SOUND WAVES Fall Program Book

PRESENTS

SOUND WAVES

Sunset Center, Carmel 2018-19  Max Bragado-Darman Music Director

2018–19 Season at-a-Glance 4 Letter from the Conductor 6 Music Director's Biography 7 Letter from the Board President 11 Letter from the Executive Director 13 Alex Berko Biography 14 Concert Program 1 15 Program 1 Notes 19 Carol Wincenc Biography 26 Concert Program 2 27 Program 2 Notes 28 Orchestra and Technical Staff 36 Youth Music Monterey Honors Orchestra 38 Alicia Mastromonaco Biography 39 Friends of the Monterey Symphony 40 Music For The Schools 44 2018–19 Honor Roll 47 In Honor & Memorial Gifts 48 Donor Benefits 50 2017–18 Honor Roll 53 Legacy Society & Leadership Gifts 60 Board of Directors & Staff 64

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2018-19 AT-A-GLANCE 10/7/18

Friends' Welcome Party 10/17/18

COMPOSER DISCUSSION with Alex Berko and John Wineglass 10/18/18

ALEX BERKO

PREVIEW LUNCHEON Glen Deven Ranch, Big Sur 10/20/18

OPENING NIGHT Red Carpet Party 10/20/18–10/21/18

CONCERT I Berko & Schubert 10/21/18

SUPPER CLUB SUR Restaurant, Carmel

OPENING NIGHT

10/22/18

YOUTH CONCERTS Sunset Center, Carmel 11/17/18–11/18/18

CONCERT II Berlioz, Nielsen, & Tchaikovsky 11/18/18

CAROL WINCENC JUNG-HO PAK

SUPPER CLUB Il Fornaio, Carmel 2/16/19–2/17/19

CONCERT III Britten, Ibert, Sibelius, & Debussy 2/17/19

SUPPER CLUB Sunset Center, Carmel 3/16/19 - 3/17/19

CONCERT IV Tan Dun, Hovhaness, & Shostakovich

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3/17/19

SUPPER CLUB Anton & Michel, Carmel 3/18/19

YOUTH CONCERTS Sunset Center, Carmel FREE YOUTH CONCERTS

4/13/19–4/14/19

CONCERT V Mendelssohn, Bruch, & Schumann 4/14/19

SUPPER CLUB PortaBella, Carmel 4/15/19

YOUTH CONCERTS Sunset Center, Carmel 5/3/19

GALA BY THE BAY Monterey Bay Aquarium 5/18/19–5/19/19

CONCERT VI Wagner, Chopin, & Beethoven 5/20/19

YOUTH CONCERTS Sherwood Hall, Salinas Free pre-concert lectures Saturdays at 7:00 p.m. and Sundays at 2:00 p.m. at Sunset Center, Carmel

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DEAR FRIENDS, Our musical sea journey begins with a new commissioned work by a promising young composer, who—inspired by our magnificent coastline—has written a thoughtful, careful and subtle composition. The Big Sur Land Trust hosted him and our first luncheon and contributed to a perfect “launch” for the season. A dear friend of mine from Cleveland introduced me to Alex Berko who was then a high school senior.

I was impressed by the compositions he showed me and happy to hear that he was accepted to Indiana University’s prestigious Jacobs School of Music.

Just as we wonder what Mozart could have accomplished if he had not died so young, the same is true for Schubert. Still the enormous output from both composers is quite amazing for such short lives. Schubert’s Ninth opens our season with expansive grandeur. As I immersed myself in the score once again, the power and beauty of “The Great” overwhelmed me at times.

The combination of simplicity, nobility and wealth of ideas makes this symphony an example for the following generation of composers such as Bruckner and Mahler who adopted Schubert’s grandiose format.

Berlioz always surprises us with his unexpected twists and turns, but Le corsaire Overture probably will jolt you even more. It’s hard to believe that the lives of Beethoven, who himself was a revolutionary, and Berlioz actually overlapped. How far they both advanced our listening experience! It should be an exciting challenge for the YMMC students who are joining us once again. Then we have the beautiful and challenging Flute Concerto by Carl Nielsen, and I am particularly excited to welcome Carol Wincenc, an astonishing flutist and a former classmate of mine at Oberlin College.

I constantly wonder at the capacity of the Russian composers to impact our emotions, and none of them do this better than Tchaikovsky. From the first brass fanfare to the whirlwind finale, we are buffeted by this musical hurricane that is his Symphony No. 4, a perfect juxtaposition to Berlioz’ stormy overture. Let yourselves be “safely” transported!

Always with appreciation for your support of our wonderful orchestra,

Max Bragado-Darman

MAX BRAGADO-DARMAN BIOGRAPHY Max Bragado-Darman has served as the Music Director and Conductor of the Monterey Symphony since July 2004. Mr. Bragado-Darman was Music Director and Conductor of the Symphony Orchestra of Castile and León in Valladolid, Spain for nine years. From its formation in 1991, he built it into one of the most prestigious orchestras in Spain. Under his direction, the orchestra performed for enthusiastic audiences in all the major cities of Spain, Portugal, Switzerland and Germany. He recorded with this ensemble many unknown works of the Spanish repertoire as well as most of the orchestral works of Turina and Rodrigo and the cello concerti of Alberto Ginastera on the Naxos Label. He also recorded the flute and clarinet concerti by Joan Tower on the Opus One label.

In May 1995, Max Bragado-Darman was appointed Music Director and Conductor of the Louisville Orchestra. Under his direction, the orchestra grew in popularity due to his rapport with audiences, the community in general, and his innovative programming. He has worked with distinguished artists such as Alicia de Larrocha, Teresa Berganza, Horacio Gutièrrez, Elmar Oliveira, Dubravka Tomsic, Andre Watts, Angel Romero, Gary Graffman, and Aaron Rosand among many others.

As a guest conductor, Max Bragado-Darman has performed in the United States with the symphony orchestras of Honolulu, San Diego, Nashville, Delaware, West Virginia, Cedar Rapids, Savannah, Oklahoma City, Fort Worth, Austin, Fresno, and Boulder. He has led the National Orchestra, the Radio Television Orchestra and most other orchestras of Spain, as well as orchestras in Portugal, England, Argentina, Germany, and Mexico. In the fall of 2003, he made his debut at the distinguished Wexford Opera Festival with the Granados opera “Maria del Carmen,” in a version he researched and edited himself.

His conducting career has been guided by the knowledge he received from teachers and musicians such as Robert Fountain, Robert Baustian, George Szell, Igor Markevich and Franco Ferrara. Most recently, Max Bragado-Darman has appeared on the podiums of orchestras in Monterrey, Mexico and Mexico City. In the spring of 2009, in the heart of Andalucia, he took on the challenge of presenting a fusion of flamenco and classical music featuring a pianist, guitarist, dancer, and full symphony orchestra. He has been the conductor for the prestigious “Iturbi Piano Competition” in Valencia, Spain in several editions.

Max and Mary Bragado have two children: Julio who was formerly a dancer with The American Ballet Theatre and is now studying acting in New York City, and Ilia who teaches dance in Valladolid, Spain and is married to José Manuel Concejo. They have two grandsons, 9 year old Max and 7 year old Alejandro. Both grandchildren are enchanted with their “Abuelito” and “Granny.”

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Can you imagine the Big Sur coastline as a series of developments?

Thanks to the donors of Big Sur Land Trust, many of the spectacular landscapes and iconic views in Big Sur and beyond have been protected.

8 montereysymphony.org

For the lands you love Please join our supporters who, since 1978, have conserved and cared for over 40,000 acres throughout Monterey County by donating at bigsurlandtrust.org.

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DEAR PATRONS, On behalf of the Board of Directors, staff and musicians, it is my great pleasure to welcome you to Sound Waves, a season of the sea. As we did two years ago, our opening concert will present a newly commissioned work

by Alex Berko, inspired by the beauty of the Big Sur Coast. We are delighted that Katharine Comstock, Alyce Nunes, and Anita Dunsay are sponsoring these October concerts.

Our November concerts will feature Carol Wincenc, world acclaimed flutist. We are also very pleased to recognize the sponsors of the November concert, Bill Smith and family. Bill’s son, Kenneth Smith, a distinguished lighting designer, has also helped create the feeling of our Sound Waves season here in our Sunset Center concert hall.

We are making some changes to our educational offerings this season. You will see program notes from Alex Berko, as well as Alicia Mastromonaco, one of our orchestra players, and an array of pre-concert lecturers, including members of the CSUMB and UC Santa Cruz faculties. In the spirit of innovation, we are exploring a new model relative to our community outreach programs. The Symphony has been very fortunate during the past few months to have received two major endowment gifts: a legacy gift from the late Margaret Anderson Radunich, and the other from long time patron and former Board Member, Bertie Bialek Elliott. Thank you to these two visionaries who have supported performing arts in our community for many years!

On a personal note, we will be honoring our music director Max Bragado-Darman for the next two seasons as he completes his nearly twenty-year collaboration with the Monterey Symphony. The programs you hear during the rest of this season and in 2019-2020 have been developed by Max in conjunction with the Music Committee of the Association. We know that the months leading toward June of 2020, when Max will be stepping down from the podium, will be celebratory in all aspects. We are certain you will savor these concerts and special events in appreciation of the contribution by the maestro to our organization and community.

Lee E. Rosen, Board President

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DEAR FRIENDS, We open our 2018-19 season Sound Waves with our second commission in partnership with the Big Sur Land Trust. Alex Berko delighted our music committee when he came to Monterey in December of 2017 to work on the piece. In residence at the Glen Deven Ranch in Big Sur for one week, Berko had the opportunity to get to know the Monterey Symphony family, including fellow composer John Wineglass. A number of us enjoyed a meal together, right before the holidays, and it was a perfect moment when he regaled us with deconstructed Christmas carols.

This sense of community is inherently what defines this organization. Non-profits rely on the generosity of their patrons, not only to buy tickets and make donations, but to talk up the organization, to invite their friends and to volunteer their time.

Our 73rd season is bolstered by new funding and positive momentum. We balanced our budget last season, ending in the black, and giving us the opportunity to think about sustainable and strategic growth. Our two additional youth concerts in May in Salinas have already garnered additional funding from the California Arts Council, Taylor Farms, and Crown Packing.

Additionally, the Symphony has been the recipient of a number of accolades, which underline this commitment to community. In August, Bright Beginnings and the Monterey Peninsula Chamber of Commerce recognized the Monterey Symphony as a GOLD level Family Friendly Employer. In September, the Symphony received the award for outstanding non-profit from the Nonprofit Alliance of Monterey County, recognizing our work with youth music education.

I encourage you to try something new this season, attend a luncheon, or join us for a Supper Club. Make sure to get your tickets to our Gala by the Sea at the Monterey Aquarium on May 3rd, 2019. A very special word of gratitude to Bertie Bialek Elliott, for her tremendous landmark gift to the Symphony in September.

Bertie’s incredible contribution to the Symphony’s endowment will ensure glorious music into the future! Thank you all for being a part of our community—we are incredibly grateful for your participation and support!

Nicola Samra, Executive Director

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ALEX BERKO BIOGRAPHY Fascinated by the art of storytelling, Alex Berko often writes music that combines cinematic elements with a uniquely and widely influenced harmonic palate, containing a strong emotional narrative. Berko (b. 1995) is an American composer, pianist, and arranger whose music has been performed in Asia, Canada and throughout the United States.

Berko’s music has been performed and recorded by members of the New York Philharmonic and Metropolitan Opera Orchestra, Cape Symphony, Del Sol String Quartet, Heartland Marimba Quartet, The Crossing Choir, NOTUS Contemporary Vocal Ensemble, Indiana University’s Vocal Jazz Ensemble I, and Grammy-nominated vocalist Kate McGarry, among many others. His music has been heard at the National Cathedral in Washington D.C., Green Music Center, the American Choral Directors Association Central Division Conference, the Jazz Education Network Conference, Atlantic Music Festival, RED NOTE New Music Festival, BGSU New Music Festival, NYU/ASCAP Film Scoring Institute, California Summer Music Festival, and Interlochen Arts Camp as well as on Cleveland (OH) and Bloomington (IN) Public Radio.

He has received recognition from ASCAP/SCI (three-time ASCAP Morton Gould Finalist; SCI Commission Competition Award), BMI (Finalist), the American Choral Directors Association (Brock Memorial Award), the Cleveland Institute of Music (Carl E. Baldassarre Award), and the Minnesota Orchestra Composer’s Institute (Honorable Mention), among others.

Berko currently attends Indiana University’s Jacobs School of Music pursuing a BM in composition with an outside concentration in piano and entrepreneurship.

He received extensive training at the Cleveland Institute of Music pre-college division with Keith Fitch (composition) and Sandra Shapiro (piano). Primary teachers at Indiana include David Dzubay, Claude Baker, Aaron Travers, Don Freund (composition) and Jean-Louis Haguenauer and Edmund Battersby (piano).

Berko is a member of ASCAP. For more information, visit alexberko.com. •

14 montereysymphony.org

CONCERT PROGRAM 1 OCTOBER 20–21, 2018

THIS CONCERT IS GENEROUSLY SPONSORED BY

K athar ine Comstock Alyce Nunes Anita Dunsay, in memory of Richard Dunsay Max Bragado-Darman, conductor PROGRAM Among Waves

Alex Berko (1995 - )

I. The Tide II. Flowing Even in Stillness III. Silver Wall INTERMISSION Symphony No. 9 in C Major, D.944 (“The Great”) Franz Schubert (1797-1828) I. II. III. IV.

Andante - Allegro ma non troppo Andante con moto Scherzo. Allegro vivace - Trio Allegro vivace

KAZU will be rebroadcasting the Saturday, October 20th concert on both Saturday, November 3rd at 4:00 p.m. and Sunday, November 4th at 4:00 p.m.

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Wells Fargo Private Bank provides products and services through Wells Fargo Bank, N.A., the banking affiliate of Wells Fargo & Company, and its various affiliates and subsidiaries. Brokerage services are offered through Wells Fargo Advisors, LLC, member SIPC, a registered broker-dealer and separate nonbank affiliate of Wells Fargo & Company. Trust services available through banking and trust affiliates in addition to non-affiliated companies of Wells Fargo & Company. Insurance products are available through insurance subsidiaries of Wells Fargo & Company and underwritten by non-affiliated Insurance Companies. Not available in all states. © 2018 Wells Fargo Bank, N.A. Member FDIC. NMLSR ID 399801 IHA-B05208

PROGRAM NOTES FOR AMONG WAVES In June 2017 I was approached by the Monterey Symphony to compose this work as part of their opening concert celebrating the ocean. In addition, I was told that this work would be paired with Schubert’s 9th Symphony. As a composer and pianist, I have always had a fascination with Schubert; particularly in the way he delivers narrative and how he crafts melody. While there aren’t any direct musical quotes from Schubert’s symphony in Among Waves, there are a few elements of the piece that are crafted as a tribute to the great composer and certainly Schubert’s concepts of lyricism and storytelling are deeply embedded in the architecture of this work. It was my intention to create a piece of art that pays homage to the past while simultaneously staring boldly into the future.

As part of the commission, I was given the opportunity to stay at the Big Sur Land Trust, graciously hosted by Todd Farrington. The idea of this weeklong residency was to collect inspiration, experience nature, explore, and write. It was during my time in Big Sur that I realized the importance of nature as a teacher and it was in Big Sur where Among Waves took shape.

Structurally, this work consists of three continuous movements; each capturing a different aspect of the ocean while maintaining the constant theme of overlap: overlap of musical elements such as harmony, rhythm, and melody, as well as overlap of history and influence.

The Tide focuses on overlapping orchestral color and blocks of harmony.

Throughout the movement, string harmonics and the winds are blurred together, creating both a kaleidoscopic wash of color and merging of harmony.

Flowing Even in Stillness explores the overlapping of rhythms. Various divisions of the beat on a rather miniscule level topple over one other to create a sort of kinetic energy that permeates this movement and flushes into the final one.

Silver Wall overlaps large chunks of motifs. The movement was largely inspired by two phenomena: 1) the beam of light that resonates out of a wave the split moment before it capsizes and 2) the rock formations touching the ocean that to me, resemble waves frozen in time. Themes and fragments from earlier movements make their way into the whirlpool of energy that thrusts heroically to a final crash, simultaneously setting the stage for Schubert’s Great Symphony.

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Revenge of the revenge porn bill, rise of minimum wage highlight new laws of 2014. [14]

FEAST Yummy organic ice creams

831 Monterey dachshund races in

at Kai Lee Creamery in P.G. 29

the national wiener-take-all finals. 5

THEATER Western Stage roars into

NEWS The anonymous donor who gave $100,000 for Seaside crime cameras is… 8

SPORTS Peninsula native ron rivera

40th year with intense energy. 27

and Carolina take on the 49ers. 32

NEWS Exploring deep sea off Big Sur

NEWS Sexually-transmitted diseases

that humans have never seen. 10

skyrocket in Monterey County. 13

HealtH & FitNeSS 2014

Special inSert: Covered California for Monterey County

It’s the eND of

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you nEEd EvErything For your to Know County MontErEy wEdding Flowers Au Courant DIY Adventures the Dress Wreck Savvy Social Media

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BUstED! A third of the little King City Police Department was arrested last week.

The first allegations might be just the start of the corruption. [18]

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Hell to Pay

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unprecedented aquaponics designed by a Monterey man can change our understanding of ag. [18]

D e pa rt

A long-brewing battle over short-term vacation rentals reaches a flash point in Monterey County. By David Schmalz [18]

D e pa rt

PlUs: Immigrants as easy victims of corrupt police. [22] By Sara Rubin

By Mark C. Anderson

mARch 6-12, 2014 FEBRUARY 27-mARch 5, 2014

nG City Ki

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threats

nG City Ki

By Mary Duan

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Weapons

nG City Ki

thIs hEAD wIll Blow YoUR mIND

paraDISe for rent

AD

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locAl & INDEPENDENt

the legendary—and loopy—lessons of the late ed leeper. 20

OUTSIDE Scuba diving at night with

ART Four generations of Weston at Steinbeck Center in Salinas. 38

a curious light and a curious seal. 34

www.moNtEREYcoUNtYwEEklY.com

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831 Making over—and manscaping—

music The day John Lee Hooker and son played Soledad prison. 28

a fashion disaster with Maddox. 4

mARch 13-19, 2014

IN moNtEREY coUNtY

what would you do with it? thirteen different answers from 13 different people. [18]

locAl & INDEPENDENt

LIT Hopkins chief spotlights the sea’s coolest and strangest creatures. 30

DEFt PUNk www.moNtEREYcoUNtYwEEklY.com

one Monterey Peninsula teen is suddenly a star on stage at major dance music concerts (when not doing his homework). p. 18

By Josh Marcus

locAl & INDEPENDENt

selfie resPeCt The winners for the annual Best of Monterey County® Readers’ Poll earn love, then turn the lens on themselves.

Best Organic PrOduce Market: Whole Foods Market

MarcH 20-26, 2014

www.MOntereycOuntyweekly.cOM

lOcal & indePendent

locAl & INDEPENDENt

OUTSIDE The biggest bike fest in the world, in our backyard. 28

NEWS The zesty three-way showdown for county supervisor. 12

EDIBLE Tracking down the

tastiest taco truck in town. 46

COUNTY EY W ER

SPECIAL INSERT SU

tEd tAlKs

M

ME R CAMPS 2

Monterey hacktivist Kevin Miller has figured out a way to make the Internet more accessible for the blind. But will Silicon Valley actually let him make money from it? [18]

hAIl, cEsAR

ww.moNtEREYcoUNtYwEEklY.com

KLY EE

RARE vIsIoN

www.moNtEREYcoUNtYwEEklY.com

Feature Monterey County Jail so ill it’s heading to federal court. 18

sPEcIAl INsERt

good old Days

MON T

BeSt of Monterey

Inside: sPEcIAl

01 4

JANUARY 30-FEBRUARY 5, 2014

en

By Mary Duan

festival comes to Carmel. 38

oNE DAY

music to your eyes m

of a Quiet Killer

A young Alzheimer’s patient with a hit-song history takes on a surprisingly common disease in an uncommon way. [18]

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loUD DEFIANcE

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NEWS Better believe it: Fracking is happening locally, in San Ardo. 8

en

www.moNteReYcoUNtYweekl

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By David Schmalz

JANUARY 2-8, 2014

EDIBLE A stunning new fancy food

daring Stardust stage group. 30

The lowdown on e-cigarettes and Chantix

You c

Sardines are crashin anchovies are bo sea lions are fea humpbacks are ever What does it all m

THEATER The life and death of a

FoR thE sUckERs

BY SARA RUBIN

Monterey Bay Aquarium’s new Tentacles special exhibit wraps itself around the imagination. [20]

By Mark c. anderson

Hollywood brings the story of labor activist Cesar Chavez to the big screen, while others mull what his legacy means today. [22]

Legendary Cannery row deveLoper Ted BaLesTreri waxes poeTiC on manners (we LaCk Them), marriages (where have They gone) and monumenTs (he’s goT a doozie). 20

By Walter ryce

mARch 27-APRIl 2, 2014

www.moNtEREYcoUNtYwEE

NEWS Salinas team designs world’s second biggest building. 14 HOME & GARDEN 2014

Pick up Monterey County Weekly for complete music and fine arts coverage.

17-23, 2014

www.moNtEREYcoUNtYwEEklY.com

locAl & INDEPENDENt

ONSTAGE When the Klan and the Catholics sparred for Monterey. 30

PERFEct vIctIms Elder abuse takes many forms—

and so must combatting it in Monterey County. [16]

By Sara rubin

haNdbook p. 22

tiny hoMe BuilDinG biG PiCtUre tHinKinG The macro implications of the PlUs micro-house movement. 18

By Mark c. anderson APRIl 24-30, 2014

reused wood, reinvented 22 Genius gardening, dumbed down 24 Compost, superpowered 30

www.moNtEREYcoUNtYwEEklY.com

locAl & INDEPENDENt

BlooDY MArY’s DADDY

Public ownership of the water company may be coming soon or may not be coming at all— depending on what position you take on Measure O. p. 20

Meet the chavela, one of many revelations for geeks living for unique finds.

Half-incubated duck eggs craft tequila in carMel breaktHrougH vegan craft artisan beer HoMe koMbucHa

MAY 1-7, 2014

www.MontereYcountYweeklY.coM

locAl & InDePenDent

angry crowd reacts to latest fatal sHooting by salinas police. [12]

NEWS King City aims to replace most of its police department. 10

mAY 8-14, 2014

thE ENDoRsEmENt IssUE 2014 prIMArIeS

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locAl & INDEPENDENt

mAY 15-21, 2014

www.moNtEREYcoUNtYwEEklY.com

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NEws: eleCtIon reSultS FroM ArounD the CountY. 8

Onstage Pioneering National Geographic photographer talks. 30

culture reservoir dogs gets even edgier at Paper Wing Theatre. 30

MUSIC 55th Annual Castroville Artichoke Fest brings big sound. 35

FEAST Salinas gets a spicy bit of

OUTSIDE The original champ drops in

heaven with Avatar Indian Grill. 44

on Sunshine Freestyle Surfabout. 52

special section

NEWS unmasking the party behind the nasty sheriff campaign. 10

EDIBLE What supermodels and Jack

Johnson have to do with dinner. 44

The

Meet the Women p. 22 In BusIness

tale of two Parks

Rising of th e

Roots

EXPERImENtAl DRUgs

val roots festi

er its found p. 18 California tHe fact How tHe before. despite rt ever went Huge a conce booke d Hadn’t

local old-school attorneys go big into the business of pot. p. 18

By adam Joseph

By Mary Duan

Free Looks

One local parks agency is flush with cash, the other is bone dry.

What makes sense for the future of parks in Monterey County? [p. 20]

Great art pops up in unexpected pubLic pLaces aLL over Monterey county.

Here’s wHere to Find it. [16]

+ ZiGGy Marley + Steel PulSe + 311 + SOJa + rebelutiON + PePPer + + Da M i a N “J r . G O N G” M a r l e y + Z i O N i + i r at i O N +

By Kera Abraham

BY WAlter rYCe mAY 29-JUNE 4, 2014 mAY 22-28, 2014

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locAl & INDEPENDENt

www.moNtEREYcoUNtYwEEklY.com

locAl & INDEPENDENt

JUNE 12-18, 2014 JUNE 5-11, 2014

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www.mcweekly.com

locAl & INDEPENDENt

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locAl & INDEPENDENt

PROGRAM NOTES The narrative arc of the piece takes a journey from land out to sea. The Tide begins with the briskness of the ocean at dawn as it churns and yearns, cyclically grooming the shore. As the story continues further out to sea, waves become more active.

Melody quickly becomes consumed by the gravity of the ocean and is spat out in the form of bursting rhythmic energy and a melodic contour based on that of the churning theme in the opening movement. It is also here where the entire orchestra finally unites and propels towards one final crash on the other side of the ocean.

Among Waves is dedicated to Dorothy McIntyre without whom this piece would

BY ALEX BERKO—BIOGRAPHY ON PAGE 14 not be possible. • PROGRAM NOTES FOR SCHUBERT’S 9 TH SYMPHONY It was believed to be the summer of 1825 while on a vacation to Austria, one year after the premiere of Beethoven’s 9th symphony, that Franz Schubert inked the first notes of his Great Symphony. It wouldn’t be, however, until over a decade later that the piece would break through the surface. Robert Schumann, known primarily as a prominent composer but in his time, as a music critic as well, discovered the work upon a visit to Ferdinand Schubert’s estate in Vienna in 1838. Schumann brought the symphony to the attention of Felix Mendelssohn, an acclaimed composer and also at that time, a conductor. While there is speculation that Schubert himself heard a rehearsal of the symphony prior to 1838, the first documented performance was in fact with Mendelssohn and the Leipzig Gewandhaus in 1839.

To clear any confusion up front, the official numbering of this symphony has undergone a journey of its own. Because none of Schubert’s symphonies were published during his lifetime, musicologists have had to undergo the task of numbering the symphonies according to when they were written. Over the years, while the numbering was being debated and finalized, this symphony has been called the 7th, 8th (not to be confused with his current 8th Symphony: The Unfinished Symphony), 9th, and even in some cases, the 10th. Thankfully, musicologists and theorists like nicknames, so this symphony was decidedly called the “Great Symphony” appropriately named after a letter Schubert had written regarding some chamber music he was working on that would “serve as preparation…for this great symphony.”

It is important to note that between the ages of 16 and 21, Schubert composed six symphonies. Being that he died ten years later and wrote only one more complete symphony (numbers 7 and 8 being considered to be less complete and not as grandiose as prior symphonic works), one must wonder why.

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PROGRAM NOTES Perhaps part of the answer is Ludwig Van Beethoven.

Beethoven’s shadow is still being cast today. With the premiere of, arguably the most recognizable music in history, his 5th symphony, ripples of admiration, awe, and fear were sent down contemporary composers’ spines. That particular piece, in culmination with the rest of Beethoven’s symphonic works, especially the 9th Symphony, forever changed the rules of form, harmony, orchestration, and structure previously conceived at the time. Music would never be the same. Schubert was among one of Beethoven’s contemporaries and although the two never “met” (Schubert was a pallbearer at Beethoven’s funeral), there was said to have been mutual respect between the prodigies. In particular, Beethoven had been known to appreciate Schubert’s songs and Schubert had long been an admirer of everything Beethoven, as seen particularly in his Great Symphony.

While Schubert held Beethoven in high regard, he was not interested in simply mimicking the genius, but rather, asking similar and perhaps deeper questions while also challenging preconceived compositional norms of the time. Schubert wanted to be one of the greats. As conductor Roger Norrington stated: “While Beethoven’s 9th had shocked with its overt drama, Schubert would show a different way forward. Music would not need to be violent, almost ugly, to say new things…development sections, for instance, would not have to argue, they could tell stories. As Beethoven had dramatized Classical form, Schubert would lyricise it.”

The Great Symphony spans four movements and 45 minutes to an hour in length (depending how fast the strings can play). What sets this particular symphony apart from other music being written at that time is its scope. Along with Beethoven’s 9th, Schubert’s was truly ahead of its time; hailed as having “heavenly length” as Schumann described it. Some critics were less open to the length of the work, feeling that it was simply too much music. Today, it can be perceived that the development of ideas in each movement is actually quite innovative, particularly in the way Schubert squeezes all of the juices out of his thematic building blocks, creating triumphant, lyrical and swirling sounds out of such little, yet powerful musical material.

The first movement opens with an iconic and intrepid french horn line followed by a splendid restatement in the winds and then the cellos. This horn melody will serve as the fundamental building block for the entire movement, undergoing many variations and rhythmic transformations. At first, one may think that this is the

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Streaming at kazu.org 23

PROGRAM NOTES start of a slow movement, but don’t be quick to judge the pacing of this masterpiece. Schubert seamlessly transforms his stoic theme, right under the nose of the listener, into a swirling ball of energy punctuated by dotted rhythms and fanfare-like writing in the strings, setting up the rhythmic vitality for the entire work.

Rather than the anticipated slow second movement common in symphonic literature at the time, Schubert instead opens the movement with a jaunty march led heroically by the oboe, contributing to the lively rhythmic profile of the work as a whole. The march is juxtaposed with a heartwarming chorale section in the strings, outlining an ABAB form for the movement. However, the simplicity of this form can be easily overlooked due to Schubert’s brilliant decoration of counterpoint of re-orchestration of themes. The two B sections also occur in different keys: first in F Major and lastly in A Major. The most notable part of the movement is the moment in which the music climaxes and halts to a silence, never to return again to that sense of power and anguish for the remainder of the movement.

Continuing with the theme of straying from the conventional nature of the symphonic architecture at the time, Schubert’s third movement suggests a different role. What was traditionally thought to be a sort of appetizer for the finale, Schubert transforms his scherzo into a full-fledged sonata form.

Development and rhythmic vivacity once again ensue and this sprightly melody, glimpses of which can be found in Schumann’s famed Dichterliebe song cycle, serves as a wonderful platform for the glorious final movement.

Racing out of the gate to the finish, the final movement of Schubert’s Great Symphony acknowledges the greatness of those before him while simultaneously commanding his own place on the podium. The movement explodes with radiance, comprised of two very active rhythmic motives: a dotted rhythm and a triplet rhythm…both related to the energy of the opening horn theme. Toward the middle, a theme extremely reminiscent of Beethoven’s “Ode to Joy” theme, written merely a year prior, seeps through in the winds. Rather than making this the moment of the work, Schubert simply winks at Beethoven and drives right along to his own triumphant destination. •

BY ALICIA MASTROMONACO—BIOGRAPHY ON PAGE 39

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| ( )

CAROL WINCENC

BIOGRAPHY Hailed "Queen of the Flute" by New York Magazine, flutist Carol Wincenc was first prize winner of the (sole) Naumburg Solo Flute Competition, as well as the recipient of the Lifetime Achievement Award from the National Flute Association, the National Society of Arts and Letters Gold Medal for Lifetime Achievement in Music, and Distinguished Alumni Award from Manhattan School of Music.

Recently she recorded an all-Yuko Uebayashi album with the Escher String Quartet, and performed at Carnegie's Weill Hall with her collaborator/pianist Bryan Wagorn of the Metropolitan Opera.

She has appeared as soloist with such ensembles as the Chicago, San Francisco, Pittsburgh, Detroit, and London symphonies, the BBC, Warsaw, and Buffalo philharmonics, as well as the Los Angeles, Stuttgart, and Saint Paul Chamber orchestras. She has performed in countless festivals such as Mostly Mozart, Aldeburgh, Budapest, Frankfurt, Santa Fe, Spoleto, Music at Menlo, Aspen, Yale/Norfolk, Sarasota, Banff, and Marlboro. A Grammy nominee, she has received a Diapason d'Or Award, a Recording of Special Merit award with Andrรกs Schiff, and Gramophone magazine's "Pick of the Month" with the Buffalo Philharmonic. She is a member of the New York Woodwind Quintet and a founding member of Les Amies with harpist Nancy Allen and violist Cynthia Phelps. Ms. Wincenc teaches on the faculties of The Juilliard School and Stony Brook University, and she is renowned for her popular series with Lauren Keiser Music Publishers, the Carol Wincenc 21st Century Flute โ ข.

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CONCERT PROGRAM 2 NOVEMBER 17–18, 2018

This concert is generously sponsored by

William H. Smith Max Bragado-Darman, conductor Carol Wincenc, flute PROGRAM Overture, Le corsaire, H. 101 (Op. 21) Hector Berlioz (1803-1869) with musicians of the Honors Orchestra of Youth Music Monterey County Flute Concerto, FS 119 I. II.

Carl Nielsen (1865-1931)

Allegro moderato Allegretto

INTERMISSION Symphony No. 4 in F minor, Op. 36 I. II. III. IV.

Pyotr Ilyich Tchaikovsky (1840-1893)

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato — Allegro Finale: Allegro con fuoco

KAZU will be rebroadcasting the Saturday, November 17th concert on both Saturday, December 1st at 4:00 p.m. and Sunday, December 2nd at 4:00 p.m.

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PROGRAM 2 NOTES

BY ALICIA MASTROMONACO

Louis-Hector Berlioz, was, despite his father’s exhortations, not a doctor. Obvious though this statement might be, Hector Berlioz’s fate as one of the most important French composers of the nineteenth century came about only after the young Berlioz dropped out of medical school while studying in Paris. In the famous passage from his Mémoires, Berlioz laments: “Become a doctor! Study anatomy! Dissect! Take part in horrible operations – instead of giving myself body and soul to music—a sublime art whose grandeur I was beginning to perceive! No, no! It seemed to me the reversal of the whole natural order of my existence. It was monstrous. It could not happen. Yet it did.”

During his brief studies at the Ecole de Médecine in Paris, Berlioz spent more and more time attending concerts, operas, and above all, Shakespeare plays. Instead of following in his father’s footsteps, the budding young composer decided to depart the Ecole in favor of the Paris Conservatoire. Shakespeare exercised an enormous influence on Berlioz. Several of his compositions were heavily influenced by not only his Parisian musical education but also on the drama and excitement of a Shakespeare play, which, incidentally, the non-English speaker heard in English during his time in Paris.

Although Berlioz is today most famous for his programmatic Symphonie fantastique, subtitled “An Episode in the Life of an Artist,” he also composed several concert overtures, following in the footsteps of Beethoven and Mendelssohn’s use of the form as a stand-alone piece. Some of these works are indeed the opening number of an opera, but others are individual pieces, taken from Shakespeare plays (Le roi Lear and Béatrice et Bénédict), based on stories of famous characters in history (Benvenuto Cellini, Le carnival romain, which borrows musical elements from the opera Benvenuto Cellini, and Rob Roy), or perhaps based on poetry and literature.

Le Corsaire Overture was composed in Nice in 1844, originally under the title La tour de Nice (The Tower of Nice). Perhaps this was an homage to the work he did there during the Grand Festival de l’Industrie, which offered over 1000 performances. More than likely it is referring to the tower he stayed in to recover from jaundice and heal from the breakup of his marriage to the British Shakespearean actress Harriet Smithson. The title’s origin is not as important as its implication: swashbuckling pirate music. The musical evocation of pirate antics on the high seas is evidenced by the daredevil runs in the strings and winds, the braggadocio of the low brass, and the jaunty, carefree drinking tunes played by all the instruments together. Although this overture is not performed as often today as it was in the past, it is still just as catchy and thrilling as when it was premiered in 1845. •

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PROGRAM NOTES Carl Nielsen was a beloved Danish composer, and an important contributor to the generation of composers from the late-nineteenth to early-twentieth centuries. His works range from the late romantic style to tonal modernism and neo-classicism in his later years. Though he is famous primarily for his six symphonies, his works for wind instruments have steadily become more popular in the canonical repertoire.

Nielsen heard the Danish Wind Quintet (also known as the Wind Quintet of the Royal Orchestra) perform in 1921 and was so inspired by their playing that he wrote a quintet of his own for the group in 1922. The quintet has become a staple in woodwind literature, and the first of Nielsen’s works to be released as a 78-rpm record outside of Denmark. Shortly after writing the quintet, Nielsen decided to write a concerto for each of the members of the quintet, but he was only able to complete the flute and clarinet concertos before he died in 1931. Nielsen worked closely with the flutist in the quintet, Holger Gilbert-Jespersen (who had replaced original member Paul Hagemann), on the concerto, and Gilbert-Jespersen premiered the work in Paris on October 21, 1926.

Nielsen writes, “The Flute cannot deny its own nature, its home is in Arcadia and it prefers pastoral moods. Hence, the composer has to obey its gentle nature, unless he wants to be branded a barbarian.” The concerto appeals to the sensitive, elegant nature of the flute, but also to the instrument’s ability to flit wildly across the entire range, vacillating between virtuosic exuberance and panicked anxiety. Nielsen scholar David Fanning writes, “the Flute Concerto (1926) and Clarinet Concerto (1928) are studies in empathy, recalling the temperaments of the Second Symphony, but in more modernistic terms. They deal respectively in well-mannered elegance in the face of brute opposition, and in irascibility alternating with regret.” This is exemplified in the concerto through the oppositional characters of the Flute (who could be considered the “hero”) and the bass trombone, whose noisy interjections throughout the concerto may make the instrument the persona non grata of the work. The concerto exemplifies in many ways the transition from romanticism to twentieth-century modernism, through the liberal use of dissonance that still somehow manages to remain tonally comprehensible. • A composer famous today for not only his music, but also a personal life plagued by depression and inner torment, Pyotr Ilyich Tchaikovsky’s Fourth Symphony has been deemed the embodiment of how Tchaikovsky felt about his own fate.

Tchaikovsky is often framed as a depressed outcast; he was notably not a member of the “Mighty Handful,” a group of five composers (Mily Balakirev, César Cui, Modest

31

PROGRAM NOTES Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin) who famously eschewed conservatory training in favor of composing folk-like music in their own national style. Tchaikovsky was trained at The Saint Petersburg Conservatory, and although his music contains more than a subtle nod to his Russian heritage, his style often fits within a more Austro-Germanic post-Beethovenian symphonic lineage.

The Fourth Symphony was premiered by the Russian Musical Society in Moscow on February 22, 1878, supported largely by Nadezhda von Meck, Tchaikovsky’s new confidante and patroness from 1877-1890. On her insistence, Tchaikovsky wrote a narrative program to accompany the work, which has had lasting effects on the reception of the symphony, both positive and negative. Tchaikovsky writes, “that fateful force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above the head like the sword of Damocles, unwaveringly, constantly poisoning the soul. It is an invincible force that can never be overcome—merely endured, hopelessly.” It is with this spirit that the fourth symphony is composed, and the listener may hear the constant vacillation between exuberant joy and depressive lugubriousness, between hope and despair.

The symphony opens with a melancholy fanfare played by the horns and bassoons, the famous “fate motive.” The opening fanfare fades to nothing, and is followed by a melancholy theme in 12/8 meter. Tchaikovsky’s fanfare fades to almost nothing and the melody is cradled into a soft and unassuming melody. However, as with many of the topics in Tchaikovsky’s symphonies, one mood does not last for long.

The shuffling, listless melody seems to suddenly right itself, perhaps Tchaikovsky’s attempt to convince the listener there is no haven, but one must “drift upon that sea until it engulfs and submerges you in its depths.” Though this symphony does not deal specifically with the waves of an ocean, it is hard to argue against this dramatic allusion to the waves of emotion each of us feels over the course of our lifetimes.

A lone oboe begins the second movement, evoking what Tchaikovsky called “that melancholy feeling which comes in the evening when, weary from one’s toil, one sits alone with a book—but it falls from the hand. There comes a whole host of memories.” Although the movement cheers up in the middle with a balletic climax, the bassoon returns to the oboe’s first plaintive melody at the end.

The third movement strikes out with tempestuous pizzicatos, the strings plucking away at a light and airy melody, a sharp contrast to the loneliness of the previous movement. In the middle section, the piccolo festoons a quiet militaristic brass motive.

32 montereysymphony.org

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Winter Concert Music by Susa, Deaconoff, and others, with soloists and orchestra

Carmel Mission Basilica Saturday, December 8, 8:00pm Sunday, December 9, 8:00pm (831) 644-8012

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PROGRAM NOTES The fourth movement catapults out of the blocks at a virtuosic pace.

It is celebratory music, wild and free. Like any good Russian composer worth his vodka at the time, Tchaikovsky incorporates a Russian folk tune, “In the Field a Birch Tree Stood,” into the movement. But lest the listener think that this is a movement created out of pure joy, Tchaikovsky writes, “Hardly have you managed to forget yourself and to be carried away by the spectacle of the joys of others, than irrepressible fate appears again and reminds you of yourself.” The original fanfare, the famous “Fate” motive, crashes suddenly, almost incongruously, into the movement. This time, however, instead of slinking into the shuffling main theme of the first movement, not even fate can taint the exuberance of the fourth movement, and the pervasive joyfulness of the beginning of the movement returns, and like a train, chugs steadily to a brass-laden, cymbal-fueled end.

It is worth mentioning that the programmatic narrative that Tchaikovsky wrote about this symphony has been a source of contention among both music scholars and critics. In mid-to-late nineteenth century debate about programmatic music (that which tells an explicit story through the music) and absolute music (often described as “music for music’s sake”), proponents of the latter camp were quick to dismiss any program music as less worthy of study and praise. Therefore, even though Tchaikovsky’s fourth symphony has plenty of musical merits without paying attention to the story he wrote for his patroness, Nadezhda von Meck, this symphony did not receive the attention it perhaps deserved during the early years of its existence. Nonetheless, the Fourth Symphony is today one of the most beloved and canonical of the romantic Russian symphonists’ outputs. This piece is open to interpretation, and hopefully each listener will experience the music in their own way, based on their individual experiences. Perhaps this was Tchaikovsky’s mode of expressing his frustration as a closeted gay man in nineteenth-century Russia, or perhaps it was his way of coping with the pervasive depression from which he suffered over the course of his lifetime. Perhaps it was simply a piece that he composed at the behest of his deep-pocketed patroness.

What is most important is that it is a piece that orchestral musicians still love to play and audiences still enjoy hearing. • READ ALICIA MASTROMONACO'S BIOGRAPHY ON PAGE 39

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THE ORCHESTRA Max Bragado-Darman Music Conductor Sponsored by Bill and Nancy Doolittle

VIOLIN I

Christina Mok

Concertmaster Sponsored by Gary and Carolyn Bjorkland

Calvin E. Lewis, Jr. Kevin Matson Tingting Volonts Eugenia Wie Shelby Yamin VIOLA

Thomas Yee

Vladimir Khalikulov

Xander Abbe Allison Gigi Dang Claudia Fountain Holly Heilig-Gaul Tina Minn Rochelle Nguyen Emily Packard Jessica Poll Sue-mi Shin Jay Zhong

David Allcott

Assistant Concertmaster

VIOLIN II

Zlata Grekov Principal

Lila Woolman

Assistant Principal Sponsored by John H. Davis

Sarah Chazin Ivelina Kofler Akiko Kojima

Principal

Assistant Principal

Valerie Bengal Fan Hu Chad Kaltinger Sarah Lee Alexander Volonts CELLO

Robin Bonnell Principal

BASS

Bruce Moyer

Principal Sponsored by Gary and Carolyn Bjorkland

Christy Crews

Assistant Principal

Robert Ryan Ashley Richard Duke Brianna Goldberg Stan Poplin FLUTE

Dawn Walker Principal

Teresa Orozco

Sponsored by Carol Lee Holland

PICCOLO

Kyounghee Park Uhm OBOE

Adelle-Akiko Kearns

Bennie Cottone

Linda Mehrabian

Stephen Henry

Assistant Principal

Sponsored by Francie Blinks

Drew Ford

Sponsored by Dave and Judi Zaches

Nancy Kim Isaac Pastor-Chermak Saul Richmond-Rakerd Robin Snyder

36 montereysymphony.org

Principal

ENGLISH HORN

Ruth Stuart Burroughs Principal

CLARINET

Julia Sarah Bonomo Principal

BASSOON

TROMBONE

Douglas Brown

Phil Keen

Nicolasa Kuster

Will Baker

Principal

CONTRABASSOON

Lawrence Rhodes Principal

HORN

Daniel Nebel Principal

Alicia Mastromonaco Assistant Principal

Caitlyn Smith-Franklin Beth Zare Sadie Glass TRUMPET

Dylan Girard Principal

Owen Miyoshi Curtis Nash

HARPSICHORD

Jonathan Salzedo

Principal

Principal

OPERATIONS DIRECTOR

Principal Bass

Leo Keech

TUBA

Forrest Byram Principal

TIMPANI

Peter Thielen Principal

PERCUSSION

PERSONNEL MANAGER

Drew Ford ORCHESTRA LIBRARIAN

Drew Ford RECORDING ENGINEER

Frank Wyant

Stuart Rosenthal

Victor Avdienko James Kassis

Rick Larsen

Principal

STAGE DIRECTOR

HARP

Karen Kirk Thielen Principal

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SIDE-BY-SIDE` YOUTH MUSIC MONTEREY COUNTY

Honors Orchestra students from Youth Music Monterey County perform with a fully professional orchestra, on stage with an audience in a live performance venue.

This partnership with YMMC and the coaching of these young musicians by our orchestra members has been a vital part of our concert seasons. For many students and patrons alike, Side-by-Side is the quintessential experience of the year.

VIOLIN I

Nathan Nguyen Daisy Swanson Annabelle Norman Hannah Shu Sophie Baker VIOLIN II

Mackenzie Scattini Courtney McDonald VIOLA

Luci Cole CELLO

Mahonna Keech FLUTES

Heidi Hansch Elisabeth Hansch Sophia Catania (piccolo)

38 montereysymphony.org

OBOE

Robert Gomez CLARINET

Giada Scattini BASSOON

Amadeus Soria HORN

Daniel Regalado Ortiz TRUMPET

Gabriel Creamer Jake Garneau TROMBONE

Bennett Bishop TIMPANI

Juliet Oliver

ALICIA MASTROMONACO Alicia has played with the Monterey Symphony since 2007. She is also a member of the Carmel Bach Festival and Marin Symphony. A San Francisco native, she began her music studies at age seven on the piano, and took up the horn after switching from the trumpet in her middle school band program. She earned Bachelors of Music degrees in Horn Performance and Musicology from Boston University, and did graduate work at the Universität der Künste Berlin before returning to California to continue her studies.

She earned a Masters of Music degree at UCLA in Horn Performance, a Masters of Arts degree in Musicology at UCSB, and is currently working on her PhD at UCSB. Alicia’s dissertation is focused the daily lives of orchestral musicians and the organizations in which they play, and is using her dissertation to explore the relationships between regional orchestras and their communities. Alicia is an avid outdoorsperson and animal lover.

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Join us on Saturday, December 1st, 2018, 10am - 4pm at The Sanctuary Beach Resort in Marina, CA, to experience a fun day by the sea along with your pack!

Organized by ArtEssential.org a 501(c)3 non-profit organization that brings art and wellness education to underserved minorities.

The Friends of the Monterey Symphony is about connecting with the community, creating fun events, and raising awareness and support for the diverse array of educational activities that the Symphony undertakes annually to keep classical music vibrant and accessible in our region.

Please join us for unique luncheons to be held at renowned venues on the Monterey Peninsula. Support classical music, enjoy great food and company, and engage with guest artists from the upcoming concert.

We are looking forward to sharing this exciting 2018-19 season of Sound Waves with you!

PREVIEW LUNCHEONS

SUPPER CLUBS

Thursdays at 11:30 a.m. prior to the concerts

Sundays at 5:30 p.m. after the concerts

November 15, 2018 Beach House Restuarant & Bar at Lover's Point, Pacific Grove

October 21, 2018 SUR Restaurant, Carmel

February 14th, 2019 Schooner's Coastal Kitchen & Grill, Monterey March 14th, 2019 Beach & Tennis Club, Pebble Beach Resorts April 11, 2019 MPCC Ballroom, Pebble Beach

November 11, 2018 Il Fornaio, Carmel February 17, 2019 Sunset Center, Carmel March 17, 2019 Anton & Michel, Carmel April 14, 2019 PortaBella, Carmel

May 16th MPCC Beach House, Pebble Beach

For more information, call 831.646.8511 or visit montereysymphony.org/specialevents

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2018-19 SEASON

January 19, 2019

Saturdays 7:30 P.M. Sunset Center, Carmel

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MUSIC

FOR THE SCHOOLS

In response to six ‘Sold Out’ houses in 2017/18 and a growing demand by Monterey County schools for arts education opportunities, the Monterey Symphony is expanding its Music for the Schools program, adding 3,000 seats at two youth concerts in Salinas and extending school assembly and bus scholarship capacity to serve a total of 12,000 students at 70 area schools in 2018/19.

Monterey Symphony’s free-of-charge, full-orchestra youth concerts provide unique opportunities for young audiences to experience the excitement of live classical music, and a growing bus scholarship program ensures that Monterey County’s least resourced school districts have access to transportation. For many students, youth concerts provide rare exposure to classical music as well as their only field trip of the year.

“I felt happy because I was in the front row and the music was soft and hard like if you were actually with Mozart.”

- 5th grade student, Fremont Elementary School, Salinas

"I learned how music comes to life."

- 5th grade student, Highland Elementary School, Seaside

SUNSET CENTER, CARMEL 9:30 and 11:00 a.m.

October 22, 2018 March 18, 2019 April 15, 2019 SHERWOOD HALL, SALINAS 9:30 and 11:00 a.m.

May 20, 2019 Pre-concert school assemblies covering instrument families, composer biographies, theater etiquette and listening activities amplify excitement and help thousands of local students interact with music and deepen their connection to the arts.

We invite you to play a part in Music for the Schools as a donor or a volunteer For more information or to get involved, please contact Deanna Ross E D U C AT I O N C O O R D I N AT O R dross@montereysymphony.org • (831) 646-8511

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Youth Orchestra 2018-19

Beginning, Intermediate, and Advanced Levels Grades 3-10 Invited

27 Lessons, 2 Concerts, $550 per Season, Tuition Assistance

Tuesdays 4-6 PM International School of Monterey, Seaside

831.508.9000

OrchestraInTheSchools.org

HONOR ROLL 2018–19 These gifts were received from July 1, 2018 - October 1, 2018

MA E STRO S O C I E T Y

SYMPHONY SO CIETY

($25,000 and more)

($2,500 - $3,499)

PODIUM CIRCLE

Ms. Katharine Comstock William and Nancy Doolittle Bertie Bialek Elliott Ms. Alyce Nunes Mr. William H. Smith Dr. and Mrs. George Yellich

VIRTUOSO CIRCLE ($15,000 - $24,999)

Beverly and Lyman Hamilton

PRESIDENT’S CIRCLE ($7,500 - $14,999)

Frances Elgan and Werner Kunkel Fund of the Community Foundation for Monterey County Peter and Jackie Henning Fund of the Community Foundation for Monterey County Martin R. Wolf Family Fund Judi and Dave Zaches

CONDUCTOR’S CIRCLE ($3,500 - $7,499)

Gary and Carolyn Bjorkland Sandra and Ned Dewey Dr. Anita Dunsay Russ and Jo-Ann Hatch Harry Hendon and Bea Kessler Janzen Family Fund of the Community Foundation for Monterey County Todd Lueders Fund for the Arts of the Community Foundation for Monterey County Marilyn and Jeff Riehl Janet Schmied Mr. and Mrs. Paul B. Smith James and Karen Tyler

PERFORMER’S CIRCLE Ward D. and Mary T. Ingrim Fund of the Community Foundation for Monterey County

CONCERTMASTER’S CIRCLE ($1,000 - $2,499)

Ms. Dorothy Becker Mrs. Frances G. Blinks Mr. John H. Davis John and Nancy Durein Thomas Hout and Sonja Ellingson Hout Linda Humber Mr. and Mrs. Rob Kerr Mr. Don R. Kuehn Mr. and Mrs. Lee E. Rosen Mr. and Mrs. John Sanders Diane and John Young

PRINCIPAL’S CIRCLE ($500 - $999)

Mrs. Mary Kay Crockett Dr. and Mrs. Paul James Shirley and Hersch Loomis Mr. and Mrs. Ken Meadors Dr. Stephen D. Storey Joanne Taylor

MUSICIAN’S CIRCLE ($250 - $499)

Mr. and Mrs. Jon Ericson Mr. and Mrs. Thomas Gardner Los Laureles Lodge Ms. Sally Maggio Ms. Claire Moringer Ms. Georgia Nevarez Ms. Bernadette Peavey Ms. Virginia Ruth

47

• IN HONOR OF GIFTS • Max Bragado-Darman

by Dorothy Becker Elizabeth Sosic

by Pamela Armbuster Judi Zaches

by Arthur Babcock

• MEMORIAL GIFTS • Barbara Bucquet

by Carol Lee Holland Suzanne Dewar

by Roderick Dewar Richard Dunsay

by Anita Dunsay and Jo-Ann & Russ Hatch W.S. Kappy

by Horst Mieth Don Lindsay

by Jo-Ann & Russ Hatch Margaret Radunich

by Jo-Ann & Russ Hatch and Dorothy Singleton Jim Sanders

by Mollie Hedges Lynn Storey

by Dr. Stephen Storey

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DONOR BENEFITS Each level includes benefits from prior levels. *New donor benefits

M A ESTRO SO CIE TY PODIUM CIRCLE ($25,000 and above) Reserved Parking at Sunset Center for either the Saturday evening or Sunday matinee performance Named sponsorship of a main concert

VIRTUOSO CIRCLE ($15,000—$24,999) Program notes emailed in advance of the concerts Invitation to the Monday morning youth concerts

PRESIDENT’S CIRCLE ($7,500—$14,999) Named sponsorship of a youth concert

CONDUCTOR’S CIRCLE ($3,500—$7,499) Invitation to all post-concert receptions

LEGACY SO CIE TY

for those who wish to make music possible for future generations Invitation to exclusive events for Legacy Society members Additional recognition in the season program

SYM PHON Y SO CIE TY PERFORMER’S CIRCLE ($2,500—$3,499) Invitation to three post-concert receptions Six tickets to the community organization of your choice*

CONCERTMASTER’S CIRCLE ($1,000—$2,499) Complimentary ticket to one Symphony concert/season*

PRINCIPAL’S CIRCLE ($500—$999) Invitation for two to annual donor appreciation event Two complimentary refreshments at intermission

MUSICIAN’S CIRCLE ($250—$499) Complimentary refreshment at intermission* Recognition in the season program 50 montereysymphony.org

Thank You The Monterey Symphony would like to thank our 2018–19 season sponsors

Foundation, Corporate and Government Support (as of 10/1/2018) Arts Council for Monterey County

The Harden Foundation

Barnet Segal Charitable Trust

IBM Corporation Matching Gift Program

Berkshire Foundation

Lewis Builders

California Arts Council CitySound Music

Monterey County Weekly Community Fund of the Community Foundation for Monterey County

Coast Hills Credit Union

Monterey Peninsula Foundation

The Community Foundation for Monterey County, Community Impact

Monterey-Salinas Transit

The Community Foundation for Monterey County, Organizational Development

Music Performance Trust Fund

Crown Packing Company

The Nunes Company

A. G. Davi Property Management

Pebble Beach Company Foundation

The David and Lucile Packard Foundation, Local Grantmaking

S.T.A.R. Foundation

The David and Lucile Packard Foundation, Organizational Effectiveness

Union Bank

The GE Foundation Matching Gift Program

Monterey Rotary Nancy Buck Ransom Foundation

The Robert and Virginia Stanton Endowment The Yellow Brick Road Foundation

51

Youth Music Monterey County 1988-2018 • 30th Anniversary

2018-2019 Season Eclectic Delight

Peasant Spirit

Sunday, November 4, 2018*

Sunday, March 3, 2019*

Featuring music by Berlioz, Stravinsky and Dvorak

Featuring music by Grieg, Dvorak and Saint-Sans

Carmel Duo Benefit Concert Friday, March 1, 2019

7pm at Hidden Valley Music Seminars

Love Side Stories

Sunday, May 12, 2019*

Featuring music by Gershwin, Berlioz and Bernstein

*3pm at the Sunset Center, Carmel

Visit www.youthmusicmonterey.org or call 831.375.1992 for more upcoming events and information

SUNSET PRESENTS 2018/2019 SEASON SUNSET CENTER’S SIXTH ANNUAL GALA & SUNSET PRESENTS 2018-2019 SEASON OPENER

An Evening with Branford Marsalis Saturday, January 12 at 8PM

What the World Needs Now… Burt Bacharach at Sunset

The Second City: It’s Not You, It’s Me

Emmylou Harris

Nathan Williams & The Zydeco Cha Chas

I’m With Her

We Shall Overcome A Celebration of Dr. Martin Luther King, Jr.

Soweto Gospel Choir: Songs of the Free In Honor of Nelson Mandela’s 100th Birthday

Becoming Kareem -

Saturday, September 29 at 8:00 PM Friday, October 5 at 8PM

Monday, October 8 at 7PM

Thursday, October 11 at 8PM

The Soldiers’ Chorus of The United States Army Field Band Thursday, November 1 at 8PM Free Community Event, Reservations Required

Pilobolus: Come to Your Senses Friday, November 2 at 8PM

Imago Theatre Presents FROGZ! Friday, November 9 at 7PM

An Evening with Bruce Hornsby Sunday, Novemeber 25 at 7PM

Elvis and Me: An Evening with Priscilla Presley

Celebrating 15 Seasons!

Thursday, January 10 at 8PM

Thursday, February 14 at 8PM Friday, February 22 at 8PM

Thursday, February 28 at 8PM

An Evening with Kareem Abdul-Jabbar Saturday, March 9 at 8PM

Across the Great Divide -

A Celebration of the 50th Anniversary of The Band Sunday, March 31 at 7PM

Anoushka Shankar Saturday, April 20 at 8PM

SpectorDance: Ocean Trilogy Thursday, April 25 at 7PM

FRIENDS! The Musical Parody Friday, April 26 at 8PM

Louie Anderson

Thursday, May 16 at 8PM

The Purple Xperience Wednesday, June 5 at 8PM

Brought to you by Sunset Cultural Center, Inc., a nonprofit 501(c)(3) San Carlos Street at Ninth Avenue • Carmel-by-the-Sea, CA

831.620.2048

www.sunsetcenter.org

HONOR ROLL 2017–18 These gifts were received from July 1, 2017–June 30, 2018

MA E STRO S O CIETY PODIUM CIRCLE ($25,000 and above)

The Buffett Fund of the Community Foundation for Monterey County Ms. Katharine Comstock * William and Nancy Doolittle Bertie Bialek Elliott Richard and Grace Merrill Fund of the Community Foundation for Monterey County Ms. Alyce M. Nunes Margaret Anderson Radunich *** Mr. and Mrs. Lee E. Rosen The William H. Smith Fund of the Community Foundation for Southeast Michigan Dr. and Mrs. George Yellich

VIRTUOSO CIRCLE ($15,000 - $24,999)

Beverly and Lyman Hamilton *** Russ and Jo-Ann Hatch Harry Hendon and Bea Kessler ** Larry Knowles Estate Don R. Lindsay and Family **

PRESIDENT'S CIRCLE ($7,500 - $14,999)

Bethany Ann Beckman Trust Gary and Carolyn Bjorklund ** Roderick Dewar Dr. Anita Dunsay * Frances Elgan and Werner Kunkel Fund of the Community Foundation for Monterey County *

Peter and Jackie Henning Fund of the Community Foundation for Monterey County * Ms. Carol Lee Holland Diane J. Mall Mr. Charles Schimmel ** Mr. Martin R. Wolf Mr. and Mrs. Cyril J. Yansouni *** 1 Anonymous Donor

CONDUCTOR'S CIRCLE ($3,500 - $7,499)

Caroline and Dennis Aaron Ronald and Jeryl Abelmann Sandra and Ned Dewey *** Mr. William Eggleston ** Ann Elkin and Peter Hashim Mr. Jeffrey Green *** The Hazen Family Foundation Ms. Mollie Hedges Dr. and Mrs. Michael Hendrickson * Janzen Family Fund of the Community Foundation for Monterey County *** Joanne Taylor Johnson Dr. and Mrs. William H. Kern * Erling Lagerholm Estate Mr. Zigmont J. Le Towt III * Mr. and Mrs. Bruce Lindsey ** Shirley and Hersch Loomis *** Ms. Sally Maggio *** Mrs. Lois Mayol *** Lenore and Dale Meyer Fund of the Community Foundation for Monterey County Marilyn and Jeff Riehl Sara E. Clampett Charitable Trust

53

HONOR ROLL 2017-18 Mrs. Elizabeth Sosic *** The Symphony Fund of the Community Foundation for Monterey County * Mr. and Mrs. Dennis Terry ** Todd Lueders Fund for the Arts of the Community Foundation for Monterey County * James and Karen Tyler * Dr. and Mrs. Joseph Verska ** Mr. and Mrs. Jeff Wallace Mr. and Mrs. Gerald W. Williams *** Judi and Dave Zaches ** 1 Anonymous Donor

SY MPHONY S O CIETY PERFORMER'S CIRCLE ($2,500 - $3,499)

Dr. Lawrence C. Blair Max and Mary Bragado ** Mr. and Mrs. Donald R. Britton ** Susan W. DuCoeur Bill and Sheila Eyres *** Mr. and Mrs. Joseph A. Mark Mr. and Mrs. Thomas McCary ** Sherrie and Tom McCullough Jay and Sharon Pezzolo-Lower ** Dr. and Mrs. Charles R. Snorf ** Bruce and Linda Taylor Mr. and Mrs. William H. Tyler **

CONCERTMASTER'S CIRCLE ($1,000 - $2,499)

Theodore Balestreri Ms. Dorothy Becker Mr. Melvin L. Blevens * Mrs. Frances G. Blinks Mrs. Geraldine M. Borovilos Sandie Borthwick and Gloria Souza Ms. Lucretia Butler and Mr. Chris Keehn Dr. and Mrs. Lewis C. Cantor Jim and Sharon Chibidakis **

54 montereysymphony.org

Mrs. Jacqueline M. Clampett-Jones *** Mr. John H. Davis Dr. John and Kay Enbom Folktale Winery Frisone Family Foundation Mr. and Mrs. Herman Harrow *** Mr. and Mrs. Warwick Hayes III ** Joseph and Elizabeth Heston Marilyn Hopkins and Otto Schiff *** Thomas Hout and Sonja Ellingson Hout * Capt. and Mrs. Wayne Hughes, Jr. Linda Humber Ward D. and Mary T. Ingrim Fund of the Community Foundation for Monterey County Mrs. Lois Kettel Mrs. Thaddeus Krecki Mr. Don R. Kuehn Mr. and Mrs. Mark Mancina Jane and John McCoy Ms. Linda McKee * Mr. and Mrs. Ken Meadors Ms. Claire Moringer Mr. Gilbert Neill * Mr. and Mrs. James Neiman Ms. Georgia Nevarez Mr. and Mrs. William A. Perkins Carolyn Samson and Darius Sadeghi Mr. and Mrs. John R. Sanders Mrs. Alice Tao * Frederick Terman and Nan Borreson *** Mr. and Mrs. Peter Thorp * LCDR (Ret.) and Mrs. Henry Travis * Sam and Joan Trust Mr. Richard Volberg ** David and Darlene Wang Ms. Marcia L. Waples ** Mrs. Deanna A. Woodhour * Diane and John Young Dr. and Mrs. William D. Young **

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Call 831.582.5500 or visit CSUMB.EDU/olli

HONOR ROLL 2017-18

PRINCIPAL'S CIRCLE ($500 - $999)

Jane and Walter Barry ** Mrs. Helen Breck *** Mr. Robert Chestnut Dr. Philip B. Clarkson *** Mrs. Mary Kay Crockett * Ms. Victoria Davis * Mr. and Mrs. Roger Dolan ** Mr. G. Robert Evans Dr. Anne R. Fitzpatrick Dr. and Mrs. Richard Freeman * Mr. Stephen Friedlander Mr. and Mrs. Thomas Gardner ** Mr.and Mrs. Edward Gavrin * Mr. and Mrs. Rory Glass Ms. Adrienne Herman Mr. and Mrs. Denis Horn ** Ms. Jean Hurd Ms. Kyoko Ito *** Dr. and Mrs. Paul G. James *** Mr. and Mrs. Patrick Jones *** Mr. Brooks Leffler ** Phillip and Laurel Lembo *** Mr. and Mrs. Larry Lippman *** Tom and Vikki Logan Skip and Liz Lord Jacqueline Lynch ** Susan and Gene McFarland *** Mr. and Mrs. Patrick Micheletti Mr. Horst Mieth * Ms. Patricia Morgan ** Anthony and Lary Lynn Muller Fund of the Community Foundation for Monterey County ** Evelyn and Sadri Musavi ** David and Julie Nee ** Mr. James Potochny Philip Rafton and Janet Robson Janet and Niels Reimers * Mrs. James Sanders **

56 montereysymphony.org

Bill and Kathy Sharpe *** Darold Skerritt and Judy Lind *** Mr. and Mrs. Paul B. Smith Dr. Stephen D. Storey Mr. and Mrs. Dean C. Storkan Mr. and Mrs. Robert Sykes *** Mr. and Mrs. Greg Thompson Mary Louise Tomblin *** Dr. James R. Valentine 1 Anonymous Donor

MUSICIAN'S CIRCLE ($250 - $499)

Mr. and Mrs. Theodore J. Balestreri *** Dr. Charles Betlach II Mr. and Mrs. Richard J. Borda Dr. Vernon Brown * Betty Bunce ** General and Mrs. Michael P.C. Carns *** Mr. and Mrs. Edward Clifton * Mr. Jerry L. Crawford * Wayne and Linda Cruzan Bob and Diane Davies Linda Dowd ** John and Nancy Durein Jayne and Mark Guthrie * Linda and Joe Hancock * Terry Hanson Ms. Delores Heyl Mr. and Mrs. Don Hilburn O.C. Hognander, Jr. * Dr. and Mrs. Rolf E. Johnsen * Mr. and Mrs. Rob Kerr Thomas E. and Shirley Kiatta * Ms. Marion Klein * Marjorie Knight *** Mr. Lawrence Legard Carol and Rudy Loewenstein Los Laureles Lodge Mike and Diane Middaugh * Mr. and Mrs. Ed Milowicki Mr. and Mrs. Robert A. Moore

Be inspired.

Joan Savo, Untitled (seated figure), detail, undated, oil on canvas, Gift of Friends of Joan Savo.

The Monterey Museum of Art expands a passion for the visual arts and inspired appreciation of California art – past, present, and future.

Visit montereyart.org for more information about our exhibitions, programs, and events.

559 Pacific Street • Monterey

montereyart.org

HONOR ROLL 2017-18 Ms. Marti Myszak Mary Alice Osborne Sieglinde Pansby ** Mrs. G.D. Putnam * Col. John T. Rethke Mr. and Mrs. Jonathan Romeyn ** Mr. and Mrs. Stephen Rosen Mr. and Mrs. Michael Ruggieri Ms. Virginia Ruth Mr. Francis San Filippo * Mr. and Mrs. B. G. Sparks *** Mr. Nicholas Sturch Mr. and Mrs. Don Thomas Mrs. Carolyn Waddel

Jonnie and Paul Webb Lowell and Joanne Webster Mr. and Mrs. Joel Weinstein Mr. and Mrs. Floyd Wenglikowski Donald and Renate Wunsch ** Youth Music Monterey County Mr. and Mrs. Jonathan Zakin 2 Anonymous Donors BOLD *** ** *

20+ Consecutive years 15-19 Consecutive years 10-14 Consecutive years 5-9 Consecutive years

THANK YOU

To our loyal supporters of over 25 years

Dr. Lawrence Blair

Carol Lee Holland

Frances Blinks

Capt. & Mrs. Wayne Hughes

Mr. & Mrs. Richard Borda

Mrs. Thaddeus Krecki

Geraldine Borovilos

Mr. & Mrs. Joseph Mark

Dr. & Mrs. Lewis Cantor

Ward D. & Mary T. Ingram Fund

Alan Cordan

Sherrie & Tom McCullough

Wayne & Linda Cruzan

Gertrude McEwen

Roderick Dewar

Grace Merrill

William & Nancy Doolittle

Marti Myszak

Susan DuCoeur

Alyce Nunes

John & Nancy Durein

Virginia Ruth

Bertie Bialek Elliott

Carolyn Samson & Darius Sadeghi

Ruth Hartmann

Nicholas Sturch

Mollie Hedges 58 montereysymphony.org

LEGACY SOCIETY

SUPPORTING THE ARTS IS POWERFUL Our legacy society is made up of those individuals who wish to be a part of the future of the Monterey Symphony. We honor and celebrate this amazing group of individuals annually, and we cordially invite you to join the Legacy Society. Let us know that you have included the Monterey Symphony in your planned giving.

Greta Alexander Andrew Allison The Dorothy L. Becker Trust Bethany Beckman* Gary & Carolyn Bjorklund Lewis & Sally Cantor Jacqueline M. Clampett-Jones Katharine Comstock Leland E.* & Gloria U. Dake Roderick & Suzanne* Dewar William & Nancy Doolittle Dr. Ann Elkin and Peter Hashim William* & Nancy Fisher Robert M. & Betty Jo Graham Louise Guard Ruth S. Hartmann Mollie Hedges Dr. & Ms. Michael Hendrickson Peter & Patti Hoss

Joanne Taylor Johnson Herschel & Shirley Loomis Marjorie Love* Sally Maggio Sherrie McCullough Dick* & Grace Merrill Brenda Murdock & Norman Anthony Mr. Don Newmark Alyce M. Nunes John Philips & June Dunbar Margaret Anderson Radunich* Barbara Rupp Virginia Ruth Nicola Samra Charles Schimmel William* & Kristine* Schuyler Robert Sykes Elizabeth Haywood Watt Donald & Renate Wunsch *deceased

LEADERSHIP GIFTS The Monterey Symphony is grateful for the receipt of the following legacy gifts: Leadership Gifts : Mr. and Mrs. W. Austin Barrows The Richard & Betty Bell Music Director Fund The Frances M. Benton Estate Mr. & Mrs. Hilton Bialek The Rodney Guifoil Estate The Erling Lagerholm Estate The Sara E. Mitchell Estate The M. Kathleen Morgan Estate The Eugene Noxon Estate The Helen Oehler Estate The Chris & Kevin Rabe Estate The Shedlin Estate The Shelia Webster Estate

Endowed Orchestra Chairs : Robert O. & Catherine L. McMahan Concert Master’s Chair Sally Jo Snorf Timpani Chair Miriam M. Godwin Musician Chair Rear Admiral Edward J. & Ruth Hall O’Donnell Musician Chair Robert & Virginia Stanton Musician Chair Reginald & Mary Swaner Musician Chair

If you are interested in joining the Legacy Society, please contact Nicola Samra, Executive Director at nsamra@montereysymphony.org or 831-645-1131.

60 montereysymphony.org

Reach affluent, loyal customers throughout the Monterey Peninsula and Central Coast, while supporting the arts in our community.

Advertise with the Monterey Symphony and reach our audience members consistently throughout the year.

ES SOUND WAV

During our 2018/19 Season, the Monterey Symphony will perform 12 concerts to over 7,500 patrons who enthusiastically support arts and culture in our community.

Each program book contains details about concerts and future events.

For more information please contact: Virginia Marine M A R K E T I N G A N D P U B L I C AT I O N S C O O R D I N AT O R vmarine@montereysymphony.org • 831-646-8511

61

hard Contiguglia Jean-Pierre Rampal & Robert Veyron-Lacroix Frederica von Stade 1975-76 Igor Oistrakh Mis Musical Ronald Excellence Since 1927Folk Dancers 1977-78 Pinchas Zukerm therlands Chamber Orchestra Jose Carreras 1976-77 Turini Yugoslav nes RonaldTurini San Francisco Chamber Orchestra with Dave Abel & Paul Hersh 1978-79 Kyung-Wha Chung Pittsburg hestra Barry Tuckwell & Andre Michel-Schub Jean-Philippe Collard 1979-80 Toulouse Chamber Orchestra Ruth Gold omo Mintz Southwest German Chamber Orchestra Murray Perahia 1981-82 Jean-Philippe Collard Swiss Chamber Ameling Diane Hidy 1982-83 Annie Fischer Scottish Chamber Orchestra with Jaime Laredo Nathaniel Rosen Uto The UghiMozart 1984-85 Richard Stoltzman Empire Brass Ensem al Arts Ensemble 1983-84 I Solisti di Zagreb Including Society 1985-86 Uto Ughi Victoria de los Angeles Music from Marlboro 1986-87 Leontyne Price Misha & Ci Sunday ~ 3:00 pm ~ March 24, 2019 Sunday ~ 3:00 pm ~Jeffrey September 30, James 2018 Morris Cleveland rmannn Prey Carter Brey 1987-88 Kahane Quartet/Meliora Quartet Annie Fischer Ju Wu Han, piano Yekwon Sunwoo, rma Jean Hodges 1988-89 Jean-Yves Thibaudetpiano Budapest Chamber Orchestra Anne-Sophie Mutter Yo-Yo Ma & Emanuel Tchaikovsky and Schubert WinnerEugenia of the 2017 Cliburn Competition mbro Quartet of Pianos Zukerman Jean-Yves Thibaudet Thomas Allen 1990-91 Santiago Rodriguez, Daw

merata Musica of Berlin Alicia de Larrocha, Nadja Salerno-Sonnenberg &~ Cecile Licad 1991-92 Sunday 3:00 pm ~ May 5, 2019 Grant Johannesen B Sunday ~ 3:00 pm ~ October 28, 2018 o Itzhak Perlman Empire Brass 1992-93 Anne Akiko Meyers Lynn HarrellBarrueco, Frederica von Stade GuildhaIl String E Manuel guitar Daniel Hope, violin & Friends hard Stoltzman Yefim Bronfman 1993-94 Paula Robison & Ruth LaredoSpanish Ilana Vered Pinchas and Cuban music Zukerman & Marc Neikru "Air – a Baroque Journey" reb Thomas Hampson 1994-95 Marilyn Horne Franz Liszt Chamber Orchestra Radu Lupu Leonidas Kavakos Krystian

Midori Sergei Leiferkus Ax 13, Canadian Sunday ~ 3:00 Emanuel pm ~ January 2019 Brass Trio Fontenay 1996-97 Kalichstein-Laredo-Robinson T Cipa Dichter Denyce Graves Joshua Bell & Jean-Yves Thibaudet Abbey 1997-98 Gil Shaham Single tickets areSimon $45, $53, and $60 after July 31st. Budapest S CMS Competition Winner ppner Matt Haimovitz András Schiff 1998-99 Sergei Nakariakov Beauxthey Artscan Trio After which be Vladimir purchasedFeltsman online at Cho-Liang Lin Kevin Lee Sun, piano www.Thibaudet carmelmusic.org by calling Orchestra & Just enson Heidi Hau 1999-2000 Florence Quivar Hilary Hahn Jean-Yves MoscoworChamber Sunday ~ 3:00 pmArcadi ~ February 10, St 2019 831.625.9938. pire Brass 2000-01 Bo Skovhus Volodo Petersburg String Quartet Munich Chamber Orchestra Gil Sha Brentano Quartet & Orchestra Louis Lortie Denyce Graves ltalian Saxophone Qu ham Kenneth Goodson 2001-02 Moscow Chamber Discounted subscriptions Yekwon Sunwoo, 2002-03 Stewart Goodyear Sharon piano Isbin Burning River Brass Ruth Waterman Emanuel Ax Caroline Campb at $204, $240 or $272 Beethoven and Dvor̆ák gue Chamber Orchestra Christopher O’Riley & Fred Hersch Arnaldo Cohen Nadja Salerno-Sonnenberg & The Assa are available by calling 831.625.9938. dre-Michel Schub & David Shifrin Sonia Gariaeff 2004-05 Mark Delavan David Finckel & Wu Han I Solisti di Venezi u Vienna Choir Boys Beaux Arts Trio Judy Huang 2005-06 Andrâs Schiff Alon Goldstein & Amit Peled & Alexander rmel 9th, CaAcademy With support from the Salzburg Chamber Soloists Olga Kern Katie Kadarauch arlos & 2006-07 rey Cerovsek &Monterey Julien Quentin of St. M County Board of Supervisors enter, San C t CCohen e s n u S t a e ds Chamber Ensemble Lynn Harrell & Gavin Martin Arnaldo Janaki String Trio John Williams & John Eth r All Concerts a l Chamber Orchestra Ensemble & Reiko Aizawa Brian Thorsett 2007-08 Frederica von Stade & Jake Heggie Phi oque Orchestra Alexander String Quartet Gil Shaham & Akira Eguchi Michael Roll Ivan Zenaty & Paul Hersh ss Quintet Altenberg Piano Trio Elizabeth Schumann 2008-09 The Romeros, guitar quartet Adaskin Trio & Tom Gal

eason 2018 2019 S

July 13-27, 2019

A popular meeting place before & after the symphony Lunch: 11:30–3:00pm Dinner: 5:00–9:00pm Closed Mondays

Happy Hour: 3:00–6:00pm Nightly Tuesday Happy Hour 3:00–9:00pm Evening Happy Hour: 8:00–9:00pm

3601 The Barnyard, Ste. A-21, Carmel www.surcarmel.com RESERVATIONS (831) 250-7188

BOARD & STAFF

2560 Garden Road, Suite 101, Monterey, CA 93940 | (831) 646-8511 info@montereysymphony.org Max Bragado-Darman Music Director and Conductor

Lee E. Rosen

Charles Schimmel

Board President

Treasurer

Bruce Lindsey

Susan Britton

Vice-President

Secretary

Jeffrey Wallace BOARD MEMBERS

Anita Dunsay Diane Mall Ann Elkin, PhD Linda McKee Peter Hashim Pinkie Terry Jo-Ann Hatch Martin Wolf Mollie Hedges Patricia Yellich Harry Hendon David Zaches Michael Hendrickson, PhD FRIENDS SPECIAL EVENTS COMMITTEE:

Susan Britton Betty Bunce Linda Humber Jean Hurd

Leo Keech Director of Finance and Administration

Caitlin Fillmore Development and Special Events Coordinator

Virginia Marine Marketing and Publications Coordinator

Vice-President

Board President

Nicola Samra Executive Director

OFFICERS

Lee E. Rosen,

A D M I N I S T R AT I O N

Linda McKee Randi Rogers Pinkie Terry Patricia Yellich

PHOTOGRAPHY

Glenn Fidler Darren Lovecchio, ImpactImages831 Virginia Marine Randy Tunnell Photography PROGRAM DESIGN

Rory Glass

By The Glass Design

64 montereysymphony.org

Deanna Ross Education Coordinator

Noemi Vera Box Office and Operations Coordinator

LEGAL COUNSEL

Mark O’Connor ORCHESTRA ADVISOR

Allison Gigi Dang HONORARY COUNCIL

William G. Doolittle Bertie Bialek Elliott Gabrielle Hahn Carol Lee Holland Shirley Loomis Lois Mayol Alyce Nunes Joanne Taylor Elizabeth Watt

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Ocean Avenue between Lincoln and Monte Verde • Carmel-by-the-Sea • (831) 634-4395

PRESENTS

May 3, 2019 • 6–10pm M onte re y Bay Aquarium Join the Monterey Symphony in a celebration of the stunning natural and artistic beauty of the Monterey Bay. Enjoy a gourmet seated dinner, delicious wines and private access to the renowned Monterey Bay Aquarium and its Open Ocean exhibit.

Live auction and musical moments with our own Symphony performers await you, with ocean-themed surprises and more.

All proceeds benefit the Monterey Symphony and our Music for the Schools initiative.

MONTEREYSYMPHONY.ORG (831) 646-8511

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