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m o n t e r e y s y m p h o n y. o r g

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Season at-a-glance

Letter from the Board President

Letter from the Executive Director

Monterey Symphony Orchestra

CABRERA Concert Program

Donato Cabrera Biography

Julian Schwarz Biography

CABRERA Program Notes

John Wineglass Biography

BAY Concert Program

Peter Bay Biography

Simone Porter Biography

BAY Program Notes

PAK Concert Program

Jung-Ho Pak Biography

Rachel Barton Pine Biography

PAK Program Notes

OGREN Concert Program

Jayce Ogren Biography

Philippe Bianconi Biography

OGREN Program Notes

Dr. Alicia Mastromonaco Biography

Monterey Symphony Board & Staff

MSO Historical Timeline

2022 S EASON

Contents

"Monterey Symphony Through the Years" 60 75 Years of MSO Board Members

“Constant Change”

Symphony Sustainers

2021–2022 Donor List

Legacy Society

Leadership Gifts

Institutional Support

2022 CABRERA February 19–20, 2022 WINEGLASS CELEBRATION February 19, 2022

Season at–a– Glance The 75th anniversary season is generously sponsored by Bertie Bialek Elliott and Shirley & Herschel Loomis. 4

m o n t e r e y s y m p h o n y. o r g

BAY March 19–20, 2022 KAZU 90.3 FM, NPR MEM BER APPRECIATION NIGHT March 19, 2022

PAK April 16–17, 2022 4TH ANNUAL WOMEN’S NIGHT OUT April 16, 2022

OGREN May 14–15, 2022 SEASON CLOSING TOAST May 14, 2022 All events at Sunset Center, Carmel

2022 S EASON

Fall Pops Concert Tickets On Sale

May 15, 2022 New Music Director Announced

June 15, 2022 2022-2023 Subscriptions On Sale

July 15, 2022 75th Anniversary Gala Tickets On Sale

August 15, 2022 2022-2023 Single Tickets On Sale

September 1, 2022 75th Anniversary Gala at Monterey Peninsula Country Club

October 29, 2022

SATURDAY PRE-CONCERT EVENT SPONSOR

M ED IA S PO N SO RS

s e a s o n at - a - g l a n c e

Monterey Symphony Orchestra October 2019

m o n t e r e y s y m p h o n y. o r g

photo: Nic Coury

2022 S EASON

Greetings and welcome to the Monterey Symphony's 75th Anniversary Season! It has been two years, almost to the day, since the Monterey Symphony presented its last concert here at Sunset Center. During that time the Symphony Association has been busy continuing our mission of presenting Great Music Live, while preparing for the reopening of this 75th season. After a Covid hiatus, our search for a new Music Director, which began over three years ago, continues. We received over 150 well-qualified applicants from around the world. Each was reviewed by our Search Committee, which includes Symphony Board representatives and musicians. Interviews of applicants led to the selection of our final four candidates. We are devoting our entire 75th season to showcasing our four finalists for Music Director of the Monterey Symphony. Each finalist will conduct a concert this Spring. This special 75th anniversary season program book includes all the details on our four concerts, our conductors, and guest artists, as well as photos, articles, and a timeline celebrating our 75 years of making music. While our venue was shuttered, our Symphony musicians performed in monthly live-streamed Balcony Sessions, still available for viewing at montereysymphony.org. One of those sessions featured Christina Mok, our concertmaster, performing a solo composition, Alone for Solo Violin, Live EFX, & Electronica, by our Composer-in-Residence, John Wineglass. John has written an orchestral sequel, Alone Together, that will open our season at our February concert. It’s an exciting new time, so please enjoy the presentations of these excellent conductors. Here’s to 75 years and counting!

Bruce Lindsey, Board President

l e t t e r f r o m t h e b oa r d p r e s i d e n t

Dear Friends, It’s been two years since we last converged upon Sunset Center and so much has changed. I am struck particularly by the fact that we filmed Alone in January of 2021 to an empty hall. Director Douglas Mueller had the fantastic idea to film from the back of the stage, and with the gorgeous lighting design from Kendall Smith, those hundreds of empty seats were revealed behind Christina Mok’s artistry as she masterfully performed John Wineglass’ pandemic-inspired work. We were limited to eleven people in the venue, in full protective gear, and we waved from a distance and remarked at the powerful images we were memorializing. The film that we created has gone on to win nearly a dozen awards. It is a moment in time that we won’t forget. And now we find ourselves together again and we open this season with John’s work Alone Together.

"Where we were once alone, now we are together. And so the imagery continues." 8

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Scenes from the filming of Alone photos: R. Tunnell

2022 S EASON

Love Letter to Carmel, featuring singer Malinda DeRouen and conductor Brad Hogarth.

The resumption of our Music Director

photo: Randy Tunnell

We have missed you, in the way you miss

search brings back the potent feeling of

a community you are a part of. We have

hope that arts will continue, that we will

missed the marking of time with concerts

all persevere. We all turned to music, to

and events. Our Love Letter to Carmel in

art, to books during this time of sheltering

October brought us back the feelings of

in place, social distancing, staying away.

joy and celebration and we enter our 75th

And yet, music is a shared experience. The

Anniversary season with those feelings

energy of the lobby before and after a

firmly intact. From the Symphony staff

concert bookends a magical experience.

we heartily welcome you back to Sunset

We often survey the audience and ask

Center. Here’s to many more wonderful

if you lost track of time, immersion being

moments!

seen as a true virtue of the concert-going experience. Musically yours,

Nicola Reilly Executive Director

l e t t e r f r o m t h e e x ec u t i v e d i r ec to r

The Orchestra Violin I

Viola

Christina Mok, sponsore d by

Thomas Yee, sponsore d by

concertmaster

Gary & Carolyn Bjorklund associate concertmaster

Jeffrey Green

Vladimir Khalikulov, David Allcott,

assistant principal

Valerie Bengal

Xander Abbe

Fan Hu

Allison Gigi Dang

Chad Kaltinger

Claudia Fountain

Sarah Lee

Holly Heilig-Gaul

Alexander Volonts

Tina Minn

Cello

Rochelle Nguyen

principal

Robin Bonnell,

principal

Emily Packard

Adelle-Akiko Kearns,

Jessica Poll

Drew Ford

Sue-mi Shin

Nancy Kim

Jay Zhong

Linda Mehrabian

Violin II

sponsore d by

Zlata Grekov,

Maureen Sanders

Isaac Pastor-Chermak principal

Lila Woolman,

assistant principal

Sarah Chazin Ivelina Kofler sponsore d by

assistant principal

Russ & Jo-Ann Hatch

Akiko Kojima Calvin E. Lewis, Jr.

Saul Richmond-Rakerd Robin Snyder sponsore d by

Ed & Jeanne Gavrin

Bass Bruce Moyer,

principal

Gary & Carolyn Bjorklund Gloria Souza & Sandie Borthwick

sponsore d by an d

Kevin Matson

Christy Crews,

Tingting Volonts

Robert Ryan Ashley

Eugenia Wie

Richard Duke

Shelby Yamin

Brianna Goldberg

assistant principal

Stan Poplin

Flute Dawn Walker, an d

m o n t e r e y s y m p h o n y. o r g

principal

Shirley & Herschel Loomis Elaine & Neal Whitman

sponsore d by

Trombone

Piccolo

Phil Keen,

Will Baker,

Oboe principal

principal

Julia Sarah Bonomo,

principal

Timpani

Douglas Brown,

principal

Victor Avdienko principal

Nicolasa Kuster

Contrabassoon Lawrence Rhodes,

principal

Horn

James Kassis

Harp Karen Kirk Thielen,

Jackie Henning

assistant principal

Jackie Henning

Caitlyn Smith-Franklin Beth Zare

principal

Harpsichord Jonathan Salzedo,

principal

Alicia Mastromonaco,

principal

Personnel Manager & Orchestra Librarian Drew Ford

Stage Directors Pat Fitzsimmons & Douglas Mueller

Sadie Glass

Recording Engineer

Trumpet Dylan Girard,

principal

Jackie Henning John Enbom

sponsore d by

Arman Boyles

Section Sponsors

Owen Miyoshi

Viola section

sponsore d by

Curtis Nash

principal

Percussion Frank Wyant,

Bassoon

principal

Jackie Henning

Peter Thielen,

Clarinet

an d

Tuba sponsore d by

Ruth Stuart Burroughs,

sponsore d by

Jackie Henning

Forrest Byram,

English Horn

Daniel Nebel,

Jackie Henning

principal bass

sponsore d by

Stephen Henry

sponsore d by

principal

sponsore d by

Kyounghee Park Uhm

Bennie Cottone,

2022 S EASON

Teresa Orozco

Kenneth & Sally Ann Sikes

Joseph Zakar

Horn section sponsore d by

Michael & Mary Ellen McCormick

m o nter ey sym ph o ny o rch estr a

February 19 –20, 2022 Sunset Center, Carmel

This concert is sponsored by

Donato Cabrera, Conductor

The Martin R. Wolf Family Fund Julian Schwarz is sponsored by

Dave & Judi Zaches Julian Schwarz, cello

We want to hear from you! Please fill out a brief survey about your concert experience. Scan the QR code, use the Bitly link, or fill out a survey in our lobby bit.ly/msocabrera

m o n t e r e y s y m p h o n y. o r g

after the concert.

2022 S EASON

Cabrera CONCERT PROGRAM

Alone Together

John Christopher Wineglass (b.1972)

Cello Concerto No. 1 in E-flat Major, Op. 107

Dmitri Shostakovich

[run time 9’]

(1906-1975)

[28’]

Julian Schwarz, Cello I. Allegretto II. Moderato III. Cadenza—Attacca IV. Allegro con moto INTERMISSION

Symphony No. 5 in E minor, Op. 64 [48’]

Pyotr Ilyich Tchaikovsky (1840-1893)

I. Andante—Allegro con anima II. Andante cantabile, con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso—Allegro vivace KAZU will be rebroadcasting the Saturday, February 19 concert on March 5, 2022, and March 6, 2022 at 4 p.m. cab r er a co n cert progr am

photo: Kristen Loken

Cabrera Conductor 14

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Donato Cabrera is the Music Director of the California Symphony 2022 S EASON

and the Las Vegas Philharmonic. He served as the Resident Conductor of the San Francisco Symphony and the Wattis Foundation Music Director of the San Francisco Symphony Youth

In recent seasons, Cabrera has made

Orchestra from 2009-2016. Cabrera

impressive debuts with the National

is one of only a handful of conductors

Symphony’s KC Jukebox at the Kennedy

in history who has conducted

Center, Louisville Orchestra, Hartford

performances with the San

Symphony, Orquesta Filarmónica de

Francisco Symphony, San Francisco

Jalisco, Philharmonic Orchestra of

Opera, and the San Francisco

the Staatstheater Cottbus, Orquesta

Ballet. Cabrera is dedicated to

Filarmónica de Boca del Río, Orquesta

adventurous programming, living

Sinfónica Concepción, Nevada

composers, and digital innovation. He

Ballet Theatre, New West Symphony,

is keenly focused on outreach and

Kalamazoo Symphony, and the Reno

engagement, and programming that

Philharmonic. In 2016, he led the

reflects the communities he is serving.

Chicago Symphony Orchestra in

Donato Cabrera is continuously championing contemporary music and living composers. He made his

performances with Grammy Awardwinning singer Lila Downs. Awards and fellowships include

Carnegie Hall debut leading the

a Herbert von Karajan Conducting

world premiere of Mark Grey’s Ătash

Fellowship at the Salzburg Festival and

Sorushan with soprano, Jessica

conducting the Nashville Symphony in

Rivera. He also led the San Francisco

the League of American Orchestra’s

Symphony Chorus with organist

prestigious Bruno Walter National

Paul Jacobs in the world premiere

Conductor Preview. Donato Cabrera

of Mason Bates’ Mass Transmission.

was recognized by the Consulate-

Cabrera co-founded the New York-

General of Mexico in San Francisco

based American Contemporary

as a Luminary of the Friends of

Music Ensemble (ACME), which

Mexico Honorary Committee for

is dedicated to the outstanding

his contributions to promoting and

performance of masterworks from

developing the presence of the Mexican

the 20th and 21st centuries.

community in the Bay Area.

d o n ato c a b r e r a b i o g r a p h y

Julian Schwarz cello Julian Schwarz was born to a multigenerational musical family. Recognized from a young age as a cellist, his powerful tone and effortless virtuosity are hallmarks of his style. After making his concerto debut at the age of 11 with the Seattle Symphony with his father, Gerard Schwarz, on the podium, Mr. Schwarz made his US touring debut with the Moscow Radio Symphony Orchestra in 2010. Since being awarded first prize at the inaugural Schoenfeld International String Competition in 2013, he has performed with orchestras, chamber ensembles, and produced recordings throughout the United States as well as internationally. Schwarz studied at the Academy of Music Northwest, the Lakeside School, The Colburn School in Los Angeles, and The Juilliard School, earning both his Bachelor and Master of Music. Mr. Schwarz serves as Assistant Professor of Cello at Shenandoah Conservatory and on the artist faculty of NYU. 16

m o n t e r e y s y m p h o n y. o r g

2022 S EASON

Program Notes by Dr. Alicia Mastromonaco February 19-20, 2022

John Christopher Wineglass Alone Together Program notes by John Christopher Wineglass As I sequestered ‘alone’—quite literally—

As I again dwelled heavily into this work

to finish writing this work, while walking

on this particular week, there were parts of

to a market store near my beachfront

America that I had recognized and parts

quarters, I was verbally accosted by

that I knew were always there but certainly

two laughing white males who thought

did not recognize. Apparently, they don’t

it would be funny to go around with a

wear ghostly bed sheets anymore in this

bullhorn on top of their sporty Audi SUV

extremely politically-divided time while in

in this pristine neighborhood and spew

the midst of a global pandemic. Was I still in

out the expletive ‘nigger’ in of ALL places

the times of my recently deceased parents

where I normally do a lot of writing—Shell

of the 60’s and the era of riots during MLK

Beach, CA. A beautiful central coastline

or was this 2020?

between LA and San Francisco. What world are we living in? Let me

Have we NOT grown as a nation… at all? Were we going backwards to

rephrase that—what world are some of us

private and now public, George Floyd-

living in and others (millions in fact) choose

esque lynchings of the past? Indeed

to turn a blind eye to?

‘Strange Pandemic Times’… my working title of the first movement. This is just what was personally happening to me while

c a b r e r a p r o g r a m n ot e s

composing this work—outside of my own disposition was a world constantly shifting particularly here in America with an unbalanced demagogue at the helm and daily major unstable shifts in the temperature of this country. This presentday world of 2020 is reflected in this new composition by the constant shifts in tonal centers or atonality if you will—without tonality… without centeredness… swelling major-minor chords in the strings without any sense of stability or normalness. Give me normal please. There would be a glimmer of hope—times of possible brilliance—yet brought back to a current ten intense months (for now) dismal reality. A longing for common ground but finding no footing… no continuity. Abrupt silences… alone… many intubated. No foundation… lost in a midst of unbelief of what I was

John Christopher Wineglass has written scores for MSNBC, CNN, NBC, CBS and ABC as well as scoring the documentaries on Kathy Lee Gifford and Farah Fawcett, Headliners and Legends, and The Brady Bunch. Several of his commercials include music for the United States Army, American Red Cross and Texaco. As a recipient of three Daytime EMMY® Awards for Outstanding Achievement in Music Direction and Composition for a Drama Series, and three ASCAP Film and Television Music Awards, Mr. Wineglass holds seven EMMY® nominations.

witnessing with my very own eyes in this

In classical music he has garnered

land of ‘equality’. The universe repeatedly

commissions from the Cabrillo Festival

brings it up… again… and again before our

of Contemporary Music to the Kennedy

very own eyes - until we learn.

Center Concert Hall, as well as The National

But… I still believe in hope… A Ray of Hope (working title for the 2nd movement)…a hope deferred at the moment but a hope, nonetheless. A hope that, in this struggle together, we will come out TOGETHER stronger, wiser and vigilant—somehow and some way.

m o n t e r e y s y m p h o n y. o r g

Endowment for the Arts, The Pittsburgh Foundation, The Alfred P. Sloan Foundation, The Benjamin Harris Memorial Fund, The Heinz Foundation and the Opportunity Fund.

2022 S EASON

His symphonic work Unburied,

John received his Bachelor of Music

Unmourned, Unmarked: Requiem for Rice is

in Music Composition, with a minor in

dedicated to the lives of millions of African

Viola Performance, from The American

and African-American forced laborers

University. He received his Master of Arts in

who cultivated the immense rice economy

Music Composition, with an emphasis in

in the Lowcountry. With a libretto and

Film Scoring for Motion Pictures, Television

extensive research by Dr. Edda Fields-Black

and Multi-Media, from New York University,

of Carnegie-Mellon University, this work has studying with Justin Dello-Joio of The taken them and their team from the shores

Juilliard School.

of South Carolina to the inner villages of Senegal, Guinea-Bissau and The Gambia. Currently, Mr. Wineglass is spending time at Glen Deven Ranch in Big Sur, CA. The property is provided by the Big Sur Land Trust where Mr. Wineglass continues to maintain a arts-in-nature relationship dating back to his 2016 Big Sur: The Night Sun premiere with the Monterey Symphony.

j o h n w i n eg l a s s b i o g r a p h y

Dmitri Shostakovich Cello Concerto No. 1 in E-flat Major, Op. 107 Dmitri Dmitriyevich Shostakovich wrote his first cello concerto for his good friend and world-renowned cellist Mstislav Rostropovich in 1959. Rostropovich had been a student of Shostakovich’s at the Moscow Conservatory and the two maintained a friendship and musical relationship, eventually performing and recording the composer’s cello sonata together. Rostropovich dearly wanted Shostakovich to compose a concerto for him, but when he asked Nina Vasilyevna, Shostakovich’s wife, how to broach the subject to the composer, she replied “Slava, if you want Dmitri Dmitriyevich to write something for you, the only recipe I can give you is this—never ask him or talk to him about it.” So, Rostropovich waited patiently, hinting to his friend how much he would love the opportunity to perform a concerto someday.

m o n t e r e y s y m p h o n y. o r g

2022 S EASON

In 1959, Shostakovich finally told his

The concerto was premiered by the

friend that he had started to write a cello

Leningrad Symphony in 1959 under

concerto and wanted Rostropovich to

the baton of Shostakovich’s longtime

premiere it. Elated, Rostropovich took the

collaborator Yevgeny Mravinsky. The

score and devoured the music. “I practiced

orchestration is the smallest of any of

ten hours a day the first day and had

Shostakovich’s major symphonic works.

the score memorized within three days.

Shostakovich’s piece is sprinkled throughout

It was the most wonderful pleasure for

with musical quotations. Shostakovich

me,” Rostropovich recalled. Shostakovich

opens with his musical signature, DSCH,

invited Rostropovich and pianist Alexander

albeit warped and inverted throughout the

Dedyukhin to his dacha in Komarovo,

concerto. Beyond his signature, Shostakovich

outside Leningrad (now St. Petersburg) for a includes folk melodies and lullabies, a quote first reading a few days later. Shostakovich

from fellow Russian composer Mussorgsky’s

was overjoyed with the reading and wrote Songs and Dances of Death, and more to his friend shortly thereafter, “Slava, I am

than a passing nod to Prokofiev’s Sinfonia

completely intoxicated by what you have

concertante, which had been premiered

done to me, by the sheer delight you have

by Rostropovich in Moscow. Rostropovich

given to me.”

recalled how Shostakovich was enthralled by the timpani part, even more so with the one-legged timpanist, and exclaimed how “he called a halt to everything with that final blow!” Shostakovich also included Stalin’s favorite song, “Suliko,” albeit in such a disguised manner that not even Rostropovich noticed at first.

j o h n w i n eg l a s s b i o g r a p h y

Pyotr Ilyich Tchaikovsky Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky’s six symphonies, particularly the

conduct at the premiere of the Fifth

latter three, embody the Russian

Symphony, which likely contributed

composer’s highly emotional,

to the lukewarm critical reception.

romantic sound world. In the

Although the audience liked the

summer of 1888, Tchaikovsky

piece, Tchaikovsky was concerned

embarked on a new symphonic

only with the critics. He wrote to

work. Very hypercritical of himself

von Meck, “having played my

and full of intense self-doubt, he

Symphony twice in Petersburg and

decided to escape to the idyllic

once in Prague, I have come to the

countryside to write. Over the

conclusion that it is a failure…It was

course of the next four months, the

clear to me that the applause and

Fifth Symphony was completed.

ovations referred not to this but

In his letters to his patroness and

to other works of mine, and the

frequent correspondent Nadezhda

Symphony itself will never please the public.”

von Meck, Tchaikovsky wrote of his resignation to fate, and dark thoughts of doubt.

The composer decided to

m o n t e r e y s y m p h o n y. o r g

2022 S EASON

Critics quickly drew connections

in the desolate wilderness.” After

between Tchaikovsky’s Fifth

a leisurely stroll through the first

Symphony and Beethoven’s,

theme, the brass section hammers

writing, “If Beethoven’s Fifth is fate

out the motto, then the strings

knocking at the door, Tchaikovsky’s

carry the movement back to its first

Fifth is fate trying to get out.” The

theme. The third movement sounds

music does indeed bear significant

like ballet music, with its waltz-like

similarities to the earlier composer’s

melody, which came from a song

famous work. Both symphonies

Tchaikovsky heard sung by a young

carry a musical motto throughout

boy in Florence when he visited

the work and are both what is

Italy years earlier. Lest the listener

known as a “catharsis symphony,”

forget that the piece is about one’s

meaning that they start darkly in

resignation to fate, the clarinets, in

minor keys and end triumphantly in

a low tessitura, play the musical

major keys.

motto to close the movement. In

Tchaikovsky’s musical motto begins at the opening of the work, with clarinet soli. The melody is tenuous but insistent, with a sparse accompaniment of the strings. Tchaikovsky inserts the motto in the middle two movements as well. The strings introduce the famous horn solo of the second movement, which emerges, as Tchaikovsky wrote, “like a voice of consolation

sharp contrast to the beginning of the symphony, the musical motto opens the fourth movement in a more hopeful manner. The melody is now a warm and gracious march, which is taken up later by the winds and brass. As with his ballet music, the finale marches toward an extended coda, perhaps representative of Tchaikovsky’s triumph over fate.

j o h n w i n eg l a s s b i o g r a p h y

March 19 –20, 2022 Sunset Center, Carmel

This concert is sponsored by

Bill & Nancy Doolittle Peter Bay, Conductor

Simone Porter is sponsored by

Lee & Shirley Rosen Simone Porter, violin

We want to hear from you! Please fill out a brief survey about your concert experience. Scan the QR code, use the Bitly link, or fill out a survey in our lobby bit.ly/msobay

m o n t e r e y s y m p h o n y. o r g

after the concert.

2022 S EASON

Bay

CONCERT PROGRAM Finlandia, Op. 26

Jean Sibelius

Violin Concerto, Op. 14

Samuel Barber

[run time 8’]

[25’]

(1865-1957)

(1910-1981)

Simone Porter, violin I. Allegro II. Andante III. Presto in moto perpetuo INTERMISSION

Symphony No. 3 [43’]

Aaron Copland (1900-1990)

I. Molto moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato (Fanfare)—Allegro risoluto

KAZU will be rebroadcasting the Saturday, March 19 concert on April 2,

2022, and April 3, 2022 at 4 p.m. b ay c o n c e r t p r o g r a m

photo: Robin Rowell

Bay Conductor 26

m o n t e r e y s y m p h o n y. o r g

Peter Bay became Music Director and Conductor of the 2022 S EASON

Austin Symphony Orchestra in 1998 and is also Conductor of the Big Sky Festival Orchestra and Arizona Philharmonic. Maestro Bay has appeared with seventy-

Other positions held by Bay have

five different orchestras including

included Music Director of the Erie

the National, Chicago, St. Louis,

Philharmonic, Annapolis Symphony

Houston, Dallas, Baltimore, New

Orchestra, Breckenridge Music Festival

Jersey, North Carolina, Tucson,

(CO), Britt Festival Orchestra (OR), and posts

West Virginia, Colorado, Hawaii,

with the Rochester Philharmonic Orchestra

Sarasota, Fort Worth, Bochum,

and Richmond Symphony. Bay and the

Carinthian, Lithuanian National, and

Austin Symphony Orchestra with pianist

Ecuador National Symphonies, the

Anton Nel released a critically acclaimed

Minnesota and Algarve Orchestras,

Bridge CD of Edward Burlingame Hill’s

the Louisiana, Buffalo, Rhode Island

music. With the Richmond Symphony he

Philharmonics, the St. Paul Chamber

recorded the US premiere of Britten’s The

Orchestra, the Eastman and Aspen

Sword in the Stone for Opus One Records,

Opera Theaters, and the Theater

and with the Rochester Philharmonic

Chamber Players of the Kennedy

Orchestra Voices, featuring the percussion

Center. Summer music festival

ensemble NEXUS.

appearances have included Aspen and Music in the Mountains, Grant Park and Ravinia, Round Top, OK Mozart and Skaneateles. Peter is the primary conductor for

In 1994, he was one of two conductors selected to participate in the Leonard Bernstein American Conductors Program. He was the first prize winner of the 1980 Baltimore Symphony Orchestra

Ballet Austin. For Austin Opera he

Young Conductors Competition and

has conducted A Streetcar Named

a prize winner of the 1987 Leopold

Desire, La Traviata, Turandot, and

Stokowski Competition sponsored by the

The Marriage of Figaro.

American Symphony Orchestra. In July 2012 he appeared in Solo Symphony, a choreographic work created for him by Allison Orr of Forklift Danceworks.

p e t e r b ay b i o g r a p h y

Simone Porter violin Violinist Simone Porter has been recognized as an emerging artist of impassioned energy, interpretive integrity, and vibrant communication. In the past few years she has debuted with the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic, and with a number of renowned conductors, including Stéphane Denève, Gustavo Dudamel, Yannick Nézet-Séguin, Nicholas McGegan, Ludovic Morlot, and Donald Runnicles. Born in 1996, Simone made her professional solo debut at age ten with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra in London at age thirteen. In 2015, Simone was named a recipient of an Avery Fisher Career Grant. Beginning with the Aspen Festival, in July 2021 she resumed a full season of orchestral concerts to include Denver, North Carolina, St. Louis, Grand Rapids, Quebec, Sarasota, Bakersfield, and Princeton Symphonies. Her recitals in Boston include the world premiere of a commission from composer Reena Esmail. Simone Porter performs on a 1740 Carlo Bergonzi violin made in Cremona Italy on generous loan from The Master’s University, Santa Clarita, California. photo: Elisha Knight

m o n t e r e y s y m p h o n y. o r g

2022 S EASON

Program Notes by Dr. Alicia Mastromonaco March 19-20, 2022

Jean Sibelius Finlandia, Op. 26 When Finnish composer Jean Sibelius

Finlandia is a series of short musical

was born, his home country was still part

vignettes that culminates in its famous

of the Russian Federation. The Grand

hymn. The work begins with the brass,

Duchy of Finland maintained a modicum

bassoons, basses, and timpani, growling an

of autonomy until Nicholas II’s February

ominous chorale. The woodwinds, and then

Manifesto of 1888, when he subjected

the strings, enter the chorale. The nervous

Finnish papers and reporters to Russian

energy slows to a halt, then reemerges

censorship, made the Russian Orthodox

and hurls forward into a chittering allegro.

church the official church of state, and

The strings propel forward as if they are

made the Finnish Army follow Russian

a boat about to capsize. Suddenly, the

rules of military service. The Finnish people

entire orchestra switches into major and

saw this act as taking away their rights to

embarks upon a triumphal march. Finally,

rule themselves, which would eventually

the beloved “hymn” section emerges.

destroy their culture, and there was a

Finnish listeners loved the melody so much

cultural reaction against the manifesto.

that they started to set the tune to words.

In 1899, there was a benefit concert for

Sibelius was perplexed by this, saying, “It

Finnish reporters’ pension funds, for which

is not intended to be sung…it is written

Sibelius composed a set of six tableaus

for orchestra. But if the world wants to

and a prelude, titled “Press Celebration

sing it, it can’t be helped.” Indeed, the

Music.” The final piece, “Finland Awakes,”

melody became so beloved that it is now

would eventually become the piece now

affectionately known as “the unofficial

known as Finlandia.

national anthem of Finland.”

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Samuel Barber Violin Concerto, Op. 14 American composer Samuel

whose career he was supporting,

Barber was one of the first students

Iso Briselli. Briselli emigrated from

to matriculate at the Curtis Institute

Russia by way of Germany in 1924

of Music in 1924 when it opened.

to study at Curtis with Carl Flesch,

He later became a professor there.

the famous pedagogue when he

While schooling is hardly the most

was recruited to teach at Curtis.

important element of a biography,

Fels offered to pay Barber $1,000

in the case of Barber’s violin

(nearly $20,000 in 2021 dollars)

concerto, the Curtis connection is

to compose a three-movement

what made this work possible, even violin concerto, 15 minutes long. if it is a storied history. The story begins in 1939, when Samuel Fels, of the Fels Naptha soap empire, decided to commission a violin concerto from Barber. Fels served on the board at Curtis and wanted Barber to write a concerto for a young violinist

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He paid Barber $500 up front, with the other half promised upon delivery of the completed concerto on October 1. Briselli was set to perform the work with Philadelphia Orchestra under Ormandy in January 1940.

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Barber started on the piece in

over the course of the four-minute

the summer of 1939 in Sils-Maria,

movement. Briselli, Fels, and Meiff

Switzerland. He had planned to

each suggested that Barber revise

complete the finale in Paris but had

his concerto, but Barber demurred.

to leave Europe at the outbreak of

Eventually Briselli parted ways with

WWII. Briselli brought the first two

Barber, and Fels pulled out of his

movements to his coach in New

commission, leaving Barber with

York City, Albert Meiff, in September

only half his fee and no soloist.

1939. Meiff was upset by the piece and wrote to Fels that the piece “bears a serious defect: it is not a composition gratifying for a violinist to perform.” He suggested a major overhaul of the first two movements. When Briselli finally received the music for the finale, both he and Meiff were sorely disappointed. Meiff thought it was too short and did not like the perpetuum mobile of the third movement, when the violin hardly stops playing at breakneck speed

Thankfully, the violinist Albert Spalding agreed to look at the concerto and liked it enough to eventually premiere the work with the same group as it had been originally promised to, in February 1941. Barber continued to revise the concerto over the next eight years, but far from the tepid reaction it engendered from its first listeners, the concerto has now become a part of the standard violin repertoire.

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Aaron Copland Symphony No. 3 Aaron Copland, affectionately

This “American Pastoral” sound

known as the “Dean of American

can be found in his Third Symphony.

Composers,” wrote music that he

Although he pointed out that there

hoped would appeal not only to

was no folk or popular music in

the elite music afficionados of his

the symphony, Copland borrowed

day, but an “entirely new public for

liberally from his earlier works.

music that had grown up around

Despite this, the symphony did not

the radio and phonograph.”

come together immediately, but

Copland had dabbled in serialism

percolated over the course of three

and avant-garde atonality, but he

years and several composition

realized that he would rather write

retreats. In fact, the ink was

music for the everyday American.

barely dry on the finale when

“It made no sense,” he wrote, “to

rehearsals started with the Boston

ignore them and continue writing

Symphony Orchestra under Serge

as if they did not exist. I felt it was

Koussevitzky in October 1946. It was

worth the effort to see if I couldn’t

Koussevitzky who commissioned

say what I had to say in the simplest the piece, in search of the next possible terms.” To the musical

“Great American Symphony,”

sensibilities of the time, Copland’s

fifty years after Dvořák wrote his

music sounded like America.

Symphony No. 9, “From the New World” that captured the ears of audiences around the world.

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The first movement was composed

The finale was composed last but

in the summer of 1944, in Tepoztlan,

was Copland’s first germ of an idea

Mexico. Each of the movements were

for the larger work. He wrote the

composed at retreats in various

movement at the MacDowell Colony

locations. The opening movement

in Peterborough, NH in June of 1946,

forms the beginning of the arc of the

but had to cut his retreat short to head

symphony, where thematic material

to Tanglewood Music Center when

is first introduced and later finds its

it finally opened again after WWII.

way back in the finale. The second

Copland had decided to incorporate

movement is a scherzo, written in

his 1942 wartime anthem, Fanfare for

Bernardsville, NJ in the summer of

the Common Man, into the movement

1945. Unlike the gentle opening of

shortly after composing the original

the symphony, the brass blaze the

piece. The movement opens quietly,

opening call, followed by a distinctly

with the woodwinds playing the

Copland-esque sound, reminiscent of

Fanfare softly over rumbling low

his western ballet Billy the Kid. The third

strings. And then, in full glory, the brass

movement was composed during

and percussion burst into the Fanfare.

another retreat in the fall of 1945, in

The piece garnered high praise from

Ridgefield, CT. It is contemplative,

audience and critics alike, but none

breaking out into a dancelike segment

more than from its commissioner.

toward the end, with contrapuntal

Koussevitzky was thrilled with the

similarities to his Appalachian Spring

Third Symphony. “There is no doubt

and dancelike character of El Salón

about it,” he wrote, “this is the greatest

México.

American Symphony. It goes from the heart to the heart.”

b ay p r o g r a m n ot e s

April 16–17, 2022 Sunset Center, Carmel

This concert is sponsored by

Jung-Ho Pak, Conductor

The William & Patricia Smith Family Foundation Rachel Barton Pine is sponsored by

Lee & Shirley Rosen Rachel Barton Pine, violin

We want to hear from you! Please fill out a brief survey about your concert experience. Scan the QR code, use the Bitly link, or fill out a survey in our lobby bit.ly/msopak

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after the concert.

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Pak

CONCERT PROGRAM Egmont Overture, Op. 84 [run time 9’] Violin Concerto in E minor, Op. 64 [28’]

Ludwig van Beethoven

(1770-1872)

Felix Mendelssohn (1809-1847)

Rachel Barton Pine, violin I. Allegro molto Appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace INTERMISSION

Symphony No. 2 in D Major, Op. 73 [40’]

Johannes Brahms (1833-1897)

I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

KAZU will be rebroadcasting the Saturday, April 16 concert on April 30, 2022, and May 1, 2022 at 4 p.m. pa k c o n c e r t p r o g r a m

photo: Paul Blackmore

Pak Conductor 36

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Described by the New York Times

and the New Haven Symphony Orchestra.

as a conductor who “radiates

As a nationally recognized educator, he

enthusiasm” and the Los Angeles

served as Music Director with the University

Times as “a real grabber,” Jung-Ho

of Southern California (USC) Symphony and

Pak is known for his unique vision

the San Francisco Conservatory of Music

of symphonies and classical music.

Orchestra, as well as Director of Orchestras

Since 2007 he has been Artistic

and Music Director of the World Youth

Director and Conductor of the

Symphony Orchestra at the Interlochen

Cape Symphony in Massachusetts,

Center for the Arts, Principal Conductor

one of the largest orchestras in the

of the Emmy-nominated Disney Young

New England region. Mr. Pak is also

Musicians Symphony, Music Director of the

Artistic Advisor and Conductor of

Debut Orchestra, Colburn Orchestra, and

the Fremont Symphony. Previously,

Diablo Ballet. Guest conducting has taken

he has been Artistic Director and

him to Europe, Russia, South America, and

Conductor of San Diego Symphony

Asia. Mr. Pak is also a frequent speaker on

(which Mr. Pak guided from

television and radio including TED Talks and

bankruptcy to unprecedented

NPR appearances, as well as a clinician

financial success), Orchestra Nova,

and conductor at national music festivals.

j u n g - h o pa k b i o g r a p h y

photo: Lisa-Marie Mazzucco

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Rachel Barton Pine violin

Violinist Rachel Barton Pine has an

She has appeared with prestigious

extraordinary ability to connect with

ensembles including the Philadelphia

people. A leading interpreter of classic and

Orchestra, the Royal Philharmonic

contemporary works, her performances

Orchestra, Camerata Salzburg, and the

combine her gift for emotional

Vienna and Detroit Symphony Orchestras.

communication and her fascination with research. She plays with passion and conviction, thrilling audiences with her dazzling technique, lustrous tone, and infectious joy in music-making. This season Pine will offer the world premiere of Violin Concerto No. 2, written for her by Billy Childs and co-commissioned by the Grant Park Music Festival, the Boulder Philharmonic Orchestra, the Anchorage Symphony Orchestra, and the Interlochen Orchestra. She’ll solo with the Chicago Symphony, the Mississippi Symphony, Orchestre Symphonique Quebec, the Tel Aviv Soloists, the Pacific Symphony, and Vancouver (WA) Symphony. She’ll perform with Lara Downes at Ravinia, with pianist Matthew Hagle, and

Her past chart-topping albums include Dvořák and Khachaturian Violin Concertos (Royal Scottish National Orchestra, Teddy Abrams); Mozart: Complete Violin Concertos, Sinfonia Concertante (Academy of St. Martin in the Fields, Sir Neville Marriner), and Bel Canto Paganini. Pine has led the Rachel Barton Pine (RBP) Foundation which assists young artists since 2001. Over the last 20 years, the RBP Foundation’s Music by Black Composers (MBC) project has collected more than 900 works by 450+ Black composers from the 18th–21st centuries, curated free repertoire directories, and published print resources. She performs on the 1742 “ex-Bazzini ex-Soldat” Guarnerius del Gesu.

harpsichordist Jory Vinikour. r ac h e l b a r to n p i n e b i o g r a p h y

Program Notes by Dr. Alicia Mastromonaco April 16-17, 2022 Ludwig van Beethoven Egmont Overture, Op. 84 Ludwig van Beethoven’s

The Egmont Overture comes from

compositional output over the

a set of ten small pieces that served

course of his life had an outsize

as incidental music for Johann

impact on how music historians

Wolfgang von Goethe’s play of the

categorize the transition from the

same name. The play is about a

classical to romantic era. Within

sixteenth-century struggle between

Beethoven’s oeuvre, historians

the Dutch and Spanish. As with the

have also categorized several eras.

opera Fidelio, which Beethoven

The Egmont Overture falls within

was revising at the time he wrote

what historians often refer to as his

the incidental music to

“heroic” period, during the middle

Egmont, both stories are about

of his life. It was during this time

women trying to free their unfairly

that Beethoven composed his third

imprisoned male partners.

symphony, “Eroica,” and his single

Whereas Leonore (disguised as

opera, Fidelio. Like these other two

Fidelio) successfully frees Florestan,

compositions, Egmont is heroic both

Klärchen is not able to free Egmont.

in the story and musical content.

Nonetheless, both stories exemplify the fight against oppression and dictatorial forces, themes that reflected Beethoven’s own political perspectives.

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Felix Mendelssohn Violin Concerto in E minor, Op. 64 Felix Mendelssohn is often credited with reviving Bach in the musical world of the nineteenth century, after the Baroque composer’s music had faded somewhat within musical practice. This is reflected in the music of the Violin Concerto in E minor, which addresses the musical practice and The piece was premiered on June 15, 1810. The first theme is reminiscent of a Spanish Sarabande, rather than being a pleasant courtly dance, it signals the oppression of the Spanish against the Dutch. The coda culminates in a heroic ending, of course, this being the heroic period of Beethoven. Although Klärchen and Egmont both do not survive in the play, their deaths were not wasted. They both became martyrs for the cause of Dutch liberation, each in their own ways. The music, both dark and heroic, signifies the importance of fighting for one’s beliefs, whether through political action or musical composition.

concert culture of its time and attempts to counteract what Mendelssohn thought of as the musical insipidness of the flashy “showpiece concertos” that were common among performer-composers such as Niccoló Paganini. Mendelssohn’s Violin Concerto was written for his friend and colleague, Ferdinand David. The two had been friends since 1825, and worked together both at the Leipzig Gewandhaus orchestra, where David was concertmaster and Mendelssohn was Gewandhauskapellmeister (music director and conductor), as well as the Leipzig Conservatory, which Mendelssohn had founded in 1843. David was a musician who adeptly wore many hats, as a soloist, concertmaster, quartet leader, and a teacher.

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The three-movement violin concerto is innovative in several ways. First, it is through-composed, meaning that each movement elides into the next. This was likely an attempt by the composer to discourage the audience from applauding or disrupting the flow of the piece. Concert culture at this time was shifting, away from events where a piece might be broken up and performed at various intervals of a concert, interspersed by popular tunes and

Johannes Brahms Symphony No. 2 in D Major, Op. 73

songs between movements, and toward a culture of rapt listening and attention.

The composer Johannes

Mendelssohn wanted his audience to listen.

Brahms famously came of age

Mendelssohn also wrote the cadenza

in the symphonic shadow of

into the score. At the time, soloists would

Beethoven. Brahms did not write

improvise their own cadenzas, and while

his first symphony until he was in his

it is likely that Mendelssohn had help

forties, and the similarities between

from David to write the cadenza, it was

Beethoven’s late symphonies

not common to commit the music to the

and Brahms’s first are so readily

score. Finally, rather than a long orchestral

apparent that the First Symphony

introduction in the opening movement

was referred to as “Beethoven’s

that would introduce the first theme and

Tenth.”

lay a musical groundwork for the soloist, Mendelssohn instead gives the orchestra one and a half bars introduction before the soloist enters with the famous theme of the first movement.

Concert culture at the end of the nineteenth century, when Brahms was composing his symphonies, changed dramatically over the course of the century. In the early part of the nineteenth century, most concerts were one-off private events, and the repertoire generally consisted of premieres interspersed with popular tunes and songs. However, by the latter part of the century, civic orchestras

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such as the Vienna Philharmonic, were

grazioso third movement is the closest the

firmly entrenched in concert life, and

work gets to pure pastoral joy. However,

programming was generally far more

the symphony is not blithely innocent; that

conservative. The Vienna Philharmonic,

would be too much to expect of the hyper

for example, rarely played music by

self-critical Johannes Brahms. The lullaby

living composers, and Beethoven’s music

theme in the first movement is preceded

comprised over sixty percent of the

by the rumble of a solo timpani and low

repertoire. It was in this context that Brahms

brass chorale that belies the sweetness

tried to break through the symphonic

of the theme, lest it become saccharine.

glass ceiling that had been set by his

The second movement is pulled like taffy,

predecessor Beethoven.

between lyrical and melancholic passages.

Thankfully for Brahms, the Vienna Philharmonic premiered his Second Symphony in 1877 at a subscription concert. Brahms’s Second Symphony follows in the footsteps of his first (and, of course, Beethoven’s Ninth), by maintaining an appropriate amount of historicism alongside his personal stylistic contributions. The music is lushly romantic, with beautiful, tuneful melodies in each of the movements. Brahms’s Second Symphony is known as his happiest symphony, and the beautiful allegro

After a mysterious sotto voce introduction, the finale bursts forth in an exuberant study of both brilliant technical compositional skill and virtuosic playing. Throughout the symphony there is simultaneously lyricism and musical geometry, reminiscent of the formal structures of the symphonies of Mozart and Haydn in the Classical period. The overarching theme of this symphony in some ways is its inherent contrasts: melody and structure, beauty and darkness, optimism and melancholy.

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May 14–15, 2022 Sunset Center, Carmel

This concert is sponsored by

Jayce Ogren Conductor

Beverly & Lyman Hamilton Philippe Bianconi is sponsored by

Carol Lee Holland Philippe Bianconi piano

We want to hear from you! Please fill out a brief survey about your concert experience. Scan the QR code, use Jung-Ho Pak Conductor bit.ly/msoogren

m o n t e r e y s y m p h o n y. o r g

Bianconi, the Bitly link, or Philippe fill out a survey in our lobby piano after the concert.

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Ogren

CONCERT PROGRAM Prelude to the Afternoon Claude Debussy (1862-1918) of a Faun, L. 86 [run time 9’] Introduction and Allegro Appassionato in G Major, Op. 92 [15’]

Robert Schumann (1810-1856)

Philippe Bianconi, piano

Paganini Variations for Piano and Orchestra [9’]

Witold Lutoslawski (1913-1994)

Philippe Bianconi, piano INTERMISSION

Symphony No. 2 in E minor, Op. 27 [48’]

Sergei Rachmaninoff (1873-1943)

I. Largo – Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace KAZU will be rebroadcasting the Saturday, May 14 concert on May 28, 2022, and May 29, 2022 at 4 p.m. ogr en co n cert progr am

photo: Roger Mastroianni

Ogren Conductor

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Jayce Ogren has established himself as one of the most innovative and versatile conductors of his generation. In the 2021– 2022 season, he leads concerts with the Dallas Symphony, Portland Symphony Pops, Lancaster Symphony Orchestra, and the Oklahoma City Philharmonic. Mr. Ogren began his career as Assistant Conductor of The Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra, a concurrent appointment he

Jayce led the world premieres of Rufus

held from 2006-2009. In the years since,

Wainwright’s Prima Donna in New York

he has conducted many of the world’s

and Paris, and Jack Perla’s Shalimar the

most prominent orchestras, including

Clown for the Opera Theatre of St. Louis. In

the BBC Symphony, Boston Symphony,

recent seasons, he has conducted Rossini’s

l’Ensemble Intercontemporain, Hong Kong

La Cenerentola and Mosè in Egitto, Britten’s

Philharmonic, Los Angeles Philharmonic,

Turn of the Screw, Bernstein’s A Quiet Place,

New York Philharmonic, the Dallas and San

and Le Nozze di Figaro.

Francisco Symphonies, and the Saint Paul

Ogren has creatively crossed boundaries

Chamber Orchestra, in programs ranging

to fulfill his interests in new and alternate

from Mozart to Beethoven through Sibelius

kinds of productions, leading Basil

and Bernstein, to presenting U.S. and world

Twist’s Rite of Spring at Lincoln Center’s

premieres of works by Steve Mackey and

White Light Festival and all-Stravinsky

Nico Muhly.

programs with the New York City Ballet. He has collaborated with the International Contemporary Ensemble at Lincoln Center’s Mostly Mozart Festival and at the Wien Modern Festival, and has led concerts with l’Ensemble Intercontemporain in Paris – where he also led Robert Carson’s production of My Fair Lady at the Chatelet.

j ayc e o g r e n b i o g r a p h y

photo: William Beaucardet

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Philippe Bianconi piano

French pianist Philippe Bianconi has been

including at New York’s Stern Auditorium at

described as an artist whose playing is

Carnegie Hall, at Wigmore Hall in London,

“always close to the soul of the music, filling

for the Berlin Philharmonic, and in San

the space with poetry and life,” (Washington Francisco, Chicago, Boston, Washington Post) and who offers “an extraordinary

D.C., Philadelphia, Hamburg, Milan, Madrid,

exhibition of musicianship, technical control,

Tokyo, Shanghai, and Sydney. His recent

and good taste” (The London Times.)

recital in the Théâtre des Champs-Elysées

Having appeared as a soloist with the

in Paris was a huge success, with Le Figaro

world’s finest orchestras, Bianconi recently

acclaiming him “one of the best pianists in

concluded his tenure as Director of the

France."

American Conservatory at Fontainebleau, a post he held between 2013-2017 and an honor that cemented his reputation as one of the most distinguished artists of his generation. Founded in 1921, the American Conservatory has trained an enormous number of legendary musicians, including Aaron Copland, Elliott Carter, Virgil Thomson, Astor Piazzolla, Phillip Glass, and Quincy Jones. Bianconi continues to teach at the American Conservatory at Fontainebleau and in fall of 2018 joined the faculty of École Normale de Musique de Paris. An active and acclaimed recitalist,

Bianconi was awarded the Silver Medal in the Seventh Van Cliburn International Competition and made his acclaimed recital debut at Carnegie Hall in 1987. Since then, he has appeared as a soloist with leading orchestras, including those of Los Angeles, Pittsburgh, Cleveland, Baltimore, Atlanta, Dallas, and Montreal, and has performed at the Ravinia Festival with the Chicago Symphony under James Conlon. He has collaborated with such distinguished conductors as Lorin Maazel, Christoph von Dohnanyi, Kurt Masur, JoAnn Falletta, Marek Janowski, and Edo de Waart.

Bianconi has performed around the world, ph i li ppe b ia n co n i b i ogr a phy

Program Notes by Dr. Alicia Mastromonaco May 14-15, 2022

Claude Debussy Prelude to the Afternoon of a Faun, L. 86 French composer Claude Debussy

short, pastoral poem. The work opens with

sought inspiration in a wide variety of

one of the most famous flute solos in the

media, both musical and extra-musical.

repertoire, a sinewy, sensuous melody. It is

In the case of Prelude to the Afternoon of

the musical evocation of Mallarmé’s words:

a Faun, Debussy was so deeply moved

“this enervating swoon/ Of heat, which

by Stéphane Mallarmé’s poem of the

stifles all fresh dawn’s resistance/ Allows no

same name, L’Apres-midi d’un faune, that

splash of water but that which my flute/

he decided to interpret the work within

Pours into chord-besprinkled thickets…”

an orchestra. In the process, Debussy

Debussy did not compose a line-for-line

reimagined what timbres, or musical

rendition of the poem, but wanted to

sound colors, an orchestra could create,

evoke the emotions of the words.

and innovated what was possible for this ensemble setting. Mallarmé’s poem, L’Apres-midi d’un

The work was premiered in Paris in December 1894, with Gustave Doret conducting the Société National de

faune, was written in 1865 and revised a

Musique. Mallarmé, who attended the

decade later, but it was not until the 1880s

concert, was so moved by the concert

that Debussy first read it. He composed the

that he wrote another poem about the

work from 1892-1894, and revised it over

experience: “Sylvan spirit, if with your primal

the next twenty years. Clearly, he had a

breath/ Your flute sounds well,/ Hear now the radiance/ When Debussy plays.”

lot to say about Mallarmé’s eclogue, or

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Robert Schumann Introduction and Allegro Appassionato in G Major, Op. 92 Robert Schumann and his wife, Clara,

at the Leipzig Gewandhaus. She said she

settled in Dresden from 1845-1850, where

was very passionate about the work but

Robert experienced the most musically

felt that she did not do justice to the piece

productive period of his life. However,

at the premiere. Perhaps for this reason, or

it was also during this time that Europe

because of the composition’s more subtle

was experiencing a time of great unrest,

nature, the piece received a lukewarm

culminating in the revolution of 1848-

reception at first. Because it was written

1849. Disenfranchised citizens banded

for Robert Schumann’s beloved wife, it

together to demand more freedom from

does not contain the razzle dazzle found in

the aristocracies that ruled over them.

contemporary piano concertos, but is more

The Schumanns fled Dresden to avoid the

small-scale and intimate.

violence which had already taken a terrible toll on Robert’s already fragile mental health. It was during this time that Robert Schumann wrote the Introduction and Allegro Appassionato in G Major, for Piano and Orchestra.

The piece opens with the piano, buoyed by the drone of a solo cello. It is followed by a low, nostalgic clarinet solo, then a soaring solo horn that travels into a high tessitura. The piece vacillates between tender, nostalgic, flowing melodies and militaristic

The piece was composed over the course brass accentuations. These brass calls are of nine days in 1849. Schumann sketched the not brash, but short refrains, as if harkening piece from September 18-20 and finished

back to the violence of the 1848 revolutions.

the entire work by September 26th. The

Yet, out of the fear and difficulty of this

piece was written with Clara in mind, and

time in Robert Schumann’s life we now

is reminiscent of her own compositional

have a lovey short solo piano piece that

style, with beautiful, tender melodies. Clara

speaks more to the love between husband

Schumann, a famous concert pianist as well and wife during a period of continental as composer, premiered the work in 1850 instability.

o g r e n p r o g r a m n ot e s

Witold Lutoslawski Paganini Variations Niccoló Paganini’s twenty-fourth

to arrange a piano duo version of

caprice for solo violin is the most

Paganini’s caprice, according to

famous of the nineteenth-century

Lutoslawski, came from the harpist of

virtuoso-composer’s many caprices

the Warsaw Philharmonic, Markiewicz,

and concerti for his instrument and

who was also a waiter at the Aria café.

has been reworked and revisited in

Lutoslawski obliged, first arranging

a variety of contexts. Most famous

his version for two pianos. Eventually,

among these reworkings would be

in 1977, he started on an orchestral

Sergei Rachmaninoff’s Variations on

arrangement of the variations, which

a Theme by Paganini, for piano and

was premiered with the Florida

orchestra, a canonical work of the

Philharmonic Orchestra on November

piano concerto repertoire. Although

18, 1979, with Brian Priestman conducting

you will hear Rachmaninoff’s music

and Felicja Blumental as soloist.

later in the program, this less-known reworking of Paganini’s caprice is nonetheless exciting and gripping. Polish composer Witold Lutoslawski

The piece is immediately recognizable as Paganini’s original music, but Lutoslawski reharmonizes many portions of the piece, and

lived in Warsaw during the Nazi

plays with orchestral tone colors and

occupation of Poland during WWII,

techniques. This is not the dazzlingly

where he supported himself and his

technical solo violin caprice of Paganini

mother by playing piano in several

or the lush, romantic Rachmaninoff

cafes across the city. Lutoslawski also

version, but something that is

played a piano duo with his friend

simultaneously much more modern

Andrzej Panufik. They played a wide

and yet just as virtuosic in the technical

variety of styles from classical music

passages, and beautifully emotional in the slow variation.

to free jazz together. The impetus

m o n t e r e y s y m p h o n y. o r g

2022 S EASON

Sergei Rachmaninoff Symphony No. 2 in E minor, Op. 27 Just as Schumann moved to Dresden

sometimes making it as short as thirty-

in search of musical inspiration, so

five minutes long. Since the 1970s, the

too did Sergei Rachmaninoff move

work has generally been performed

his family there from Moscow sixty

in its entirety, today you will hear

years later, in 1906. The Russian

selections during this performance.

composer was suffering from a yearslong depression after the disastrous premiere of his first symphony, and had gone through therapy, and resigned from his conducting post at the Bolshoi. In Dresden, Rachmaninoff hoped to rekindle his love for composing and start a new chapter. Rachmaninoff began composing his

The work is romantic, not modernist, which was problematic in a time when serialism, experimentation, and avant-gardism were praised in contemporary compositions. However, with the passage of time and everchanging musical tastes, the Second Symphony is valued today precisely for its romanticism and beauty.

second symphony in complete secrecy

The symphony opens mysteriously,

in January of 1907, and eventually

with instruments entering slowly to

completed the score in the summer

introduce the motto theme that repeats

of that year. He premiered the work

throughout the movement. Listeners

in 1908, himself conducting the score.

might recognize the melody of the

It was highly praised by the critics

second movement from several film

and the public alike, although one

scores, and one cannot forget Eric

pervasive criticism that haunted the

Carmen’s 1976 hit, “Never Gonna Fall

composer was that the symphony

in Love Again.” The finale builds to a

was entirely too long. The original

cymbal-filled coda, as if Rachmaninoff

symphony was nearly an hour long,

finally recovered from his traumatic First

but he was begrudgingly persuaded

Symphony to proclaim a triumphant win in his Second Symphony.

to make numerous cuts to the work,

o g r e n p r o g r a m n ot e s

Dr. Alicia Mastromonaco Assistant Principal horn

Alicia has played with the Monterey Symphony since 2007. She is also a member of the Carmel Bach Festival and Marin Symphony and plays in orchestras across the

on the Freeway Philharmonic:

Bay Area. A San Francisco native,

Understanding the Causes and

she began her music studies at age

Effects of Regional Orchestra

seven on the piano, sang in the San

Bankruptcies in the San Francisco

Francisco Girls Chorus, and took

Bay Area,” traces the history of the

up the horn in middle school when

Oakland and San José Symphonies

she was given her uncle’s old single

from their inception through their

B-flat Conn to try out (and fell in love

bankruptcies in 1988 and 2002,

with the instrument). Alicia earned

respectively, and provides socio-

Bachelor of Music degrees in Horn

cultural analysis of the many factors

Performance and Musicology

facing the groups that led to their

from Boston University, then did

demise. She lives with her husband

graduate work at the Universität

and two cats in El Cerrito and enjoys

der Künste Berlin before returning

the many beautiful hiking trails just

to California to continue her studies.

outside their door.

She earned a Master of Music at University of California, Los Angeles in Horn performance, and a Master of Arts and PhD in Musicology from University of California, Santa Barbara.

Her dissertation, “Breakdown

m o n t e r e y s y m p h o n y. o r g

ph ysical :SW mailing :

2022 S EASON

Monterey Symphony Board and Staff corner of 7th and San Carlos, Hampton Ct. Suite 7 (upstairs)

PO BOX 7130, Carmel-by-the-Sea, CA 93921

(831) 646-8511 | info@montereysymphony.org | montereysymphony.org

OFFICERS:

B OA R D M E M E B E R S :

P H OTO G R A P H Y:

Bruce Lindsey President

Jeryl Abelmann

Nic Coury

Patricia Yellich Vice-President

Susan Britton

Manny Espinoza

Dr. Anita Dunsay

Glenn Fidler

Mollie Hedges

Virginia Marine

Michael Hendrickson, PhD

Randy Tunnell

Martin Wolf Vice-President Charles Schimmel Treasurer

Elizabeth Lyman

Jeffrey Wallace Secretary

Noelle Micek

Lee E. Rosen Immediate Past President

Dr. William Sharpe

PROGRAM BOOK D ES IGN:

Diane Mall

Rory Glass By The Glass Design

Maureen Sanders

P R O G R A M B O O K E D I TO R S :

Pinkie Terry

Jeryl Abelmann

Dave Zaches L E GA L CO U N S E L : Mark O’Connor H O N O R A RY CO U N C I L : William G. Doolittle Bertie Bialek Elliott Gabrielle Hahn Jo-Ann Hatch Harry Hendon Carol Lee Holland Shirley Loomis Lois Mayol Alyce Nunes Joanne Taylor

Shirley Rosen

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

A RT I S T I C A DV I S O R :

Nicola Reilly Executive Director

Brad Hogarth

Virginia Marine Director of External Relations

CO M P O S E R - I N - R E S I D E N C E :

Kathy Prekoski Box Office Coordinator Noemi Vera Director of Operations

John Wineglass M U S I C D I R EC TO R E M E R I T U S : Max Bragado-Darman

Alicia Mastromonaco Education Coordinator PROGRAM BOOK C R E AT I V E D I R EC TO R : Virginia Marine

m o n t e r e y s y m p h o n y b oa r d

s ta f f

Timeline 1946 Monterey Symphony established in the Carmel Woods home of Grace Howden

1947 Monterey County Symphony Association incorporated

1947 Monterey County

May,

1947 First performances at Sunset Auditorium and Salinas High School with Lorell McCann and Clifford Anderson January,

1953 Guest

Symphony Association's

performance by

first performance at the

internationally

Fort Ord Soldier’s Club

acclaimed mezzo-soprano Eva Gustavson

1954 Gregory Millar named Music Director

m o n t e r e y s y m p h o n y. o r g

1959 Murray named Music Director

1960

1966

CELEBRATING 75 YEARS

Earl Bernard

Monterey Peninsula Choral Society created

Ronald Ondrejka named Music Director

1962 Symphony Guild

1967 Jan De Jong named Music Director

established

1962 John Gosling named Music Director

1966 Youth Orchestra created

m s o h i s to r i c a l t i m e l i n e

1968

1994

Haymo

Symphony Guild is

Taeuber

re-branded as

named

the Friends of the

Music

Monterey Symphony

Director

1999 Kate Tamarkin named Music Director

2000 Sunset

1968 Monterey Peninsula Choral Society and

Auditorium begins rennovations

Youth Orchestra both

2003

incorporated

MSO returns to newly renovated Sunset

1972

Center

MSO Logo contest

1985 Clark Suttle named Music Director

2004 Max BragadoDarman

1991 New Symphony Chorus created

m o n t e r e y s y m p h o n y. o r g

named Music Director

2008 Hamburg Steinway

2020

Max Bragado-

CELEBRATING 75 YEARS

Acquistion of

October 22,

Darman named Music Director Emeritus

2016 World premiere of Big Sur: The Night Sun by John Wineglass February 16,

2020

MSO’s last performance at Sunset Center before the shutdown July 1,

2020 John Wineglass named MSO's first-ever Composer-inResidence August 28,

2020

February 5,

2021

Alone for Solo Violin, Live EFX, & Electronica, composed by John Wineglass, directed by Douglas Mueller, and featuring Christina Mok is filmed at SCC and goes on to win seven film festival awards October 5-6,

2021

Love Letter to Carmel, conducted by Brad Hogarth, and featuring Malinda DeRouen, pays tribute to Carmel with two outdoor Pops Concerts at the Forest Theater

MSO goes digital with livestreamed, outdoor Balcony Sessions m s o h i s to r i c a l t i m e l i n e

Monterey Symphony Through the Years By Barbara Rose Shuler

wasn’t around when the Monterey Symphony was born at that tea party in Carmel, California, 75 years ago. And I was eager to

review what life was like then. World War II had just ended. Test pilot Chuck Yeager broke the sound barrier. The Paris debut of the bikini raised eyebrows around the globe. Frank Capra’s classic film It’s a Wonderful Life won Best Picture, and the price of gas was 21 cents a gallon. The stories of the day suggest it was a time of renewal, expansion and opportunity. Musically, this period marks the beginning of the Contemporary classical era—an auspicious time to create a new symphony orchestra. By the mid-1930s, the Monterey Peninsula had established wide acclaim for its classical music scene. Already known for its writers, painters, photographers, theater folk and arts-loving ways, the region was ripe for its own symphony orchestra. For years, the Carmel Music Society and the Carmel Bach Festival, two prominent music organizations, had been thrilling audiences with concerts by top-notch artists. A new symphony orchestra in the region with a subscription season must have seemed like the harbinger of a glorious new era to music lovers, who had endured the hardships and sacrifices of the War years. And indeed, it was. The past seven and a half decades have seen an extraordinary blossoming of music and performing arts in Monterey County and the Monterey Symphony resides at the heart of this growth.

m o n t e r e y s y m p h o n y. o r g

y earliest recollections of the Symphony are of the time of CELEBRATING 75 YEARS

maestro Haymo Tauber when I was a teenager. Theater was my focus then, but I remember being fascinated by the Austrian-born conductor after he engaged a friend of mine as the narrator for a Symphony youth concert (Peter and the Wolf, I think). An artist with an impressive European background, Tauber brought professionalism to the Monterey Symphony and served the community with loyalty and distinction. Music Director Kate Tamarkin once told me that symphony conductors are musical mayors for their cities or regions. Maestro Tauber was an exemplar of this calling. In the mid-1980s, the Symphony took a more prominent role in my life when I worked for the classical radio station KBOQ-FM, known as “KBach,” as their program creator and announcer for its weekday morning show. KBach cultivated a close relationship with the Symphony and, for a while, broadcast recordings of the subscription concerts.

The Let There Be Music design was used during the 1977-1978 Monterey Symphony season.

This coincided with the arrival of Music Director Clark Suttle, a charming man and talented conductor, who guided the Symphony through the aftermath of a discordant time for the organization and built the orchestra into an outstanding professional ensemble. He created a marvelous chorus, initiated programs for families and young people, and established a chamber concert series. He even collaborated with the Santa Cruz Symphony and the Watsonville Band for joint pops concerts accompanying fireworks displays.

Monterey Symphony Chorus

"monterey

sym ph o ny th ro u g h th e ye a rs"

n the early 1990s, when I became a

enjoyed getting to know each of these

theater and classical music journalist

individuals a little through my profiles in

for the Monterey Herald, I interviewed

the Herald and then seeing them lead

and wrote about many of the superb

the orchestra. Of these candidates for

soloists that maestro Suttle introduced

music director, Kate Tamarkin and Max

to Symphony patrons, among them

Bragado-Darman ranked as my top picks.

some stellar pianists, guitarist Christopher

But I wanted Kate to be selected.

Parkening and

I happily wrote

Wolfgang Basch,

these words in my

the Carmel Bach

Herald column: “The

Festival’s revered

vote for Tamarkin

German trumpet

was unanimous.

player. We also got a

She becomes the

first look at maestro

10th individual and

Suttle’s friend and

the first woman to

colleague Max

hold the position

Bragado-Darman, a

in the orchestra’s

sensational Spanish

54-year history.”

conductor who

Mac McCarthy,

occasionally led

Board president,

guest programs.

said he wished she

What I remember

could have heard

most when I think

the clapping and

of maestro Suttle, however, is hearing

cheering in the board Pops Concert Program Book c. 1992

him in concert with the orchestra as a soloist himself, playing the double bass in Johannes Matthias Sperger’s Concerto in A Major for Contrabass and Orchestra. A favorite Symphony season for me was

room after the vote.

“I was baking banana bread,” she told me. “Somewhere between the mashed bananas and the flour, I got the call.” She confessed to letting out an unladylike whoop at the news. The Tamarkin years, both exhilarating and challenging, were distinguished

the conductor search series of 1998-1999,

throughout by excellent music making. Her

after Clark Suttle’s departure, a thrilling

mentor Leonard Bernstein described her as

opportunity to experience the orchestra

“extremely musical, a vivid personality, and a

respond to seven different conductors. I

strong performer.” And so she was.

m o n t e r e y s y m p h o n y. o r g

CELEBRATING 75 YEARS

Guitarist and guest artist Christopher Parkening c. 1995

American Ballet Theater performing with MSO c. 2007

Max Bragado-Darman, guest conductor c. 1994

he Sunset Center renovation (2000-

Visser, whom he called a musical soulmate.

2002) happened during her watch,

Symphony patrons, especially those

causing the Symphony and other music

who knew him from his guest conductor

presenters to scramble for alternative

programs over the years, were delighted

locations for their concerts. Tamarkin

he accepted the position.

led the way with intelligence and skill, graciously adapting to the demands of this period. Dubbed “The First Lady” by the Symphony, she also became the first Monterey Symphony music director to conduct the orchestra in the state-of-theart Sunset auditorium with its fabulous acoustics and stunning new appearance. When she left the following year to accept a teaching position in Washington D.C., the Board hired Bragado as their new conductor.

Throughout his tenure, Bragado brought high artistic standards to masterworks of the great composers, gems of lesserknown composers and important Spanish repertoire, including works by Rodrigo, Turina and Ginastera. He conducted several world premieres. The most spectacular of these new works, composer John Wineglass’s Big Sur: The Night Sun in 2016, made a powerful impact on the audience, and on me, and has since been presented by other orchestras. Bragado

Maestro Bragado received a warm

also brought ballet to the Symphony stage,

reception and immediately felt at home

collaborating with dancers from New York

on the Monterey Peninsula. He found

City’s renowned American Ballet Theater,

an important ally in the organization’s

among them his son Julio--a rare and

esteemed Director of Operations, Joan De

memorable performance. "monterey

sym ph o ny th ro u g h th e ye a rs"

or Bragado, a crowning achievement

summed up by something he told me 23

of his years as Music Director arrived

years ago: “Music makes people better

when his long-held dream of bringing

human beings, better citizens. We have a

live orchestral music to thousands of local

responsibility. If you give music to people,

young people was finally realized. He

you are enriching their lives."

credits his own music career to hearing an orchestra play Beethoven’s Emperor Concerto when he was a “little guy” in Spain. I attended one of these special concerts in the Sunset Center hall and saw kids from our Central Coast communities, all dressed in their Sunday best, file excitedly down the aisles to their seats. Moved to tears watching these young ones as they raptly watched and listened to maestro Bragado conduct Sibelius’s Symphony No. 5, I wondered how many of them might have chosen a musical life in that moment. Bragado’s final concert for the Monterey Symphony was scheduled for May of 2020, to be followed by a gala party in celebration of over a decade and a half of his leadership, during which time the ensemble earned a reputation as one of the finest regional orchestras in California. Then the pandemic hit. His last two

The Monterey Symphony organization has navigated the challenges of the pandemic with panache, keeping the music fresh and alive in creative virtual ways along with a few COVID-compliant in-person opportunities. Executive Director Nicola Reilly and her team created a series of Balcony Sessions at their new offices in downtown Carmel and other locations, featuring Symphony musicians in livestreamed recitals. They also presented a musical Love Letter to Carmel at the Outdoor Forest Theater. I was invited to the filming of one of these recitals in the newly renovated Pacific Grove Library, a performance featuring flutist Dawn Walker, and Dawn’s husband Mark, a cellist. This was the first live music to reach my ears in over a year. I burst into tears at the first notes. For me, like many people, the pandemic shelter

concerts and the big party had to be

months were filled with sustaining concerts

canceled. He and his wife Mary were in

and programs that I zoomed, streamed,

their New York apartment when the shelter

recorded and YouTubed. But until that

order closed down the city. The noisy city

moment, I had no idea how much I missed

went suddenly quiet, he said, “like Pacific

being in the same room with the artists.

Grove at three in the morning.” Though

Never underestimate the power of live

the celebration of his musical leadership

music!

couldn’t happen, we can honor the artistic commitment he brought us that might be 64

m o n t e r e y s y m p h o n y. o r g

CELEBRATING 75 YEARS

MSO Youth Concert Audience at Sunset Center 2017

photo: Randy Tunnell

"monterey

sym ph o ny th ro u g h th e ye a rs"

n 2020, EMMY®-award-winning John Wineglass was appointed the

organization’s first Composer-in-Residence, for a five-year contract. His COVID-19 composition Alone for Solo Violin, Live EFX, and Electronica, a film featuring Symphony concertmaster Christina Mok, has already won seven awards. A joint commission with three other California orchestras, his Alone Together launches the new Symphony season. Wineglass’s Violin Concerto will be

Dawn Walker, flute and Mark Walker, cello play a Balcony Session at the newly rennovated Pacific Grove Library March 2021

premiered in October of 2022 featuring soloist Edwin Huizinga. These are two of my favorite artists and I’m eager to hear this new work. Having walked through doors that opened to me as a broadcaster and writer, it has been my privilege to meet and speak in depth with conductors, musicians, composers and arts administrators over the decades about the extraordinary creative experience of making music together. Many of these enriching encounters happened through the Monterey Symphony, for which I am very grateful.

MSO Concertmaster Christina Mok performs Alone for Solo Violin, Live EFX, and Electronica at the Sunset Center February 2020

The organization now begins its next 75 years. It’s again a time of renewal and fresh perspective. And a new music director will be chosen soon. Exciting times await us!

Violinist Edwin Huizinga and MSO Composer-inResidence John Wineglass 2019

m o n t e r e y s y m p h o n y. o r g

photos: Randy Tunnell

A Jeanette Abbott

Mary Aplin

Elizabeth Bell

Michael Axinn

Charles Bell

Betty Axup

S. M. Bell

Jeryl Abelmann Leonard Abinante Jacob Abramson Sig Aidelberg Lewis Alabaster Irene Alexander Howard Allen Robert Allen Howard Alvord Wilbur Amonette Clifford Anderson Eugeunia Andrews Alva Andrus Rose Ansel Harold Apger

CELEBRATING 75 YEARS

75 years of Monterey County Symphony Association board members.

King Benton Frances Benton

Edith Bachrach

Bert Berg

William Balestri

Clayton Berling

Claire Barancik

Paul Bianchi

Cecil Barker

Mary Elizabeth Bisgard

Ruth Barker

Gary Bjorkland

Betty Baron

Joy Blackhall

Henry Baron, Jr.

George Blackstone

Anne Barrows

Lawrence Blair

Willis Basye

Philipp Bleek

Margaret Bates

Dianne Bohlman

Martha Beattie

Elisa Booth

Dorothy Becker

Richard Borda William Borland 75

y e a r s o f m s o b oa r d m e m b e r s

Robert Bouchier

Stan Chapman

Joel Dickie

Craig Bowen

Phillip Chavez

Franklin Dixon

Constance Breien

Howard Clark

Dorothy Donahue

Susan Britton

Mary Clark

Wallace Doolittle

Isabelle Brock

Patrick Coleman

William Doolittle

Lynwood Bronson

Roger Coleman

Charles Dowdell

Boyd Brownell

James Conte

Webster Downer

Betty Bryant

Mrs. James Cooke

Frances Doyle

Carolyn Bryggman

C.W. Copeland

Anita Dunsay

Barbara Bucquet

Kenneth Copsey

Richard Dunsay

Howard Bucquet

Alan Cordan

Owen Dunsford

Harry Bunker

James Costello

Rose Marie Dunsford

Walter Burde

Richard Cox

Fletcher Dutton

William Burkett

Gilbert Craig

Kenneth Dyer

Juliet Burkett

Jeff Craig

Jeannie Dyer

Lucretia Butler

Carolyn Craig

Elmarie Dyke

Forrest Byram

Jerry Crawford Stanley Cummings

Louise Cuyler

William Campbell Don Campbell

E Arnold Edman Kenneth Ehrman Dennis Eiselman

William Candy

Norm Daberry

Albert Eisner

Sally Ann Cantor

Leland Dake

Anne Elkin

Gita Caplin

Paul Davis

Bertie Bialek Elliiot

Kevin Cartwright

Charles Dawson

June Elliot

Lee Chamberlain

Nan Dement

Harold Englund

Ronald Chaplan

Sue Dewar

Mildred Epstein

Charles Chapman

Sandra Dewey

John Erickson

Joan Chapman

Anne Dick

Jack Erwin

m o n t e r e y s y m p h o n y. o r g

Jani Erwin

75 years of Monterey County Symphony Association board members.

Geoffrey Etienne Robert Evans William Eyres

Hugh Hannon Eugene Harrah

George Gadsby

Mrs. Monte Harrington

James Gala

Donald Hart

Edgar Gallwey

Larry Hart

Nancy Gardner

Charlotte Hart

Frank Geisler

Jane Hartsook

Hugo Gerstl

Hunter Harvath

John Farr

James Glaser

Patricia Felix

Alfred Glover

Jose Fernandez

Ben Goldman

Peter Ferrante

Adam Gordon

Judy Field

Robert Gordon

Brian Finegan

Douglas Graham

William Fisher

Mrs. Edward Graham

Anne Fitzpatrick

Irene Graham

Mrs. H. W. Fletcher

John Gratiot

Robert Forbes

Mrs. Dean Griner

George Fortune

Dolores Gunia

Holly Foster

Harold Gunnell

Walter Frederich

Fernando Guzman

Thomas Frederickson Bruce Freet Elizabeth Frey

Peter Hashim Jo-Ann Hatch Marcia Hayes Howard Healey Mollie Hedges Robert Helfrich Petie Helfrich Leslie Henderson Susan Henderson Harry Hendon Michael Hendrickson Denton Hendrickson Robert Henning Peter Henning

Steven Henry

Mrs. E. Blair Hackney

Jane Hexter

Gabriele Hahn

Judy Higgerson

Barbara Hall

Walter Hiller

Lyman Hamilton

James Himonas

Dr. E. Joe Hancock

Robert Hinrichs

Joseph Handley

Nancy Hixon

y e a r s o f m s o b oa r d m e m b e r s

CELEBRATING 75 YEARS

Janet Estes

Paul Hoffman

Rolf Johnsen

Stephanie Lee

Carol Lee Holland

Mrs. Peter Johnston

Robert Lee

Claire Holland

Stoddard Johnston

Sidney Lee

Harry Holmes

Patrick Jones

Welton Lee

Mrs. Rody B. Holt Elayne Hopper

Walter Lehmann Suzanne Lehr

Laurence Horan

Mirka Kakis

Isham Linder

Ginny Hoss

Sidney Kalmbach

Bruce Lindsay

Peter Hoss

Diane Kelly

Marjorie Lloyd

Patti Hoss

M.L. Kemper

Jerry Longstreth

Grace Howden

MacMillian Kerr

Shirley Loomis

Heinz Hubler

Helen Kingsley

Freda Lowe

David Hughes

Mrs. L. W. Klene

Mrs. Fred Lutz

Stafford Hughes

Nihla Knight

Georgia Lyke

Mary Bell Hughes

Marguerite Kobrinsky

Elizabeth Lyman

Lucille Huntington

Marcia Koford

Jackie Lynch

Daniel Korneychuk

H. N. Lyon

Ginger Kroft

Mary Ingrim Harold Iverson

J Sascha Jacobson Rae Meda Janzen Perry Jenkins Walter Jennings Mrs. Walter Jennings Fred Johansen

m o n t e r e y s y m p h o n y. o r g

Edward Kuster

M Mary MacAllister David MacAlpine

Richard LaSalle

Scott MacClelland

Anita Lassetter

Douglas Macfarlane

William Lawrence

Angie Machado

Stanley Lawson

Gibb Madsen

Genevieve Lawson

Stephen Magyar

Emma Rose Layton

Diane Mall

David Lee

Stephen Mangelsen Mrs. Roderick Mason

75 years of Monterey County Symphony Association board members.

Hildegarde Mitchell

Richard Palm

Lois Mayol

Elisabeth Moore

Wade Parks

Lorell McCann

Theodore Morris

Mrs. James Parks

Duncan McCarter

Mrs. John B. Morse

William Parsons

Walter McCarthy

Anita Muhs

Ingeborg Pattee

Walter McCarthy, Jr.

Julia Mumford

J. N. Pattullo

Sherrie McCullough

Brenda Murdock

William Perkins

Janet McDaniel Marsha McDivitt

Sharon Pezzolo

John Phillips

Carl McDonald

Gaylord Nelson

Mrs. E. D. Post

Doreen McElvany

Stephanie Nelson

Judy Proud

Jane McFarren

Priscilla Nesbitt

Daniel McGilloway, Jr.

H. M. M. Nicholas

Pam McGowin

Elena Niebel

Margaret Radunich

Linda McKee

Lesley Nilsson

Kathryn Ragsdale

Mrs. Robert McKever, Jr. Wies Norberg

Arthur Rathaus

Catherine McMahan

Norma Norris

Maurice Rattray

Robert McMahan

Alyce Nunes

Mrs. John F. Raynolds

Marjorie McNamara Myron McTavish Edward McWilliams Kevin McWilliams Herman Medwin Carl Menneken Jessie Menneken Richard Merrill Noelle Micek

Robert Reade

Madeline Reeves

Susanne Obaid

Nancy Reller

Edward O’Donnell

Richard Rhodes

Walter O’Keefe

Audrey Richardson

David Olsen

Philip Richardson

Richard Olsson

Mrs. F. G. Ringland

Mrs. Earl M. Oren

Burt Risser

Downey Orrick

James Rittermal

William Mitchell Mrs. James W. Mitchell

CELEBRATING 75 YEARS

Georgianne Matthews

Patricia Rivette

William Rock 75

y e a r s o f m s o b oa r d m e m b e r s

Jane Roland

Ernest Simard

Noel Sullivan

Jonathan Romeyn

Antoinette Simmons

Judy Sulsona

Margaret Roper

Charles Simpson

Fred Swanson

Lee E. Rosen

Mrs. Charles E. Simpson

Emily Swanson

Leo Ross

Mrs. John Simpson

Lillian Swanston

Mrs. Jerry Rotein

Muriel Simpson

Elgine Rotzin

Ann Simpson

Tony Royal

George Skou

Barbara Tadlock

John Ruster

Sarah Slautterback

Joanne Taylor

Thomas Ruth

Gordon Smith

Keith Taylor

Margaret Smith

Marie Taylor

Chandler Smith

Mrs. George C. Taylor

Robert Sageman

Philip Smith

Keith Taylor

Carolyn Samson

Loren Smith

Pinkie Terry

Maureen Sanders

Philip Smith

Mark Thomas

Cynthia Saxon

Paula Sneddon

John Thompson

Ralph Saylor

Daniel Snell

Stanley Thompson

Charles Schimmel

Robert Speer

John Titherington

Kenneth Schley

Mrs. J. B. Sprung

Wolfgang Titus

Susan Schley

Robert Stanton

F. W. Titus

Jan Schmied

Michael Stanton

Paul Toeppen

Philip Schneeberger

Mrs. Allan Steitz

Virginia Tompkins

David Schrady

John Stewart

Patricia Totten

Charles Schwyn

W. K. Stewart

Henry Travis

Larry Seeman

Betty Jane Stewart

Paula Travis

William Sharpe

Mrs. Charles Stewart

Thomas Treanor

Mary Lee Shephard

Jeffrey Strathmeyer

Edwin Trinker

Mrs. Milton Shutes

Chester Stratton

Samuel Trust

Edmund Silverbrand

Clark Struve

Mrs. Edwin W. Tucker

m o n t e r e y s y m p h o n y. o r g

75 years of Monterey County Symphony Association board members.

Mrs. John Vandracek Jascha Veissi Gonzalo Viales Allen Vivell Richard Volberg Barbara Von Gehr Georgia von Richter John Vondracek

Marilyn Williams

Tanya Zeitfuchs

Martin Wolf Mrs. Mast Wolfson Le Grand Woolley Robert Work Paul Woudenberg Mitchell Wright Frank Wright

Peter Wright

Jeffrey Wallace

Fritz Wurzmann

Mrs. Clarence H. Waller

Janice Wyman

Betty Watt

Neva Zanetta

Natha Witt

Kay Waggoner

Bess Ward

Richard Zahm

David Winsom, Jr.

Joyce Wright

Howard Walton

Dave Zaches

Horace Wilson

Carolyn Waddel

David Walton

Abbie Lou Williams

CELEBRATING 75 YEARS

Y Jeanne Yansouni Patricia Yellich

David Watts Sheila Webster Saul Weingarten Charles Whitehead Eben Whittlesey Mary Whittlesey Mrs. Rex Wilcox Michael Wiley Natha Will

y e a r s o f m s o b oa r d m e m b e r s

photo: Randy Tunnell - special to the Herald

Constant Change by Lisa Crawford Watson, The Monterey Herald Originally published on October 12, 2020

lot of planning, preparation,

her staff worked to unravel their

and practice preceded

plans, they held onto the promise

the March 13 weekend, as the

of their April and May concert

Monterey Symphony anticipated

calendars. Until they couldn't.

a colossal concert series. Within 48 hours, many musicians and the guest conductor would arrive from all over the country. Some 1,600 kids from across the county would gather to hear a youth concert. Customary pre-concert luncheons and post-concert receptions were being prepared. Tickets were sold. Audiences were ready and waiting.

Maestro Max Bragado-Darman was planning to conduct his final concert before retiring after 15 years with the symphony, followed by a sit-down dinner for 250 guests at Monterey Peninsula Country Club. Guest artists who had performed with the maestro over the years were flying in to help close the season. Two more

And then COVID-19 came to the

children's concerts were scheduled,

county and canceled everything.

including a performance for 3,000

While Monterey Symphony

students at Sherwood Hall in

Executive Director Nicola Reilly and

Salinas. All of it evaporated.

m o n t e r e y s y m p h o n y. o r g

[Left] The Monterey Symphony administrative staff of Virginia Marine (Director of External Relations), Nicola Reilly (Executive Director) and Noemi Vera (Director of Operations) has been forced to be flexible. Also shown, Douglas Mueller (Videographer), Pat Fitzsimmons (Camera Operator), Will Baker (Principal Bass Trombone)

CELEBRATING 75 YEARS

[Below] Violinist Genie Wie and Assistant Principal Cellist Adelle-Akiko Kearns perform the second Balcony Sessions September 2020

"Also, we were putting the music

silence. But only for a few measures

together and working with the

while they caught their breath and

Monterey Conference Center for

began to improvise.

Monterey's 250th birthday pop-up performances by local musicians. One event after another," said Reilly, "was canceled." Once Sunset Center was

"This year is our 75th anniversary," Reilly said. "We had planned an opening celebration for Oct. 17 and intended to continue the festivities all season long. Instead,

shuttered, eliminating a principal

we postponed the whole season,

venue for the symphony, and the

just picked it up and moved it to

virus gave no signs of giving up,

October 2021. But what were we to

the Monterey Symphony sat in

do in the interim?"

photo: Randy Tunnell

“ c o n s ta n t

c h a n g e ” by l i s a c r aw f o r d wat s o n

Master Class in Music Improv Having moved their offices from their former location on Garden Road in

"Once symphony musicians saw this was happening and successful, they signed up

Monterey to a space with a balcony above in droves to perform," Reilly said. "So far, we an enclosed courtyard at 7th and Dolores

have 24 pop-up performances planned.

in Carmel, the administrative staff came up

We learned a lot from the first one—how

with the idea to host solo concerts onsite.

sound carries, and how it gets picked up

"With four temporary permits in hand, we launched Balcony Sessions, our new concert format, featuring a live, 30-minute solo performance from our balcony. In the courtyard below," said Reilly, "we have

from people talking on the street. We also are live-streaming these performances, filming them in HD to produce a polished product for those listening from home." On Sept. 18, Assistant Principal cellist

the space for an audience of ten, socially

Adelle-Akiko Kearns, and violinist Eugenie

distanced."

Wie performed from the balcony. Violist

On August 28, Principal bass trombonist Will Baker kicked off the series. People listened from the courtyard and the winetasting room next door, as did passersby on Dolores. Reminiscent of

Sarah Lee will take to the balcony on Friday and, on Oct. 23, cellist Saul Richmond-Rakerd will perform. The Symphony is working with other venues, as well. Among them are Winfield

Andrea Bocelli's Easter Sunday solo in Milan, Gallery and Nancy Dodds Gallery, both in Classical Tahoe's pandemic performances,

Carmel, and MY Museum in Monterey, and

including Mezzo-Soprano Frederica von

Monterey Touring Vehicles, down on Del

Stade with composer Jake Heggie in July;

Monte.

and the New York Philharmonic's pop-up ensemble performances, the Monterey Symphony is bringing live music to the community, from a distance.

"We are one of the only orchestras in California that is performing live right now," Reilly said. "We worked with local government and took steps to follow all the social-distancing protocol. Once we saw the opportunity to perform; we just had to figure out how."

m o n t e r e y s y m p h o n y. o r g

CELEBRATING 75 YEARS

Balcony Session with MSO Principal bass tombonist Will Baker at MSO office balcony August 2020

IATSE Local 611 Crew members Craig Lowe (grip) and Douglas Mueller (camera) prepare to film Balcony Session with Dawn Walker (flute) and Mark Walker (cello) March 2021

MSO Concertmaster Christina Mok permorms Alone for Solo Violin, Live EFX, and Electronica by John Wineglass at an empty Sunset Center February 2021

Violist Sarah Lee performs for a Balcony Session at MSO office October 2020

Malinda DeRouen sings at MSO’s Virtual Holiday Spectacular photo: Virginia Marine December 2020

MSO Director of External Relations Virginia Marine queing the applause during a Balcony Session in October 2020 at photos: Randy Tunnell MSO’s Carmel-by-the-Sea office

“ c o n s ta n t

c h a n g e ” by l i s a c r aw f o r d wat s o n

Looking Ahead Although the Sunset Center is

All of these innovative projects

currently shuttered, the Monterey

have been made possible, says

Symphony will present a solo

Reilly, by some really creative

performance there in January. One

people, including the Monterey

solitary person, Concertmaster

Symphony Board of Directors,

Christina Mok will perform "Alone,"

which approved a contingency

a special piece written for her by

fund to sponsor this work, including

the Symphony's Composer-in-

three pieces Wineglass is currently

Residence John Wineglass.

composing.

"Here was this wonderful venue

Also, the Symphony is developing

willing to let us use it," said Reilly,

a series of educational videos for

"if we could just figure out how.

kids, grades 4-8, which presents

Imagine a single person, practicing

a music history about how the

her craft, alone. We can have only

country has inspired composers

ten people there with her, making

and artists in this region during the

it happen, recording it for others

past 100 years.

to experience. Of course, we're hoping, by January, we will be able to invite an audience to attend."

"We are coming from a historical perspective," said Reilly, "using the visual and performing arts standards from the state of California to create a context for what kids are learning in school."

m o n t e r e y s y m p h o n y. o r g

Nicola Reilly, who has worked

to create content for kids, giving

in marketing and public relations

them a relevant music class

for the Carmel Bach Festival, and

while they distance-learned from

in institutional advancement at

home, Education Coordinator

CSU Monterey Bay, joined the

and Assistant Principal horn Alicia

Monterey Symphony staff in

Mastromonaco came up with the

2016 and was named Executive

idea of connecting it to Monterey

Director in July 2017. The Seattle

County, to complement the arts

native, a classically trained violinist,

curriculum already in place. At the

also has worked for the Seattle

end of the video, Wineglass will

Chamber Music Society, the

talk about the program, helping

Women's Medieval Choir, and the

CELEBRATING 75 YEARS

When Reilly said she wanted

students to feel inspired by the land, Bill and Melinda Gates Foundation. its natural beauty, and the lives that

She holds degrees in Spanish

have played out here.

literature and music history from

"Although we are in a wait-andsee position about if and when we can put our performance program back together," said Reilly, "in the meantime, we are doing what we

the University of Puget Sound and an advanced degree in Arts Administration from The University of Washington. Upon joining the Monterey

can to be relevant as we continue

Symphony, when asked the best

to conceive of new ways to

piece of advice she's ever been

produce and present music. We're

given, she said, "The only thing

learning all the time.".

constant is change."

“ c o n s ta n t

c h a n g e ” by l i s a c r aw f o r d wat s o n

Symphony Sustainers These gifts were received from July 1, 2020–June 30, 2021

Mrs. Carolyn Bazzani

Jeryl & Ron Abelmann

Jim Bell

Gary & Carolyn Bjorklund

Nancy Callahan, In Memory of Robert Taylor Fletcher, III

Dr. Lawrence C. Blair

Lynn Campbell

Ms. Robin Aeschliman

Dr. Philipp Bleek

Dr. & Mrs. Lewis C. Cantor

Peter Albano

Mr. & Mrs. Roger Bolgard

Ms. Linda Chetlin

Keith Amidon

Mrs. Jean L. Brenner

Leonard Anable

Mrs. Jacqueline M. Clampett-Jones

Hilary & Peter Brewer

Amy Anderson

Mr. & Mrs. Richard Briscoe

Christopher AndersonBazzoli

Mr. & Mrs. Donald R. Britton

Janet Abla & William Huggins

Sharon & Peter Armbrust Ms. Eleanor Avila

B Sameer Bakhda Mr. & Mrs. Walter Barry Sally Baum 80

m o n t e r e y s y m p h o n y. o r g

Andrea Brown Dr. Vernon Brown

Ms. Katharine Comstock Mr. Alan H. Cordan Marcelo Cosentino Mrs. Dorothy A. Crosby

The Buffett Fund of the Community Foundation for Monterey County

Mr. Robert Danzinger

Christopher Bunn

Ms. Donna DeVincenziColetti

Alan Busteed

Mr. Roderick Dewar

David Fittante

Lillie Grossman

Mr. & Mrs. Edward Dickson

Lori & Lou Flagg Memorial Youth Fund of the Community Foundation for Monterey County

Marilynn Gustafson

Ms. Dara Dobry, PhD Mr. & Mrs. Roger Dolan Nancy Donaldson Bill & Nancy Doolittle Susan W. DuCoeur Dr. Anita Dunsay John & Nancy Durein

E Frances Elgan & Werner Kunkel Fund of the Community Foundation for Monterey County Ann Elkin & Peter Hashim

Dr. Robert Flanagan Dr. Leslie Foote Julie Forrest Devon Francis Robert & Delores Frederick Mr. Stephen Friedlander Frisone Family Foundation Ms. Patricia Fritz Judith Furman

Bertie Bialek Elliott

James Galvin

Roger Emanuels

Mr. & Mrs. Thomas Gardner

Dr. John Enbom

Alejandro Gatica

Mr. & Mrs. William Eyres

Frances Gaver

F Catherine Farrant Patricia Fashing Nancie & Douglas Ferguson Stephen Filseth

Philip Geiger Patricia Gilbert Priscilla Gilbertson Jean Goebel Ms. Wendy Grainger

OU R SU PPORTE RS

Sandra Dewey

Mr. & Mrs. Mark H. Guthrie

H Bruce Haase Beverly & Lyman Hamilton Prof. & Mrs. Harry Handler Jacx Harmer Ms. Ruth Hartmann Shari Hastey Russ & Jo-Ann Hatch Marta Hayden Ms. Mollie Hedges Harry Hendon Dr. & Mrs. Michael Hendrickson Peter & Jackie Henning Fund of the Community Foundation for Monterey County Stephen Henry Joseph & Elizabeth Heston Mr. Ray Hiebert Mr. & Mrs. Don Hilburn Ms. Susan Hocevar

s y m p h o n y s u s ta i n e r s

Symphony Sustainers 2020–2021 Peter Hoey O.C. Hognander Jr.

Janzen Family Fund of the Community Foundation for Monterey County Valerie Jensen

Dr. Astrid Holberg & David Awerbuck Carol Lee Holland Marilyn Hopkins & Otto Schiff Mr. & Mrs. Denis Horn Thomas Hout & Sonja Ellingson Hout Mrs. Joan Hughes Ms. Jean Hurd Huth Family Fund for the Community Foundation for Monterey County Dr. Robert Hylton

Dr. & Mrs. Rolf E. Johnsen

Mr. Zigmont J. Le Towt III

Sharon Jones

Joan Lee

Karen Judkins & Steven Wade Fund of the Community Foundation for Monterey County

Stephanie Lee

K Stefanie Kaku

Mr. Brooks Leffler Ms. Laurel Lembo Jesus Leon Mr. & Mrs. Bruce Lindsey

Mr. & Mrs. Edward G. Kamlan Shirley & Herschel Loomis Patricia Kasad

Mrs. Marjory Nash Lord

Alan & Christine Kemp

Mr. & Mrs. Skip Lord

Kayla M. Kennedy & the Margaret K. Gingrich Family Foundation

Todd Lueders Fund for the Arts of the Community Foundation for Monterey County

Dr. & Mrs. William H. Kern

Ward D. & Mary T. Ingrim Fund of the Community Foundation for Monterey County

Mr. Don R. Kuehn

Mr. & Mrs. Rob Kerr Ms. Lois Kettel

Mr. & Mrs. Mel Lyman

Neville Kirby

Scott & Judy MacClelland

Ms. Marion Klein

Lynn Maddock

Kathleen Knight

Ms. Sally Maggio

Patricia Jacobs

Ken Kobylenski

Diane J. Mall

Randa Jacobs, In honor of Calli MacKasson

Kay & John Krattli

Mr. & Mrs. Andrew

Kyoko Ito & Robert Sykes

m o n t e r e y s y m p h o n y. o r g

Symphony Sustainers 2020–2021

Heather Marquard Eugene & Elizabeth McCarthy Thomas & Mary McCary Family Foundation Mrs. Sherrie McCullough

Marla Murphy Ms. Marti Myszak

Mary Pommerich

R Janet & Niels Reimers

Judith Neary

Mrs. Martha Renault

Mr. Gilbert Neill

Dr. Maxine H. Reneker

Jeanette Nicely

Warren & Carolyn Richards

Glenn & Christina McGovern R.L. Nicholson

Mr. Neil Richman

Gregg L. McKee

Trulee Ricketts

Mr. & Mrs. Ken Meadors Ed Mellinger

Mavourneen Nolte

Peter Mellinger

Neil H. O'Donnell & Christine Motley

Dr. Carlotta Mellon

Mary Alice Osborne

Mr. Bruce Merchant

Mrs. Janna Ottman

Mr. & Mrs. Patrick Micheletti

Guillermo & Mary Owen

Nancy Mikita Eric & Pauline Millar Francoise Miller Sydnee Mixon Kathleen Moberg Lucy Moore Mr. Marshall Moore Ms. Patricia Morgan Valerie Moule

OU R SU PPORTE RS

and Virginia Marine

P Jeffrey Paduan Mrs. Sieglinde Pansby

Jeffry & Marilyn Riehl John Rixe, In honor of Sarah Lee Harry Rogers Roney-Fitzpatrick Foundation Lee & Shirley Rosen

S Lanier Sammons

James & Emma Paoletti

Carolyn Samson & Darius Sadeghi

Sunzah Park

Mrs. Maureen Sanders

Randal & Pat Pauley

Ms. Barbara Schilling

Mr. & Mrs. William A. Perkins

Mr. Charles Schimmel

Nancy Perlman

Mrs. Carmen Scholis

Isis Pikitch & Joseph Zakar

s y m p h o n y s u s ta i n e r s

Symphony Sustainers 2020–2021 William H. & Kristine M. Schuyler Foundation, Inc. Elizabeth Sebring Mr. & Mrs. William Shane Mrs. Deborah Sharp Bill & Kathy Sharpe Andrew & Karen Sheppard Mr. & Mrs. Kenneth Sikes

T Mrs. Alice Tao Bruce & Linda Taylor Cath Tendler Fred Terman & Nan Borreson Fund of the Community Foundation for Monterey County

Patricia & John Walworth Mr. & Mrs. Lowell Webster Diane Webster-Thomas Mr. & Mrs. Joel Weinstein Elaine & Neal Whitman Mrs. Susan Johnson Willey Mr. & Mrs. Gerald W. Williams

Mr. & Mrs. Dennis Terry

Jennifer Winch

Patty & Mark Thompson

Ronald & Virginia Winger

Mr. Peter Thorp

Martin R. Wolf Family Fund

William & Patricia Smith Foundation

Sam & Joan Trust

Glenna Wright

Ms. Barbara Smythe

James & Karen Tyler

Lindley Sloan Margaret A. Smith

Dr. & Mrs. Charles R. Snorf Gloria Souza & Sandie Borthwick Mr. Richard Stanley Marcia Stearns Ms. Martha Stroud Mr. Nicholas Sturch Charles Sullivan Judy Sulsona Gabriele Swanson Helen Sweet Barry Swift 84

m o n t e r e y s y m p h o n y. o r g

U Mrs. Jane Upp

V Mr. Scott Vandrick & Mr. Tony Foster Dr. & Mrs. Joseph Verska Alexander F. Victor Foundation

W Dawn Walker Mr. & Mrs. Jeff Wallace

Donald & Renate Wunsch

Y Dr. & Mrs. George Yellich Roberta Young Lily Yu, Agent Art

Z Erin Zaborowski Dave & Judi Zaches Richard & Susan Zare Bradley Zeve

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2021–2022 Donor List These gifts were received from July 1, 2021–December 31, 2021

A Priscilla D. Austin

Ms. Betty Bunce Janet Bush

Michael Baum

Carmel Gives Fund of the of the Community Foundation for Monterey County

Sally Baum

Ms. Linda Chetlin

Ms. Dorothy Becker

Jim & Sharon Chibidakis

Ms. Anne Bell

Sarah Elizabeth Clampett Charitable Trust

Jim Bell

Ms. Nancy Collins

Jon Michael Berndt

Ms. Katharine Comstock

Fay Biddle

Mr. Alan H. Cordan

Gary & Carolyn Bjorklund

Mr. & Mrs. Wayne Cruzan

Mr. & Mrs. Walter Barry

Mr. & Mrs. Roger Bolgard

Mr. Michael & Mrs. Bouchard

Lucia Dahlstrand

Hilary & Peter Brewer

Patricia Dally

Daniela Bryan

Gary Davis

The Buffett Fund of the Community Foundation for Monterey County

Ms. Victoria Davis

2021 –2022

donor list

2021–2022 Donor List Ms. Dara Dobry, PhD

Mr. & Mrs. John Flanagan

Dennis Dolley

Dr. Leslie Foote

Nancy Donaldson

Ms. Kathy Fredrickson

Mr. William B. Donovan

Stacey Fritz-Smith

Bill & Nancy Doolittle Linda Dowd Susan W. DuCoeur Dr. Anita Dunsay John & Nancy Durein

G Jill & Jim Gabbe Frances Gaver Mr. & Mrs. Edward Gavrin Bonnie Gillooly Rory & Elizabeth Glass

Adam Eberling Edwin Eckert Frances Elgan & Werner Kunkel Fund of the Community Foundation for Monterey County

Mr. Jeffrey Green

H Beverly & Lyman Hamilton Prof. & Mrs. Harry Handler

Bertie Bialek Elliott

Shari Hastey

Dr. John Enbom

Russ & Jo-Ann Hatch

Dr. Bee Epstein Shepherd

Mr. Jeffrey Hawkins

Conway & Norma Esselstyn Trust

Lenis Hazlett

Ms. Mollie Hedges

Patricia Fashing

Dr. & Mrs. Michael Hendrickson

Dr. Patrick Feehan Nancie & Douglas Ferguson

Peter & Jackie Henning Fund of the Community Foundation for Monterey County, in memory of Peter Henning

Dr. Anne R. Fitzpatrick

Mr. Ray Hiebert

m o n t e r e y s y m p h o n y. o r g

Carol Lee Holland Marilyn Hopkins & Otto Schiff Mr. & Mrs. Denis Horn Thomas Hout & Sonja Ellingson Hout Dr. Robert Hylton

OU R SU PPORTE RS

O. C. Hognander Jr.

Rodger Langland Stephanie Lee Mr. Brooks Leffler Laurie Lincoln Mr. & Mrs. Bruce Lindsey Tom & Vikki Logan

Ward D. & Mary T. Ingrim Fund of the Community Foundation for Monterey County

Shirley & Herschel Loomis

Kyoko Ito & Robert Sykes

Mr. & Mrs. Skip Lord

J Patricia Jacobs Norman Jacobson Janzen Family Fund of the Community Foundation for Monterey County Mr. & Mrs. Patrick Jones Sharon Jones

Mrs. Marjory Nash Lord

Todd Lueders Fund for the Arts of the Community Foundation for Monterey County

M Heather Marquard Milton Marquard Jr. Mrs. Lois Mayol Thomas & Mary McCary Family Foundation Dr. & Mrs. Michael R. McCormick

Stefanie Kaku

Jane & John McCoy

Mr. & Mrs. Brian C. Kelly

Mrs. Sherrie McCullough

Kayla M. Kennedy & the Margaret K. Gingrich Family Foundation

Janet McDaniel

Mr. & Mrs. Rob Kerr Ms. Lois Kettel

Glenn & Christina McGovern Kelly McRae

2021 –2022

donor list

2021–2022 Donor List Mr. & Mrs. Ken Meadors

Mr. & Mrs. William A. Perkins

Dr. Carlotta Mellon

Isis Pikitch & Joseph Zachar

John & Noelle Micek Horst Mieth, in honor of William S. Kappy Nancy Mikita Eric & Pauline Millar Kathleen Moberg Lucy Moore Ms. Patricia Morgan Thomas Morgan Valerie Moule Ms. Marti Myszak

R Mr. & Mrs. Niels Reimers Richards Family Charitable Foundation Trulee Ricketts Marilyn & Jeff Riehl Gwynneth Romano Lee & Shirley Rosen

S Mr. Charles Schimmel Jean Scholefield

Mrs. Carmen Scholis

Mr. Gilbert Neill Robert A. Nelson

Mr. & Mrs. William Shane Mrs. Deborah W. Sharp Bill & Kathy Sharpe

Mary Alice Osborne

Mr. & Mrs. Kenneth Sikes

Mrs. Janna Ottman

Mr. Darold Skerritt & Ms. Judy Lind

Margaret A. Smith

Mrs. Sieglinde Pansby William & Cynthia Pelich Ms. Anne Pendleton Mr. & Mrs. Howard R. Perkins 88

m o n t e r e y s y m p h o n y. o r g

William & Patricia Smith Foundation Gloria Souza & Sandie Borthwick Brian Steen Maria Stefanou

Mr. & Mrs. Lowell Webster

Claudia Summers

Mr. & Mrs. Joel Weinstein

Barry Swift

Elaine & Neal Whitman

T Bruce & Linda Taylor Fred Terman & Nan Borreson Fund of the Community Foundation for Monterey County Mr. & Mrs. Dennis Terry Mr. & Mrs. Greg Thompson

Mrs. Susan Johnson Willey Mr. & Mrs. Gerald W. Williams Martin R. Wolf Family Fund Mrs. Deanna A. Woodhour Donald & Renate Wunsch

Ms. Jennifer Thompson

Mr. & Mrs. Cyril J. Yansouni

Mr. Peter Thorp

Philip Yarbrough

Sam & Joan Trust

James & Karen Tyler

Dave & Judi Zaches

Mr. & Mrs. William H. Tyler

Mr. Joseph Zakar

U Ms. Joan Ungs

OU R SU PPORTE RS

Mr. Nicholas Sturch

Mr. & Mrs. Gene Zellmer Karen Zucchino Anonymous Donors

Dr. & Mrs. Joseph Verska

W Mr. & Mrs. Jeff Wallace Gabrielle Andrea Walters Fund of the Community Foundation for Monterey County

2021 –2022

donor list

Full page ad, w/ .125 in bleed W: 7.25 in x H: 10.25 in Finished Cut Size: W: 7 in x H: 10 in Inset: .5 in from top and sides, .65 from bottom W: 6 in x H: 8.85 in

OU R SU PPORTE RS

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

Louise Guard*

Andrew Allison

Ruth S. Hartmann

The Dorothy L. Becker Trust

Mollie Hedges

Bethany Beckman*

Dr. & Ms. Michael Hendrickson

Gary & Carolyn Bjorklund

Margaret Anderson Radunich* Nicola Reilly Lee & Shirley Rosen Barbara Rupp

Peter & Patti Hoss

Virginia Ruth

Herschel & Shirley Loomis

Charles Schimmel

Marjorie Love*

William* & Kristine* Schuyler

Katharine Comstock

Sally Maggio

Robert Sykes

Leland E.* & Gloria U. Dake

Sherrie McCullough

Joanne Taylor

Roderick* & Suzanne* Dewar

Dick* & Grace Merrill

Elizabeth Haywood Watt*

Mr. Don Newmark

Neal & Elaine Whitman

Alyce M. Nunes

Donald & Renate Wunsch

Lewis & Sally Cantor Jacqueline M. Clampett-Jones

William & Nancy Doolittle William* & Nancy Fisher

John Philips* & June Dunbar

Robert* M. & Betty Jo Graham*

If you are interested in joining the Legacy Society, please contact Nicola Reilly, Executive Director, at nreilly@montereysymphony.org or call (831) 645-1131

*deceased

l egac y s o c i e t y

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The Oldham Group Jennifer & Andrew Oldham 831.233.3388 DRE 01207289 Compass is the brand name used for services provided by one or more of the Compass group of subsidiary companies. Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01079009. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footage are approximate.

OU R SU PPORTE RS

Leadership Gifts The Monterey Symphony is grateful for the receipt of the following legacy gifts:

LEADERSHIP GIFTS Mr. & Mrs. W. Austin Barrows The Richard & Betty Bell Music Director Fund The Frances M. Benton Estate Mr. & Mrs. Hilton Bialek The Rodney Guifoil Estate The Erling Lagerholm Estate The Sara E. Mitchell Estate The M. Kathleen Morgan Estate The Eugene Noxon Estate

ENDOWED ORCHESTRA CHAIRS Robert O. & Catherine L. McMahan Concert Master’s Chair Sally Jo Snorf Timpani Chair Miriam M. Godwin Musician Chair RDML Edward J. & Ruth Hall O’Donnell Musician Chair Robert & Virginia Stanton Musician Chair Reginald & Mary Swaner Musician Chair

The Helen Oehler Estate The Chris & Kevin Rabe Estate The Shedlin Estate The Shelia Webster Estate

leadersh ip gifts

PHOTO: DOUG MUELLER

Save the Dates! Our 85th Season featuring more than 40 Main and Chamber concerts at the Sunset Cultural Center and at other venues in Carmel-by-the-Sea, Monterey, Pebble Beach and Seaside.

CARMEL

BACH FESTIVAL JULY 16-30, 2022

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Institutional Support The Monterey Symphony would like to thank the following institutional supporters:

AmazonSmile Foundation

Lightspeed Testing

Arts Council for Monterey County

KAZU, 90.3 FM

Barnet Segal Charitable Trust

KRML, 94.7 FM

Berkshire Foundation

Monterey County Weekly

California Arts Council

Monterey County Gives! Fund of the Community Foundation for Monterey County

Carmel Gives The Community Foundation for Monterey County, Community Impact The David & Lucile Packard Foundation, Local Grantmaking Deja Vu Carmel

Monterey Peninsula Foundation Monterey Private Wealth Monterey Touring Vehicles Nancy Buck Ransom Foundation The Oldham Group

GE Foundation Matching Grants Program

Pacific Gas & Electric

Harden Foundation

William H. & Kristine M. Schuyler Foundation

IBM Corporation Matching Gift Program Lauralie & J. Irvine Fund and the June P. Sheppard Fund for the Performing Arts of the Community Foundation Monterey County

The Robert & Virginia Stanton Endowment UBS Foundation USA

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nt Plannin g Eve

Communica

agement n a dM n a Br

Pub lic Re

Managemen t

eting ark

ns tio

ion tat pu

ns o i t la Social Media

SEASON 2021-22

Live !

Lincoln Trio OCTOBER 9, 2021 LINCOL

N TRIO

Manhattan Chamber Players NOVEMBER 13, 2021

Simone Dinnerstein, Piano JANUARY 29, 2022

Horszowski Piano Trio MANHATTAN

CHAMBER P

FEBRUARY 26, 2022 LAYERS

Catalyst Quartet APRIL 9, 2022

HORZOWSKI PIANO TRIO

SIMONE PIANO

TEIN, DINNERS

Come Celebrate 55 Years of Music with Us. SATURDAYS 7:30 P.M. SUNSET CENTER, CARMEL CATALY ST QUA RTET (831) 625-2212 CHAMBERMUSICMONTEREYBAY.ORG INFO@ CHAMBERMUSICMONTEREYBAY.ORG

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Youth Music Monterey County Support our future musicians & audience members!

2021-2022 CONCERT SEASON February 27th | May 8th Sunset Center, Carmel | 3:00 p.m.

youthmusicmonterey.org 831.375.1992

MUSICAL EXCELLENCE SINCE 1927

2022 SEASON Manuel Barrueco, guitar Sunday March 13

Manuel Barrueco

Israeli Chamber Project

Olga Kern and Vladislav Kern, piano Sunday April 3 Israeli Chamber Project Sunday May 1 The Chamber Music Society of Lincoln Center Sunday May 22

Olga Kern and Vladislav Kern

All concerts at 3pm at Sunset Center

The Chamber Music Society

Single tickets are $60, $53, and $45 and can be purchased online at carmelmusic.org, by calling 831.625.9938. Call the office about “Four for Free” in the balcony. P.O. Box 22783 Carmel CA. 93922 • (831) 625 9938

The mission of the Arts Council for Monterey County (Arts4MC) is to improve the quality of life for everyone in our region through the arts.

Community Partnerships We partner with more than 100 artists and local organizations to strengthen and connect arts programming.

Arts as Healing We provide specialized programs for at-risk youth, senior citizens, veterans, and many others.

Arts Education We provide teaching artist residencies in 40 partner schools, reaching thousands of students.

Grants & Professional Development We offer grant funding, training, and consultations to artists, nonprofits, and cultural groups.

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Come Sing With Us!

Cabrillo College has a choral group for everyone. If you love to sing, can attend regular rehearsals and are willing to work hard, Cabrillo can be your musical home. Our singers study both masterworks and new music, meet the stars of choral composition, and grow as musicians. We foster community-building through a shared, multi-generational learning environment. • Symphonic Chorus provides a large group experience; auditions are required. We sing with the Santa Cruz Symphony each spring. • Cantiamo! Cabrillo is the elite choir for musically skilled singers; auditions are required. We sing several concerts each year, often with Ensemble Monterey Chamber Orchestra. • Chorale is a non-auditioned choir for those with less experience, and where musical skills are learned. • Cabrillo Youth Choruses, for children 8 to 18 years old, perform regularly. • Cabrillo Music Department also offers Jazz Singers, a Women’s Choir, and Voice classes. For more information, visit Cabrillo College Schedule of Classes for details, or contact Cheryl Anderson at cranders@cabrillo.edu.

CONGRATULATIONS TO THE MONTEREY SYMPHONY ON 75 YEARS!

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