleine SloaneAnn* & Ellis StephensCharles* & Patricia SwensenWilbur & Jacqueline TapscottBruce & Lynn O’Malley TaylorPeter L. H. & Kathryn ThompsonSylvia F. Thompson*Audrey S. Tytus*Constance VandamentMarian Marsh & David WadeMaynard & Helen WillmsPhilip & Phyllis Ziring

*deceased

CORPORATE MATCHING GIFTS

Argo GroupChevron HumankindIBM Matching Grants ProgramOraclePiper JaffrayVISA Gap, Inc.

FOUNDATIONS

The William and Flora Hewlett FoundationMarin Music ChestAnn and Gordon Getty FoundationMarin Community FoundationThe Bernard Osher Foundation Schulz Family Foundation

MEDIA

KDFCMarin Independent JournalMarin Magazine

DONATIONS IN KIND

An Affair to Remember CateringBananas at LargeThe Magic FluteStacy Scott Fine CateringPeter L. H. & Kathryn Thompson Unicorn GroupWhite Oak Vineyards & Winery

REHEARSAL FACILITIES

Good Shepherd Lutheran Church, NovatoSt. Anselm School, San Anselmo

Marin Symphony in kind contributors come from all kinds of businesses, individuals and organizations in our community.



Compose your own series!

Single tickets are on sale now for all concerts at the Marin Center Box Office.

Phone: 415.473.6800

Open Monday through Friday, 11:00am – 6:00pm

Box Office location: 10 Avenue of the Flags, San Rafael, CA 94903

You can also purchase tickets online. Go to marinsymphony.org,

click on the Concerts & Events tab.

$5 ticketing fee for online and phone ordersNO ticket fee for in-person orders, and NO fee for tickets sold at the door

subscribenow

Simply choose ANY THREE 2013-14 concerts remaining in the season. We’ll

personally work with you to make sure the best possible seats are reserved for the

concerts you select. THREE EASY WAYS to order your customized subscription series:

Call us: 415.479.8100. We’ll work with you directly to create your custom

subscription and secure great seats for you!

Subscribe at our office: 4340 Redwood Hwy. Suite 409c in San Rafael.

We’re happy to have you come in and complete your subscription in person.

Our office hours are 9:00am – 5:00pm, Monday through Friday.

Order your subscription online: marinsymphony.org/13-14ComposeYourOwn

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Purchase single tickets.

Subscriber benefits include...

• Priority seating assignments

• Flexible and FREE ticket exchanges

• Savings of up to 50% off single tickets

(ask us about our new subscriber offer!)

Pre-Concert Talks

Half-hour talks with Music Director Alasdair Neale reveal

insights into the creative process and expose the backstory

behind performances. Guest artists appear alongside the

Maestro, engaging in conversations with each other and

the audience. Pre-Concert Talks begin on Sundays at 2:00pm

and Tuesdays at 6:30pm, and are free for all ticket holders.

Tuesday Night Wrap Parties

The gatherings after Tuesday evening performances are a Marin Symphony tradition.

All Tuesday night ticket holders are invited to mingle with guest artists, orchestra members,

Alasdair Neale and each other at Gaspare’s Pizzeria, just minutes from the concert hall.

Like us on Facebook. Sign up for E-Newsletters.

We continuously share ideas and the latest information with

our growing online community: /marinsymphony

SUBSCRIPTIONS, T ICKETS , CONVERSATIONS & MORE!


Conversations...

connect with us

Pre-Concert TalkAlasdair Neale & Joyce YangMay 2013

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Participate in the giving challenge!A very generous board member has issued the following challenge: If we can raise $300,000 in donations by January 31, 2014, he will personally contribute $50,000 to the Marin Symphony! Read the letter from Alasdair Neale: marinsymphony.org/news

Experience it.A Marin Symphony concert

isn’t simply a classical music

performance, it’s an experience to

awaken your senses. It’s the way we

create a unique relationship with our

audiences, an exciting connection

with artists, and all of us, together.


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

Visit: 4340 Redwood Hwy., Suite 409C, San Rafael, CA 94903

Marin Center Box Office for single ticket sales: 415.473.6800

Email: [email protected]

marinsymphony.org /marinsymphony

© Marin Symphony. All rights reserved. Programs, dates and guest artists subject to change.

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Advertisers & Sponsors14 Áegis Living36 Aldersly Garden Retirement Community30 American Bach Soloists05 Bank of Marin02 Bon Air Center06 Coldwell Banker Residential Brokerage35 College of Marin09 Corte Madera Town Center07 County of Marin48 Dermatology Associates of the Bay Area48 Financial Connections39 Gaspare’s Pizzeria20 Ghirardo CPA 49 Hospice by the Bay10 Kaiser Permanente12 KDFC51 Kunst Bros. Painting Contractor46 Left Bank Brasserie29 LUXTON OPTICAL18 LVP MARIN REALTORS30 Marin Baroque36 Marin County School Volunteers08 Marin Independent Journal63 Marin Magazine22 Marin Music Chest44 Marin Theatre Company48 MOC Insurance Services50 Montecito Plaza Shopping Center26 New Century Chamber Orchestra04 Pacific Gas & Electric Company34 Perotti & Carrade32 R.KASSMAN33 Rafael Floors22 San Francisco Conservatory of Music47 San Francisco Conservatory of Music45 Speak to Me21 The Magic Flute49 The Other Guys16 Villa Marin


MS

Marin

RENEWAL RETREATS

Start the New Year Off Right

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GET IN SHAPEExtreme Athletes Offer Inspiration

WINTER ROOTSHearty, Healthy Culinary Gems

WeddingThe

ISSUE5 Local Couples Tie the Knot

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MarinSym_Marin_0214_FNL.indd 1 1/8/14 1:22 PM


MS

we appreciate our season sponsors:

415.479.8100 • marinsymphony.org

/marinsymphony

media

Frank & Lois Noonan, Steve & Christina Fox Gaspare’s Pizzeria, Montecito Plaza, Marin Pacific Co.

Ongoing support provided by:

Ann and Gordon Getty Foundation,

Schultz Family Foundation and Marin Music Chest

Documents

Marin Symphony 2013-14, Program Book 2