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THE HALEKULANI MASTERWORKS SEASON

HOʻĀLA (TO AWAKEN)

STU CONDUCTS BRAHMS SATURDAY, MARCH 9 / 7:30 PM SUNDAY, MARCH 10 / 4:00 PM

CHOPIN & SCHUMANN

SATURDAY, MARCH 23 / 7:30 PM SUNDAY, MARCH 24 / 4:00 PM

HOʻĀLA (TO AWAKEN)

THURSDAY, MARCH 28 / 7:30 PM

DISNEY IN CONCERT

MAGICAL MUSIC FROM THE MOVIES SATURDAY, MARCH 30 / 7:30 PM SUNDAY, MARCH 31 / 4:00 PM


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CONTENTS

IN THIS ISSUE

MASTERWORKS VIII | MASTERWORKS IX | SPECIAL | musicthatPOPS V

PAGE 8 - STU CONDUCTS BRAHMS

PHOTO BY POLYNESIAN VOYAGING SOCIETY

PAGE 12 - CHOPIN & SCHUMANN

PROGRAM BOOK 5

5

Executive Director’s Message

7

2018/2019 HSO Roster

8

Halekulani Masterworks VIII

16

Halekulani Masterworks IX

24

Special: O‘ahu Choral Society

Stu Conducts Brahms Guest Artists Program Notes Chopin & Schumann Guest Artists Program Notes Ho‘āla (To Awaken) Guest Artists Program Notes

40 musicthatPOPS V

Disney in Concert Magical Music from the Movies

45 HSO Associates PAGE 24 - HO‘ĀLA (TO AWAKEN)

46 HSO Donors 52 Tribute List 54 HSO Sponsors

PAGE 40 - DISNEY IN CONCERT - MAGICAL MUSIC FROM THE MOVIES PRESENTATION AUTHORIZED BY DISNEY CONCERTS© ALL RIGHTS RESERVED

On the cover: Special: O‘ahu Choral Society Ho‘āla (To Awaken) Photo courtesy of Polynesian Voyaging Society MASTERWORKS SPONSOR: HALEKULANI

musicthatPOPS SPONSOR: SHERATON WAIKIKI

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

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In an orchestra, everyone has a role to play. From the lowest rumble, to the highest chime, and from the loudest exhortation to the softest echo, every element is essential to creating a spectacular musical experience. It all must be perfectly timed, impeccably balanced, and exquisitely phrased. I think you’ll agree our musicians demonstrate this amazing coordination and artistry in many ways every time they take the stage.

Your timing and level of support are what makes the music possible. Attend the things you know you will enjoy, but try something new as well. Bring a friend to help us share our music with more and more people. Become a donor, or renew your donation regularly, to help us plan for the future. Tell your friends and relatives about the HSO. Thank our sponsors. Join our volunteer group, the Hawai‘i Symphony Orchestra Associates. Volunteer for board or committee service. Attend a special event. There are many ways to help us keep the music playing and we are grateful that so many of you are already playing your part. Mahalo! n

J ONATHAN PAR RISH

Each of you has a part to play, too. You don’t need to learn to read music, or spend thousands of hours in a practice room. All you have to do is enjoy and support these amazing artists.

Executive Director

GETTING TO KNOW YOUR HSO

Jonathan Parrish Executive Director Hawai‘i Symphony Orchestra

HAWA I‘ I SYMPHONY ORCHESTRA

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VIOLIN

*

Fixed Violin I Member Fixed Violin II Member

**

VIOLA

DOUBLE BASS

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

FLUTE

Susan McGinn, Principal Claire Starz Butin, Associate Principal

PICCOLO Vacant OBOE J. Scott Janusch, Principal Michelle Feng, Associate Principal Brian Greene^ ENGLISH HORN Brian Greene^ CLARINET James F. Moffitt, Acting Principal Norman Foster, Acting Associate Principal Melanie Yamada^ E-FLAT CLARINET Norman Foster

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

BASS CLARINET James F. Moffitt Melanie Yamada^

CELLO

CONTRABASSOON Philip Gottling III

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^

BASSOON Tommy Morrison, Acting Principal^ Jessica Goldbaum, Acting Associate Principal ^ Philip Gottling III

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

TRUMPET Zach Silberschlag, Acting Principal^ Jo Ann Lamolino, Associate Principal Kenneth Hafner

TROMBONE

Jason Byerlotzer, Principal Michael Maier, Acting Associate Principal^

BASS TROMBONE Rudi Hoehn^

TUBA

T.J. Ricer, Acting Principal^

TIMPANI

Jordan Schifino, Acting Principal Chris Cabrera, Acting Associate Principal^

PERCUSSION

Curt Duer, Acting Principal^ Becca Laurito, Acting Associate Principal^ Chris Cabrera^

HAWAI ‘ I SYMPHONY OR CHE STRA

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** Megan Kenny^ Alexandra Khamiovich^ Ki Won Kim Timothy Leong Michael Lim Helen Liu Yuseon Nam Daniel Padilla Maile Reeves* Rachel Saul Sheryl Shohet Nancy Shoop-Wu Mio Unosawa Herzog* Emma Votapek Fumiko Wellington Duane White

2018/2019 Roster

JOANN FALLETTA | ARTISTIC ADVISOR

HARP

Constance Uejio, Principal

ORCHESTRA LIBRARIAN Kim Kiyabu, Principal

PERSONNEL MANAGER Mark Breitenbach °

on leave one year position

^

PHOTO BY: JOHN KUAMO‘O

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.

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Stu Conducts Brahms!

HALEKULANI MASTE R WOR KS VIII

SATURDAY MARCH 9 | 7:30PM SUNDAY MARCH 10 | 4:00PM

Stuart Chafetz conductor

THE HALEKULANI MASTERWORKS SEASON

Ran Dank piano

The HSO’s former Principal Timpanist, Stuart Chafetz, has traded his mallets for a baton and now regularly takes the podium of orchestras around the country. He returns to conduct a beloved Brahms symphony and is joined by the sought-after pianist Ran Dank to perform Prokofiev’s demanding and thrilling concerto. GIUSEPPE VERDI Overture to La Forza del Destino

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

SERGEI PROKOFIEV Piano Concerto No.2 I. II. III. IV.

Andantino Scherzo. Vivace Intermezzo. Allegro moderato Finale. Allegro tempestoso

— INTERMISSION — JOHANNES BRAHMS Symphony No. 1 I. II. III. IV.

SERIES SPONSOR:

Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Allegro non troppo, ma con brio 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.

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ARTISTS Stuart Chafetz conductor Stuart Chafetz is the newly appointed Principal Pops Conductor of the Columbus Symphony. Chafetz, a conductor celebrated for his dynamic and engaging podium presence, is increasingly in demand with orchestras across the continent and this season Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Pittsburgh, Seattle and Vancouver. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually. He’s had the privilege to work with renowned artists including Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at Indiana University. In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist. When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music. n

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maestro


Ran Dank piano Technically dazzling and intellectually probing artistry exemplify Ran Dank‘s pianism and musicality—captivating audiences and critics alike. The summer 2018 season included a recital at the Santa Fe Chamber Music Festival performing Frederic Rzewski’s tour-de-force 36 Variations: The People United Will Never Be Defeated followed by appearances at the Bridgehampton Chamber Music Festival (August 5-6’18), and a duo recital with pianist Soyeon Kate Lee (Dank Duo) at the Cooperstown Summer Music Festival (August 12’18). Ran and Kate were special guest performers at the Santa Fe Chamber Music Festival’s 2018 Gala. The 2018/2019 season features duo recitals with Soyeon Kate Lee (Dank Duo) at the Yale School of Music, San Francisco Performances, and a return to the Pro Musica San Miguel de Allende as well as Brahms, Janáček and Franck Sonatas with acclaimed violinist Augustin Hadelich on the Linton Music series. Orchestral engagements include: Bernstein’s Symphony No. 2, The Age of Anxiety with the Eugene Symphony Orchestra led by Francesco Lecce-Chong; Shostakovich’s First Piano Concerto with the Toledo Symphony, Alain Trudel, conductor; Prokofiev’s Piano Concerto No. 2 with the Hawaii Symphony Orchestra conducted by Stuart Chafetz and Mozart with the Ashville Symphony Orchestra. Ran’s busy 2017/2018 season featured appearances with the Cincinnati Chamber Orchestra and Eckart Preu, the Portland Symphony and Ken-David Masur, with the Spokane Symphony and Morihiko Nakamura, and the Kansas City Symphony and Michael Stern for their season finale. He performed chamber music with the Amernet Quartet at Maverick Concerts and had duo appearances with pianist Soyeon Kate Lee at the Smithsonian Institute, Cincinnati’s Linton Music, and Le Poisson Rouge in New York City. Solo recitals included the Gilmore Piano Festival, New York City Town Hall recital for Peoples Symphony Concerts, Washington Performing Arts Society at the Kennedy Center, the Chopin Festival in Warsaw, Finland’s Mänttä Festival, Philip Lorenz Memorial Concerts in Fresno, the Israel Conservatory of Music and chamber music at the Seattle, Montreal, Israel, Great Lakes, and Skaneateles Chamber Music festivals, and at Maverick Concerts with the Shanghai Quartet. Ran Dank and Soyeon Kate Lee have established a series of concerts, Music by the Glass, held in a New York SoHo art gallery, where the audience of young professionals listen, mix and mingle with performing artists who play solo pieces and chamber works accompanied by treats sweet and savory, paired with wines by the glass. Ran Dank is the recipient of numerous honors, including the Naumburg Piano Competition and the Sydney International Piano Competition, and First Prize winner of the Hilton Head International Piano Competition. n

piano HAWA I‘ I SYMPHONY ORCHESTRA

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PROGRAM NOTES STU CON DU CT S BRA H M S

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OVERTURE TO LA FORZA DEL DESTINO Giuseppe Verdi Most opera overtures fall into two principal categories. The first type adapts themes from the opera, often in the kind of medley that we associate with overtures to Broadway musicals. A well-known example in the concert hall is the overture to Offenbach’s Orpheus in the Underworld, which concludes with the famous can-can music. Other overtures, such as Mozart’s to The Marriage of Figaro, use completely original music that does not recur in the opera, generally in a sonata form that approximates the first movement of a symphony. Verdi’s well-known overture to La Forza del Destino [“The Force of Destiny”] is the first type. Four major melodies from the opera are incorporated into this movement. In Verdi’s capable hands, they compress romance, lyricism, action and drama into eight thrilling minutes. La Forza del Destino is among Verdi’s most important middle-period works. It followed Un ballo in maschera (“A Masked Ball,” 1859) by just three years. Verdi had signed a contract with the Imperial Theatre in St. Petersburg for a new opera to be presented during the 1861-62 season. Because the intended prima donna fell ill, it became necessary to postpone the premiere until the following autumn. Verdi and his wife made a second trip to Russia to supervise rehearsals. The first performance took place on 10 November, 1862. Originally, an orchestral prelude preceded the opera. Verdi composed the well-known overture we hear at these performances in 1869, when he revised La Forza del Destino for a production at Milan’s fabled Teatro alla Scala. Unlike the overture to I vespri siciliani, this one makes no claim to being even loosely based on sonata form. It is a frank compendium of big tunes from the opera, drawing on both lyrical and dramatic elements for contrast and interest. The fate motive associated with the heroine Leonora serves both as main theme and as an underlying, unifying musical “glue” binding the rest of the overture together. Unison brasses establish an atmosphere of somber significance at the outset. Their function remains important throughout the overture, though Verdi certainly knows when to leave them to the background in order to emphasize the music’s tender and lyrical moments. Leonora’s fate theme, outlining the ascending minor triad, serves as an important accompaniment figure to the other melodies. There are some lovely orchestral touches, such as the Andantino ensemble of flute, oboe and clarinet declaiming the melody of the hero Alvaro’s Act IV aria and, later, a solo clarinet theme accompanied by harps. Intervening between them

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b. Le Roncole, near Busseto, Parma, Italy 10 October, 1813 d. Milan, Italy 27 January, 1901 First performed by the HSO 1963

Approximate Duration 8 minutes

is a sweeping string phrase that recurs in the opera at the climax of Leonora’s Act II prayer. Brasses return as a major component of the momentous excitement that propels this movement forward, with Verdi superimposing his themes to achieve a spine-tingling conclusion. Verdi’s orchestra consists of piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass trombone, timpani, bass drum, one harp and strings. n —Laurie Shulman © 2019


THE HALEKULANI MASTERWORKS SEASON

PIANO CONCERTO NO.2 IN G MINOR, OP.16 Sergei Prokofiev At the time of its premiere at Pavlovsk in September 1913, Prokofiev’s Second Piano Concerto caused a furor that has been likened to that of Stravinsky’s The Rite of Spring at its Paris premiere the same year. Young, cocky, and anti-establishment, Prokofiev composed the most adventurous piano works of his youth on the heels of his daring, passionate First Concerto. These include the Toccata, Op.11, the Humoresque Scherzo that is part of Op.12, one of the Sarcasmes, later published collectively as Op.17, and the Second Concerto. While the critics could hardly ignore this controversial young firebrand, so hugely talented, neither were they obligated to condone all his music. Accordingly, they condemned the Second Concerto as futuristic, and riots attended the early performances. Op.16 was the largest scale work with orchestra that young Prokofiev ad composed up to that point. At four movements, the piece is considerably longer than the ecstatic First Concerto. Prokofiev himself described the Second Concerto as “having turned out to be incredibly difficult and mercilessly tiring.” After he composed it, he was forced to allocate four hours daily to piano practice in order to learn it well enough for the premiere. Still, the music has power, sweep and considerable substance; it is no mere virtuosic showpiece. Some years later, Prokofiev observed that in composing the Second Concerto, he was reacting to accusations of superficial bravura and acrobatic tendencies in his First Concerto, causing him to seek greater emotional depth in the new work. The concerto opens lyrically, with expansive, exploratory themes in relaxed tempi (Andantino - Allegretto - Andantino) that show more kinship to Rachmaninoff than we would ordinarily anticipate from Prokofiev. Both outer movements are intensely Russian in flavor, with a seductive, rhapsodic character that has led to charges of fragmentation. The dramatic heart of the first movement is its powerful cadenza, marked colossale.

b. Sontzovka, Ukraine, Russia 27 April, 1891 d. Moscow 5 March, 1953 First performed by the HSO 1972

Approximate Duration 31 minutes

blinding difficulty for the soloist, it is easy to understand why. No performer gifted enough to master this concerto is likely to let his attention wander! The Second Piano Concerto is scored for two flutes (second doubling piccolo), pairs of oboes, clarinets, bassoons, trumpets and horns, trombone, bass trombone, tuba, timpani, bass drum, snare drum, solo piano and strings. n —Laurie Shulman © 2019

Prokofiev’s biographer Harlow Robinson has described the Second Concerto as “bursting with music for the machine age,” a description most aptly illustrated by the brilliant, frenetic Scherzo. But the elements of harsh dissonance and savage attack that have prevented this work from being frequently performed find strong expression in the latter two movements as well. Prokofiev considered this concerto more interesting for the soloist than for the orchestra. With its near-constant

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SYMPHONY NO. 1 IN C MINOR, OP.68 Johannes Brahms The moniker “Beethoven’s Tenth” has been attached to Brahms’s First Symphony almost since before it was completed in 1876. Hans von Bülow (1830-1894), the eminent conductor, pianist and composer, is responsible for thus dubbing the C-minor Symphony. He was recognizing Brahms’s fulfillment of a prophecy articulated nearly a quarter century before, when Robert Schumann hailed then 20-year-old Johannes Brahms as Beethoven’s successor.

b. Hamburg, Germany 7 May 1833 d. Vienna, Austria 3 April 1897 First performed by the HSO

Brahms took that anointment very seriously, and the spectre of Beethoven lay heavily on his shoulders. He was an unforgiving critic of his own compositions, and destroyed a large number of sketches and completed works that did not satisfy him. Nowhere was his self-criticism more merciless than in the realm of orchestral music, because he was keenly aware that his first symphony would be compared to Beethoven. “You do not know what it is like hearing his footsteps constantly behind one,” Brahms once wrote.

45 minutes

In that sense, everything orchestral that Brahms composed up until the First Symphony was a form of preparation for him to fulfill the daunting legacy Schumann had bequeathed to him. He produced four large, symphonic works while he honed his orchestral skills: the D-minor Piano Concerto, Op. 15, the two Serenades, Opp.11 and 16, and the Variations on a Theme by Haydn, Op.56a. The orchestral fabric of the major choral works he worked on during the 1860s and early 1870s was also significant in strengthening Brahms’s command of symphonic resources. A German Requiem, Op.45 (1857-68), was followed by the dramatic cantata Rinaldo, Op.50 (1869), the Alto Rhapsody, Op.53 (1869), Schicksalslied, Op.54 (1868-71), and Triumphlied, Op.55 (1870-71). Each of them became a repository for important instrumental as well as vocal ideas. All along, Brahms had the goal of a symphony in mind. As early as 1854, probably with Robert Schumann’s encouragement, Brahms was at work on symphonic sketches. Two decades elapsed before that music found its way into any permanent form. Clara Schumann and Albert Dietrich both saw a draft of the first movement in 1862, in a version not yet preceded by slow introduction. Some five years later, Brahms wrote a letter to Clara including the famous horn theme that became the transition to the hymn of the finale. Not until 1873, however, did he concentrate seriously on the completion of his First Symphony. He waited until the age of 43 to contribute to the symphonic canon. Brahms completed his Opus 68 at Lichtenthal during the autumn of 1876. The premiere took place at Karlsruhe in November. Brahms chose the smaller town because it was a less politically stressful musical community than Vienna or Leipzig. He wrote to Otto Dessoff, conductor of the Karlsruhe orchestra:

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1940

Approximate Duration

It was always my cherished and secret wish to hear the thing first in a small town which possessed a good friend, a good conductor, and a good orchestra. Dessoff was delighted by the honor accorded his orchestra. Brahms foresaw that the symphony might not have direct popular appeal, writing to Carl Reinecke of the Leipzig Gewandhaus Orchestra: And now I have to make the probably very surprising announcement that my symphony is long and not exactly amiable. He need not have worried. Dessoff’s first rendition was successful enough to warrant repeat performances under the composer’s direction in Mannheim and Munich shortly thereafter. The First Symphony cured Brahms’s orchestral writer’s block. For the next 11 years, his orchestral harvest was bountiful: three additional symphonies, three more concerti, and two overtures. Von Bülow had good reason to hail the symphony as “the Beethoven Tenth.” Because of its heroic stance and


THE

C-minor tonality, the work is most often compared with Beethoven’s Fifth Symphony. Both pieces have a general progression from tragic struggle to triumph and victory. Brahms’s First bears equal comparison to the Beethoven Ninth (Beethoven’s other minor mode symphony), primarily because of the obvious parallel in hymn-like finales. Brahms’s good friend Theodor Billroth likened the C-minor symphony’s first movement to “a kind of Faustian overture” that might be thought of as a grand introduction to the whole work. Indeed, its complicated chromatic themes and inexorable timpani at the opening are hardly the stuff of which popular “singable” tunes are made. Hans Gál offers an insightful commentary as to why Wagner and his followers would have experienced impatience listening to the opening movement. The nobility of this first movement rests on qualities that were alien to the dramatic composer: a thematic interplay worked out to the smallest detail and based on polyphonic structure; a delicate balancing, from beginning to end, of tonal relationships; --and a formal design whose grandiose dimensions only become apparent when one experiences the whole movement as a single, great continuum. The perspective is significant because Wagner’s followers comprised a major portion of the listening public in the 1870s. One unusual feature of this very large symphony is the presence of two slow introductions, one for each of the outer movements. Slow introductions are rare in Brahms’s music in any case, and this double occurrence is unique among his compositions. Both introductions signal something portentous and monumental. It is a measure of Brahms’s genius that the effect is entirely different in the two: ushering in heroic conflict in the opening movement; introducing serene exaltation in the conclusion. By contrast, the inner movements

HALEKULANI MASTERWORKS SEASON

are both shorter and lighter in emotional weight. In the slow movement, Brahms indulges in some orchestral decoration, embroidering his already rich music with a rare, breathtakingly lovely violin solo. Here and in the graceful Un poco allegretto we have a welcome emotional breather between the mighty pillars of the outer movements. If there were any shortage of melodies early on, Brahms compensates with abundance in the expansive finale. From the magical horn call to the majestic closing chords, unforgettable tunes vie with one another, providing this noble movement with some of his most beloved original themes. Brahms scored his First Symphony for woodwinds in pairs, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings. n —Laurie Shulman © 2019

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HALEKULANI MASTE R WOR KS IX

Chopin & Schumann

SATURDAY MARCH 23 | 7:30PM SUNDAY MARCH 24 | 4:00PM

Maximiano Valdés conductor

THE HALEKULANI MASTERWORKS SEASON

Orli Shaham piano

Renowned pianist Orli Shaham makes her HSO debut with Chopin’s passionate and elegant concerto. Chilean conductor and Music Director of the Puerto Rico Symphony, Maximiano Valdés, will lead Schumann’s Bach-inspired symphony, one of the richest and most compelling works he would ever write. HECTOR BERLIOZ Le Corsaire Overture

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

FRÉDÉRIC CHOPIN Piano Concerto No. 2

I. Maestoso II. Larghetto III. Allegro vivace

— INTERMISSION — ROBERT SCHUMANN Symphony No. 2 I. II. III. IV.

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Sostenuto assai Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

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.

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ARTISTS Maximiano Valdés conductor In February 2008, Chilean conductor Maximiano Valdés was named Music Director and Principal Conductor of the Puerto Rico Symphony in San Juan. Recently ending a 16 year tenure as Music Director of the Orquesta Sinfonica del Principado de Asturias in Spain and now the orchestra’s Conductor Laureate, he is also the former Music Director of the Buffalo Philharmonic. Mr. Valdes served as Chief Conductor of both the orchestra and opera at the Teatro Municipal in Santiago, Chile, where he returns annually for both symphonic and opera performances and in March 2010, Mr. Valdés also accepted the position of Artistic Director of the famed Festival Casals in San Juan, Puerto Rico. Born in Santiago,Chile, Maximiano Valdés began his studies in piano and violin at the Conservatory of Music in Santiago and continued his studies at the Accademia de Santa Cecilia in Rome where he took courses in composition and conducting. Completing his diploma in piano, he decided to concentrate entirely on conducting and enrolled in the conducting classes of Franco Ferrara in Bologna, Siena and Venice, and also worked with Sergiu Celibidache in Stuttgart and Paris. In 1976 Mr. Valdés was engaged as Assistant Conductor at the Teatro la Fenice in Venice and the following year was a conducting fellow at Tanglewood where he worked with Leonard Bernstein and Seiji Ozawa. He won First Prize at the Nicolai Malko Competition in Copenhagen, First Prize at the Vittorio Gui Competition in Florence, and Second Prize at the Rupert Foundation Conducting Competition in London. Mr. Valdés made his American symphonic debut in October 1987 with the Buffalo Philharmonic and was immediately re-invited for the following season. After a successful return to the orchestra in 1989, he was appointed Music Director, a position he held for almost 10 years. In North America he has guest conducted many of the leading orchestras including the Philadelphia Orchestra, the St. Louis, National, Montreal, Baltimore, Seattle, Houston, Dallas and New World symphonies and the Calgary Philharmonic. Summer festival appearances have included engagements at the Caramoor, Interlochen, Grand Teton, Music Academy of the West and Grant Park festivals. An experienced opera conductor who has led productions in many of Europe’s leading opera houses, Mr. Valdés made his highly successful opera debut in France with La Traviata at the Nice Opera. Since then he has conducted productions in Paris, Lausanne, Rome, Berlin, London, Barcelona, Oslo, Copenhagen, Bonn, Asturias and Santiago, Chile. Mr. Valdés made his American operatic debut in May 1992 with the Seattle Opera conducting Cosi fan tutti and returned there in the fall of 1998 to lead Gounod’s Faust. Recent and upcoming opera appearances include Katya Kabanova and Samson and Delilah in Oviedo, Spain; La Traviata, Gounod’s Romeo and Juliet, Othello and Madame Butterfly in San Juan; Lakme, Damnation of Faust, Rigoletto and Rosenkavalier at the Teatro Municipal in Santiago, Chile; and Don Carlo in Madrid.

maestro

Maximiano Valdés has recorded with London’s Royal Philharmonic, the Monte Carlo and Nice Philharmonics, and the Simon Bolivar Orchestra and had an exclusive agreement with Naxos to record works by Latin American and Spanish composers with his orchestra in Asturias. His most recent recording is a CD of works by Roberto Sierra with the Puerto Rico Symphony, also for Naxos. n

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Orli Shaham piano A consummate musician recognized for her grace, subtlety and brilliance, Orli Shaham has established an impressive international reputation as one of today’s most gifted pianists. Hailed by critics on four continents, Ms. Shaham is in demand for her prodigious skills and admired for her interpretations of both standard and modern repertoire. The New York Times called her a “brilliant pianist,” The Chicago Tribune recently referred to her as “a first-rate Mozartean” in a performance with the Chicago Symphony, and London’s Guardian said Ms. Shaham’s playing at the Proms was “perfection.” Orli Shaham has performed with the Los Angeles Philharmonic and the Atlanta, Baltimore, Boston, Chicago, Cleveland, Dallas, Detroit, Houston, Philadelphia, St. Louis, San Francisco, Seattle, San Diego and Utah symphony orchestras; and internationally with the BBC Symphony Orchestra, Bilbao Symphony, Filarmonica della Scala, Israel Philharmonic Orchestra, Orchestra della Toscana, Orchestre National de France, Orchestre National de Lyon, Stockholm Philharmonic, Sydney Symphony Orchestra, and the Taiwan Philharmonic. A frequent guest at summer festivals, she has performed at Aspen, Australian Festival of Chamber Music, Bravo Vail, Caramoor, La Jolla, Mostly Mozart, Music Academy of the West, Ravinia, Spoleto, Sun Valley, Tanglewood, and Verbier music festivals. Ms. Shaham has given recitals at renowned concert halls such as Carnegie Hall, The Kennedy Center, Chicago’s Symphony Hall, Amsterdam’s Concertgebouw, Frankfurt’s Alte Oper, and the Sydney Opera House, and has worked with many eminent conductors including Sir Neville Marriner, Sir Roger Norrington, Christopher Hogwood, David Robertson, Wolfgang Sawallisch, Leonard Slatkin, Robert Spano, Hans Graf and Jacques Lacombe among others. In performance she has collaborated with the pianists Emanuel Ax, Joseph Kalichstein, Jon Kimura Parker and MarcAndre Hamelin, the cellist Lynn Harrell, the violinists Gil Shaham (her brother) and Phillip Setzer, and the sopranos Christine Brewer and Michelle DeYoung, among many others. Celebrating the 100th anniversary of Leonard Bernstein’s birth over the 2017/18 and 2018/19 seasons, Ms. Shaham joins the Indianapolis Symphony Orchestra, Orlando Philharmonic, China NCPA Orchestra, Bochumer Symphoniker, Dallas Symphony, and San Diego Symphony for performances of Bernstein’s Symphony No. 2 Age of Anxiety. Other concerto highlights of the 2018/19 season include performances with the Austin Symphony Orchestra, Milwaukee Symphony Orchestra, and Hawaii Symphony Orchestra, and John Adams’ Grand Pianola Music with the Los Angeles Philharmonic (conducted by the composer). She continues to serve as the Artistic Director for Pacific Symphony’s chamber music series in Costa Mesa, California, a position she has held since 2007. In addition to her activities on stage, Ms. Shaham gives frequent master classes and has served on the jury of numerous piano competitions, including the Cliburn International Junior, New York International, Sydney International, and Virginia Waring International piano competitions. Baby Got Bach, the interactive concert series for young children which Ms. Shaham launched in 2010 to immediate acclaim, is recognized by parents, media and the music community as a significant force in music education and entertainment for pre-schoolers. n

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PROGRAM NOTES CH OPI N & S CHUMA NN

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HA L EK U L A NI M AST E RWORKS IX

LE CORSAIRE OVERTURE, OP.21 Hector Berlioz Much debate swirls among critics and historians as to the origins of this overture. The traditional viewpoint has been that Berlioz’s work was loosely based on Byron’s poem “The Corsair.” According to Berlioz’s biographer Jacques Barzun, however, this 1844 overture derived from an 1831 piece entitled La Tour de Nice. He asserts that Berlioz changed the title in 1851 or 1852 to Le Corsair rouge, which was the French title of James Fenimore Cooper’s novel The Red Rover. (Cooper is known to have been one of Berlioz’s favorite authors.) Another Berlioz biographer, J.H. Elliott, claims that Berlioz suffered a breakdown from stress in 1844 and left Paris to recuperate in the south of France. During a month-long stay in Nice, writes Elliott, Berlioz composed the overture La Tour de Nice.

b. La-Côte-Saint-André, France 11 December 1803 d. Paris, France 8 March 1869 First performed by the HSO 1960

Approximate Duration 8 minutes

and the scintillating qualities that have made his music, and this overture, a favorite of conductors almost since it was written.

The scholar Hugh MacDonald concurs, clarifying that the eponymous structure was actually the Tour des Ponchettes, a stone edifice in which Berlioz lodged, and that the piece was newly composed in August 1844. Berlioz dedicated the overture to his good friend, the English critic The composer’s Memoirs reveal that it was a return visit to those exact J.W. Davison. quarters. The room in which in 1831 I had written the King Lear overture, was occupied by an English family, so I settled higher up, in a tower perched on a ledge of the Ponchettes rock, and feasted myself on the glorious review over the Mediterranean and tasted a peace such as I had come value more than ever. The first version of the overture dates from 1844. Berlioz altered the title before publishing it in 1852; a revision followed in 1854. With discrepancy surrounding both the date of composition and the literary inspiration for the piece, it is hardly surprising that listeners have perceived many different things in the Corsaire music: aural illustration of the sea’s swelling undulations, and the parting of the lovers Conrad and Medora (from Byron’s poem) are two recurrent images that critics suggest. The form of Le Corsaire is typical of Berlioz’s overtures: a brief and brilliant opening allegro section, followed by a relaxed, expressive slow interlude, before a reiteration of the opening allegro material. As always in Berlioz, we hear brilliant orchestration

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The score of Le Corsaire calls for two flutes, two oboes, two clarinets, four bassoons, four horns, two trumpets, two cornets à pistons, three trombones, ophicleide (or tuba), timpani, and strings. n —Laurie Shulman © 2019


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PIANO CONCERTO NO. 2 IN F MINOR, OP.21 Frédéric Chopin Some composers undergo marked changes in their style and approach to their art in the course of a long career: Beethoven and Stravinsky are obvious examples. Others, like Brahms, seem to have burst forth fully formed, with a unique and personal musical language that is instantly identifiable as their own and remains consistent in early, middle and late works. Frédéric Chopin falls into the latter category. Hallmarks of his style appear in all his compositions. We are exceedingly unlikely to mistake Chopin’s music for that of any of his contemporaries. His two piano concertos are the finest of his so-called “apprentice” works. Both demonstrate his incomparable flair for solo display. Chopin began work on the F minor concerto in autumn 1829. It was actually his first concerto, but was not published until 1836, three years after the publication of his Piano Concerto in E minor, Op.11. Consequently the F minor concerto bears a later opus number.

b. Zelazowa Wola, near Warsaw, Poland 1 March 1810 d. Paris, France 17 October, 1849 First performed by the HSO 1956

Approximate Duration 32 minutes

Countess Delphine Potocka of Paris, the eventual dedicatee The relationship between orchestra and piano is different in Chopin from, of the concerto) had replaced Konstancja in his affections. It is for example, the conversational balance in a Mozart concerto. Chopin easy to understand why. With its took Johann Nepomuk Hummel as his model, rather than Mozart. The F minor Concerto is more an accompanied solo than a concerted discussion. lavish ornamentation and delicate embroidery, this movement blurs Everything is geared to highlight technical virtuosity, beautiful tone, and the distinction between melody the expressive capability of the pianist. The mood of the music changes and decoration, weaving a magical rapidly, showing every face that the composer has, from warrior to poet. seductive spell. Polish nationalism But these transformations are never at the expense of continuity, and Chopin sustains a convincing forward drive in spite of his unconventional finds its way into the finale as a mazurka, a family of Polish folk approach to sonata form. As Peter Gould has observed: dances in triple meter. This colorful movement incorporates a number The development section of the F minor concerto is not a true of unexpectedly deft orchestral development as understood by Beethoven. Chopin seldom argued. touches, such as col legno strings He was not naturally an intellectual, his greatest attribute being that [striking the strings with the of sensitivity, and in his development he wrote what could be better wood of the bow, rather than the described as a commentary on what had gone before. horsehair] and a horn signal, that Chopin had a lifelong love of opera that exercised a powerful influence on contribute to its energy. A virtuoso his sense of melodic line and inimitable ornamentation. That influence coda reminds us that the concerto, is most readily perceived in his lyrical slow movements. The F minor ultimately, belongs to the soloist. concerto’s central Andante (originally Adagio) was an expression of Chopin’s love for a singer, Konstancja Gładkowska, during the last year he spent in Chopin’s score calls for Warsaw. He wrote to his friend Titus Woyciechowski in October 1829: woodwinds, horns and trumpets in pairs; bass trombone, timpani, To my misfortune, perhaps, I have found my ideal. I venerate her with all solo piano and strings. n my soul. For six months now I have been dreaming of her every night and still I have not addressed a single word to her. It is thinking of her —Laurie Shulman © 2019 that I have composed the Adagio of my Concerto. Chopin remained very fond of performing this slow movement long after other women (notably HAWA I‘ I SYMPHONY ORCHESTRA

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SYMPHONY NO.2 IN C MAJOR, OP.61 Robert Schumann The best of Schumann, by general consensus, is found in his solo piano music, which is largely concentrated among his very early works. As he aged, the mental illness that eventually took his life began to affect his work habits and concentration. Consequently, while there are some treasures among the works from the later 1840s and even the early 1850s, most of the poetic genius that we so revere in his music is to be found among the youthful keyboard compositions. Obviously Schumann’s wife, the gifted pianist and composer Clara Wieck, wielded a powerful influence on her husband. But their marriage in 1840 seems to have somehow freed Schumann to explore other avenues of expression for his ideas. First in song, then in chamber music, and eventually in large orchestral compositions, he sought outlets for the unceasing stream of melody that swirled through his troubled brain. Those who criticize Schumann’s symphonies take issue with his lack of formal control and the inappropriateness of his intimate style for the more public medium of the orchestra. Partly because of these allegations, Schumann’s symphonies are less frequently programmed than those of his contemporaries and friends Mendelssohn and Brahms. The Second Symphony, sketched late in 1845 and completed the following year, has engendered particular controversy, falling in and out of favor several times during the century and a half since it was composed. Listening to it, one is hard-pressed to fathom why we do not hear it more often. It has nobility, a formal integrity rare in mature Schumann, and brilliant touches sprinkled throughout, both in melodies and in scoring. Although it is numbered second, the C-major symphony was actually the third that Schumann composed. The D-minor Symphony, Op.120, preceded it, but Schumann revised it ten years later and published it long after the work we hear at these performances. Op.61 is actually contemporary with the energetic Overture, Scherzo and Finale, Op.52. This Symphony finds its primary models in the works of Beethoven and Mendelssohn; indeed, especially in the outer movements, this is the most Beethovenian of Schumann’s four symphonies. The Symphony opens with a mini-fanfare: a rising fifth in dotted rhythm, delivered by the trumpets to inaugurate a slow introduction. Simultaneously with this affirmative gesture -- whose motive recurs throughout the symphony -- the strings provide commentary and accompaniment with a questioning, uncertain and exploratory idea in singular contrast to the proud brass. Right away, in the opening

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b. Zwickau, Saxony, Germany 8 June, 1810 d. Endenich, near Bonn, Germany 29 July, 1856 First performed by the HSO 1939

Approximate Duration 38 minutes

measures, we hear the inherent conflict and duality that characterize so much of Schumann’s music, and in microcosm describes the panoply of moods he explores in his four movements. Schumann’s diversity of musical atmosphere is the more remarkable because all four movements are in the key of C. Schumann’s slow introduction leads to a lively Allegro ma non troppo dominated by dotted rhythm. His aggressive rhythmic profile proclaims the victory of the positive brass theme over the doleful intonations from the strings. The development section is fraught with warring elements, little dramas both public and private, as Schumann wrestles with the shadow play of dark and light implied in his opening bars. His recapitulation is fiercely affirmative, with a splendid, virile climax. The Scherzo, placed second in emulation of the Beethovenian Ninth Symphony model,


THE HALEKULANI MASTERWORKS SEASON

is a virtuoso perpetuum mobile for strings. Nervous and fleet, it communicates an undercurrent of driven energy more motoric than elfin. He balances the frenetic stream of sixteenth notes by interpolating two contrasting trios instead of one, following his own successful model from the “Spring” Symphony, Op. 38 (1841) and the Piano Quintet, Op. 44 (1842). Schumann’s slow movement is a standout, calling forth the most soulful and melancholic side of his nature. When the Hamburg music director wrote to him in 1849 requesting interpretive guidance for this work, Schumann replied: I sometimes fear my semi-invalid state can be divined from the music. I began to feel more myself when I wrote the last movement and was certainly much better when I finished the whole work. All the same it reminds me of dark days. Your interest in a work so stamped with melancholy proves your real sympathy....I was greatly delighted to find that my mournful bassoon in the Adagio was not lost upon you, for I confess I wrote that part for it with peculiar pleasure.

PHOTO FROM WWW.SHUTTERSTOCK.COM

In addition to the bassoon solo, Schumann also casts special spotlights on oboe and clarinet, and provides a deliciously romantic moment for horn.

The Adagio reaches its climax on a spine-tingling series of violin trills that have enormous effect. The finale has strong echoes of the slow movement theme, plus an emphasis on dotted rhythms that hearkens back to the opening movement. Brian Schlotel has written of its unusual form: The chief structural novelty of this movement is that the development and recapitulation are telescoped together. There may well be no precedent for what Schumann does here. Development and recapitulation proceed by alternation; that is, Schumann moves back and forth, from one to the other, as if to unfold them as simultaneously as possible. There follows a huge coda of 300 bars, longer than all the rest of the movement. The lengthy coda is all positive affirmation, a valiant declaration of victory over any doubts or shadows cast earlier. While it may not match the spectacular success of his two inner movements, Schumann’s finale argues convincingly that he was indeed a composer who could subjugate uncontrolled impulse in favor of structural clarity. The score calls for woodwinds, horns and trumpets in pairs, three trombones, timpani and strings. n —Laurie Shulman © 2019

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Hoʻāla (To Awaken)

SPECIAL W I TH O’AHU CHOR AL SO CIE TY

THURSDAY MARCH 28 | 7:30PM

Liv Redpath, soprano | Leon Williams, baritone | Esther S. Yoo, conductor • University of Hawaiʻi at Mānoa, University and Hawaiian Choruses • Hawai’i Youth Opera Chorus • Dr. Jace Saplan and Nola Nāhulu, directors • O‘ahu Choral Society, Symphonic Chorus

SPECIAL MAHALO This concert is sponsored in part by the Wallace, Elizabeth and Isabella Wong Family Foundation.

MICHAEL-THOMAS FOUMAI Raise Hawaiki I. Ao II. Kkapesen Neimatau III. Raise Hawaiki IV. Maeva!

V. Nā Mamo VI. Puleileho VII. Eddie’s Dream VIII. Hawaiʻi’s Pride

— INTERMISSION —

HOSPITALITY SPONSOR

JOHANNES BRAHMS A German Requiem [Ein deutsches Requiem] I. II. III. IV. V. VI. VII.

Selig sind, die da Leid tragen Denn alles Fleisch es ist wie Gras Herr, lehre doch mich (Baritone) Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit (Soprano) Denn wir haben hie keine bleibende Statt (Baritone) Selig sind die Toten

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.

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Debbie Gravitte

Anne Runolfsson

Hugh Panaro

A TRIBUTE TO STEPHEN SONDHEIM AND ANDREW LLOYD WEBBER The Hawai‘i Symphony Orchestra salutes the two most successful Broadway composers of the past 50 years; Stephen Sondheim and Andrew Lloyd Webber. Broadway stars Debbie Gravitte, Anne Runolfsson and Hugh Panaro join the HSO to sing favorite songs from megahit shows like Sweeney Todd, A Little Night Music, Jesus Christ Superstar and Phantom of the Opera!

Pre-Concert VIP Red Carpet Reception with Photo booth + Ticket only $80

FRIDAY, APRIL 19 / 7:30 PM (808) 94-MUSIC | HISYMPHONY.ORG

BLAISDELL CONCERT HALL | TICKETS FROM $27


ARTISTS Dr. Michael-Thomas Foumai composer Dr. Michael-Thomas Foumai (b. 1987, Honolulu, Hawai‘i) is a composer of contemporary concert music. His music has been described as “vibrant and cinematic” (New York Times) and “full of color, drama, and emotion” (Milwaukee Journal Sentinel). A prolific composer of symphonic music, his work focuses on storytelling and the history, people and culture of his Hawaiʻi home. Dr. Foumai’s orchestral music has been performed and commissioned by the Minnesota Orchestra, Milwaukee Symphony, Buffalo Philharmonic, American Composers Orchestra at Carnegie Hall, Albany Symphony, Cabrillo Festival Orchestra, Portland Symphony Orchestra, Hawaiʻi Symphony Orchestra, Hawaiʻi Youth Symphony and the Royal Hawaiian Band among others. Various chamber groups including Alarm Will Sound, Dolce Suono Ensemble, Music from Copland House, Chicago Ensemble, and Ebb and Flow Ensemble have presented his music across the country as well as in Japan, South Korea, China, Hong Kong, Thailand, Indonesia and Europe. The recipient of awards and prizes from many competitions and institutions, his honors include the Fromm Foundation Commission from Harvard University, the Music Teachers National Association Distinguished Composer of the Year Award, Jacob Druckman Prize from the Aspen Music Festival, three BMI composer awards, ASCAP Morton Gould Young Composer Award, The American Prize, Intimacy of Creativity Fellowship from Hong Kong University of Science and Technology, the inaugural Kaplan Fellowship from the Bowdoin Music International Music Festival, and was selected by the late Maestro Lorin Maazel as winner of the Composers Competition at the Castleton Festival. As an arranger, Dr. Foumai has composed for guest artists, including Raiatea Helm and the Hawaii Youth Symphony and Iwalani Kahalewai and the Royal Hawaiian Band. As an educator, Dr. Foumai currently serves on the faculty of the University of Hawai‘i at Mānoa in the theory and composition area. He holds degrees from the University of Hawai‘i at Mānoa and the University of Michigan. His music has been recorded by the Indianapolis Chamber Orchestra, Ian O’Sullivan, the Royal Hawaiian Band and The Brass Project on various labels. For more information please visit: www.michaelfoumai.com. n

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T o n i g h t ’ s wo r l d p r e m i e r e o f t h e wo r k “R a i s e H awa i k i ” b y M i c h a e l -T h o m a s F o u m a i w r i tt e n i n c e l e b r at i o n o f

H ō k ū l e ‘ a ’ s M ā l a m a H o n ua ( W o r l dw i d e V oyag e ) wa s c o m m i s s i o n e d a n d d e d i c at e d w i t h l ov e by

E l i z a b e t h E. W o n g

Isa bell a Wong W a l l ac e L.T. W o n g .

and

to t he life and memory of

Wallace L. T. Wong 7/13/1941 - 9/23/2010 Wallace (Wally) was born in Hawai‘i in 1941 and returned to O‘ahu in 2004 where he lived out the rest of his life. He was a successful entrepreneur who was passionate about the arts, educational opportunities for all, and this beautiful environment we know and love as Hawai‘i Nei. It is with profound gratitude that Isabella and I are able to support and dedicate this great collaborative musical and artistic event tonight in his name and memory. He would have been proud of all the musical talent here tonight and all those that supported and made tonight’s concert and performance a reality.

Elizabeth E. Wong T h i s C o n c e rt i s S p o n s o r e d i n P a rt b y t h e W a l l ac e , E l i z a b e t h a n d I s a b e l l a W o n g F a m i ly F o u n dat i o n .


ARTISTS Esther S. Yoo Artistic Director/Conductor Oahu Choral Society Esther S. Yoo, a native of Toronto, Canada holds a Doctor of Musical Arts in Conducting from the College-Conservatory of Music, University of Cincinnati. She received her Undergraduate degree in Music Education and a Master’s degree in Conducting, both from the University of Toronto. Dr. Yoo also graduated with an Artist Diploma in Piano from the Hochschule für Musik in Munich and has studied extensively with Russian pianist Vera Gornostaeva. As a pianist, she has appeared in festivals and masterclasses in France, Austria and Switzerland and has given recitals in Germany, France and Italy. A versatile conductor, Dr. Yoo has worked extensively with high school, collegiate, and professional choirs and orchestras. She was invited as a conducting fellow at the Oregon Bach Festival and Toronto Bach Festival with Maestro Helmuth Rilling. She also brings professional choral singing experience, having sung under the batons of Robert Shaw, James Levine, James Conlon and Helmuth Rilling, among others. Since coming to Hawaii, Dr. Yoo continues to collaborate with the Hawai`i Symphony in bringing choral masterworks to the public. In addition to conducting choral masterworks with HSO, she has also prepared choruses for performances with David Willcocks, Andreas Delfs, Jean-Marie Zeitouni, Andrew Litton, and JoAnne Falletta. Previously, Dr. Yoo held faculty positions as Director of Choral Activities at Hollins University in Virginia, University of Hawai’i at Manoa, and Hawai`i Pacific University. She is a member of Chorus America, American Choral Director’s Association, Chorus Canada, College Music Society and International Federation of Choral Musicians. n

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maestro


Liv Redpath soprano Liv Redpath recently finished singing Gretel in Hansel & Gretel at LA Opera. Last summer, she had her house and role debut at Santa Fe Opera as Zerbinetta in Ariadne auf Naxos. In the fall, she joined Los Angeles Master Chorale to open their season with Mozart’s Requiem and Kirchner’s Songs of Ascent, sang the Voce dal cielo in Don Carlo at LA Opera, and the Beethoven Choral Fantasy with the LA Phil at The Hollywood Bowl. As a Domingo-Colburn-Stein Young Artist, Ms. Redpath has sung Amour in John Neumeier’s recent production of Orphée et Eurydice, Frasquita in Carmen, and stepped in for Diana Damrau in performances of Olympia in Les contes d’Hoffmann under maestro Plácido Domingo. This coming summer she will join Cincinnati Opera to reprise her Zerbinetta, and will be at the Edinburgh International Festival for a new production. She earned her Bachelor of Arts in English from Harvard University and was honored to be an inaugural Kovner Fellow for her Master of Music at The Juilliard School. Ms. Redpath had her Alice Tully Hall debut under William Christie in La resurrezione, her Carnegie Hall debut in Poulenc’s Gloria, followed by Handel’s Messiah, her Seattle Symphony debut in Vivaldi’s Gloria, and her LA Phil debut in their concert collaboration with The Oscars. She has spent summers with Wolf Trap, Opera Theatre of Saint Louis, Aspen Music Festival, and Santa Fe Opera, and is the winner of the 2017 Palm Springs Vocal Competition. n

Leon Williams baritone American baritone Leon Williams has won top prizes in the Naumburg, Joy-in-Singing, and Lola Wilson Hayes Competitions and enjoys a busy and highly successful career, with engagements including Mendelssohn’s Elijah (Honolulu Symphony and The Florida Orchestra), Orff’s Carmina Burana (The Florida Orchestra, Baltimore, Reading, Alabama, Westchester, Grand Rapids, Jacksonville, Hartford and Colorado Symphonies, National Philharmonic, Berkshire Choral Festival), Britten’s War Requiem, the Mozart and Fauré Requiems and Haydn’s The Creation with the Colorado Symphony; Vaughan-Williams’s A Sea Symphony with the Portland, Grand Rapids and Illinois symphonies and The Florida Orchestra; Fauré’s Requiem with Raymond Leppard and the Kansas City Symphony; Brahms’s Requiem with the Alabama and Santa Barbara symphonies; Haydn’s Il Ritorno di Tobia and Mahler’s Eighth Symphony with the American Symphony Orchestra; and Weill’s Lindberghflug with Dennis Russell Davies and the American Composers Orchestra at Carnegie Hall.

vocalists

He appears widely in recital and, a much-in-demand Porgy and Bess principal, he has sung Jake with the Boston Symphony and Los Angeles Philharmonic, as well as with the Dallas Opera. n

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O‘AHU CHORAL SOCIETY HOʻ Ā LA ( TO AWA K EN) SPECI AL P E R F ORM A N CE W IT H T HE HAWAI’ I SYM PHON Y ORCHESTRA

The O‘ahu Choral Society (OCS), established in 1995, brings together approximately 100 singers from all walks of life, from young adults to kupuna, united by their talent and love for classical music and choral singing. OCS is also known for its performances of choral masterpieces with the former Honolulu Symphony and today’s Hawai‘i Symphony. The mission of the O‘ahu Choral Society is to present the highest quality performances of great choral music for the enjoyment and enrichment of the community of Hawai‘i, and to be a passionate leader and contributor to the cultural and artistic vitality and spirit of Hawai‘i.  Esther S. Yoo, Artistic Director Chris C. Bayot, Executive Director Thomas Yee, Accompanist  BOARD OF DIRECTORS  Stephanie Morem, President Elizabeth Flint, Vice President  Sally Hattemer, Treasurer Malina Maneevone, Secretary Esther Haas Kathryn Russell

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SOPRANO Chris Bayot Jackie Clements * Lauren Fender Lucille Frances Amanda Friedman * Valerie Ho Lisa Jacquet * Esther Kim Kathy Kozak Megan Kulas Malina Maneevone Faye McCoy Stephanie Morem Angela Na Yuko Nakagawa * Erin Richardson Severin * Catherine Yamashiro Nami Young

ALTO Amy Akana * Bonnie Burke Evelyn Coffey * Pam Eliashof Beth Flint Alma Grocki Esther Haas Sally Hattemer Aiko Hemingway Zoe Ingerson Mary McEldowney Jan Rensel Kathryn Russell Lilian Shaw Victoria Shiroma Hiroko Thronsen * Winnie Yamashiro

TENOR David Behlke Gene Corpuz Michael Dupre * Darryl Higa * Cliff Hunter Jonny Kimbro * Ron Li * Dan Ream Steven Richardson Severin * Nackil Sung * Gregg Yates Dean Zane

BASS Jerry Altwies Steven Barker Steven Buchthal Charles Cox Carl Jacquet David Johnson Miles Provencher * Larry Schmitt * David Treacher Ken Walters Jeremy Wong *

* Chamber Choir

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FRIENDS

OF THE O’A H U C H OR AL S O CIETY The mission of the O’ahu Choral Society is “to present and promote choral music at the highest artistic level.” This level of choral music, which you’ve come to expect and enjoy from OCS, requires orchestral support. We engage Hawai’i Symphony Orchestra musicians to join with us in presenting such masterpieces as our performances of Brahm’s Ein deutsches Requiem, Op. 45 in 2019, Orff’s Carmina Burana in 2018, Verdi’s Requiem in 2017, and Bach’s B Minor Mass in 2014. Your generous donation will enable OCS to continue providing exciting concerts incorporating gifted musicians. Choose your donation level from the list to the right: OCS I S VE RY G RAT E F U L TO O U R CU R R ENT FR IE N D S COMPOSER’S CIRCLE The Arthur and Mae Orvis Foundation Atherton Family Foundation Cooke Foundation Halekulani Corporation Hawai‘i State Foundation on Culture and the Arts Mayor’s Office of Culture and the Arts McInerny Foundation Sheraton Hotels DIRECTOR’S CIRCLE John R. Halligan Charitable Fund CONDUCTOR’S CIRCLE Sidney Stern Memorial Trust Matson Navigation Company Jhamandas Watumull Fund Anonymous, in memory of Anne K. Allen Esther Haas Sally Hattemer David A. Johnson Dr. Esther Yoo & Dr. James Okamoto Kathryn Russell Nackil & Jaeyeon Sung BENEFACTORS Foodland Super Market Ltd. Mary Ann Fernandes John & Anne Flanigan Elizabeth Flint Clifford Hunter Robert & Yoko Kessner Malina Maneevone

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Drs. Willard & Dixie Miyahira Angela Na PATRONS Frederick T. Bail, in honor of Lorelei Repique Mary C. Cassarno Yong Ho & Minja Choe Elizabeth Conklin Kathleen Grierson Lillian Shaw Winifred Yamashiro Nami Young SUPPORTERS IBM Corporation Western Union Willem & Jan Blees Alexandra & Robert Bley-Vroman Merle Bratlie Frances Burke Barbara Cargill Elizabeth B. Donaldson Pamela & Byron Eliashof Alma Grocki Lloyd Hamasaki Mary O’Brien Ichikawa Jeannette Goya Johnson-Capps Judy & Dennis Lind Faye Akamine McCoy Elizabeth McCreary Mary McEldowney Judy Muncaster David & Sarah Park Michele Reynolds David & Lee Takagi Eldon Wegner

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Diane VanderZanden Gary & Donna Von Dean Zane CONTRIBUTORS Amazon Smile Anita G. Akel Stephen Barker Chris Bayot Patrick Brent Valerie Brown Susan McCreary Duprey, in honor of Kathy Crosier Lucille Frances Erwin Fung Robert Grossmann Erin Hadlock Alan Howard Yaeko Inoue Sharon Iwashita Sara Izen Floria Komer Kathleen Kozak Megan Kulas Dr. Kwong Yen Lum Ruth Merz Michael Modan Yuko Nakagawa Bonnie Lee Pestana Rosalie Slater Arthur & Carolyn Staats Deborah Wagner Christina Wong Louis Xigogianis Brenda Yamane


VIVACE! 2 019 D ON ORS Vivace! is the O‘ahu Choral Society’s annual fundraising gala and silent auction. Many thanks to the generous donors who made the 2019 event possible. INDIVIDUALS Amy Akana Jerry Altweis David Behlke Jan Blees Rachel Brinkerhoff Cameron Carter Ellen Dieter Pam Eliashof Rachel Estrada Beth Flint Alma Grocki Suzanne Hammer Sally Hattemer Jonathan Korth Amy Liang Maria Lowder Mary McEldowney Samantha Morales Stephanie Morem Catherine Morris Angela Na Rachel Parker Dan Ream Kristy Rios Larry Schmidt Alex Silver Hiroko Thornsen Johnny Valentine Diane Vanderzanden Catherine Yamashiro Esther Yoo Elizabeth Young Nami Young Rachel Young Dean Zane

COMPANIES Big City Diner Big Island Candies Bishop Museum Blees Piano Tuning Bohdi Body Massage Therapy Book Ends Daylight Mind Coffee Company Diamond Head Theatre Egan’s Bootcamp The Glassy Lassie Global Village Kailua Glow Putt Mini Golf Grand Wailea – A Waldorf Astoria Resort Hawai’i Hair and Makeup Hawai’i Opera Theatre Hawai’i Symphony Orchestra Hawai’i Theatre Center Hlarts Lab Honolulu Chamber Music Series Honolulu Theatre for Youth Ice Palace Hawaii Jennie Lee Yoga Therapy Kahala Hotel Kailua Raquet Club Kelly Art Marsha Nadalin Salon and Spa Maui Divers of Hawaii McKinley Car Wash The Oahu Club Pearl Harbor Aviation Museum Purve Donut Shop Shangri La: Museum of Islamic Art Watanabe Floral

SU PPORT YOU R O’A HU CHORA L SOCIETY! Composer’s Circle $5,000 + Director’s Circle $2,500 - $4,999 Conductor’s Circle $1,000 - $2,499 Benefactors $500 - $999 Patrons $250 - $499 Supporters $100 - $249 Contributors Up to $100

OC S I S A 5 0 1 ( C ) ( 3 ) N O N - P ROF I T OR GANI Z ATI ON

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MAHALO

Mahalo to the marvelous partners who together, with the HSO and OCS, created this grand performance, which honors what is most precious from Hawai‘i. Founded in 1907, the University of Hawaiʻi at Mānoa is a destination of choice for students and faculty from across the nation and the world. Located in Honolulu and within Manoa Valley, the Music Department is the only fully accredited member of the National Association of Schools of Music (NASM) in the state of Hawai‘i. The Music Department is also noteworthy for its local ties to the Hawai‘i Symphony, Hawai‘i Opera Theatre, and Diamond Head Theatre. Many of the department’s instrumental teachers are members of the Hawaiʻi Symphony, and the orchestra generously offers an annual reading of new works written by the department’s composition students.

PVS Mission - Founded on a legacy of Pacific Ocean exploration, the Polynesian Voyaging Society seeks to perpetuate the art and science of traditional Polynesian voyaging and the spirit of exploration through experiential educational programs that inspire students and their communities to respect and care for themselves, each other, and their natural and cultural environments. PVS Vision - ”Hawai‘i, our special island home, is a place where the land and sea are cared for, and people and communities are healthy and safe.”

The University of Hawaiʻi Foundation was established in 1955 to encourage private support for the University of Hawaiʻi. Today it is the central fundraising organization for the UH System and is contracted by the Board of Regents to be the sole provider of fundraising and alumni services. Vision - To inspire giving and partnership with the University of Hawaiʻi by fostering UH pride and passion among donors, alumni and the community. Mission - To unite donors’ passions with the University of Hawaiʻi’s aspirations by raising philanthropic support and managing private investments to benefit UH, the people of Hawaiʻi and our future generations.

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The Kapi‘olani Community College (Kapi‘olani CC) began in 1946 as the Kapi‘olani Technical School at a time when Hawai‘i was still a territory of the United States. The innovative school was administered by the Territorial Department of Instruction with a strong academic focus on food service. In 1959, as Hawai‘i was entering statehood, three additional programs were added: practical nursing, business education and dental assisting. In 1965 the college realigned its academic mission and joined the University of Hawai‘i System.

Established in 1961 Hawai‘i Youth Opera Chorus is Hawai‘i’s longest running and most advanced community youth choir, offers a full spectrum of music education, and welcomes students, grades K - 12 from any school on O‘ahu. Hawai ‘i Youth Opera Chorus welcomes all students regardless of ethnicity, religious preference, gender or national origin. Each year, HYOC serves approximately 1200 students from nearly 100 schools, in its program either through weekly involvement with our Saturday Program or in participation through our outreach and festival programs. Participants range from absolute beginners to Hawai‘i’s finest young vocalists and musicians.

As Hawai’i’s premier dance ensemble, IONA Contemporary Dance Theatre is renowned for their harmonious and innovative blend of Eastern, Western and indigenous influences. IONA’s visionary Artistic Director, Cheryl Flaharty, has been mesmerizing audiences for over two decades with her one-of-a-kind viewer-attuned performances. From the company’s adored classic, ‘The Mythology of Angels,’ to Flaharty’s tour de force, ‘Destiny,’ IONA masterfully moves the heart through storytelling and symbolism. The 20+ member troupe melds luxuriant costumes and staging, witty spoken word, and the power of music and video to create a consummate experience that reaches beyond dance to total theatre.

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PROGRAM NOTES HOʻ Ā LA ( TO AWA K EN) SPECI AL P E R F ORM A N CE: O ’AHU CHO R AL S O CI ETY & HSO

RAISE HAWAIKI FOR CHORUS AND ORCHESTRA Michael-Thomas Foumai This evening’s special performance is a celebration of Hawaiian history and culture. It is also something of a family affair, merging the collective talents and performing forces of four choruses at area institutions of higher education, along with our gifted HSO orchestra. Composer MichaelThomas Foumai is well known to audiences here, having written for the HSO, the Hawaii Youth Symphony, and the Royal Hawaiian Band, among other area musical ensembles. His orchestral and chamber music focuses on story-telling and the history, people, and culture of our state.

b. Honolulu, HI 17 December 1987 This performance is the world premiere Approximate Duration

Foumai’s reputation has grown far beyond this archipelago. His music has been widely performed on the mainland, as well as in Asia and Europe. He is also a distinguished arranger and educator, currently serving on the theory and composition faculty of the University of Hawai’i - Mānoa.

Hōkūleʻa and the rest of the crew was soon rescued by the U.S. Coast Guard. Aikau was missing at sea and despite great search efforts, he was never seen again.

Dr. Foumai has graciously provided the following background information and movement-by-movement description of his new work. Hawaiki is the name of the mythical homeland of the Polynesian people. Among the multiple meanings of the phrase “Raise Hawaiki” is the dream of legendary Hawaiian waterman, Eddie Aikau, of seeing Tahiti rise from the sea aboard the Hōkūleʻa, a replica of an ancient Polynesian voyaging canoe. The title is taken from Aikau’s resolve to “Raise Hawaiki from the sea.” Raise Hawaiki began with the idea of a work to celebrate the return of Hōkūleʻa from the worldwide voyage Mālama Honua in 2017. At the request of navigator Nainoa Thompson, I composed a short piece celebrating Hōkūleʻa’s homecoming for a chamber ensemble of strings and piano that was premiered at the Polynesian Voyaging Society’s Homecoming Gala, Lei Kaʻapuni Honua (A Lei Around the World). Building on themes from that chamber work, I expanded Raise Hawaiki in form and scored it for orchestra and chorus. In eight movements, the work is framed with two narrative arcs. The first five movements touch upon themes surrounding Hōkūleʻa’s 1976 maiden voyage to Tahiti and the last three movements on events surrounding Eddie Aikau. The words of Raise Hawaiki, edited by Dr. Puakea Nogelmeier, are inspired by interviews and speeches given by members of the Hōkūleʻa voyaging crew including Eddie Aikau, Sam Kaʻai, Sam Low, Mau Piailug and Nainoa Thompson. Eddie Aikau is one of the most respected names in surfing and was the first lifeguard at Waimea Bay on the island of Oʻahu. In the storm of 1978, in an attempt to get to land to save his crew and the Hōkūleʻa, Aikau paddled toward Lānaʻi on his surfboard. Hours later, a commercial airplane spotted

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Sam Ka‘ai is a master woodcarver and artist, a Hawaiian cultural guide and mentor for Native Hawaiians who had lost sight of their essential history. Kaʻai carved two kiʻis – a man and a woman for Hōkūleʻa. The female figure would be lashed to the port manu, the male kiʻi to the starboard. In 1978, ‘80 and ‘85, Ka‘ai sailed as a crewmember aboard the Hōkūle‘a. Sam Low is a journalist, historian and the author of Hawaiki Rising, a book about Hōkūleʻa from her construction and maiden voyage to subsequent trials and successes. Low first sailed on Hōkūleʻa in 1999 from Mangareva to Rapa Nui. Mau Piailug was a navigator from a small island called Satawal, in Micronesia. He agreed to come to Hawai‘i and guide Hōkūle‘a to Tahiti. Without him, the dream to recover voyaging would never have taken place. Mau was the only traditional navigator and last


navigator of his generation who was willing and able to reach beyond his culture to teach and guide a new generation of navigators. Nainoa Thompson is the president of the Polynesian Voyaging Society and master navigator. Inspired by his kūpuna, his teachers, he has dedicated his life to exploring the deep meaning of voyaging. Mau Piailug taught him to see the natural signs he would use to guide Hōkūleʻa throughout Polynesia and the world. RAISE HAWAIKI: MOVEMENT BY MOVEMENT I. Ao Beginning with dawn, a fanfare of four pitches in the form of a sail and symbolic of the four syllables of the name Hōkūleʻa, opens the work symbolizing the awakening of the Hawaiian consciousness as the chorus chants for the blessing of the heavens and ancestors. II. Kkapesen Neimatau Mau Piailug came to Hawaiʻi to train Nainoa Thompson in “The Talk of the Sea,” the knowledge to navigate the seas. The instrumental families symbolize the sea, stars and man. High woodwinds are kept in the high register of the stars; the strings sustain a glacial and oceanic-like block chord. In between these two textures, a chorus of male voices sings music of learning, of questions, a lesson and conversation between master and apprentice reading the stars and seas. III. Raise Hawaiki On May 31st 1976, the 30th day of Hōkūleʻa’s maiden voyage, the island of Mataiva rose from the horizon. Continuing without pause from the previous movement, melodies from first movement return in the strings and winds in an orchestral interlude. Propulsive rhythms in the brass and percussion herald the excitement of land rising from the sea leading directly into the next movement. IV. Maeva! When Hōkūle‘a arrived at the beach in Pape‘ete Harbor, over half the island’s people were there, more than 17,000 strong. Entering the harbor, the sounds of drums, voices, singing, dancing and praise welcomed the arrival of Hōkūleʻa. The chorus sings in a chorale like hymn alternating with episodes of praise exclaiming Maeva! (Welcome in Tahitian), Maeva Hōkūleʻa! V. Nā Mamo Hōkūle‘a’s first voyage to Tahiti in 1976 was a tremendous success and there was a spontaneous affirmation of their great seafaring heritage. Inspired by the words of Sam Kaʻai, the chorale melody from Maeva returns slower and reverent in strings with a chorus of female voices. Nā Mamo speaks to the descendants of Hawaiʻi, the children, a call to stand and be proud of their heritage and culture. VI. Puleileho In 1978, Hōkūle‘a set out for Tahiti again. The heavily loaded canoe capsized in stormy seas off of Moloka‘i. The next day, crewmember Eddie Aikau left on a surfboard to get help. Solo timpani herald a coming storm and a steady pulse in the low strings sets the stage for a dark night. Brass fanfares are pit against a turbulent orchestral seascape and with words inspired by Nainoa Thompson, the chorus recounts in strophic form, the birth of a hero in the darkest of times.

The chorus concludes with a farewell “Go Eddie Go” before the orchestra closes with a return to the four-pitch Hōkūleʻa motive and the emergence of a new Eddie theme. VII. Eddie’s Dream The crew was rescued from the storm of 1978, but Eddie was lost at sea. After the tragedy, Nainoa Thompson recalled, “Eddie had this dream about finding islands the way our ancestors did. He was saying to me, ‘Raise Hawaiki from the sea.’” With a noble orchestral procession, the chorus sings in a hymn-like prayer with fragments of Eddie’s theme serving as a guiding star to urge the listener to hear the dream, to go and Raise Hawaiki. VIII. Hawaiʻi’s Pride The final movement continues from the previous movement, sets the words of Eddie Aikau’s song, Hawai‘i’s Pride, and celebrates the 2014-17 worldwide voyage, Mālama Honua, “to care for our Earth.” Fulfilling Eddie Aikau’s dream to sail for the future of the children of the world, the chorus concludes exclaiming “Kaulana ē ka holo a Hōkūle‘a!”(Famous are the voyages of Hōkūleʻa!). The score calls for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, and large percussion complement [crotales, vibraphone, suspended cymbal, wood block, bass drum, tubular bells, four tomtoms, crash cymbals, glockenspiel, and tam-tam], harp, mixed chorus, and strings. n —Laurie Shulman © 2019

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EIN DEUTSCHES REQUIEM [A GERMAN REQUIEM], OP.45 Johannes Brahms BELOVED MOTHER, BELOVED FRIEND The Brahms Requiem is generally associated with the death of the composer’s mother, Christiane Brahms, in February 1865. In fact, its origins extend back as far as 1854. Early in that fateful year, Brahms’s mentor and friend Robert Schumann attempted suicide by hurling himself into the icy winter waters of the Rhine River. Schumann survived that ordeal, but the incident precipitated his commitment to a mental asylum in Endenich, where he died in summer of 1856.

b. Hamburg, Germany 7 May, 1833 d. Vienna, Austria 3 April, 1897 First performed by the HSO

Young Brahms was stricken by his friend’s illness and subsequent death. His grief poured out in his music, and his first symphonic efforts date from this time. Most of that early orchestral music eventually found its way into the monumental Piano Concerto No.1 in D minor, Op.15 (1854-59). One movement, however, was rejected: a slow scherzo in sarabande rhythm that Brahms composed on the heels of Schumann’s suicide attempt. More than a decade later, he retrieved this ominous movement, incorporating it as the second section of his Requiem, with the text “Denn alles Fleisch ist wie Gras.” Noble and powerful as this movement is, one can hardly believe that its inspiration came to a young man only in his early 20s.

68 minutes

BUILDING A REPUTATION: BRAHMS SCORES A TRIUMPH In the context of Brahms’s growing reputation, A German Requiem is significant because it was his first unqualified triumph. He achieved great international success with it during the years following its first full performance in Bremen in 1868. It is considered to be the work with which Brahms came of age, to full maturity as a composer. Clara Schumann attended the premiere, which Brahms conducted. She recorded the event in her diary. As I saw Johannes standing there, baton in hand, I could not help thinking of my dear Robert’s prophecy, “Let him but once grasp the magic wand and work with orchestra and choirs,” which is fulfilled today. The baton was really a magic wand and its spell was upon all present, even upon his bitterest enemies. It was a joy such as I have not felt for a long time. After the performance there was a supper in the Rathskeller, at which everyone was jubilant--it was like a music festival. Reinthaler [Karl Martin Reinthaler, the cathedral organist in Bremen] made a speech about Johannes that so moved me that (unfortunately!!!!) I burst into tears. I thought of Robert, and what joy it would have been to him if he could have lived to see it. Following the Bremen performance, Brahms added the soprano solo “Ihr habt nun Traurigkeit” as the present fifth movement, bringing the work to the definitive form in which we know it today. A German Requiem was published as Op. 45 in 1868. LATIN REQUIEM VS. GERMAN REQUIEM To the world at large, A German Requiem has even greater significance than it did to Clara Schumann, because it takes such an unorthodox, original approach to the Requiem Mass. In a traditional Requiem, the Latin text is directed toward the soul of the departed. It warns of the wrath of God on the judgment day, and forces the listener to confront the prospect of purgatory and possible eternal damnation. Brahms approached the Requiem in an

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Approximate Duration altogether different manner. To begin with, he forewent the traditional Latin text in favor of Luther’s German Bible, choosing his text freely from both Old Testament (Psalms and Isaiah) and New Testament (St. Matthew, St. John, James, I Peter, Hebrews, Revelation, and Corinthians); he also drew from the Apocrypha (Wisdom and Ecclesiasticus). THE HUMAN – AND HUMANIST – ELEMENT In contrast to the customary Requiem text, Brahms’s text relies less on comfort from the concept of resurrection than on faith in the human condition and the capacity for love. In a letter to Reinthaler, the Bremen organist, he wrote: I confess that I would gladly omit even the word “German” and simply put “Human,” also with my full knowledge and will I would dispense with places like St. John 3:16 (“For God so loved the world that he gave his only begotten son”). On the other hand, I have chosen one thing or another because I am a musician, because I needed it and because with my venerable authors I cannot delete or dispute anything. But I had better stop before I say too much. Brahms’s faith, while profound, was based on a humanist outlook rather


than a religious one. In short, his Requiem is consolation for the living, music that gives the bereaved the strength and comfort to carry on. One leaves a performance of this work with an overall feeling of hope, restored confidence, and faith in the power of love. A DECADE OF WORK, AND THEN SOME From inception to completion, Brahms’s Requiem project occupied him intermittently for more than a decade. He drafted the Sarabande-like movement in its present form between 1857 and 1859. For a while he may have been thinking of composing a four-movement cantata, before setting that idea aside in favor of other projects. After his mother’s death he resumed work on the Requiem, expanding his conception along the way until it reached the seven movements we hear. It was, and remains, the longest score he composed. A GRAND ARCH FORM: SYMMETRY OF ARCHITECTURE The basic structure of the Requiem is a grand arch form, with the lovely fourth movement, “Wie lieblich sind deine Wohnungen” [“How lovely is thy dwelling place”] as the central, pivotal heart of the work. There is much symmetry to Brahms’s structure: the first and last sections have related text and music. The third and fifth movements both deal with lamentation and deliverance, plus both begin with solo voices. Most of the movements are in ternary form, with a contrasting middle section; the exceptions are the two great fugues that conclude the third and sixth movements.

und Ehre und Kraft” in the sixth -- epitomize the noble achievement of A German Requiem. By using Luther’s translation, Brahms acknowledged the venerable tradition of the Bach cantatas. He did so as well by writing these two monumental, extensive and masterly fugues, that Baroque form that reached its apogee in Brahms’s forbears Bach and Handel. He revered both of their music. In A German Requiem, he showed himself equal to their superb model. A German Requiem is scored for woodwinds in pairs plus piccolo; 4 horns, 2 trumpets, 3 trombones and tuba; timpani, harp, soprano and bass/baritone soloists, mixed chorus and strings. n —Laurie Shulman © 2019

In many respects the fugues -- on the texts “Nun Herr, wes soll ich mich trösten” in the third movement and “Herr, du bist würdig zu nehmen Preis

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MAGICAL MU SI C FROM THE MOV I E S

Disney in Concert

SATURDAY MARCH 30 | 7:30PM SUNDAY MARCH 31 | 4:00PM

Joseph Stepec Conductor Come be enchanted by Disney in Concert – Magical Music from the Movies with your Hawai’i Symphony Orchestra! Enjoy projected video clips from iconic Disney films, and four leading vocalists. Every new generation has a favorite Disney musical, whether it’s The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King or Frozen. And then there are the classics, from a Mary Poppins medley to the “Yo ho” of Pirates of the Caribbean. When everyone joins together for memorable moments and melodies that Mouseketeers of all ages know by heart, it feels like a small world, after all.

Presentation authorized by Disney Concerts© All rights reserved

SERIES SPONSOR:

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.

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Joseph Stepec conductor Joseph Stepec is the Music Director of the University of Hawaiʻi Symphony Orchestra (UHSO). In that role 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 this year, he premiered a new translation of Stravinskyʻs L’Histoire du Soldat, set in Colonial Hawaiʻi, with members of the Hawaiʻi Chamber Music Society. Mr. Stepec was also the Music Director of the Euclid Symphony and the Interim Conductor of the Hawai’i Youth Symphony during the 2017-2018 academic year. Mr. Stepec is also 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 HAWA I‘ I SYMPHONY ORCHESTRA

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ARTISTS Juliana Hansen Juliana Hansen is thrilled to be performing her favorite Disney songs with such wonderful orchestras! She has originated roles in Off-Broadway shows, performed as Millie in the 1st National Tour of Thoroughly Modern Millie and starred in several productions across the country. Her favorite credits include Les Miserables (Eponine), Beauty and the Beast (Belle) and The Wizard of OZ (Dorothy). Juliana was a finalist on NBC’s T.V show, “Grease – You’re The One That I Want,” on which she worked with Tony-Award winning director Kathleen Marshall, Sir Andrew Lloyd Webber, composer Georgia Stitt and performed for Olivia Newton-John. One of her career highlights to date was having the honor to premiere “Happy Working Song” from Disney’s Enchanted, for the incomparable Alan Menken and Stephen Schwartz in 2009 - prior to the film’s release! Juliana frequently works with the legendary two-time Oscar-winning composer, Richard Sherman and recently was the new voice of Mary Poppins for Walt Disney’s Mary Poppins – the Legacy Collection. Juliana can also be heard as the new voice of Cinderella on Walt Disney Records’ Cinderella – The Lost Chords and Fynsworth Alley’s Sondheim, A Stephen Sondheim Album. She received the Los Angeles Music Center’s Spotlight Award for Best Vocalist and a “Drama-Logue Best Actress” award for The Secret Garden. Juliana has her Masters in Acting from The Guildford School of Acting in England and lives in LA, where she pursues Film and Television. Her favorite Disney movie is The Little Mermaid. Thanks to Ted Ricketts and love to her family! n

Stephanie Burkett Gerson Stephanie Burkett Gerson has a wide range of credits to her name; from theater and theme parks to cruise ships and a favorite National Anthem vocalist. As a proud member of Actor’s Equity, Stephanie has been seen as a lead vocalist and Mrs. Claus in the Rockette’s Radio City Christmas Spectacular National Tour and appeared in I Love A Piano as Ginger at Moonlight Stage Productions in Vista California. Regional Theatre credits: Joseph and the Amazing Technicolor Dreamcoat (Narrator), Smokey Joe’s Café (Delee), Nine (Carla), Cats (Jellylorum), Beauty and the Beast (Babette), The Full Monty (Estelle), The Buddy Holly Story (Vi, Mary Lou), Meet Me in St. Louis (Lucille), Sweeny Todd, Richard Sherman’s Pazzazz. Other theatre credits include: You’re a Good Man Charlie Brown (Lucy), Grease (Sandy), The Wizard of Oz (Dorothy). Stephanie is an active member of New York City’s most well know gospel choir, Michael McElroy’s Broadway Inspirational Voices. She also regularly lifts the spirits of America’s troops and their families with the USO Show Troupe. n

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John DeLisa John DeLisa is a native of Palm Harbor Florida. He received a Bachelor of Fine Arts from The University of Central Florida where he graduated with honors. Regional theater credits include Secret Garden (Dickon), Into the Woods (Jack) and Twelfth Night (Feste) for Ruth Eckerd Hall. Other work includes resident actor/educator with the Orlando Shakespeare Theatre where he performed in Les Miserables and the world premiere of The Musical Adventures of Flat Stanley (Arthur). As a featured actor at The Oklahoma Shakespearean Festival John was seen in Legally Blonde (Emmit), Boeing Boeing (Bernard), and As You Like It (Oliver). Most recently John premiered as a featured vocalist with Viking Ocean Cruises inaugural liner The Viking Star. John is thrilled to be part of the Disney in Concert team. n

Payson Lewis Payson Lewis is originally from the mean suburban streets outside Philadelphia, PA, but now resides in Los Angeles, CA. Payson’s TV credits include: American Crime Story (FX), Revenge (ABC), How I Met Your Mother (CBS), Rules of Engagement (CBS), Love Bites (NBC), VicTORIous (Nickelodeon), and was a Top-4 Finalist on The Sing-Off (NBC). In addition to other recent TV appearances, he’s been seen in For The Record: Dear John Hughes, Glory|Struck Productions’ Bare in role of Peter (BroadwayWorld Award Winner: Best Leading Actor in a Musical), For The Record: Tarantino, The Rocky Horror Show, and as Marty McFly in For The Record: Zemeckis. Payson graduated with honors from the Thornton School of Music at the University of Southern California. n

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Disney in Concert Magical Music from the Movies is produced by Symphony Pops Music Sherilyn Draper, Director and Writer Ted Ricketts, Musical Director

Presentation authorized by Disney Concerts© All rights reserved

“Disney Classics Overture” Arranged by Bruce Healey © 1993 Walt Disney Music Co. (ASCAP) & Wonderland Music Co., Inc. (BMI)

“Songs from The Little Mermaid” Music by Alan Menken Lyrics by Howard Ashman Arranged by A. Menken, R. Merkin T. Pasatieri and T. Ricketts © 1990 Wonderland Music Co., Inc. (BMI)

“How Far I’ll Go” Words and Music by Lin-Manuel Miranda © 2016 Walt Disney Music Company

“Disney’s Beauty and the Beast Suite” Music by Alan Menken Lyrics by Howard Ashman Arranged by Danny Troob and Franck van der Heijden Edited by Ted Ricketts © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

“I Wan’na Be Like You” Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Franck van der Heijden © 1966 Wonderland Music Company, Inc. (BMI)

“Medley From Disney’s Mary Poppins” Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Bruce Healey and Ken Whitcomb © 1963 Wonderland Music Company, Inc. (BMI)

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— INTERMISSION — “Disney’s The Hunchback Of Notre Dame Orchestral Suite” Music by Alan Menken Arranged by Michael Starobin Edited by Ted Ricketts © 1996 Wonderland Music Co., Inc. (BMI)

“Let it Go” (from Disney’s Frozen) Music and Lyrics by Kirsten Anderson-Lopez and Robert Lopez Orchestrated by David Metzger Adapted by Ted Ricketts © 2013 Wonderland Music Company, Inc. (BMI)

“Disney’s Aladdin Suite” Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Arranged by Danny Troob and Bruce Healey © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

“Pirates of the Caribbean Suite” Music by Klaus Badelt Arranged by Ted Ricketts © 2003 Walt Disney Music Company (ASCAP)

“Disney’s The Lion King Song Suite” Music by Elton John Lyrics by Tim Rice Score by Hans Zimmer Arranged by Brad Kelley and Ted Ricketts © 1994 Wonderland Music Co., Inc. (BMI)


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

Judith Anderson Nancy Askew-Regidor Alena Kangas Auyoung Lila Borges Rita Braun Barbara Bronster Carol Ching David Chung Janet Cooke Carol Dickson Maryanne Eichorn Louise Emery Francia Hamnett Michael Hamnett Maria Haney Edith Harada Mary Hogan Marilyn Katzman Kiku Kealoha

Alex Kupfel ` Alice Kupfel Janey Lau Jung Nam Lee Miranda Levine Jeffrey Lim Leilani Lind Eve Lind Laurel Lindenbach Natalie Mahoney Jean McIntosh Martha Nakajima Luuk Oleson Peter Oleson Carol Paris Bonnie Lisa Pestana Barbara Pretty Jane Redmond Marie Satz

Stan Satz Kent Savage Trudy Schandler-Wong Jane Schwager Hillary Sebeny Lisa Shugart Lee Shugart Andrea Snyder Bob Snyder George St. John Alvin Wong

2018/2019

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

HSO Associates

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!

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DONORS

M AHALO TO OUR G EN E R O U S D O N O R S

The following reflects gifts received between January 1, 2018 - February 14, 2019 Corporate Benefactors $100,000 & above ABC Stores Halekulani Corporation

$40,000 to $99,999 John R. Halligan Charitable Fund Kosasa Family Fund, Hawai’i Community Foundation Susan M. Kosasa Fund of the Hawaii Community Foundation

$50,000 to $99,999 Altres Saks Incorporated Sheraton Waikiki Ward Village

$20,000 to $39,999 Alexander & Baldwin Foundation Cooke Foundation Limited Gloria Kosasa Gainsley Fund of the Hawai’i Community Foundation John Young Foundation Mary Wilson Crawford Fund of the Hawaii Community Foundation Robert E. Black Memorial Trust The Arthur & Mae Orvis Foundation The Cades Foundation

$20,000 to $49,999 Bank of Hawaii United Laundry Services, Inc. $5,000 to $19,999 First Hawaiian Bank Honolulu Star Advertiser Pacific Retina Care Queen Emma Land Company Tori Richard $1,000 to $4,999 BlackSand Capital LLC Hawaii Symphony Associates K2 Pacific Inc. Kobayashi Group LLC MacNaughton Group Inc Masaki School of Music Pacific Panel Cleaners YourCause, LLC Up to $999 Anonymous Arturo’s Tortilla, Chip & Salsa Factory, Inc. Case Lombardi & Pettit Craigside Retirement Residence Foodland Supermarket Hawaii Pro Sound & Video Rentals KPMG Community Giving Campaign Makk Studios Mutual Plumbing Supply, Co., Inc. Network for Good Newcomers Club Of Honolulu O‘ahu Choral Society The Ohio State University Alumni Club of Hawaii TisBest Philanthropy

Foundations, Trusts & Charitable Funds $250,000 & above Honolulu Symphony Foundation L. Leon Bailey Trust $100,000 to $249,999 Frances Marilyn Pickens Living Trust The Wallace, Elizabeth, & Isabella Wong Family Foundation Thomas & Mi Kosasa Fund of the Hawaii Community Foundation

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$10,000 to $19,999 Anonymous Fund of the Hawaii Community Foundation Castiglione A. Casauria Foundation Central Pacfic Bank Foundation Emmett R. Quady Foundation George Mason Fund of the Hawaii Community Foundation Lenore & Chester O’Brien Fund Steve & Marilyn Katzman Philanthropic Fund The Atherton Family Foundation The Shidler Family Foundation $5,000 to $9,999 Paul C.T. & Violet Shaw Loo Fund of the Hawaii Community Foundation Rix Maurer III & Mary L. Maurer Trust $1,000 to $4,999 Anonymous Aloha United Way Bank of America Charitable Foundation David Sen Lin Lee Foundation Henk & Akemi Rogers Ohana Foundation Honolulu Symphony Society Fund of the Hawaii Community Foundation Hung Wo & Elizabeth Lau Ching Foundation James & Helen Gary Charitable Fund of the Hawaii Community Foundation Jhamandas Watumull Fund Peter G. Drewliner Foundation Rainee Barkhorn Charitable Foundation Wah Duck & Grace K.S. Young Memorial Fund Up to $999 Rev. Abraham Kahu Akaka Ministries Foundation Allen & Nobuko Zecha Foundation AmazonSmile Foundation CFC (Combined Federal Campaign) Edmond & Mildred Ayling Fund of the Hawaii Community Foundation Hawaii Hotel Industry Foundation Phyllis G. Glick Trust Pledgeling Foundation


The Gift of Music

SUPPORT MUSIC IN HAWAII 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.

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.

For donation information, please contact Jonathan Parrish at 380-7722 or email info@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.

LOUISE EMERY & IGGY JANG

‘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

+

+

+

+

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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Individual Donors $100,000 & above Elizabeth E. Wong $20,000 to $99,999 Robert & Frances Bean Melissa Blake Gov. Ben & Vicky Cayetano Gloria Kosasa Gainsley & Stephen Gainsley Paul & Lisa Kosasa Virginia Tiu $10,000 to $19,999 Eleanor Chang Helen S. Choy Mitch & Bambi D’Olier Louise L. Emery Richard & Susan Ing Marilyn & Steven Katzman Bob & Dee Levy Natalie Mahoney Randolph Moore & Lynne Johnson Steve Ristow & Bobbie Conlan Dr. & Mrs. Christopher Tortora $5,000 to $9,999 Anonymous Peter G. Drewliner JoAnn Falletta & Robert Alemany Dennis Francis Raymon A. House & Ann B. Wood-House Juli Kimura Walters Robert Larm Jean McIntosh Sharon S. McPhee Dr. Elahé Omidyar Mir-Djalali Martha Nakajima Wayne Pitluck & Judy Pyle G. Mark Polivka Kenneth S. Robbins Marsha Schweitzer Mr. & Mrs. Christopher C. Smith $1,500 to $4,999 Anonymous Linn Sol Alber Robert L. Allen Margaret B. Armstrong Gail & William Atwater Stanford & Winifred Au Patricia M. Barron Emmalisa H. Bledsoe Tab Bowers Antoinette Brown Carol H. Case Mary (Candy) Cassarno Ann M. Castelfranco Dr. Percival & Carolyn Chee Edward K. Conklin Christopher Conybeare & Kathryn Braun

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Janet Cooke Heather Cutter Rosemary Domecki Joseph & Yuki Dunkle Jackie Mahi Erickson Christine Feldmann & Peter Hacker Kiana Gentry Jack & Janet Gillmar Marjorie Gordon Jeremy G. & Harriett D. Haritos Eileen Hilton & Leonard Rossoff John & Jane Hinrichs Jean & Randy Jaycox Dr. Tyrie Lee Jenkins Jean & Robert Johnson Maurice & Shelley Kaya Myra Kong Richard L. Kurth Jodi A. Lam & Timothy M. Takaezu Hai Cha Lambert Edward & Stephanie Laws Worldster & Patricia Lee Mollie M.Y. Lee Peter & Mary Lou Lewis Drs. Grover & Sally Liese Dr. Jeffrey Lim Lloyd Lim Debra J. Liu Mrs. Violet Shaw Loo Mary & Michael Macmillan Ken & Diane Matsuura Guy Merola & Mark Wong Audrey Mueh Lyle E. Nelson Capt. Phillip B. Olsen & Gail Hudson Dr. Robert & Rebecca Ozaki Bonnie Lisa Pestana Robert Creps & Debra D. Pfaltzgraff Dr. Lee Putnam David Reber Glenda K. Rother Joanne Shapiro Andrea & Bob Snyder John & Susan M. Soong Alan & Karen Stockton Patricia Takemoto & Robert Morse Glenn & Elizabeth Tango Lance Teruya Henry Timnick Robert & Marilyn Trankle Kent & Jean Tsukamoto Dake Vahovich Drs. William & Margaret Won Gregory Wrenn & Robert Pyburn Valerie Yee $500 to $1,499 Anonymous (2) Sandra S. Anderson John & Karen Andrews

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

Mary Ann Barngrover Brad & Lee Bassett Betsy A. Behnke Terance & Jan Bigalke Pat Billington & Taka Alphons Richard J. Blangiardi Willem & Janet Blees Jeffrey Boeckman & Joanne Hogle Merle Bratlie Lilia Brewbaker Jeannette & Ian Capps Barbara Cargill H.F. Carlin, Jr James H. & Suzanne E. Case Fredrica & Paul Cassiday June R. Chambers Karen Chang Yi-Chuan & Helen Ching Carol Ching Joan P. Chock Franklin & Norma Chun Carol J. Coops Patricia Sue Cornish David Schulmeister & Virginia Lea Crandall Yuki Danaher James Day & Phyllis Fong John P. Dellera Michael D. DeLuca Nola Epp Karen L. Feltz Carol R. Langner John Gad Marilyn Wong Gleysteen Donald W.Y. & Laura Ray Goo Suzanne Mary Hammer, M.D. Mary J Harbold Frederick & Joan Harris David & Nery Heenan Manfred Henningsen Gilman & Ruth Hu Glenn Ishioka Gary James Blake Johnson Kiku I. Kealoha Robert & Yoko Kessner Thomas D. King Chester T. & Laraine K. Koga Mr. & Mrs. Alexander Kufel Wilfred & Caren Kusaka Samuel Y. Lam Geri Lambert William & Susan Lampe Lavay Lau Van Lee Maria D. López-Haney Francis C.H. Lum & Bertha Y. Lum C. Jeanette Magoon Anne & John Mapes Kiyono Masaki Donald M. Matsumori

Howard & Barbara Mau Jim & Pam McCoy Peter & Luanna McKenney Dr. & Mrs. Phillip McNamee Amy Y. Monk Mrs. Sally Morgan Thomas & Lois Mui Martha Lee Mullen Marcia M. Nagao George & Alma Nagao Joanne P. Nakashima Alvin S. & Sharon Narimatsu Drs. Steven Nishi & Pamela Tauchi-Nishi Ruth O. Oshiro Stephanie S. Pauling Dr. & Mrs. Robert G. Peters Alan & Martha Peterson Ralph & Pakinee Portmore Kent A. & Howena H. Reinker Jean Rolles Merritt & Carol Sakata Ambassador Charles B. Salmon, Jr. Dr. Stan & Marie Satz Kent Savage Albert J. Schutz Jane Schwager Richard & Yoko Scofield Cassandra Senner Lillian Shaw & Erwin Fung Catherine M. Shaw Schwartz Lisa A. Shigemura Sheryl Shohet Ralph & Jackie Sprague Dr. Ulrich & Carol Stams Doug Stanfield Lt. Col. Ret. Paul & Judith Stankiewicz Warren & Carolyn Stenberg Randall & Misako Steverson Susan Takahashi Dr. Fred & Mrs. Ann Tanabe Alan & Joni Tanaka Amy A. Taniguchi Leanora Tong Anita Trubitt Laurita P. Turner Rochelle Uchibori Glenn & Constance Uejio Eldon L. Wegner Nancy D. White Daniel & Judith White Julia C. Wo Bradley D. Wong Paul Wrege Carl Yee & Mary Wong Ms. Lisa Yoda Glenn & Kathleen Yoshinaga Shuk Fon Yuen Allen & Nobuko Zecha $150 to $499 Anonymous (12)


Jean Adair-Leland Carol A. Aki Delila A. Amorin John L. Ashby Jr. Nancy Askew-Regidor Ron Baldwin Cornelius Bates Dayna M. Beamer Max & Helen Besenbruch Carolann Biederman & Seth G. Markow Barbara Bronster & Bernard Schwartz Alex & Tina Bykov Barbara Campbell Jane Campbell David E. Cantor Ms. Margaret Capobianco Edward H. Carus Paul J. Schwind & Mollie Chang Elaine M. L. Chang Donald & Mildred Chang John Chilcott & Caryn Yamanaka Derek T. Chinen Philip & Gerry Ching Suzanne M. Ching Minja Choe Timothy Y.C. Choy Juanita Chun Paul Allen & Darrell Chun Jim & Sally Clemens Kikuko T. Cole Ms. M Gay Conklin Jim & Irene Connors John S. Corbin Rosemarie Cottle Rebecca L. Covert Katherine Crosier Richard & Myrna Cundy David & Junko Davis David & Charlotte De Witt Michael J. Deweert Carol Anne Dickson Tom & Kristi Dinell Bernice Dinion Elizabeth B. Donaldson Cherie N. Dubats Rudolf & Edith Ecken-Genova Ben Einer Denise & Ace Ellinwood John S. Falzarano & Claire Chao Joanna Z. Fan Marlies H. Farrell Paul & Jane Field Ronald & Maureen Fitch Matthew & Linda FitzGerald Mary Jo Freshley Dr. P. Fujimoto & Dr. W. King Carol Aiko Fujiyoshi Edward & Grace Furukawa Colleen Furuya Paula Gill Kathleen Goto

Laure & David Hadder Beverly Haid & Sue Hillman Kimberley Haines Mrs. Nyle Hallman Edith Harada Margaret Y. Harada Daniel Hartline & Petra Lenz James & Constance Hastings Sally & Tom Hattemer Don & Claire H. Sakai Hazzard Letitia Hickson Patricia Josephine Hildreth Glenda C. Hinchey Stephanie Hoe Carolyn Hong Marie-Sol Howard John & Shizue Howe Mary O’Brien Ichikawa Lester & Carolyn Inouye Ethel C. Iwasaki Sara Adah Izen Noel R. Jaderstrom Rev. Dr. Donald K. Johnson Richard M. Johnson & Jung Nam Lee Annakaarina Jolkkonen Wyatt L. Jones & Dawson Jones Dr. Leilani Kaanehe & Dr. Sandi Kwee Jay & Ann Kadowaki Katherine E. Kaneko Cynthia & Bruce Keller Linda Kidani Alexander S. Kim Kathryn & J.P. Klingebiel Takako O. Kokame Laurence N. Kolonel Douglas G. Kreider E. Takeo & Barbara Kudo Christine Kurashige & Barry Whitfield Evelyn B. Lance Ellen LeClair Harold W. F. Lee James & Susanne Lenz John Venizelos Levas Judy & Dennis Lind Kwong Yen Lum Christopher & Linda Lum Elizabeth K. McCreary Mariajane C. Mee Deborah Merritt Amy H. Mitsuda Willson & Sally Moore Takako Morimoto Karen K. Muronaka Samuel & Gertrud Murray Maxine Nagamine Eric I. Nagao & Lauren Yee Poranee Natadecha-Sponsel Sam & Carolyn Ng Mark & Paula Nokes Helen Oen

Timothy F. Olderr Lindsay Orman Ruth Pagell Ann M. Peters Helen Pierce Dr. Barbara B Polk Anthony J. Radcliffe David J. Randell & Rosemary T. Fazio Paul R. Rath James & Jane Redmond Mary Pecot Reese Carole Richelieu Scott Robinson & Deborah Clevenger Donn M. Sakuda Maureen Annette Schaeffer Harold & Joyce M. Schatz John & Eudice Schick Ronald & Lana Marie Seki Lee & Lisa Shugart Paul & Terry Simeone Russell & Suzanne Young Sitch Susan Spangler Kathryn & Basil Sparlin Poranee & Leslie Sponsel Susan Stahl Jane Sugimura Pattie Sullivan Walter M. & Dolly S. Takeuchi Donna Tamasese Bruce T. & Rae. N. Teramoto Helen D. Thomas Dr. & Mrs. John B. Thompson Dianne Towey Fred J. Trupiano Stephen Turner Floraine Van Orden Robert A Wall Timothy Walrod Diane Watanabe CDR. Max H. Watson, USN, Ret. Jane & Frank Wei John Allan White Marsha White Duane & Carol White Nancy C Whitman Patricia Whittingslow Howard Calvert Wiig Carol & Karl Will Todd & Malia Withy Randy & Helen Wong Alvin & Trudy Wong Louis P. Xigogianis Howard & Joan Yamaguchi Gary T. Yamamoto Mildred A. Yee Burt & Helen Yoshimi Sally Yoshinaga Everett B. Young Debra D. Zedalis M. Scarlett Zoechbauer

Up to $149 Anonymous (28) Deborah A. Agles Michael & Tess Amore Judith Lisa Anderson Larry Lee Anderson David & Bonnie Andrew Linda M. Aniya Vernon E. Ansdell Fran Armstrong Nelisa Asato Patricia Augustine Donna G. Bair-Mundy Karen Baker & Frank Marone Laura Ing Baker Mark Baker & Lisa Hendrickson Brian Baron Britt C. Bayles Virginia Beck Denise P. Bekaert & Felicity O. Yost Lise Belton Zara Berg Amy Blackwell Robert & Alexandra Bley-Vroman BarBara Boddy Marge & Carl W. Boyer, Jr. Pauline Brooks Philip & Evelyn Brown David Budd John Campbell Celia & Lloyd Canty Leslie Carter James & Olivia Castro Chunmay Chang Diane E. Chang Mr. Gary Chang Simon Chang Wesley Chang Dr. Lida Chase Louise J. Ching Adele D. Chong Stewart Chun David Chung Richard Chung Georgia A. Cicmil Sherri Nanea Clark Patricia M. Coughlin Marjorie L. Cox Norborne Clarke & Midi Cox Aiko K. & Leslie G. Crandall Howard & Sandra Kelley Daniel Caroline Davis Nancy A. Davlantes Malia Day Deane DeCastro John Devlin Jim & Anne Marie Duca Jerald Dunlap Laudra B. Eber Dr. Lawrence Eron & Donna Cheng Uson & Lani Ewart

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Robert & Patricia Faus William Samuel Fay Bonnie Featherstone Soo M. Ferrante Larry & Atsuko Fish Simone A. Flair Anne & John Flanigan Vanessa J Foster Tammy Freedman Fred K. French Ralph & Eleanor Fujioka Jeffrey & Shirley Fukushima Gary & Marion Glober Richard Goodman John Graves Werner H. Grebe Judith Guffey Ms. Esther Haas-Hugentobler Susan K. Hamai Chiereen L. Hamamura Francia L. Hamnett Ms. Mitsue Hanabusa Ms. Christina Hansen Elizabeth Harding Shirley Hasenyager Beverly Y. Hashimoto-Lee & James P. Lee Honi Lani Hearn Lea & John Heide Lyle Hendricks Victoria Hersey The James Hom Family Dawn M. Honda Jayne K. Honda Sachiko Hosokawa Jenny R. Howard Karen & James A. Howell George M. Hudes Alena Hughes Robert & Judith Hughes Patricia S. Hunter Susan Hurd Mary M. Hurlbutt Carolyn Hyman Sarah A. Imanaka Sharon O. Inamine Walter Huntley Ingebritson Takuma & Carol Itoh & Tsang Chenise Iwamasa Keith & Cynthia Johnson Michael Jones Michael & Karuna Joshi-Peters Robert Justice Judith T. Kakazu Kenneth & Patricia Kamiya Phillip M Kan Chester & Jeanean Kaneshiro Ferne Kawahara Jean K. Kawamura Elaine Kawazoe Claudia K. & Robert C.K. Keaulani Linda Keller

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Ann Kelminski Lisa Kelso Marcia Kemble Elspeth J.C. Kerr Michael & Susan Killion Dr. & Mrs. Robert Kim Kevin Kimata Margaret W King Dr. Robert & Adelaide Kistner Ms. Carolyn Koehler Floria Komer Janice Kong Drew A. Kovach Shirley Krause Matthew Kugiya Anne Kwiatkowski John E. Laborde Mary Lacques Tommy Lam Matthew S. Lau Shigeko Lau Herman Leong Laura & Stephen Leong Laurel S. Lindenbach Sally & Bill Little Milton Liu Gail G. Loden Gail Long Russell Loo Charles & Sandra Loo-Chan Karen L. Loomis Melissa Loy Benjamin & Eleanor Lum Thomas H. Maeda, Jr., MD Sue & Howard Maier Donna Makishima Richard Manshardt Barbara C. Marumoto-Coons Karen Masaki & Paul Freeman David Masunaga Clarence Y. Matsumoto June R. Matsumoto Lynn Harumi Matsunaga Lynne Matusow Sarah McDermott Mary & Robert McEldowney Alma McGoldrick Donald O. McInnis Laurie & Ed McKeon Martin & Sharron McMorrow Jeffrey Mermel Sally & Jeffrey Mermel Ruth Merz Kenneth M. Mijo John Misailidis Roy & Catherine Miyahira Mr. & Mrs. Roy Miyamoto Julie Montgomery Art & Val Mori Milton & Annette Morishige Lynn Murakami-Akatsuka Trent Nakasaki Ron Noble

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

Jani Victoria Novak Kale Lani Okazaki Jerry & Arlene Ono Mildred Oshiro Valerie Ossipoff Dayle Ota Kaya & Arthur Ozeki Norma Parado Jonathan Parrish Florene D. Pell Julie Ann Peterson Russell & Patricia Pinho Anne Lee Pohner Min Pongklub Myrna L. Pung Diane M Pyles Hal & Martha Quayle Ms. Susan M. Quintal Judy A. Rantala Ray Raymond Tanya Renner Lawrence Ritter Kenneth B. Robbins & Clarissa T. Burkert Alan & Margaret Rowland A.G. Rudy Mrs. Carol A. Rumford Iris Jean T. Saito Eileen A. Sakai Ted & Ruth Sakai Charles & Marie Sakamoto Carolyn J. Sandison Robert S. & Mary Louise Sandla Rachel T. Sato Janice T. Sawada Charles C. Schenck Judith Scheu Marcia G. Schultz Scott Schultz Andrew Schumacher Beppie Shapiro Diane E. Shepherd Michael B. Shewmaker Patricia Shields Mr. & Mrs. Randall Shimoda Kazuo Shirakawa Jennifer Shishido Ted & Patricia Sidor Barbara B. Sloggett Mr. & Mrs. John Southworth Joyce G. Spoehr Robert Stanfield Vibeke Steenberg David Atkin & Mary Steiner Jessica L. Stenz William & Carolyn Strafford Noelle H Sutherland Arnold Suzumoto Ira & Marilyn Tagawa Mrs. Stacey Takanishi Alan Tamai Sophie Tang

Andrew & Virginia Tanji Mr. & Mrs. Remi Taum Janet Tauscher Mary M. Taylor Sadako Tengan Juanita B. Thomas Ronald & Patricia Tochiki Lisa A. Tom Werylend Tomczyk Sharman Torkildson Kimberly Towler Mr. & Mrs. Richard W. Towne Jennifer M. & Jose G. Trevino Janice Y. Trubitt Kay S. Uyeda & Ramona A. Ho Dondi Vinca Thomas Burke & Marie Wagner Rebecca Lynne Ward Dr. Stephen & Mrs. Eugenie Werbel Donald Williams Jean M. Williams Leslie Charles Wilson Linda A. Wilson Mark K. Wilson III Kelly C. Wimberly Elizabeth L Winternitz John Wollstein Diane W. Wong Linda Wong Rebecca Wong Stan & Shirley Woo Patricia Wood Lesley A. Wright Jack & Kathy Yamada Brian & Sandi Yamagata Dr. Byron Yasui Gareth & Anna Yokochi Norman & Jane Yonamine Mari Yoshihara Don & Judi Young Merv & Joni Young Louise Yuhas Laurie M.H. Zane 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


TRIBUTE LIST

M AHALO TO T H OS E W HO HAVE T H O U G H T F U L LY D O N ATE D

The following reflects gifts received between January 1, 2018 - February 14, 2019 IN HONOR

In Honor of Carl St. Clair Elizabeth E. Wong In Honor of Claire Hazzard Werylend Tomczyk In Honor of Constance Uejio Kosasa Family In Honor of Hawai‘i Symphony Orchestra Associates Jean McIntosh

Glenn & Kathleen Yoshinaga Jennifer M. & Jose G. Trevino In Honor of Vicky Cayetano & Marilyn Katzman Timothy Y.C. Choy IN MEMORY

In Memory of Ah Quon McElrath Gail Long In Memory of Alfred Buerosse Sheryl Shohet

In Honor of Jim Moffitt Ron Noble

In Memory of Allen R. Trubitt Janice Y. Trubitt

In Honor of JoAnn Falletta Gary & Marion Glober Ms. Margaret Capobianco

In Memory of Arman Kitapci Anita Trubitt

In Honor of Jonathan Parrish Jane Campbell Marsha Schweitzer In Honor of Makoto, Victoria, and Okaasan In Honor of Michael Titterton Gilman & Ruth Hu Jeremy G. & Harriett D. Haritos In Honor of our 50th wedding anniversary Dr. Stan & Marie Satz In Honor of Paul Kosasa Edward & Stephanie Laws In Honor of Peter Drewliner David and Nery Heenan In Honor of Susan Spangler’s 80th Birthday Rebecca Wong In Honor of Tim Leong, Violinist, Hawaii Symphony Orchestra Suzanne M. Ching In Honor of Vicky Cayetano Andrew Schumacher Ginny Tiu

In Memory of Dr. Francis Liu Audrey Mueh Charles & Marie Sakamoto Dr. Ulrich & Carol Stams Drew A. Kovach Franklin & Norma Chun Vernon E. Ansdell

In Memory of Aroon-Sumon Natadecha Poranee and Leslie Sponsel In Memory of Barbara Carlin Kirby H.F. Carlin, Jr In Memory of Beth Robinson Rochelle Uchibori In Memory of Bob Harbold Mary J Harbold In Memory of Carl Crosier Katherine Crosier 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 “Mumpsie” Lum The James Hom Family In Memory of Clarence C.M. Lum Francis C.H. Lum & Bertha Y. Lum In Memory of Darlene Nielsen Patricia Whittingslow

In Memory of Dr. John Spangler A.G. Rudy Alan & Margaret Rowland Barbara B. Sloggett Barbara C. Marumoto-Coons Carolyn J. Sandison David and Bonnie Andrew David Atkin and Mary Steiner Debra J. Liu Dr. Ulrich & Carol Stams Fred K. French Gareth and Anna Yokochi Jean M. Williams John & Eudice Schick Karen and James A. Howell Keith and Cynthia Johnson Kenneth B. Robbins and Clarissa T. Burkert Kimberly Towler Mary M. Hurlbutt Max and Helen Besenbruch Mr. & Mrs. Richard W. Towne Mrs. Nyle Hallman Norborne Clarke and Midi Cox Pauline Brooks Rebecca Wong Rosemarie Cottle Sharon O. Inamine Sheryl Shohet Shigeko Lau Simone A. Flair Stan and Shirley Woo Tammy Freedman Thomas H. Maeda, JR., MD Timothy F. Olderr William and Carolyn Strafford In Memory of Drew Eckard and Paul Barrett David Budd

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In Memory of Ellen Masaki Drs. Steven Nishi & Pamela Tauchi-Nishi Karen Masaki & Paul Freeman In Memory of Fritz Fritschel Carol R. Langner Larry Lee Anderson Mary Pecot Reese In Memory of Gail Hudson Anonymous In Memory of Goldie Arkin Jean McIntosh Martha Nakajima In Memory of H.M. King Bhumibol of Thailand, the musician and composer Poranee Natadecha-Sponsel In Memory of Ian M. Cooke Ann M. Castelfranco In Memory of John R. Mueh, M.D. Wyatt L. Jones & Dawson Jones In Memory of Laurence Shohet Mrs. Nyle Hallman Ronald and Lana Marie Seki Sheryl Shohet

In Memory of Max and Lily Lim Lloyd Lim In Memory of Minnie Kosasa Carl Yee & Mary Wong In Memory of my husband, Dwight Emery Louise L. Emery In Memory of Norma Nichols Jean McIntosh Martha Nakajima Rochelle Uchibori In Memory of Otto Renelt Patricia Whittingslow In Memory of Paul Barrett Benjamin & Eleanor Lum Celia & Lloyd Canty Cynthia & Bruce Keller Elizabeth E. Wong Gregory Wrenn & Robert Pyburn Hal & Martha Quayle Helen Oen Howard & Sandra Kelley Daniel Rochelle Uchibori In Memory of Paul Barrett, Carl Crosier, Fritz Fritschel, and Norma Nichols Paul J. Schwind & Mollie Chang

In Memory of Peter Brown Antoinette Brown In Memory of Prof. Terry E. Haney and Capt. Garth M. Haney Lopez Maria D. LĂłpez-Haney In Memory of Stephen Dinion Bernice Dinion Laure & David Hadder Mari Yoshihara In Memory of Timothy Lau, DVM Lavay Lau In Memory of Wah Yun Dang Stanford & Winifred Au In Memory of Wesley Y. S. Chang Case Lombardi & Pettit Chenise Iwamasa Dawn M. Honda John Venizelos Levas Malia Day Eleanor Chang In Memory of Yan Sau Wong, timpani, Honolulu Symphony Marilyn Wong Gleysteen

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 Jonathan Parrish at (808) 380-7722 so it can be corrected. Mahalo! Trbute 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 52

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Paul J. Kosasa, Chair Vicky Cayetano, Vice Chair Kenneth S. Robbins, Secretary G. Mark Polivka, Treasurer

Shelley Cramer H. Mitchell D’Olier Richard Ing Marilyn Katzman Michael Titterton Virginia Tiu Kitty Yannone

ADMINISTRATION PRESIDENT Michael Titterton

ARTISTIC ADVISOR JoAnn Falletta

John Kuamo‘o HSO Photographer

Delila Amorin Office Assistant

PATRON SERVICES Cristina Luck Box Office and Patron Services

ARTISTIC ADMINISTRATION & PRODUCTION Merle N. Bratlie General Manager

AD SALES Michael Roth, Roth Communications rothcomm@gmail.com (808) 595-4124

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

2018 / 2019

EXECUTIVE DIRECTOR Jonathan Parrish

MARKETING Heather Arias de Cordoba Marketing Director

HSO Board/Admin

BOARD OF DIRECTORS

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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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

MEDICARE MOMENT WITH MARTHA AM690 | 94.3 FM | 99.5 FM

SPONSORSHIP OPPORTUNITIES ARE AVAILABLE AT MANY LEVELS. CALL JONATHAN PARRISH, AT 380-7722 FOR MORE INFORMATION. HAWA I‘ I SYMPHONY ORCHESTRA

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LEARNING THAT TRANSFORMS LIVES

Assets students are bright and want to learn. They go on to become innovators, artists and thought-leaders. Over 70% of students are also student athletes Students compete academically across Hawai‘i & beyond High school mentorships nurture career plans Over 95% of graduates go to colleges of their choice

To learn more, call Assets at 808-423-1356 Learn about Assets’ growing campus and innovative programs at assets-school.org

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