green music center march-april 2015 encore arts...

MARCH | APRIL 2015MARCH | APRIL 2015G M C . S O N O M A . E D U

W E I L L H A L LG R E E N M U S I C C E N T E R | S O N O M A STAT E U N I V E R S I T Y

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SFJAZZ COLLECTIVE The Music of Joe Henderson and Original CompositionsFRIDAY, APR. 17 | 7:30 P.M.TICKETS START AT $35

LILA DOWNSSATURDAY, APR. 18 | 7:30 P.M.TICKETS START AT $35

THE MUTTER – BRONFMAN – HARRELL TRIOSUNDAY, APR. 19 | 7:00 P.M.TICKETS START AT $65

ALISA WEILERSTEIN AND INON BARNATANSUNDAY, APR. 26 | 3:00 P.M.TICKETS START AT $35

M AY 2 0 1 5

NOBUYUKI TSUJIIFRIDAY, MAY 1 | 7:30 P.M.TICKETS START AT $35

JEFFREY KAHANEFRIDAY, MAY 8 | 7:30 P.M.TICKETS START AT $35

SOLEDAD BARRIO AND NOCHE FLAMENCA Noche Flamenca y AntigonaSATURDAY, MAY 9 | 7:30 P.M.TICKETS START AT $35

SÉRGIO AND ODAIR ASSAD50th Anniversary TourSUNDAY, MAY 17 | 3:00 P.M.TICKETS START AT $35

M A R C H 2 0 1 5

MURRAY PERAHIASATURDAY, MAR. 7 | 7:30 P.M.

TICKETS START AT $45

STEWART COPELAND AND JON KIMURA PARKER Off the Score

SUNDAY, MAR. 8 | 7:00 P.M.


CURTIS CHAMBER ORCHESTRA Robert Spano, conductor Roberto Díaz, Viola

SUNDAY, MAR. 15 | 3:00 P.M.


GIL SHAHAM Bach Six Solos with original films by David Michalek

FRIDAY, MAR. 27 | 7:30 P.M.


AUDRA MCDONALDSATURDAY, MAR. 28 | 8:00 P.M.


A P R I L 2 0 1 5

BOBBY MCFERRINFRIDAY, APR. 10 | 7:30 P.M.


CONCERTO KÖLNSATURDAY, APR. 11 | 7:30 P.M.TICKETS START AT $35

W E I L L H A L LG R E E N M U S I C C E N T E RS O N O M A S T A T E U N I V E R S I T Y

E X P A N D I N G H O R I Z O N S


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Vol. 3, No. 4 All editorial material © Sonoma State University, 2015

2014-15 MasterCard Performance Series

n PROGRAMS

12 Murray Perahia 16 Stewart Copeland and Jon Kimura Parker 19 Curtis Chamber Orchestra 26 Gil Shaham 28 Audra McDonald 32 Bobby McFerrin 34 Concerto Köln 37 SFJAZZ Collective

n GREETINGS 6 From the Chairman 7 From the Co-Executive Directors

n FEATURES 8 Keys to Happiness 10 Celebrating Jazz Appreciation Month At The Green Music Center

n SUPPORT41 Donald & Maureen Green Music Center Donor Honor Roll44 Weill Hall and Green Music Center Board and Administration 45 Green Music Center Annual Gifts

n INFORMATION46 Green Music Center Patron Information

n PHOTO GALLERY 47 Green Music Center Photo Gallery

On the cover: Crowds arrive at Weill Hall for a sold-out performance with Yo-Yo Ma. Photo: Kristen Loken

Audra McDonald

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TABLE OF CONTENTSMarch 2015

Volume 3, No. 4

Paul Heppner Publisher

Susan Peterson Design & Production Director

Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists

Mike Hathaway Advertising Sales Director

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Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives

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FROM

The Chairman

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I t is my pleasure to welcome you to Weill Hall and the Green Music Center. We are glad you have chosen to join us for world-class entertainment in the beautiful setting of Sonoma County. As we move forward through the remainder of the 2014–15

Season, I know you will be excited with the exceptional artistry displayed by the musicians performing on our stage. In the coming months, the MasterCard Performance Series will bring international artists to Weill Hall from as far away as Africa, Switzerland, and Germany, plus some of America’s finest chamber musicians and solo artists. These distinguished performers will present compelling performances from the genres of orchestral, chamber, vocal, jazz, world music, solo piano and violin as well as a couple of innovative duos that elude traditional genres. In early April we will announce our much-anticipated fourth season. Each year, the programming we offer has grown and expanded, and the coming season continues on this same trajectory. Stay tuned to see what is in store for 2015–16! I want to thank you for your ongoing support. It is through your attendance, your contributions, and your enthusiasm that we are thriving. After all, Weill Hall and the Green Music Center continues to be a place where amazing things are happening! Sincerely,

Sanford I. WeillChairman, Board of Advisors

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Photos (from top): Sandy with his wife, Joan; Sandy with SSU President Ruben Armiñana;

Yo-Yo Ma with Joan and Sandy Weill.

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6 WEILL HALL AT SONOMA STATE UNIVERSITY GREEN MUSIC CENTER gmc.sonoma.edu

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FROM

The Co-Executive Directors

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G reetings, and welcome to Weill Hall! The Green Music Center is buzzing with activity this time of year as we continue to present a full calendar of concerts spanning widely varied musical styles. We have the masterful pianist

Murray Perahia; Gil Shaham performing Bach’s complete Sonatas and Partitas for unaccompanied violin; and the Curtis Chamber Orchestra performing both traditional and contemporary works under the baton of imaginative conductor and composer Robert Spano. Meanwhile, we welcome Stewart Copeland (of The Police fame) with Jon Kimura Parker in their genre-defying Off the Score program; legendary vocalist Bobby McFerrin; and the Bay Area’s own SFJAZZ Collective (appropriately performing during Jazz Appreciation Month). There’s something to suit every taste. Amidst this busy calendar of performances, we have been energetically planning the 2015–16 Season. We will announce the exciting lineup in early April and are eager to share with you what is in store for the Weill Hall and Schroeder Hall during the Green Music Center’s fourth season. We remain committed to bringing premiere performing artists to music lovers who live, work and visit Sonoma County while also enriching and enhancing the experience of the students and community of Sonoma State University. We extend our heartfelt thanks to you — our patrons and our greatest champions. Wishing you all the best,

Zarin Mehta and Larry Furukawa-SchlerethCo-Executive Directors, Green Music Center

(Top) Larry Furukawa-Schlereth and Carmen Mehta (center) celebrate the grand opening of Schroeder Hall

with administrators and donors; (Middle) Zarin Mehta with Board of Advisors member Henry Hansel;

(Bottom) Larry Furukawa-Schlereth and his wife, Karen. Photos: Kristen Loken, Drew Altize


Happiness

Nobuyuki Tsujii, who makes his Weill Hall recital debut at the Green Music Center on May 1, wishes he could shed

the label “blind pianist.” But it’s difficult not to be intensely curious about someone who, despite being born sightless, has been able to achieve so much — and at such an early age. Nobu, as he is known familiarly, was barely 20 years old, in 2009, when he shot to international fame by achieving top honors at the prestigious Van Cliburn International Piano Competition in Fort Worth, Texas. The fact that a documentary filmmaker, Peter Rosen, was on hand to record the proceedings didn’t hurt the pianist’s rise to fame. His remarkable achievement, and the film, A Surprise in Texas –seen by millions around the globe– turned the young phenom into a rock-star in his native Japan, and one of the world’s most sought-after concert artists: he’s fully booked through March 2016, and 2017 is filling up fast.

Anyone who has ever taken piano lessons or even approached a piano keyboard —which measures four feet from end to end, and has 88 keys— has to wonder how someone who can’t see is able to navigate such daunting terrain … not to play chopsticks, mind you, but to tackle some of the most challenging keyboard music ever written. His answer is simple: “For me the piano is an extension

of my own body, so I know exactly where everything is,” he told an interviewer in 2013.

Similar questions about how he does it are bound to arise. He provides answers, summarized here, on the FAQ page of his super-dense website:

How does he learn the score if he can’t read sheet music? Since many works are not available in Braille, he learns pieces by listening to recordings. When there are few or no available recordings, he has acquaintances perform and record the music first.

How can he stay with an orchestra in a concerto performance if he can’t see the conductor? He tunes in to the conductor’s breathing.

How long does it take him to learn a new piece? About a month for a concerto; a few days for a short piece.

While there may be many questions about how he does what he does, there is widespread agreement about his prodigious technique and artistry. In 2009, the piano world’s most famous elder statesman, Van Cliburn, called Nobu’s playing “absolutely miraculous. His performance had the power of a healing service. It was truly divine.”

Music critics around the world agree. In an “impressive” 2013 Baltimore Symphony debut, the pianist made light work of Tchaikovsky’s Piano Concerto No. 1 in a performance which Nobu, critic Tim

Navigating the Musical Terrain

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By Madeline Rogers


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Smith wrote, “sustained a remarkably warm tone throughout and shaped phrases in a natural, unfussy fashion.”

Fans show their love in the hall as well, where standing ovations are the norm, as happened in Seattle in 2013 where he was called back by the cheering crowd for three encores.

For a man whose first name, Nobuyki, means “faithful happiness”, it should come as no surprise that the word most often applied to the man and his music is “joy.” Japanese music critic Yukiko Hagiya calls his sound “pure and crystal-clear. It communicates his joy of performing to an audience.” His teacher Masahiro Kawakami told Time magazine that Nobu’s “music has a power to make people happy.” According to an article in

The Telegraph, the general manager of the BBC Philharmonic became a fan when that orchestra toured Japan with Nobu: “The players found him such a joy to work with, always smiling and positive. I remember after the rehearsals they used to stay on late and gather around the piano, just to hear him play more. I can tell you that doesn’t happen very often.”

Despite all the fuss, and a relentless touring schedule that has him jetting around the world, Nobu remains a balanced young man. Jet lag? “I can sleep very well on the planes or at the hotel, I can eat anything, and I don’t suffer jet lag; my manager suffers a lot, I don’t understand why.” Whether at home or on tour he enjoys finding an indoor pool and swimming for a couple of hours almost

every day. When he can fit it in, he reports, “I go hiking with my friends.”

But mostly his ambition centers on music. He has already turned his hand to composition, but would like to do more: “My wildest dream,” he wrote in an e-mail, translated by his manager, “is that I wish to study composition and write a piano concerto, which survives as core repertoire for pianists for centuries, just like the ones by Liszt, Chopin and Beethoven.”

Although touring doesn’t leave a great deal of time for sightseeing, he said in a recent email that he loves visiting places where great composers have spent time, and exploring local and seasonal cuisine and drink. “In Japan,” he added, “Sonoma is known for great wines, so I’m very much looking forward to tasting them.”

Madeline Rogers is a creative consultant to cultural institutions, and former director of publications at the New York Philharmonic.

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Van Cliburn, called Nobu’s playing “absolutely miraculous. His performance had the power of a healing service. It was truly divine.”


April is annual Jazz Appreciation Month (JAM) and to celebrate, the Green Music Center (GMC) and Sonoma State University (SSU) are marking the occasion with several on-campus events and performances by students of the SSU Jazz Studies program, as well as a performance by the SFJAZZ Collective in Weill Hall. The Smithsonian Museum of American History founded JAM in 2001 to promote jazz performance, education and appreciation. Since then, it has become a worldwide celebration of the music, its history, and the musicians who continue its legacy.

The SSU Jazz Studies program was established 25 years ago and offers students a comprehensive concentration within the Music Department centered on performing, arranging, composing and teaching. Jazz Studies Director Dr. Doug Leibinger said in a recent interview that the program is fortunate to have the GMC where students can “hone their craft in a world-class setting [while] gaining exposure to professional performance.” Talking about Weill Hall specifically, Dr. Leibinger said that it is “Invaluable — really unique to have such an incredible hall. It’s inspiring for students to have it as their laboratory.” And with many student jazz ensembles practicing and performing in the space —including the Latin Jazz Band, the Horace Silver Ensemble, and the flagship SSU Jazz Orchestra— the laboratory is buzzing with the sound of jazz all year long.

In March, the Jazz Orchestra, led by Dr. Leibinger, performs “One More Time — The Music of Count Basie” featuring Harold Jones on Wednesday, March 11 at 7:30 p.m. in Weill Hall.

By Shelbi O’Dor

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Big band legend Jones was drummer of choice for Sarah Vaughan and is currently on the Cheek to Cheek Tour with Tony Bennett and Lady Gaga. The Horace Silver Ensemble and Jazz Orchestra will present “Out With the New: Cutting Edge Large Ensemble Jazz!” on Tuesday, April 21 at 7:30 p.m. in Weill Hall. Jazz saxophone instructor Kasey Knudsen leads the Horace Silver Ensemble, paying homage to the late, great pianist and co-founder (with Art Blakey) of the Jazz Messengers. On

Thursday, April 23 at 7:30 p.m. the Latin Band, Concert Jazz and Contemporary Ensembles will present three styles of jazz in Weill Hall with bandleaders Dave Len Scott and Kendrick Freeman.

A highlight of the month comes when the GMC welcomes the SFJAZZ Collective to Weill Hall on Friday, April 17 at 7:30 p.m. A San Francisco-based ensemble with renowned members from around the globe —including Puerto Rico, Venezuela, Israel and New Zealand— SFJAZZ Collective represents the modern pluralism of jazz music. The 2014-15 lineup comprises Miguel Zenón, alto saxophone; David Sánchez, tenor saxophone; Avishai Cohen, trumpet; Robin Eubanks, trombone; Warren Wolf, vibraphone; Edward Simon, piano; Matt Penman, bass; and Obed Calvaire, drums. Their innovative approach to repertoire and involvement with the Bay Area community through educational programming highlight the JAM campaign’s mission. Honoring the history of jazz, the ensemble will play the music of Joe Henderson, the late tenor saxophonist and composer long associated with SFJAZZ.

JAZZAPPRECIATION MONTH

AT THE GREEN MUSIC CENTER

C E L E B R A T I N G

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second only to the performance

before the show | during intermission | after the show gmc.sonoma.edu/dining | 866.955.6040

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Murray PerahiaSaturday, March 7 at 7:30 p.m.Weill Hall

ARTIST

Murray Perahia, piano

Murray Perahia appears by arrangement with IMG Artists.7 W. 54th StreetNew York, NY 10019

PROGRAM

BACHFrench Suite No. 6 in E major, BWV 817

AllemandeCouranteSarabandeGavottePolonaiseBourréeMenuetGigue

HAYDNSonata in A-flat major, Hob. XVI:46

Allegro moderato Adagio Finale. Presto

BEETHOVENPiano Sonata No. 26 in E-flat major, Op. 81a

III. Das Lebewohl (Les Adieux): Adagio – Allegro

III. Abwesenheit (L’Absemce): Andante espressivo

III. Das Wiedersehen (Le Retour): Vivacissimamente

INTERMISSION

FRANCKPrélude, Choral et Fugue, Op. 21

CHOPINScherzo No. 1 in B minor, Op. 20

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ARTIST BIO MURRAY PERAHIA

MURRAY PERAHIA

In the more than 40 years he has been performing on the concert stage, American pianist Murray Perahia has become one of the most sought-after and cherished pianists of our time, performing in all of the major international music centers and with every leading orchestra. He is the Principal Guest Conductor of the Academy of St. Martin in the Fields, with whom he has toured as conductor and pianist throughout the United States, Europe, Japan and Southeast Asia.

Born in New York, Perahia started playing piano at the age of four, and later attended Mannes College where he majored in conducting and composition. His summers were spent at the Marlboro Festival, where he collaborated with such musicians as Rudolf Serkin, Pablo Casals and the members of the Budapest String Quartet. He also studied with Mieczyslaw Horszowski. In subsequent years, he developed a close friendship with Vladimir Horowitz, whose perspective and personality were an abiding inspiration. In 1972 Perahia won the Leeds International Piano Competition, and in 1973 he gave his first concert at the Aldeburgh Festival, where he worked

closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. Perahia was co-artistic director of the Festival from 1981 to 1989.

In the 2014-15 season, apart from touring Europe and the Middle East, Perahia embarks on a ten-city tour of Asia with the Academy of St. Martin in the Fields, conducting and performing works by Bach, Haydn, Mozart, Beethoven, Mendelssohn and Stravinsky. His Spring 2015 recital tour of the United States includes performances in New York’s Carnegie Hall, Los Angeles’s Disney Hall and Chicago’s Symphony Hall, with further appearances scheduled in Tucson, Scottsdale, Kalamazoo, Sarasota and Savannah. Perahia’s past season included a much-awaited recital debut in Australia as well as a residency with the Berlin Philharmonic.

Perahia is an honorary fellow of the Royal Academy of Music, and he holds honorary doctorates from Oxford University, the Royal College of Music, Leeds University and Duke University. In 2004, he was awarded an honorary KBE by Her Majesty The Queen, in recognition of his outstanding service to music.

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PROGRAM NOTES MURRAY PERAHIA

JOHANN SEBASTIAN BACH

French Suite No. 6 in E major

The French Suites (BWV 812–817) are a set of six keyboard suites that J.S. Bach (1685-1750) compiled in his late thirties, the most prolific period of his life producing a series of important instrumental works. Together with the Inventions and Sinfonias and the Well-Tempered Clavier, the French Suites formed an integral part of Bach’s studies for the education of his pupils. Keyboard suites—a popular genre consisting of about half a dozen stylized dances—had high educational value. One was expected to learn from them the essence of manners and good taste.

Traditionally, the French Suites were considered as a pair with the English Suites, written earlier. The “French” are distinguished from the “English” by both the lack of prelude and being smaller in scale. Stylistically, the “French” are the more charming and elegant of the two: they tend to avoid the use of counterpoint, and focus more sharply on the exploration of such galant elements as cantabile melodies and sonorous, idiomatic keyboard texture. When discussing these characters, one cannot disassociate them from their origin: a sort of wedding gift to his young, musical wife, Anna Magdalena Bach (1701–1760).

The most prominent feature of the French Suites is the way Bach actively seeks the style galant. Bach’s focus is the singing melody, and to achieve this end he carefully avoids the use of technically complex figuration and thick texture. This can even be seen in the sarabandes, traditionally homophonic movements. With the Galanterien Bach expands his stylistic dimension: here we find air, anglaise, loure and polonaise, the types not employed in the English Suites. Bach’s freer, stylized treatment of dances is also evident, the tendency which is even more apparent with Partitas.

When viewing from a wider historical horizon, one can see how Bach’s compositional style and technique developed over the years. Chronologically placed between the English Suites and the Six Partitas, the French Suites attest to the advanced stage of Bach’s own compositional styles, which are still to mature. Yet in

terms of their compactness and accessible character, the French Suites make for many of the most favorite keyboard suites.

— ©Yo Tomita (Reprinted with permission)

FRANZ JOSEPH HAYDN

Sonata in A-flat major

Primarily a self-taught composer, Joseph Haydn (1732-1809) spent his youth as a choirboy in rural Hainburg, Austria, and St. Stephen’s Church in Vienna. Unceremoniously booted out of the boys’ school when his voice changed, he floundered for several years, later recalling “I was forced to eke out a wretched existence by teaching young people…” But he was “fortunate” enough to serve as accompanist and valet to the famous voice teacher Nicola Porpora who taught him the fundamentals of composition. Haydn’s big break came in 1761, when he was hired as court composer by the Prince of Esterházy — the most noble of the Hungarian families allied to the Hapsburg dynasty. His patron, Prince Nicholas, was an avid musician whose support was the key to Haydn’s immense productivity. Haydn produced no fewer than 69 string quartets, 104 symphonies, 23 operas, four oratorios, 52 piano sonatas, numerous Masses, songs, liturgical pieces and countless chamber works.

The Piano Sonata in A-flat is a product of Haydn’s early-middle years, probably composed around 1768, by which time his popularity was growing throughout Europe. The work is also known as a “divertimento,” as labels and stylistic features were more generic then. The piece, in three movements, fast-slow-fast, gushes with charm at every turn. The Allegro moderato in particular, while outwardly moving at a brisk pace, says very little harmonically speaking, which makes its numerous trills, graceful turns and brilliant runs all the more endearing.

The starkly intimate second movement Adagio in the subdominant key of

D-flat, harkens back to the counterpoint and harmonic complexity of J.S. Bach. The closing section introduces a shocking cadence on D-flat minor, finding its true ending through the delicate harmonization of inner voices. The Finale movement is, like the two preceding ones, in a simple sonata form. Its sparkling melody is a busy wash of sixteenth notes lent gravity by the chromatic pull of the harmonic underpinning.

— ©Ruth Wilson

LUDWIG VAN BEETHOVEN

Piano Sonata No. 26 in E-flat major, Op. 81a (“Les Adieux”)

“Les Adieux” sonata, unlike the “Appassionata,” “Moonlight” and “Pathétique,” was named by Beethoven himself in order to tell a specific story. Ludwig van Beethoven (1770-1827) composed this rare instance of program music in his adopted city of Vienna between 1809-10, during War of the Fifth Coalition against Napoleon. The Austrians, inspired by the Spanish rebellion, declared war on France on April 8, 1809. Austrian troops were quickly beaten back in Bavaria, and on May 13 an enraged Napoleon stormed and captured the city of Vienna for the second time in four years. Outside the city, the Austrian army dealt France a humiliating loss at Aspern-Essling before Napoleon’s army annihilated them at the Battle of Wagram in early July. Casualties on the Austrian side from Wagram alone were 37,000 dead and wounded.

Beethoven’s “Les Adieux” sonata, as the French plural suggests, bids many goodbyes. Foremost in Beethoven’s mind was the safety of his friend, student and patron, Archduke Rudolph. Rudolph’s commitment to an annual “salary” made Beethoven the first independent composer, free to compose whatever he wanted for whomever he pleased, on the condition that he remained in Vienna. Because of his royal status, Rudolph had to leave the city during Napoleon’s invasion. His departure is indicated by the sonata’s

“Together with the Inventions and Sinfonias and the Well-Tempered Clavier, the French Suites formed an integral part of Bach’s studies for the education of his pupils.”


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PROGRAM NOTES MURRAY PERAHIA

FRÉDÉRIC CHOPIN

Scherzo No. 1 in B minor, Op. 20

Poland’s “bard of the piano” Frédéric Chopin (1810-1849) composed for that instrument as no others had before him, and has influenced nearly every composer and pianist from that point forward. Hints as to how and why he invented a new pianistic language are few, as the only people to whom Chopin related candidly were his piano students, who adored him. For them, he dropped the persona of impassive, aristocratic artiste and became a living, breathing artist. Chopin’s unfinished method book states a radical approach to the technical aspects of piano playing:

For a long time players have acted against nature in seeking to give equal power to each finger. On the contrary, each finger should have an appropriate part assigned to it. The thumb has the greatest power, being the thickest finger and the freest…

After assessing the strengths and weaknesses of each finger, he concludes,

There are, then, many different qualities of sound, just as there are several fingers. The point is to utilize the differences; and this, in other words, is the art of fingering.

Composed between 1830-45, Chopin’s four Scherzos are worlds unto themselves, similar in name only to the jokey scherzos that Beethoven inserted between the weightier movements of his symphonies. The Scherzo No. 1 in B minor probably originated in the winter of 1830-31 during Chopin’s emigration from war-torn Poland to Paris by way of Vienna. Published in 1835, he dedicated it to his friend Thomas Albrecht.

After two opening chord crashes, the piece unfolds in three distinct sections, each conjuring up a myriad of sensations with each repetition. The first two sections in B minor are more closely related in mood— let the listener decide which—while the inner core in B major is a quote, sotto voce, from the Polish Christmas carol “Lulajże, Jezuniu, moja perełko” (“Lullaby baby Jesus, my little pearl”). The juxtaposition of ideas present in all of Chopin’s works is at its most extreme here, hitting at a psychic rather than intellectual level. Composed during Poland’s fall to Russia, and before he established himself in Paris, the first Scherzo reflects a broken but resilient soul.

© Ruth Wilson

the nineteenth century — the Prélude, Choral et Fugue.

Franck's original plan, according to his pupil Vincent d'Indy, was to write a plain Prelude and Fugue, the venerable form made immortal by Bach and neglected since Mendelssohn, a visibly serious alternative to the plethora of virtuoso pieces which were so popular at the time. After almost 40 years writing mainly organ music and works inspired by sacred texts, the example of Bach was an affirmation that secular music could still retain a spiritual identity in an abstract form. In fact, it is significant that the further Franck moved away from specifically sacred music (his liturgical works are particularly lifeless) the clearer and more pure his spiritual vision seemed to become.

The decision to include a central section, separate from, yet linking, the Prelude and Fugue, came later (again according to d'Indy). Perhaps Bach was the influence with the poignant slow interludes of his Clavier Toccatas to say nothing of the very word “chorale'” which was eventually used. In the event, however, this central section became the emotional core of the work, its “motto” theme used as a symbol of redemption and as a unifying principle at the climax of the Fugue.

There are two motivic ideas on which the whole work is based: one, a falling, appoggiatura motif used in all three sections and generally chromatic in tonality; the other a criss-crossing motif in fourths which appears first in the Chorale section and then again as a balm at the point where the Fugue reaches its emotional crisis. The first motivic idea is clearly related to the Bach Cantata Weinen, Klagen, Sorgen, Zagen, and also to the “Crucifixus” from the B Minor Mass; the other idea appears as the “bell motif ” in Wagner's Parsifal.

— © Stephen Hough. Reprinted with permission.

opening notes—picture a carriage leaving the station to the sound of a slow, sad horn call. The German word “Le-be-wohl” (fare thee well) is actually printed over the notes. This three-note motive returns in different guises, with layers of repetition in the development section suggesting goodbyes to many, perhaps to the thousands lost in battle. Diminished chords and ponderous motion bring a sense of uncertainty to the inner movement, “L’Absence,” that gives way to sheer joy in the finale, “Le Retour,” occupying the entire keyboard in great, rhythmic sweeps like a life-affirming dance.

Beethoven titled the movements in both German and French, with tempo indications in Italian, making interpretation a complex task. The work requires great physical and emotional reserves from the performer, and indeed, five years would pass before he wrote another piano sonata. The full movement titles with English translations are:

1. Das Lebewohl (Les Adieux – The Farewell): Adagio - Allegro

2. Die Abwesenheit (L’Absence – The Absence): Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck - In walking motion, but with much expression)

3. Das Wiedersehen (Le Retour – The Return): Vivacissimamente (Im lebhaftesten Zeitmaße – The liveliest time measurements)

© 2015 Ruth Wilson

CÉSAR FRANCK

Prélude, Choral et Fugue, Op. 21

To be a pianist in nineteenth-century France meant being a virtuoso, and the piano was the archetypal vehicle for the most superficial kind of musical expression. As a youthful piano prodigy exploited by his mercenary father, it was with relief that César Franck (1822-1890) set aside the perfume and pearls of the salon for the incense and icons of the Church organ loft. Finally in 1884, with the confidence and experience of passing years, Franck turned again to the solo piano and wrote what was to be the most deeply felt and serious work for the instrument to come out of France in


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Stewart Copeland and Jon Kimura ParkerSunday, March 8 at 7 p.m.Weill Hall

ARTISTS

Stewart Copeland, drums and percussionJon Kimura Parker, pianoYoon Kwon, violinMarlon Martinez, double bassJudd Miller, EVI (Electronic

Valve Instrument)

This project has been generously commissioned by UT Austin’s Texas Performing Arts.

PROGRAM

“Off the Score” REPERTOIRE MAY INCLUDE

STRAVINSKY (Arr. Jon Kimura Parker) Rite of Spring Fantasy

STEWART COPELAND Darkness (from The Police – Ghost in the Machine)

JON KIMURA PARKER Hit Me For Piano and Percussion

PIAZZOLLA Oblivion

RAVELPiano Concerto in G major

II. Adagio assai

APHEX TWIN Outside: To Forgive But Not Forget

MIKE GARSON Paganini Variations

STEWART COPELAND Birds of Prey

STEWART COPELAND Celeste

Jon Kimura Parker


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ARTIST BIOSSTEWART COPELAND

There are few musicians who have worked in as many distinct settings as the legendary drummer and composer, Stewart Copeland. As the founding member of his seminal proto-punk band, The Police, Copeland has certainly mastered the stadium rock genre, most recently in a global reunion tour in 2007 and 2008. But after his work with The Police paused in 1984, Copeland wrote the music for Francis Ford Coppola’s Rumblefish and Oliver Stone’s Wall Street which was the beginning of a long and much lauded career composing for film and TV.

Now, commissioned by the likes of The Royal Opera, Covent Garden, the Cleveland Opera, the San Francisco Ballet and the Symphony Orchestras of Seattle and Dallas to compose operas and symphonic scores, Copeland has immersed himself in the “serious” music world. Throughout it all, he has maintained his trademark humor and lack of pretense, and is only too happy to impart his unique wisdom to students of music, film, business and media in a way that will certainly appeal to young minds who resist pigeonholing and crave wisdom from an artist who “has been there.”

JON KIMURA PARKER

A veteran of the international concert stage, pianist Jon Kimura Parker has performed as soloist in major venues including New York’s Carnegie Hall, London’s Royal Festival Hall, Berlin’s Philharmonie, Tokyo’s NHK Hall, Beijing Concert Hall and the Sydney Opera House.

He has given world premieres of works by Jake Heggie, John Harbison, Peter Schickele, Paul Schoenfield and Steven Stucky. An unusually versatile artist, Parker has also jammed with Audra McDonald, Bobby McFerrin and Doc Severinsen. He has performed in remote areas of the Canadian Arctic as a member of the outreach project Piano Six, and in war-torn Sarajevo in 1995 as an ambassador for AmeriCares.

An active media personality, Parker hosted the television series Whole Notes on Bravo, Up and Coming on CBC and the

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Concerto Chat series on YouTube. He is Professor of Piano at The Shepherd School of Music at Rice University, and also Artistic Advisor of the Orcas Island Chamber Music Festival.

“Jackie” Parker studied with Edward Parker, Keiko Parker, Lee Kum-Sing, Robin Wood, Marek Jablonski and Adele Marcus. He won the Gold Medal at the 1984 Leeds International Piano Competition and is an Officer of The Order of Canada. He lives in Houston with his wife, violinist Aloysia Friedmann and their daughter Sophie.

Jon Kimura ParkerStewart Copeland

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What happens when five musicians who can play anything put their heads together to play great classical music, new music and new arrangements of works from composers as varied as Stravinsky and Aphex Twin? The answer is something very special and utterly unique. Stewart Copeland and Jon Kimura Parker are two artists used to breaking the mold. With three incredible collaborators, they have created a quintet that has one foot in the classical world and its other foot all over the place. As the iconic drummer of The Police, Copeland’s sound is immediately recognizable the world over. “Jackie” Parker is a pianist whose forward-looking programming is matched by his incredible chops.

In “Off the Score” Copeland and Parker will explore the intersection of the notes on the page that are ‘the bible’ in the

classical world, with the improvisational instincts of the rock and jazz musician. It is the rare classical musician that can improvise, as it is the rare rock musician who reads music. In this project, all of these musicians can do both! Parker and Copeland are joined by the brilliant violinist Yoon Kwon, whose day job is in the Met Opera Orchestra; the dynamic double bassist, Marlon Martinez, a Stanley Clarke protégé; and Judd Miller, the extraordinary proponent of the EVI (Electronic Valve Instrument) who lends a gorgeous textural element to the proceedings. Both Jon Kimura Parker and Stewart Copeland are witty and articulate artists who are eager to share their fresh ideas as they move beyond the notes on the page and perform an evening of chamber music for a new generation: propulsive, engaging, interesting and, most of all, fun!

ARTIST BIOS ABOUT “OFF THE SCORE”


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Curtis Chamber OrchestraSunday, March 15 at 3 p.m.Weill Hall

ARTISTS

Curtis Chamber OrchestraRobert Spano, conductorRoberto Díaz, violaRachel Sterrenberg, soprano

This project is supported by the National Endowment for the Arts, The Presser Foundation's 75th Anniversary Celebration Special Projects Grant, and the Women’s Philharmonic Advocacy.

The Higdon commission was supported by a grant from the Musical Fund Society of Philadelphia, as well as generous funding from John J. Medveckis and the family of Cameron and Jane Baird.

PROGRAM

PROKOFIEVSymphony No. 1, “Classical”

AllegroLarghettoGavotte – Non troppo allegroFinale – Molto vivace

JENNIFER HIGDONViola Concerto

I.II.III.

Roberto Díaz, viola

INTERMISSION

ROBERT SPANO (arr. LUDWIG)Hölderlin-Lieder

LebenslaufSokrates and AlkibiadesAn die Parzen

Rachel Sterrenberg, soprano

Texts and translations begin on page 24.

MOZARTSymphony No. 41, “Jupiter”

Allegro vivaceAndante cantabileMenuetto – AllegrettoMolto Allegro


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ARTIST BIOS CURTIS CHAMBER ORCHESTRA

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A Message from Robert Díaz President of the Curtis Institute of Music

The Curtis Institute of Music is grateful to the Green Music Center for welcoming the Curtis Chamber Orchestra to Rohnert Park. This performance is part of Curtis On Tour, the school’s global touring initiative, which is sending four large-scale tours across four continents this season.

This tour began at the Library of Congress with the world premiere of Jennifer Higdon’s Viola Concerto, followed by a livestream on our online stage, Curtis Performs, that allowed thousands of people all around the globe to experience tonight’s program. This evening we are privileged once again to be performing the Viola Concerto by Curtis alumna and composition faculty Jennifer Higdon. Learning, rehearsing, and performing this exciting work with our students has been a pleasure from start to finish.

This tour is truly an all-Curtis affair. I am honored to be on stage with these tremendously talented Curtis students, with my friend, fellow alumnus and colleague Robert Spano on the podium. We are delighted to showcase Robert’s compositional talents by featuring his three moving Hölderlin-Lieder, sung by Curtis opera student Rachel Sterrenberg.

I believe I speak for all Curtis students, faculty, and alumni in saying that Curtis is unique in the world, a vessel of time-honored teaching, innovation, and renewal through the medium of great music for 90 years. We are thrilled to be sharing our music with you this evening and hope this will be one of many encounters—whether through Curtis On Tour, a performance in Philadelphia, or a visit to Curtis Performs online. Thank you for being with us.

Roberto Díaz

ABOUT CURTIS

Ninety Years of Artistic Promise

One of the world’s finest and most selective conservatories, Curtis offers a tuition-free, performance-inspired learning culture to 175 students from all corners of the world. Nurtured by a celebrated faculty, these extraordinary young musicians graduate to join 4,000 alumni who have long made music history. From Leonard Bernstein to Alan Gilbert, Samuel Barber to Jennifer Higdon, Benita Valente to Eric Owens, Richard Goode to Jonathan Biss, Curtis alumni personify the school’s commitment to excellence—on stage and in their communities—inventing careers with impact.

frequently offer master classes, in-school demonstrations, and other community engagement activities. Since Curtis On Tour was established in 2008, students, faculty, and alumni have traveled to more than 50 destinations in Europe, Asia, and North America and South America, with new venues added each year.

About the Curtis Chamber OrchestraThe Curtis Chamber Orchestra has recently performed at the Miller Theatre (New York), the Kennedy Center (Washington, D.C.), and the Kimmel Center (Philadelphia) with renowned violinists Jaime Laredo and Jennifer Koh. In 2011, the orchestra traveled to Asia through Curtis On Tour, performing in Beijing and Seoul under Mark Russell Smith. Praised for its “great elegance and style” (Washington Post), the orchestra appears regularly in Philadelphia on the Philadelphia Chamber Music Society’s concert series and at home at the Curtis Institute of Music.

ROBERTO DÍAZ

A violist of international reputation, Roberto Díaz is president of the Curtis Institute of Music, following in the footsteps of renowned soloist/directors such as Josef Hofmann, Efrem Zimbalist, and Rudolf Serkin.

A busy schedule of performances—more than 200 a year in Philadelphia and around the world—is at the heart of Curtis’s distinctive “learn by doing” approach. Dedicated to a tradition of excellence and innovation since its founding in 1924, Curtis is looking toward its centenary in a flexible and forward-thinking way, evolving strategically to serve its time-honored mission.

About Curtis On TourCurtis On Tour is the global touring initiative of the Curtis Institute of Music. An embodiment of the school’s “learn by doing” philosophy, it offers students real-world, professional touring experience alongside celebrated alumni and faculty. In addition to performances, students


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As a soloist, Díaz collaborates with leading conductors of our time on stages throughout the world. He has also worked directly with important 20th- and 21st-century composers, including Jennifer Higdon, Krzysztof Penderecki, Edison Denisov, Ricardo Lorenz and Roberto Sierra.

As a frequent recitalist, Díaz enjoys collaborating with young pianists, bringing a fresh approach to the repertoire and providing invaluable opportunities to artists at the beginning of their careers. In addition to performing with major string quartets and pianists in chamber music series and festivals worldwide, he is a member of the Díaz Trio and has recorded for the Artek, Dorian, Naxos, and New World labels.

In addition to his decade-long tenure as Principal Viola of the Philadelphia Orchestra, Díaz was also Principal Viola of the National Symphony under Mstislav Rostropovich, a member of the Boston

Symphony under Seiji Ozawa, and a member of the Minnesota Orchestra under Sir Neville Marriner. He is a graduate of the New England Conservatory of Music and the Curtis Institute of Music, where he continues to serve on the faculty, holding the James and Betty Matarese Chair in Viola Studies in addition to the Nina von Maltzahn President’s Chair.

JENNIFER HIGDON

Born in Brooklyn, New York, but raised in the South, Jennifer Higdon received a Bachelor of Music from Bowling Green State University in Ohio, a diploma from the Curtis Institute of Music in 1988, and an M.A. and Ph.D. from the University of Pennsylvania. In addition she has studied conducting with Robert Spano and flute with Judith Bentley.

Higdon is the recipient of the 2010 Pulitzer Prize for Music for her Violin

Concerto; a 2009 Grammy Award (Best New Contemporary Classical Recording) for her Percussion Concerto; Guggenheim, Koussevitzky and Pew fellowships; and awards from the American Academy of Arts and Letters.

Her works are performed around the world, with commissions coming from a variety of ensembles and individuals, such as the Philadelphia and Cleveland orchestras, St. Paul Chamber Orchestra, Gary Graffman, Hilary Hahn, the President’s Own Marine Band, Tokyo String Quartet, Time for Three, Philadelphia Singers, Mendelssohn Club, eighth blackbird, and Opera Philadelphia and Santa Fe Opera. She has works on more than four dozen recordings, including the Grammy-winning CD of her Concerto for Orchestra and City Scape.

Higdon joined the faculty of the Curtis Institute of Music in 1994, and holds the Milton L. Rock Chair in Composition Studies.

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ROBERT SPANO

Conductor, pianist, composer and pedagogue Robert Spano is Music Director of the Atlanta Symphony Orchestra and the Aspen Music Festival and School, and has nurtured the careers of numerous classically trained composers and conductors.

Spano has led the Atlanta Symphony Orchestra at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. His guest engagements include the New York and Los Angeles philharmonics; the Cleveland, Philadelphia and Royal Concertgebouw orchestras; the BBC, Boston, Chicago and San Francisco symphonies; and Orchestra Filarmonica della Scala. He has conducted at the Royal Opera House Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and Seattle Opera, where he led the 2005 and 2009 productions of Wagner’s Ring cycle.

This season Spano conducts three world premieres with the Atlanta Symphony Orchestra and both the Houston Grand Opera and Houston Symphony. He guest conducts in Milwaukee, Philadelphia, Helsinki, Copenhagen, Kuala Lumpur and Singapore. Woven with Spano's passion for education, he leads the chamber orchestra of the Curtis Institute of Music on tour and the New England Conservatory Philharmonic.

Spano’s recordings for Telarc, Deutsche Grammophon and ASO Media have received six Grammy® Awards. He is on the faculty of Oberlin Conservatory and has received honorary doctorates from several institutions, including the Curtis Institute of Music, of which he is an alumnus.

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RACHEL STERRENBERG

Rachel Sterrenberg, from Madison, Georgia, entered the Curtis Institute of Music in 2012 and studies with Marlena Kleinman Malas. All students at Curtis receive merit-based full tuition scholarships, and Sterrenberg is the Edith Evans Frumin Fellow.

Highlights of Sterrenberg’s 2014–15 season include the title role in Tchaikovsky’s Iolanta and Anne Trulove in Stravinsky’s The Rake’s Progress with the Curtis Opera Theatre, and performances as a soloist with the New Jersey Symphony and the Curtis Chamber Orchestra. She makes her Opera Philadelphia debut in June 2015 as Chan Parker, wife of the jazz soloist Charlie Parker, in the world premiere of Daniel Schnyder’s Yardbird.

Sterrenberg’s past roles with Curtis Opera Theatre include Adina (L’elisir d’amore), Blanche de la Force (Dialogues of the Carmelites), Pamina (The Magic Flute), Mrs. Coyle (Owen Wingrave) and Armida (Rinaldo). She has also sung the Countess (Le nozze di Figaro) with the Princeton Symphony Orchestra and Ada Monroe in a workshop of Jennifer Higdon’s first opera, Cold Mountain, a co-commission of Santa Fe Opera and Opera Philadelphia. In 2014 Sterrenberg won second place in the Mid-Atlantic Region of the Metropolitan National Council Auditions.

CURTIS CHAMBER ORCHESTRA ROSTER

ViolinYu-Ting ChenJung Min ChoiAbigail FayetteBrandon GarbotGergana

HaralampievaHsuan-Hao Hsu Maria IoudenitichShannon LeeVictor LiLaura ParkMarié Rossano*Ji-Won SongAlexandra SwitalaStephen TavaniAdé Williams

ViolaEn-Chi ChengSung Jin LeeYoshihiko NakanoZsche Chuang

Rimbo Wong

CelloYouna ChoiJean KimWill ChowTimotheos Petrin

Double BassRobin BrawleySamuel Casseday

FluteLydia RothNiles Watson

OboeJoshua LauretigWilliam Welter

ClarinetHongmin FanGuangyao Xue

BassoonEmeline ChongSarah Tako

HornDana CullenRay Seong Jin HanEric HuckinsAmit Melzer

TrumpetAlexander GreeneNozomi Imamura

TromboneDaniel SchwalbachJahleel Smith

Timpani and Percussion

Won Suk Lee

* denotes concertmaster


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TEXTS AND TRANSLATIONS CURTIS CHAMBER ORCHESTRA

Hölderlin-Lieder Music: Robert Spano (b. 1961) Text: Friedrich Hölderlin (1770-1843)

LebenslaufHoch auf strebte mein Geist, aber die Liebe zog Schön ihn nieder; das Leid beugt ihn gewaltiger; So durchlauf ich des Lebens Bogen und kehre, woher ich kam.

The Course of LifeHigh up my spirit aspired, but love well and truly brought it down; suffering bowed it still more;so I follow the arc of lifeand return to where I began.

Sokrates und Alcibiades«Warum huldigest du, heiliger Sokrates, «Diesem Jünglinge stets? kennest du Grössers nicht? «Warum siehet mit Liebe, «Wie auf Götter, dein Aug’ auf ihn?»Wer das Tiefste gedacht, liebt das Lebendigste, Hohe Jugend versteht, wer in die Welt geblickt, Und es neigen die Weisen Oft am Ende zu Schönem sich.

Socrates and Alcibiades“Holy Socrates, why do you always look up to this young man? Are not greater things known to you? Why do you gaze at him with love, as you would at the gods?”He who has pondered the deepest truths, loves what is most alive. He who has seen something of the world, understands the high aspirations of youth.And often in the end the wise will bow to the beautiful.

An die ParzenNur einen Sommer gönnt, ihr Gewaltigen! Und einen Herbst zu reifem Gesange mir, Dass williger mein Herz, vom süssen Spiele gesättiget, dann mir sterbe.Die Seele, der im leben ihr göttlich Recht Nicht ward, sie ruht auch drunten im Orkus nicht; Doch ist mir einst das Heil’ge, das am Herzen mir liegt, das Gedicht, gelungen,Willkommen dann, o Stille der Schattenwelt! Zufrieden bin ich, wenn auch mein Saitenspiel Mich nicht hinab geleitet; Einmal Lebt ich, wie Götter, und mehr bedarfs nicht.

To the FatesOnly one summer grant me, you mighty ones,and only one autumn for mellow song, so that my heart, sated with its sweet playing, more willingly then may die.The soul which in life did not obtain its divinely appointed right, down in Orcus too finds no rest,but if once I have accomplished that which is holy and dear to me, the poem,Then welcome, O silence of the world of shades! Contented I shall be, even if my lyre does not accompany me on that downward journey; once I lived as the gods live, and that suffices.

Translations by Michael Hamburger


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PROGRAM NOTES CURTIS CHAMBER ORCHESTRA

JENNIFER HIGDON

Viola Concerto

Musicologists and critics have often written that my musical language sounds American and, while I don’t know exactly how to define that, I am sure that they are right. Since the lead commissioner of this work is the Library of Congress, and the co-commissioners are all American institutions of learning and performance (the Curtis Institute of Music, the Aspen Music Festival, and the Nashville Symphony), it seemed natural that an American sound would be the basic fabric. With this in mind, and inspired by one of the world’s best violists, Roberto Díaz, the process of creating a new concerto for this instrument came naturally. I have always loved the viola…my first sonata was written for this expressive instrument. It is my privilege to add to the repertoire of an instrument that has moved from being embedded within ensembles to playing a prominent role at the front of the stage.

—© Jennifer Higdon

ROBERT SPANO

Hölderlin-Lieder

In the early 1990s I encountered the poetry of Hölderlin, the 18th-century German poet beloved by the 19th-century Romantics. I, too, was enraptured by the beauty of the language and the sublimity of ideas. The ideas of the three poems that inspired these songs might be succinctly expressed as: 1) returning to the source; 2) the supremacy of beauty; 3) human participation in the divine through the creative act.

The imagery of the poems sparked in me musical correspondences that I attempted to express through a late 19th-century musical vocabulary, in homage to the masters of the intimate and exquisite form of lieder. Thanks to the Hermitage artist colony in Manasota Key (Fla.), I returned to this project 22 years later and was able to finish these songs. I was also writing them for soprano Jessica Rivera, who was certainly my muse in the process. Now I am so grateful to Rachel Sterrenberg for taking them on. I always imagined them sung by a voice as beautiful as hers, with an artistry as rich as hers.

—© Robert Spano

March 2015 Curtis Chamber Orchestra Tour

Saturday, March 7 at 8 p.m.Coolidge Auditorium, Library of Congress Washington, D.C.

Monday, March 9 at 8 p.m.Live stream performance on Curtis Performs

Wednesday, March 11 at 8 p.m.Maurice Gusman Concert Hall, University of Miami Coral Gables, FL

Friday, March 13 at 8 p.m.Mondavi Center for the Performing Arts Davis, CA

Sunday, March 15 at 3 p.m.Green Music Center, Weill Hall Rohnert Park, CA

Tuesday, March 17 at 7:30 p.m.Irwin M Jacobs Qualcomm Hall San Diego, CA


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Gil ShahamFriday, March 27 at 7:30 p.m.Weill Hall

ARTIST

Gil Shaham, violin

PROGRAM

BACHSix Solos for Violinwith original films by David Michalek

Gil Shaham performs his unique interpretation of Bach's complete Partitas and Sonatas for solo violin in an original multimedia collaboration with video artist David Michalek.


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GIL SHAHAM

Gil Shaham is one of the foremost violinists of our time, whose combination of flawless technique with inimitable warmth has solidified his legacy as an American master.

Highlights of his current season include a Parisian-themed opening-night gala with the Seattle Symphony, launching a season that sees him rejoin the San Francisco Symphony under Michael Tilson Thomas for Mozart’s “Turkish” Concerto, and, on the Orchestra’s 20th-anniversary tour, for Prokofiev’s Second at venues including Carnegie Hall. The Prokofiev is one of the works showcased in his long-term exploration of “Violin Concertos of the 1930s.” Besides giving the world premiere performances of a new concerto by David Bruce with the San Diego Symphony, the violinist’s upcoming orchestral highlights also include performances in Philadelphia, Berlin, London, Dallas, Tokyo, Canada and Luxembourg. In recital, he presents Bach’s complete solo Sonatas and Partitas at Chicago’s Symphony Center, L.A.’s Disney Hall and other venues in a special multimedia collaboration with photographer and video artist David Michalek.

Shaham already has more than two dozen concerto and solo CDs to his name, including bestsellers that have ascended the record charts in the U.S. and abroad. These recordings have earned multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are issued on the Canary Classics label, which Shaham founded in 2004. Recent releases include 1930’s Violin Concertos Vol. II, Nigunim: Hebrew Melodies, Haydn Violin Concertos and Mendelssohn’s Octet with the Sejong Soloists, Sarasate: Virtuoso Violin Works, and the Elgar’s Violin Concerto with the Chicago Symphony Orchestra and David Zinman, among others. Upcoming titles include Bach’s complete works for solo violin.

Shaham was awarded an Avery Fisher Career Grant in 1990 and in 2008 he received the coveted Avery Fisher Award. He plays the 1699 “Countess Polignac” Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their three children.

ARTIST BIO GIL SHAHAM

“Shaham’s tone is clear and sweet, and he plays with quiet but unmistakable ardor. There is a seamless flow to his performance, a sense of propulsion fueled by both thoughtful concentration and a willingness to let the music take flight.”

—Chicago Sun-Times


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Audra McDonaldSaturday, March 28 at 8 p.m.Weill Hall

ARTISTS

Audra McDonald, vocalistAndy Einhorn, music director and pianoMark Vanderpoel, bassGene Lewin, drums

PROGRAM

The two-time Grammy Award® winner and Emmy-nominated Live From Lincoln Center host returns to the concert stage, offering favorite showtunes, popular standards, and original pieces written especially for this extraordinary artist at the height of her expressive powers.


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ARTIST BIOS AUDRA MCDONALD

AUDRA MCDONALD

Audra McDonald is unparalleled in the breadth and versatility of her artistry as both singer and actress. With a record-tying five Tony Awards, two Grammy Awards, and a long list of accolades to her name, she is among today’s most highly regarded performers. Blessed with a luminous soprano and an incomparable gift for dramatic truth telling, she is equally at home on Broadway and opera stages as in roles on film and television. In addition to her theatrical work, she maintains a major career as a concert and recording artist, regularly appearing on the great stages of the world.

Born into a musical family, McDonald grew up in Fresno, California and received her classical vocal training at The Juilliard School. A year after graduating, she won her first Tony Award for Best Performance by a Featured Actress in a Musical for Carousel. McDonald made her opera debut in 2006 at Houston Grand Opera, where she starred in a double-bill of Poulenc’s monodrama La voix humaine and the world premiere of its companion piece, Send. On the concert stage, McDonald has premiered music by Pulitzer Prize-winning composer John Adams and sung with virtually every major American orchestra. It was the Peabody Award-winning CBS program Having Our Say: The Delany Sisters’ First 100 Years, that first introduced McDonald to television audiences as a dramatic actress. A familiar face on PBS, she is the series host of Live from Lincoln Center, which televised her solo concert for Lincoln Center’s Spring Gala.

McDonald’s film career began with her role in Seven Servants in 1996, and her list of credits has since grown to include The Object of My Affection (1998), Cradle Will Rock (1999), It Runs in the Family (2003), The Best Thief in the World (2004), She Got Problems (2009) and Rampart (2012) starring Woody Harrelson. As an exclusive Nonesuch recording artist, McDonald has released five solo albums, interpreting songs from the classic (Gershwin, Arlen and Bernstein) to the contemporary (Michael John LaChiusa, Adam Guettel and Ricky Ian Gordon). Her newest album, Go Back Home, is her most personal recording to date, featuring songs by Sondheim, Guettel, Kander & Ebb.

Among McDonald’s other accolades are four Drama Desk Awards, three Outer Critics Circle Awards and four NAACP Image Awards nominations. In addition to her five Tony Awards, she received nominations for her performances in Marie Christine and 110 in the Shade. In addition to her professional obligations, McDonald is an ardent proponent of marriage equality. She sits on the advisory board of the advocacy organization Broadway Impact and has been featured in campaigns for Freedom to Marry, NOH8 and PFLAG NYC.

Visit Audra at http://audramcdonald.net.

ANDY EINHORN

Music Director and Conductor Andy Einhorn boasts Broadway credits for Rodgers + Hammerstein’s Cinderella (Original Broadway Cast Recording), Evita (OBCR), Brief Encounter, The Light in the Piazza and Sondheim on Sondheim (OBCR, Grammy nom.) He most recently served as the music director and conductor for the Broadway production of Woody Allen’s Bullets Over Broadway (OBCR).

His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia! and The Lion King. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera’s An Evening with Audra McDonald, a double-bill of Poulenc’s La voix humaine and LaChiusa’s Send.

Einhorn has served as music director and pianist for McDonald since fall of 2011, performing with her at many

orchestras including the Philadelphia Orchestra, San Francisco Symphony, Los Angeles Opera, Avery Fisher Hall and Carnegie Hall. Highlights of his 2014-15 season engagements with McDonald include concerts at Walt Disney Concert Hall, Carnegie Hall and Teatro Real in Madrid. He has also music directed for Barbara Cook at Feinstein’s and Toronto’s Royal Conservatory of Music.

Other cast albums include Stage Door Canteen and McDonald’s newest release, Go Back Home. He served as the music director for HBO’s Peabody Award-winning documentary Six by Sondheim and music supervisor for Great Performances’ Peabody Award-winning special Broadway Musicals: A Jewish Legacy on PBS.

Einhorn is an honors graduate of Rice University.

MARK VANDERPOEL

Bassist Mark Vanderpoel is a native of San Diego, California and a former member of the San Diego Symphony, in addition to various orchestras and chamber groups in the Baja California area of Mexico. He has attended the University of California San Diego, where he studied under the direction of Bertram Turetzky. After UCSD, Vanderpoel attended the University of Southern California and later received a Master’s Degree from the California Institute of the Arts, where he studied with Charlie Hayden and Darek “Oles” Oleszkiewicz. Now living in New York City, Vanderpoel works extensively on and off-Broadway. Credits include Rodgers & Hammerstein’s Cinderella,

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GENE LEWIN

Drummer Gene Lewin appears on 34 CDs, with several more soon to be released. His eclectic discography ranges from the modern jazz of Fundementia to the electric-violin pop of GrooveLily. Several straight-ahead jazz projects and singer-songwriter efforts round out the list.

Lewin drums, sings and composes for GrooveLily, a trio that has been together for 16 years and has toured extensively in the U.S. and Canada. While they have morphed through many different musical scenes (and hair styles), they are now focused on creating hybrid musical theater—performances that feel both like concert and story. The band’s credits in this area include a production of Shakespeare’s A Midsummer Night’s Dream (directed by Tina Landau), Striking 12 and the autobiographical show Wheelhouse which had its world premiere in 2012 at TheatreWorks in Mountain View, California.

Lewin is also active in New York City’s jazz scene, performing and recording with many well-respected singers and instrumentalists. He has appeared on CDs with bassists John Patitucci and Scott Colley, guitarists Ben Monder and Steve Cardenas, jazz legend tenor saxophonist George Coleman, bassist/vocalist Jay Leonhart and many others.

Originally an engineering major at Princeton University, Lewin soon changed paths and returned to school to receive a Master’s degree from the Manhattan School of Music in 1991. He sends love to wife Suzanne and sons Elias and Jacob.

dignitaries in “A Broadway Celebration: In Performance at the White House,” which was later televised nationally on PBS.

Other credits include the American Symphony Orchestra, James Taylor, Cyndi Lauper, Nancy Sinatra, Sir Cliff Richard, Audra McDonald, Rob Evans and the Moody Blues’ World Festival Orchestra.

Jane Eyre, Amour, See What I Wanna See, Legally Blonde, Guys and Dolls, Bullets Over Broadway as well as many others. In addition, Vanderpoel has been performing on the rock-and-roll circuit with David Johansson and Clay Aiken. In the summer of 2010, he had the privilege of performing for President Obama and assembled

ARTIST BIOS AUDRA MCDONALD

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One Week Only! April 14–19, 2015

Unidentified artist, Girandole mirror (detail), ca. 1810. Limewood, glass, brass, and gilding. FAMSF, gift of Mrs. Virginia Bosche, 78.60. Floral design by Church Street Flowers. Photograph © Greg A. Lato / latoga photography.

Grand PatronDiane B. Wilsey

Event Leader Event ContributorMcGladrey

Media SponsorsGolden Gate Park

deyoungmuseum.org/bouquets

The Bay Area welcomes spring each year with this popular week-long exhibition featuring unique art and floral mash-ups in which floral designers create arrangements that pay tribute to and draw inspiration from the works in the de Young’s permanent collection.


http://deyoung.famsf.org/exhibitions/bouquets-art-2015

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http://santarosasymphony.com/

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Bobby McFerrinFriday, April 10 at 7:30 p.m.Weill Hall

ARTIST

Bobby McFerrin, vocalist

PROGRAM

The program will be announced from the stage.


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ARTIST BIO BOBBY MCFERRIN

For decades Bobby McFerrin has broken all the rules. The 10-time Grammy winner has blurred the distinction between pop music and fine art, goofing around barefoot in the world’s finest concert halls, exploring uncharted vocal territory, inspiring a whole new generation of a cappella singers and the beatbox movement. His latest album, spirityouall, is a bluesy, feel-good recording—an unexpected move from the music-industry rebel who singlehandedly redefined the role of the human voice with his a cappella hit “Don’t Worry, Be Happy,” his collaborations with Yo-Yo Ma, Chick Corea and the Vienna Philharmonic, his improvising choir Voicestra and his legendary solo vocal performances.

It’s been the quietest and most polite of revolutions. McFerrin was always an unlikely pop star. He created a lasting ear-worm of a No. 1 hit early in his career. Then he calmly went back to pursuing his own iconoclastic musical journey, improvising on national television, singing melodies without words, spontaneously inventing parts for 60,000 choral singers in a stadium in Germany, ignoring boundaries of genre, defying all expectations. Most people don’t know that McFerrin came from a family of singers. His father, the Metropolitan Opera baritone Robert McFerrin, Sr., provided the singing voice for Sydney Poitier for the film version of Porgy and Bess, and his mother Sara was a fine soprano soloist and voice teacher. McFerrin grew up surrounded by music of all kinds. He remembers conducting Beethoven on the stereo at three, hiding under the piano while his father and mother coached young singers, dancing around the house to Louis Armstrong, Judy Garland, Etta Jones and Fred Astaire.

McFerrin’s history as an instrumentalist and bandleader is key to understanding his innovative approach to mapping harmony and rhythm (as well as melody) with his voice. “I can’t sing everything at once,” he says, “but I can hint at it so the audience hears even what I don’t sing.”

“America’s musical shaman-in-chief, the man whose healing mission seems to be to reacquaint the human race with the spirit of childlike sonic play that rests underneath all music. McFerrin, alone in performance, is an extraordinary pied piper, turning an audience of thousands into a musical body . . . one of the most gifted entertainers of our time.”

— Buffalo News


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Concerto KölnSaturday, April 11 at 7:30 p.m.Weill Hall

ARTISTS

Concerto KölnAnna Torge, mandolinMargret Köll, harp Wilbert Hazelzet and Cordula Breuer, flutes

PROGRAM

Pretiosen (Precious Treasures)

TELEMANNConcerto for Flute, Violin, Strings and Bass in D major, TWV 51:D2

ModeratoAllegroLargoVivace

DURANTEConcerto for Strings and Basso Continuo in F minor, No. 1

Poco andante – AllegroAndanteAmorosoAllegro

VIVALDIConcerto for Mandolin, Violin, Strings and Basso Continuo in B-flat major, RV 548(after original for Oboe and Violin, Strings and Basso Continuo)

AllegroLargoAllegro

CORELLIConcerto Grosso for 2 Violins, Cello, Strings and Basso Continuo in D major, Op. 6/4

Adagio – AllegroAdagio – VivaceAllegro

INTERMISSION

HANDELConcerto for Harp and Strings, HWV 294 in B-flat major, Op. 4, no. 6(composed as an organ concerto)

Andante allegroLarghettoAllegro moderato

TELEMANNOverture and Excerpts from Tafelmusik, Part I in E minor, TWV 55:e1

VIVALDIConcerto for Mandolin, Harp, Strings and Basso Continuo in D minor, RV 541(after original for Violin, Organ, Strings and Basso Continuo)

AllegroGraveAllegro


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ARTIST BIO CONCERTO KÖLN

CONCERTO KÖLN

For over 25 years, Concerto Köln has ranked among the leading ensembles for historically informed performance practice. Even shortly following its establishment in 1985, audiences and critics alike were highly enthusiastic about the ensemble’s energetic performance style. Since then Concerto Köln has appeared regularly at the most renowned concert halls and music festivals around the globe. Numerous tours supported by the Goethe Institute, among others, have lead the ensemble to North and South America; to Asia including China, Japan and South Korea; as well as to Israel and the majority of European countries.

A trademark of the ensemble is the rediscovery of composers whose music has remained in the shadows of extolled names. The seamless integration of research and practical application is especially important for the ensemble and plays a significant role in their musical approach. Accordingly, Concerto Köln has made significant contributions to the renaissance of works including those of Joseph Martin Kraus, Evaristo Felice dall’Abaco and especially those of Henri-Joseph Rigel.

In 2005, Martin Sandhoff took over the reigns from Werner Ehrhardt as Artistic Director of the orchestra. Concertmasters include Markus Hoffmann, Mayumi Hirasaki and Shunske Sato. For large-scale projects, Concerto Köln additionally engages guest conductors including Kent Nagano, Ivor Bolton, Daniel Harding, René Jacobs, Marcus Creed, Peter Dijkstra, Laurence Equilbey and Emmanuelle Haïm. Further artistic partners include mezzo-sopranos Cecilia Bartoli, Vivica Genaux and Waltraud Meier; sopranos Simone Kermes, Nuria Rial, Rosemary Joshua and Johannette Zomer; counter tenors Philippe Jaroussky, Max Emanuel Cencic, Andreas Scholl, Maarten Engeltjes and Carlos Mena; tenors Werner Güra and Christoph Prégardien; and pianists Andreas Staier and Alexander Melnikov.

Since 2005, Concerto Köln headquarters have been located in the Cologne district of Ehrenfeld where, upon the ensemble’s initiative, a center for early music was established. The center, currently run by the Kölner Gesellschaft für Alte Musik e.V, documents the international

significance of Cologne as a capital city of early music and provides partners in the early music scene a common roof. Generous sponsors such as the State of North-Rhine Westphalia, the Kunststiftung NRW, the city of Cologne, the TÜV Rheinland, the Landschaftsverband Rheinland, the Bauwens Group as well as the RheinEnergieStiftung Kultur help to support Concerto Köln in this venture.

—English translation by Jennifer Smyth

CONCERTO KÖLN

ViolinMayumi HirasakiJörg BuschhausHedwig van der LindeAntje EngelChiharu AbeHorst-Peter SteffenWolfgang von KessingerMonica Waisman

ViolaAntje SabinskiAino HildebrandtClaudia Steeb

CelloJan KunkelAlexander Scherf

Double BassRüdiger Kurz

FluteCordula BreuerWilbert Hazelzet

BassoonLorenzo Alpert

HarpsichordMarkus Märkl

LuteSimon Martyn-Ellis

MandolinAnna Torge

HarpMargret Köll

W E I L L H A L L

S O N O M A S T A T E U N I V E R S I T Y

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PROGRAM NOTES CONCERTO KÖLN

Central to the baroque style (ca 1600-1750), is use of figured bass, or basso continuo, by which the keyboard player composes a succession of chords in the right hand above a notated bass line played with the left hand. Listen also for the contrasting effects of alternating solo versus tutti passages; improvisatory, ornamented melodic lines and four-measure phrases.

GEORG PHILIPP TELEMANN (1681-1767)

Concerto for Flute, Violin, Strings and Bass in D major, TWV 51:D2; published ca 1740.Overture and Excerpts from Tafelmusik, Part I in E minor, TWV 55:e1; published 1733.

Born Magdeburg, Germany and eventually settling in Hamburg, Telemann learned to compose by transcribing works of other composers, including Corelli. Associated with Leipzig University’s Collegium Musicum (casual, secular ensembles of amateur musicians), Telemann was among the first composers to pursue exclusive publication rights. He composed more than 3,000 works incorporating a unique mix of German, French, Italian and Polish styles. Telemann’s Tafelmusik, (literally, “table”) or banquet music, has been compared as a collection to Bach’s

“Brandenburg” concertos in demonstrating the composer’s supreme skill in handling a variety of instruments and forms.

FRANCESCO DURANTE (1684-1755)

Concerto for Strings and Basso Continuo in F minor, No. 1; composed ca 1740.

Known primarily for his religious works, Francesco Durante has been linked to the progressive-leaning Domenico Scarlatti. Durante’s stile moderno comprised startling dissonances, expressive use of dynamics, chromaticism and diminished chords. An excellent teacher, Durante was known for his devotion to quality over quantity. While he is among the few Neapolitan composers who did not venture into opera, his music is appreciated for its harmonic skill, invention and dramatic flair.

ANTONIO VIVALDI (1678-1741)

Concerto for Mandolin, Violin, Strings and Basso Continuo in B-flat major, RV 548 andConcerto for Mandolin, Harp, Strings and Basso Continuo in D minor, RV 541; dates of composition unknown.

Vivaldi was born and spent most of his career in Venice, with residencies in Prague, Amsterdam, Rome and other Italian cities. He died, penniless, in Vienna. The enigmatic red-haired priest left the altar after just two years (complaining of chest pains) and worked as composer at the most prestigious of Venice’s four music conservatories. The scope of his sacred, secular, vocal and instrumental writing is staggering—for example, 94 operas and 40 bassoon concertos—with much of it unknown until the last century. His hundreds of concertos brought the baroque concerto to a peak of perfection.

ARCANGELO CORELLI (1653-1713)

Concerto Grosso for 2 Violins, Cello, Strings and Basso Continuo in D major, Op. 6/4; published 1714.

Born in Fusignano, near Milan, Corelli as violinist has been called the Paganini of the 18th century. As a composer he is best known for perfecting the concerto grosso, pitting a small group of solo instruments (concertino) against a full orchestra (ripieni). Corelli profoundly influenced the next generation of composers, which included Vivaldi, Bach and Handel.

GEORGE FRIDERIC HANDEL (1685-1759)

Concerto for Harp and Strings, HWV 294 in B-flat major, Op. 4, no. 6; composed 1736.

Born in Halle, Germany, Handel developed a passion for opera during a stay in Italy. He lived in London as a hugely successful composer of operas, oratorios, cantatas, concerti grossi and other instrumental works. The Concerto in B-flat is part of six concertos for organ (or harp) and orchestra, written as interludes during oratorio concerts. They were the first works of their kind for this combination of instruments and served as a model for later composers.

—Notes compiled by Ruth Wilson

Detailed view of two baroque violins from the Museum of Ancient Musical Instruments, Vienna.

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SFJAZZ CollectiveFriday, April 17 at 7:30 p.m.Weill Hall

ARTISTS

Miguel Zenón, alto saxophoneDavid Sánchez, tenor saxophoneAvishai Cohen, trumpetRobin Eubanks, tromboneWarren Wolf, vibraphone, marimbaEdward Simon, pianoMatt Penman, bass Obed Calvaire, drums

PROGRAM

The Music of Joe Henderson and original compositions

Selections will be announced from the stage.


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ARTIST BIOS SFJAZZ COLLECTIVE

SFJAZZ COLLECTIVE

The SFJAZZ Collective is an all-star award-winning jazz ensemble comprising eight of the finest performers/composers at work in jazz today. Launched in 2004 by SFJAZZ, the Collective has become one of the most exciting and acclaimed groups on the jazz scene. The SFJAZZ Center in San Francisco is the Collective’s home base.

The SFJAZZ Collective celebrated its 10th anniversary with a Spring 2014 Tour and an appearance at the 60th Anniversary Newport Jazz Festival by highlighting their greatest arrangements and original compositions. This “best of ” performance included material from many of the Collective’s past and present members along with the tribute composers including Ornette Coleman, John Coltrane, Herbie Hancock, Thelonious Monk, Wayne Shorter, McCoy Tyner, Horace Silver, Stevie Wonder and Chick Corea.

In addition to its outstanding line-up, the SFJAZZ Collective has been praised for its innovative approach to repertoire. Each year, the ensemble performs a new list of compositions by a modern jazz master and new pieces by the Collective members (commissioned by SFJAZZ). Through this pioneering approach, simultaneously honoring jazz’s recent history while championing

the music’s up-to-the-minute directions, the Collective embodies SFJAZZ’s commitment to jazz as a living, ever-relevant art form.

To cultivate its distinctive sound, the SFJAZZ Collective convenes in San Francisco each spring for a multi-week residency. Throughout this extended rehearsal period—a rarity in today’s jazz—the octet workshops the season’s new repertoire and interacts with the Bay Area community through SFJAZZ’s education programs for youth and adults. The Collective then takes to the performance stage, including home season concerts under the auspices of the SFJAZZ Spring Season and a national and international tour, with stops in some of the world’s most prominent concert halls.

The Collective recently released the 2-CD set, The Music of Chick Corea & Original Compositions, recorded in March 2013 at the brand new SFJAZZ Center in San Francisco. The Collective’s first and only studio album, Wonder: The Songs of Stevie Wonder, won Outstanding Jazz Album at the 45th Annual NAACP Image Awards in Pasadena, California.

MIGUEL ZENÓN Alto Saxophone Original Member from 2004

Among the great saxophonists to emerge at the end of the 20th century, Puerto Rican tenor virtuoso David Sánchez is in a class by himself. Following studies under the great Kenny Barron at Rutgers, the saxophonist was selected by jazz legend Dizzy Gillespie to join his renowned United Nation Orchestra. Sánchez went on to become a one of the most

recordings as a leader including the Grammy Nominated Alma Adentro (2011), which is a tribute to the Puerto Rican Songbook. As a sideman he has worked with jazz luminaries such as Charlie Haden, David Sánchez, The Mingus Big Band, Fred Hersch, Kenny Werner, Bobby Hutcherson, Steve Coleman and the SFJAZZ Collective. Zenón has been featured in publications such as New York Times, Wall Street Journal, Los Angeles Times, as well as gracing the cover of DownBeat Magazine. As a composer, he has been commissioned by SFJAZZ, The New York State Council for the Arts, Chamber Music America, The John Simon Guggenheim Foundation and many of his peers. Zenón has given hundreds of lectures and master classes at institutions all over the world, and is a permanent faculty member at New England Conservatory of Music. In 2011 he founded Caravana Cultural, a program that presents free jazz concerts in rural areas of Puerto Rico.

Multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as

a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American and Jazz. Born and raised in San Juan, Puerto Rico, Zenón has released six

DAVID SÁNCHEZ Tenor Saxophone Member 2012 - Present

celebrated instrumentalists in jazz, recording nine albums as a leader and winning a Latin Grammy Award for his 2004 Columbia orchestral session, Coral. The five-time Grammy nominee has performed with a roster of greats including Charlie Haden, Eddie Palmieri, Roy Haynes, Tom Harrell and countless others. In addition to his work as a performer, Sánchez has an impressive résumé as an educator, conducting master classes, workshops and residencies at the world’s top universities and conservatories. His latest album is the Concord release Ninety Miles, a project recorded in Cuba and co-led by trumpeter Christian Scott and Collective, vibraphonist Stefon Harris.


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Voted a Rising Star in the 2012 DownBeat Critics Poll, Avishai Cohen has earned renown as a musician with an individual sound and a questing spirit, an ever-creative player-composer open to multiple strains of jazz and active internationally as a leader, co-leader and sideman. Cohen played a headlining set at the 2011 Newport Jazz Festival, leading his thrilling trio Triveni

with double-bassist Omer Avital and drummer Nasheet Waits. The trumpeter also records and tours the world as part of the prestigious SFJAZZ Collective, as he does with The 3 Cohens

AVISHAI COHEN Trumpet Member 2010 - Present

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ROBIN EUBANKS Trombone Member 2008 - Present

A five-time “Trombonist of the Year” in the DownBeat Magazine Critics Poll, Robin Eubanks is the premier jazz trombonist of his generation. In addition to leading his own groups, EB3 and Mental Images, Eubanks has performed and composed on Grammy-winning recordings with Dave Holland and Michael Brecker.

WARREN WOLF Vibraphone, Marimba Member 2013 - Present

Warren Wolf is the newest member of the SFJAZZ Collective replacing veteran Stefon Harris. Wolf is a multi-instrumentalist from Baltimore, Maryland. From the young age of three years old, Wolf has been trained on the vibraphone/marimba, drums and piano. He attended the Peabody Preparatory for eight

Sextet— the hit family band with his sister, clarinetist-saxophonist Anat, and brother, saxophonist Yuval. With The 3 Cohens, he has twice headlined the hallowed Village Vanguard as well as appeared on the cover of the January 2012 issue of DownBeat. Cohen is also co-leader of Third World Love, a longstanding multicultural venture with bassist Omer Avital, pianist Yonatan Avishai and drummer Daniel Freedman. Born and raised in Tel Aviv, Israel, Cohen began performing in public in 1988 at age 10. He was educated at the Berklee College of Music in Boston on a full scholarship, and he placed third in the Thelonious Monk Jazz Trumpet Competition in 1997. His discography as a leader includes The Trumpet Player, After The Big Rain, Flood, Seven, Introducing Triveni and Triveni II. As a teacher, Cohen gives courses at Siena Jazz in Italy, along with holding master classes from Israel and Barcelona to Winnipeg and Berklee in Boston.

In addition, he has worked with music legends Art Blakey, McCoy Tyner, Elvin Jones and the Rolling Stones, to name a few. The native Philadelphian, an acclaimed composer, is the recipient of composition grants from Chamber Music America and ASCAP. Eubanks is a sought-after educator and is now a tenured Professor of Trombone at the renowned Oberlin Conservatory.

years studying classical music with former Baltimore Symphony Orchestra member Leo LePage. During his high school years at the Baltimore School for the Arts, Wolf studied with current Baltimore Symphony Orchestra member John Locke. After graduating from Baltimore School for the Arts in June of 1997, Wolf headed north and enrolled at the Berklee College of Music in Boston. Wolf has several recordings as a leader and was recently signed to the Mack Avenue Records. The upcoming release of Warren Wolf, the eponymous debut album, will make it as apparent to jazz fans as it already is to jazz insiders that the 31-year-old vibraphonist is the next major voice on his instrument.


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Miami native Obed Calvaire is one of the most exciting young drummers on the jazz scene. A brilliant instrumentalist who made his mark with trombonist Steve Turre, Calvaire has performed and recorded with an impressive array of jazz artists including Wynton Marsalis, Eddie Palmieri, Roy Hargrove, Bob Mintzer, the Vanguard Jazz

OBED CALVAIRE Drums Member 2013 - Present

with a host of jazz greats including John Scofield, Joe Lovano, Kurt Rosenwinkel, Guillermo Klein, Nneena Freelon, Nicholas Payton, Dave Douglas and Madeleine Peyroux. His latest project is the supergroup James Farm, which includes founding SFJAZZ Collective tenor saxophonist Joshua Redman, pianist Aaron Parks and Collective alumnus drummer Eric Harland. Their self-titled Nonesuch debut was released this year.

Originally from New Zealand, Matt Penman has become one of the most in-demand bass players of his generation since moving to New York in 1995. In addition to releasing his own critically acclaimed CDs as a leader, Catch of the Day (2007) and The Unquiet (2002), he has recorded as a sideman on some 100 other discs, and has performed

MATT PENMAN Bass Member 2005 - Present

Hutcherson, Bobby Watson, Terence Blanchard and Don Byron. He has produced seven critically acclaimed albums as a leader, including two New York Times top ten jazz records of the year: Edward Simon and Simplicitas. Currently, Simon leads his own trio, Ensemble Venezuela, collaborates with saxophonist David Binney in the quartet Afinidad and also appears alongside his brothers in the group Simon, Simon & Simon.

A 2010 Guggenheim Fellow, Edward Simon was born in the coastal town of Punta Cardón, Venezuela, where he grew up in a family of musicians surrounded by the sounds and rhythms of Latin and Caribbean music. Settling in New York City in 1989, he played with numerous jazz masters, including Herbie Mann, Paquito D’Rivera, Bobby

EDWARD SIMON Piano Member 2010 - Present

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ZZ Orchestra, Mark Murphy, Eric Reed, the Clayton Brothers and others. Calvaire is a musical chameleon at home in any musical situation, performing extensively in Afro-Cuban, R&B, pop and world music contexts. In addition to the SFJAZZ Collective, his current projects include work with Richard Bona, Peter Cincotti, Musiq Soulchild and young trumpet phenomenon Sean Jones. Calvaire holds a degree from the Manhattan School of Music.

“The Collective demonstrates that decades-old music needn’t lose its contemporary relevance — not, at least, in the hands of a group this encyclopedic in its knowledge of tradition, but just as versed in the foundation of jazz as a living, breathing and forward-reaching thing. As definitive of the modern mainstream as it gets.”

— All About Jazz


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DONALD & MAUREEN GREEN MUSIC CENTER DONOR HONOR ROLLAS OF FEBRUARY 12, 2015

$1,000,000 and above

People of the State of CaliforniaJoan and Sanford I. Weill and the

Weill Family FoundationMasterCardDonald and Maureen Green Jean and Charles Schulz Norma and Evert PersonTrione FoundationJohn and Jennifer WebleyG.K. HardtHerb and Jane DwightJacques and Barbara SchlumbergerLes and Judy Vadasz, Vadasz Family

FoundationIn memory of Ruth Garland BowesDon C. and Louise S. Johnston, in

memory of David Charles Johnston

$5,000 – $999,999

Kären and Jay Abbe Yale and Terry Abrams Janice Grace Adams Advanced Fibre Communications Jizell Albright Ammons Family Anderson, Zeigler, Disharoon,

Gallagher & Gray Gerald S. Anderson and

Beatrice N. Coxhead Carolyn J. Anderson William C. and Ann M. Anderson Bob and Karin Andrews Joe and Phyllis Apfel Ruben Armiñana and Marne J. Olson Jack Atkins and Yvonne Darling-Atkins Julie and Tom AtwoodLindsay and Kirsten AustinChuck and Dorothy Aver Carol Babcock, in memory of

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of Joseph A. Gemi Catherine Bachman John and Ruth Baillie Jane and Gerald Baldwin Gary and Maria Baldwin Bank of America Charitable Foundation In memory of Roger BarberRichard Barbieri, in memory of

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Carpet One B.J. and Bebe Cassin Linda Castiglioni Patti and Ray Chambers The Chan-Stanek Family Pamela and Timothy Chanter Laura Chenel and John Van Dyke F. Scott and Shirley Chilcott Ken and Darlene Christiansen Tom and Irene Clark Helen M. Clasper Clay Foundation - WestWilliam and Sara Clegg, in memory of

Dr. Harding Clegg Kim and Clay Clement Patricia F. Clothier Clover-Stornetta Farms Hugh and Connie Codding Harold L. Coleman and

Alice S. Coleman Michael and Mary ColhounEllen and Louis Comaduran Dan and Janet Condron Steven and Geraldine Congdon Edward and Nancy Conner Nan and Ransom Cook Jess and Crawford CooleyRandolph W. and Jean W. Cornes Mr. and Mrs. Kim and

Michelle Covington John K. and Katharyn W. Crabbe Wilson Craig Jack and Beverly Cranston Marcia Da Pont, in memory of

Richard Hastings Da Pont Mrs. W.A. Dager Terry and Joanne Dale Chet and Noelle Dangremond Rocky L. Daniels and Deborah W. Trefz Susan and Fred David Chris and Bonnie Day John and Nancy Dayton Ellen De MartiniIn memory of Flora Dean Dr. and Mrs. Thomas C. Degenhardt Didi and Pershing DeGolia Anne and Edward Del Monte Jayne DeLawter and

Kenneth Koppelman Edward and Bernice Dermott Ron and Kris Dick Raul and Nancy Diez Joan Withers Dinner, in memory of

Richard S. Dinner Pete Dintiman Family and friends, in memory of

Bill Donaldson Darlene Donaldson FamilyPeggy Donovan-Jeffry and John J. Jeffry Carolyn Doran and Lawrence Shapiro Nancy and Dale Dougherty James and Jean Douglas Gordon and Joanne Dow Hallie and Paul DowneyNancy Doyle MD and George L. Smith

Jr. MD Robin A. Draper and Mike Davis Donors and Friends, in honor of

Robin Draper Mary and Eric Drew Timothy and Gloria Oster Duncan Charles A. Dunkel Jack Dupre and Marsha Vas Dupre Randon and Juliana Duranceau E.A. Durell & Co. Inc. Karen Dutton and George R. Dutton Kate Ecker and John Mackie Charles and Deborah Eid Sheila and Harold Einhorn, in honor of

our parentsWinston and Louann Ekren Paul and Mary Elliott Ted and Peggy Elliott Edward and Joanne Enemark Eschelon Telecom Robert and Dolores Evans Whitney and Jeanette P. Evans Exchange Bank Harry W. Fall and Barbara J. Fall Mary and Scott Farrar Stanley A. Feingold and Roslyn Edelson In memory of Martin and

Elisabeth Feinman Dr. Reed and Nancy Ferrick Kathleen Nanette Ferrington and

Brent Finley Dr. Richard and Barbara Ferrington Mildred Ferro, in memory of Michael

O. Ferro Jeanne Ferroggiaro Fireman’s Fund Insurance Company Fred and Juelle Fisher Pauline “Polly” Fisher Ned and Sally Foley Fornage Family Lewis and Diana Forney Dr. and Mrs. Jacob J. Foster Herbert M. Fougner Tom and Betty Freeman Charles and Perry Freeman Anne and John Friedemann Gene and Marjorie Friedrich Michelle and Robert Friend Friends of the Green Music Center

To the more than 1800 individuals and organizations that have given to the Green Music Center, we are deeply grateful for each and every contribution. From the largest of gifts to the smallest, from the earliest donors to the most recent, you have made this dream a reality. Your commitment to education and the arts has brought us to this moment at Sonoma State University.

Your continued participation makes possible the performances and educational programs which lie at the heart of the Green Music Center's vision. For more information about donating to the Green Music Center, please contact Steven K. Berry at 707.664.3586.


Bob and Rita Frugoli Patricia and William Fuller Larry and Karen Furukawa-Schlereth Ms. Fay Gallus and Dr. Richard Sweet Lynn and Claude Ganz Joseph A. and Judith M. Gappa Gary Garabedian Cappie and Tom Garrett Janet Gavagan, in memory of

James GavaganRobert Gilchrist, in memory of Gay KennyRobert and Terese Gilford Jan Gilman of the Lenore and Howard

Klein Foundation Paul M. and Marcia H. Ginsburg Richard and Jennifer Girvin Pat Glasner Family, in memory of Mary

“Taffy” Glasner and Kevin Glasner Mr. and Mrs. C. Convers Goddard Karen Godfrey and Richard Israel Steve Goldberg and Renee Miguel Richard and Rhoda Goldman Fund Bernie and Estelle Goldstein Laurence K. Gould, Jr. Jule Grant, in honor of Dr. Susan McKillop,

Dr. Robert Jefferson, Dr. Gardner Rust John and Pamela Graziano, in memory of

Dot Drew and Joe Marasco Leona and Joel Green Victoria Green-Comfort Florence Gresty Lawrence Guernsey Family Trust Guerrera Family Karin Guzmán, in memory of

Raoul Guzmán Ray and Amanda HaasJohn and Jean Hackenburg Dick and Mary Hafner Ann Hall William K. Hamilton Marty Hamilton, in memory of

Beverly Hamilton William and Constance Hammerman Jim and Anne Handley Hansel Auto Group Alyce Hansel Jack F. Harper and Deyea V. Harper Sandy and Cindy Harris In memory of Chod Harris

VP2ML WB2CHO Stu Harrison and Dave Ring Jim and Jean Harrison and Keir Skinner William C. and Doris E. Harrison Deborah and Michael Hatfield Marta Hayden, in memory of

Blanche Hayden and Carmen RobertsMr. and Mrs. Robert Hayden Sally L. Heath Douglas P. Heen and

William A. Scogland Judge Patricia Herron (Ret.) Henry H. and Gloria Fabe Hersch The William and Flora Hewlett

Foundation Spence and Anne Hiatt Professor Bryant and Mrs. Diane Hichwa Helen R. Higby, in memory of

Ruth and Nick Higby In memory of Juelle and Allen Hinman James and Carolyn Hinton John and Joan Hodge Bruce and Elizabeth Hoelter Jean Holm Shell

John A. Holt and Geraldine P. Holt Ruth V. Hosty Herbert and Lois Howe Keith and Cherie Hughes Jim and Betty Huhn Gary and Lynn Imm Jackson Family Wines Jeff and Judy James and Family Gene Jemail and Betty Joslyn Jemail Dr. and Mrs. Nathan Johnson Rick and Geri Johnston Jack V. and Marilyn R. Jones Samuel L. Jones and Candace P. Jones David and Ann Jones Malcolm Jones and Karen Roche Sandra JordanTom JordanMartha and Jeffrey Kahane Michael and Susan Kashack Michael and Karen Kasper Arthur and Judith Kayen Keegan & Coppin Company, Inc. Louis and Olivia Kendall John and Jan Kern Janet and Bo Kirschen Kiwanis Club of Santa Rosa Suburban Katharine and Jean-Serge Klein Martha G. Köhn Lorraine Komor, in memory of

Peter S. Komor Koret Foundation Dr. John Kornfeld and Laurie Prothro Edward and Elizabeth Kozel, Sr. Sara and Edward Kozel Diane Krause and Gerrett Snedaker Lily Krulevitch, in memory of

Tova and Max Fishman Jim and Linda Kuhns, in honor of

Charlotte Lamb Antoinette Kuhry and Thomas Haeuser James H. L’Hommedieu Jim and Charlotte Lamb Peter and Exine Lamonica Dan Lanahan and Martin Reilley In memory of Bruce S. Lane and

Mary Ellen Lane Jeff Langley, in honor of Leonard and

Judith Kertzner Dennis E. Lantz, in memory of

Lawrence L. Lantz Judge Henry B. and Bonnie LaskyEugenia Lea-McKenzie The Leavens Foundation Maribelle and Stephen Leavitt Louisa Leavitt Richard and Dianne Leger Lemo USA, Inc. Stephanie Leong and Raymond Tom Amy Miller Levine and

Joel R. Levine, MD Dan G. and Carol Ann Libarle Millie G. Libarle Joanne and Glenn Lillich Nancy and Tony Lilly Sid and Gerry Lipton Barney and Cindy Locke Lawrence and Frances Lok and Family Anne and Alexander Long Jim Lotter, in memory of Gladys V. Lotter John and Joan Lounsbery Maria Elizabeth Lucidi Richard C. Ludmerer Darrell Luperini DDS and Chantal Vogel Merrill LynchDale Lynch and Joanne Foote Lynch Michael MacDonald

Malkemus family, in honor of Annabelle George

Kitty and Fred Mann Richard and Caroline Marker Drs. David and Norma Marks Valerie J. Marshall and

Mark A. MatthewsCatherine and David Marsten John and Pat Martin Jane Mastick Arthur and Lynda MatneyFrank and Kathleen Mayhew Henry and Diane Mayo Kai-Uwe Mazur MD and Lindsay MazurLouise and William B. McCann Mr. and Mrs. Jack W. McCarley Margaret McCarthy and Robert WorthJohn and Evelyn McClure Neil and Amelia McDaniel

Charitable Trust Neil and Amelia McDaniel Gerald and Lynn McIntyre George and Marie McKinney Jean McLaughlin Laura Kimble McLellanHannah Rose McNeely,

Rosemary McNeely, Kevin McNeely Patricia McNeill and Gabriela Schwenker Clifford and Patty Melim Jim and Shirley Meyer Gene and Carole Michel William and Julie Middleton Syd and Judy Miller James Stewart Miller James and Joann Mitchell Greg and Laura Mlynarczyk Patricia Moehlman, in memory of

Shirley Sparling Melissa Monson

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Laurence Lusk Moore Charitable TrustRichard Morehead Jr. and Kenneth Knight Doug Morton and Paula Jackson Barbara Moulton, in memory of

Charity H. Morse Madi and Robert Mount Tim and Nancy Muller The Charles Murphy Family Douglas and Barbara Murray Alan and Dorothy Murray Warren and Elizabeth Musser Lorna and Neil Myers The Neal Family Jim and Gwen Neary Daniel Needham Gary D. and Marcia L. Nelson Ron and Eileen Nelson Gary and Elsa Nelson Phyllis Steinman Caplan and

Douglas Nesbitt Manuel and Cynthia Nestle H. Andrea Neves and Barton Evans Charles Nevil and

Nancy Bleiweiss-Nevil Bruce and Sindy Nevins Nadenia Newkirk Delphine Newman Bob and Carole NicholasBarbara and Ambrose R. Nichols, Jr. Robert and Sally Nicholson Estate of Paul Nielsen Susan and Philip Nix David Noorthoek, MD Eric and Yvonne Norrbom Cissie and Mid O’Brien Paul D. O’Connor The Reverend Francis and Mary O’Reilly OCLI /a JDS Uniphase Company Gloria Ogg and David Bates

Members of Trio Ariadne – Weill Hall’s Carnegie-trained artists-in-residence – take questions after performing for music students at Windsor High School. From left, Elizabeth Joy Roe, Sæunn Thorsteinsdóttir and Carol McGonnell.

DONALD & MAUREEN GREEN MUSIC CENTER DONOR HONOR ROLL

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DONALD & MAUREEN GREEN MUSIC CENTER DONOR HONOR ROLL

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Nancy Ogg, in memory of Gilbert ‘Tim’ Foote

John and Kirsten Olney Steve and Lynn Olsen, in memory of the

Price and Olsen Families David and Aggie Olson Steve Osborn, Renata Breth,

Celeste Osborn Paul and Sandra Otellini, in honor of

Alexis Otellini Raul and Diana Paabo Louise Packard and Larry Moskowitz Harriet and Bernard Palk Joan Ramsay Palmer Michael Panas, in memory of

Elaine “Honey” Panas Dorothy B. Pathman William A. Payne and Sandra J. SettleClare Pearson, MD, in honor of

Kathryn and Kent Joyce and Steve Pease Dr. Charles and Margaret Peck Fred J. Pedersen Sonne J. Pedersen Judith PeletzTom and JaMel Perkins Beverly J. Perry Glenn and Jana Peterson The Family of Katherine Pew,

in her honor Monika and Peter Piasecki Douglas Pinter and David Young Pisenti & Brinker LLP Joan and Lewis Platt Richard Pratt and Kathie Murphy Marty and Ken Prouty The Putney Financial Group Virginia Pyke Chuck and Kati Quibell Damon and Marjorie Raike William H. and Barbara Ramsey The Family of Estelle Ratner Joseph A. and Mary E. Rattigan John and Susan Reed Gail Reid, for her father,

Leland Chapman Bill and Mary-Louise Reinking Republic Services, Inc. Dr. Robert and Barbara Richardson Harry and Dee Richardson Betty and Herb Riess Jonathan M. Riley Kenneth Ripple and Peggy Morris David and Vicki Ritter C. Beth Robertson Rabbi Michael A. and Ruth Robinson Sharon and Jerry Robison Emily and Walter Roeder Venetta and John P. Rohal Jack and Katie Rohrman for

Florence R. Lamb Michele Rosen Ira H. and Ruth S. Rosenberg The Joseph and Evelyn Rosenblatt

Charitable FundFloyd Ross, in memory of William and

Virginia Ross Eric Rossin and Beth Weisburn Roxy and Kathleen Roth William and Joan Roth Irwin and Coleen Rothenberg, Wealth

Management Consultants, LLCHarry L. Rubins

Martha Rapp Ruddell and Perry M. Marker

William J. and Helen B. Rudee E. G. Rust David L. and Sandra J. Sandine Santa Rosa SymphonySanta Rosa Symphony Musicians and Staff Santa Rosa Symphony Musicians from

the Corrick Brown Fund Santa Rosa Symphony League George S. Sarlo Denise Scaglione Ralph and Janice Sceales Doris Schaefer Carol Cochran Schaffner Robert and Joan Scheel Richard and Ann Schindler William M. and Marilyn P. Schlangen Susan and Dale Schmid Diane Schoenrock John and Gayle Schofield Bob and Priscilla Schultz Schurter Inc. Bruno H. Schurter Jean and Ian Seddon Raymond N. Shapiro, MD Harvey and Deborah Shein Mr. and Mrs. Andrew J. Shepard Michael Troy and Judy Shubin Michelle Sikora Vernon and Lida Simmons Robert W. and Rachel M. Sinai Susan K. Skinner and

Robert G. Heisterberg Dr. and Mrs. W. McFate Smith Larry and Zilpha Snyder Irene and David Sohm Marv and Fran Soiland Sonoma Bank Sonoma State University Alumni

Association Alan Soule Walter and Mary Spellman Shirley Spencer Kathleen Spitzer and Stephen C. Miller Stuart Davidson Squair Roslyn Squair, in memory of Stuart and

Jean Squair Rich and Laura Stanfield Dr. Michael Star Dry Creek Vineyard and David S. Stare Jon and Teresita Stark State Farm Companies Foundation Kathleen and David Steadman In memory of Kathleen R. Steadman by

family and friends Gregory and Patricia Steele Marlene and Martin Stein The Audrey and Barry Sterling Family of

Iron Horse Vineyards Gay B. and Hans L. Stern Margaret Stock Charles and Maryanna Stockholm Stoesser-Gordon Plastics David and Vicki Stollmeyer Edward and Carolyn Stolman Foundation Gillian and Ross Stromberg Roy and Emily Stubbs Jane and Jack Stuppin Cornelia Sulzer Summit State Bank Judith Croll Swanger Earle and Terri Sweat Barry Swenson Builder Roselyne Chroman Swig J.F. and Susan S. Taylor

Joanne and John Taylor Waights Taylor and Liz Martin Temple Family TrustMichele and Scott Thayer Sigrid Thomason and Hedy Stut Mrs. Edward J. Throndson Tietz Family Foundation Mrs. Walter J. Treanor, in memory of

Dr. Treanor Dr. and Mrs. Alessandro Trombetta Evelyn Niemack Truman, in memory of

Robert V. Truman Hugh TruttonL. Stephen and Neva Turer Ransom and Marilyn Turner Arlene and Joseph Ulmer Joe and Eunice Valentine Wayne and Gladys Valley Foundation The Veritys, in memory of

Frances Barrick Verity Michael and Janet Verlander Dr. and Mrs. Eric W. Vetter William M. Vick and Susan Lee Vick Robert and Catherine Vila Vineyard Creek Hotel Renee Vollen Alice and Lloyd von der Mehden John and Terry VotrubaTerry and Cristina Wadsworth Victor Waithman, in memory of

Norma Waithman Michael J. Waldorf In loving memory of Bruce R. Walker Marilyn and Edward Wallis

$5,000 – $999,999 continued Rod and Lynne Wallace Dr. and Mrs. Richard Wallrich David Walls and Barbara Walls Hanson,

in memory of Elizabeth S. Walls Mrs. Joan Walsh Robert H. Walter Family Trust Dotty and Jim Walters Shirley and Bill Ward Ron Welch and Ellen Watson Jane and Nelson Weller Wells Fargo Bank Holly and Henry WendtJanet and Patrick Wentworth Harry and Margaret Wetzel Bill and Pat White Creighton and Dorothy White Matt and Melissa White Annette and Rick Wilber Greg and Gay Wilcox Zeanette Williams Elizabeth B. Witchey, in memory of

Julian C. Ryer and Mary F. Holme Constance Wolfe and Marshall Kent Peter and Sara WoodfieldMichael and Katie WrightScott and Lee Wright Robert and Donna Young Tim and Pam Zainer Shirlee Zane and Peter Kingston Kirt and Bev Zeigler John and Dayna Van-Kleeck ZieglerJoseph C. Zils Family FundBeryl F. Zimberoff, in memory of

Michael J. Fasman

The San Francisco Symphony returns to Weill Hall during the 2014-15 season.


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WEILL HALL AND GREEN MUSIC CENTERBOARD AND ADMINISTRATIONAS OF FEBRUARY 12, 2015

UNIVERSITY PRESIDENT

Ruben Armiñana

BOARD OF ADVISORS

Sandy Weill, Chairman*Joan Weill, Vice-Chair*Marne Olson, Vice-Chair*Lynn Fritz, Treasurer / Co-Chair, Finance*Gary Nelson, Secretary*

Darius Anderson* Alice ChiangTed Deikel John Dyson Anisya Fritz Larry Furukawa-SchlerethLaurence K. Gould, Jr.Richard Guggenhime Henry Hansel, Chair, Development*Debby Hopkins, Co-Chair, Finance*Keith Hughes, Chair, Nominating*Richard Idell Victor LacombeJanet Lamkin* Zarin Mehta Michelle Mercer Paul Otellini John RyanJudy Vadasz Les Vadasz, Chair, Strategy*Lars WaltonRichard West Sharon WinslowFrank Yeary

EX-OFFICIORuben Armiñana, University President Anthony Gallino, Associated Students PresidentAndrew Rogerson, University ProvostRichard J. Senghas, Chair of the Faculty

EMERITUSDonald Green, Co- Chair Emeritus

*EXECUTIVE COMMITTEE

ADMINISTRATION

EXECUTIVEZarin MehtaLarry Furukawa-Schlereth

ARTISTIC ADMINISTRATIONCaroline Ammann Joseph Gray

DEVELOPMENTSteven K. Berry

FINANCELaura Lupei

LOGISTICS & OPERATIONSKevin Martin Cindy ChongKamen NikolovJerry Uhlig

MARKETING & COMMUNICATIONSMelissa A.E. SandersJana JacksonJessica Anderson Robin Freeman

POPULAR PROGRAMMINGPeter Williams

BOX OFFICEMegan Christensen

GUEST SERVICESPatrick MaloneyLori Hercs

HOSPITALITYKelley KaslarKindra KautzJosef Keller

CONSULTANTRuth Wilson


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$50,000 and above

Darius AndersonAlice Chiang and Victor LacombeTed DeikelJohn DysonLynn and Anisya FritzRichard GuggenhimeCraig HallHenry HanselDebby HopkinsCherie and Keith HughesRichard IdellJanet LamkinCarol and Samuel MillerMichelle MercerGary NelsonPaul OtelliniJohn RyanLes and Judy VadaszJoan and Sandy WeillSharon and Clark WinslowFrank Yeary

$10,000 - $24,999Mr. and Mrs. William M. RothMaribelle and Stephen LeavittAlan and Susan Seidenfeld

$5,000 - $9,999Mr. and Mrs. Arnold CarstonEllen De MartiniDr. William HinkleMs. Nancy D. LillyAndrew McDermottMr. and Mrs. Timothy M. MullerMr. and Mrs. Steven PeaseDr. and Mrs. Earle SweatMr. and Mrs. Michael VerlanderDavid L. Webb and W. Lynn McLaughlin

$2,500 - $4,999John Boland and James CarrollMr. and Mrs. Lawrence R. BrackettMr. Mark A. Dierkhising and Ms. Karen BrodskyDuane and Sarah DoveDeborah EidPauline "Polly" FisherJanice and Joel HadaryDr. Robert and Dianne HalesJolene Patterson and Robert MezzanattoMrs. Janet B. Siela

$1,000 - $2,499Abbey, Weitzenberg, Warren & EmeryMichael AjaTerry AtkinsonMr. Ivan BartaDan and Anne BenedettiTim and Corey BenjaminSteven Berry Sanford and Jo Anne BressickCorrick and Norma BrownKarin and Richard Burger

Mr. and Mrs. Paul BuzanskiMr. and Mrs. Michael D. ColhounLouis and Ellen ComaduranMr. and Mrs. Christopher CostinMarty and Sandy CoyleJohn CroweRocky Daniels and Deborah TrefzRichard and Anne DavisDr. and Mrs. Thomas C. DegenhardtJayne DeLawter and Kenneth KoppelmanBonnie DemergassoMs. Mary DentonMs. Joan Withers DinnerChristine H. Dohrmann Ms. Mary DolanMr. and Mrs. Bruce J. DziezaMr. and Mrs. William EdelenMark and Kathie ElcombeRussell W. and Dr. Claudette V. EngleMs. Nancy FawcettMr. and Mrs. Mark FeichtmeirSara Ferrandini Richard and Barbara FerringtonMr. and Mrs. Donald M. FriedrichMr. and Mrs. William GallaherDrs. James and Michelle GlennDavid Gray and Vrenae SutphinMr. Richard HandalJohn HayesPatricia and Michael HickeyMs. Kathy HoranMr. and Mrs. William A. IngelsMr. Malcolm Jones and Ms. Karen RocheAmy and Joel LevineMr. and Mrs. David MarstenSuzy and Mike MarzalekMr. Mark Matthews and Ms. Valerie J. MarshallMr. and Mrs. William MeserollJudith and Irwin Miller

Mr. and Mrs. Garrett NelsonGregory and Kathleen NordinEric and Yvonne NorrbomMs. Judith S. PeletzThomas and Dani RandolphMr. David RapoportDr. and Mrs. John B. ReedNeil Rudolph and Susan Cluff-DAFDr. and Mrs. ShapiroMr. and Mrs. Norman SilvermanMrs. Beverly SingerDrs. Lillian Soohoo and Anthony DebsMrs. Jacqueline M. SmithJudith SmithMs. Francoise StoneGordon ThomasDrs. Karen Thompson and Bob SwitkyChris Thwaites and Ruth EllisonMr. and Mrs. David TreziseMr. Edward Wallis and Mrs. Marilyn Belk WallisMs. Jennifer WalkerAnnette and Rick WilberScott Wright and Lee GoldenMr. and Mrs. ZeiglerMichael Selby and Gudrun Zomerland

$500 - $999Dr. and Mrs. William J. BarnierMr. Vernon BirksMr. and Ms. Timothy Doolin Donald Gee Lori Hercs Ms. Andrea KruegerGerald and Lynn McIntyreMr. William Payne Ms. Andrea Schutlz Alan Soule Mr. and Mrs. Zeigler

GREEN MUSIC CENTER ANNUAL GIFTSAS OF FEBRUARY 12, 2015

We wish to thank our donors for their generous support of the 2014-15 season at Weill Hall. Your contributions allow the University to bring world-renowned artists to campus and support the educational programs that are a cornerstone of our vision. For more information on how you can help, please contact Steven K. Berry at 707.664.3586.

Sonoma State University’s annual High School Choral Festival showcases more than four hundred singers from Sonoma and Marin counties each November.

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GREEN MUSIC CENTER PATRON INFORMATION

HALL AMENITIES• Indoor restrooms are located: on

the first floor at the end of Dwight Courtyard Gallery, adjacent to Person Lobby; on the second floor at the north end of the hall.

• Drinking fountains are located in the foyer of the first and second floor restrooms.

• Elevator service for Weill Hall is located on the north end of Person Lobby for access to the Choral Circle and Balcony.

COAT CHECK/LOST & FOUNDCoat check is available in Person Lobby at no charge. For Lost and Found items, please visit Coat Check in the lobby while at the performance or call the House Manager at 707.664.3957. Thereafter, call the SSU Seawolf Service Center at 707.664.2308.

DINING & BAR SERVICEPrelude at the Green Music Center is a fine-dining restaurant located at the end of Dwight Courtyard Gallery. Prelude is open on most concerts nights before, during intermission, and after the performance. Reservations are strongly advised: 1.866.955.6040 ext. 2.

Refreshment bars are located in Person Lobby, and are open prior to the performance and during intermission. No food or drink is allowed in the concert hall.

FIRST AID SERVICESFirst Aid services are available on-site. Patrons requiring medical attention can speak to any member of the Guest Services staff.

SMOKING POLICYSmoking, including electronic cigarettes, is not permitted on the Green Music Center grounds.

EMERGENCY EXITSIn case of an emergency, please walk calmly to the lighted “Exit” sign nearest to your seat.

LATE SEATING All concerts will begin promptly. Ushers will seat latecomers at appropriate intervals at the discretion of the performer. If you need to exit the hall following your arrival, please present your ticket to a ticket taker for exit scanning.

STANDINGStanding is not permitted inside of Weill Hall for the duration of the performance.

RECORDING DEVICESThe use of cameras, recording devices and other electronic equipment is strictly prohibited both inside and outside during all performances. Devices may be used prior to the show.

PATRONS WITH DISABILITIES• Weill Hall has accessible seating for

people with mobility limitations. Please notify us of any special needs at the time you purchase tickets.

• Assisted listening devices for the hearing-impaired are available at the coat check room in Person Lobby.

• Large-print / Braille programs: contact the Box Office two weeks prior to your concert date to request specialty programs. Pre-ordered programs may be retrieved from the service desk in Person Lobby.

• Sign language interpretation: contact the Box Office at least three weeks prior to your concert date.

FACILITY RENTALSFor more information on renting a space for your next event, please contact Conference and Event Services at 707.664.4091.

CHILDRENA ticket is required for everyone entering the hall. Performances are generally recommended for children seven and older.

PETSWith the exception of service animals, no pets are allowed on the Green Music Center grounds.

VOLUNTEERSThe Green Music Center is not accepting volunteer requests at this time.

TICKET SALESOur Box Office is happy to assist you with all your ticketing needs.hours: Mon-Fri, 10 a.m. to 6 p.m. and one hour prior to performances.phone: 1.866.955.6040online: gmc.sonoma.eduemail: [email protected] emergency messages: 707.664.3956general information: [email protected]

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WEILL HALL EMERGENCY EXITS

ATTENTION: Please take note of the exit nearest to your seat. In an emergency, WALK, do not run, to the nearest exit. Disabled patrons, remain in your seat and await assistance.

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GREEN MUSIC CENTER PHOTO GALLERY

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1 and 9 The amazing Yo-Yo Ma performed the Bach Cello Suites in Weill Hall for a sold-out crowd on January 24. 2, 4 and 8 On January 23, Tango Buenos Aires performed the first concert of 2015 in Weill Hall with a journey of dance and music through the life of the most important woman in Argentinian history, Eva Perón. 3 Mr. Ma greeted friends backstage after the concert, including Weill Hall and Green Music Center Chairman Sandy Weill and his wife, Joan. 5 Green Music Center staff members toasted

Mr. Ma on his successful, sold-out concert. 6 and 7 Orchestre de la Suisse Romande joined us for Valentine's Day to celebrate with the music of love, performing Rachmaninoff, Stravinsky, and more. Nikolai Lugansky is on piano and Charles Dutoit conducts. 10 During a post-concert reception, Mr. Ma was joined by guests, including (l. to r.) Green Music Center Co-Executive Director Zarin Mehta, Don Green, and Joan and Sandy Weill.

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Bleed: 8.625” x 11.125”Trim: 8.375” x 10.875”Live: 7.3756” x 9.875”Gutter: None

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Copyright 2015, Daydreamer Cinema. MasterCard, Priceless, and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. ©2015 MasterCard.

MUSIC THAT TRANSFORMS THE SPIRIT:PRICELESS®

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