WILLIAM SCHUMAN American Festival Overture Jacobs’ …€¦ · 13-10-2006 · by performances by John Browning, Misha Dichter, Artur Rubenstein, Bruno Leonardo-Gelber, Andre Watts,

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Octo

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Friday, October 13, 2006 8 pmSunday, October 15, 2006 2 pm Symphony Hall

Jahja Ling, conductorGarrick Ohlsson, piano

P R O G R A M

WILLIAM SCHUMAN American Festival Overture (1910-1992)

ROBERT SCHUMANN Symphony No. 2, Op.61, C major (1810-1856) Sostenuto assai – Allegro, ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

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

JOHANNES BRAHMS Piano Concerto No. 1, Op.15, D minor (1833-1897) Maestoso Adagio Rondo: Allegro non troppo Garrick Ohlsson, piano

The approximate running time for today’s program, including intermission, is 2 hours.

ICM ARTISTS, LTD. presents Garrick Ohlsson

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JACOBS’ MASTERWORKS SERIES OCTOBER 13 & 15, 2006

The American Festival Overture was William Schuman’s first great success–it brought him a popular and critical triumph, and it was the first of the series of impressive works he composed across the decade of the 1940s. Schuman’s path to this success had not been quick, nor was it easy. He had resolved to become a composer after hearing a concert by the New York Philharmonic in 1930, but he became one very slowly: he earned bachelors and masters degrees from Columbia, studied privately, and spent a summer at the Mozarteum in Salzburg before taking a job as choral conductor at Sarah Lawrence. His early attempts at composition met with little success, and what had seemed a breakthrough–Koussevitzky’s per-formance of his Second Symphony in February 1939–instead turned into a disaster: critics hated it, the audience thought it the worst piece they had ever heard, and

one disgruntled listener who had heard it on the radio wrote to tell the composer that “Your symphony made me lose my faith in the power of aspirin.”

The one person who did not lose faith in the struggling composer was Koussevitzky, and later that year the conductor’s faith was justified. Koussevitzky had scheduled a Festival of American Music for the fall of 1939, and over the summer Schuman–then 29 years old–retreated to Martha’s Vineyard, where he composed an overture full of energy and based in large part on its opening three-note figure. Schuman was quite

specific about the origins of this figure: “The first three notes of this piece will be recognized by some listeners as the ‘call to play’ of boyhood days. In New York City it is yelled on the syllables ‘Wee-Awk-Eee’ to get the gang together for a game or a festive occasion of some sort. This call very naturally suggested itself for a piece of music being composed for a very festive occasion.” The American Festival Overture, as Schuman called the piece, was premiered by Koussevitzky and the Boston Symphony on October 6, 1939, and it remains to this day one of Schuman’s most frequently

Why This Program?Maestro Jahja Ling did not plan the opening program with a joke in mind about comparing the one-n Schuman with the two-n Schumann, although he mused that it might have been a funny idea. According to the maestro, he chose the Schuman overture because he believes that it is a perfect piece for the opening of the season. “It’s a rouser, and it’s American. William Schuman was a fine composer, now too often neglected. I learned this piece from Lennie [Bernstein] and think it’s marvelous.” The more than a century older Robert Schumann Second Symphony is a piece that Ling describes as one for which he has had a special affinity since his Juilliard days. When, as a student there, he first heard the recording of the work by Szell and the Cleveland Orchestra, “It gave me goosebumps…I also find a strong feeling of romanticism in Schumann that is often absent elsewhere. And this symphony, over all the others that he wrote, is the best one to train the orchestra. Parts are very difficult, not only the very rapid second movement, but, all in all, it is most accessible.”

Our soloist, Garrick Ohlsson, selected the Brahms First Piano Concerto for his appearance here. Jahja Ling felt that the music of Robert Schumann was most appropriate to program as the ideal complement to that of the younger Brahms. The very close and intense personal and musical relationship between these two composers is a storied one.

Yoav Talmi led the SDSO in its only prior performance of the William Schuman American Festival Overture during the 1993-94 season. Robert Schumann’s Second Symphony was first heard at these concerts under the guest director-ship of Jazcek Kasprzyk during the 1982-83 season. Its most recent performance here was under Gerard Schwartz’s baton during the 1999-2000 season.

Some of the most eminent pianists have played the Brahms First Piano Concerto with the San Diego Symphony. Gary Graffman introduced it here under Earl Bernard Murray’s direction in the 1961-62 season. That was followed by performances by John Browning, Misha Dichter, Artur Rubenstein, Bruno Leonardo-Gelber, Andre Watts, Emanuel Ax and, most recently, by Helene Grimaud, who played it when Miguel Harth-Bedoya guest conducted during the 2002-03 season.

American Festival OvertureWILLIAM SCHUMANBorn August 4, 1910, New York CityDied February 15, 1992, New York City

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performed and recorded scores.

The source of its popularity is no secret: the American Festival Overture rockets along on an endless supply of white-hot energy. Aptly marked Allegro con spirito, the overture opens with the three-note motif, and this figure then saturates the piece: it is tossed rapidly between sections of the orchestra, varied, inverted, shouted out, whispered–in fact, the figure is almost continuously present throughout the overture’s opening section. Its initial energy spent, the overture makes a quiet transition to the central section, a lengthy fugue announced by the violas and full of a bristling energy all its own. Schuman gives the exposition of the fugue to strings alone (the violas have a lovely countertheme along the way), and then turns its development over to chattering woodwinds. Strings return with a smooth canon on the counter-theme, and a grand brass cadence opens the door to the concluding section, marked Un poco presto. Violins sway along a blistering 6/8 meter here, and gradually the three-note motif of the opening makes its reappearance. The last minutes of the overture are a jazzy, breezy romp home, as the music races along variants of the three-note figure to its sizzling close. n

Schumann and his wife Clara made a five-month tour of Russia in 1844. Her piano-playing was acclaimed everywhere, but Schumann found himself somewhat in the shade, and on their return the composer began to show signs of acute depres-sion: he said that even the act of listening to music “cut into my nerves like knives.” So serious did this become that by the end of the year Schumann was unable to work at all–he gave up his position at the Leipzig Conservatory, and the couple moved to Dresden in the hope that quieter surround-ings would help his recovery. But that recovery took a long time. Only gradually did he resume work, completing the Piano Concerto in the summer of 1845 and beginning work on the Second Symphony in the fall. Schumann usually worked quickly, but the composition of this symphony took a very long time. Apparently Schumann had to suspend work on the symphony for

long periods while he struggled to maintain his mental energy, and it was not completed until October 1846. The first performance took place on November 5, 1846, with Mendelssohn conducting the Leipzig Gewandhaus Orchestra.

Given the conditions under which it was written, one might expect Schumann’s Second Symphony to be full of dark music, but in fact the opposite is true: this is one of Schumann’s sunniest scores, full of radiance and light. And–considering the extended and difficult period of the symphony’s composition–it is surprising to find the work so tightly unified. The symphony opens with a slow introduction–Sostenuto assai–as a trumpet fanfare rings out quietly above slowly-moving strings. During the earliest stages of this symphony’s composition, Schumann wrote to Mendelssohn that “Drums and trumpets (trumpets in C) have been sounding in my mind for quite a while now,” so apparently this trumpet-call was one of the earliest seeds of the symphony; it recurs throughout. The introduction gathers speed and flows directly into the Allegro ma non troppo, whose main subject is a sharply-dotted melody for violins and woodwinds. This opening movement is in sonata form, and near the end the trumpet fanfare blazes out once again.

The second movement is a scherzo marked Allegro vivace. In contrast to some of Schumann’s others symphonic scherzos–which can remain earthbound–this one flies. Almost a perpetual-motion movement, it makes virtuoso demands on the violins. Two trio sections interrupt the scherzo–the first for woodwinds in triplets,

Symphony No. 2, op.61, C majorROBERT SCHUMANNBorn June 8, 1810, ZwickauDied July 29, 1856, Endenich

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Robert Schumann met Brahms when the latter was still just a rosy-cheeked boy of 20 but imme-diately recognized his talent and became his enthusiastic champion. In a review that must have seemed overpowering to the young man, Schumann proclaimed Brahms “a young eagle” and said: “When he holds his magic wand over the massed resources of chorus and orchestra, we shall be granted marvelous insights into spiritual secrets.” And almost immediately came the catastrophe: Schumann went into steep mental decline, attempted suicide by throwing himself into the Rhine, and died two years later in a mental asylum.

It was natural for the young composer to try to register his feelings in music (and at a sub-conscious level to try to justify Schumann’s faith in him) and in March 1854, only weeks after Robert’s suicide attempt, Brahms set out to create that most dramatic and challenging of forms,

a symphony. He was not even 21 at this time and had never written anything for orchestra, so he first sketched this symphony as a sonata for two pianos. Brahms soon realized that he was not yet ready to compose a symphony. He abandoned the project but salvaged a great deal of music from his sketches: ten years later the symphony’s projected slow scherzo became the second movement–Denn alles Fleisch, es ist wie Gras–of his German Requiem. Brahms saw more immediate pos-sibilities in the pianistic brilliance of the sketches and decided to transform the first movement into the opening movement of a piano concerto. Once this was completed, he composed a new slow movement and a new rondo-finale. Still desperately uncertain of his abilities, Brahms worked on this concerto for four years before he was willing to try it out in a private performance in March 1858. The first public performance did not take place until January 1859, nearly five years after he had set out to write his symphony.

Brahms marks the first movement Maestoso, but it hardly feels majestic. Instead, it feels catastrophic. Brahms told Joseph Joachim that this violent opening was a depiction of his feelings when he learned of Schumann’s suicide attempt. At well over twenty minutes, this is a huge movement, and Malcolm MacDonald has described it as “nearly the longest, and probably the most dramatic, symphonic movement since Beethoven.” After the opening sound and fury, the piano makes a deceptively understated entrance, and this in turn points to a remark-able feature of this movement: in general, the orchestra has the more

the second for strings–before the opening music returns and the movement speeds to an exciting close. At the climax of this coda, the trumpet fanfare rings out above the racing violins.

The Adagio espressivo, one of Schumann’s most attractive slow movements, opens with a long- breathed melody for the violins. This movement is the emotional center of the symphony, and though this music never wears its heart on its sleeve, its composi-tion made such heavy emotional demands on the composer that he had to stop work temporarily after completing it.

In the finale–marked Allegro molto vivace–the energy of the opening movements returns as the music bursts to life with a rush up the C-major scale. Schumann said of the composition of this movement: “In the Finale I began to feel myself, and indeed I was much better after I finished the work. Yet . . . it recalls to me a dark period in my life.” The symphony’s unity is further demon-strated by Schumann’s transforma-tion of the first four notes of the main theme of the Adagio into this movement’s second theme and then–at the climax of the entire symphony–by the return of the trumpet fanfare. It begins softly, but gradually grows to a statement of complete triumph, and–with timpani and brass ringing out–the symphony thunders to its close. Though the Second Symphony may have been the product of a “dark period” in its creator’s often unstable life, it also appears to have been the vehicle by which he made his way back to health. n

Piano Concerto No. 1, op.15, D minorJOHANNES BRAHMSBorn May 7, 1833, HamburgDied April 3, 1897, Vienna

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aggressive material, the piano the friendlier music. While the piano part is extremely difficult, this is not an ostentatiously virtuoso concerto in the manner of Liszt and other pianist-composers at mid-century (this massive first movement has no cadenza, in fact). To call this a “symphony-concerto,” as some have done, goes too far, but such a description does point toward the unusually dramatic character of this music and its refusal to treat the piano as a display instrument. The huge exposition leads to a relatively brief development that includes a shimmering, dancing episode in D major, but the recapitulation is long and fairly literal. It offers no emotional release, no modulation into a major key, and the movement drives unrelentingly to its close in the mood of the very opening.

Relief arrives with the Adagio. In the early stages of its composi-tion, Brahms had written in the manuscript “Benedictus qui venit in nomine Domini”: “Blessed is he who comes in the name of the Lord.” The young Brahms had playfully addressed the older Schumann as “Domini,” and some have felt that this must be a tribute to that composer, but in a letter from December 1856 Brahms wrote to Clara: “I am also painting a lovely portrait of you; it is to be the Adagio.” When this music was published, however, Brahms had removed the Latin inscription and any hint of larger reference. In D major, this movement has a quiet expressiveness, an almost consoling quality after the furies of the opening movement. It rises to a gentle climax before a brief cadenza leads to a quiet close.

The last movement, a vigorous rondo, returns to the mood–and

D-minor tonality–of the opening. Solo piano leads the way here, and all the movement’s thematic material seems to grow out of this opening theme. The theme itself makes few literal returns but is skillfully transformed on each reappearance, including one use as the subject for a brief but lithe fugue. Brahms offers two cadenzas in this movement, the first almost Bachian in its keyboard writing, and at the very end the rising shape of the rondo theme helps propel the movement–finally in D major–to a heroic close.

Early audiences–which had come expecting to be entertained and dazzled–hated this concerto. After a performance in Leipzig, Brahms wrote to Clara: “You have probably already heard that it was a complete fiasco; at the rehearsal it met with total silence, and at the performance (where hardly three people raised their hands to clap) it was actually hissed.” A Leipzig critic described the concerto as “a composition dragged to its grave. This work cannot give pleasure . . . it has nothing to offer but hopeless desolation and aridity . . . for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes! Not only must one take in this fermenting mass; one must also swallow a dessert of the shrillest dissonances and most unpleasant sounds.”

It must have given Brahms particular pleasure when–thirty-five years later, in 1894–he conducted a program in Leipzig that included both his piano concertos and heard this product of his youth cheered in the same hall where it had been reviled so many years before. n

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Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of mag-isterial interpretive and technical prowess. Although he has long been regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous reper-toire, which ranges over the entire piano literature. A student of the

late Claudio Arrau, Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. His concerto repertoire alone is unusually wide and eclectic – ranging from Haydn and Mozart to works of the 21st century – and to date he has at his command some 80 concertos.

In 2006-07, Mr. Ohlsson opened the Mostly Mozart Festival in New York in a live, nationally televised performance. He will also appear in North America and Canada with the symphony orches-tras of Atlanta, Detroit, Milwaukee, Montreal, New Jersey, Oregon, Pittsburgh, San Diego, and Utah. A series of recitals in Anchorage, Boston, Cleveland, Florida, Los Angeles, Ottawa, and San Francisco will culminate in three recitals of Beethoven sonatas at Lincoln Center (New York), and a perfor-mance of Beethoven’s “Emperor” concerto at Carnegie Hall with Orchestra of St. Luke’s. In Europe, he will perform at the BBC Proms

with Budapest Festival Orchestra, at the Warsaw Chopin Festival, with the Czech Philharmonic, with the BBC Philharmonic, and in recital in Spain and Italy. In the summer of 2006, Mr. Ohlsson presented the complete cycle of Beethoven piano sonatas in both the Ravinia and Tanglewood festivals.

Mr. Ohlsson is an avid chamber musician and has collaborated with the Cleveland, Emerson, Takács and Tokyo string quartets, among other ensembles. A prolific recording artist, Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, Bridge, BMG, Delos, Hänssler, Nonesuch, Telarc and Virgin Classics labels. For Arabesque he has recorded the complete solo works of Chopin and four volumes of Beethoven sonatas. A native of White Plains, N.Y., Mr. Ohlsson began his piano studies at the age of 8. He attended the Westchester Conservatory of Music and at 13 entered The Juilliard School in New York City. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994. He makes his home in San Francisco. n

GARRICK OHLSSONPianist



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an internationally renowned conductor has earned him an exceptional reputation for musical integrity, intensity and expressivity. This season, Mr. Ling is in his third season as Music Director of the San Diego Symphony. In response to the community’s overwhelming support of the orchestra’s new Music Director, Mayor of San Diego Dick Murphy proclaimed October 2, 2004, as Jahja Ling Day in a grand gesture of welcome. Since then, his perfor-mances have received the highest praise from the public and critics alike.

Jahja Ling recently completed with distinction his tenure as Director of the Cleveland Orchestra’s Blossom Festival for the last six seasons (2000-2005). He also served as that Orchestra’s Resident Conductor for 17 years(1985-2002). Mr. Ling was named Music Director Laureate of the Florida Orchestra and the National Symphony Orchestra of Taiwan after he served as Music Director and Artistic Director with those respected organizations.

As a guest conductor, Mr. Ling has conducted all of the major symphony orches-tras in North America. In the spring of 2004, he received critical acclaim for his performances of Mahler’s First and Fifth symphonies with the Boston Symphony and Pittsburgh Symphony, respectively. In recent seasons, Mr. Ling’s guest conducting engagements have included the Chamber Orchestra of Philadelphia and the symphony orchestras of Baltimore, Cleveland, Honolulu, Phoenix, Pittsburgh, San Antonio and Utah. Abroad, he has recently appeared at the Tivoli Festival with the Copenhagen Philharmonic and with the Bochum Symphony in Germany. In May 2000, his debut perfor-mance with the St. Louis Symphony and cellist Yo-Yo Ma was featured on the ABC News program 20/20. He also demonstrates a strong commitment to working with young musicians, and has conducted the orchestras of the Juilliard School (where he is a regular guest), the Curtis Institute and the Aspen Music Festival.

Mr. Ling is acclaimed not only for his interpretation of the standard repertoire, but also for the breadth of contemporary music included in his programs. Among the world premieres he has conducted are works by William Bolcom, George Perle, Alvin Singleton, Augusta Read Thomas, Mark Anthony Turnage, and Ellen Taaffe Zwilich, with orchestras such as The Cleveland Orchestra, the Detroit Symphony, the Florida Orchestra and the New York Philharmonic, among others.

Mr. Ling made his European debut with the Leipzig Gewandhaus Orchestra in 1988 to great acclaim. His other engagements abroad have taken him to the Chamber Orchestra of Lausanne, the China Broadcasting Symphony Orchestra in Beijing, the Hong Kong Philharmonic, the Malaysia Philharmonic, the MDR Symphony Orchestra in Leipzig,

the Netherlands Radio Philharmonic, the NDR Radio-Philharmonie in Hannover, the NDR Symphony Orchestra in Hamburg, the Orchestre Nationale du Capitole de Toulouse, the Rundfunk-Sinfonieorchester Berlin, the Shanghai Symphony, the Singapore Symphony, the Sydney Symphony, the Stockholm Philharmonic, and Tokyo’s Yomiuri Nippon Symphony. In May 1997, Mr. Ling led the Scottish Chamber Orchestra on tour to Hong Kong as part of the celebrations marking the return of Hong Kong to China. In 2001, Mr. Ling was also invited to conduct the Super World Orchestra, an orchestra comprised of top prin-cipals of 30 of the most prominent orchestras in Europe, America, and Asia for performances in Osaka and Tokyo.

After his acclaimed Cleveland Orchestra debut in January 1985, Jahja Ling held the longest tenure of any Resident Conductor of the Orchestra, conducting over 400 concerts and over 550 works including many world premiere performances. Among his dis-tinguished services as resident conductor, Mr. Ling led the Orchestra’s annual concert in downtown Cleveland, heard by more than a million people since first presented in 1990. The September 2001, a live televi-sion broadcast of A Concert in Tribute and Remembrance, with The Cleveland Orchestra and Chorus conducted by Jahja Ling and Franz Welser Moest, was honored with an Emmy Award. Prior to his Cleveland appointment, Mr. Ling served as Assistant and Associate Conductor of the San Francisco Symphony. Deeply committed to education, Mr. Ling served as founding music director of the Cleveland Orchestra Youth Orchestra (1986 to 1993) and the San Francisco Symphony Youth Orchestra (1981-84). The U.S. House of Representative presented a Congressional Record of his outstanding achievements in the U.S. Capitol last September.

His tenure as Music Director of the Florida Orchestra was a notable artistic success, both in the Tampa Bay region and beyond. The sig-nificant contribution he made to the cultural life of the area was recognized by the mayors of Tampa and St. Petersburg, who presented him with keys to the city in April 2002 and further honored him through a declaration of “Jahja Ling Day” in February 1998.

Jahja Ling’s recordings for Telarc include the Dupré Organ Symphony and the Rheinberger Organ Concerto with soloist Michael Murray and the Royal Philharmonic Orchestra, and two albums of baroque works with the Scottish Chamber Orchestra (the first of which, with trumpeter Rolf Smedvig, was nominated for a Grammy award). In 1998, Azica Records released a disc with Mr. Ling and the Florida Orchestra entitled “Symphonic Dances,” featuring Bernstein’s Symphonic Dances from “West Side Story,” Strauss’s “Rosenkavalier Suite,” and Ravel’s Suite No. 2 from “Daphnis and Chloé.” Mr. Ling and the Florida Orchestra

have also recorded Stephen Montague’s “From the White Edge of Phrygia” for Continuum. His performance with the New York Philharmonic of the world premiere of Ellen Taaffe Zwilich’s Third Symphony is featured in a recent compact disc collection of Philharmonic perfor-mances entitled American Celebrations. Also, The Cleveland Orchestra has released a special edition compact disc featuring Mr. Ling and the orchestra performing Saint-Saens’ “Organ” Symphony for the rededication of Severance Hall’s Norton Memorial Organ.

Born in Jakarta, Indonesia, of Chinese descent and now an American citizen, Jahja Ling began to play the piano at age 4 and studied at the Jakarta School of Music. At age 17, he won the Jakarta Piano Competition and, one year later, was awarded a Rockefeller grant to attend The Juilliard School, where he studied piano with Mieczyslaw Munz and conducting with John Nelson. After completing a master’s degree at Juilliard, he studied orchestral conducting at the Yale School of Music under Otto-Werner Mueller and received a doctor of musical arts degree in 1985. He was also awarded an honorary doctorate by Wooster College in 1993. In the summer of 1980 Mr. Ling was granted the Leonard Bernstein Conducting Fellowship at Tanglewood and two years later was selected by Mr. Bernstein, who became one of his most influential mentors, to be a Conducting Fellow at the Los Angeles Philharmonic Institute. In 1988 Mr. Ling was a recipient of the Seaver/National Endowment for the Arts Conductor’s Award, a career devel-opment grant made to American conductors of extraordinary promise.

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

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

JAHJA LINGConductor



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VIOLINJeff Thayer, ConcertmasterNick Grant, Principal Associate ConcertmasterJisun Yang, Associate Principal IAlexander Palamidis, Principal IIJeff Zehngut, Associate Principal IIRandall BrintonYumi ChoHernan ConstantinoAlicia Engley (L)Lynn FeldOtto FeldPatricia FrancisKathryn HatmakerAngela HomnickHyun Ok KangTricia Lee (S) Laurence LeelandMartha NilsenIgor PandurskiSusan RobboyShigeko SasakiEdmund SteinJohn StubbsPei-chun TsaiJing YanJoan Zelickman

VIOLAChe-Yen Chen, PrincipalNancy Lochner, Associate PrincipalRebekah CampbellWanda LawQing LiangThomas MorganDorothy Zeavin

CELLOMargo Drakos, Acting PrincipalYao Zhao, Associate PrincipalMarcia BooksteinGlen CampbellMichael DeatherageKarla Holland-Moritz

Richard LevineRonald RobboyMary Oda Szanto

BASSJeremy Kurtz, PrincipalSusan Wulff, Associate PrincipalGreg BertonMargaret Johnston+Allan RickmeierMichael Wais

FLUTEDemarre McGill, PrincipalSarah Tuck Elizabeth Ashmead

PICCOLOElizabeth Ashmead

OBOEDwight Parry, PrincipalBetsy Spear Sidney Green

ENGLISH HORNSidney Green

CLARINETSheryl Renk, PrincipalTheresa Tunnicliff Frank Renk

BASS CLARINETFrank Renk

BASSOONValentin Martchev, PrincipalRyan SimmonsLeyla Zamora

CONTRA BASSOONLeyla Zamora

HORNJohn Lorge, PrincipalKeith Popejoy, Assistant Principal/UtilityWarren GrefTricia Skye Douglas Hall

TRUMPETCalvin C. Price, PrincipalJohn McFerran WildsMark Bedell

TROMBONEToby Oft, PrincipalGeorge JohnstonRichard Gordon+Michael Fellinger

BASS TROMBONEMichael Fellinger

TUBAMatthew Garbutt, Principal

HARPElena Mashkovtseva, Acting Principal

TIMPANITatsuo Sasaki, Principal

PERCUSSIONCynthia Yeh, PrincipalJames Plank

PIANO/CELESTE/ORGANMary Barranger

PERSONNEL MANAGERDouglas Hall

PRINCIPAL LIBRARIANNancy Fisch

ASSISTANT LIBRARIANKimberly Miller

PIANO TECHNICIANEarl Kallberg_____________________(L) On Leave(S) Full Year Substitute Musician+ Staff Opera Musician

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

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Jahja Ling, Music Director


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a multimedia, interactive performance designed to introduce listeners to classical programming; FAMILY FESTIVAL SERIES - a family-friendly series, designed to entertain young and old alike.

The following nonprofit organizations are currently benefiting from this unique program:

Access Center of SDArmed Services YMCAChild Abuse Prevention FoundationCRASH – Short Term 1CRASH – Golden Hill House 1Easter SealsElementary Institute of ScienceFamily Health Centers of San DiegoHigh Tech HighHome Start, Inc.

Hostelling Int’l USAJewish Family ServicesJob Corps of San DiegoMonarch SchoolPreuss School of La JollaPartnerships with Industry (PWI)Salvation ArmySD American Indian Health CenterSan Diego Family CareSD Hospice & Palliative Care

SD Jewish AcademySan Diego Regional CenterSDSU Music DepartmentSD Youth SymphonySenior Community Center of San DiegoShoal Creek ElementarySuzuki Music Association of CaliforniaThe Nice Guys, Inc.USD Music DepartmentUSO of San Diego

CORPORATE IN-KINDCONTRIBUTORS:

Tiffany & Co.Neiman Marcus

Night Owl FloristSheraton Hotel

Le Cake Chateau


Documents

WILLIAM SCHUMAN American Festival Overture Jacobs’ …€¦ · 13-10-2006 · by performances by John Browning, Misha Dichter, Artur Rubenstein, Bruno Leonardo-Gelber, Andre Watts,