2018/2019 Season Program Book 1

THE HALEKULANI MASTERWORKS SEASON

Organ

Symphony ORGAN / CAMERON CARPENTER CONDUCTOR / MARCELO LEHNINGER

ORGAN SYMPHONY

SATURDAY, SEPTEMBER 22 / 7:30 PM SUNDAY, SEPTEMBER 23 / 4:00 PM

SIDE-BY-SIDE

WITH HAWAII YOUTH SYMPHONY THURSDAY, OCTOBER 25 / 7:00 PM

JOANN RACHS!

SATURDAY, OCTOBER 27 / 7:30 PM SUNDAY, OCTOBER 28 / 4:00 PM

HARRY POTTER AND THE PRISONER OF AZKABAN â„¢ SATURDAY, NOVEMBER 3 / 7:30 PM SUNDAY, NOVEMBER 4 / 2:00 PM

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PHOTO BY: JOHN KUAMO ‘O

CONTENTS

IN THIS ISSUE

MASTERWORKS 1 | SPECIAL | musicthatPOPS | MASTERWORKS 2

CAMERON CARPENTER ORGAN SYMPHONY

PROGRAM BOOK 1

5

President’s Message

7

2018/2019 HSO Roster

8

Halekulani Masterworks I Organ Symphony Guest Artists Program Notes

16 Special: Side-by-Side Concert

with Hawaii Youth Symphony HYS Artistic and Music Staff HYS About Us HYS Roster

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Halekulani Masterworks II

PHOTO BY: JOHN KUAMO ‘O

SIDE-BY-SIDE WITH HYS

JoAnn Rachs!

Guest Artists Program Notes

PHOTO BY: LISA-MARIE MAZZUCCO

28 musicthatPOPS

BELLA HRISTOVA JOANN RACHS!

Harry Potter and the Prisoner of Azkaban™ in Concert

38 HSO Donors 42 Tribute List 44 HSO Sponsors

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros.

Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

On the cover: Cameron Carpenter MASTERWORKS SERIES SPONSOR: HALEKULANI

musicthatPOPS SERIES 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

CONNECT WITH US HAWA I‘ I SYMPHONY ORCHESTRA

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We do hope you’ve been having a delightful summer since we saw you last.

Perhaps you’ve been traveling. Perhaps, if you’ve been truly blessed, you have found yourself in one of those great cities that is home to one of the muchrecorded orchestras of the world: New York, or Vienna, or Chicago, or Amsterdam.

MI CHAE L TITTERTON

If you did, then I hope you were able to take in a concert or two…because, even though you’re familiar with their excellent work by hearing them on Hawaii Public Radio, or from your own collection of recordings, there is no substitute for the magic that occurs in a concert hall when a fine symphony orchestra is doing its marvelous, timeless thing. To be in the presence of excellence at the moment of creation, to be in the company of fellow-aficionados bathing in the beauty of that moment, to have every sense acutely tuned in to this Magical Now…there’s just nothing like it. Modern recording and delivery systems are both superb and convenient, but they can never, ever provide the thrill and sublime satisfaction of the live concert experience.

President’s Message

HALEKULANI VII...MAGICAL NOW!

Which is why, of course, you’re here. And it’s why you and your support are so important to all of us who cherish and appreciate our ability, as a community, to provide this experience for audiences here in Hawaii. Every concert reminds us that it’s not just the sheer beauty and exhilaration of the product – It’s the fact that this kind of enterprise, the orchestra itself, is what civilization is for.

Our very own Hawai‘i Symphony Orchestra is not yet one of the most-recorded in the world (although I’d be the last to dismiss that eventual possibility, given the HSO’s passion and aspirations). But it’s already recognized as one of the very best regional orchestras in the country, attracting first-rate conductors and soloists from all over the world. And your support helps make every season better than the one before.

So…welcome back to the Blaisdell, and to the SEVENTH Halekulani Masterworks season of your Hawai‘i Symphony Orchestra…we’re luckier than ever to live Hawaii!! n

Michael Titterton President

HAWA I‘ I SYMPHONY ORCHESTRA

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VIOLIN

*

Fixed Violin I Member Fixed Violin II Member

**

VIOLA

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

CELLO

Mark Votapek, Principal Sung Chan Chang, Associate Principal Pauline Bai Anna Callner • Karen Fujimoto Cello Guo Jeff Hamano^ Nancy Masaki Joshua Nakazawa Dale Newton^

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 Lance Suzuki •

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^

PICCOLO Lance Suzuki •

TIMPANI

OBOE J. Scott Janusch, Principal Michelle Feng, Associate Principal Brian Greene^

PERCUSSION

ENGLISH HORN Brian Greene^

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

CLARINET James F. Moffitt, Acting Principal Norman Foster, Acting Associate Principal Melanie Yamada^

HARP

E-FLAT CLARINET Norman Foster

PERSONNEL MANAGER

BASS CLARINET James F. Moffitt Melanie Yamada^

HAWAI ‘ I SYMPHONY ORCHESTRA

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^ Kiwon Kim Timothy Leong Michael Lim Patrick Lin 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

Constance Uejio, Principal

ORCHESTRA LIBRARIAN Kim Kiyabu, Principal Mark Breitenbach

on leave one year position • temporary appointment °

^

BASSOON Tommy Morrison, Acting Principal^ Jessica Goldbaum, Acting Associate Principal ^ Philip Gottling III CONTRABASSOON Philip Gottling III HORN Anna Lenhart, Principal Colton Hironaka, Assistant Principal^ Sarah Boxmeyer, Associate Principal Eric Kop George Warnock

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

HAWA I‘ I SYMPHONY ORCHESTRA

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HALEKULANI MASTE R WOR KS I

Organ Symphony

SATURDAY SEPTEMBER 22 | 7:30PM SUNDAY SEPTEMBER 23 | 4:00PM

Marcelo Lehninger conductor

THE HALEKULANI MASTERWORKS SEASON

Cameron Carpenter organ

Experience the grandeur of the organ performed by the extravagantly talented Cameron Carpenter. Critically hailed as “one of the rare musicians who changes the game of his instrument,” Carpenter is an artist of unquestioned virtuosity. Marcelo Lehninger returns to lead this opening program that surrounds audiences with sonic power and beauty of French masterpieces by Poulenc and Saint-Saëns.

SPECIAL MAHALO to Kawaiaha‘o Church and Buddy Nalua‘i for generously providing the organ for these performances and to Mark Wong and Walker Technical for their advice and expertise.

FRANCIS POULENC Concerto for Organ, Timpani and Strings in G Minor 1. Andante 2. Allegro giocoso 3. Subito andante moderato 4. Tempo allegro - Molto agitato 5. Très calme - Lent 6. Tempo de l’allegro initial 7. Tempo introduction - Largo

— INTERMISSION — CAMILLE SAINT-SAËNS Symphony No. 3 in C minor, Op. 78, “Organ” 1. Adagio - Allegro moderato 2. Poco Adagio 3. Allegro moderato - Presto 4. Maestoso - Allegro

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

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ARTISTS Marcelo Lehninger conductor Brazilian-born Marcelo Lehninger is in his second year as Music Director of the Grand Rapids Symphony. He previously served as Music Director of the New West Symphony in Los Angeles, for which the League of American Orchestras awarded him the Helen H. Thompson Award for Emerging Music Directors. Marcelo was appointed Assistant Conductor of the Boston Symphony Orchestra by James Levine, and, after a very successful two-year tenure that included stepping in for Maestro Levine on short notice in Boston and on tour at Carnegie Hall, was later promoted to Associate Conductor.

Mr. Lehninger’s 2017-18 season includes debuts with the Orchestre National du Capitole de Toulouse, Tucson and Charlotte Symphonies; return engagements with the North Carolina, Chautauqua, Petrobrás and University of São Paulo Symphonies, Rochester Philharmonic and Slovenian Philharmonic, which he will lead on tour to Vienna; and a return to Carnegie Hall with the Grand Rapids Symphony. Highlights of the 2016-17 season included debuts with the Colorado, Hawaii, Toledo, Portland and Vancouver Symphonies, Colorado Springs Philharmonic and Symphony Nova Scotia, as well as return engagements with Minas Gerais, Slovenian and New Mexico Philharmonics, and the Winnipeg Symphony Orchestra. He made his Australian debut conducting the Sydney and Melbourne Symphonies with his friend and mentor Nelson Freire as soloist, and his Japan debut with the Kyushu Symphony Orchestra.

As a guest conductor in the United States, Mr. Lehninger has led the Chicago, Pittsburgh, Houston, Detroit, Baltimore, Seattle, Milwaukee, National, Fort Worth, Jacksonville, New Jersey, Indianapolis, Omaha, Knoxville, Hartford and Fairfax Symphonies; the Florida and Louisville Orchestras; and the Orlando Philharmonic. In Canada, he has appeared with the Toronto and Kitchener-Waterloo Symphonies, and the Calgary and Hamilton Philharmonics. European highlights include engagements with the Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, Orchestre National de France, Lucerne Symphony, Lausanne Chamber Orchestra and a tour with the Royal Concertgebouw Orchestra assisting Mariss Jansons.

Mr. Lehninger was Music Advisor of the Youth Orchestra of the Americas for the 2007-08 season. Plácido Domingo serves as Artistic Advisor for the ensemble, which is composed of 120 talented musicians from more than twenty countries throughout the Americas.

In 2007 Mr. Lehninger debuted with the National Symphony Orchestra at the Kennedy Center as part of the National Conducting Institute. Chosen by Kurt Masur in 2008, Mr. Lehninger was awarded the First Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation. In 2011 he participated in the Bruno Walter National Conductor Preview, organized by the League of American Orchestras, conducting the Louisiana Philharmonic Orchestra.

maestro

Before dedicating his career to conducting, Mr. Lehninger studied violin and piano. He holds a Master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting under Harold Farberman and composition with Laurence Wallach. His mentors also include Kurt Masur, Leonard Slatkin and Roberto Tibiriçá. A dual citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of Brazilian pianist Sônia Goulart and German violinist Erich Lehninger. He currently lives in Grand Rapids, Michigan, with his wife Laura and daughters Sofia and Camila. n

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

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Cameron Carpenter organ Cameron Carpenter is having a ball smashing the stereotypes of organists and organ music, and all the while generating international acclaim and controversy unprecedented in his field.

Cameron’s repertoire – from the complete works of J. S. Bach to film scores, his original compositions and hundreds of transcriptions and arrangements – is probably the largest and most diverse of any organist. He is the first ‘concert organist’ in history to prefer the digital organ to the pipe organ, and to champion it as the future of the instrument.

In 2014, Cameron launched his International Touring Organ - a monumental cross-genre digital organ built by Marshall & Ogletree to his own design - in extensive tours in Europe and the USA. His Sony Music debut album If You Could Read My Mind entered Billboard’s Traditional Classical chart at No. 1 on its US release.

A former child prodigy, Cameron Carpenter trained at the American Boychoir School, the North Carolina School of the Arts and has two degrees from The Juilliard School. He holds the 2012 Leonard Bernstein Award, is the first solo organist ever nominated for a GRAMMY® Award for a solo album, and has appeared with many of the great orchestras around the world; he has spoken and debated at think tanks and conferences including TED, IdeaCity, The Entertainment Gathering, and many more. For more information please visit www. cameroncarpenter.com. n

organ

HAWA I‘ I SYMPHONY ORCHESTRA

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PROGRAM NOTES O RG A N SY MP H O N Y |

HA L EK U L A NI MA STERWORKS I

CONCERTO FOR ORGAN, TIMPANI AND STRINGS Francis Poulenc In this country, Francis Poulenc is probably best known for his beloved Gloria and the opera Dialogues of the Carmelites. Despite the dark atmosphere of that tragic opera, Poulenc was one of the 20th century’s wittiest composers. Paradoxically, he could also be one of the most profound. The organ concerto we hear represents the latter side of his personality. In letters, he referred to it as “a serious and austere concerto,” one that reflected “a Poulenc who is on his way to the cloister, a fifteenthcentury Poulenc, if you like.”

Princess Edmond de Polignac, née Winnaretta Singer, commissioned Poulenc to write the concerto in 1937. American-born, she was a child of the Singer sewing machine family who had been educated in France and England. After she married the French Prince, she became one of this century’s most distinguished and beloved patrons of the arts. Poulenc worked on the concerto between April and August 1938. Although he wrote it for the Princess, who was herself an organist, the French organist and composer Maurice Duruflé played the first performances. Poulenc was not an experienced composer for organ, and his principal model for this work was clearly Bach. He drew heavily on Duruflé’s expertise, especially for registration. The concerto also reflects his acquaintance with French baroque organ composers such as Gigout and de Grigny and, perhaps more important, Poulenc’s fascination with his contemporary Igor Stravinsky. The solo organ part shows off the variety and range of the organ registers.

Poulenc’s concerto consists of one extended movement subdivided into seven principal sections that vary widely in tempo, volume, and mood. His sectional form, with motivic links among the parts, relates the concerto to the organ fantasias of Dietrich Buxtehude. The musical language, however, while saluting the Baroque, is firmly planted in the twentieth century, with strong connections to the neoclassical idiom of such Stravinsky ballets as Oedipus Rex (1927) and Apollon Musagète (1928).

b. Paris, France 7 January, 1899 d. Paris, France 30 January, 1963 HSO Premiere Approximate Duration 24 minutes adds drama and sobriety to the music, particularly in the dark slow introduction. Throughout, the panoply of color available from the organ shines brightly, enhanced by the absence of winds and brass in the orchestral ensemble. Although the writing for the organ is not particularly flashy, Poulenc allots several lengthy solo passages to the instrument.

Elsewhere, as in the peaceful third section, it is featured prominently with restrained accompaniment from the strings.

The score calls for organ, timpani, and strings. n —Laurie Shulman © 2018

The timpani play a prominent role from the opening, in duet with the organ soloist before the rest of the strings enter sotto voce. Poulenc’s keen ear for unusual sonorities and contrast served him well in this concerto.

The strings’ ability to make a crescendo on an individual note or chord, their very approach to attack and release, is strikingly different from the sustained pitch production and intensity of an organ sound. As sole representative of the percussion section, the timpani’s imposing presence

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

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THE HALEKULANI MASTERWORKS SEASON

SYMPHONY NO. 3 IN C MINOR, OP. 78, “ORGAN” Camille Saint-Saëns Camille Saint-Saëns enjoyed that rare luxury for composers: enormous success during his lifetime. (Hector Berlioz famously observed of his younger colleague, “He knows everything, but he lacks inexperience.”) Saint-Saëns’s music has suffered some of the `Mendelssohn syndrome,’ from critics who claim that his inspiration slacked. They contend that a lack of obstacles and major crises in his lifetime prevented him from bringing his undeniable talent to fullest bloom. That judgment has undergone reassessment, and Saint-Saëns’s chamber music is appearing more frequently on concert programs, finding new enthusiasts.

The Symphony in C Minor never relinquished those audiences. It found champions at its premiere and has remained steadily in favor ever since.

Its success is all the more remarkable when one considers that it was his first symphony in twenty-seven years.

Saint-Saëns took a number of structural and other liberties in this work. It consists of two large parts, each of which is subdivided into two sections played without pause. Thus the whole is an adaptation of fourmovement symphonic form.

Another unconventional feature of the symphony is the inclusion of organ and piano in the scoring. The composer uses the organ to evoke the spirituality and reverence associated with church organs, and to dramatize his musical climaxes with the sheer mass of sound an organ can produce with all its stops pulled. He uses the piano in the scherzo for punctuation, with rapid scales and arpeggios.

LISZT AND SAINT-SAËNS: AN UNLIKELY FRIENDSHIP The Symphony was composed when Saint-Saëns was 50. It bears a dedication to the memory of Franz Liszt, who had died in July 1886 at the age of 75. The two men had admired each other greatly, and SaintSaëns knew he had lost a great ally outside France when Liszt died. He was otherwise embroiled in a major mid-life crisis: his children had died, and his marriage had failed. These factors may account for the frank emotional character of the Third Symphony.

From a more strictly musical standpoint, Saint-Saëns’s inclusion of the important role for organ is likely an imitation of Liszt’s similar scoring in the symphonic poem Hunnenschlacht (1877).

b. Paris, France 9 October, 1835 d. Algiers, Algeria 16 December, 1921 First performed by the HSO 1971 Approximate Duration 36 minutes ENGLISH COMMISSION The work was commissioned by the London Philharmonic Society in conjunction with a piano solo appearance by SaintSaëns. The English audience loved the new work, erupting into an uncharacteristic ovation.

It is easy to understand their enthusiasm. This is music of immediate, poignant appeal that verges on but never descends to the sentimental. The opening string theme, which bears a passing resemblance to the Dies Irae chant, introduces much of the material that will recur later in the symphony. It has an agitated quality similar to the string background in Schubert’s “Unfinished” Symphony.

A Lisztian imprint is evident in Saint-Saëns’s adaptation of thematic transformation, which unifies the symphony. The familiar scherzo, opening part II, exudes a rough masculine vigor that

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serves as an auditory appetizer for the no-holds-barred thrills of Saint-Saëns’s finale. The French critic Augé de Lassus described the climax “like Napoleon hurling in the Imperial Guard at Waterloo.” This triumphant conclusion falls clearly within the tradition established

by Beethoven in his Fifth Symphony and continued by Brahms in his First Symphony, whereby victory prevails after a lengthy struggle. Such a progression, while familiar in Germany and Austria, was new to France.

Saint-Saëns was an innovator in that respect as well.

A FRENCH DÉBUT FOR PROGRAM NOTES Seven months after the English première, Jules Garcin led the Conservatoire Orchestra in a

performance of the Third Symphony in Paris, introducing the work to French audiences. The London program notes were translated for that performance, marking the first time that notes were provided to the audience in a French concert hall.

The score calls for three flutes (third doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, bass drum, organ, piano and strings. n —Laurie Shulman © 2018

FRENCH SYMPHONIC TRADITION: A WORK IN PROGRESS We don’t think of France right off the bat when we think about symphonies. Mozart, Haydn, Beethoven come to mind. So do Brahms, perhaps Mendelssohn and Schumann, definitely Bruckner and Mahler. If we break away from the Austro-German symphonists, Dvořák, Tchaikovsky and Shostakovich get a good deal of exposure in our concert halls. This baker’s dozen of composers probably accounts for 80% of the symphonies performed in any given season — and there’s not a Frenchman among them.

For centuries, opera has dominated French musical life. Instrumental music has had its proponents, however, and beginning with the works of FrançoisJoseph Gossec (1734-1829), France has boasted a modest symphonic tradition of its own. While German influence dominated, it is worth noting that Beethoven thought highly of Étienne-Nicolas Méhul’s (1763-1817) symphonies. France’s first great 19th-century symphonist, Hector Berlioz, exerted a strong influence on his contemporaries in Germany, Austria and Russia. Ironically, his music remained largely misunderstood in his native land.

A concert series established by the conductor Jules-Étienne Pasdeloup in 1861 at Paris’ Cirque d’Hiver did much to bring instrumental music to a wider audience. Although Pasdeloup favored the Viennese symphonic classics, his introduction of Richard Wagner’s music had far-reaching impact on contemporary French composers. Pasdeloup’s series

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was continued by the conductors Charles Lamoureux and Éduard Colonne, who enabled some local composers to have their works performed.

During the 1880s, French composers (and Belgians who had settled in Paris) produced a rich harvest of symphonies, including a little-known Symphony in D minor by Gabriel Fauré (1884), Vincent d’Indy’s Symphonie sur un chant montagnard français (Symphony on a French Mountain Air, 1885), the Symphony in G minor by Édouard Lalo (1886), Franck’s Symphony in D minor (1886-8), Chausson’s Symphony in B-flat, Op.20 (1889-90), and of course the Saint-Saëns Symphony No. 3 (1886) that we hear at these performances.

These works have had uneven fates. The Franck and Saint-Saëns receive more performances than all the others combined, and for similar reasons. Both works work recognizably within the symphonic tradition, but impose bold structural ideas. Both add a degree of chromaticism that shows an expanding harmonic palette. And both symphonies use principles of thematic transformation and development to provide a cyclic unity to a large structure. That stated, the Saint-Saëns is the more popular favorite, surely because of its gorgeous slow movement and splendid finale, both incorporating obbligato organ. n —Laurie Schulman © 2018

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

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ORIGINS OF A UNIQUE NAME The surname Saint-Saëns is surely one of the most problematic in all music. The family name dates to pre-medieval times, probably the sixth century A.D., and is a contraction and corruption of Sanctus Sidonius, Latin for St. Sidonius.

A native of Lyon, Apollinaris Sidonius (full name Caius Sollius Apollinaris Sidonius) lived from 430 to ca. 489 A.D. After serving as Senator and Roman Prefect in the Imperial Capital, he retired to Gaul.

approximation is “Sanh-Sahnz.” (Maybe it’s easier to write it!) And Camille, for the record, is a unisex name in France.

Fortunately Saint-Saëns’s music is much easier to listen to than his name is to spell or pronounce. n —Laurie Shulman © 2018

PHOTO COURTESY: NADAR [PUBLIC DOMAIN], VIA WIKIMEDIA COMMONS

Eventually, he became a respected bishop in Clermont and sustained a reputation as a classical scholar, orator, and poet. Apollinaris Sidonius remains an important example of late Roman Christianized classical culture. His unsuccessful leadership of the French against the invading Goths led to his subsequent canonization by the Catholic Church.

In the name’s modern guise, all three Ss are pronounced and the ‘Saint’ takes the French pronunciation, with the ‘t’ silent and the compound vowel more like “can’t” than “ain’t.” A rough

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PHOTO BY: JOHN KUAMO‘O

Side-By-Side

HSO AND HAWAII YOUTH SY MP HONY

THURSDAY OCTOBER 25 | 7:00PM

HSO and Hawaii Youth Symphony 2017/2018 Side-by-Side performance

BERNSTEIN Candide Overture SMETANA The Moldau TCHAIKOVSKY Romeo and Juliet Fantasy Overture WAGNER Flying Dutchman Overture

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

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Randy Wong HYS President Randy Wong served as Executive Director since 2012 and was recently promoted to President by the Hawaii Youth Symphony (HYS) Board of Directors in 2018. Through his leadership, HYS’ strategic vision has grown to aid all children in realizing their fullest potential through orchestral music.

Wong launched collaborations with the Hawaii Symphony Orchestra and Hawaii Public Radio, introduced residencies by world-class musicians such as violinist Midori, and has increased participation among students from neighbor islands and the Pacific Rim. Wong holds degrees from Harvard University and New England Conservatory, and attended Stanford’s Executive Program for Nonprofit Leaders. A musician himself, Wong is a bassist in the Hawaii Symphony Orchestra and an alumnus of HYS. As a volunteer, he serves on the board of the League of American Orchestras’ Youth Orchestra Division and the leadership team of Hawaii Public Radio’s Generation Listen. n

John Devlin HYS Music Director After a nationwide search with over 80 qualified candidates, the Hawaii Youth Symphony Board of Directors appointed Dr. John Devlin as the organization’s new music director. Dr. Devlin will also serve as the artistic director for the Pacific Music Institute, the Hawaii Youth Symphony’s summer music festival.

Dr. Devlin’s experience includes serving as the cover conductor for the National Symphony Orchestra in Washington, D.C., as well as assistant conductor of the Princeton Symphony Orchestra. He was also previously the music director of two youth orchestra organizations, including the Youth Orchestras of Prince William and the McLean Youth Orchestra in Virginia.

An innovative thinker, Devlin is a co-founder, artistic director and conductor of Gourmet Symphony, a non-profit arts organization that pairs locally-sourced cuisine with classical music. He also inspired other forward-looking concepts, such as the Go-Go Symphony, Interactive Symphony and the New Retro Project.

Devlin completed his master’s and doctoral degrees during seven years of work with master-teacher James Ross at the University of Maryland School of Music. His undergraduate degree is from Emory University where he graduated summa cum laude with a double major in Music and Latin. n

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ABOUT HYS

Music is an extraordinary discipline. It comprises the arts of mathematics, language, history, and culture.

An education in music develops the whole student—supporting academic and social-emotional growth while also providing artistic and creative outlets.

Established as a non-profit organization in 1964, Hawaii Youth Symphony (HYS) inspires hundreds of young musicians across the Hawaiian Islands to pursue their goals and continues to share the universal joy of music with nearly 20,000 concertgoers statewide. More than 700 students ages 7-18 currently participate in HYS music-making programs spanning general music, string & band classes, symphony orchestras, summer intensives, and neighbor island initiatives.

HYS recently launched the Solo & String Quartet program, directed by Iggy Jang of the Hawai‘i Symphony Orchestra, which attracted students and faculty from Asia and the Mainland. A new Combo Program, led by Dean Taba, has been established to help emerging jazz students develop the skills needed to succeed in commercial, popular, and jazz music. HYS additionally brought Pacific Music Institute string teachers to Molokai this summer, providing free private lessons and hands-on, intensive string training at Kaunakakai Elementary.

The excitement continues for Youth Symphony I, with this season comprised of 110 students (grades 9-12) from 30 public, home, and independent schools across Oahu and Maui. The most advanced of the Hawaii Youth Symphony’s seven orchestras, YS I is one of the finest youth symphonies in the country. Among its accomplishments, YS I has been a finalist in the Na Hoku Hanohano Awards, performed with Midori, and was featured on NPR’s From The Top, with host Christopher O’Riley. n

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

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VIOLIN I Kenneth Chee Taylor DeCastro Marianne Garcia Stella Hung Mika Ishii Brooke Kumasaka Allyson Kwong Yudai Leonzon Ryan Park Kauai Paule Darius Soo Hoo Nicolas Tanaka Max Womack

VIOLA Gabriel Agno Brandon Hong Andrew Hong Preston Ku Dane Mizuno Michael Murakami Fiona Sievert Frank Sun Noah Taniguchi Nashya Yoshimoto

BASS Matin Boulos Elliot Hee Maysa Segovia FLUTE Kiana Kawahara Sherry Tanaka Karen Watarida Eren Yamatsu OBOE Emily Fujii Tabitha Hiyane Erin Matsushita Koko Tamai CLARINET Caitlyn Kadooka Maxwell Miyasato Natalie Narito Aaron Omon BASSOON Everett Amemiya Chanelle Junio Ryder Kaya Melissa Munemitsu

HORN Kai Abergas Fuma Fujiki Grace Kim Kyle Maki Hinano Tsuchiya Brevely-Ann Wiemer TRUMPET Kana’I Fu Mark Gorospe Jr. David Kimura Vincent Ogasawara Davan Sagara TROMBONE Christopher Feeney Nicole Fontanilla Cuyler Murata Levin So TUBA Kenso Kume Ryoma Sears PERCUSSION Jesse Cumpston Joel Himphayvanh Daniel Kam Tevin Takata Aiden Woodard

2018/2019 ROSTER

VIOLIN II Alizah Chao Leilani Ikeda Kurumi Kawata Sabine Mejia Zoe Oda Megan Ogasawara Sunwoo Oh Kylee Takanishi Alec Tam Jinny Wang Brandon Yee Leon Yoshida Charles Yung

CELLO Severino Bulagay Aubrey Danko Ryan Fielding Sofia Himeno-Price Julian Kwon Christopher Kwock Chloe McCreery Eugene Son Cara Tan Joshua Vierra Alexa Wong

Hawaii Youth Symphony

YO UT H SY MP H O N Y I ( YS I)

For more information about the Hawaii Youth Symphony, its mission or programs, please visit: HIYouthSymphony.org The string players listed represent only YS I juniors and seniors.

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SATURDAY OCTOBER 27 | 7:30PM SUNDAY OCTOBER 28 | 4:00PM

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PHOTO BY: LISA-MARIE MAZZUCCO

PHOTO BY: JAKE CLEMONS

HALEKULANI MASTE R WOR KS I I

JoAnn Rachs!

HALEKU

JoAnn Falletta conductor

Bella Hristova violin

CELLO / M

This program features the welcomed return of JoAnn Falletta, conducting tour-de-force symphonic works by Rachmaninoff and Hindemith. Rising star Bella Hristova joins Falletta, making her HSO debut performing Barber’s Violin Concerto, one of the most widely played and recorded concertos of our time.

SATURD SUNDAY

PAUL HINDEMITH Symphonic Metamorphosis of Themes by Carl Maria von Weber 1. Allegro 2. Turandot (Scherzo) 3. Andantino 4. March

SAMUEL BARBER Violin Concerto, Op.14

PIANO / C

1. Allegro 2. Andante 3. Presto in moto perpetuo

SATURD SUNDAY

— INTERMISSION — SERGEI RACHMANINOFF Symphony No. 3 in A Minor, Op. 44 1. Lento - Allegro moderato - Allegro 2. Adagio ma non troppo - Allegro 3. Allegro - Allegro vivace

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.

CONDUCTO JOANN FAL

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HALEKULANI MASTERWORKS SEASON

UPCOMING

HALEKULANI MASTERWORKS PERFORMANCES HALEKULANIMASTERWORKS

Votapek

Plays DvoŘák

SMETANA / Overture to The Bartered Bride DVOŘÁK / Cello Concerto SUK / Fairy Tale

CELLO / MARK VOTAPEK

CONDUCTOR / JOANN FALLETTA

SATURDAY / NOVEMBER 10 / 7:30 PM SUNDAY / NOVEMBER 11 / 4:00 PM

HALEKULANIMASTERWORKS

Bohemian

Journey

BRAHMS / Piano Concerto No. 1 DVOŘÁK / Symphony No. 4

PIANO / CONRAD TAO

CONDUCTOR / FABIO MECHETTI

SATURDAY / NOVEMBER 17 / 7:30 PM SUNDAY / NOVEMBER 18 / 4:00 PM

HALEKULANIMASTERWORKS

ode to joy BEETHOVEN / Piano Concerto No. 2 BEETHOVEN / Symphony No. 9 “Choral”

CONDUCTOR PIANO O‘AHU CHORAL SOCIETY ARTISTIC DIRECTOR JOANN FALLETTA YEFIM BRONFMAN ESTHER YOO

SATURDAY / JANUARY 5 / 7:30 PM SUNDAY / JANUARY 6 / 4:00 PM

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ARTISTS JoAnn Falletta conductor

Hailed as a “leading force for the music of our time,” for her work as a conductor, communicator, recording artist, audience builder, champion of American composers and distinguished musical citizen, JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Advisor of the Hawai‘i Symphony Orchestra. She has been acclaimed by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.”

Ms. Falletta has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa. In 2018-19 she will guest conduct orchestras in the Netherlands, Poland, Sweden and across the U.S. Upon her appointment as Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major America ensemble. She has since been credited with bringing the Philharmonic to a new level of national and international prominence. The orchestra has become one of the leading recording orchestras for Naxos and returned twice to Carnegie Hall, first in 2004 after a 20-year absence, and again in 2013 as part of the Spring for Music Festival. In 2018, the BPO made their first international tour in three decades, to perform at Warsaw’s prestigious Beethoven Easter Festival where Falletta made history as the first American women conductor to lead an orchestra at the Festival. She and the BPO have been honored with numerous ASCAP awards, including the top award for Adventurous Programming, Other accomplishments include the establishment of the orchestra’s Beau Fleuve label, the founding of the JoAnn Falletta International Guitar Concerto Competition in partnership with WNED, and the national and international broadcast of concerts on NPR’s Performance Today, SymphonyCast, and the European Broadcasting Union.

With a discography of 112 titles, JoAnn is a leading recording artist for Naxos. Her discs have won two GRAMMY® Awards and received ten nominations. In 2018, Naxos is releasing three recordings with JoAnn, Wagner, Music from the Ring with the BPO, music of Franz Schreker with the Berlin Radio Symphony Orchestra and her fifth world premiere recording of music of Kenneth Fuchs with the London Symphony. Upcoming albums include Respighi’s Rome Trilogy with the BPO to be released by Naxos in February 2019.

Falletta is a member of the esteemed American Academy of Arts and Sciences, has served as a Member of the National Council on the Arts and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres.

Ms. Falletta has held the positions of principal conductor of the Ulster Orchestra, principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, and music director of the Denver Chamber Orchestra.

maestro

She received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School. When not on the podium, JoAnn enjoys writing, cycling, yoga and is an avid reader. For more information, visit www.joannfalletta.com. n

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Bella Hristova violin Acclaimed for her passionate, powerful performances, beautiful sound, and compelling command of her instrument, violinist Bella Hristova is a young musician with a growing international career. The Strad has praised, “Every sound she draws is superb.”

Ms. Hristova’s extensive appearances with orchestra in past seasons include the Orchestra of St. Luke’s with Pinchas Zukerman at Lincoln Center, with the New York String Orchestra under Jaime Laredo at Carnegie Hall, and the Milwaukee Symphony, Buffalo Philharmonic Orchestra, the Pasadena, Austin, Charleston, Asheville, Greenwich, Vermont, Kansas City, Delaware, Chautauqua, Columbus symphonies and Orquesta Filarmónica de Boca del Río, Asturias Symphony Orchestra, Centro Nacional de la Música-la Orquesta, Estonian National Symphony Orchestra, Canada’s National Arts Centre Orchestra, and Korea’s Cheongju Symphony Orchestra. Performances with orchestras during the 2018-19 season include the New York String Orchestra at Carnegie Hall, the Wheeling Symphony, Brevard Philharmonic, National Philharmonic Orchestra, the Winnipeg Symphony and your HSO. In recital, Bella Hristova has performed at Merkin Concert Hall, the Kennedy Center, the Isabella Gardner Museum in Boston, the Weis Center for the Performing Arts, the National Museum of Women in the Arts, the Alys Stephens Center for the Performing Arts, Free For All at Town Hall, the Shanghai International Music Festival, Seoul National University, and a nationwide New Zealand tour. This season she performs for Music@Menlo, Emerald City Music, Harriman-Jewell Series, Cosmos Club, Linton Chamber Music and Mostly Music New Jersey.

Ms. Hristova’s recording Bella Unaccompanied (A.W. Tonegold Records) features works for solo violin by Corigliano, Kevin Puts, Piazzolla, Milstein, and J. S. Bach, and her Naxos issue of de Bériot works received critical acclaim. Ms. Hristova commissioned iconic American composer, Joan Tower, to compose “Second String Force” for Unaccompanied Violin.

Ms. Hristova performs frequently with The Chamber Music Society of Lincoln Center at Lincoln Center’s Alice Tully Hall. She has also performed at many music festivals, including the Chamber Music Festival of Thessaly, Greece, Young Concert Artists Festivals in Tokyo and Beijing, the Musica Viva Festival in Sydney, Australia, and the festivals of Grand Teton, Kingston, Brevard, Music@Menlo, Big Sky, Chamber Music by the Sea, Music from Angel Fire, Chamber Music Northwest, Santa Fe and Marlboro. She has appeared on A Prairie Home Companion on National Public Radio.

Bella Hristova is the recipient of numerous prizes and awards, including a 2013 Avery Fisher Career Grant, First Prize in the 2009 Young Concert Artists International Auditions, First Prize in the 2007 Michael Hill International Violin Competition in New Zealand, and Laureate of the 2006 International Violin Competition of Indianapolis.

She was awarded YCA’s Helen Armstrong Violin Fellowship, the Mortimer Levitt Career Development Award for Women Artists, and the Gordon and Harriet Greenfield Foundation Artist Management Fellowship of YCA.

violin

Born in Pleven, Bulgaria to Russian and Bulgarian parents, Ms. Hristova began violin studies at the age of six. At 12, she participated in master classes with Ruggiero Ricci at the Mozarteum in Salzburg. In 2003, she entered the Curtis Institute of Music, where she worked with Ida Kavafian (YCA Alumna) and studied chamber music with Steven Tenenbom. She received her Artist Diploma with Jaime Laredo at Indiana University in 2010. Ms. Hristova plays a 1655 Nicolò Amati violin, once owned by the violinist Louis Krasner. n

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PROGRAM NOTES J OA NN RACHS! |

HA L EK U L A NI M AST ERWORKS II

SYMPHONIC METAMORPHOSIS OF THEMES

BY CARL MARIA VON WEBER Paul Hindemith Hindemith’s most famous composition has one of the longest titles in all classical music: Symphonic Metamorphosis of Themes of Carl Maria von Weber. Weber (1786-1826) was the first great German romantic composer. Today he is best remembered for the overtures to his operas, Der Freischütz, Euryanthe, and Oberon. Through Hindemith, Weber gained a bit more posthumous renown in modern times.

Hindemith left Germany for Switzerland in 1938, and came to the United States in 1940. He composed the Symphonic Metamorphosis in 1943, while teaching at Yale University. The piece was originally intended to be a ballet for the legendary choreographer Leonid Massine, with whom Hindemith had collaborated in 1938. Massine asked for an orchestration of Weber’s music. Because of artistic disagreements between composer and choreographer, however, the original project never came to fruition. Instead, Hindemith wrote to his wife in March 1940 that he had changed his mind, and perhaps would compose a “free paraphrase” on Weber’s music.

The sketches lay dormant until 1943, when Hindemith dusted off the score and completed the new piece. It evolved into a virtuoso exercise in variation technique. Hindemith’s metamorphosis of Weber’s music relates his piece to Tchaikovsky’s Mozartiana Suite, Stravinsky’s Pulcinella, Peter Warlock’s Capriol Suite, Respighi’s Ancient Airs and Dances, and Vaughan Williams’s Fantasia on a Theme by Thomas Tallis. In each case, the composer adapted music of an earlier master by imprinting his own distinct personality on the new work.

Hindemith used several pieces by Weber. The first was an overture written in 1809 as incidental music to Friedrich Schiller’s Turandot. Its theme, which dominates Hindemith’s second movement, is actually taken from Jean-Jacques Rousseau’s 1768 Dictionary of Music, where it is cited as an example of a Chinese melody. Weber’s overture simply restates the “Chinese” theme with slight variation. Hindemith’s treatment is more elaborate, incorporating a jazzy fugato and a dizzying array of orchestral color.

b. Hanau, near Frankfurt, Germany 16 November, 1895 d. Frankfurt, Germany 28 December, 1963 First performed by the HSO 1956 Approximate Duration 21 minutes pedantry sometimes associated with Hindemith’s music, the Symphonic Metamorphosis shows him at his best: spontaneous, concise, brilliantly orchestrated, and above all exciting.

Hindemith scored Symphonic Metamorphosis for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. n —Laurie Shulman © 2018

Themes for the other three movements of Symphonic Metamorphosis come from Weber’s music for one piano, four hands. Hindemith’s music has an upbeat, outgoing flavor that is surely related to the positive spirit he encountered when he settled in this country. Free of the

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CONCERTO FOR VIOLIN AND ORCHESTRA, OP.14 Samuel Barber SAMUEL BARBER’S BRILLIANT EARLY CAREER Barber’s early successes were legion. By the time he completed the Violin Concerto in 1939, he had already established a solid reputation with his Overture to The School for Scandal, the ubiquitous Adagio for Strings, and his First Symphony. The legendary Arturo Toscanini, who was not known for his interest in new music, let alone American music, became a proponent of Barber’s work. For a young man still in his twenties, these were impressive achievements.

Barber went on to fulfill his early promise. But nothing in his oeuvre apart from the Adagio has captured the popular imagination like the Violin Concerto. And no other American violin concerto has so entranced great violinists. What is it about this work that draws us back to it again and again?

RENAISSANCE MAN FROM CULTURAL ROYALTY To better understand his Violin Concerto, we must consider Barber himself.

Born into a stable upper middle class family, he pursued his formal musical education at the newly-formed Curtis Institute of Music in Philadelphia.

Barber was a renaissance man with a keen intellect. In addition to music, he cultivated interests in art and literature. He spoke French, German, Italian and Spanish with ease, and read voraciously in all his languages. With respect to music, his persona was influenced substantially by his aunt and uncle, Louise and Sidney Homer. Louise was an important contralto; Sidney a respected composer of art songs. Barber was one of the few modern composers to receive formal training as a singer, and his sensitivity to vocal line is a defining aspect of his music, even the instrumental works.

FIRST MAJOR COMMISSION He certainly brought this gift to the Violin Concerto. Its first two movements combine Brahmsian eloquence with Mendelssohnian melody; its perpetual motion finale is a dazzlingly difficult tour de force for the soloist. The concerto was Barber’s first major commission. He undertook the work at the best of Samuel Fels, a member of the Curtis Institute board and the owner of the Fels Naptha soap fortune. Fels intended the concerto for his adopted son, Iso Friselli, a gifted young violinist. Barber spent the summer of 1939 in Sils-Maria, Switzerland, completing the first two movements. With war imminent, American citizens were advised to leave Europe. Barber completed the concerto the following summer in Pocono Lake Preserve, Pennsylvania. When he presented Friselli with the finale, the violinist was dissatisfied.

According to Barber’s biographer Barbara Heyman:

b. West Chester, Pennsylvania 9 March, 1910 d. New York City 23 January, 1981 First performed by the HSO 1955 Approximate Duration 25 minutes

Many years later, Briselli offered [an] explanation in which he professes that although he believed the first two movements of the concerto were beautiful and eagerly awaited the finale, he was disappointed with the third movement as ‘too lightweight’ compared to the rest of the concerto. He suggested that the middle section be expanded to develop the movement into a sonata-rondo form, but Barber would not consider it.

Barber’s commission, the proceeds of which he had already spent in Europe, was briefly in question.

Eventually, he and Fels negotiated a compromise whereby Barber would retain his fee and Friselli would forego his right to première the work. That honor went to Albert Spalding in February 1941.

IN THE COMPOSER’S WORDS The composer wrote the following description of the work for the first performances.

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Barber - In the Composer’s Words (cont’d) It is lyric and rather intimate in character and a moderate-sized orchestra is used. . . The first movement -- allegro molto moderato—begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement — andante sostenuto — is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.

What he does not say is that his clear tonal language and unerring sense of drama make the Violin Concerto extraordinarily effective in performance. These are the factors that cause us to welcome its regular return to the concert hall.

Barber scored his Violin Concerto for woodwinds, horns and trumpets in pairs, timpani, piano, solo violin and strings. He adds military drum for the third movement only. n —Laurie Shulman © 2018

SYMPHONY NO. 3 IN A MINOR, OP. 44 Sergei Rachmaninoff By 1936, the year that Rachmaninoff’s Third Symphony was first performed, Dmitri Shostakovich had risked his career with the opera Lady Macbeth of the Mtsensk District. George Gershwin had fused jazz with the opera house in Porgy and Bess. In America, Aaron Copland, Roy Harris and Samuel Barber were all finding their personal voices. All around them, the musical world was changing as rapidly as the political situation in Europe.

RACHMANINOFF THE REFLECTIVE By contrast, Rachmaninoff seemed to have stepped back in time.

He remained untouched by the Second Viennese School — Arnold Schoenberg and his disciples — and seemed pyschologically rooted in a Russia that had vanished with the 1917 revolution. His Third Symphony, begun in Switzerland in summer 1935 and completed the following spring, has been interpreted as bitterly nostalgic for a vanished world. What then is to beckon us toward this work? We would do well to remember that Mozart was not an innovator, but a preserver of an existing style, which he brought to unprecedented heights. Richard Strauss took a distinctly backward glance with Der Rosenkavalier and favored a reflective musical language for the balance of his long career.

Musical genius does not necessarily go hand-in-hand with trailblazing.

TCHAIKOVSKY’S INFLUENCE Although the symphony consists of three movements, Rachmaninoff encloses a hefty scherzo within the slow movement, which effectively expands the overall concept to a four movement work. The Third is indebted to Tchaikovsky in its use of a ‘motto.’ You will hear it in the opening bars:

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b. Oneg, Novgorod District, Russia 1 April, 1873 d. Beverly Hills, California 28 March, 1943 First performed by the HSO 1977 Approximate Duration 39 minutes a slow seesaw between and among three adjacent pitches, in a pianissimo quartet of two clarinets, horn and cello, before full orchestra bursts forth. That quiet motto recurs in several places throughout the first movement. Rachmaninoff opens the slow movement with it – a luscious duet for solo horn with harp accompaniment – and it appears in the finale as well.

There is no shortage of glorious themes. Rachmaninoff gives the main melody to the oboes, who

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Rachmaninoff (cont’d) introduce fluid music with seamless metric switches between 2/4 and 3/4. The second theme is a glorious song for the cellos in E major, with gently syncopated commentary from the woodwinds.

The development includes some surprisingly Wagnerian touches, for example a duet for bassoons and clarinet in thirds that sounds as if it were lifted out of Siegfried – but only momentarily. Rachmaninoff’s agitated buildup to the climax is almost Elgarian, with occasional hints of Sibelius in the persistent use of parallel thirds. Clearly Rachmaninoff had been listening to the music of his contemporaries in the twenty years since his last Symphony. His own ear for color is flawless, with delicious details such as a passage for piccolo, bassoon, and xylophone.

A muted horn solo with the motto heralds the recapitulation, which seems like a foretaste of the late Symphonic Dances. Everything is slightly altered, though there are constant references to the motto and to the two principal themes. Though there is considerable chromatic wandering (the second theme recurs in A-flat major!), Rachmaninoff remains firmly rooted in tonality, finding his experimentation in color such as octave doubling in contrasting timbres and divided strings. The motto closes the movement.

SLOW MOVEMENT AND FINALE A duet for horn with harp accompaniment opens with Adagio ma non troppo. It sets the textural stage for a series of solos, beginning with one for concertmaster.

Harp and chords in the horn section are essential to the sense of endless melody spun by the violins.

A series of woodwind solos ensues before the acceleration to the central scherzo, which abounds in whirlwind metric switches between duple and triple meter. Once the slow tempo returns, so too do the cameo solos. Pizzicato strings close the movement with a final statement of the motto.

Rachmaninoff’s finale is Russian festival dance music, recalling the exuberance of works like Borodin’s Polovtsian Dances from the opera Prince Igor and Stravinsky’s Shrovetide Fair in Petrushka.

This rhythmically crisp and driven movement is pure Rachmaninoff, however, now in the bright

key of A major. One of its highlights is a brilliant fugue that starts in the first violins, working its way downward through the strings with each entrance.

Countersubjects come from the woodwinds and brass.

Once again, Rachmaninoff employs frequent metric switches, and the writing is virtuosic throughout. A few moments of relaxation provide respite, but we know we are headed for a brilliant close and the Third Symphony does not disappoint.

AN ENGLISH ADVOCATE The first performance of the Third Symphony took place in Philadelphia on 6 November, 1936 with Leopold Stokowski conducting the Philadelphia Orchestra.

Poor reviews prompted Rachmaninoff to revise it, as a result of which two versions were published, in 1937 and 1939. The 1939 version is usually performed.

The English conductor Sir Henry Wood became a champion of this work in Britain, leading performances with the Liverpool Philharmonic Society and for a BBC Symphony Orchestra broadcast. “The work impresses me as being of the true Russian romantic school,” he was quoted as saying. “One cannot get away from the beauty and melodic line of the themes and their logical development.” Wood’s observations hold true today.

When Rachmaninoff began work on this symphony, he had not written for orchestra alone (that is, without solo piano) in twenty-five years. He had learned a great deal. His use of expanded percussion is imaginative and effective; listen in particular for triangle, xylophone, and celesta. He understood how to make much out of little, reintroducing a narrowrange three-note motive – the motto of the opening measures – throughout the symphony. And he left his ‘signature’ chant — the Roman Catholic Dies irae — in the finale, tempering that movement’s rhythmic exuberance with the reference to the Requiem mass that colors so many of his compositions.

The score calls for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, side drum, triangle, tam tam, xylophone, two harps, celesta and strings. n —Laurie Shulman © 2018

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musicthatPOPS

Harry Potter and the Prisoner of Azkaban™ in Concert

SATURDAY NOVEMBER 3 | 7:30PM SUNDAY NOVEMBER 4 | 2:00PM

From the moment Harry uses the Marauder’s Map to when the Patronus Charm bursts from his wand, you’ll be transported back into the world you love.

CineConcerts is inviting fans back to the Wizarding World for an evening of music and magic in Harry Potter and the Prisoner of Azkaban™ in Concert.

Relive the magic of Harry Potter™ soaring across the big screen in high-definition and experience the music of a live symphony orchestra performing John Williams’ unforgettable score.

Get ready to encounter a Dementor™, ride the Knight Bus™ and discover just who Sirius Black™ really is.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

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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Justin Freer conductor/CineConcerts founder and president American composer/conductor Justin Freer was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen.

Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinson and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world.

He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, and Aliens in the Attic. As a conductor Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, London Philharmonic, New York Philharmonic, and San Francisco Symphony. In upcoming seasons he will guest conduct the Minnesota Orchestra as well as the orchestras of Dublin, Paris, Philadelphia, Sydney, Toronto and others.

Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife and serene reflection.”

Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting full length music score performances live with film for such wide ranging titles as Gladiator, The Godfather, Breakfast at Tiffany’s, It’s A Wonderful Life and most recently Harry Potter and the Sorcerer’s Stone.

Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith. n

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John Williams composer In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief.

His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse and Lincoln. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards and fifty Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-three Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December, 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches”. n

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Brady Beaubien CineConcerts co-founder A Stanford graduate and All-American Athlete, Beaubien studied cognitive neuroscience before founding Interlace Media – an award-winning motion graphics company.

Interlace is a premiere CG animation and creative agency for feature films. They have defined the global campaigns of over 100 major Hollywood movies, including Avatar, X-Men, Rio, Ice Age, and Die Hard franchises.

Beaubien co-founded CineConcerts, a company dedicating to reinventing the experience of theatrical presentation and orchestral music. He is currently producing Gladiator Live, The Godfather Live, DreamWorks Animation in Concert, It’s a Wonderful Life, Breakfast at Tiffany’s, Star Trek: The Ultimate Voyage, and The Harry Potter Film Concert Series.

He had spearheaded CineConcerts invention of new genres and its creative presentations of cherished film and television content, including writing Star Trek: The Ultimate Voyage, a project that celebrates 50 years of iconic material. He works to ensure CineConcerts inspires a return to communal entertainment and continues to offer modern audiences and the worlds youth a chance to re-connect with concert halls and local orchestras.

As a designer, Beaubien co-designed Matsuhisa Paris at the Le Royal Monceau-Raffles and designed the Citrus building on Melrose Ave. This new architectural addition to the Hollywood cityscape represents a commitment to the metropolitan and interconnected providence of Los Angeles. At The Citrus, advanced materials and technology merge with wood, concrete and glass in an organic and modernist design. Mr. Beaubien has partnered with award winning sushi chef, Nobu Matsuhisa, to bring his new restaurant concept - Umeda - into the building. Mr. Beaubien also designed the restaurant. n

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co-founder

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

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CineConcerts CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by producer/conductor Justin Freer and producer/writer (Star Trek: The Ultimate Voyage and DreamWorks Animation in Concert) Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, and Breakfast at Tiffany’s. Justin Freer has quickly become one of the most soughtafter conductors of film music with a long list of full symphonic live to projection projects. He has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.

Justin Freer President/Founder/Producer Brady Beaubien Co-Founder/Producer Director of Production Jeffery Sells Director of Marketing, George Valdiviez Head of Publicity and Communications, Andrew Alderete General Manager, Nicolas Rehm Brand/Marketing/IP Acquisition, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing and PR Manager, Molly Kossoff Brand/Marketing Manager, Si Peng Office Manager, Gabe Cheng Worldwide Representation, WME Entertainment Music Preparation, JoAnn Kane Music Service Music Editing, Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing, Justin Moshkevich, Igloo Music Studios Merchandise by FireBrand

HAWA I‘ I SYMPHONY ORCHESTRA

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UP

Individu at 94-MU Harry Potter and the Prisoner of Azkaban Directed by Alfonso Cuaron Produced by David Heyman, Chris Columbus and Mark Radcliffe Written by Steve Kloves Based on “Harry Potter and the Prisoner of Azkaban” by J.K. Rowling Starring: Daniel Radcliffe Rupert Grint Emma Watson Robbie Coltrane Michael Gambon Richard Griffiths Gary Oldman Alan Rickman Fiona Shaw Maggie Smith Timothy Spall David Thewlis Emma Thompson Julie Walters Music by John Williams Cinematography by Michael Seresin Edited by Steven Weisberg Produced by Heyday Films, 1492 Pictures Distributed by Warner Bros. Pictures

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UPCOMING

Individual tickets start at $27. Call the HSO Box Office at 94-MUSIC for musicthatPOPS series subscription information.

HOLIDAY POPS

Join us for our annual Holiday Pops Concert, and the second in our musicthatPOPS series.

Share the excitement of the holiday with your HSO, family and friends at the Hawaii Theatre.

Wednesday, December 12 @ 7:30 pm

FILMED IN HAWAII The third musicthatPOPS program takes concert goers on a whirlwind adventure across the silver screen Maestro Richard Kauffman conducts a musical journey of music from movies filmed here on our beautiful islands.

Friday, January 25 @ 7:30 pm

SUPERHERO SOUNDTRACK Dust off your cape and come dressed as your favorite superhero (or villain) for a concert that will take you up, up and away! The fourth musicthatPOPS program features some of the most memorable superhero themes of all time.

Friday, March 8 @ 7:30 pm

TRIBUTE

TO STEPHEN SONDHEIM AND ANDREW LLOYD WEBBER

This salute features three star vocalists and your HSO performing your favorite songs from Sweeney Todd, Phantom of the Opera, Jesus Christ Superstar, and more!

Friday, April 19 @ 7:30 pm

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The Hawai‘i Symphony Orchestra 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, or call the HSO office at (808) 380-7722 and get involved!

2018/2019

Marco Airaghi Judith Anderson Anton Anderssen Nancy Askew-Regidor Amy Blackwell Rita Braun Roy Brillante Barbara Bronster Carol Ching Juanita Chun David Chung Janet Cooke Maryanne Eichorn Tom Eichorn Francia Hamnett Michael Hamnett Edith Harada Mary Hogan Ethel Iwasaki Jean Jaycox Alena Kangas Marilyn Katzman Shelley Kaya Kiku Kealoha Janey Lau Jung Nam Lee Jeffrey Lim Leinani Lind Eva Lind Laurel Lindenbach

Marc Machbitz Natalie Mahoney Lynne Matusow Jean McIntosh Ligia Naghel Martha Nakajima Madeleine Noa Luuk Oleson Peter Oleson Connie Oliva Frank Oliva Erik Patton Amanda Peron Bonnie Lisa Pestana Barbara Pretty Jane Redmond Kent Savage Trudy Schandler-Wong Jane Schandler Joanne Shapiro Lisa Shugart Andrea Snyder Claire Soos George St. John Cookie Stephan Walter Stephan KC Sturgeron Kelley Toor Timothy Walrod Alvin Wong

DONOR LEVELS

HSO Associates

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

VISIT HISYMPHONY.ORG/ASSOCIATES FOR MORE INFORMATION.

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BENEFITS

CONNECT WITH US H I S Y M P H O N Y. O R G

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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.

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.

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.

The Gift of Music

SUPPORT MUSIC IN HAWAII

For donation information, please contact Shaunna Gutina at 380-7723 or email sgutina@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.

‘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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DONORS

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

The following reflects gifts received between July 1, 2017 - September 5, 2018 Corporate Benefactors $100,000 & above ABC Stores Altres Halekulani Corporation $20,000 to $49,999 Alexander & Baldwin, Inc. American Savings Bank Central Pacific Bank United Laundry Services, Inc. $5,000 to $19,999 Hawaii Gas Goodsill Anderson Quinn & Stifel LLP Pacific Retina Care $1,000 to $4,999 Masaki School of Music UHA Health Insurance Up to $999 Foodland Supermarket IBM Corporation, Matching Grants Program Music Center of Hawaii, Inc. Queen Emma Dance Inc. Romano’s Macaroni Grill Spezzano & Associates, Ltd.

Foundations, Trusts & Charitable Funds $250,000 and up Honolulu Symphony Foundation $100,000 to $249,999 L. Leon Bailey Trust Thomas and Mi Kosasa Fund of the Hawai’i Community Foundation The Wallace, Elizabeth, and Isabella Wong Family Foundation $40,000 to $99,999 Robert E. Black Memorial Trust Mary Wilson Crawford Fund of the Hawaii Community Foundation Gloria Kosasa Gainsley Fund of the Hawai’i Community Foundation $20,000 to $39,999 The Atherton Family Foundation The Cades Foundation Castiglione A. Casauria Foundation Cooke Foundation Limited John R. Halligan Charitable Fund Susan M. Kosasa Fund of the Hawaii Community Foundation

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David Sen Lin Lee Foundation Lenore and Chester O’Brien Fund The Arthur & Mae Orvis Foundation, Inc. Emmett R. Quady Foundation The Shidler Family Foundation Atsuhiko & Ina Goodwin Tateuchi Foundation John Young Foundation $10,000 to $19,999 Central Pacfic Bank Foundation George Mason Fund of the Hawaii Community Foundation Steve Ristow & Bobbie Conlan Anonymous Fund of the Hawaii Community Foundation Mayor’s Office of Culture and the Arts, City and County of Honolulu $5,000 to $9,999 Anonymous Brian Bagnall Fund of the Hawaii Community Foundation Serendipity II Fund of the Hawaii Community Foundation $1,000 to $4,999 Anonymous (2) Aloha United Way CFC (Combined Federal Campaign) Wah Duck & Grace K.S. Young Memorial Fund James & Helen Gary Charitable Fund of the Hawaii Community Foundation Hawaii Symphony Associates Honolulu Symphony Society Fund of the Hawaii Community Foundation The Merck Foundation Jhamandas Watumull Fund Hung Wo and Elizabeth Lau Ching Foundation Up to $999 AmazonSmile Foundation Edmond & Mildred Ayling Fund of the Hawaii Community Foundation Fleimich Fund Phyllis G. Glick Trust Locations Foundation Network for Good O‘ahu Choral Society

Individual Donors $20,000 & up Gov. Ben & Vicky Cayetano Mitch & Bambi D’Olier Marilyn & Steven Katzman

Paul & Lisa Kosasa Randolph Moore & Lynne Johnson Ginny Tiu Elizabeth E. Wong $10,000 to $19,999 Robert & Frances Bean Wesley & Eleanor Chang Richard & Susan Ing Steve Ristow & Bobbie Conlan Bob & Dee Levy Mrs. Violet Shaw Loo Martha Nakajima Michael and Trish O’Neill Helen Paris G. Mark Polivka Dr. & Mrs. Christopher Tortora $5,000 to $9,999 Janet Cooke R. Dougal & Ann F. Crowe Peter G. Drewliner Louise L. Emery JoAnn Falletta & Robert Alemany Jean & Randy Jaycox Natalie Mahoney Ken & Diane Matsuura Jean McIntosh Dr. Elahé Omidyar Mir-Djalali Norma B. Nichols, Ph.D. Wayne Pitluck and Judy Pyle Steven Ristow Kenneth S. Robbins Marsha Schweitzer Paul Sturm & Flora Ling $1,500 to $4,999 Anonymous (5) Linn Sol Alber Robert L. Allen Sandra S. Anderson Gail & William Atwater Mary Ann Barngrover Pat Billington & Taka Alphons Emmalisa H. Bledsoe Tab Bowers Mary (Candy) Cassarno Ann M. Castelfranco Dr. Percival & Carolyn Chee Edward K. Conklin Christopher Conybeare & Kathryn Braun David Schulmeister & Virginia Lea Crandall Jackie Mahi Erickson Craig & Julie Feied Christine Feldmann & Peter Hacker

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

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Janet H. Fujio Jack & Janet G Donald W.Y. & Marjorie Gord Jeremy G. & H Jean and Rob Maurice & Sh Juli Kimura W Myra Kong Jodi A. Lam & Takaezu Hai Cha Lamb William & Su Edward & Ste Mollie M.Y. Le Worldster & P Peter & Mary Dr. Jeffrey Lim Lloyd Lim Mrs. Debbie L Rix Maurer III Maurer Tru Sharon S. Mc Amy Y. Monk Audrey Mueh Lyle E. Nelson Anton & Kikue Swensen Capt. Phillip B Bonnie Lisa P Robert Creps Pfaltzgraff Dr. Lee Putna Glenda K. Rot Mr. & Mrs. Ch Smith Susan M. Soo Michael & Ca Glenn & Eliza Lance Teruya Henry Timnic Robert & Mar Kent & Jean T Eldon L. Weg Drs. William & Paul Cool and Gregory Wren Pyburn Communicati Carl Yee & Ma Valerie Yee

$500 to $1,4 Anonymous ( Stanford & W Donna G. Bai Patricia M. Ba Brad & Lee Ba Herschel Bea Byron & Lois B Terance & Jan Willem & Jan Merle Bratlie Lilia Brewbak Antoinette Br

Janet H. Fujioka Jack & Janet Gillmar Donald W.Y. & Laura Ray Goo Marjorie Gordon Jeremy G. & Harriett D. Haritos Jean and Robert Johnson Maurice & Shelley Kaya Juli Kimura Walters Myra Kong Jodi A. Lam & Timothy M. Takaezu Hai Cha Lambert William & Susan Lampe Edward & Stephanie Laws Mollie M.Y. Lee Worldster & Patricia Lee Peter & Mary Lou Lewis Dr. Jeffrey Lim Lloyd Lim Mrs. Debbie Liu Rix Maurer III & Mary L. Maurer Trust Sharon S. McPhee Amy Y. Monk Audrey Mueh Lyle E. Nelson Anton & Kikue Okamoto Swensen Capt. Phillip B. Olsen Bonnie Lisa Pestana Robert Creps & Debra D. Pfaltzgraff Dr. Lee Putnam Glenda K. Rother Mr. & Mrs. Christopher C. Smith Susan M. Soong Michael & Carol Stayton Glenn & Elizabeth Tango Lance Teruya Henry Timnick Robert & Marilyn Trankle Kent & Jean Tsukamoto Eldon L. Wegner Drs. William & Margaret Won Paul Cool and Betty Wood Gregory Wrenn & Robert Pyburn Communications Pacific Carl Yee & Mary Wong Valerie Yee $500 to $1,499 Anonymous (6) Stanford & Winifred Au Donna G. Bair-Mundy Patricia M. Barron Brad & Lee Bassett Herschel Beazley Byron & Lois Bender Terance & Jan Bigalke Willem & Janet Blees Merle Bratlie Lilia Brewbaker Antoinette Brown

Kay Caldwell Katherine & Peter Vaccaro Barbara Campbell Jeannette & Ian Capps Barbara Cargill Carol H. Case James H. & Suzanne E. Case Fredrica & Paul Cassiday Ann B. Catts Yi-Chuan & Helen Ching Franklin & Norma Chun Holly Chun-Ming Carol J. Coops Patricia Sue Cornish Katherine Crosier Yuki Danaher James Day & Phyllis Fong John P. Dellera Michael D. DeLuca Tom & Kristi Dinell Ben Dookchitra Nola Epp Karen L. Feltz Alan E. & Maria K. Fowler Frederick P. Fritschel & Carol R. Langner Helen G. Gary Doug Gibson & Will Brown Mary J Harbold Frederick & Joan Harris John M. & Sachie U. Hayakawa David and Nery Heenan John & Jane Hinrichs Dr. Yujen “Ted” Hsia Gilman & Ruth Hu Tom & Gloria Huber Jo Ann Ikehara Glenn Ishioka Gary James George St. John Kiku I. Kealoha Alexander S. Kim Thomas D. King Chester T. & Laraine K. Koga John T. Koga Douglas G. Kreider Mr. & Mrs. Alexander Kufel Richard L. Kurth Wilfred & Caren Kusaka Samuel Y. Lam Geri Lambert James T. Leavitt, Jr. Van Lee Dr. Robert K. Tanaka & Dr. April Leong Col. W.R. Liggett USAF (Ret.) & Suzan Harada Mary & Michael Macmillan Sumi Y. Makey Donald M. Matsumori Howard & Barbara Mau Pat McFadden & Helen MacNeil Mary Flanders McGrath Dr. & Mrs. Phillip McNamee Mrs. Sally Morgan

Lois & Thomas Mui Martha Lee Mullen George & Alma Nagao Marcia M. Nagao Joanne P. Nakashima Alvin S. & Sharon Narimatsu Drs. Steven Nishi & Pamela Tauchi-Nishi Ruth O. Oshiro Robert & Rebecca Ozaki Rodney & Marvelyn Pang Denise K. S. Pang-Yee Stephanie S. Pauling Dr. & Mrs. Robert G. Peters Alan & Martha Peterson Ralph & Pakinee Portmore Enid Rayner Kent A. & Howena H. Reinker Heidi Rian Jean Rolles Merritt & Carol Sakata Carl Schlack & Shauna Candia Albert J. Schutz Jane Schwager Richard & Yoko Scofield Joanne Shapiro Catherine M. Shaw Schwartz Susan Spangler Elizabeth Spann & Jay Rego Blazo & Mary Sredanovic Susan Stahl Dr. Ulrich & Carol Stams Doug Stanfield Paul & Judith Stankiewicz Warren and Carolyn Stenberg Alan & Karen Stockton Susan Takahashi Patricia Takemoto & Robert Morse Dr. Fred & Mrs. Ann Tanabe Alan & Joni Tanaka Amy A. Taniguchi Leanora Tong Dianne Towey Anita Trubitt Rochelle Uchibori Glenn & Constance Uejio Daniel & Judith White Nancy D. White Bob Wilhelm & Gena Whitten Paul Wrege Louis P. Xigogianis Eric & Louise Yamamoto Glenn & Kathleen Yoshinaga Shuk Fon Yuen Allen & Nobuko Zecha $150 to $499 Peggy G. Adams The Akaka Family (Hinano, Ellen, Puanani & Hinano II) Carol A. Aki Ms. SC “SC” Anderson Heather Arias de Cordoba Francine Armstrong

John L. Ashby Jr. Brian Bagnall Joyce Baker Ron Baldwin Marshall & Carolyn Ballou Judy N. Barrett Cornelius Bates Betsy A. Behnke Betty C. Berni Carolann Biederman & Seth G. Markow Robert & Alexandra Bley-Vroman Marge & Carl W. Boyer, Jr. James L. Brewbaker Barbara Bronster & Bernard Schwartz Philip & Evelyn Brown Robert and Frances Bunn Martha & Edmund Burke Jerri-Lyn Burns Jane Campbell David E. Cantor David & Laurie Carr Edward H. Carus Christopher Cha Donald & Mildred Chang Paul J. Schwind & Mollie Chang Helen Chao-Casano & Steven Casano John Chilcott & Caryn Yamanaka Derek T. Chinen Philip & Gerry Ching Joan P. Chock Yong Ho & Minja Kim Choe Adele D. Chong Timothy Y.C. Choy Georgia A. Cicmil Jim & Sally Clemens Ms. M Gay Conklin Jim & Irene Connors John S. Corbin Leslie & E. Shan Correa Rebecca L. Covert Christina Crowe & Linda Glenn Richard and Myrna Cundy Daniel & Fatiha Curran David & Junko Davis Andrew & Martha Detra Carol Anne Dickson Elizabeth B. Donaldson Laudra B. Eber Rudolf & Edith Ecken-Genova Carol Egan Ben Einer Dr. Lawrence Eron & Donna Cheng Marlies H. Farrell John & Becky Faunce Robert & Patricia Faus Bonnie Featherstone Paul & Jane Field Ronald & Maureen Fitch Joanna Fleming Mary Jo Freshley

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Lawrence Fung Edward & Grace Furukawa Colleen Furuya Sharon E. Geary Morag Gibson Marilyn Wong Gleysteen Marilyn Wong Gleysteen Anna L. Goo Kathleen Goto Mr. Derek Graber John Graves Kathleen E. Grierson Dr. Shadia R. Habbal Laure & David Hadder Beverly Haid & Sue Hillman Mrs. Nyle Hallman Suzanne Mary Hammer, M.D. Edith Harada Margaret Y. Harada James & Constance Hastings Marie Hatfield & Hawaii Hatfield Realty Sally & Tom Hattemer Lenley Hawksworth CDR Stephen T. Hazam Honi Lani Hearn Lea & John Heide S. Henna Letitia Hickson Patricia Josephine Hildreth Marie-Sol Howard John & Shizue Howe Yvonne & Chi-Chia Hsieh Dr. & Mrs. Thomas & Karen Huang Barbara L. Hudman Alena Hughes Susong Hyun Mary O’Brien Ichikawa Lester & Carolyn Inouye Ethel C. Iwasaki Sara Adah Izen Noel R. Jaderstrom Lee Alden Johnson Rev. Dr. Donald K. Johnson Richard M. Johnson & Jung Nam Lee Lawrence M Judd III Robert Justice Jay & Ann Kadowaki Dr. Kathleen Kagawa Walter & Cynthia Kelley Robert & Yoko Kessner Linda Kidani Dr. & Mrs. Robert Kim Jean Young-Jin Kim Takako O. Kokame Laurence N. Kolonel Floria Komer E. Takeo & Barbara Kudo Christine Kurashige & Barry Whitfield Evelyn B. Lance Dr. H. Lorrin & Mrs. Maureen Lau Lavay Lau

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Ellen LeClair Harold W. F. Lee Drs. Grover & Sally Liese Laurel S. Lindenbach Christopher & Linda Lum Kwong Yen Lum Joan Maas Marc & Suzanne Machbitz Donald & Lorraine Mackay Anne & John Mapes Paula Matayoshi Elizabeth K. McCreary Sarah McDermott Anne W. McKay Amy H. Mitsuda Takako Morimoto Karen K. Muronaka Eric I. Nagao & Lauren Yee Keene Nagatoshi Poranee Natadecha-Sponsel Linda C. Nelson Robert & Jeanne Nelson Timothy N. & Aaliyah S. Newsham Sam & Carolyn Ng Billy Nikitovitch-Winer Micah Nishimoto Madeleine Noa Richard Ochner Valerie Ossipoff Ruth Pagell Jonathan Parrish Helen Pierce Kenneth W. Pierce Barbara B Polk Prudence Potter Paul R. Rath James & Jane Redmond Mary Pecot Reese Marcia Roberts-Deutsch Scott Robinson and Deborah Clevenger Conrad & Beth Rodenbeck Penelope & Richard Rogers Wallace & Jane Ryan Kuroiwa Donn M. Sakuda James L. & Nancy C. Schoocraft Andrew Schumacher Paul Scott Sandra & Harvey Secter Lisa A. Shigemura Heather Shohet Sheryl Shohet Mary B. Silva Paul & Therese Simeone Suzanne Young Sitch Andrea & Bob Snyder Claire Soos Wanda J. Sowell Kathryn & Basil Sparlin David & Rita Starz Richard & Louise M. Steenblik Jane Sugimura Leslie D. Swindale Walter M. & Dolly S. Takeuchi

Rosemary Talens Andrew & Virginia Tanji Sadako Tengan Bruce T. & Rae. N. Teramoto Helen D. Thomas Dr. & Mrs. John B. Thompson Jennifer M. & Jose G. Trevino Fred J. Trupiano Col. Ret. & Mrs. Albert F. Turner Stephen Turner Robert A. Wall Makoto, Vicky, and Okaasan CDR. Max H. Watson, USN, Ret. Jane & Frank Wei Naomi & Alex Weinstein Duane & Carol White John Allan White Marsha White Philip & Carolyn Whitney Patricia Whittingslow Howard Calvert Wiig Leslie Charles Wilson Todd and Malia Withy Randy & Helen Wong George & Mary Ann Wyman Howard & Joan Yamaguchi Gary T. Yamamoto Christine Yano Dr. Byron Yasui Mildred A. Yee Sally Yoshinaga Debra D. Zedalis Carl & Jonita Zimmerman M. Scarlett Zoechbauer Up to $149 Anonymous (43) Mary Abbott Carol Abe & Roger Anderson Gov. Neil Abercrombie Jean Adair-Leland Deborah A. Agles Beverly Aiwohi Lani Almanza Michael & Teresita Amore Larry Lee Anderson Lisa Andres Linda M. Aniya Malcolm Armstrong Susan L. Arnett Sue Asato Nancy Askew-Regidor Patricia Augustine Bobbisue Backers Karen Baker & Frank Marone Mark Baker & Lisa Hendrickson Rob & Lee Banashek Kristi Bates Denise P. Bekaert & Felicity O. Yost Tracey Bennett Francoise Berg Margaret F. Bergman BarBara Boddy Todd & Leigh-Anne Boland

Dr. Michael Bornemann Barbara L. Breckenridge Susan Brown Elizabeth B. Buck, Ph.D David Budd Aleksandr (Alex) Bykov Margaret D. Byrne Leslie Carter Chunmay Chang Chunmay Chang Elaine M. L. Chang Mr. Gary Chang Mr. Williamson Chang Jason Chin Louise J. Ching Cedric & Barbara Chong Denise Chong Cynthia Christian Stewart Chun David Chung Richard Chung Sherri Nanea Clark Gary & Raleigh Cohen Dorothy and Alex Colby Marjorie L. Cox Aiko K. & Leslie G. Crandall Richard L. Crandall John & Heidi Cregor Caroline Davis Jeffrey Lee Davis Lee & Anne Davis Mary Lou Davis Nancy A. Davlantes Peter & Jan Dawson David & Charlotte De Witt Deane DeCastro James & Marlene Denny William & Lovey-Ann DeRego Michael J. Deweert Celia B. Diamond Cherie N. Dubats Jim & Anne Marie Duca Byron & Pamela Eliashof Uson & Lani Ewart Joyce Favorite Emily C. Fay Michelle Feng Anne & John Flanigan Drs. Agnes & Yusi Fok Norman Foster Pledgeling Foundation Linda Fujii Sharon C. Fujii Ralph & Eleanor Fujioka Jeffrey & Shirley Fukushima Mr. Stephen A. Geimer Helen S. Godwin Mr. Mhericon Gomez Richard Goodman Clara A. Goto Harry I Goto Werner & Kathy Grebe Judith Guffey Ms. Esther Haas-Hugentobler Michael G. Hadfield

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

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Kimberley Ha Judith Halvor Chiereen L. H Francia L. Ham Elizabeth Har Nikki Harris Daniel Hartlin Shirley Hasen Constance Ha Naomi Sue H Don & Claire Karl & Theresa Wayne & Ros Terry L. Hildeb Glenda C. Hin Stephanie Ho The James Ho Jayne K. Hon Alan Howard Jenny R. How Robert & Jud Patricia S. Hu Kimiyo Ide Liane Iraha Takuma Itoh Christopher J Margaret Jaq Blake Johnso Annakaarina Dawson L. Jon Michael Jone Wyatt L. Jone Michael & Ka Judith T. Kaka Katherine E. K Chester & Jea Suzanne R. K Jennie Kawab Ferne Kawaha Constance Ka Elaine Kawaz Judith Ann Ke Linda Keller Carol S.Y. Kell Ann Kelminsk Marcia Kemb Elspeth J.C. K Mr. Jerald W. Jerilynn Kim Sandra Kim Kevin Kimata Robert F. King Robert Kinzie Dr. Robert & A Shirley & Geo Ms. Carolyn K Lori Koenneck Teresa Koepk Janice Kong Nils Konikson Andrew Kono Sumiye E. Kon Carol Kosaki Drew A. Kovac Walter & Ellen

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Kimberley Haines Judith Halvorson Chiereen L. Hamamura Francia L. Hamnett Elizabeth Harding Nikki Harris Daniel Hartline & Petra Lenz Shirley Hasenyager Constance Hastert Naomi Sue Hayashida Don & Claire H. Sakai Hazzard Karl & Theresa Herman Wayne & Rose Higashi Terry L. Hildebrand Glenda C. Hinchey Stephanie Hoe The James Hom Family Jayne K. Honda Alan Howard & Janet Rensel Jenny R. Howard Robert & Judith Hughes Patricia S. Hunter Kimiyo Ide Liane Iraha Takuma Itoh Christopher Jacobs Margaret Jaquette Blake Johnson Annakaarina Jolkkonen Dawson L. Jones Michael Jones Wyatt L. Jones Michael & Karuna Joshi-Peters Judith T. Kakazu Katherine E. Kaneko Chester & Jeanean Kaneshiro Suzanne R. Kaulukukui Jennie Kawabata Ferne Kawahara Constance Kawamoto Elaine Kawazoe Judith Ann Kearney Linda Keller Carol S.Y. Kellett Ann Kelminski Marcia Kemble Elspeth J.C. Kerr Mr. Jerald W. Ketchum Jerilynn Kim Sandra Kim Kevin Kimata Robert F. King Robert Kinzie Dr. Robert & Adelaide Kistner Shirley & George Kitamura Ms. Carolyn Koehler Lori Koennecke Teresa Koepke Janice Kong Nils Konikson Andrew Konopka Sumiye E. Konoshima Carol Kosaki Drew A. Kovach Walter & Ellen Kubota

Matthew Kugiya Anne Kwiatkowski Tommy Lam Janey Lau Vivienne Lazar George C Leavitt Joanne Lee Karen Lee Allison M. Lee-Takamine Laura & Stephen Leong Paul Lerman & Hazel OgawaLerman, ND Chevalier Levasa Judy & Dennis Lind Sally Little Gail Long Charles & Sandra Loo-Chan Karen L. Loomis Thomas A. Loudat Melissa Loy Benjamin & Eleanor Lum Jhoanna D. Mabutas Robert Mace Sue & Howard Maier Donna Makishima Elaina Malm Richard Manshardt Elizabeth Mastrantonio David Masunaga Ms. Michele Mateo Clarence Y. Matsumoto June R. Matsumoto Lynne Matusow Dr. Carol Maxym Madeleine C. Mayher Alma McGoldrick Edward & Laurie McKeon Ian McMillan Martin & Sharron McMorrow Mariajane C. Mee Sally & Jeffrey Mermel Priscilla Millen Roy & Catherine Miyahira Ruby Mizue Mr. & Mrs. William Moffett Art & Val Mori Mr. Curtis Mori Milton & Annette Morishige Mr. Anthony Mullen Lynn Murakami-Akatsuka Howard H. Najita Linda Y. Nakaima Trent Nakasaki Lani Neill John & Angeline Nelson Deane Neubauer Ron Noble Mark & Paula Nokes Andrea Oka Jonathan Okabe Kale Lani Okazaki Ms. Cammie Okouchi Phillip Buck Olsen and Gail Hudson Jerry & Arlene Ono

Mildred Oshiro Dayle Ota Lynne Otoshi Keanne Pacpaco Norma Parado Gayle Paterson Florene D. Pell Dr. James Penoff, M.D. Russell & Patricia Pinho Mr. Peter Pinkerton Antonio Pizarro Min Pongklub Jillian T Poon Myrna L. Pung Donald Puschin Gloria Quinn Richard Rapson Ken & Evelyn Redman Keene H. Rees Ali Resich Elizabeth Reveley Donald Rhoads T. J. Ricer Carole Richelieu Douglas Rollick Mrs. Carol A. Rumford Iris Jean T. Saito Eileen A. Sakai Robert S. & Mary Louise Sandla Rachel T. Sato Suzanne M. Sato P Kent Savage Janice T. Sawada Greg Scearce Charles C. Schenck Judith Scheu Gregory & Jennifer Schlegel Beppie Shapiro Glenn & Susan Shea Pauline Sheldon Wayne Shiohira Jennifer Shishido Lee and Lisa Shugart Paul & Terry Simeone April R. Smith Warren & Kathryn Soma Mr. & Mrs. John Southworth Michael & Gisela Speidel Joyce G. Spoehr Ralph & Jackie Sprague Robert Stanfield Cookie & Walter Stephan Carolyn Steuer John & Carol Stimson Susan Sugiya

Patricia A. Sullivan Stephen G Sussman Jack Suyderhoud Carole S. Suzui Ira & Marilyn Tagawa Elizabeth Tajima Annabelle Takahashi Mrs. Stacey Takanishi Robin Takata & Melanie Lee Ms. Patricia Talbert Donna Tamasese Sophie Tang Mr. & Mrs. Remi Taum Janet Tauscher Mary M. Taylor Juanita B. Thomas Donald Tierney Juliet Tierney Ronald & Patricia Tochiki Donn & Judie Tokairin Lisa A. Tom Werylend Tomczyk Charlotte Trotter Janice Y. Trubitt Ruth Tschumy Alice Tucker Minoru & Kyoko Ueda Kay S. Uyeda & Ramona A. Ho Mrs. Bette Uyeda Dondi Vinca Allan Vogel Thomas Burke & Marie Wagner Lorinda L Waltz Rebecca Lynne Ward Joseph K. Wee Nancy C Whitman Thom & Mary Ellen Williams Alvin & Trudy Wong Diane W. Wong Dr. & Mrs. Livingston Wong Mark D. Wong Ms. Lynette M. Wong Jack & Kathy Yamada Joanne Yamada Derrick Yamane Norman & Jane Yonamine Mari Yoshihara Burt & Helen Yoshimi James & Harriet Yoshimori Don & Judi Young Everett B. Young Merv & Joni Young Laurie M.H. Zane Charles Zhang Jiali Zhang Annette M. Zib

We greatly appreciate your support!

To make a donation, please visit HISymphony.org, call 94-MUSIC, or mail a check to: 3610 Waialae Avenue Honolulu, HI 96816 HAWA I‘ I SYMPHONY ORCHESTRA

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In memory Gail Long

TRIBUTE LIST

In memory Natadecha Poranee Nat and Leslie Sp

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

The following reflects gifts received between July 1, 2017 - September 5, 2018 TRIBUTES In honor of Vicky Cayetano Virginia Tiu Kathleen Yoshinaga

In memory of H.M. King Bhumibol of Thailand, the musician and composer Poranee Natadecha-Sponsel

In honor of Carl St. Clair Elizabeth E. Wong

In memory of Peter Brown Antoinette Brown

In honor of David M. Dickson, Sr. Carol Anne Dickson

In memory of Alfred Buerosse Sheryl Shohet

In honor of Hawai‘i Symphony Orchestra Associates Jean McIntosh

In memory of Wesley Y. S. Chang Malia Day Chenise Iwamasa John Venizelos Levas

In honor of Ignace Jang Serendipity II Fund of the Hawaii Community Foundation In honor of Jim Moffitt Ron Noble In honor of Tim Leong, Violinist, Hawaii Symphony Orchestra Suzanne M. Ching In honor of Jonathan Parrish Jane Campbell Marsha Schweitzer In honor of Michael Titteron Jeremy and Harriett Haritos Gilman and Ruth Hu In honor of Constance Uejio Kosasa Family IN MEMORIUM In memory of Goldie Arkin Jean McIntosh Martha Nakajima In memory of Paul Barrett Cynthia Keller Helen Oen Elizabeth E. Wong

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In memory of Billie Clayton Randall Jaycox Alvin and Trudy Wong In memory of Ian M. Cooke Ellen Akaka Jerri-Lyn Burns Louise J. Ching James & Marlene Denny Joanna Fleming Michael G. Hadfield Lawrence M Judd III Constance Kawamoto Robert Kinzie Carol Kosaki George C. Leavitt Worldster and Patricia Lee Natalie Mahoney Jonathan Parrish Suzanne M. Sato Sheryl Shohet Glenn and Susan Shea Michael & Gisela Speidel John & Carol Stimson Randy and Helen Wong In memory of Carl Crosier Katherine Crosier In memory of Wah Yun Dang Stanford and Winifred Au

In memory of Stephen Dinion Laure and David Hadder Bernice Dinion In memory of Bruce Erickson Jackie Mahi Erickson In memory of Fritz Fritschel Mary Pecot Reese Larry Anderson Frederick Fritschel and Carol Langner In memory of Prof. Terry E. Haney and Capt. Garth M. Haney Lopez Maria D. Lopez Haney In memory of Bob Harbold Mary J. Harbold

In memory Patricia Whit

In memory Nalani Goles

In memory Rochelle Uch

In memory Nyle Hallma Ronald and L Sheryl Shohe

In memory of Arman Kitapci Anita Trubitt In memory of Minnie Kosasa Carl Yee and Mary Wong In memory of Timothy Lau, DVM Lavay Lau In memory of Max and Lily Lim Lloyd Lim In memory of Dr. Francis Liu Drew A. Kovach Charles K. Sakamoto Vernon E. Ansdell Franklin and Norma Chun Audrey Mueh Ulrich and Carol Stams In memory of Clarence “Mumpsie” Lum Douglas Hom In memory of Ellen Masaki Masaki School of Music Steven Nishi and Pamela Tauchi-Nishi

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

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In memory Jean McInto

9/13/18 11:10 AM

Sh

In memory of Ah Quon McElrath Gail Long In memory of Aroon-Sumon Natadecha Poranee Natadecha-Sponsel and Leslie Sponsel In memory of Norma Nichols Jean McIntosh In memory of Darlene Nielsen Patricia Whittingslow In memory of Toshiko Elsie Otani Nalani Golesorkhi In memory of Beth Robinson Rochelle Uchibori In memory of Laurence Shohet Nyle Hallman Ronald and Lana Marie Seki Sheryl Shohet

In memory of Dr. John Spangler David Johnson Andrew Max and Helen Besenbruch Rosemarie Cottle Millicent Cox Simone A. Flair Tammy Freedman Fred K. French Nyle Hallman James A. Howell Mary M. Hurlbutt Sharon O. Inamine Randall Jaycox Keith and Cynthia Johnson Thomas H. Maeda, JR., MD Shigeko Lau Debra J. Liu Barbara C. Marumoto-Coons David Atkin and Mary Steiner Timothy F. Olderr Kenneth B. Robbins Alan and Margaret Rowland A.G. Rudy Carolyn J. Sandison

John and Eudice Schick Sheryl Shohet Barbara B. Sloggett William C. Strafford Ulrich and Carol Stams Richard W. Towne Kimberly Towler Rebecca Wong Shirley Woo Jean M. Williams Gareth C. Yokochi In memory of Frances Tomiko Tango Glenn and Elizabeth Tango In memory of Ismet Turkalp Natalie Mahoney In memory of Chris Uchibori Rochelle Uchibori 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 Shaunna Gutina, development director at (808) 380-7723 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

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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PPORT!

THE HONOLULU SYMPHONY FOUNDATION

THE WALLACE, ELIZABETH, AND ISABELLA WONG FAMILY FOUNDATION

SPONSORSHIP OPPORTUNITIES ARE AVAILABLE AT MANY LEVELS. CALL SHAUNNA GUTINA, DEVELOPMENT DIRECTOR AT 380-7723 FOR MORE INFORMATION. HAWA I‘ I SYMPHONY ORCHESTRA

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BOARD OF DIRECTORS

HSO Board/Admin

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 Maxx Phillips Michael Titterton Virginia Tiu Mark D. Wong Kitty Yannone

ADMINISTRATION PRESIDENT Michael Titterton

2018 / 2019

EXECUTIVE DIRECTOR Jonathan Parrish ARTISTIC ADVISOR JoAnn Falletta

MARKETING Heather Arias de Cordoba Marketing Director John Kuamo‘o HSO Photographer

Delila Amorin Office Assistant

DEVELOPMENT Shaunna Gutina Development Director

ARTISTIC ADMINISTRATION & PRODUCTION Merle N. Bratlie General Manager

PATRON SERVICES Cristina Luck Box Office and Patron Services

Mark Breitenbach Personnel Manager

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

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

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)

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

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