JOHANNES BRAHMS
Born May 7, 1833, Hamburg
Died April 3, 1897, Vienna
As he approached his sixtieth birthday, Brahms returned to the instrument of his youth, the piano. The young Brahms–the “heavenstorming Johannes,” as one of his friends described him–had established his early reputation as the composer of dramatic piano works: of his first five published works, three were big-boned piano sonatas, and he next produced a series of extraordinarily difficult sets of virtuoso variations. And then suddenly, at age 32, Brahms walked away from solo piano music, and–except for some brief pieces in the late 1870s–that separation would last nearly three decades.
When the aging Brahms returned to the instrument of his youth, he was a very different man and a very different composer from the “heaven-storming Johannes” of years before. During the summers of 1892-93, Brahms wrote twenty brief piano pieces and published them in four sets as his Opp. 116119. While perhaps technically not as demanding as his early piano works, these twenty pieces nevertheless distill a lifetime of experience and technical refinement into very brief spans, and in their focused, inward, and sometimes bleak way they offer some of Brahms’ most personal and moving music. Someone once astutely noted that a cold wind
blows through these late piano pieces; Brahms himself described them as “lullabies of my pain.”
The seven pieces of Opus 116–composed during the summer of 1892 at Bad Ischl, one of Brahms’ favorite retreats in the Alps–consist of three capriccios and four intermezzos. It should be noted that Brahms titled his piano pieces loosely, and his distinctions between capriccio, intermezzo, ballade, and rhapsody are often not so much a matter of form as of mood. Even the title of the set–Fantasies–suggests a freedom from strict form. In the very freest sense of these titles as Brahms uses them, however, we can note that capriccio suggests a dramatic piece, while intermezzo suggests a quieter, more introspective one. Most of these brief pieces are in ABA form: a first theme, a countermelody usually in a contrasting tempo and tonality, and a return to the opening material, usually varied on its reappearance.
Piano Quintet No. 2 in E-flat Minor, Op. 26
ERNST VON DOHNÁNYI
Born July 27, 1877, Hungary
Died February 9, 1960, New York
Ernst von Dohnányi’s Piano
Quintet No. 1 had been a brilliant success. He composed it in the spring of 1895, while still a seventeen-year-old student at the Royal Hungarian National Academy of Music in Budapest. His teacher showed the boy’s manuscript to Brahms in Vienna,
PROGRAM NOTES
and that aging composer was amazed. Brahms is reported to have exclaimed “I could not have written it better myself,” and he arranged its premiere, which took place in Vienna. That quintet, published as the youthful composer’s Opus 1, launched Dohnányi’s career as a composer.
But much had changed when Dohnányi composed his Piano Quintet No. 2 nineteen years later. It was now 1914, and the world had been transformed in the years since the premiere of his First Quintet in the Vienna of Brahms. World War I had begun, and the Austro-Hungarian empire was crumbling. Music itself–under the powerful influences of Stravinsky and Schoenberg–was heading in entirely new directions. And Dohnányi was facing a crisis in his own life: his first marriage had failed, and now he was engaged in an affair with the German actress Elsa Galafrés, who would become his second wife. Dohnányi’s First Piano Quintet may have ended in C-major triumph, but his Second Quintet, in the somber key of E-flat minor, is a much darker work than its youthful predecessor.
It is also a much deeper and more original work, and Dohnányi himself preferred it to his earlier effort. The Second Quintet is very tightly unified around two themes that appear early in the first movement and which will then return at moments throughout the quintet. The marking for the first movement is Allegro non troppo, but rather than being dramatic, this opening
feels subdued. Dohnányi specifies that it should be sotto voce (“under voice”), and over the murmuring piano, first violin and cello lay out the long opening theme-shape that will serve as the backbone of the entire quintet. Piano alone introduces the chordal second subject, a poised and choralelike idea that will also reappear in various forms. The development begins on this chorale tune and eventually drives to a full throatedclimax. This energy subsides, and Dohnányi concludes by recalling his principal themes: the piano theme is reprised first, followed by the strings, which draw this movement to its conclusion, marked triple piano (in fact, all three movements of this quintet will end at the dynamic of triple piano).
The central Intermezzo has a very unusual structure: essentially it is a waltz, but a waltz broken by a number of interruptions along the way. The viola introduces the waltz-theme immediately. Some have heard this as a recall of past Viennese elegance, but there is something tense, almost slithering, about this waltz tune, and quickly the interruptions begin. First comes a Presto in 2/4 that sparkles along elegantly. This in turn is interrupted by a Rubato e capriccioso episode in which the waltz returns at a different tempo, and these sudden changes of tempo, theme, and mood mark the entire movement. Dohnányi brings back both the waltz–now smoothed off into 4/4–and the Presto to conclude.
Leif Ove Andsnes with Dover Quartet
The final movement begins slowly–the marking is Moderato–with a fugal recall of the seminal theme from the opening movement, and once again Dohnányi stresses that he wants it sotto voce. The main body of the movement leaps ahead at the Animato, and now the fugal writing is tense and fast, full of stinging harmonies, chromatic writing, and frequent tempo changes. The movement drives to a grand climax with the first violin soaring high over the other voices, and with this violence behind him, Dohnányi slows the tempo and brings back his principal themes, now stated very quietly. This coda is long, and the quintet concludes peacefully in E-flat major. It is hardly a triumphant conclusion, but after all that has gone before, it is a very satisfying one.
Dohnányi was the pianist, along with the Klinger Quartet, at the premiere, which took place in Berlin on November 12, 1914. Somehow, this expressive and haunting music has never made it into the standard repertory. For those who don’t know the Quintet in E-flat Minor, it will come as a surprise–and a good one.
Quintet
for Piano and
in F Minor, Op. 34
JOHANNES BRAHMS
Strings
Born May 7, 1833, Hamburg
Died April 3, 1897, Vienna
Brahms began work on the music that would eventually become his Piano Quintet in F Minor during the summer of 1862, when he was 29 years old and still living in Hamburg.
As first conceived, however, this music was not a piano quintet. Brahms originally composed it as a string quintet–string quartet plus an extra cello–and almost surely he took as a model the great String Quintet in C Major of Schubert, a composer he very much admired. But when Joseph Joachim and colleagues played through the string quintet for the composer, all who heard it felt it unsatisfactory: an ensemble of strings alone could not satisfactorily project the power of this music. So Brahms set out to remedy this–he returned to the score during the winter of 1863-64 and recast it as a sonata for two pianos. Once again the work was judged not wholly successful–it had all the power the music called for, but this version lacked the sustained sonority possible with strings that much of this music seemed to demand. Among those confused by the two-piano version was Clara Schumann, who offered the young composer a completely different suggestion: “Its skillful combinations are interesting throughout, it is masterly from every point of view, but–it is not a sonata, but a work whose ideas you might–and must–scatter, as from a horn of plenty, over an entire orchestra . . . Please, dear Johannes, for this once take my advice and recast it.”
Recast it Brahms did, but not for orchestra. Instead, during the summer and fall of 1864 he arranged it for piano and string quartet, combining the dramatic impact of the two-piano version with the string sonority of the
PROGRAM NOTES
original quintet. In this form it has come down to us today, one of the masterpieces of Brahms’ early years, and it remains a source of wonder that music that sounds so right in its final version could have been conceived for any other combination of instruments. Clara, who had so much admired her husband’s piano quintet, found Brahms’ example a worthy successor, describing it as “a very special joy to me” (Brahms published the two-piano version as his Opus 34b, and it is occasionally heard in this form, but he destroyed all the parts of the string quintet version).
The Piano Quintet shows the many virtues of the young Brahms–strength, lyricism, ingenuity, nobility–and presents them in music of unusual breadth and power. This is big music: if all the repeats are taken, the Quintet can stretch out to nearly threequarters of an hour, and there are moments when the sheer sonic heft of a piano and string quartet together makes one understand why Clara thought this music might be most effectively presented by a symphony orchestra.
The Quintet is also remarkable for young Brahms’ skillful evolution of his themes: several of the movements derive much of their material from the simplest of figures, which are then developed ingeniously. The very beginning of the Allegro non troppo is a perfect illustration. In octaves, first violin, cello, and piano present the opening theme, which ranges
dramatically across four measures and then comes to a brief pause. Instantly the music seems to explode with vitality above an agitated piano figure. But the piano’s rushing sixteenth-notes are simply a restatement of the opening theme at a much faster tempo, and this compression of material marks the entire movement–that opening theme will reappear in many different forms. A second subject in E major, marked dolce and sung jointly by viola and cello, also spins off a wealth of secondary material, and the extended development leads to a quiet coda, marked poco sostenuto. The tempo quickens as the music powers its way to the resounding chordal close.
In sharp contrast, the Andante, un poco Adagio sings with a quiet charm. The piano’s gentlyrocking opening theme, lightly echoed by the strings, gives way to a more animated and flowing middle section before the opening material reappears, now subtly varied. Matters change sharply once again with the C-minor Scherzo, which returns to the dramatic mood of the first movement. The cello’s ominous pizzicato C hammers insistently throughout, and once again Brahms wrings surprising wealth from the simplest of materials: a nervous, stuttering sixteenthnote figure is transformed within seconds into a heroic chorale for massed strings, and later Brahms generates a brief fugal section from this same theme. The trio
Leif Ove Andsnes with Dover Quartet
section breaks free of the darkness of the scherzo and slips into C-major sunlight for an all-too-brief moment of quiet nobility before the music returns to C minor and a da capo repeat.
The finale opens with strings alone, reaching upward in chromatic uncertainty before the Allegro non troppo main theme steps out firmly in the cello. The movement seems at first to be a rondo, but this is a rondo with unexpected features: it offers a second theme, sets the rondo theme in unexpected keys, and transforms the cello’s healthy little opening tune in music of toughness and turbulence.
Leif Ove Andsnes, piano
The New York Times calls Leif Ove Andsnes “a pianist of magisterial elegance, power, and insight,” and the Wall Street Journal names him “one of the most gifted musicians of his generation.” With his commanding technique and searching interpretations, the celebrated Norwegian pianist has won acclaim worldwide, playing concertos and recitals in the world’s leading concert halls and with its foremost orchestras, while building an esteemed and extensive discography. An avid chamber musician, he is the founding director of the Rosendal Chamber Music Festival, was coartistic director of the Risør Festival of Chamber Music for nearly two
Clara Schumann, who had received the dedication of her husband’s quintet, was instrumental in the dedication of Brahms’. Princess Anna of Hesse had heard Brahms and Clara perform this music in its version for two pianos and was so taken with it that Brahms dedicated not only that version to the princess but the Piano Quintet as well. When the princess asked Clara what she might send Brahms as a measure of her gratitude, Clara had a ready suggestion. And so Princess Anna sent Brahms a treasure that would remain his prized possession for the rest of his life: Mozart’s manuscript of the Symphony No. 40 in G Minor.
Program notes are © Eric Bromberger, 2024
decades, and served as music director of California’s Ojai Music Festival in 2012. He was inducted into the Gramophone Hall of Fame in July 2013, and has received honorary doctorates from New York’s Juilliard School and Norway’s Universities of Bergen and Oslo.
This season, Andsnes performs Dvořák’s unjustly neglected piano cycle Poetic Tone Pictures, both on a new Sony Classical release and on high-profile recital tours of Europe and North America, with dates at such key venues as New York’s Carnegie Hall, London’s Wigmore Hall and Hamburg’s Elbphilharmonie.
ABOUT THE ARTISTS
Leif Ove Andsnes with Dover Quartet
In concert, he plays Debussy’s Fantaisie with the Cleveland Orchestra; showcases his interpretation of Grieg’s concerto with the Leipzig Gewandhaus, NDR Elbphilharmonie and London Philharmonic Orchestras; and performs Rachmaninov’s Third with ensembles including the Oslo Philharmonic and Royal Scottish National Orchestra. Among other 2022-23 highlights, Andsnes gives lieder recitals with baritone Matthias Goerne, with whom he recently received his eleventh GRAMMY® nomination.
Andsnes also continues his partnership with the Mahler Chamber Orchestra (MCO) on “Mozart Momentum 1785/86.” A major multi-season project exploring one of the most creative and seminal periods of the composer’s career, this sees the pianist lead the ensemble from the keyboard in accounts of Mozart’s Piano Concertos Nos. 20–24 at London’s BBC Proms and other key European venues, as well as recording them for Sony Classical. The project’s first album, MM/1785, was named “Record of the Week” by BBC Radio 3 and “Recording of the Month” by Gramophone magazine, which pronounced the second volume, MM/1786, “some of the finest Mozart-playing on the planet.” “Mozart Momentum 1785/86” marks Andsnes’s second artistic partnership with the MCO, following the success of “The Beethoven Journey.” An epic fourseason focus on the composer’s music for piano and orchestra, this
took the pianist to 108 cities in 27 countries for more than 230 live performances, and is perhaps his most ambitious achievement to date. He led the MCO from the keyboard in complete Beethoven concerto cycles at high- profile residencies in Bonn, Hamburg, Lucerne, Vienna, Paris, New York, Shanghai, Tokyo, Bodø and London, besides collaborating with such leading international ensembles as the Los Angeles Philharmonic, San Francisco Symphony, London Philharmonic and Munich Philharmonic. The project was chronicled in the documentary Concerto – A Beethoven Journey (2016), and Andsnes’s partnership with the MCO was captured on the hit Sony Classical three-volume
series The Beethoven Journey. The first volume was named iTunes’ Best Instrumental Album of 2012 and awarded Belgium’s Prix Caecilia, the second recognized with BBC Music’s coveted “2015 Recording of the Year Award,” and the complete series chosen as one of the “Best of 2014” by the New York Times
Andsnes now records exclusively for Sony Classical. His previous discography comprises more than 30 discs for EMI Classics – solo, chamber, and concerto releases, many of them bestsellers – spanning repertoire from the time of Bach to the present day. He has been nominated for eleven GRAMMY®s and awarded many international prizes, including six Gramophone Awards. His recordings of the music of his compatriot Edvard Grieg have been especially celebrated: the New York Times named Andsnes’s 2004 recording of Grieg’s Piano Concerto with Mariss Jansons and the Berlin Philharmonic a “Best CD of the Year,” the Penguin Guide awarded it a coveted “Rosette,” and both that album and his disc of Grieg’s Lyric Pieces won Gramophone Awards. His recording of Mozart’s Piano Concertos Nos. 9 and 18 was another New York Times “Best of the Year” and Penguin Guide “Rosette” honoree. He won yet another Gramophone Award for Rachmaninov’s Piano Concertos Nos. 1 and 2 with Antonio Pappano and the Berlin Philharmonic. A series of recordings of Schubert’s late sonatas, paired with lieder sung by Ian Bostridge, inspired
lavish praise, as did the pianist’s world-premiere recordings of Marc-André Dalbavie’s Piano Concerto and Bent Sørensen’s The Shadows of Silence, both of which were written for him. Chopin: Ballades & Nocturnes and the Billboard best-selling Sibelius, both recorded for Sony, his recent releases include Stravinsky: The Rite of Spring & other works for two pianos four hands, recorded with Marc-André Hamelin for Hyperion, and Schumann: Liederkreis & Kernerlieder, recorded with Matthias Goerne for Harmonia Mundi, both of which were nominated for GRAMMY® Awards.
Andsnes has received Norway’s distinguished honor, Commander of the Royal Norwegian Order of St. Olav, and in 2007, he received the prestigious Peer Gynt Prize, awarded by members of parliament to honor prominent Norwegians for their achievements in politics, sports, and culture. In 2004-05, he became the youngest musician (and first Scandinavian) to curate Carnegie Hall’s “Perspectives” series, and in 2015-16 he was the subject of the London Symphony Orchestra’s Artist Portrait Series. Having been 2010-11 Pianistin-Residence of the Berlin Philharmonic, he went on to serve as 2017-18 Artist-in- Residence of the New York Philharmonic and 2019-20 Artist-in-Residence of Sweden’s Gothenburg Symphony. He is the recipient of the Royal Philharmonic Society’s Instrumentalist Award and the
ARTISTS
ABOUT THE
Leif Ove Andsnes with Dover Quartet
Gilmore Artist Award, and, saluting his many achievements, Vanity Fair named Andsnes one of the “Best of the Best” in 2005.
Leif Ove Andsnes was born in Karmøy, Norway in 1970, and studied at the Bergen Music Conservatory under the renowned Czech professor Jirí Hlinka. He has
Dover Quartet
Named one of the greatest string quartets of the last 100 years by BBC Music Magazine, the twotime GRAMMY-nominated Dover Quartet is one of the world’s most in-demand chamber ensembles.
The Dover Quartet is the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music and holds additional residencies at the Bienen School of Music at Northwestern University and the Walton Arts Center’s Artosphere festival. The group’s awards include a stunning sweep of all prizes at the 2013 Banff International String Quartet Competition, grand and first prizes at the Fischoff Chamber Music Competition, and prizes at the Wigmore Hall International String Quartet Competition. Its honors include the prestigious Avery Fisher Career Grant, Chamber Music America’s Cleveland Quartet Award, and Lincoln Center’s Hunt Family Award.
The Dover Quartet’s 2023-24 season includes a North American tour with Leif Ove Andsnes, perfor-
also received invaluable advice from the Belgian piano teacher Jacques de Tiège, who, like Hlinka, greatly influenced his style and philosophy of playing. Today Andsnes lives with his partner and their three children in Bergen. He is an Artistic Adviser at the city’s Prof. Jirí Hlinka Piano Academy, where he gives a masterclass to participating students each year.
mances with Haochen Zhang and David Shifrin, and a tour to Europe and Israel. A sought-after ensemble, recent collaborators include Emanuel Ax, Inon Barnaton, Ray Chen, the Escher String Quartet, Bridget Kibbey, Anthony McGill, Edgar Meyer, the Pavel Haas Quartet, Roomful of Teeth, and Davóne Tines. In 2022, the quartet premiered Steven Mackey’s theatrical-musical work Memoir, alongside arx duo and actor-narrator Natalie Christa. They also recently premiered works by Mason Bates, Marc Neikrug, and Chris Rogerson.
The Dover Quartet’s highly acclaimed three-volume recording, Beethoven Complete String Quartets (Cedille Records), was hailed as “meticulously balanced, technically clean-as-a-whistle and intonationally immaculate” (The Strad). The quartet’s discography also includes Encores (Brooklyn Classical), a recording of 10 popular movements from the string quartet repertoire; The Schumann Quartets (Azica Records), which
was nominated for a GRAMMY for Best Chamber Music/Small Ensemble Performance; Voices of Defiance: 1943, 1944, 1945 (Cedille Records); and an all-Mozart debut recording (Cedille Records), featuring the late Michael Tree — longtime violist of the Guarneri Quartet. Voices of Defiance, which explores works written during World War II by Viktor Ullman, Dmitri Shostakovich, and Simon Laks, was lauded as “undoubtedly one of the most compelling discs released this year” (The Wall Street Journal).
The Dover Quartet draws from the lineage of the distinguished Guarneri, Cleveland, and Vermeer quartets. Its members studied at the Curtis Institute of Music, Rice University’s Shepherd School of Music, the New England Conservatory, and the Conservatoire Supérieur de Musique et de Danse de Paris. They were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. The Dover Quartet was formed at Curtis in 2008; its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber.
The Dover Quartet’s faculty residency at Curtis integrates teaching and mentorship, a robust international performance career, and a cutting-edge digital presence. The innovative residency allows Curtis to reinvigorate its tradition of maintaining a top-quality professional string quartet on its faculty, while providing resources for the
ensemble to experiment with new technologies and engage audiences digitally. Working closely with students in the Nina von Maltzahn String Quartet Program, the Dover Quartet coaches and mentors the most promising young string quartets to nurture a new generation of leading professional chamber ensembles.
The Dover Quartet plays on the following instruments and proudly endorses
Thomastik-Infeld strings:
• Adam Barnett-Hart: Giofreddo Cappa, 1710
• Bryan Lee: Riccardo Antoniazzi, Milan, 1904; Samuel Zygmuntowicz, Brooklyn, 2020
• Julianne Lee: Robert Brode, 2005
• Camden Shaw: Joseph Hill, London, 1770
DoverQuartet.com
On Facebook, Instagram, and YouTube @DoverQuartet
Curtis.edu/DoverQuartet
The Dover Quartet appears by arrangement with the Curtis Institute of Music, where it serves as the Penelope P. Watkins Ensemble in Residence.
ABOUT THE ARTISTS
Dionne Warwick
SUNDAY | 09.29.2024 | 5 PM
Soka Performing Arts Center
Join us for an unforgettable evening with six-time GRAMMY® Award winner Dionne Warwick as she kicks off the 20242025 season at Soka Performing Arts Center. Known for her timeless hits “Do You Know the Way to San Jose”, “I’ll Never Fall in Love Again”, “Walk On By”, “I Say a Little Prayer” and more, Warwick’s soulful voice and captivating stage presence are sure to enchant audiences of all ages.
2024-25 SEASON OPENER
TICKETS & INFORMATION HERE
949-480-4278
soka.edu/pac tickets@soka.edu
Our mission is to Engage, Educate, and Elevate the Human Spirit
Soka Performing Arts Center strives to elevate humanity through transcendent experiences. Come experience our exquisite acoustics. Come to expand your understanding and appreciation of music. Come to forge community and emotional connections through the shared experience of live music.
Soka Performing Arts Center Mission Statement
Listen. Feel. Transform.
Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,032seat Concert Hall featuring world-class acoustics designed by master acoustician Yasuhisa Toyota, designer of the Walt Disney Concert Hall in Los Angeles and Suntory Hall in Tokyo, among many others. We also have an intimate 350-seat Black Box Theatre that allows for multiple seating configurations including club seating with bistro tables.
More than 750 performances have taken place since the center’s dedication on May 27, 2011. The 2023-24 season marks our twelfth season presenting first-class programming in our world-class concert hall. We are continuing to expand our programming and outreach with the addition of a Children’s Concert Series, Blues Festival, and the only Great Pianists Series on the West Coast. From classical and jazz to world and contemporary music, the Soka Performing Arts Center has become a prized space for artists and audiences alike.
We are proud to be the home of the Pacific Symphony Chamber Orchestra. Our Sundays @ Soka Series with Pacific Symphony continues to be one of our most popular series year after year. Our presentations with other Orange County arts organizations have enabled us to reach further into our community to offer arts education and programming. Our partnership with the Philharmonic Society of Orange County includes our PSOC Series, which brings superlative artists to our stage. We also partner with PSOC for our Outreach Program, bringing over 7,000 school children to Soka Performing Arts Center to experience live performances with outstanding musicians.
With its world-class acoustics and first-class performances, Soka Performing Arts Center is quickly becoming one of the cultural jewels of Orange County.
ABOUT SOKA PERFORMING ARTS CENTER
OUR SUPPORTERS
DIRECTOR’S CIRCLE ($75,000+)
Dr. Kenneth & Sandra Tokita
Sam & Lyndie Ersan
CONCERTMASTER ($10,000+)
Ms. Emi Maeda
STAGE CHAMPION ($5000+)
Anonymous
STAGE BENEFACTOR ($1000+)
John and Sue Prange
Terumi Saito
Jochen Schumacher
Scott A Shuping
GOLD CLEF ($500+)
Jeffrey Hendrix
Jane A. Lynch
Alex & Sandy Scott
SILVER CLEF ($200+)
Lorraine Leiser
Anson and Marilyn Wong
BRONZE CLEF ($25+)
Raquel Bruno
Sammy Chang
Judy Kaufman
Jeannette Pease
Thomas Prigorac
Jonia Suri
Naomi Uchiyama
Joseph Whitaker
Joyce M Wrice
Taro Yamanashi
List current as of 02/14/2024
The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renee Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.
DONORS
SOKA PERFORMING ARTS CENTER
OUR PARTNERS
• Blueport Jazz
• Philharmonic Society of Orange County
• Pacific Symphony
• San Diego Symphony
• Parnassus Society
Soka PAC MANAGEMENT TEAM
Renée Bodie General Manager & Artistic Director
John Morgan Box Office Manager
Jarmil Maupin Technical Services Manager
Jenski Nguyen Stage Manager
Madeline Webb Lighting Technician
Hiroyuki Connor Miki Internal Events Manager
Jaime Spataro Marketing & Communications Manager
Joe Nicholls Marketing & Communications Assistant
Steve Baker Interim Production/House Manager
SokaPAC
@SokaPAC
SokaPerformingArtsCenter
@SokaPAC
Website
Soka.edu/pac
SOKA UNIVERSITY OF AMERICA BOARD OF TRUSTEES
Soka Performing Arts Center resides on the beautiful campus of Soka University of America. We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.
SUA BOARD OF TRUSTEES
Steve Dunham, JD
Chair Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland
Tariq Hasan, PhD
Vice Chair Chief Executive Officer, SGIUSA | New York, New York
Andrea Bartoli, PhD
President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York
Matilda Buck
Benefactor | Los Angeles, California
Lawrence E. Carter, Sr, PhD, DD, DH, DRS
Dean, Professor of Religion, College
Archivist and Curator, Morehouse College | Atlanta, Georgia
Andy Firoved
CEO, HOTB Software | Irvine, California
Jason Goulah, PhD
Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois
Clothilde V. Hewlett, JD
Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California
Lawrence A. Hickman, PhD
Director Emeritus, The Center for Dewey Studies and Professor Emeritus, Department of Philosophy, Southern Illinois University Carbondale | Carbondale, Illinois
Kris Knudsen, JD
Attorney | Wilsonville, Oregon
Karen Lewis, PhD
Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania
Luis Nieves
Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California
Gene Marie O’Connell, RN, MS
Health Care Consultant, Associate Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California
Adin Strauss
General Director, Soka Gakkai International-USA | Santa Monica, California
Yoshiki Tanigawa
Benefactor, Soka Gakkai | Tokyo, Japan
Edward M. Feasel, PhD
President, Soka University of America (ex-officio member) | Aliso Viejo, California
SUA LEADERSHIP COUNCIL
Edward M. Feasel, PhD
President
Chief Academic Officer
Professor of Economics
Archibald E. Asawa
Executive Vice President for Finance and Administration
Chief Financial Officer
Chief Investment Officer
Katherine M. King, PHR
Executive Vice President of University Community
Chief Human Resources Officer
Title IX and Section 504 Coordinator for Faculty, Staff and Others
Michael Weiner, PhD
Executive Vice President for Academic Affairs
Professor of East Asian History & International Studies
Kevin Moncrief, PhD
Vice President for Mission Integration
Bryan E. Penprase, PhD
Vice President for Sponsored Research and External Academic Relations
Professor of Physics and Astronomy
Tomoko Takahashi, PhD, EdD, LHD
Vice President for Institutional Research and Assessment
Dean of the Graduate School
Professor of Linguistics and Education
David Welch, JD
Vice President
University Counsel
M. Robert Hamersley, PhD
Dean of Faculty
Professor of Environmental Biogeochemistry
Hyon J. Moon, EdD
Dean of Students
Title IX and Section 504 Deputy Coordinator for Students
Michelle Hobby-Mears, MBA
Associate Dean of Students
Director of Student Activities
Andrew Woolsey, EdD
Dean of Enrollment Services
Martin Beck, MA
Executive Director of Strategic Marketing and Communications
SUA LEADERSHIP COUNCIL
Concessions
A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission in the lobby.
Classic Manhattan
We asked the artist for their favorite drink pick to feature at concessions!
The Classic Manhattan was chosen by The Dover Quartet and will be available for purchase before the performance and during intermission
Brut Champagne
We asked the artist for their favorite drink pick to feature at concessions!
Brut Champagne was chosen by Leif Ove Andsnes and will be available for purchase before the performance and during intermission
Click here for menu and to order
Pre-order your concessions for intermission and skip the line ahead of time!
Concessions provided by FPG Events
CONCESSIONS
