HSO Program Book 1 2019-2020

SYMPHONIE FANTASTIQUE! Sandy Cameron, violin

SYMPHONIE FANTASTIQUE! SATURDAY, SEPTEMBER 21 / 7:30 PM SUNDAY, SEPTEMBER 22 / 4:00 PM

COUNTRY LEGENDS

FRIDAY, SEPTEMBER 27 / 7:30 PM

NORTHERN LIGHTS

SATURDAY, SEPTEMBER 28 / 7:30 PM SUNDAY, SEPTEMBER 29 / 4:00 PM

THE MUSIC OF QUEEN

FRIDAY, OCTOBER 18 / 7:30 PM SATURDAY, OCTOBER 19 / 7:30 PM

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DANNY ELFMAN, COMPOSER AND SANDY CAMERON, VIOLIN - PAGE 8

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MASTERWORKS I | musicthatPOPS I | MASTERWORKS II | musicthatROCKS I

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On the cover: Halekulani Masterworks I: Violinist Sandy Cameron MASTERWORKS SPONSOR: HALEKULANI

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PROGRAM BOOK 1

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Executive Director’s Message 2019/2020 HSO Roster Halekulani Masterworks I

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Halekulani Masterworks II

PAGE 22 - SOYEON KATE LEE

CONTENTS

Symphonie Fantastique!

Guest Artists and Program Notes

musicthatPOPS I

Country Legends: Featuring Rachel Potter & Patrick Thomas Northern Lights Guest Artists and Program Notes

musicthatROCKS I The Music of Queen

HSO Associates HSO Donors Tribute List ʻŌhiʻa Lehua Society HSO Board/Staff Season Opening Gala Mahalo!

HSO Sponsors

Tickets and Patron Services 3610 Waialae Avenue, Honolulu, HI 96816 Monday - Friday, 8:30 am - 4:30 pm 94-MUSIC (808) 946-8742 tickets@hawaiisymphonyorchestra.org HISymphony.org

CONNECT WITH US HAWA I‘ I SYMPHONY ORCHESTRA

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I am so grateful to have been a part of this effort, from musician to advocate to manager.

So as I prepare to depart for a new adventure in November, I want to congratulate you on what we have achieved so far, and encourage you to continue the effort. We’ve come a long way since that first concert in 2012, but there is still much to do to secure the future.

It has been an enormous privilege to play a role in the development of the Hawai‘i Symphony Orchestra. Thank you for supporting me in that role and for your generous support of the HSO. Please enjoy the season we have planned for you.

J O N AT H A N PA R R I S H

As we embark on our eighth season, one that will color your world with music from now until June, I want to thank each of you for the support and good will that has allowed the dream of a new HSO to become a reality. We owe an enormous debt to the musicians, past and present, who have consistently provided us with excellent performances. The small, but mighty, HSO staff has worked tirelessly and the board has steadfastly faced the daunting challenges of rebuilding our orchestra.

EXECUTIVE DIRECTOR

WELCOME TO OUR 2019/2020 SEASON

Me ka mahalo nui! n

Jonathan Parrish Executive Director Hawai‘i Symphony Orchestra

HAWA I‘ I SYMPHONY ORCHESTRA

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JOANN FALLETTA | ARTISTIC ADVISOR

Fixed Violin I Member ** Fixed Violin II Member *

VIOLA

Mark Butin, Principal Steven Flanter, Associate Principal Colin Belisle Jean-Michel Jacquon Carlo Malanima^ Rebecca Matayoshi Lynn Tamayoshi^ Melvin Whitney Anna Womack Sandra Wong

CELLO

Mark Votapek, Principal Sung Chan Chang, Associate Principal Pauline Bai Anna Callner ^ Karen Fujimoto Cello (Qiele) Guo Jeff Hamano^ Nancy Masaki Joshua Nakazawa Tugce Bryant^

DOUBLE BASS

John Gallagher, Acting Principal Matthew Love, Acting Associate Principal Vladimir Bernstein^ Hayden Joyce^ John Kolivas Randy Wong^ Sayuri Yamamoto

FLUTE

Susan McGinn, Principal Claire Starz Butin, Associate Principal

TRUMPET Zach Silberschlag, Acting Principal ^ Jo Ann Lamolino, Associate Principal Brian Prunetta

TROMBONE

Jason Byerlotzer, Principal Michael Maier, Acting Associate Principal^

BASS TROMBONE Rudi Hoehn^

TUBA

PICCOLO/3RD FLUTE Edna Jeon^

T.J. Ricer, Acting Principal^

OBOE J. Scott Janusch, Principal Michelle Feng, Associate Principal

Brad Davis, Principal Chris Cabrera, Associate Principal

ENGLISH HORN/3 OBOE Leo Ziporyn^ RD

CLARINET Louis DeMartino, Principal Norman Foster James F. Moffitt, Associate Principal E-FLAT CLARINET Norman Foster BASS CLARINET James F. Moffitt BASSOON Tommy Morrison, Acting Principal^ Philip Gottling III

TIMPANI

PERCUSSION

Becca Laurito, Principal Jordan Schifino, Associate Principal Chris Cabrera

H AWA I ‘ I SY M P H O N Y O R C H E ST R A

Ignace Jang, Concertmaster Claire Sakai Hazzard, Associate Concertmaster Judy Barrett, Assistant Concertmaster Hung Wu, Principal Violin II Darel Stark, Associate Principal Violin II Asia Doike^ Nikki Ebisu^ Rami Gepner Katharine Hafner* Helen Higa** Alexandra Khamiovich^ Ki Won Kim Timothy Leong Michael Lim Helen Liu Yuseon Nam Daniel Padilla Maile Reeves* Rachel Saul Schifino Sheryl Shohet Nancy Shoop-Wu Mio Unosawa Herzog* Emma Votapek* Fumiko Wellington Duane White

2019 / 2020 ROSTER

VIOLIN

HARP

Constance Uejio, Principal

ORCHESTRA LIBRARIAN Kim Kiyabu, Principal

PERSONNEL MANAGER Mark Breitenbach °

on leave one year position

^

PHOTO BY: JOHN KUAMO‘O

CONTRABASSOON Philip Gottling III HORN Anna Lenhart, Principal Jamie Sanborn Acting Associate Principal^ Colton Hironaka, Assistant Principal^ Marie Lickwar^ George Warnock Eric Kop

For more information about the Hawai‘i Symphony Orchestra or about the individual musicians, please visit: HISymphony.org/hawaiis-symphony/the-musicians The musicians employed by the Hawai‘i Symphony Orchestra are members of the Musicians’ Association of Hawai‘i, Local 677 of the American Federation of Musicians.

HAWA I‘ I SYMPHONY ORCHESTRA

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PHOTO BY: MARGARET MALANDRUCCOLO

H A L E K U L A N I M A ST E R WO R K S

SYMPHONIE FANTASTIQUE!

SATURDAY SEPTEMBER 21 | 7:30PM SUNDAY SEPTEMBER 22 | 4:00PM

Michael Stern conductor

Sandy Cameron violin

American conductor, Michael Stern returns to lead a grand-opening symphonic celebration featuring Berlioz’s epic Symphonie Fantastique. Danny Elfman’s Violin Concerto, Eleven Eleven, brings his dramatic flair to his first true orchestra work performed by the dynamic, show-stopping violinist, Sandy Cameron.

Danny Elfman, of Batman, The Simpsons, and of course Nightmare Before Christmas, will attend both Season Opening performances, be part of the Concert Conversations as well as sign CDs in the lobby with Violinist Sandy Cameron during intermission.

AARON COPLAND Fanfare for the Common Man

SPECIAL MAHALO Concert Sponsor

DANNY ELFMAN Concerto for Amplified Violin and Orchestra (Eleven Eleven) I. II. III. IV.

Grave. Animato Spietato Fantasma Giocoso. Lacrimae

— INTERMISSION — HECTOR BERLIOZ Symphonie Fantastique I. II. III. IV. V.

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Rêveries – Passions. Largo – Allegro agitato e appassionato assai – Religiosamente Un bal. Valse. Allegro non troppo Scène aux champs. Adagio Marche au supplice. Allegretto non troppo Songe d’une nuit de sabbat. Larghetto – Allegro

We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance. Intermission is 20 minutes.

Once the performance has begun, seating is at the discretion of the house.

H I S Y M P H O N Y. O R G

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Michael Stern conductor Conductor Michael Stern is Music Director of the Kansas City Symphony and Founding Artistic Director and Principal Conductor of the IRIS Orchestra.

Michael Stern and Kansas City have been hailed for their remarkable artistic ascent, original programming, organizational development and stability, and the extraordinary growth of its varied audiences since his tenure began. Stern and the orchestra have partnered with Grammy® Award-winning Reference Recordings for a series of very well received CDs, including a new recording of works by American composer Adam Schoenberg, Gustav Holst’s “The Planets,” and albums of Elgar, Sibelius, and Saint-Saens.

IRIS Orchestra in Germantown, Tennessee is known for the virtuosity of its playing, and the depth and variety of its programming, with special emphasis on American contemporary music. Under Stern’s direction, IRIS has commissioned and premiered works by William Bolcom, Chris Brubeck, Richard Danielpour, Stephen Hartke, Edgar Meyer, Jonathan Leshnoff, Ned Rorem, Huang Ruo, amongst others, and has released recordings on the Naxos and Arabesque labels.

Guest engagements in the 2018/19 season for Michael Stern include leading the New York Philharmonic in the film score to The Red Violin with Joshua Bell as soloist, and concerts at the Stern Violin Competition in Shanghai. He conducts the Guangzhou Symphony Orchestra as part of Youth Music Culture Guangdong with Yo Yo Ma, and subscription weeks with the Stamford and Tucson Symphonies, and the Boca Raton Symphonia.

Stern’s 2018 summer included leading the score to The Red Violin with Joshua Bell at the Saratoga Performing Arts Center with the Philadelphia Orchestra, at the Ravinia Festival, the Chautauqua Festival and Napa Valley Festival del Sole; a return to the National Repertory Orchestra, and a concert at the Manchester Music Festival.

Michael Stern has conducted the Atlanta, Baltimore, Chicago, Cincinnati, Houston, Indianapolis, National, Montreal, Pittsburgh, St. Louis, Seattle and Boston symphonies, the Cleveland and Philadelphia orchestras, as well as the New York Philharmonic. He also appears regularly at the Aspen Music Festival and has served on the faculty of the American Academy of Conducting at Aspen.

He has led the major orchestras in London, Stockholm, Paris, Helsinki, Budapest, Israel, and Moscow, Taiwan, and Tokyo, et al. Stern has been Chief Conductor of Germany’s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra’s history), Permanent Guest Conductor of the Orchestre National de Lyon in France, and Principal Guest Conductor of the Orchestre National de Lille, France. n

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maestro

H I S Y M P H O N Y. O R G

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Sandy Cameron violin Declared “brilliant” by the Washington Post, violinist SANDY CAMERON is one of the most strikingly unique artists of her generation. Since her debut at the age of 12 in Eindhoven, The Netherlands, Sandy has performed extensively as a soloist throughout the world. Here are some personal highlights of Sandy’s work: Places: The White Nights Festival in St. Petersburg, Russia, when the sun would barely set, was one of the first of a number of unique performance experiences Ms. Cameron has had. Another standout was her first time to Australia, performing at the Adelaide Festival of the Arts. Performing in an Olympic stadium in South Korea and bringing world premiere performances to Tokyo have also been very special. Additionally, Ms. Cameron has enjoyed playing in David Geffen Hall at Lincoln Center, the Kennedy Center in Washington, D.C., the Hollywood Bowl in Los Angeles, Royal Albert Hall in London, and the Elbphilharmonie in Hamburg, Germany.

Orchestras: The Seattle Symphony and the Kirov Orchestra were the first two great orchestras Ms. Cameron had the privilege of performing with. Since then, collaborations have included the San Diego Symphony, Colorado Symphony Orchestra, Royal Liverpool Philharmonic, Tokyo Philharmonic, and the National Symphony Orchestra, among others.

Projects: The most rewarding experience of Ms. Cameron’s career is Danny Elfman’s Violin Concerto, Eleven Eleven.

Danny wrote this concerto for Ms. Cameron, and she had the great pleasure and honor of presenting the world premiere with conductor John Mauceri at the Prague Proms in June 2017. It was received with great success, and they had the luxury of continuing that success in Hamburg at the Elbphilharmonie. She first began working with Mr. Elfman while performing with the Los Angeles based Cirque du Soleil show, “IRIS”, which ran from 2011-2013. Since Cirque, she’s had a number of exciting experiences which include performing Tan Dun’s Martial Arts Trilogy, touring globally with renowned trumpeter-composer Chris Botti, as a featured soloist in Austin Wintory’s score to the video game Assassin’s Creed: Syndicate, and a number of featured solo appearances in concert productions such as Danny Elfman’s Music from the Films of Tim Burton, Disney’s The Nightmare Before Christmas Live in Concert, Disney’s The Little Mermaid Live in Concert, and Willy Wonka and the Chocolate Factory Live in Concert, all at the Hollywood Bowl.

The outstanding violin played by Ms. Cameron, crafted by Pietro Guarnerius of Venice, c. 1735, is on extended loan through the generous efforts of the Stradivari Society ® of Chicago. n COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox, President – Alison Williams, Vice President – Erika Noguchi, Associate Manager 5 Columbus Circle @ 1790 Broadway, New York, NY 10019 www.Columbia-Artists.com.

violin

HAWA I‘ I SYMPHONY ORCHESTRA

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PROGRAM NOTES SYMP HO NIE FAN TAST I Q U E !

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HAL E KU L A N I M A STERWORKS I

FANFARE FOR THE COMMON MAN Aaron Copland Before John Williams composed his Olympic Fanfare, Copland’s Fanfare for the Common Man was known to the American public because of its use by television in conjunction with the Olympic Games. Actually, the three-minute Fanfare is a firmly patriotic call to unity. Copland wrote it early in 1942, shortly on the heels of the Japanese bombing of Pearl Harbor. In this brief, effective Fanfare, Copland struck a powerful nerve with the American public, and made an important statement about our country’s tenacity and spirit. Fanfare honors not the hero of battle, but the shared efforts of a nation strapped by wartime conflict. Copland’s colorful scoring for brass and percussion has made Fanfare a favorite showpiece for those sections of the orchestra.

b. Brooklyn, New York 14 November, 1900 d. Tarrytown, New York 2 December, 1990 First performed by the HSO 1987

Approximate Duration 3 minutes

Fanfare for the Common Man was premiered during the 1942-43 season of the Cincinnati Symphony under Eugene Goossens as part of a Fanfare project, whose other composers included Paul Creston, Henry Cowell, Howard Hanson, Walter Piston, Deems Taylor, Virgil Thomson and Bernard Wagenaar. Goossens had catalyzed a similar project in Britain during the First World War, and sought an analogous effort to produce “stirring and significant contributions to the war effort.”

Copland later incorporated the Fanfare into his Third Symphony (1946).

The score calls for four horns, three trumpets, three trombones, tuba, timpani, bass drum, and tam tam. n —Laurie Shulman © 2019 Speaking of the Fanfare, Aaron Copland later wrote, “The challenge was to compose a traditional fanfare, direct and powerful, yet with a contemporary sound.” To the ultimate delight of audiences Copland managed to weave musical complexity with popular style. Copland’s musical opus, for which he received the 1964 Medal of Freedom, also included such masterworks as “Piano Variations” (1930), “El Salon Mexico” (1936), “Billy the Kid” (1938), “Fanfare for the Common Man” (1942), “Rodeo” (1942), “Appalachian Spring” (1944), and “Inscape” (1967). n Aaron Copland at the piano in his studio in Ossining, New York. Victor Kraft, photographer, ca 1958.

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H I S Y M P H O N Y. O R G

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CONCERTO FOR AMPLIFIED VIOLIN AND ORCHESTRA (“ELEVEN ELEVEN”) Danny Elfman We don’t hear a great deal of music on classical concerts from a rock musician. Danny Elfman was the lead singer and song writer for the new wave/performance art group Oingo Boingo from 1974 to 1995. He has become a significant figure in the film and television music industry, having written the scores for The Nightmare Before Christmas, Men in Black, Milk, and Good Will Hunting, among others.

An early crossover project in the classical realm was Serenada Schizophrana for the American Composers Orchestra in 2004. American conductor John Mauceri recorded the Serenada , a collaboration that bore fruit in The Overeager Overture, which Elfman composed for Mauceri and the Hollywood Bowl Orchestra.

Eleven-Eleven followed in 2017, an unusual international consortium commission of the Prague Proms, Stanford Symphony, and Royal Scottish National Orchestra. Elfman composed it for violinist Sandy Cameron, who has since recorded it under Mauceri’s direction. Elfman views this concerto as a turning point in terms of keeping his balance with film music while pushing himself out of his comfort zone.

A chance for me to run amok, so to speak, and to let my instincts off the leash.

This concerto was my first time focusing on music specifically for symphony orchestra without electronics and custom or rare ethnic instruments.

Also, I had begun to feel that there was a disconnect between live concert audiences and film music audiences. I set out to write a piece that might prove challenging to a film music fan’s ear, but with enough energy and melody to keep them engaged, while also being complex and varied enough for a classical listener’s ear. [I sought to] combine these two worlds, the coalescence of which is essentially who I am.

The violin concerto commission caught me off guard. The violin is, to me, a very intimidating solo instrument, and violin concertos were not a really a part of my classical listening. So, of course, I agreed; the challenge was too great to pass up. It became abundantly clear: writing a violin concerto would require far more discipline than anything I had done previously and would be even more difficult to execute than I’d imagined. I love difficult.

I was interested in finding a fusion of early 20th-century “postRomanticism” – using melody in a lyrical way, as the Russian composers

b. Los Angeles, CA 29 May 1953 These performances are an HSO premiere Approximate Duration 40 minutes

were so adept at doing – with the modern rhythms and harmonies of late 20th-century music. As I sketched, the form emerged: four movements, with symmetry in the overall composition. The first and fourth movements would share thematic material and be romantically influenced. The second and third movements would move in two different directions stylistically, to create some strong contrast. Every movement would hand off at least one melodic part to the next.

I had known Sandy Cameron for several years. Writing the violin concerto was a collaborative process. She wanted something emotionally and physically demanding, I found that there was almost nothing she couldn’t tackle.

– © Danny Elfman The title grew out of a guessing game between Cameron and Elfman as to how long the piece had become. It turned out to have precisely 1,111 measures. Plus, elf means eleven in German. n

HAWA I‘ I SYMPHONY ORCHESTRA

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MR. MAUCERI WROTE A NOTE FOR THE PREMIERE, AND HAS GRACIOUSLY AGREED TO ALLOW US TO QUOTE FROM IT. The music of Danny Elfman—music that has evolved from darkly dangerous rock and roll to full symphonic compositions—is his unique genius for melody, a willingness to be playful, and an empathetic resonance with the music of his time. And, unlike other composers who come to the concert hall or opera house from outside their domains, he always sounds like Danny Elfman. To this we now can add a deep river of emotion, first heard in the second movement of his Serenada Schizophrana (2004), and taken to even greater depths in the third movement of the violin concerto. Danny is, after all, a funny and serious guy, whose emotions live beneath the surface.

Danny Elfman is world famous as a film composer. Successful scoring for a picture requires many things, but the “hook” of a tune that takes on a life that is controlled by an edited visual drama requires a certain kind of composition that would not prove relevant to a stand-alone concerto. As a result, you might be immediately struck by how Danny has created melodies for this work that are free of any overt story, and have the potential to support long forms—in this case, a four-movement concerto lasting over forty minutes.

PHOTO BY: MARGARET MALANDRUCCOLO

There is darkness from the beginning and a sense of completion at the concerto’s end with its achingly beautiful elegiac conclusion. An electrical charge soon takes over the first movement and continues for the rest of the work. There is a fun-house and devilish homage to [film composer] Bernard Herrmann in the second movement, and an inadvertent kinship to the desolation of Act III of [Richard Wagner’s] Tristan in the third. Mind you, that dramatic use of an upward string melody followed by a deadly pause was Elfman’s idea. What Danny was expressing was the unknown echo of a gesture he had somehow found inside himself. And yes, you may laugh out loud when, in the last movement, you hear a quotation of the medieval chant Dies Irae, so often quoted by others like Mozart, Rachmaninoff, and Berlioz. Danny himself had used it in his score to The Nightmare Before Christmas. In this guise, it has been transformed into major mode: a joyous acceptance of death. How perfectly Danny Elfman! The violin concerto, with its wide embrace of the human condition, is a story well told in unique language you already know, and yet . . . n © 2019 John Mauceri Used with permission

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H I S Y M P H O N Y. O R G

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SYMPHONIE FANTASTIQUE Hector Berlioz For Hector Berlioz, Beethoven epitomized the power and expressive potential of the symphony. He was thrilled by Beethoven’s expansion of the symphonic concept in the “Pastoral” and “Choral” symphonies.

In France, a country where symphonic music took a subservient role to the all-important operatic stage, Berlioz set his unorthodox ambitions on carrying on the Beethovenian spirit. Berlioz’s passion for the literary works of Goethe and Shakespeare was to find lifelong expression in his symphonic music. The Symphonie Fantastique, while not directly based on either Shakespeare or Goethe, has become irrevocably associated with a Shakespearean actress on tour in Berlioz’s France.

1953

Approximate Duration 49 minutes

OPIUM AND HALLUCINATION As one might expect from such impassioned origins, the symphony is an intensely personal expression.

Written on the eve of the 1830 July Revolution, the Symphonie Fantastique is the quintessential expression of its age. Frankly autobiographical, it bears the subtitle “Episode in the Life of an Artist.” The basic premise is that a sensitive young artist, rejected by the woman he loves, has taken a potentially fatal dose of opium in a suicide attempt. Rather than

s

IN IRISH FEMME FATALE Harriet Smithson made her Parisian début in 1827 as Juliet and Ophelia, in English performances of Shakespeare’s plays. She created a sensation, and Berlioz, like all of Paris, flocked to the theatre to see her perform. Though he did not understand English well, Berlioz was sufficiently familiar with Romeo and Juliet and Hamlet to project his literary ardor onto the female protagonist of each. He fell headlong in love with the comely Irish actress. Starting in 1828, he wrote to her for almost two years, but she did not respond to even those letters he had taken the trouble to frame in English. The young composer’s romantic passion was undimmed. By February 1830 Berlioz was in such a keyedup emotional state that he “could scarcely endure -- or distinguish between -- moral and physical pain,” as he wrote to his father. In this agitated, precarious frame of mind, Berlioz began composing the Symphonie Fantastique. Two months later it was finished, the creative efflorescence of his unrequited love.

b. La-Côte-Saint-André, France 11 December, 1803 d. Paris, France 8 March, 1869 First performed by the HSO

WITH RESPECT TO AMPLIFICATION, MS. CAMERON ADDS: Danny Elfman’s concerto exhibits both the virtuosity of a soloist and the prowess of a symphony orchestra. He was eager to retain the robust qualities of both the soloist and the orchestra. To best experience his intention, this version of the concerto requires the use of a microphone by the soloist. The amplified sound is NOT in the interest of simply making the violinist loud. The level of amplification should be handled sensitively: the balance emulating what would otherwise be considered normal, and not be such that an audience would know the violinist is using a microphone. The level

should be subtle enough for the soloist to comfortably play quiet sections of the piece without feeling overexposed; at the same time, the soloist’s sound should always be present (but not overpowering) even when the full orchestra plays.

© Sandy Cameron The score calls for piccolo, two flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, a large percussion complement requiring four players, harp, celesta, solo violin, and strings. n HAWA I‘ I SYMPHONY ORCHESTRA

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despatching him to his destiny, the opium catalyzes a series of hallucinatory dreams reflecting the artist’s unstable state. These visions culminate in the nightmare-induced belief that he has murdered his beloved and is being led to the scaffold for execution.

Such lurid experiences process themselves in his drugged mind as music, which we hear.

We live in a society where such escapist drug use and suicide are unacceptable social behavior. But opium was not illegal in Berlioz’s day; it was widely prescribed as a pain-killer and far more readily available that it is today. Indeed, the 1822 publication of Thomas De Quincey’s Confessions of an English Opium Eater created quite a stir, and Goethe himself had contributed to the fashionable status of romantic suicide -- especially that inspired by unrequited love -- as early as 1774 with The Sorrows of Young Werther.

Berlioz was, one might say, on the cutting edge: unconventional enough to be deemed risqué, but stopping shy of the offensive.

BERLIOZ THE ICONOCLAST: BREAKING WITH TRADITION Musically this adventurous programme required considerable adjustments to the traditional four movement symphonic form. To begin with, Berlioz expanded his symphony to five movements. A precedent had been set with the Beethoven Sixth (“Pastoral”) symphony; Berlioz adopted that idea to allow for greater exploration of the hero’s different emotional states. Next, anticipating Wagner and to some extent Liszt, he assigned a musical theme to the beloved, calling it an idée fixe; the term is borrowed from psychology. This theme, introduced in the first movement and varied or transformed in each of the subsequent movements, becomes an integrating component that serves both structural and narrative purposes. As a recurrent melodic idea it makes the symphony a cyclic composition. As an auditory reminder of the programme, the idée fixe turns the Symphonie Fantastique into a dramatic work, even though it has no singers, actors, or staging. With this, his first unquestioned masterpiece, Berlioz turned a sharp corner with the romantic symphony and never looked back.

FIVE MOVEMENTS: A TOUR THROUGH BERLIOZ’S SYMPHONY Berlioz’s Symphonie Fantastique is in both C-major and c-minor, using that tonal ambiguity to heighten the sense of psychological imbalance. In the first movement our hero first encounters his ideal woman, the beloved, and

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capitulates to her charms. He starts out in a state of sadness, somewhat meditative, but his newfound obsessive passion wreaks great changes on him - and in the music.

In the next vision (the second movement) we are with our hero at a gala ball, where he glimpses the beloved through the crowd of dancing couples. The key changes to F-major for the appearance of the beloved; her impact on the artist is clear. Berlioz was proud of the effect that the Adagio (“Scene in the Country”) always had on the public and himself. Two shepherds (English horn and offstage oboe) discuss life in a mournful duet; thunder on the horizon disturbs the meditative atmosphere in an eloquent portent of impending doom.

The concluding two movements of the symphony are among the best-known excerpts in the entire symphonic literature. We see the dreamer marching to his own execution, having been condemned to death for the murder of his beloved. In the diabolical finale, witches and other ghoulish spectres assemble for a death orgy. Berlioz twists the idée fixe, distorting it to a macabre, spectral scherzo idea. Is this his revenge for unrequited love?

The last movement is famous for its incorporation of the medieval Dies Irae chant, with ophicleides brought in to reinforce the brass section. Berlioz quite rightly thought them ugly; his vulgarization of the chant melody was intentional. It is but one example of innovative orchestration in this remarkable orchestral showcase. The Symphonie Fantastique was also the first major orchestral work in which harp, English horn and bells were used.

The postscript to the Harriet Smithson story is that Berlioz did marry her in 1833, when her career was in decline. The marriage failed. Berlioz scholar Hugh MacDonald has raised the tantalizing possibility that another woman, Camille Moke, may have also figured in the tempestuous events that resulted in the Symphonie fantastique. She and Berlioz were involved in a liaison in the early months of 1830 and were briefly engaged. She later married Ignaz Pleyel, heir to the piano manufacturing firm. The possibility of an addition in the cast of characters sends us to the concert hall with an entirely fresh perspective on Berlioz’s youthful masterpiece.

The Symphonie Fantastique is scored for 2 flutes (second doubling piccolo), 2 oboes (second doubling English horn), 2 clarinets, 4 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, 2 ophicleides, timpani, bass drum, snare drum, cymbals, bells, 2 harps and strings. n —Laurie Shulman © 2019

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MUSICTHAT POPS I

COUNTRY LEGENDS

FRIDAY SEPTEMBER 27 | 7:30PM

Country Legends with Rachel Potter & Patrick Thomas Celebrating 75 Years of Country Music More than 75 years of country music will be showcased during the Country Legends concert. Nashville recording artists Rachel Potter (The X Factor) and Patrick Thomas (The Voice) will take the stage alongside Conductor Joe Stepec and your HSO to pay tribute to the greatest names in country music, such as Johnny Cash, Dolly Parton, Willie Nelson, Hank Williams, Garth Brooks, Faith Hill and many more.

The concert offers a guided tour of country music history, from Hank Williams’ Hey Good Lookin’ and Dolly Parton’s’ Jolene to Willie Nelson’s On the Road Again and Faith Hill’s Breathe. Along the way, there will also be songs by Loretta Lynn, John Denver, Carrie Underwood, and the Gambler himself, Kenny Rogers.

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We kindly ask you to silence all electronic devices. We don’t allow videos or photos while the musicians are performing, but we encourage you to record your experience and take advantage of our step-and-repeat backdrop in the lobby, take photos on the lanai, with guest guests during the meet and greet in the lobby, or from your seat before the show. You are free to take photos and videos all the way up until the performance begins. Intermission is 20 minutes. Once the performance has begun, seating is at the discretion of the house.

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S AV O R F A R M - F R E S H H AW A I I A N S P E C I A L T I E S

Joe Stepec conductor Joseph Stepec is a highly sought after conductor in Hawaiʻi. He is the current Music Director of the University of Hawaiʻi Symphony Orchestra, the symphony program director of the Hawaiʻi Youth Symphony as well as the conductor of that organization’s top orchestra, YS1, and the Artistic Director of the Pacific Music Institute.

As the director of the University of Hawaiʻi Symphony Orchestra he has given concerts collaborating with various ensembles throughout Hawaiʻi including the United States Marine Band in a performance of Respighiʻs Pines of Rome; he has also collaborated with orchestras nationally, most recently, a joint performance of Poulencʻs Gloria with the Weber State University Symphony and Chorus. Mr. Stepec has also worked frequently with the Hawaiʻi Symphony Orchestra and the Rochester Philharmonic Orchestra; in January 2019 he gave the premiere of a new translation of Stravinskyʻs LʻHistoire du Soldat, set in Colonial Hawaiʻi, with members of the Hawaiʻi Chamber Music Society. As the Symphony Program director of the Hawaiʻi Youth Symphony, Stepec oversees three orchestras and conducts YS1, the top youth orchestra in the state of Hawaiʻi. This year he will be giving concerts with the Hawaiʻi Youth Symphony in collaboration with the Hawaiʻi Symphony Orchestra and important and nationally recognized artists. As a violinist he has performed nationally and abroad. He was recently a conducting fellow at the Gstaad Menuhin Academy under the tutelage of Johannes Schlaefli and Jaap Van Zweden, the Music Director of the New York Philharmonic. Mr. Stepec is an active clinician; in 2018 he began the Hawaiʻi All State String Orchestra. Mr. Stepec received his degree in violin performance from Oberlin Conservatory, where he studied with Gregory Fulkerson, and in conducting at the Eastman School of Music with master teacher, Neil Varon. . n

maestro

Casey Thompson You may have seen Casey on the NBC Today show’s “Today’s Next Superstar” where she was hand selected by Warner Brothers execs to perform live on the show for eight weeks. This propelled her 15 year stage career touring with artists such as Ruben Studdard and Clay Aiken. Her song “Wake Up and Love Me” was selected as the theme for the hit Brazilian television show, Amor A Vida. n

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Jessica Sands

Jessica Sands started singing as soon as she learned how to talk.

Her father, ’50s teen idol Tommy Sands, was her introduction into the world of entertainment.

She trained classically at the University of Washington’s school of music and started performing professionally at the age of 17.

She moved to LA and studied voice with Broadway coach, Bob Garrett. She signed her first record deal at age 19, and for three years toured the world as the lead singer on a 5-star Japanese cruise ship. n

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Mycle Wastman

When Mycle Wastman sings, you’re instantly reminded of the great soul artists of the past with a touch of today’s pop undertones.

Growing up in Seattle, Mycle developed his chops early by singing with the Seattle Boys Choir. He was a front runner on Season 3 of NBC’s the Voice and shared the stage with the likes of Kenny Loggins, Chaka Khan, Frankie Beverly and Maze.

Hearing and seeing the energy that Mycle resonates when singing can be described in one short phrase...pure joy! n

H I S Y M P H O N Y. O R G

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Rachel Potter lead vocalist Rachel Potter, hailing from St. Petersburg, Florida, began her professional career at Walt Disney World, singing as Ariel, Belle and Nemo. Her first break into the world of musical theater came when she appeared on MTV’s Legally Blonde: The Search for Elle Woods, where she placed in the top 15. She had the honor of touring with the National Tour of the smash hit, Wicked, where she played the ever “popular,” Glinda. She later made her Broadway debut as Wednesday Addams in The Addams Family, playing opposite both Bebe Neuwirth and Brooke Shields as Morticia. Next, she originated the roll of the Mistress in the Tony Nominated revival of Evita, starring Ricky Martin and Michael Cerveris. She is featured on the Original Broadway Cast Recording singing her standout song, Another Suitcase in Another Hall.

With a piece of heart having always been in country music, she left behind the “Great White Way” to find her place among the neon lights of Music City. Potter went on to become a Top 12 finalist on season 3 of FOX’s The X Factor, earning international praise for her country rendition of Queen’s Somebody to Love. Her take on the classic tune, which has now reached over 40 million views on YouTube, is featured on her solo album, Not So Black and White. Rachel enjoyed a fruitful solo career, releasing 2 solo albums, being played on CMT, multiple viral cover videos, and being written up in Billboard, Rolling Stone, and Huffington Post, to name a few. She has many well known collaborations with the accapella groups VoicePlay and Voctave. For the past 4 years, she has been touring the country as a soloist with Country Legends, a symphony pops concert showcasing the last century’s most iconic country music, all performed with an orchestra.

She is now a member of the band Steel Union, a fresh country trio made up of herself, Josh Matheny and Donny Fallgatter. These three friends are making waves in Nashville and across the country, hooking audiences with their catchy melodies, impressive vocals, and infectious harmonies. Their debut, self-titled EP is available now wherever music is sold or streamed. For more info on Steel Union, please visit www.wearesteelunion.com.

Rachel resides in Nashville where she also works as a session singer, vocal coach, and headshot photographer. She is now playing her most important roll yet — “Mommy” to Jude. Follow her @therachelpotter. n

Patrick Thomas lead vocalist Patrick Thomas, a native of Colleyville, Texas, is a Nashville-based recording artist and was a finalist on Season 1 of NBC’s hit show The Voice. He recently made a guest appearance as a music city mentor on the first season of Lifetime Network’s Chasing Nashville. An accomplished pianist and guitarist, he was also a staff writer for Cornman Music/Warner Chappell from 2011-2013, signed with Brett James (Jesus Take the Wheel and We Went Out Last Night). Patrick also starred in the world premiere of The Hank Legacy produced by Studio Tenn out of Franklin, Tennessee, which enjoyed wide-spread critical acclaim and he spent time in New York starring as Billy Crocker in Anything Goes. Currently, Patrick stays busy writing music, touring as a band leader for a number of recording artists, as well as performing multiple times a week at the Big Bang Dueling Piano Bar in Nashville, Tennessee. Patrick is a featured soloist for Country Legends and has been seen with the Phoenix Symphony, Utah Symphony, Anchorage Symphony, Naples Philharmonic, Reno Philharmonic, Maryland Symphony, Tucson Symphony, Youngstown Symphony, Colorado Springs Symphony, Cape Symphony, Charleston Symphony, Heartland Festival Orchestra, Quad City Symphony, Ocean City Pops, and Calgary Philharmonic. He is also a graduate of Vanderbilt University’s Blair School of Music. n

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HAWA I‘ I SYMPHONY ORCHESTRA

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H A L E K U L A N I M A ST E R WO R K S

NORTHERN LIGHTS

SATURDAY SEPTEMBER 28 | 7:30PM SUNDAY SEPTEMBER 29 | 4:00PM

Carlos Miguel Prieto conductor

Soyeon Kate Lee piano

Carlos Miguel Prieto, Musical America’s 2019 Conductor of the Year and the brilliant pianist Soyeon Kate Lee return to perform an explosive program featuring the sounds and colors of the north. Grieg’s beloved piano concerto and this powerful symphony

by Sibelius will create a soundscape of Nordic spirit and beauty.

JEAN SIBELIUS Finlandia EDVARD GRIEG Piano Concerto

SPECIAL MAHALO Piano tuning for this performance courtesy of Alan Nishimura at Mozart Music House.

I. II. III.

Allegro molto moderato Adagio Allegro moderato molto e marcato

— INTERMISSION — JEAN SIBELIUS Symphony No. 2

I. Allegretto II. Tempo andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

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We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance. Intermission is 20 minutes.

Once the performance has begun, seating is at the discretion of the house.

H I S Y M P H O N Y. O R G

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musicthatPOPS SPONSOR

A

Very Merry Holiday

Celebrate the music of the holiday season in style as your HSO pulls out all the stops to make spirits bright, warm your heart and put you in a Very Merry Holiday mood. Santa will be available for photos.

Join us for our pre-concert all-inclusive party. Call the Box Office for more information.

TUESDAY / DECEMBER 10 / 7:30 PM

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Hawaii Theatre / Tickets from $27

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PHOTO BY: JOHN KUAMO‘O

Carlos Miguel Prieto conductor

Carlos Miguel Prieto was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterized by its dynamism and the expressivity of his interpretations. Prieto is recognised as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the Music Director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been Music Director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two month long series of summer programmes in Mexico City.

Prieto’s 2018-19 season includes his debuts with the National Symphony Orchestra, Washington, Orquesta Sinfónica de Castilla y León and the BBC National Orchestra of Wales. Amongst other engagements he returns to the Frankfurt Radio Symphony, the Hallé, Detroit Symphony, Royal Scottish National Orchestra, Bilbao Symphony and the Valencia Orchestra. He will also return to work with the National Youth Orchestra of Great Britain.

Other recent highlights include his debuts with the London Philharmonic Orchestra, the Minnesota Orchestra and the Los Angeles New Music Group and his returns to the NDR Elbphilharmonie, Royal Liverpool Philharmonic, Bournemouth Symphony Orchestra, Strasbourg Philharmonic and the Auckland Philharmonia.

Prieto is in great demand as a guest conductor with many of the top North American orchestra including Cleveland, Dallas, Toronto and Houston Symphony orchestras and has enjoyed a particularly close and successful relationship with the Chicago Symphony Orchestra.

Since 2002, alongside Gustavo Dudamel, Prieto has conducted the Youth Orchestra of the Americas, which draws young musicians from the entire American continent. A staunch proponent of music education, Prieto served as Principal Conductor of the YOA from its inception until 2011 when he was appointed Music Director.

In early 2010 he conducted the YOA alongside Valery Gergiev on the occasion of the 40th anniversary of the World Economic Forum at Carnegie Hall. In 2018 he conducted the orchestra on a tour of European summer festivals, which included performances at the Rheingau and Edinburgh festivals as well as Hamburg’s Elbphilharmonie.

Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him.

Prieto has an extensive discography that covers labels including Naxos and Sony. Recent Naxos recordings include Rachmaninov Piano Concerto No.2 & Études-tableaux Op.33, with Boris Giltburg and the RSNO, which won a 2018 Opus Klassik award and was listed as a Gramophone’s Critics’ Choice, 2017, and a recording of Korngold’s Violin Concerto, with violinist Philippe Quint and the Orquesta Sinfónica de Minería, which received two Grammy nominations. His recording of the Elgar and Finzi Violin Concertos with Ning Feng will be released on Channel Classics in November 2018. A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo. n

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H I S Y M P H O N Y. O R G

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Soyeon Kate Lee piano

First prize winner of the 2010 Naumburg International Piano Competition and the 2004 Concert Artist Guild International Competition, Korean-American pianist Soyeon Kate Lee has been lauded by The New York Times as a pianist with “a huge, richly varied sound, a lively imagination and a firm sense of style,” and by the Washington Post for her “stunning command of the keyboard.”

Soyeon Kate’s 2018/2019 season includes recitals in Durango, Colorado at Music in the Mountains, Cooperstown Music Festival, New York’s Bargemusic, Yale University’s Horowitz Piano Series, return performances at the Santa Fe Chamber Music Festival and Connecticut’s Music Mountain Festival, and concerto performances with the Peninsula Symphony in Los Altos, CA, and Mozart’s Concerto No. 21, K. 467 with the Wheeling Symphony Orchestra.

Lee has been rapturously received as guest soloist with the Cleveland Orchestra and the London Symphony Orchestra, as well as the Louisiana Philharmonic Orchestra, San Diego Symphony, symphony orchestras of Columbus, Bangor, Boca Raton, Wyoming, Bozeman, Cheyenne, Napa Valley, Scottsdale, Abilene, Naples, Santa Fe and Shreveport in the United States; the Daejeon Philharmonic Orchestra (South Korea), Ulsan Symphony Orchestra (South Korea), Orquesta de Valencia (Spain) and the Orquesta Sinfónica Nacional (Dominican Republic), including performances under the batons of Rafael Frühbeck de Burgos, Jahja Ling, Jorge Mester and Otto-Werner Mueller.

Recent recital appearances include New York City programs at Carnegie Hall’s Zankel Hall and Weill Recital Hall, Merkin Concert Hall, Lincoln Center for the Performing Art’s Alice Tully Hall, Washington’s Kennedy Center for the Performing Arts, Cleveland’s Severance Hall, the Ravinia Festival’s “Rising Stars” series, Auditorio de Musica de Nacional in Madrid, tour of the Hawaiian Islands, Krannert Center, Herbst Theatre, and Finland’s Maanta Music Festival.

A Naxos recording artist, her discography spans Scarlatti Sonatas, Liszt Opera Transcriptions and two volumes of Scriabin works, with upcoming releases of Clementi Sonatas, as well as another volume of Scarlatti Sonatas. Ms. Lee’s recording of Re!nvented under the E1/Entertainment One (formerly Koch Classics) label garnered her a feature review in the Gramophone Magazine and the Classical Recording Foundation’s Young Artist of the Year Award.

Ms. Lee is the co-founder and artistic director of Music by the Glass, a concert series dedicated to bringing together young professionals in New York City. A Yamaha Artist, Ms. Lee is an Associate Professor of Music in Piano at the Cincinnati-College Conservatory of Music. She lives in Cincinnati with her husband, pianist Ran Dank and their children Noah and Ella. n

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HAWA I‘ I SYMPHONY ORCHESTRA

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PROGRAM NOTES NO RT HERN L I G H GT S

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HAL EK U L AN I M A STERWORKS II

FINLANDIA Jean Sibelius Is there any expression of nationalist pride more beloved than Finlandia?

This turn-of-the-century tone poem compressed centuries of Finnish folklore and fiercely independent spirit into eight minutes of music.

Finlandia is as Finnish as Musorgsky’s Prelude to Khovanshchina is Russian, Ravel’s Menuet Antique is French, and Copland’s Rodeo is American. None of them, however, is as famous as Finlandia, nor so closely entwined with the composer’s homeland. This work could easily have deteriorated into something bombastic like the 1812 Overture. Instead, Sibelius produced an exciting symphonic showpiece that provides superb opportunities to all four of the orchestra’s instrumental groups.

A bit of historical background is in order. Following the defeat of Napoleon in 1814, the Russian Czar Alexander annexed Finland as a grand duchy under the terms of the Vienna Congress. By about 1900, after nearly a century of Russian rule, nationalism had become a strong force in Finland. Finnish resentment of Russian overlords and culture was strong. The combination of Russia’s forced conscription of Finnish youth into its military and censorship of the Finnish press made for a bitter populace. Today, Finland refers to this period in its history as the “years of passive resistance.”

In this politically charged environment, Sibelius composed Finlandia in 1899 as one of six Scènes historiques (“Historic Scenes” or “Tableaux from the Past”). They were performed at a festival/concert in support of newspapers censored by the Russian authorities. The piece bore several titles, including Finland Awakes, Impromptu, and Suomi [Finland], before the inflammatory name Finlandia became permanent.

b. Tavastehus, Finland 8 December, 1865 d. Järvenpää, Finland 20 September, 1957 First performed by the HSO 1924

Approximate Duration 8 minutes

Nothing subtle compromises the raw emotionalism of this music. Sibelius’s decisive musical gestures contribute greatly to Finlandia’s dramatic impact. From the threatening low brass chords that open, through the rich hymn introduced by woodwinds and taken up by the strings, to the triumphant finale, Finlandia grabs both heart and gut, compelling the listener with its crisp fanfares and convincing musical rhetoric.

Sibelius was still young in 1899, only 34. He went on to write seven splendid symphonies. His gifts as an orchestrator are already evident in this early work, which accords significant roles to timpani, bass drum, triangle, and cymbals.

Sibelius scored Finlandia for woodwinds in pairs, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, and strings. n

The Sibelius Monument by Eila Hiltunen is dedicated to the Finnish composer Jean Sibelius (1865–1957).

The monument is located at the Sibelius Park in the district of Töölö in Helsinki, the capital city of Finland.

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—Laurie Shulman © 2019

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PIANO CONCERTO IN A MINOR, OP.16 Edvard Grieg For most of the 19th century, Germany was the center of the musical world.

Aspiring performers and composers from all over Europe went there to pursue their education. That was the case for Norway’s celebrated musical son, Edvard Grieg. When he was 15, his family sent him to study at the Leipzig Conservatory. Leipzig was a particularly celebrated city for music: Bach, Mendelssohn, and Schumann had all lived and worked there. Though Grieg was not happy in Leipzig, he became immersed in the city’s vibrant musical culture. Before returning permanently to Norway, he also spent time in the Danish capital of Copenhagen. There, the most influential composer was Niels Gade, who had worked in Leipzig for many years and was close friends with Mendelssohn. Thus the German influence on Grieg was strengthened.

Beginning in the 1860s, however, Grieg began to take a strong interest in the folk music of his homeland. Thenceforth his music took on an increasingly Norwegian slant. Today, Grieg is regarded as the most important composer that Norway has produced, and the father of Norwegian nationalist music.

In spite of his celebrity in his homeland, Grieg’s international reputation rests primarily on the Piano Concerto, Op.16. As its low opus number indicates, it is a relatively early work, completed when the composer was only 25.

The concerto is important for a number of reasons. It was Grieg’s largest orchestral work and the last piece that he wrote in the Austro-Germanic style he had learned in Leipzig. After the concerto, Norwegian folk music influenced all his music. The concerto was thus a turning point. Even if that were not the case, however, Grieg’s Concerto would be a marvel. Along with the Piano Concerto by Robert Schumann (also in A minor), with which it is frequently compared, Grieg’s masterpiece holds court as the quintessential romantic concerto. His biographer John Horton calls it: . . . the most satisfying and successful of Grieg’s attempts at composing in the larger traditional forms, and the one that is generally agreed to be the most complete musical embodiment of Norwegian national Romanticism.

Grieg acknowledged that he had studied Schumann’s Piano Concerto carefully before embarking on his own. Like the Schumann, Grieg’s concerto opens with a dramatic flourish for the soloist. He also follows Schumann’s lead by dispensing with the extended orchestral passage preceding the piano entrance (called an orchestral exposition), an approach that is familiar in the Mozart piano concertos. Grieg’s concerto has several distinct and contrasting theme groups, including a completely new melody that oboes and bassoons introduce in the coda. The pianist’s cadenza dazzles with romantic passagework in a heroic style.

After all the dust kicked up by the blood and thunder of the first movement, Grieg’s second movement Adagio settles things down. Muted strings introduce the music, joined first by bassoon, then upper winds, before the soloist enters. Grieg’s piano writing in the opening pages is reminiscent of the delicate filigree in Chopin’s piano music; so too are his harmonies. This slow movement takes us on an extraordinary and passionate journey.

b. Bergen, Norway 15 June, 1843 d. Bergen, Norway 4 September, 1907 First performed by the HSO 1925

Approximate Duration 30 minutes

The finale gives us the most prophetic glimpse of Grieg’s Norwegian voice, which he would adopt for the balance of his career.

Characterized by strong rhythmic profile and a fiery – even pagan – spirit, this movement is a halling, a Norwegian folk dance that Grieg used in several other compositions.

A switch to a relaxed and lyrical section takes romantic liberties. Indeed, the tempo changes have a great deal to do with the dramatic tension that makes the finale so effective.

Because he was the soloist at the premiere in 1869, Grieg undoubtedly sought opportunities for display. This flashy concerto did much to establish Grieg’s international reputation. He continued to revise the orchestration until the last years of his life, with special attention to the brass and woodwind parts. We hear the 19061907 revised version.

The score calls for woodwinds in pairs, four horns, two trumpets, three trombones, timpani, solo piano and strings. n

—Laurie Shulman © 2019

HAWA I‘ I SYMPHONY ORCHESTRA

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SYMPHONY NO. 2 IN D, OP.43 Jean Sibelius “Sibelius is an aggravatingly difficult person to catalogue,” Lawrence Abbott once said. Finland’s most celebrated composer has been variously described as late romantic, expressionist, nationalist, spiritual mythologist, and futurist. Partly because he enjoyed such a long life and fruitful career, his style evolved and altered, lending some credence to all the aforementioned categories. At the same time, certain common themes -- Finnish legend, national pride -- recurred throughout his career.

b. Tavastehus, Finland 8 December, 1865 d. Järvenpää, Finland 20 September, 1957 First performed by the HSO

His more substantial forms descend from the classic-romantic symphonic structures of Tchaikovsky; however, his harmonic language is less chromatic.

Sibelius relies on triads and often uses parallel thirds to state his melodies.

He also draws on modal scales common to Finnish folk songs. Always, he favors simpler means to deliver his ideas.

Approximate Duration

The Second Symphony, which was composed in 1901 and 1902, has become Sibelius’s most popular symphony, perhaps because of its frankly nationalistic stance. In its day, it startled listeners because of its unconventional first movement form. One doesn’t hear themes so much as musical gestures: short motives from which larger thematic “paragraphs” evolve. Sibelius detaches these succinct motives at the beginning, then forges them together in his development. At the conclusion of the movement he breaks the melodic components into fragments again. The entire process is almost the inverse of the conventional approach to musical logic as codified in sonata form, wherein one expects exposition of thematic ideas that are fragmented and developed in a middle section, then unified at the close. His style is often described as organic.

Despite its origins in the Finland’s harsh Nordic climate, this symphony pulses with the warmth of the brief sub-arctic summer. Pastoral elements that celebrate Finland’s stark natural beauty. The opening triplets of the first movement are pastoral; so is the second theme. At climactic moments, the brasses blaze forth in clarion fanfares. Sibelius referred to his Tempo Andante, ma rubato as “a spiritualized development.” Many of its ideas originated in sketches for a symphonic poem about Don Juan as he confronts Death. An ominous timpani roll and pizzicato cellos and basses open the movement in D minor. Bassoons deliver the first theme, their low register underscoring the dark mood. An agitated passage for full orchestra leads to the strings’ angelic second theme, in a remarkable modulation to F-sharp major. In Sibelius’s sketches, this theme is marked ‘Christus’: the prospect of salvation contrasting with the fate of the unrepentant libertine Don Juan. As in the legend, Death prevails, with a return of the bassoon melody.

The gruff scherzo, marked Vivacissimo, demands virtuoso playing from the entire orchestra. Whirlwind string figures skitter about in all registers, punctuated by woodwinds in snippets of themes. The trio section slows down the pace, presenting more song-like themes and shifting the melodic emphasis to woodwinds. Sibelius’s transition from the third movement to the finale is one of the symphony’s master strokes. He fuses them

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together by repeating the trio section and letting it unfold gradually into his finale. The transition – possibly modeled on Beethoven’s similar ploy in the Fifth Symphony – is ingenious, organic, and thoroughly convincing, arriving at the majestic finale theme with marvelous assurance. Burnett James has written: The finale is a fine paean of praise and strength, a sturdy affirmation of life and vitality....The force of nature is given full rein. The winds howl and roar; the tuba emits prodigies of elemental energy; strings scurry and swirl; and once again the great ostinato pedal points in the orchestra hold the foundations firm.

Simon Parmet refers to Sibelius in this work as being “in one of those rare moods in which he is in complete harmony with the external world”.

The Second Symphony’s popularity does not hinge solely on its expansive mood. Pastoral elements alternate with intense drama, making for a fully satisfying musical experience.

The score calls for two flutes, two oboes, two clarinets, bassoon, four horns, three trumpets, three trombones (third doubling bass trombone), tuba, timpani and strings. n

—Laurie Shulman © 2019

H I S Y M P H O N Y. O R G

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MUSICTHAT ROCKS I

THE MUSIC OF QUEEN

FRIDAY OCTOBER 18 | 7:30PM SATURDAY OCTOBER 19 | 7:30PM

The Music of Queen With Windborne Music You’ve seen the movie Bohemian Rhapsody. Now get ready for the return of The Music of Queen live in concert! Experience the power of Queen’s music with HSO’s full orchestra behind awesome vocals and a full rock band.

Brody Dolyniuk is back with his stunning vocals sure to impress any Freddie Mercury fan, and Brent Haven’s phenomenal arrangements and command of the orchestra will bring nostalgia back to any lover of Queen.

This is a one-of-a-kind tribute to one of the most iconic bands in history.

Get ready to sing along to Bohemian Rhapsody, We are the Champions, Under Pressure, Another One Bites the Dust, Somebody to Love and more!

HOSPITALITY SPONSOR:

We kindly ask you to silence all electronic devices. We don’t allow videos or photos while the musicians are performing, but we encourage you to record your experience and take advantage of our step-and-repeat backdrop in the lobby, take photos on the lanai, with guest guests during the meet and greet in the lobby, or from your seat before the show. You are free to take photos and videos all the way up until the performance begins. Intermission is 20 minutes. Once the performance has begun, seating is at the discretion of the house.

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#HISYMPHONY #MUSICTHATROCKS

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WINDBORNE MUSIC Windborne Productions, Inc. has been in existence since 1990 beginning work in both Television and movies. Music being a large part of what our media division does, the founder of Windborne, Brent Havens, has been writing music for television, theatrical movies, music libraries and industrial productions since 1980.

Our first live production of classic rock music with orchestra was in late 1995 — The Music of Led Zeppelin. After the initial response from that show we realized that this was something that had the potential to spread throughout the country.

That is exactly what happened and 12 different shows later, Windborne personnel have traveled the world touring The Music of Led Zeppelin, Pink Floyd, The Eagles, The Doors, Queen, Michael Jackson, The Who, U2, Whitney Houston, the Rolling Stones and Journey with orchestras great and small. We’re looking to the future to keep Windborne on the cutting edge of live and recorded music production. n

Musicians for The Music of Queen are: Brent Havens - Conductor, Arranger Brody Dolyniuk - Vocals/Guitar Dan Clemens - Bass/Background Vocals

Powell Randolph - Drums/Background Vocals George Cintron - Guitar/Background Vocals Justin Avery - Keyboards/Background Vocals

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Brent Havens conductor Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons.

Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London, the CBSO in Birmingham, England, the Malaysian Philharmonic, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others.

Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for all of the symphonic rock programs for Windborne Music. n

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Brody Dolyniuk lead vocals Brody Dolyniuk remembers mimicking voices even as a child, listening to old records and tapes. He is a gifted, self-taught musician, capable of playing several instruments, with a particular knack for capturing the voices and mannerisms of classic characters from music, TV, and movies.

His first professional gigs were at piano bars in several U.S. cities, where he learned to charm audiences and expand his musical repertoire. With a longing to perform the music of the many rock bands that inspired him, Brody assembled Yellow Brick Road, unquestionably Las Vegas’ most successful classic rock band. Since 1997, YBR has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top-40-style lounge acts. Along the way, Brody has made numerous radio and TV appearances, and earned a spot in the finals of two national singing competitions, and even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy and special effects.

In 2007, Brody lent his vocal talents by singing several tracks on the mega-hit video game Guitar Hero III: Legends of Rock, and has already done several more for the new Konami game Rock Revolution.

Brody joined Windborne Music in 2009 as vocalist for the Music of Queen show, but has proven to be versatile enough to become the lead on our Rolling Stones, The Who, U2, Journey, and Elton John shows (and is an oncall stand-in for several others including Led Zeppelin and Pink Floyd).

As a devout classic rock fan, Brody’s enthusiasm, vocal ability and on-stage energy were the perfect fit Windborne Music’s Symphony shows, and continue to win over audiences around the globe. n

vocals

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The Hawai‘i Symphony Orchestra Associates are a volunteer group of passionate symphony supporters. If you would like to become a Concert Ambassador for the Symphony or lend your time and skill to one of the many Associates’ projects, please contact the volunteers at symphonyassociates@gmail.com, call the HSO office at (808) 380-7722 or visit HISymphony.org/associates!

HSO ASSOCIATES

Mahalo to those who have volunteered their time, talent and treasure to help make our season a great success!

HSOA LEADERSHIP TEAM

2019/2020

Jean McIntosh, president Andrea Snyder, past president Natalie Mahoney & George St. John, vice presidents Martha Nakajima, secretary Francia Hamnett, treasurer Bonnie Lisa Pestana, ambassadors Alena Kangas Auyoung, communications Nancy Askew-Regidor, Janey Lau, Jeffrey Lim, Thanksgiving dinner Marco Airaghi Judith Anderson Anton Anderssen Nancy Askew-Regidor Alena Auyoung Amy Blackwell Lila Borges Rita Braun Barbara Bronster Carol Ching David Chung Janet Cooke Carol Dickson Maryanne Eichorn Louise Emery Kate Gormley Francia Hamnett Michael Hamnett Maria Haney Edith Harada MaryHogan

Holmes Hogan Marilyn Katzman Steven Katzman Shelley Kaya Kiku Kealoha Alexander Kufel Alice Kufel Janey Lau Jung Nam Lee Miranda Levine Jeffrey Lim Evelyn Lind Janice Lind Laurel Lindenbach Natalie Mahoney Lynne Matusow Matusow Mary Maurer Jean McIntosh Marcia Nagao Martha Nakajima Madeleine Noa

Luuk Oleson Peter Oleson Carol Paris Amanda Perron Bonnie Lisa Pestana Barbara Pretty Jane Redmond Marie Satz Stan Satz Kent Savage Trudy Schandler-Wong Hillary Jean Sebeny Joann Shapiro Lisa Shugart Lee Shugart Bobbie Slater George St. John Sharon Twigg-Smith Alvin Wong

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SUPPORT MUSIC IN HAWAII

YOU R G I FT G OE S A LONG WAY

BECOME A MUSIC MAKER: Become a “music maker,” and make a modest monthly recurring gift. Any amount helps us keep the music playing.

GIFT THROUGH STOCK OR AN IRA: A transfer of stock or from an IRA to the HSO may provide you with additional tax benefits. Check with your broker or financial adviser for these easy ways to support the HSO. CORPORATE MATCHING FUNDS: Many corporations will match donations given by their employees to a 501(c)3 organization. Please remember to ask if your employer has such a policy.

‘OHI‘A LEHUA SOCIETY: Join the visionary donors who choose to leave a legacy through a planned gift.

COMMUNITY GIVING: We’ve partnered with Aloha United Way, AmazonSmile and the Hawai‘i Community Foundation to offer more options for your support.

THE GIFT OF MUSIC

Ticket revenue alone is not sufficient to maintain Hawaii’s professional orchestra.

Your HSO relies primarily upon donations from individuals, corporations and foundations. Your Annual Fund gift builds a strong foundation for the HSO’s continued success. Every donation counts and you’ll receive special donor benefits.

For donation information, please contact Cristina Luck at 946-8742 or email tickets@hawaiisymphonyorchestra.org.

Program recognition is a benefit for all donor levels, including Tuberose Guild (up to $149), Hibiscus League ($150-$499), Plumeria Club ($500-$1,499) and the $1,500 + levels.

Special additional benefits are listed below.

VIOLINIST AUGUSTIN HADELICH & HSO BOARD CHAIR PAUL KOSASA

‘OHAI ALI‘I ROYAL CIRCLE

$100,000 +

DONOR LEVELS

TORCH GINGER ROYAL CIRCLE MAILE ROYAL CIRCLE ‘ILIMA SOCIETY PIKAKE ROYAL RETINUE

$10,000-$24,999 $5,000-$9,999

$1,500-$4,999

COMPLIMENTARY VIP PARKING

BENEFITS

$25,000-$99,999

Reserved Golden Circle VIP parking for all HSO events at the Blaisdell Concert Hall.

MOST POPULAR

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+

+

+

REHEARSAL & AUTOGRAPHED CD

THE MAILE ROYAL CIRCLE RECEPTION

PRIVATE DINNER

CUSTOM BENEFITS

An invitation to a rehearsal plus an autographed CD from one of our guest artists.

An opportunity An invitation to the to enjoy a private Maile Royal Circle dinner with a guest artist or conductor. reception.

Exclusive benefits customized just for you!

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DONORS

Pledgeling Fou Andy & Jessica S Community F Allen and Nobu

M A H A LO TO O U R G E N E R O U S D O N O R S

The following reflects gifts received between July 1, 2018 - September 9, 2019 Corporate Benefactors $100,000 & Above Halekulani Corporation $50,000 to $99,999 ABC Stores Altres Saks Incorporated Sheraton Waikiki $20,000 to $49,999 Central Pacific Bank United Laundry Services, Inc. $10,000 to $19,999 Alexander & Baldwin, Inc. Bronster Fujichaku Robbins First Hawaiian Bank Hawai’i Tourism Authority Monarch Insurance Services, Inc. $5,000 to $9,999 The Queen’s Health Systems Honolulu Star Advertiser Bank of Hawaii $1000 to $4,999 Anonymous BlackSand Capital LLC Kobayashi Group LLC MacNaughton Group Inc Pacific Panel Cleaners Ritz-Carlton Residences Waikiki Beach UHA Health Insurance Up to $999 Aon Risk Services, Inc. of Hawaii Arturo’s Tortilla, Chip & Salsa Factory, Inc. Case Lombardi & Pettit Foodland Supermarket Hawaii Pro Sound & Video Rentals IBM Corporation, Matching Grants Program K2 Pacific Inc. KPMG Community Giving Campaign Mutual Plumbing Supply, Co., Inc. TisBest Philanthropy Foundations, Trusts & Charitable Funds $100,000 & Above Honolulu Symphony Foundation Thomas & Mi Kosasa Fund of the Hawai‘i Community Foundation The Wallace, Elizabeth, & Isabella Wong Family Foundation

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$25,000 to $99,999 Robert E. Black Memorial Trust The Cades Foundation Cooke Foundation Limited Mary Wilson Crawford Fund of the Hawaii Community Foundation John R. Halligan Charitable Fund Susan M. Kosasa Fund of the Hawaii Community Foundation The Arthur & Mae Orvis Foundation Atsuhiko & Ina Goodwin Tateuchi Foundation $10,000 to $24,999 Anonymous Fund of the Hawaii Community Foundation The Atherton Family Foundation Castiglione A. Casauria Foundation Central Pacfic Bank Foundation Gloria Kosasa Gainsley Fund of the Hawai’i Community Foundation Kosasa Family Fund, Hawai’i Community Foundation Rix Maurer III & Mary L. Maurer Trust Lenore and Chester O’Brien Fund Serendipity II Fund of the Hawaii Community Foundation John Young Foundation $5,000 to $9,999 Peter G. Drewliner Foundation Paul C.T. & Violet Shaw Loo Fund of the Hawaii Community Foundation $1,000 to $4,999 Aloha United Way Hung Wo and Elizabeth Lau Ching Foundation James & Helen Gary Charitable Fund of the Hawaii Community Foundation Honolulu Symphony Society Fund of the Hawaii Community Foundation David Sen Lin Lee Foundation Mrs. Violet Shaw Loo Nohara-Abaya Family Fund of the Hawaii Community Foundation Henk & Akemi Rogers Ohana Foundation Jhamandas Watumull Fund Wah Duck & Grace K.S. Young Memorial Fund Up to $999 Rev. Abraham Kahu Akaka Ministries Foundation AmazonSmile Foundation Edmond & Mildred Ayling Fund of the Hawaii Community Foundation Bank of America Charitable Foundation Phyllis G. Glick Trust Hawaii Hotel Industry Foundation

H I S Y M P H O N Y. O R G

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Individual Do $50,000 & Abo Gov. Ben & Vick Marilyn & Steve Paul & Lisa Kosa

$25,000 to $4 Gloria Kosasa G Ginny Tiu Elizabeth E. Wo

$10,000 to $2 Robert & France Eleanor Chang Mitch & Bambi Richard & Susan Bob & Dee Levy Natalie Mahone Steve Ristow & B Marsha Schweit

$5,000 to $9,9 Joan Bennet Margery Bronst Edward K. Conk James Day & Ph Peter G. Drewlin Louise L. Emery Jackie Mahi Eric Dennis Francis Jack & Janet Gil Juli Kimura Wa Ken & Diane Ma Jean McIntosh Dr. Elahé Omidy G. Mark Polivka Kenneth S. Rob Mr. & Mrs. Chris Kent & Jean Tsu

$1,500 to $4,9 Anonymous (3) Linn Sol Alber Robert L. Allen William & Gail A Stanford & Wini L. Leon Bailey Tr Mary Ann Ann B Patricia M. Barro Emmalisa H. Ble Antoinette Brow H.F. Carlin, Jr Carol H. Case Mary (Candy) Ca Ann M. Castelfra

Pledgeling Foundation Andy & Jessica Stenz Family Fund, Hawaii Community Foundation Allen and Nobuko Zecha Foundation Individual Donors $50,000 & Above Gov. Ben & Vicky Cayetano Marilyn & Steven Katzman Paul & Lisa Kosasa $25,000 to $49,999 Gloria Kosasa Gainsley & Stephen Gainsley Ginny Tiu Elizabeth E. Wong $10,000 to $24,999 Robert & Frances Bean Eleanor Chang Mitch & Bambi D’Olier Richard & Susan Ing Bob & Dee Levy Natalie Mahoney Steve Ristow & Bobbie Conlan Marsha Schweitzer $5,000 to $9,999 Joan Bennet Margery Bronster Edward K. Conklin James Day & Phyllis Fong Peter G. Drewliner Louise L. Emery Jackie Mahi Erickson Dennis Francis Jack & Janet Gillmar Juli Kimura Walters Ken & Diane Matsuura Jean McIntosh Dr. Elahé Omidyar Mir-Djalali G. Mark Polivka Kenneth S. Robbins Mr. & Mrs. Christopher C. Smith Kent & Jean Tsukamoto $1,500 to $4,999 Anonymous (3) Linn Sol Alber Robert L. Allen William & Gail Atwater Stanford & Winifred Au L. Leon Bailey Trust Mary Ann Ann Barngrover Patricia M. Barron Emmalisa H. Bledsoe Antoinette Brown H.F. Carlin, Jr Carol H. Case Mary (Candy) Cassarno Ann M. Castelfranco

Dr. Percival & Carolyn Chee Christopher Conybeare & Kathryn Braun Janet Cooke David Schulmeister & Virginia Lea Crandall Heather Cutter Carol R. Langner Donald W.Y. & Laura Ray Goo Marjorie Gordon Eileen Hilton & Leonard Rossoff John & Jane Hinrichs Glenn Ishioka Gary James Jean & Randy Jaycox Maurice & Shelley Kaya Chester T. & Laraine K. Koga Myra Kong Richard L. Kurth Jodi A. Lam & Timothy M. Takaezu Edward & Stephanie Laws Worldster & Patricia Lee Peter & Mary Lou Lewis Drs. Grover & Sally Liese Dr. Jeffrey Lim Lloyd Lim Debra J. Liu Mary & Michael Macmillan Network for Good Masaki School of Music Randolph Moore & Lynne Johnson Martha Nakajima Lyle E. Nelson Drs. Steven Nishi & Pamela Tauchi-Nishi Capt. Phillip B. Olsen and Gail Hudson Bonnie Lisa Pestana Dr. Lee Putnam Glenda K. Rother Andrea & Bob Snyder John & Susan M. Soong Ralph & Jackie Sprague Dr. Ulrich & Carol Stams Alan & Karen Stockton Cynthia H and Michael B Stollar Glenn & Elizabeth Tango Ina Goodwin Tateuchi Henry Timnick Robert & Marilyn Trankle Dake Vahovich Drs. William & Margaret Won Gregory Wrenn & Robert Pyburn Valerie Yee $500 to $1,499 Anonymous (6) Sandra S. Anderson Ron Baldwin Herschel V. Beazley Terance & Jan Bigalke Pat Billington & Taka Alphons Willem & Janet Blees Jeffrey Boeckman & Joanne Hogle Joel Bradshaw & Jean Kirschenman

Merle Bratlie Jeannette & Ian Capps Barbara Cargill Matthew Chapman Yi-Chuan & Helen Ching Carol Ching Joan P. Chock Timothy Y.C. Choy Carol J. Coops Rebecca L. Covert John P. Dellera Bernice Dinion Nola Epp Victoria Apgar Fay Dr. P. Fujimoto & Dr. W. King John Gad Suzanne Mary Hammer, M.D. Mary J. Harbold Jeremy G. & Harriett D. Haritos Frederick & Joan Harris O‘ahu Choral Society David and Nery Heenan Manfred Henningsen Gilman & Ruth Hu Denis and Ella Isono Blake Johnson Douglas G. Kreider Alexander and Alice Kufel Wilfred & Caren Kusaka Leilani Kaanehe and Sandi Kwee William & Susan Lampe Mollie M.Y. Lee Van Lee Maria D. López-Haney Francis C.H. Lum & Bertha Y. Lum C. Jeanette Magoon Makk Studios Anne & John Mapes Kiyono Masaki Donald M. Matsumori Howard & Barbara Mau Jim & Pam McCoy Pat McFadden & Helen MacNeil Peter & Luanna McKenney Dr. & Mrs. Phillip McNamee Guy Merola and Mark Wong Amy & David Monk Mrs. Sally Morgan Martha Lee Mullen George & Alma Nagao Joanne P. Nakashima Alvin S. & Sharon Narimatsu Joyce Kay Okano Stephanie S. Pauling Ann M. Peters Dr. & Mrs. Robert G. Peters Robert Creps & Debra D. Pfaltzgraff Michael Pietsch Ralph and Pakinee Portmore Kent & Howena Reinker Kent A. & Howena H. Reinker

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Jean Rolles Merritt & Carol Sakata Dr. Stan & Marie Satz Kent Savage Albert J. Schutz Richard & Yoko Scofield Cassandra Senner Joanne Shapiro Lillian Shaw & Erwin Fung Doug Stanfield Lt. Col. Ret. Paul & Judith Stankiewicz Warren and Carolyn Stenberg Randall & Misako Steverson Patricia Takemoto & Robert Morse Dr. Fred & Mrs. Ann Tanabe Amy A. Taniguchi Leanora Tong Anita Trubitt Kent Tsukamoto Laurita P. Turner Glenn & Constance Uejio Arthur A. Ushijima Eldon L. Wegner Nancy D White Daniel & Judith White Nancy D. White Paul Wrege Louis P. Xigogianis Carl Yee & Mary Wong Mildred A. Yee Glenn & Kathleen Yoshinaga Shuk Fon Yuen Halina Zaleski $150 to $499 Anonymous (14) Jean Adair-Leland Carol A. Aki Lisa Andres Ken & Gemie C. Arakawa Nancy Askew-Regidor Mark Baker & Lisa Hendrickson Cornelius Bates Betsy A. Behnke Carolann Biederman & Seth G. Markow Marge & Carl W. Boyer, Jr. James L. Brewbaker Barbara Bronster & Bernard Schwartz Philip & Evelyn Brown Barbara Campbell Jane Campbell Ms. Margaret Capobianco Edward H. Carus Donald & Mildred Chang Elaine M. L. Chang

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Hillary W Chang Simon Chang John Chilcott & Caryn Yamanaka Philip & Gerry Ching Jennifer Chiwa Eric E. Chock Juanita Chun Paul Allen & Darrell Chun Stewart Chun Jim & Sally Clemens Kikuko T. Cole John S. Corbin Patricia Sue Cornish Rosemarie Cottle Richard H. Cox Katherine Crosier Richard and Myrna Cundy David & Junko Davis Michael J. Deweert Carol Anne Dickson Tom & Kristi Dinell Elizabeth B. Donaldson Koren K Dreher Jennifer Du-Forstner Cherie N. Dubats Denise and Ace Ellinwood Lani and Uson Ewart Joanna Z. Fan Marlies H. Farrell Paul & Jane Field Ronald & Maureen Fitch Matthew & Linda FitzGerald Marc and Alice Flitter Mary Jo Freshley Colleen Furuya Paula Gill Marilyn Wong Gleysteen Kathleen Goto Laure & David Hadder Beverly Haid & Sue Hillman Kimberley Haines Michael Hamnett Edith Harada Margaret Y. Harada Daniel Hartline & Petra Lenz James & Constance Hastings Sally & Tom Hattemer Letitia Hickson Patricia Josephine Hildreth Stephanie Hoe Carolyn Hong John & Shizue Howe Dr. Yujen “Ted” Hsia Diana Huang Susan Hurd Carolyn Hyman Louis & Kim Ickler Sharon Inake Ethel C. Iwasaki

Noel R. Jaderstrom Rev. Dr. Donald K. Johnson Richard M. Johnson & Jung Nam Lee Annakaarina Jolkkonen Kim Jones Wyatt L. Jones & Dawson Jones Dr. Leilani Kaanehe and Dr. Sandi Kwee Jay & Ann Kadowaki Kiku I. Kealoha Linda Kidani Charles Kim Dr. & Mrs. Robert Kim Laurence N. Kolonel Shirley Krause E. Takeo & Barbara Kudo Julia Chin Kwan Geri Lambert LaVay Lau Wendy Lazer & Dr. Jerome Bookin Ellen LeClair John Venizelos Levas Laurel S. Lindenbach Melissa Loy Benjamin & Eleanor Lum Sharon S. McPhee Deborah Merritt Amy H. Mitsuda Willson & Sally Moore Takako Morimoto Samuel and Gertrud Murray Maxine Nagamine Eric I. Nagao & Lauren Yee Marcia M. Nagao Poranee Natadecha-Sponsel Sam & Carolyn Ng Ruth Pagell Christopher and Joanne Pating Dr. Barbara B. Polk Dr. Tung’s Products Anthony J. Radcliffe David J. Randell & Rosemary T. Fazio Zsuzsa Rastegar James & Jane Redmond Heidi Rian Donn M. Sakuda Harold & Joyce Schatz Marcia Schultz Andrew Schumacher Jane Schwager Paul J. Schwind & Mollie Chang Ronald and Lana Marie Seki Diane Shepherd Lisa A. Shigemura Sheryl Shohet Ulrike Siddiqi

Paul & Therese Simeone Russell and Suzanne Young Sitch Susan Spangler Joyce G. Spoehr Susan Stahl Donna Tamasese Bruce T. & Rae. N. Teramoto Helen D. Thomas Dianne Towey Jennifer M. & Jose G. Trevino Fred J. Trupiano Rochelle Uchibori Floraine Van Orden Miguel Vasquez Robert A. Wall Timothy Walrod Duane & Carol White John Allan White John Allan White Marsha White Patricia Whittingslow Thomas A. Wills Mark K. Wilson, III Calvin Y.H. & Susan Chong Wong Mark D. Wong Randy & Helen Wong George & Mary Ann Wyman Valentina Yarovaya Sally Yoshinaga Everett B. Young Laurie M.H. Zane Debra D. Zedalis Up to $149 Anonymous (29) Deborah A. Agles Heather Arias de Cordoba Jamie Asato Nelisa Asato John L. Ashby Jr. Patricia Augustine Karen Baker & Frank Marone Laura Ing Baker Austin Barnes Brian Baron Virginia Beck Denise P. Bekaert & Felicity O. Yost Zara Berg Josie Bidgood Amy Blackwell Robert & Alexandra Bley-Vroman John Campbell David E. Cantor Brooke Carroll Leslie Carter James & Olivia Castro

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Chunmay Chang Diane E. Chang Wesley Chang Dr. Lida Chase Minja Choe David Chung Richard Chung Julia Clark Sherri Nanea Clark Ms. M Gay Conklin Patricia M. Coughlin Marjorie L. Cox Aiko K. & Leslie G. Crandall Nancy A. Davlantes Malia Day Jerald Dunlap Laudra B. Eber Rudolf & Edith Ecken-Genova Robert & Patricia Faus Andrew M. Fegan Soo M. Ferrante Larry & Atsuko Fish John and Anne Flanigan Vanessa J Foster Ralph & Eleanor Fujioka Joan Fujita Carol Aiko Fujiyoshi Jeffrey & Shirley Fukushima dianne garcia Gary & Marion Glober Patricia Godfrey Judith Goldman Lois A. Gordon Edwina Gosnell John Graves Werner H. Grebe Judith Guffey Ms. Esther Haas-Hugentobler Mrs. Nyle Hallman Susan K. Hamai Ms. Mitsue Hanabusa Lea & John Heide Lyle Hendricks rose herrera Victoria Hersey Glenda C. Hinchey Diane Hino Dawn M. Honda Jayne K. Honda Jenny R. Howard Lorna J G Hu George M. Hudes Alena Hughes Robert & Judith Hughes Archie & Lynn Ikehara Wallace J. Inglis Chenise Iwamasa Sara Adah Izen Judy Jakobovits

Michael Jones Judith T. Kakazu Kenneth and Patricia Kamiya Katherine E. Kaneko Ferne Kawahara Jeam Kawamura Jean K. Kawamura Elaine Kawazoe Claudia K. & Robert C.K. Keaulani Linda Keller Ann Kelminski Marcia Kemble Elspeth J.C. Kerr Michael & Susan Killion Kevin Kimata Margaret W King Dr. Robert & Adelaide Kistner Ms. Carolyn Koehler Marga Koennecke Takako O. Kokame Floria Komer Janice Kong Christine Kurashige & Barry Whitfield Anne Kwiatkowski Mary Lacques Evelyn B. Lance Matthew S. Lau James & Susanne Lenz Herman Leong Judy & Dennis Lind Gail G. Loden Gail Long Russell Loo Karen L. Loomis Kwong Yen Lum Lois Magnussen Sue & Howard Maier William P. Malm Richard Manshardt Karen Masaki & Paul Freeman David Masunaga Clarence Y. Matsumoto June R. Matsumoto Lynne Matusow Mary & Robert McEldowney Donald O. McInnis Hawaii Symphony Associates Edward & Laurie McKeon Laurie & Ed McKeon Martin & Sharron McMorrow Mariajane C. Mee Jeffrey Mermel Sally & Jeffrey Mermel Ruth Merz Kenneth M. Mijo John Misailidis Art & Val Mori

Milton & Annette Morishige Lynn Murakami-Akatsuka Trent Nakasaki JP and Angie Nelson The Ohio State University Alumni Club of Hawaii Jerry & Arlene Ono Yukiko H. Onoe Perry Hertitage LTD. Partnership Norma Parado Lorna Park Jonathan Parrish Julie Ann Peterson Kenneth W. Pierce Russell & Patricia Pinho Anne Lee Pohner Myrna L. Pung Diane M Pyles Ms. Susan M. Quintal Judy A. Rantala Richard Rapson Mary Pecot Reese Carole Richelieu Mrs. Carol A. Rumford Ted and Ruth Sakai Robert S. & Mary Louise Sandla Rachel T. Sato Lewis Saul Janice T. Sawada Maureen Annette Schaeffer Charles C. Schenck Judith Scheu John & Eudice Schick Michelle Schneider Marcia G. Schultz Scott Schultz Yasenta Sen’Gerni & Paulette J’Sen Beppie Shapiro Ekaterina Sherstyuk Patricia Shields Colleen Shigeta Kazuo Shirakawa Jennifer Shishido Lee and Lisa Shugart Ted and Patricia Sidor Clifford and Bobbie Slater Rosaalie Slater Mr. & Mr. John Southworth

Kathryn & Basil Sparlin Robert Stanfield Vibeke Steenberg Carolyn Steuer Carol S. and Michael P. Sullivan Noelle H. Sutherland Arnold Suzumoto Ms. Gail Switzer Ira & Marilyn Tagawa Elizabeth Tajima Mrs. Stacey Takanishi Pearl Takeuchi Laura Dressel & David Tallant Alan Tamai Andrew & Virginia Tanji Mr. & Mrs. Remi Taum Mary M. Taylor Sadako Tengan Dr. & Mrs. John B. Thompson Ronald & Patricia Tochiki Werylend Tomczyk Sharman Torkildson Nancy Treer Jillian Turkington Poon Kay S. Uyeda & Ramona A. Ho Thomas Burke & Marie Wagner Robert A Wall Richard & Lorinda L. Waltz Laura Warfield Dr. Stephen & Mrs. Eugenie Werbel Nancy C Whitman Donald Williams Leslie Charles Wilson Linda A. Wilson Kelly C. Wimberly John Wollstein Diane W. Wong Rebecca Wong Patricia Wood Lesley A. Wright Jack & Kathy Yamada Dr. Byron Yasui Norman & Jane Yonamine Mari Yoshihara Don & Judi Young Merv & Joni Young Annette M. Zib

WE GREATLY APPRECIATE YOUR SUPPORT! TO MAKE A DONATION, PLEASE VISIT HISYMPHONY.ORG, CALL 94-MUSIC, OR MAIL A CHECK TO: 3610 WAIALAE AVENUE HONOLULU, HI 96816 HAWA I‘ I SYMPHONY ORCHESTRA

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TRIBUTE LIST

MA H A LO TO T HO S E W HO HAVE T H OU GH TF U L LY D O N ATE D

The following reflects gifts received between July 1, 2018 - September 9, 2019 IN HONOR

In Honor of Cherie Dubats Birthday Anonymous In Honor of Claire Hazzard Werylend Tomczyk In Honor of Elizabeth Wong and the HSO! Linn Sol Alber In Honor of Emma, Evelyn, and Mark Votapek Patricia Takemoto & Robert Morse In Honor of J. Scott Janusch , an exceptional musician and creator of musical instruments. Mahalo and Gracias Maria D. López-Haney In Honor of Jason Price, Tarisio Auctions Anonymous In Honor of Jean McIntosh & Andrea Snyder Nohara-Abaya Family Fund of the Hawaii Community Foundation In Honor of JoAnn Falletta Gary & Marion Glober Ms. Margaret Capobianco In Honor of Jonathan Parrish Marsha Schweitzer Worldster & Patricia Lee In Honor of Lynn Alper Josie Bidgood In Honor of Makoto, Victoria, and Okaasan Timothy Walrod

In Honor of our 50th wedding anniversary Dr. Stan & Marie Satz In Honor of Paul Kosasa Edward & Stephanie Laws In Honor of Paul Kosasa ABC Stores Chad Karasaki, Aon Risk Services, Inc. of Hawaii.

In Honor of Paul Kosasa and the Kosasa Family Accuity LLP/Kent & Jean Tsukamoto In Honor of Peter Drewliner David and Nery Heenan In Honor of Susan Spangler’s 80th Birthday Rebecca Wong In Honor of the soon-to-be-new-grandparents, Constance and Glenn Uejio!

Austin Barnes In Honor of Vicky Cayetano Andrew Schumacher Jennifer M. & Jose G. Trevino Ken & Gemie C. Arakawa Worldster & Patricia Lee In Honor of Vicky Cayetano & Marilyn Katzman Timothy Y.C. Choy In Honor of Vicky Cayetano’s Birthday Diane E. Chang Timothy Y.C. Choy IN MEMORY

In Memory of Ah Quon McElrath Gail Long

In Honor of Manoa Strings Debra J. Liu

In Memory of Arman Kitapci Anita Trubitt

In Honor of Martha Kholpin Yasenta Sen’Gerni & Paulette J’Sen

In Memory of Barbara Carlin Kirby H.F. Carlin, Jr

In Honor of Martha Nakajima Anonymous

In Memory of Bob Harbold Mary J Harbold

In Honor of Michael Titterton Gilman & Ruth Hu

In Memory of Carl Crosier Katherine Crosier

In Honor of my mom!

Matthew Chapman

In Memory of Carol Amaki Lisa Andres

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In Memory of Chris Uchibori Rochelle Uchibori In Memory of Chuck and Karen Mau, Honolulu Symphony Orchestra violinist John & Susan M. Soong In Memory of Clarence C.M. Lum Francis C.H. Lum & Bertha Y. Lum In Memory of Ellen Masaki Karen Masaki & Paul Freeman In Memory of Fritz Fritschel Carol R. Langner In Memory of Gail Hudson Anonymous In Memory of George Barati Elizabeth Tajima In Memory of Ian M. Cooke Ann M. Castelfranco In Memory of Jane Campbell Patricia Takemoto & Robert Morse Rochelle Uchibori

In Memory of Laurence Shohet Mrs. Nyle Hallman Ronald and Lana Marie Seki Sheryl Shohet In Memory of Lillian Nishi Drs. Steven Nishi & Pamela Tauchi-Nishi In Memory of Luella N Spadaro Serendipity II Fund of the Hawaii Community Foundation In Memory of Max and Lily Lim Lloyd Lim In Memory of Minnie Kosasa Carl Yee & Mary Wong

In Memory of Prof. Terry E. Haney and Capt. Garth M. Haney Lopez Maria D. López-Haney In Memory of Raymond Hutchinson Patricia Josephine Hildreth In Memory of Shigeko and Edward Chock Eric E. Chock In Memory of Stephen Dinion Bernice Dinion Laure & David Hadder Mari Yoshihara

In Memory of my husband, Dwight Emery Louise L. Emery

In Memory of Wah Yun Dang Stanford & Winifred Au

In Memory of Norma Nichols Jean McIntosh Martha Nakajima Rochelle Uchibori In Memory of Otto Renelt Patricia Whittingslow

In Memory of Jean Harling and Marianne Fleece Elizabeth Tajima

In Memory of Paul Barrett Benjamin & Eleanor Lum Dr. Stephen & Mrs. Eugenie Werbel

In Memory of Joanna Fleming Marga Koennecke

In Memory of Paul Barrett, Carl Crosier, Fritz Fritschel, and Norma Nichols Paul J. Schwind & Mollie Chang

In Memory of John R. Mueh, M.D. Wyatt L. Jones & Dawson Jones

In Memory of Peter Brown Antoinette Brown

In Memory of Wesley Y. S. Chang Case Lombardi & Pettit Chenise Iwamasa Dawn M. Honda Eleanor Chang John Venizelos Levas Malia Day In Memory of William Samuel Fay Family and Friends

We deeply regret any oversight that may have occurred in our listing of donors.

If we inadvertently made an error or did not acknowledge your gift, please contact Cristina Luck at (808) 946-8742 so it can be corrected. Mahalo!

Tribute Gifts Please consider giving to the Hawai‘i Symphony Orchestra in honor or in memory of a loved one.

Sponsorships Concert, guest artist and in-kind sponsorships are available at many levels to meet the needs of your business or your individual preferences.

HSO is a 501(c)(3) organization. Donations are tax-deductible.

Tax ID (EIN) #45-2861988 HAWA I‘ I SYMPHONY ORCHESTRA

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The ‘Ōhi‘a Lehua is the first tree to grow after lava flow. It serves as an appropriate symbol for those who have the Honolulu Symphony Foundation in their estate plans. Whether it’s a straightforward bequest in your will or trust, a charitable gift annuity, or naming the Honolulu Symphony Foundation as a beneficiary of your retirement fund, planned gifts support the HSO’s long-term fiscal stability.

‘ŌHI‘A LEHUA SOCIETY MEMBERS Linn Alber Bill and Gail Atwater George and Mary C. Cassarno Eliot Deutsch and Marcia Roberts-Deutsch Scott Janusch Ignace Jang and Christine Suehisa-Jang John Levas Kristi L. Maynard Lynne Johnson and Randy Moore Natalie Mahoney Arthur Miho Mark Wong and Guy Merola

If you are interested in learning more about the ‘Ōhi‘a Lehua Society, you may email Lynne Johnson at cometkupono@gmail.com. It is not necessary to provide documentation. Your word is enough. However, we appreciate knowing the details of your plan. That way, you can be sure that the gift works as you intended.

HONOLULU SYMPHONY FOUNDATION BOARD OF DIRECTORS

The Honolulu Symphony Foundation was established in 1998 to insure that endowment funds to support a professional orchestra in Hawaii would continue in perpetuity.

Lynne Johnson, President Mark Wong, Vice President Lisa Nakamichi, Secretary William E. Atwater Scott Janusch Paul Kosasa Kristi L. Maynard Jonathan Parish Kenneth Robbins

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Paul J. Kosasa, Chair Vicky Cayetano, Vice Chair Kenneth S. Robbins, Secretary Shelley Cramer H. Mitchell D’Olier

Richard Ing Marilyn Katzman Jason Kravitt G. Mark Polivka Michael Titterton Virginia Tiu

ADMINISTRATION EXECUTIVE DIRECTOR Jonathan Parrish

Delila Amorin Office Assistant ARTISTIC ADMINISTRATION & PRODUCTION Merle N. Bratlie General Manager Mark Breitenbach Personnel Manager Kim Kiyabu Principal Librarian Julie Montgomery Artistic Administrator STAGE TECHNICIANS IATSE LOCAL 665 CREW Al Omo, Union Steward Charlie Roberts, Sound Sandy Sandelin, Electrician Kim Shipton, Carpenter

Ronen Zilberman HSO Photographer PATRON SERVICES Cristina Luck Patron Services Manager

2019/2020

ARTISTIC ADVISOR JoAnn Falletta

MARKETING Heather Arias de Cordoba Marketing Director

HSO BOARD / ADMIN

BOARD OF DIRECTORS

AD SALES Michael Roth, Roth Communications rothcomm@gmail.com (808) 595-4124 BOX OFFICE 3610 Waialae Avenue Honolulu, HI 96816 1 hour free parking on Center Street, second parking lot E / info@hawaiisymphonyorchestra.org W / HISymphony.org P / 94-MUSIC (946-8742)

CONNECT WITH US HAWA I‘ I SYMPHONY ORCHESTRA

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SEASON OPENING GALA

Mahalo to our wonderful table sponsors, and silent auction donors! We extend our sincere appreciation to all who supported, without whom our season would not be possible. We invite you to support these community-minded organizations.

PRESENTING SPONSORS ABC Stores (Paul Kosasa HSO Board Chair) Dr. Thomas Kosasa

MAHALO TO OUR SP ONSORS

ENCORE SPONSORS Gov. Ben and Vicky Cayetano - United Landry (HSO Vice Board Chair) Steve and Marilyn Katzman (HSO Board) Mr. Ken Robbins -Bronster Fujichaku Robbins (HSO Board) Ginny Tiu (HSO Board) CONCERTMASTER SPONSORS H. Mitchell D’Olier (HSO Board) Ms. Gloria Kosasa Gainsley Hawai’i Magazine Honolulu Star-Advertiser HOT & Friends Mr. Richard Ing (HSO Board) Mr. Mark Polivka (HSO Board) In Memory of Dr. Francis Liu Saks Fifth Avenue & Ritz-Carlton Residences (Shelley Cramer HSO Board) GALA TABLES AND PRINCIPAL SPONSORS Ms. Louise Emery Mr. Jeffrey Lim MD HEMIC Insurance George and Mavis Nellas Mr. Manfred Stager Mr. Jason Kravitt (HSO Board) Victor and Hai Cha Lambert

SILENT AUCTION DONORS Auberge Resorts Back to School Hawaii Bead It! Blue Note Hawaii Calgary Philharmonic Chicago Symphony Chef Chai Chef Mavro

Diamond Head Theatre Embassy Suites Waikiki Goofications Halekulani Hawaii Natural Healing Center Hawaii Opera Theatre HSO Musicians Island Olive Oil

JoAnn Falletta Joshua Tollefson Jeffrey Lim MD Kumu Kahua Theatre Lani Lau Lonohana Chocolates Madeleine McKay Magnolia

Paul Nash Queen Kapiolani Sand People Vicky Cayetano Winspire

WINE PULL

Courtesy of the Hawai‘i Symphony Orchestra Associates, Board & Friends

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HOSPITALITY SPONSOR

Join your HSO for a Disco Dance Party!

Perhaps a night of ABBA music is the ultimate “guilty pleasure” for us all. With hundreds of millions of albums sold, some forty years after being formed, the music of ABBA can still be heard — and seen — everywhere.

Katalin Kiss, Andrea Koziol, Stephanie Martin and Lis Soderberg, and your HSO will ring in the new year with the iconic songs of ABBA in all their pop, rock, dance, and evocative ballad glory ... Mamma Mia!

TUESDAY / DECEMBER 31

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SPONSORS $100,000 +

MAHALO NUI LOA TO OUR GENEROUS CORPORATE SPONSORS AND FOUNDATIONS FOR THEIR SUPPORT!

MEDIA $1,000 + PARTNERS

$10,000 +

$20,000 +

THE ARTHUR AND MAE ORVIS FOUNDATION, INC.

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THE HONOLULU SYMPHONY FOUNDATION

THE WALLACE, ELIZABETH, AND ISABELLA WONG FAMILY FOUNDATION

SPONSORSHIP OPPORTUNITIES ARE AVAILABLE AT MANY LEVELS. CALL CRISTINA LUCK, AT 946-8742 FOR MORE INFORMATION. HAWA I‘ I SYMPHONY ORCHESTRA

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