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M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR

Fun. Seriously. 2 013 –14 S E A S O N


M S

M A R I N SY M P HONY ALASDA IR NE ALE

Contents

| MUS IC DIRECTOR

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11

Inspired new direction.

13

Orchestra

15

Leadership

19

MASTERWORKS 1: From Russia With Love

29

Holiday Choral Concerts by Candlelight

31

Youth Concerts & Events

33

NEW: Holiday Pops Concert

36

MASTERWORKS 2: American Dream

37

MASTERWORKS 3:

Quintessential Beethoven,

38

Chic Tchaikovsky 38

Family Concert, The Magical Music of Disney

39

MASTERWORKS 4: Sacred and Secular

40

Pirates of the Caribbean:

40

The Curse of the Black Pearl 43

Youth & Education Programs

47

National Young Composers Challenge

52

Support & Sponsorship

55

Encore Society

56

Donors & Sponsors

60

Subscriptions & Tickets

Fun. Seriously. 2 013 –14 S E A S O N

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It’s all in the details.


Congratulations to Marin Symphony for 61- plus years of outstanding performances! The County of Marin is proud to be a sponsor of this new season. Music isn’t the only thing moving outdoors on the Marin Civic Center campus. Explore and enjoy the recent enhancements to the new disabledaccessible plaza in front of the Marin Veterans Memorial Auditorium, which make it much easier to move around. And there are more upgrades on the way. In the next few years, you’ll see better sidewalks, bus stops, bike lanes and aesthetic accents along Civic Center Drive as we prepare for the new SMART train. You can also look forward to exciting changes from another Civic Center partner, the Marin County Farmers Market, as its staff works on plans for a permanent site for the market. All of these moves are designed to complete the mission of Frank Lloyd Wright, the famed architect who designed our National Historic Landmark. Even after the season-opening concerts are a memory, the sound of change at the Civic Center will be sweet music to our community.


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Staff, Board & Contributors ARTISTIC Alasdair Neale Music Director Stephen McKersie Chorus & Chamber Chorus Director Ann Krinitsky Youth Orchestra Director Anne Lerner-Wright Crescendo/Overture Orchestra Director Debra Chambliss Children’s Chorus Director

ADMINISTRATIVE Jeff vom Saal Executive Director Angela Colombo Director of Development Peter Rodgers Director of Marketing & Communications Marty Eshoff Director of Operations Laura Cooper Patron Relations & Administrative Coordinator Craig McAmis Orchestra Personnel Manager Drew Ford Music Librarian Andrei Gorchov Youth Programs Administrator Anne Lerner-Wright Education Programs & Community Engagement Manager Deborah Walter Accountant Maria Marciales Finance Intern

WEEKLY VOLUNTEERS James Levine, Phyllis Mart, Jan Mettner, Gloria Miner, Peri Sarganis, Judith Purdom

PROGRAM BOOK CREDITS Program Notes, Jon Kochavi Artist Interviews, Indi Young Designer/Editor, Peter Rodgers Advertising Sales, Big Cat Advertising Printer, Unicorn Group Cover Photo, Eisaku Tokuyama


Board of Directors & Advisors OFFICERS

Judith Walker Investment Commitee

Board of Directors continued Marty Rubino Renee Rymer Stacy Scott Dr. Beth Seaman Sally Shekou Peter L. H. Thompson Judith Walker Dr. Frances L. White *Orchestra Member

BOARD OF DIRECTORS

EMERITUS

Shirin Aryanpour Mary D’Agostino Jenny Douglass* Joanne Dunn Jim Finkelstein Renee Froman* Will Glasgow Stephen Goldman Greta Hoversten Sandra Hoyer Steven Machtinger* Catherine Munson Erica Posner* David S. Post Elizabeth Prior* Mary Rabb

Louis Bartolini Marge Bartolini James Boitano Crawford Cooley Donald Dickey Alfred Heller Grace Hughes Ronald Johnson Stafford Keegin Alice T. May Gloria Miner Elizabeth Mulryan David Poff Hugo Rinaldi Madeleine Sloane

Committee Chairs continued Marty Rubino Development

Dr. Frances L. White President and Chair

Stacy Scott Special Events

Peter L. H. Thompson Immediate Past President

Greta Hoversen Audit Commitee

Stephen Goldman Vice President Steven Machtiner* Vice President Renee Rymer Secretary David S. Post Treasurer

COMMITTEE CHAIRS Stephen Goldman Audience Development Jim Finkelstein Personnel & Strategic Planning David S. Post Finance Renee Rymer Governance Jenny Douglass Youth/Education

it’s playtime.

10

Where great music comes to life.


PHOTO © EISAKU TOKUYAMA

Fun. Seriously. 2 013 –14 S E A S O N

Inspired new direction. Welcome to From Russia With Love, the first Masterworks concert in our 2 013 –14 Season and our first-ever Holiday Pops Concert. Our 61st Season sets a new course for your Marin Symphony. It builds from the sold out 60th Season finale, Pixar in Concert on June 9, 2 013, and first-ever outdoor Waterfront Pops Concert featuring John Williams movie music favorites climaxing with fireworks on September 15, 2 013. The essence of pure classical is kept alive in four exquisite Masterworks concerts — From Russia With Love, American Dream, Quintessential Beethoven, Chic Tchaikovsky — concluding with Sacred and Secular. The Magical Music of Disney Family Concert in March 2 014 is certain to delight everyone. On Sunday, June 8, 2 014, our 61st Season wraps up with the full-length Disney film, Pirates of the Caribbean: The Curse of the Black Pearl, with our orchestra performing the soundtrack live. Be inspired. Be a part of it. Experience it with us! Our board, staff, volunteers and the amazing musicians in this fine orchestra appreciate all of you — especially our loyal patrons, donors and subscribers for providing consistent support — sustaining our Marin Symphony for more than sixty years. We are continuing our journey to set a new inspired direction for our Marin Symphony’s future. Realistic goals and dreams. A renewed dedication for bringing innovative programming to the stage that resonates with Marin people. We’ve made great progress towards advancing exceptional music education programs to our community. We seek to thrive and be known for our work and our passion for excellence. To experience an orchestra like ours is transformational. Our Marin Symphony is a community jewel. We’re proactively adapting to the changes and realities of challenging times for orchestras, education, and the arts with new initiatives and efforts to secure the resources needed to continue taking your Marin Symphony to new heights. With all of us who care so deeply for the Symphony and what it offers the people in our community, we’re confident that together, we will secure a bright future for great music in Marin.

Alasdair Neale

Frances L. White, Ph.D.

Jeff vom Saal

Music Director

President and Board Chair Marin Symphony Association

Executive Director

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Where great music comes to life.


PHOTO © PETER RODGERS

ORCHESTRA

HORN Darby Hinshaw Principal Nicky Roosevelt Meredith Brown Loren Tayerle

Orchestra Personnel VIOLIN I Jeremy Constant Concertmaster The Catherine Munson Chair Philip Santos Assistant Concertmaster Karen Shinozaki Sor* Assistant Principal The Schultz Family Chair In Honor of Niels Schult z Mark Neyshloss Assistant Principal Sergi Goldman-Hull Emanuela Nikiforova Valerie Tisdel Claudia Fountain Brooke Aird Cindy Lee Van Chandler VIOLIN II Peggy Brady Principal Jeanelle Meyer Assistant Principal Dennie Mehocich* Kathryn Marshall Renee Froman* Joyce Lee Tao Nordlicht Tara Flandreau* Carla Lehmann Michelle Maruyama Akiko Kojima Thomas Yee VIOLA Jenny Douglass Principal The Elsie Rigney Carr Chair Elizabeth Prior Assistant Principal The Constance Vandament Chair Jennifer Sills Meg Eldridge Darcy Rindt Betsy London Oscar Hasbun Dan Kristianson Steven Machtinger Ann Coombs-Kenney

CELLO Jan Volkert* Principal Nancy Bien-Souza Assistant Principal Louella Hasbun David Wishnia Kelley Maulbetsch Elizabeth Vandervennet Isaac Melamed Robin Bonnell Adele-Akiko Kearns Erica Posner

TR UMPET John Freeman Principal James Rodseth Catherine Murtagh TR OMBONE Bruce Chrisp Principal Craig McAmis Kurt Patzner Bass Trombone TUBA Zachariah Spellman Principal

BASS Robert Ashley Principal Richard Worn Assistant Principal Pat Klobas Andrew Butler William Everett Andrew McCorkle

TIMPANI Tyler Mack Principal

FLUTE Monica Daniel-Barker Principal Holly Williams, Piccolo Katrina Walter, Piccolo

HARP Dan Levitan Principal

OBOE Margot Golding Principal Laura Reynolds English Horn CLARINET Arthur Austin Principal The Jack Bissinger & Robert Max Klein Chair Larry Posner The Tom & Alice May Chair Douglas Fejes Bass Clarinet

PERCUSSION Kevin Neuhoff Principal Scott Bleaken Ward Spangler

PERSONNEL MANAGER Craig McAmis LIBRARIAN Drew Ford SANDOR SALGO Music Director Laureate Posthumous CHARLES MEACHAM Concertmaster Emeritus Posthumous

* Former member of Marin Symphony Youth Orchestra

BASSOON Carla Wilson Principal Karla Ekholm David Granger Contrabassoon

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Our Version of a Biker Gang “Come and get it Buckaroos,” my dad would yell from the front porch when dinner was ready. My brothers and I knew that this meant to pedal as fast as we could to get back to the house. Leave all toads and salamanders outside, where they belong. And scrub our muddy hands with plenty of hot, soapy water. The last one to the dinner table was a “rotten egg.” My brothers have all moved away. Dad lives with us and now calls my two sons “Buckaroos.” Dad is as sharp as a tack, but he has slowed down physically. Even the simplest of tasks can be difficult for him. As we plan our next family vacation, I know that Dad can’t stay home alone.

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AR TISTIC leadership

PHOTO © EISAKU TOKUYAMA

San Francisco Symphony in widely praised performances of Mahler’s Fifth Symphony in Germany. His most recent appearance with that orchestra was in February 2007 when he replaced an indisposed Carlos Kalmar to lead the San Francisco Symphony in successful subscription performances.

Alasdair Neale, Music Director There’s nothing like experiencing live classical music played by our Marin Symphony under the leadership of Maestro Alasdair Neale. This is his 13 th season leading our orchestra and he has taken the musicians progressively to higher levels of excellence over the past decade. He’s one of the leading Bay Area conductors and a champion of youth education initiatives. Maestro Neale has made appearances on many of the world’s stages with renowned orchestras and soloists. Music Director Alasdair Neale began his tenure as Music Director of the Marin Symphony in 2001. He also holds the positions of Music Director of the Sun Valley Summer Symphony and Principal Guest Conductor of the San Francisco Conservatory of Music. Mr. Neale’s appointment with the Marin Symphony followed 12 years as Associate Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. During that time he conducted both orchestras in hundreds of critically acclaimed concerts both here and abroad. In 1999, he substituted for an ailing Michael Tilson Thomas, conducting the

In his nineteen years as Music Director of the Sun Valley Summer Symphony, Mr. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. He has brought many celebrated guest artists to these annual events. In March 2002, to enthusiastically positive reviews, Mr. Neale collaborated with director Peter Sellars and composer John Adams to open the Adelaide Festival with a production of the opera El Niño. In April 1994, he conducted the San Francisco Symphony in the world premiere of Aaron Jay Kernis’ Colored Field, featuring English horn player Julie Ann Giacobassi. In 1993, the American Symphony Orchestra League named him a Leonard Bernstein American Conducting Fellow, and he led the New Jersey Symphony in a concert at the League’s annual conference. Alasdair Neale maintains a most active guest conducting schedule, both nationally and internationally. His recordings have been released by Arco/Decca and New World Records. Alasdair Neale holds a Bachelor’s degree from Cambridge University and a Master’s from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in San Francisco.

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leadership Dr. Frances L. White Board President Dr. Frances L. White, Superintendent/President Emerita and a community college educator for 33 years, retired as Superintendent/President of the Marin Community College District in June 2 010. Previously, she served five years as President of Skyline College in San Bruno, California. Her administrative experience in community colleges covers a variety of roles including serving as the Executive Vice Chancellor at City College of San Francisco and the Interim Chancellor of the San Jose/ Evergreen Community College District. Dr. White has a Ph.D. in education administration from the University of California at Berkeley, a master’s degree in counseling psychology and a bachelor’s degree in psychology from the California State University at Hayward. As a professional, Dr. White has served on numerous local, state and national boards, commissions and committees. She is the statewide recipient of the 2 010 Harry J. Buttimer Distinguished Administrator Award in the California Community Colleges and was named “Women in Business: Education Leader of 2009” for the North Bay Business Journal. Dr. White currently serves as a lecturer in the Ed.D. Education Leadership Program at San Francisco State University, and is a founding adjunct faculty member of the program. She also works as a CEO search consultant for community colleges; as well as a consultant in strategic planning, organizational review and accreditation management for large and small community colleges. She currently serves as the president and chair of the Board of Directors for the Marin Symphony Association; and she is a board member for the San Rafael Rotary. She is the author of several publications on educational leadership and lives in Marin with her husband, Harley.

Jeff vom Saal Executive Director Jeff vom Saal was appointed Executive Director of the Marin Symphony Association in July 2012. A native of upstate New York, Jeff began playing the trumpet at age four. Jeff attended and graduated from the New England Conservatory of Music in Boston, Massachusetts, and studied with Peter Chapman and Charles Schlueter, members of the Boston Symphony Orchestra at the time. After graduating from the New England Conservatory of Music in Boston, Massachusetts in 2001, Jeff became interested in arts administration. His first orchestra job was as Executive Director of the Metrowest Youth Symphony Orchestra in Framingham, Massachusetts. In 2005, Jeff and his family moved to Fargo, North Dakota, where he was the Executive Director of the Fargo-Moorhead Symphony. In 2007, Jeff was asked to assume the leadership of the Quad City Symphony Orchestra, which he did until his move to California this past summer. During his tenure with the QCSO, season ticket sales increased every year, educational programs grew, and the organization expanded the number and style of concerts significantly.

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It’s our pleasure to support the Marin Symphony — a cornerstone of cultural life in Marin County

Furthering the quality of life in this very special place. Providing emotional and spiritual growth for listeners. Creating a lifetime of music enjoyment for our youth. Thank you for this opportunity to contribute to our community.

Catherine Munson www.LVPMARIN.com


M A S T E R W O R K S PR OGRAM 1: FR OM R USSIA WITH LOVE

Alasdair Neale, conductor Jon Nakamatsu, piano

October 27, 2 013 — Sunday at 3:00pm October 29, 2 013 — Tuesday at 7:30pm Dedicated in fond memory of Jack Bissinger, long time supporter of the Marin Symphony.

Smith/Key

The Star Spangled Banner

Sousa The Stars and Stripes Forever (Sunday only) Fred Pistilli, guest conductor Tchaikovsky

Polonaise from Eugene Onegin

Rachmaninoff Piano Concerto No. 2 in C Minor, Opus 18

Moderato Adagio sostenuto Allegro scherzando

Jon Nakamatsu, piano

INTERMISSION Shostakovich Symphony No. 5 in D Minor, Opus 47

Moderato Allegretto Largo Allegro non troppo

Performance materials for Shostakovich Symphony No. 5 have been generously provided by the Edwin A. Fleisher Collection of Orchestral Music at the Free Library of Philadelphia Ongoing support provided by the William & Flora Hewlett Foundation, Marin Music Chest, Ann & Gordon Getty Foundation, Marin Community Foundation and Bernard Osher Foundation.

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Program 1 Notes October 2 7 & 2 9, 2 013 by Jon Kochavi Polonaise from Eugene Onegin, Opus 24 ( 1877 – 78 ) Tchaikovsky based his fifth opera on the Pushkin novel published serially in the 1820’s and 30’s. The Peter Ilyitch Polonaise opens the final Tchaikovsky act of the opera, set some ( 1840 – 1893 ) years after the previous act which had ended with Onegin reluctantly shooting dead a friend in a duel of honor. Onegin, who had rejected Tatyana after she had confessed a burning love for him in a letter in the first act, now finds himself at a ball held in the home of St. Petersburg aristocrat Prince Gremin. Tatyana appears at the ball, and Onegin is surprised to find out that she has actually married Gremin since they last met.

Onegin is irresistibly drawn to her. He tries to win her back, but though she confesses that she still loves him, she feels duty bound to remain with her husband, leaving Onegin crushed. The music is a rollicking example of how the Russian courts adopted the traditional Polish dance form in the 19th century. The polonaise itself had its origin as a rural peasant dance, but had long been transformed into a malleable ceremonial dance popular throughout Western Europe in the 18th century. In Tchaikovsky’s sparkling rendition, the energetic, almost militaristic, outer dances are balanced by a more restrained middle section, allowing for dramatic contrast on the stage.

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Where great music comes to life.


P R O G R A M 1 N OT E S : FROM RUSSIA WITH LOVE Piano Concerto No. 2 in C Minor, Opus 18 ( 1900 – 01 ) Moderato Adagio sostenuto Allegro scherzando The 24-year old Rachmaninoff was walking on air as he traveled to St. Petersburg to attend the Sergei Rachmaninoff rehearsals and premiere of his First Symphony in ( 1873 – 1943 ) 1897. He felt very good about his composition and excited about the new exposure it would afford him. But from the first rehearsal, Rachmaninoff knew that things weren’t right. The playing was atrocious, but more ominously, he began to doubt the worth of the piece itself. The performance turned out to be an unmitigated disaster, and the St. Petersburg audience, already disinclined to give a Moscow composer the benefit of the doubt, responded with slings and arrows. Spiraling into a deep abyss

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of depression, Rachmaninoff could hardly compose a note for two years. His friends were profoundly concerned, with one even bringing him to meet Leo Tolstoy, whom she had coached with a plan to cheer the composer up. It did not work. Nearly out of ideas, his friends convinced Rachmaninoff to consult with Dr. Nikolai Dahl, an expert in hypnosis. The composer met with Dahl every day for four months in the beginning of 1900, and later described his treatment and its effects:

My relations had told Dr. Dahl that he must at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose. Dahl had asked what manner of composition they desired and had received the answer. “A concerto for piano,” for this I had promised to the people in London and had given up in despair. In consequence I heard repeated, day after day, the same hypnotic formula, as I lay half asleep in an armchair in Dr. Dahl’s consulting room: “You will start to compose a concerto—You will work with the greatest of ease — The composition will be of excellent quality.” Always it was the same without interruption.

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Although it may seem impossible to believe, this treatment really helped me. I began to compose at the beginning of the summer. The material grew in volume, and new musical ideas began to well up within me, many more than I needed for my concerto... I felt that Dr. Dahl’s treatment had strengthened my nervous system to a degree almost miraculous. Out of gratitude, I dedicated my Second Concerto to him. The tremendous success of his concerto boosted Rachmaninoff’s confidence further, ushering in the most creatively rewarding period of his life. During his lifetime, he served as soloist in well over 100 performances of the piece, which has gone on to become one of the most beloved piano concertos in the intense coda.

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Program 1 Notes October 27 & 29, 2 013 continued When listening to this concerto, it is easy to become lost in the broad, sweeping lyricism of the melodies and the lush harmonic texture that ebbs and flows so beautifully. What is not as obvious, but equally impressive, is the tight control over the material that the piece exhibits, especially in the first movement. The passionate first theme, so typically Russian, and the gracefully arching second theme do not contrast with one another in the typical manner, but instead complement each other motivically, a relationship that Rachmaninoff deftly exploits in one of the most outstanding and moving development sections in the literature. Realizing that a cadenza after the recapitulation would be superfluous and distracting, Rachmaninoff instead recasts the second theme in an ethereal solo horn line that dissolves into a brief but intense coda. The adagio, assuming the role of a nocturne with muted strings throughout, is rife with inspiration, beginning with the four-measure introduction that cleverly guides a modulation from C minor to the rather distant key of E major. When the piano’s arpeggios enter, we are led to assume that the meter is 3/4, but when the flute enters with the gentle first melody, we find that the music is actually in 4/4 with a flowing triplet accompaniment. In the middle section, the intensity builds until the piano can no longer be held back and is allowed a far-ranging flight of fancy, a kind of accompanied cadenza, before the flutes pull the pianist back into the fold. The dramatic finale offers a fitting conclusion to the concerto. Unlike the first movement’s material, the two main themes here are strikingly contrasting: the hard-driving rhythms of the first give way to the broad lyricism of the second. Each of these is developed extensively, but separately, leading to a tremendous climactic payoff at the end of the movement, where the two themes are finally combined. With this early 20th century work, Rachmaninoff has compellingly achieved what so many composers of the early 21st century again strive for: writing music that inspires both the heart and the mind.

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Where great music comes to life.


P R O G R A M 1 N OT E S : FROM RUSSIA WITH LOVE Symphony No. 5 in D minor, Opus 47 ( 1937 ) Moderato Allegretto Largo Allegro non troppo While the premiere of Rachmaninoff’s First Symphony proved to be a Dmitri Shostakovich disaster that required years to overcome, Shostakovich’s ( 1906 – 1976 ) 1926 First Symphony was a triumph, launching the young composer’s international career. But just four years later, Shostakovich was scrambling to withdraw his opera The Nose after it confronted criticism from the Russian Association of Proletarian Composers and was dismissed as “bourgeois decadence.” Things would get much worse for Shostakovich. Building on the conventions of atonal expressionism from the West, he achieved another international success with his opera Lady Macbeth of the Mtsensk District in 1934. However, two years later, a scathing article appearing in Pravda declared “[Lady Macbeth is] a disharmonious and confused flood of sound, ... a thicket of musical confusion resulting in cacophony... This is playing with nonsensical things, which could end very badly.” Shostakovich himself was denounced for his “formalistic attempts” and “artificial reality,” and again the work was withdrawn. A discouraged and very possibly fearful Shostakovich also withdrew his Fourth Symphony, after an initial rehearsal with the Leningrad Symphony in 1936. That work was not given its premiere for 25 years.

The composer, while retaining the originality of his art in this new composition, has to a great extent overcome the ostentatiousness, deliberate musical affectations, and misuse of the grotesque, which had left a pernicious print on many of his former compositions. Shostakovich’s Fifth Symphony is a work of great depth, with emotional wealth and content, and is of great importance as a milestone in the composer’s development. Embraced all over Russia, the Fifth Symphony met with more cautious praise in the West, where it was considered on some level a token to the Soviets. For better or worse, the political aspects of the work have profoundly affected its reception and reputation. Some still see the Fifth as the prime example of Shostakovich’s willingness to bow to the desires of the regime, others view it as the most glaring case of coerced music of “Socialist Realism,” and still others read the symphony as a string of secret dissident messages which can be decoded to reveal the true Shostakovich. However, a quiet consensus has emerged among the followers of the so-called “Shostakovich debate”: while it may be historically convenient to pigeonhole the composer in one of these ways, any such one-dimensional characterization would be oversimplifying the person whose depth of creativity comes through in so many of his works, including the Fifth Symphony.

It was Rachmaninoff’s mental state that needed rehabilitation after his failure, and his Piano Concerto No. 2 was the manifestation of that recovery. Writing his Fifth Symphony, however, Shostakovich needed a work that could save his musical career and quite literally his life. With the piece, Shostakovich returned to a more accessible musical style. Clarity of texture and organization with traditional forms links the work to those of the great nineteenth-century symphonists (Tchaikovsky chief among them). Premiered in 1937 by the Leningrad Symphony with the subtitle “A Soviet Artist’s Creative Response to Just Criticism,” the work immediately put Shostakovich back in the good graces of the Soviet regime. The Moscow Daily News printed the following reaction to the piece:

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Program 1 Notes October 2 7 & 2 9, 2 013 continued The opening bars of the Fifth are bold and memorable. Low strings project large melodic leaps upwards and downwards in a dotted rhythm. (It is interesting to compare these leaps to the huge registral leaps that open the Rachmaninoff concerto, to a completely different effect). These in turn are echoed by the violins. This rhythmic motive and melodic contour return again and again in the sonata form movement, as does the technique of echoing. The second part of the main theme consists of an ornamented descending line, and the third part (appearing after the first two parts are repeated in the beginning) is a smoother melodic line played in the violins. The second theme is derived from the first, now presented without the dotted rhythm, and the strongly motivic entrance of the piano marks the beginning of the development. Elements of the first theme are found throughout the movement, culminating in a triumphant unison orchestral presentation of the third part the theme before the coda lowers the intensity and brings the movement to a peaceful close.

Like the first movement, the Allegretto — organized as a scherzo and trio — explores a wide variety of instrumental combinations, but now in a much more lighthearted vein. Indeed, it is one of Shostakovich’s most humorous movements. In the trio, a hesitant solo violin is accompanied by pizzicato cellos and harp, and then is replaced by a flute supported by a bassoon line. The bassoons grow confident enough to take over the main scherzo theme on the repeat; their staccato version seems to poke fun at the low strings original, more dignified statement. Towards the end of the movement, a solo oboe appears to forget how the main melody goes, forcing the orchestra to hastily intervene. Koussevitzky called the F-sharp minor Largo “the greatest symphonic slow movement since Beethoven’s Ninth.” It took Shostakovich only three days to compose the movement, which may help explain the feeling that it encapsulates a single, broad gesture. Long, sustained lines seem to flow gently in and out of the foreground and background as themes are passed from instrument to instrument. The calm is broken briefly by an intense theme in the cellos, bringing a new level of urgency to the music, but the cellos themselves resolve the tension with a slowly descending line that leads to a return of the material and mood that opened this breathtaking movement. The energetic final movement opens with a brass fanfare that, in a technique similar to the first movements, will return again and again in various forms. A new, more sustained theme eventually emerges, first in a solo trumpet and then in a solo horn. After a contemplative section, the fanfare theme comes back and generates a long, climactic build-up ushering the work to an electrifying and triumphant (or some would claim mock-triumphant) close.

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Where great music comes to life.


P R O G R A M 1 N OT E S : FROM RUSSIA WITH LOVE

Guest artist: Jon Nakamatsu American pianist Jon Nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity, and electrifying power. A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. Mr. Nakamatsu has performed widely in North America, Europe and the Far East, collaborating with such conductors as James Conlon, Marek Janowski, Raymond Leppard, Stanislaw Skrowaczewski, Osmo Vänskä and Hans Vonk. He also performed at a White House concert hosted by President and Mrs. Clinton. Jon Nakamatsu’s extensive recital tours throughout the U.S. and Europe have featured appearances in New York’s Carnegie Hall and Lincoln Center, Washington D.C.’s Kennedy Center, and in Boston, Chicago, Cincinnati, Paris, London and Milan. He has worked with various chamber ensembles — among them the Brentano, Tokyo, Kuss, Jupiter, Cypress and Ying String Quartets — and has toured repeatedly with the Berlin Philharmonic Wind Quintet. Together with clarinetist Jon Manasse, Mr. Nakamatsu tours

continually as a member of the Manasse/Nakamatsu Duo. The Duo also serves as Artistic Directors of the esteemed Cape Cod Chamber Music Festival in Massachusetts. Mr. Nakamatsu records exclusively for harmonia mundi usa, which has released twelve CDs to date. His recent all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic featuring Rhapsody in Blue and the Concerto in F rose to number three on Billboard’s classical music charts, earning extraordinary critical praise. Other acclaimed releases include an all-Liszt disc featuring the “Dante Sonata”; a recording of Brahms’ Piano Sonata in F minor; and Rachmaninoff’s Piano Concerto No. 3 and the Rhapsody on a Theme of Paganini. Mr. Nakamatsu’s 2008 recording of Brahms’ Clarinet Sonatas with Jon Manasse was chosen by the New York Times as one of its top releases for the year; his latest disc with Mr. Manasse, released in August 2012, includes both the Brahms Clarinet Quintet and the Piano Quintet with the Tokyo String Quartet. Jon Nakamatsu studied privately with Marina Derryberry and has worked with Karl Ulrich Schnabel, son of the great pianist Artur Schnabel. He is a graduate of Stanford University with a bachelor’s degree in German Studies and a master’s degree in Education.

Enjoy Music, DraMa & DancE PErforMancEs at collEgE of Marin The College of Marin Performing Arts Department presents many fine concerts, plays, and dance performances throughout the year. Experience the high-caliber talent of our students and faculty at the Kentfield campus in the award-winning James Dunn Theatre, Lefort Recital Hall, or Studio Theatre. For more information about our events: tinyurl.com/marin-arts www.marin.edu

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Jon Nakamatsu Artist interview highlights By Indi Young Jon Nakamatsu is a world renown pianist and Van Cliburn International Piano Competition Gold Medalist. He is constantly traveling throughout the world. Mr. Nakamatsu took a few moments out of his schedule to share thoughts with us about his youth and performing the Rachmaninoff piano concerto with Alasdair Neale and the Marin Symphony.

I’ve worked with Alasdair many times. I’ve played once with the Marin Symphony, a while ago. I had such a good time. Every time I work with Alasdair we have fun on the stage together. When I was invited to return, it was a no-brainer to come out to such a beautiful place. It’s a comfort to go to a place where I don’t have to worry about meeting a conductor I don’t know. I also know people in the orchestra. I’m really looking forward to it. The first time I connected with Alasdair Neale was right at the end of his tenure with the San Francisco Youth Symphony. We also worked together at the San Francisco Symphony. We were together in San Antonio Texas, and of course at Sun Valley Idaho, where he’s the Music Director. He’s so easy to work with, and has such a great command over his work. It’s a natural collaboration for me. He is very clear and easy for me to follow as a soloist. He also has impeccable musical taste. That’s so helpful as well. First of all, what makes it so easy to follow Alasdair, is that there’s a musical intent that I just get. I understand where he wants to go with the piece. I feel, in a sense, the same way he does about it. Also in the way he conducts: his techniques, his motions, the way he cues us. Some conductors are not as easy to follow. Everybody’s different. Whenever you are with a new conductor, you have to immediately figure out what their system is. You only have two rehearsals, each under an hour. You have to see how this guy operates. What are you going to expect during the performance when things don’t go as you planned? It will be nice to not have to worry about that.

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I also know the Concertmaster, Jeremy Constant. He’s been a great friend. There are people I see in other Bay Area orchestras, within the context of Marin. They all play together so well. Everybody is so happy! It’s so nice to perform with this orchestra. The piece I’m playing for the Marin Symphony’s opening concerts is one of those pieces that is very famous. Even if you don’t know music, you’ve probably heard parts of it in mainstream media, in old movies, and even in pop music. One theme has been part of an Eric Harmon song. You’ll know it. A lot of people have taken themes from it. It’s in the American public’s psyche. It’s such a great piece. From the first note, audiences are hooked. Like other Rachmaninoff pieces, it builds from the first notes to the last. The audience can’t contain themselves, there’s so much energy! It has a lot of beauty and emotion. I think Alasdair and I have done this piece at least twice before. Both times we did it on one rehearsal, because of time constraints. I remember both going extremely well. We’ve never played it here in Marin. It will be a joy to do it again. I heard the concerto as a very young child on a recording. I read through it many times. As a child, I thought, I’ll never be able to play this, much less in front of an audience. It was beyond anything I could imagine. Play it in front of a live audience?! I remember when I was working on it. It was fulfilling a dream to learn to play the piece. It makes me feel really good to walk on stage and share this with the audience. All these big symphonies take me back to childhood and learning new music. For kids who are very serious music students, it starts early. I started at six. I was very serious about it from the beginning. That’s not uncommon. For strings and piano, you learn so much of your physical development and aural development in those early years. You need to build your muscles for dexterity. You need to start early, otherwise it closes off. (For singers and wind instruments, you can wait for your body to develop.) I practiced gladly. I played hours at the piano. Sure, I wanted to go play outside, but I also wanted to play music. I would listen to music for hours with my teacher. It was another part of my world. My parents weren’t even interested in classical music. It was my choice. No one forced me to do it.

Where great music comes to life.


P R O G R A M 1 N OT E S : FROM RUSSIA WITH LOVE

When I was nine or ten my parents bought me a turntable. It was turntables and speakers in those days. And I had my own record collection. I would do my homework to Chopin and Haydn and Mozart, and not be rocking out like my friends. My friends think I have a stunted understanding of pop music from the 80’s. [laughs] My wife, too. She is an expert on pop from the 80’s. I always felt like I didn’t know anything compared to people. I mean, I went to a normal public high school, and did what my friends were doing. But I also had this whole other part of my life. What that meant was that I spent a lot of time away from them. My friends would go on trips or go do fun things, and I couldn’t go with them. I was traveling for music. I was also a good student, so I spent a lot of hours working. I didn’t have any interest in going to the big parties with the loud music. (Loud is even still an issue for me these days. I can’t walk into anywhere where it’s loud — it’s very painful to my ears. I think a lot of musicians are like that. We protect our ears.) I sort of felt like an outsider, but my friends from then are still my friends today. They were very understanding. “Oh Jon has to practice.” They understood, even though they didn’t really know what it was like. To become a musician, kids have to spend a lot of time alone working. How natural is that? It’s only natural if it fits the personality of that child. I’m still that person. I still love to be alone and curl up with a book, or be alone listening to music, or be alone working out a musical problem. The other thing is, my friends were not interested in classical music. My wife doesn’t have interest in classical music specifically — she likes all music. She likes going to concerts. Even people who say, “I don’t like … or don’t understand classical music,” it’s more an issue of unfamiliarity than anything else. If a child gives it a chance, it opens a whole new

door of opportunity. Maybe that child hadn’t been interested in classical music because of peer pressure or something else. Every time I go out to a school, kids are taken up by the sound of the music. You don’t tell them there are rules about this type of music. We are not creating an army of musicians, but instead we’re creating people who are open to exploring the emotional message that would otherwise be in the dark. It’s obvious at a rock concert what you need to respond to, but at a classical music concert you have to learn by experience. The whole experience is about not listening to your preconceived notions of what the classical music experience is. We are so defined by our categories these days. “I like rock.” “I like rap.” It’s all just music. It’s all sound. You acknowledge what moves you. Given a chance, a great number of kids would be interested in hearing what piano sounds like when it’s played well. It’s all about exposure early. This is common with the “graying of audiences.” Classical audiences have been gray all along. As you get older, you return to experiences from your past. Just because you don’t go to classical concerts in your 20’s doesn’t mean you won’t go in your 50’s and 60’s. By then, the people in that age bracket have the disposable income and the time (no kids at home, so their other responsibilities are taken away) so they make more time for the arts. Classical music might remind you of a time when someone came to your school and played the violin — or when your parents took you to a symphony. The music is reminding you of your family. It enriches who you are. I get people telling me that all the time. “I come because it reminds me of my grandmother who used to play recordings at her house.” It takes them back, and that’s the purpose of the music.

Innovations in Eyewear 210 Bon Air Center • Greenbrae 461-9222 marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Handel’s MESSIAH in Grace Cathedral Jeffrey Thomas, Music Director

December 11 & 12 at 7:30 p.m. A Bay Area Holiday Tradition

americanbach.org (415) 621-7900 marin baroque 2013-2014 season

Handel | ItalIan Journey marin baroque daniel Canosa, music director

november 16, 2013

CHamber musIC serIes

January 18, 2014 artIsts tbd February 14, 2014 sHIra Kammen & FrIends

JewIsH musIC oF tHe baroque

marCH 22, 2014 marCH 24, 2014 Temple Emanu-El, San Francisco

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June 20 & 21, 2014 brow npapertick ets.com or 415.497.6634

performances at First presbyterian Church of san anselmo unless otherwise noted marinbaroQUe.orG marinbaroQUe@GmaiL.com


PHOTO © PETER RODGERS

M A R I N S Y M P H O N Y H O L I DAY C horal CONCER TS

Holiday Choral Concerts by Candlelight

Saturday December 7, 2 013 7:30 p.m.

Featuring the Marin Symphony Chamber Chorus, Stephen McKersie, Director Selections by the Marin Girls Chorus,

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Sunday December 8, 2 013 4:00 p.m.

Brandon Brack, Artistic Director & The Golden Gate Brass Quintet

Start your holiday season with a favorite tradition when our community gathers in the Church of Saint Raphael in San Rafael. Add your voice to the celebration and sing along with our Marin Symphony Chamber Chorus. The program includes Christmas Cantata by Daniel Pinkham for Chorus, Brass Choir and organ, Norwegian Lullaby arranged by Gunnar Eriksson, Russian Sacred Music by Pavel Chesnokov and a selection of Christmas spirituals. Share the glow again with us this year! Tickets: $25 in advance, $30 at the door. General admission. Call: 415.479.8100 This concert takes place at the Church of Saint Raphael in San Rafael.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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PHOTOS © PETER RODGERS

Focus. Transformation. Education for Life.

ORCHESTRA Alasdair Neale conductor › John Charles Britton ’13 guitar and Tyler Catlin ’15 guest conductor Works by Debussy, Françaix and Rachmaninoff Saturday, November 2, 8 pm and Sunday, November 3, 2 pm

› Jannie Lo ‘13 piano & Works by David Conte, Hindemith and Brahms Saturday, November 23, 8 pm and Sunday, November 24, 2 pm OPERA | Puccini La bohème A fully-staged production with piano accompaniment Friday, December 6, 7:30 pm and Sunday, December 8, 2 pm *RR CHORUS AND CHAMBER CHOIR David Conte and Ragnar Bohlin directors Christmas Concert Saturday, December 7, 8 pm * Tickets $20/15/*Free (RR - reservations required) 415.503.6275 | www.sfcm.edu | 50 Oak Street

SEASON MEDIA SPONSOR


PHOTOS © PETER RODGERS

YO UTH CONCER TS & EVENTS

Youth Concerts in 2 013 & 2 014 Marin Symphony Crescendo Orchestra Winter Concert Anne Lerner-Wright, conductor Sunday, December 8, 2 013, 3:00pm*

Marin Symphony Youth Orchestra Winter Concert Ann Krinitsky, conductor Sunday, December 8, 2 013, 7:00pm*

Marin Symphony Youth Orchestra Sit-In Concert Ann Krinitsky, conductor Sunday, April 6, 2 014, 2:30pm Free admission Our Sit-In Concerts are a chance for younger students to sit amidst our Marin Symphony Youth Orchestra members during a performance. Location to be announced.

Marin Symphony Crescendo Orchestra Spring Concert Anne Lerner-Wright, conductor Sunday, May 11, 2 014, 3:00pm*

Marin Symphony Youth Orchestra Spring Concert Ann Krinitsky, conductor Sunday, May 11, 2 014, 7:00pm*

*TIckets at the door: $5 youth/senior, $10 adult Concert location: at the College of Marin James Dunn Performing Arts Theatre in Kentfield

2 013 –14 Auditions... Take note, we’re accepting mid-year applications for the 2013-14 Season. Auditions are held at College of Marin. You can apply online.

Questions? Need more information? Contact Andrei Gorchov, Youth Programs Administrator at 415.479.8105 or yo@marinsymphony.org.

More information about our Youth and Education Programs is found on pages 43 & 45.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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PHOTO © PETER RODGERS

Holiday Pops Concert Tuesday December 17, 2 013 7:30 p.m.

Alasdair Neale, conductor

The Marin Symphony’s Holiday Pops Concert is the start of a new Marin tradition! Maestro Alasdair Neale conducts the Marin Symphony orchestra performing holiday classics with choirs. Stephen McKersie, Music Director of the Marin Symphony Chorus and Debra Chambliss, Marin Symphony Children’s Choir Director — prepare the choral elements of this exciting concert. The program presents more than a dozen works including Waltz of the Flowers from Tchaikovsky’s Nutcracker, White Christmas by Irving Berlin, Bugler’s Holiday by Leroy Anderson, You’re a Mean One, Mr. Grinch from How the Grinch Stole Christmas and more classics like Deck the Hall, O Christmas Tree, Jingle Bells and Joy to the World!

Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.

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Where great music comes to life.


P R O G R AM: HOLIDAY POPS CONCER T

Alasdair Neale, conductor December 17, 2 013 — Tuesday at 7:30pm traditional

Joy To The World

Tchaikovsky

Selections from The Nutcracker

J. Daniel Smith John Rutter Jeff Tyzik Tracey Rush

You’re a Mean One, Mr. Grinch The Very Best Time of the Year A Christmas Overture (Variations on Deck the Halls) The Very Best Time of the Year

arr. Mack Wilberg

March Dance of the Sugarplum Fairy Trepak Waltz of the Flowers

INTERMISSION Rimsky-Korsakov Robert Wendel Leroy Anderson Irving Berlin

Angels in the Snow This is Chanukah Bugler’s Holiday White Christmas

Jeff Tyzik

Holiday Moods Suite No. 2

traditional

We Wish You a Merry Christmas

arr. Tony Bennett

Deck the Hall O Christmas Tree Here We Come A-Wassailing Carol of the Bells Jingle Bells

Marin Symphony Chorus, Stephen McKersie, director Marin Symphony Children’s Chorus, Debra Chambliss, director The music of Jeff Tyzik is presented by arrangement with G. Schirmer Inc. Ongoing support provided by the William & Flora Hewlett Foundation, Marin Music Chest, Ann & Gordon Getty Foundation, Marin Community Foundation and Bernard Osher Foundation.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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H OLIDAY POPS CONCER TS

Marin Symphony Chorus Stephen McKersie, Director The 100-member Chorus of the Marin Symphony is featured yearly in the Symphony’s concert programming. This season, the Chorus performs for the Holiday Pops Concert and the upcoming Sacred and Secular Masterworks concerts on April 6 & 8, 2 014 featuring Orff’s Carmina Burana. The 32-member Chamber Chorus sings annual Holiday Choral Concerts by Candlelight at the Church of Saint Raphael in San Rafael. This celebrated chorus consists of some of the finest vocalists in Marin County. In years past, they have performed works with the Marin Symphony such as Poulenc’s Gloria and Requiems by Brahms, Duruflé, Fauré and Mozart, Beethoven’s Ninth Symphony and the exciting premiere of Rob Kapilow’s Chrysopylae/ Golden Gate Opus on May 6 and 8, 2012. About Stephen Stephen McKersie is Director of the Marin Symphony Chorus and Chamber Chorus, and Organist at Good Shepherd Lutheran Church, Novato. Mr. McKersie has studied conducting, organ performance, and organ building in San Francisco, Chicago, Princeton, St. Louis, London, Frankfurt, and Paris; was a pipe organ builder; is married to Cynthia Reese; and loves cooking, living in San Francisco, and drinking wines of the world.

Marin Symphony Children’s Chorus Debra Chambliss, Director Debra Chambliss is a vocalist, pianist, instructor and Music Director who has worked in the Bay Area for over 25 years. She became Music Director for the Mountain Play in 2007, and played the piano in the orchestra since 1991. She has worked as an accompanist and Music Director at dozens of theaters, including The Willows, Contra Costa Musical Theater, and Woodminster. Highlights have included playing piano at the Post Street Theatre for the national tour of The 20th Annual Putnam County Spelling bee and at the Orpheum Theatre for Edward Scissorhands, as well as directing music for the West Coast Premiere of Children of Eden. Debra has an affinity for children’s theater, and served as Resident Music Director of KD Musical Theater for several years, as well as directing many performance workshops, musicals and summer training programs at places such as ACT, Yes, and Marin Theatre Company. She cantors and plays for churches throughout Marin County, is the music instructor at St. Anselm and St. Isabella schools, and teaches at her private piano studio. Debra now also leads the Marin Symphony Children’s Chorus.

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MARIN SY M P H O N Y M A S T E R WO R K S 2

American Dream N OA H G R I F F I N — n a r ra t o r Sunday January 19, 2 014 3:00 p.m.

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Tuesday January 21, 2 014 7:30 p.m.

Alasdair Neale, conductor Noah Griffin, narrator

Our first performance in the New Year coincides with Martin Luther King Day. On the Sunday before and Tuesday after this auspicious day, Music Director Alasdair Neale and the Symphony celebrate with Joseph Schwantner’s New Morning for the World — drawing upon the inspiring words of Martin Luther King, Jr. to create a memorable and moving experience. Renowned Bay Area personality Noah Griffin is the narrator for this extraordinary performance. The second part of the program continues with Aaron Copland’s Third Symphony — a testament to the American spirit of optimism and self-renewal that weaves into its fabric the iconic Fanfare for the Common Man. Schwantner New Morning for the World (Daybreak of Freedom) Copland Symphony No. 3 Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.

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Where great music comes to life.


M A R I N S Y M PHONY MASTER WORKS 3

AU S T I N H U N T I N G TO N — cello

Quintessential Beethoven, Chic Tchaikovsky Alasdair Neale, conductor Austin Huntington, cello

Sunday February 23, 2 014 3:00 p.m.

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Tuesday February 25, 2 014 7:30 p.m.

“The Apotheosis of the Dance” was how Richard Wagner described Beethoven’s Seventh Symphony, a work teeming with volcanic energy from start to finish. Tchaikovsky’s elegant Rococo Variations showcases young virtuoso cellist Austin Huntington in his Marin Symphony orchestra debut. Elgar Introduction and Allegro Tchaikovsky Variations on a Rococo Theme, Austin Huntington, cello Beethoven Symphony No. 7

Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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FAMILY CONCER T

Around the World with Disney Ann Krinitsky, conductor Sunday March 16, 2 014 3:00 p.m.

Our Family Concert features music from early Disney classics to recent releases that will take you on a musical journey to far off places where the stories, tales and myths of many cultures originated. The program incorporates visuals and musical performances from Disney’s animated films including The Lion King, Beauty and the Beast, Mary Poppins, Tarzan and many others. Immediately following the concert aspiring young musicians can try an instrument on their own at the Musical Instrument Petting Zoo sponsored by The Magic Flute. Tickets: $15 – $40. This concert takes place at the Marin Veterans’ Memorial Auditorium.

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Where great music comes to life.


M A R I N S Y M PHONY MASTER WORKS 4

MARIN SYMPHONY CHORUS

Sacred and Secular Sunday April 6, 2 014 3:00 p.m. Alasdair Neale, conductor Featuring the Marin Symphony Chorus, Stephen McKersie, Director

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Tuesday April 8, 2 014 7:30 p.m.

Join the Marin Symphony and Maestro Alasdair Neale for the fourth 2 013 -14 Masterworks concerts. Bernstein’s Chichester Psalms combines irresistible rhythmic bounce with meditative passages of serene beauty. Carl Orff’s Carmina Burana is a riotous and hedonistic celebration guaranteed to raise the roof at our final Masterworks concert in our 61st Season! Bernstein Chichester Psalms Orff Carmina Burana

Tickets: $10 – $70. This concert takes place at the Marin Veterans’ Memorial Auditorium.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Pirates of the Caribbean: The Curse of the Black Pearl Alasdair Neale, conductor

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Where great music comes to life.


M A R I N S Y M P H O N Y SPRING POPS CONCER T

Sunday June 8, 2 014 3:00 p.m.

The finishing touch to our 61 Season is another first for your Marin Symphony and our community. The full-length classic fantasy Disney film shown with live music played by our orchestra is bound to please everyone. st

Tickets: $15 – $50. This concert takes place at the Marin Veterans’ Memorial Auditorium.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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YO U T H & EDUCATION PROGRAMS

Youth & Education Programs Connecting our communities to the future of live music... Marin Symphony Youth and Music Education Programs are at the heart of our mission to foster the dreams and aspirations of young musicians. Exposing young people early and continuing to engage them is one of the best ways to ensure that the next generation develops a love of music. Multiple programs are designed to teach and inspire both young musicians and future concert goers. Marin Symphony Youth Orchestra has been providing gifted young musicians ages 12-18 an opportunity to be a part of our orchestra community since 1954. Directed and conducted by Ann Krinitsky, the orchestra performs winter and spring concerts and special Sit-In concerts at local schools, where younger students sit amidst the Youth Orchestra during the performance. Marin Symphony Crescendo Program is designed for intermediate students, teaching young musicians standard orchestral ensemble techniques and musicianship. Led by Anne Lerner-Wright, the program is a stepping stone to the Marin Symphony Youth Orchestra. Marin Symphony Overture Program is designed for beginning students, teaching aspiring young musicians orchestral ensemble techniques and musicianship. This program, led by Anne Lerner-Wright, helps prepare young musicians for the Marin Symphony Crescendo Program and Youth Orchestra. Symphony@Schools brings guest artists and Symphony musicians into classrooms where kids interact with the performers. Symphony@Schools also provides tickets to Marin Symphony performances, giving young people and their families a chance to experience the sound of a full orchestra playing live in the concert hall.

Marin Symphony Crescendo Orchestra Concert, Sunday, Dec. 8, 2 013 at 3:00 p.m.

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Youth Orchestra Concert Sunday, Dec. 8, 2 013 at 7:00 p.m.

“Sing, Dance, Play” An exciting Marin Symphony Youth Orchestra collaboration with Marin Girls Chorus and Marin Dance Theater took place at the Marin Veterans’ Memorial Auditorium on March 24, 2 013.

Skywalker Sound Event In November, 2 013, our Marin Symphony Youth and Crescendo Orchestras will spend the day on the Scoring Stage at Skywalker Sound recording and learning about the process from SkySound engineers. This exciting day at Skywalker will sharpen their listening skills, polish their ensemble skills, and raise everyone’s performance level to new heights.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Where great music comes to life.


PHOTOS © CALVIN JOW

YO U T H & EDUCATION PROGRAMS

The Marin Symphony Youth Orchestra at the Bay Area Youth Orchestra Festival in January 2012 at Davies Symphony Hall.

2 013 Bay Area Youth Orchestra Festival

PHOTO © CALVIN JOW

On Sunday, January 20, 2 013, our Marin Symphony Youth Orchestra took part in the annual Bay Area Youth Orchestra Festival, this year hosted by the Santa Rosa Symphony at the Green Music Center at Sonoma State University. Every year, six of the Bay Area’s most talented young orchestral ensembles participate in this festival hosted by the San Francisco Symphony on a biannual basis.  Proceeds from the concert benefit six organizations, one within each orchestra’s local community, that provide resources to underserved and homeless youth.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Your Life, Your Care, Your Way

Hospice by the Bay California’s first and most experienced hospice That’s what our expert care and compassionate support bring to our patients and their families. It’s why so many tell us they wish they’d called us sooner. When it’s time to think about hospice, ask your doctor for

(415) 927.2273 hospicebythebay.org Serving Marin since 1975

Marin Music Chest Over $1,000,000 in scholarships awarded to talented Marin students since 1933 Join us for our 2014 concerts. May 4, 2014: 2:30 PM May 18, 2014; 5:00 PM

More information on our <marinmusicchest.org>


PHOTOS © PETER RODGERS

N AT I O N A L YO U N G COMPOSERS CHALLENGE

FREE Composition Workshop... Open to young musicians ages 13 -18. Marin Symphony was proud to host the National Young Composers Challenge Workshop at San Domenico School on Saturday, October 6, 2 012 and Saturday, October 5, 2 013. The free full-day event attracted more than 130 participants for both events from throughout the Bay Area, California, and some, from other parts of the U.S. Attendees discovered the principles of composition, orchestration, music notation, and scoring software from nationally recognized composers.

Full-day of exciting sessions • composition • orchestration • music notation • scoring software • MIDI technology

We’re excited about what will be the third National Young Composers Workshop next year. Stay tuned for details. For the latest information about NYCC visit the website: YoungComposersChallenge.org

Sponsored by Marin Symphony, University of Central Florida, Rollins College, Full Sail University, and Goldman Charitable Foundation.

October 5, 2 013 National Young Composers Challenge Workshop

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Where great music comes to life.


PHOTO © MARTIN SCHIFF

N AT I O N A L YO U N G COMPOSERS CHALLENGE

Young American Composer Idols! The next generation of composers take our stage...

Discover more: YoungComposersChallenge.org

Reality Symphony Experience • WORLD premieres by winners — top composers in the nation • LIVE recording session • Dramatic LIVE interaction • LIVE interviews with composers

PHOTO © PETER RODGERS

Young composers ages 13-18 may write their own score for either chamber ensemble or full orchestra and enter the National Young Composers Challenge competition, which takes place the day after Workshop. Over 60 pieces were submitted for the the 2 013 competition — more than ever before! The Composium event is an amazing afternoon of excitement, drama, and music for both the particpants and the audience! Winning compositions by America’s best young composers are rehearsed, discussed — three chamber orchestra pieces and three full orchestra compositions are performed for the first time ever with the Marin Symphony orchestra. Maestro Alasdair Neale and Maestro Christopher Wilkins and a distinquished panel of judges interact with the composers LIVE!

October 6, 2 013 National Young Composers Challenge Composium

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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HIGHLIGH T S

60th Season-opening Viva Italia! concert and Gala, October 2 012. Marin

Symphony Scores With Tour of Italy, by Niels Swinkels, sfcv.com, “The Marin Symphony’s orchestral sound was balanced, transparent, and brilliant throughout.” …and about the world premiere of Jeremy Cohen’s work…

Mark Andrews, director of “Brave” called the music “powerful” and “awesome.” He was spot on, on both counts. I smiled a lot, and teared up twice. –Woody W. Pixar in Concert

PHOTOS © PETER RODGERS

Concerts of note...

“This highly evocative piece echoes the music of film composers like Nino Rota and Carmine Coppola …and it could easily work as a movie score.” 60th Season finale, Pixar in Concert, on June 9, 2 013 presented music and clips from all 13 Disney/Pixar

2 013 Pixar in Concert

animated films. 61st Season-opening Waterfront Pops

Concert, September 15, 2 013 — John Williams movie music, Junior Conductors and a fireworks finale!

2 012 Quartet San Francisco

2 013 Waterfront Pops Concert

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Without Your Contributions Each Ticket Would Cost $120 INCOME Individual Contributions

Earned Income

25% 9% 6%

Concert Sponsorship Bequests

13%

43%

6% Special Events

EXPENSES

Artistic

Administration

32% Promotion

9% 4%

Fundraising

34%

PHOTO © SUSAN D. LEE

Foundation Grants

21%

Production

Maestro Alasdair Neale preparing his Junior Conductors for their 2 013 Waterfront Pops Concert debut!

Together with you. Individual donors are essential for us to thrive. Live symphonic music lifts spirits and improves our quality of life. It shines a light of hope and touches our emotions like no other form of entertainment. There are multiple dimensions to bringing symphonic performances to our stage. Ticket sales revenue accounts for only about 40% of the costs associated with producing our exceptional artistic, education, and community initiatives. Donations from individuals like you make our events possible. As an indivdual donor, you play a vital role in allowing us to share the profound and transformative experience of live music. When you contribute, you provide crucial support for Marin Symphony’s season events, youth education and programs for the underserved. There are many ways to be a part of it. Join the Conductor’s Club. Become a major donor and Encore Society member. Explore Fund Chair Naming opportunities. As a donor, you also receive priority seating assignments. Your support at any level is vital and appreciated.

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Where great music comes to life.


S UPPOR T & SPONSORSHIP

Sponsorship.

be a part of it

Your Marin Symphony’s new “Symphony Kids” program and more... Improving accessibility to new audiences is central to our mission. When you or your business becomes a season sponsor you help support subsidized tickets for children and their families in our community who would otherwise be unable to afford attending Symphony events. We’ve partnered with Sunny Hills Services and Big Brothers Big Sisters of San Rafael to extend our reach with this brand new program. Season sponsors enjoy a wide-range of benefits including tickets to season events and intimate gatherings of VIPs, special employee concert ticket prices and more throughout the 2 013 -14 Season. Marketing appearances include our program books, website, postcards and advertisements. For information about making a gift, creating an enduring legacy with your estate planning, or simply to learn more about taking advantage of benefits and privileges designed to enhance your concert-going experience, please call Angela Colombo, Director of Development at 415.479.8100, or visit marinsymphony.org/support. marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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fabulous evenings, dynamic speakers, delicious food and wine tastings in the company of remarkable women

Grab your girlfriends and join us for our 2013/14 season of inspiration, education and fun! OCT 15 INNOVATION AND PASSION: INSPIRING TALES FROM BAY AREA ENTREPRENEURS

Alison Pincus | Co-founder and Chief Strategy Officer, One Kings Lane Jory Des Jardins | Co-founder and President of Strategic Alliances, BlogHer Danae Ringelmann | Co-founder and Chief Customer Officer, Indiegogo Moderated by Kate Shaw | Director of Talent Management, Apple Inc. and Founder and Host of the Lucasfilm Speaker Series

NOV 19 CIRCLE OF FRIENDS

Shasta Nelson | Founder and CEO, GirlfriendCircles and author of “Friendships Don’t Just Happen! The Guide to Creating a Meaningful Circle of Girlfriends”

JAN 28 FAT CHANCE

Dr. Robert Lustig | MD, UCSF Professor of Pediatrics, Division of Endocrinology, and author of “Fat Chance: Beating the Odds Against Sugar, Processed Food, Obesity and Disease”

FEB 25 WONDER WOMEN: SEX, POWER, AND THE QUEST FOR PERFECTION

Debora Spar | President of Barnard College and author of several books including “Wonder Women: Sex, Power, and The Quest For Perfection”

MAR 11 THE POWER OF SHE: COURAGEOUS WOMEN CHANGING THE WORLD

Paola Gianturco | Award-winning photojournalist and author of “Women Who Light the Dark,” and “Grandmother Power: A Global Phenomenon” Muadi Mukenge | Regional Director for Sub-Saharan Africa, Global Fund for Women – non-profit grant making foundation advancing women's human rights worldwide Pamela Hawley | Founder and CEO of UniversalGiving, award-winning social entrepreneurship non-profit

APR 29 THE HOW OF HAPPINESS

Sonja Lyubomirsky | Professor of Psychology at UC Riverside, leading expert in the science of happiness, and author of “The Myths of Happiness” and “The How of Happiness”

6:30-9:00pm • Mill Valley Community Center At each event... appetizers, dessert, wine tasting, book signings & more Also check out our new Lunch & Learn Series to help jumpstart your career, ignite your entrepreneurial juices and quiet that inner critic! Presenting Sponsor

Season Sponsor

Charitable Partners

tickets at www.speaktomeevents.com


PLANNED GIVING

Encore Society. A valued investment and a true value to your community. Planned giving that will sustain our live symphonic music performances and education programs now and for generations to come. The Encore Society was created to provide current recognition to those individuals who have included the Marin Symphony in their estate plans. Members of the Encore Society will be recognized in season program books and receive exclusive benefits including intimate gatherings with our Maestro and concert soloists throughout the year. You can become a member by advising the Symphony of your intention.

Your gift will enhance our ability to: • Maintain the highest quality programming and talent.

There are several ways you can become a member of the Encore Society:

• Charitable Bequest • Life Insurance Designation • Attract innovative guest artists and • IRA Designation live-symphonic programs for a multigenerational audience and community. • Pay-on-Death Account • Charitable Remainder Trust • Sustain high-quality, traditional • Charitable Gift Annuity Masterwork concerts. • Named Endowment • Virtual Named Fund • Provide music mentorship and • Planned Gift education to youth musicians • Endowed Orchestra Chairs throughout Marin County in a variety of programs aimed at providing You’ll be in good company... opportunity for students from elementary through high school. View current Encore Society members on page 59. We honor and appreciate every one of you!

Live music performances are one of the few cross-generational offerings a community can participate in without exclusion, thus helping to forge a strong sense of community in Marin and the North Bay. Your gift to the Symphony will allow us to continue to provide a strong tradition of high-quality symphonic music. For more information please call Angela Colombo, Director of Development at 415.479.8100, angela@marinsymphony.org. marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Season 2 013 -2 014 Annual Donors Please note: we list here the names of those from whom financial support was received between July 1, 2 012 and October 18, 2 013. A Category Apart: $30,000 and Above Jack Bissinger* Anonymous (1)

Primary Sponsor: $10,000–$29,999 Steve Goldman & Melanie Love Sandra D. Hoyer Steven & Susan Machtinger Renee Rymer & Antonio Clementino, Ph. D Peter L. H. & Kathryn Thompson Audrey Tytus* Anonymous (1)

Sponsor: $6,000–$9,999 Joanne Dunn Alf & Ruth Heller Gloria Miner Dr. Elizabeth Seaman Sally Shekou & Robert Herbst Judith Walker & Bruce Weissman Anonymous (1)

Composer’s Club: $3,500–$5,999 Hans Adler & Wanda Headrick Lou & Marge Bartolini William & Lynn Callender Mary E. D’Agostino Donald R. & Noel W. Dickey Greta Hoversten Keon-Vitale Family Kathlyn Masneri & Arno P. Masneri Fund Alasdair Neale & Lowell Tong Erica & Larry Posner Joan Ring Dr. Walter Strauss Mr. Harley White Sr. & Dr. Frances L. White Anonymous (2)

“ 56

Guarantor: $400–$999

Mrs. Brent M. Abel Dr. & Mrs. Reza Aryanpour Frank & Lee Battat Crawford & Jess Cooley David Dee & Pat Callahan Joan & Allen Dekelboum Mary Denton & Monte Deignan Patricia S. Elvebak George Fernbacher Jennifer Finger & Scott Bucey Jim & Lynn Finkelstein Alison C. Fuller Hope Herndon Grace A. Hughes Alice T. May Vivienne Miller Joseph & Eda Pell – Pell Family Foundation Barbara & Bill Peterson Ben & Jodi Rabb Mary & David Rabb Yvonne Roth Richard & Anne Marie Ruben Herb Schuyten Claire Collins Skall Patricia C. Swensen Bruce C. Taylor & Lynn O’Malley Taylor Connie Vandament Anonymous (3)

Gerry & Don Beers Edward S. Berberian Vernon Birks Bill & Patty Blanton DeWitt Bowman Josh Brier & Grace Alexander Martin & Geri Brownstein Ava Jean Brumbaum Geri & Wayne Cooper Roy & Marilyn Davis C. Donohoe Chester & Joy Douglass Stuart & Emily Dvorin Ann Everingham Lynn D. Fuller Mary M Griffin-Jones Dr. & Mrs. Joseph Gryson Erika Hagopian Drs. Albert & Shirley Hall James C. Hormel & Michael P. Nguyen Bonnie & Peter Jensen Lamar Leland Dr. & Mrs. James S. Levine Sharon L. Modrick Brian Nagai & Robert B. Daroff, Jr. Stevanie Jan Olson Maria Pitcairn Cynthia Sawtell Carole & John Shook Sue & Bob Spofford Jan & Mark Volkert George Westfall & Susan Adamson Warren Wu Patricia York-Schumacher

Benefactor: $1,000–$1,999

What a GREAT concert... in so many ways... the attendance was outstanding...the movies were superb...and the orchestra was AWESOME! Such great music played so well...and right in sync! Great sound. Alasdair is amazing... such a jewel. – Lynn C. Pixar in Concert

Conductor’s Club: $2000–$3,499

Muriel Adcock Mr. & Mrs. Robert Bilger Dr. James & Caroline Boitano Russ & Lynn Colombo Nancy Kent Danielson Cele & Paul Eldering Chuck & Binny Fischer Abe & Suzanne Froman Renee Froman William Glasgow & Nancy Floyd Margot Golding & Mike Powers Bob Irwin Alan & Jean Kay Peter C. Kerner Nick Kunst Leslie Miller & Richard Carlton Catherine Munson Joyce Palmer Ray Poelstra David & Dara Post Elizabeth Prior & Cesar Lagleva Joyce & Gary Rifkind Schrader-Robertson Family Fund Michael Ingerman & Madeleine Sloane Sam Ziegler Anonymous (2)

Where great music comes to life.

The evening could not have been more perfect. Beautiful weather and John Williams theme music — the final piece accompanied appropriately by a spectacular fireworks display.

– Joel N. Waterfront Pops Concert


DONOR APPRECIATION

Sustainer: $100–$399 Jill Aggersbury Katherine E. Akos Michael & Marjorie Alaimo Kai & Kian Angermann Carolyn & Peter Ashby William E. Asiano Alice Bartholomew Richard & Ann Batman Yvonne & Gary Beauchamp Raymond & Colleen Beck Roger Beck Sue Beittel Robert & Irene Belknap Fred & Yvonne Beller Maria & Charles Benet Maureen Bennett Philip M. Bernstein Gloria & Peter Bland Marion Blau Jeanie & Carl Blom Frances & Ben Borok Sydne & Allan Bortel Carroll & Eli Botvinick Pete & Sue Bowser Ed & Nancy Boyce Jack & Ute Brandon Richard Bricker & Emily Hanna Johnson Suzanne & David Broad Hon. & Mrs. Henry J. Broderick Amy & Mark Brokering Wendy Buchen Annie Bugher Mary Jane Burke Jerry & Jane Burroni Robert & Elza Burton Anne & John Busterud Marian & Don Byrd Joyce F. Calanchini Lowell & Patsy Chamberlain Oscar & Joan Chambers Arthur & Jeanie Chandler David L. Chittenden Priscilla Christopher Leslie Connarn Mary & Fred Coons Paul & Paula Cooper Bob & Betty Copple Suzanne & Joseph Crawford Graham & Rosana Cumming Jon Curtis Elizabeth Dakin Mr. Arthur Davidson Ursula & Paul Davidson Ken & Ann Davis Judith R. Dawson Robert De Haan Sam & Ellen Dederian Dee’s Executive Limousine Service

Sustainer, continued Tom & Mary DeMund Nona Dennis Thomas Diettrich Eleanor DiGiorgio Steven & Marilyn Disbrow Jenny Douglass & Andy Basnight Ben Dresden & Ann Swanson Sara Duggin Alan & Roberta Dunham Wendy Eberhardt Jane C. Ellis Lois Ellison Heather English Bran & Carolyn Fanning Jim Farley Anice Flesh Erdmuth Folker Donald Ford Suzy Foster Thomas & Cynthia Foster Carlo & Diane Fowler Vivienne Freeman Lila Friday Carole & Mark Friedlander James Fritz Ray & Margot Gergus Sally Germain Ghilotti Bros., Inc. Jerry C Gianni & Donna Bandelloni Ellen & Bob Goldman Margie Goodman Elizabeth Greenberg & James Papanu Rosemary & Leonard Greenberg David & Margie Guggenhime Jane Hall Ethlyn Ann Hansen Joey Hardin Helen Harper Richard & Julie Harris James & Laura Harrison William & Kathryn Harrison Gail Harter Cecile Hawkins Hennessy Advisors, Inc. Hennessy Funds Allan & Nancy Herzog Eileen H Hinkson Nancy Hoffman Carol Hollenberg Ken & Donna Hoppe Catherine Houghton Robin Hudnut Pat & Irene Hunt William & Gail Hutchinson Dr. Ifeoma Ikenze Irene Jaquette

Sustainer, continued Ted & Diana Jorgensen Gee Kampmeyer Daniel & Judy Katsin Charles Keast Orly Kelly Robert King Dan & Valerie King Jennifer Krasnoff & Eltan Homa Almon Larsh Lucinda Lee & Daniel U. Smith Olivia LeFeaver Jules & Sybil Lepkowsky Catherine Less Laura Less Sandra Levitan Bill Lockett & Dottie Berges Wendy & Kevin Loder Mr. & Mrs. Frank Lorch Susan Magnone Mary Malouf Mike Marcley Daniel & Virginia Mardesich Marian Marsh & David Wade Phyllis B. Mart Rosemary & John Maulbetsch Charles & Claire McBride John & Ilene Medovich Carl Mehlhop Jan Mettner Don Miller Eugene & Phyllis Miller Jane Miller Frank & Mickey Meredith Abigail Millikan-States Glenn & Laura Miwa Stephen & Mary Mizroch Sahin & Shahrzad Moshfeghi Thomas K. Moylan* Kaneez Munjee & Hugh Davies Steve & Ruth Nash Louise C. Nave Ann Nilsson - Davis Mark & Kay Noguchi John & Evelyne Norris Gloria H. Northrup Fran & Dick O’Brien Ann W. Ocheltree Esther Oleari Ed & Linda O’Neil Merle & Clyde Ongaro Roberta Patterson Ellen Pesenti Joy & James Phoenix Carolyn & Arnold Piatti Suzie Pollak Robert & Donys Powell Ralph & Leslie Purdy

Sustainer, continued Pat & Art Ravicz Walt & Ilene Riethmeier Faith France & Hugo Rinaldi Sue & Bill Rochester Dr. Filmore & Judith Rodich Billie Rosenberg Craig Rossi Marty Rubino & Gayle Peterson Judith & James Saffran Georgia F. Sagues Angelo Salarpi Family San Domenico School Nancy Sangster Dr. Rick & Cynthia Sapp Gary & Kathy Schaefer Nancy Schlegel Marilyn Schneider & Edward Simon Norman & Alice Schoenstein Sylvia Schwartz Nancy & Terry Scott Margaret C. Sheehy Betsy H. Shuey Alan & Paula Smith Jacky Smith Mr. & Mrs. Lawrence H. Smith Marilyn J. So Rhonda & Fereydoon Soofer Jean Starkweather Richard & Susie Stern Inge Stiebel Michael A Freeman, MD & Victoria Stone Marilyn & Arthur Strassburger Bettina M. Strongoli Dr. & Mrs. Richard F. Sullivan Edward Tanner Jacqueline & Wilbur Tapscott Ed Texiera J. Ralph & Mary Ann Thomas Matilda Thompson Bob Towler Grace Underwood United Way of the Bay Area Bruce & Judy Walker Martha Wall Geraldine & Joe Walsh Paula Weaver Charles A. Weghorn Arlin Weinberger Carol Weitz Metta Whitcomb Barbara J. Wilkes Margaret Wilner Roy Wonder & Barbara Ward William & Gloria Wong Charles & Lynne Worth Indi Young Anonymous (9)

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Thank you... The Symphony’s Tribute Program offers a memorable way to celebrate milestones such as weddings, anniversaries and births, and to honor the memory of family and friends. These gifts were received between July 1, 2 012 and October 18, 2 013.

GIFTS IN HONOR OF

GIFTS IN MEMORY OF

Lou Bartolini Richard & Anne Marie Ruben Peter L. H. & Kathryn Thompson Maynard & Helen Willms Mr. & Mrs. William Beck’s 50th Wedding Anniversary Edward Beck Jim Beck Raymond & Colleen Beck Roger Beck Sydne & Allan Bortel DeWitt Bowman John & Betsi Carey Ken & Ann Davis Steven & Marilyn Disbrow Donald Ford Thomas & Cynthia Foster Adele Gibbs Linda Goodman Robert Griffith Hazel Carter-Hattem Robin Hudnut Eleanor W. Hull Sylvia Kronke Elaine & Dwight Lubich Consuelo H. McHugh Worth Miller Nancy L. Nimick Dorothee & Phillip Perloff Margaret & Herbert Rosen Renee Rymer & Antonio Clementino, Ph. D Eunice Sheldon Bruce & Judy Walker Anita Weinert Metta Whitcomb George Dexter Joanne Dunn Leslie Miller Daniel & Judy Katsin Jonathan Ruben Birthday Anne & Richard F Ruben Donna Wiuff Anonymous Lou & Marge Bartolini Anonymous

Jack Bissinger Joanne Dunn Yacov Golan Lucinda Lee & Daniel U. Smith Elsie Carr Lou & Marge Bartolini Elsie Carr Mike Marcley Malini Schuyten Renee Rymer & Antonio Clementino, Ph. D Mary Ellen Irwin Renee Rymer & Antonio Clementino, Ph. D Lavon Reaber Donald R. & Noel W. Dickey Joanne Dunn Jan Mettner David Ring Bruce & Joseph Bacheller Gisela & Rolf Eiselin Carl Mehlhop Alan Spiegelman William & Gloria Wong

The Board has arranged that monies designated to the ChairNaming Endowment Fund may be paid over time. The Marin Symphony expresses its profound gratitude to the following visionary individuals who have already claimed the chairs of their own:

CONCERTMASTER’S CHAIR presently honoring Jeremy Constant, is now The Catherine Munson Chair

PRINCIPAL VIOLA CHAIR presently honoring Jenny Douglass, is now The Elsie Rigney Carr Chair

PRINCIPAL CLARINET CHAIR presently honoring Art Austin, is now The Jack Bissinger & Robert Max Klein Chair

ASSISTANT PRINCIPAL FIRST VIOLIN CHAIR presently honoring Karen Shinozaki, is now The Schultz Family Chair In Honor of Niels Schultz

ASSISTANT PRINCIPAL VIOLA CHAIR presently honoring Elizabeth Prior, is now The Constance Vandament Chair

SECTION CHAIR, CLARINET presently honoring Larry Posner, is now The Tom & Alice May Chair

It was a joy to see such a happy audience, both young, middle and old, and to see them all participating so fully. The program, from beginning to end was fabulous, from glowing batons enthusiastically waving, to fireworks lighting a late summer sky! Music was inspirational — everyone clicking on all cylinders. I am sure you have won over the “hearts and minds” of each and every person who attended. – Grace H., Waterfront Pops Concert

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Where great music comes to life.


GIF ts , E N D OW M E N T, E N C O R E S O C I E T Y & SPONSOR APPRECIATION The Marin Symphony is most grateful to the members of the Encore Society and wish to applaud their gifts of lasting importance.

ENCORE SOCIETY Kenneth & Barbara Adams Hanks J. Adler & Wanda Headrick Ara Apkarian Lou & Marge Bartolini Frank & Lee Battat Robert & Patricia Bilger Jack Bissinger* & Robert Max Klein* James & Caroline Boitano Steven & Ann Borden David Bott E. Joseph & Jo Ann Bowler Robert & Elza Burton William & Lynn Callender Karen Carmody Mary Carpou* Robert & Judith Creasy Christine Dewey Donald R. & Noel W. Dickey Vernon & Elke Dwelly Helga Epstein Branwell Fanning George Fernbacher

Encore Society continued

Encore Society continued

Thomas & Juliana Foris Barbara & Bill* Friede Abe & Suzanne Froman Geraldine Gains Mary M. Griffin-Jones Alf & Ruth Heller Susan Hedge Hossfeld* David* & Sandra Hoyer Grace Hughes Robert & Mary Ellen* Irwin Emily Hanna Johnson Robert* & Edith Kane Carole Klein Nancy Kohlenstein Herbert & Barbara Graham Kreissler Lucinda Lee Barbara Brown Leibert* William Lockett Mrs. Frankie Longfellow* Alice & Tom* May Charles Meacham* Vivienne E Miller Gloria Miner

Theodore A. Montgomery Larry & Betty Mulryan Catherine Munson David Poff Jane T. Richards* Yvonne Roth Renee Rymer Nancy E. Schlegel Herb Schuyten Madeleine Sloane Ann* & Ellis Stephens Charles* & Patricia Swensen Wilbur & Jacqueline Tapscott Bruce & Lynn O’Malley Taylor Peter L. H. & Kathryn Thompson Sylvia F. Thompson* Audrey S. Tytus* Constance Vandament Marian Marsh & David Wade Maynard & Helen Willms Philip & Phyllis Ziring

A special thanks to all of the businesses, corporations, foundations and individuals who support our season concerts.

BUSINESS & CORPORATE SPONSORS

CORPORATE MATCHING GIFTS

Season Underwriter $20,000 Frank & Lois Noonan

Argo Group Chevron Humankind IBM Matching Grants Program Oracle Piper Jaffray VISA

Season Underwriter $15,000 Bon Air Center Pacific Gas & Electric Company Season Sponsor $10,000 Steve & Christina Fox County of Marin Season Supporter $5,000 Frank Howard Allen Realtors Kaiser Permanente Kunst Bros. Painting Contractors LVP Marin Realtors

IN KIND SPONSORS Gaspare’s Pizzeria Hey Mambo Left Bank Brasserie

FOUNDATIONS

*deceased Marin Symphony in kind contributors come from all kinds of businesses, individuals and organizations in our community.

DONATIONS IN KIND An Affair to Remember Catering Bananas at Large The Magic Flute Stacy Scott Fine Catering Peter L. H. & Kathryn Thompson Unicorn Group White Oak Vineyards & Winery

William & Flora Hewlett Foundation Marin Music Chest Ann & Gordon Getty Foundation Marin Community Foundation Bernard Osher Foundation

REHEARSAL FACILITIES

MEDIA

MEMBERSHIP

KDFC Marin Independent Journal Marin Magazine

Good Shepherd Lutheran Church, Novato St. Anselm School, San Anselmo

The Marin Symphony is a member of the Association of California Symphony Orchestras.

SPECIAL THANKS Montecito Plaza/Seagate Properties Marin Pacific Co.

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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Compose your own series! Simply choose ANY THREE 2 013 -14 concerts. We’ll personally work with you to make sure the best possible seats are reserved for the concerts you select. THREE EASY WAYS to order your customized subscription series:

1

Call us: 415.479.8100. We’ll work with you directly to create your custom subscription and secure great seats for you!

2

Subscribe at our office: 4340 Redwood Hwy. Suite 409c in San Rafael. We’re happy to have you come in and complete your subscription in person. Our office hours are 9:00am – 5:00pm, Monday through Friday.

3

Order your subscription online: marinsymphony.org/13 -14 ComposeYourOwn

Subscriber benefits include... • Priority seating assignments

subscribe now

• Flexible and FREE ticket exchanges • Savings of up to 50% off single tickets (ask us about our new subscriber offer!)

Purchase single tickets. Single tickets are on sale now for all concerts at the Marin Center Box Office. Phone: 415.473.6800 Open Monday through Friday, 11:00am – 6:00pm Box Office location: 10 Avenue of the Flags, San Rafael, CA 94903 You can also purchase tickets online. Go to marinsymphony.org, click on the Concerts & Events tab. $5 ticketing fee for online and phone orders NO ticket fee for in-person orders, and NO fee for tickets sold at the door

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Where great music comes to life.


S U B S C R I P T I O N S , T I C K E T S , C ONVERSATIONS & MORE!

PHOTO © PETER RODGERS

Conversations...

Pre-Concert Talk Alasdair Neale & Joyce Yang May 2 013

Pre-Concert Talks Half-hour talks with Music Director Alasdair Neale reveal insights into the creative process and expose the backstory behind performances. Guest artists appear alongside the Maestro, engaging in conversations with each other and the audience. Pre-Concert Talks begin on Sundays at 2:00pm

connect with us

and Tuesdays at 6:30pm, and are free for all ticket holders. Tuesday Night Wrap Parties The gatherings after Tuesday evening performances are a Marin Symphony tradition. All Tuesday night ticket holders are invited to mingle with guest artists, orchestra members, Alasdair Neale and each other at Gaspare’s Pizzeria, just minutes from the concert hall. Like us on Facebook. Sign up for E-Newsletters. We continuously share ideas and the latest information with our growing online community:

/marinsymphony

We care about what you think! We’re exploring new ideas and want your feedback about what you would like your Marin Symphony to be! How can we serve you better? Go to: marinsymphony.org/13 -14survey.

share your ideas: take our survey!

marinsymphony.org • 415.479.8100 • facebook.com/marinsymphony

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M S

M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR

Advertisers & Sponsors 14 34 28 05 02 25 09 07 48 34 48 06 23 46 10 12 24 50 27 18 28 20 08 63 46 42 23 48 44 04 22 21 24 30 54 35 16

Áegis Living Aldersly Garden Retirement Community American Bach Soloists Bank of Marin Bon Air Center College of Marin Corte Madera Town Center County of Marin Dermatology Associates of the Bay Area Dolce Fine Violins Financial Connections Frank Howard Allen Realtors Gaspare’s Pizzeria Hospice by the Bay Kaiser Permanente KDFC Kunst Bros. Painting Contractor Left Bank Brasserie LUXTON OPTICAL LVP MARIN REALTORS Marin Baroque Marin County School Volunteers Marin Independent Journal Marin Magazine Marin Music Chest Marin Theatre Company Mill Valley Philharmonic MOC Insurance Services Montecito Plaza Shopping Center Pacific Gas & Electric Company Perotti & Carrade R.KASSMAN Rafael Floors San Francisco Conservatory of Music Speak to Me The Magic Flute Villa Marin

Experience it. A Marin Symphony concert isn’t simply a classical music performance, it’s an experience to awaken your senses. It’s the way we create a unique relationship with our audiences, an exciting connection with artists, and all of us, together.

Connect with us. Visit: 4340 Redwood Hwy., Suite 409C, San Rafael, CA 94903 Marin Center Box Office for single ticket sales: 415.473.6800 Email: greatmusic@marinsymphony.org marinsymphony.org

/marinsymphony

© Marin Symphony. All rights reserved. Programs, dates and guest artists subject to change.

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Where great music comes to life.

PHOTO © EISAKU TOKUYAMA

Call us 9am–5pm, Monday–Friday: 415.479.8100


Marin JARED GOFF Cal Footballâ&#x20AC;&#x2122;s Young Starter ALL TOGETHER Family Reunions on the Beach GRATITUDE Changing Lives for Those In Need

Harvest Holiday Celebrate Thanksgiving in the Wine Country

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THE ATTORNEY ISSUE

Profiles of San Francisco and Marin Lawyers 001 NOV.COVER.1113.F.indd 1

10/16/13 8:57 AM


M S

M A R I N SY M P HONY ALASDA IR NE ALE | MUS IC DIR E C TOR

we appreciate our season sponsors: media

Frank & Lois Noonan, Steve & Christina Fox Gaspare’s Pizzeria, Montecito Plaza, Marin Pacific Co.

Ongoing support provided by the William & Flora Hewlett Foundation, Marin Music Chest, Ann & Gordon Getty Foundation, Marin Community Foundation and Bernard Osher Foundation.

Fun. Seriously. 2 013 –14 S E A S O N

connect with us /marinsymphony 415.479.810 0 • marinsymphony.org


Marin Symphony 2013-14, Program Book 1