Green Music Center March-May 2014_Encore Arts San Francisco

Transcription

Weill Hall
at
Sonoma State University
GREEN MUSIC CENTER
March – May 2014
Discover the ultimate MUSIC EXPERIENCE
in the heart of wine country
Jessye Norman
WEILL HALL
Sonoma State
University’s
GREEN MUSIC CENTER
at
Deborah Voigt
Hilary Hahn
Don’t Miss the Remaining Shows of the
2013-14 S E A S O N
Jason Mraz
Sat, Mar 15
Sun, Apr 13
Sun, Mar 16
Sun, Apr 27
Estrella Morente
A Rare Ascoustic Evening with Jason Mraz
With special guests Raining Jane
Sat, Mar 29
Jessye Norman
American Masters
Richard Goode
Deborah Voigt
Hilary Hahn
Sun, May 11
Florian Boesch and Malcolm Martineau
Sun, May 18
Richard Goode
TICKETS: 1-866-955-6040 gmc.sonoma.edu
MasterCard and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. ©2014 MasterCard.
New Santa Rosa Hospital
OPENING OCTOBER 2014
Peek Inside, suttersantarosa.org
GOOD HEALTH IS
MUSIC TO OUR EARS!
At Sutter Health, we support the arts – both in our community and
in our hospitals. At Sutter Medical Center of Santa Rosa, cancer
patients receive art therapy and sand-tray therapy to help in their
therapeutic development. CPMC’s Healing Harp music program
provides relaxation and comfort while lowering anxiety and helping
with insomnia, while the Expressive Arts program helps with pain
reduction and surgical recovery. Supporting the arts in the healing
process – it’s another way we plus you.
FIND A DOCTOR OR SPECIALIST
thedoctorforyou.com
California Pacific Medical Center
Novato Community Hospital
Sutter Lakeside Hospital
Sutter Medical Center of Santa Rosa
Sutter Pacific Medical Foundation
March 2014
Volume 2, No. 4
Susan Peterson
Design & Production Director
Ana Alvira, Deb Choat,
Robin Kessler, Kim Love
Design and Production Artists
Photo: Carol Friedman.
Paul Heppner
Publisher
TABLE OF CONTENTS
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Jessye Norman
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Editor-in-Chief
Marty Griswold
Sales Director
Joey Chapman
Account Executive
HEADING TO COME
10 Estrella Morente
12 Jason Mraz
Dan Paulus
Art Director
14 Jessye Norman
Jonathan Zwickel
Senior Editor
20 Deborah Voigt
Gemma Wilson
Associate Editor
29 Hilary Hahn
www.cityartsonline.com
34 Florian Boesch & Malcolm Martineau
46 Richard Goode
Paul Heppner
President
Mike Hathaway
Vice President
DEPARTMENTS
2 Season Schedule
Deborah Greer
Executive Assistant
7 Letter from the Board Chairman
Erin Johnston
Communications Manager
8 Letter from the Executive Directors
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Accounting
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9 This Summer at Weill Hall
50 Green Music Center Donor Honor Roll
55 Board and Administration
56 Annual Gifts
57FAQs
58 Patron Information
Vol. 2, No. 4
All editorial material © Sonoma State University, 2014
encoremediagroup.com 5
Fascinated with the astonishing natural beauty of Lake George in upstate
New York, Georgia O’Keeffe reveled in the discovery of new subject matter that
energized her signature modernist style. From magnified botanical compositions
to panoramic landscapes, this exhibition offers a deeper understanding of the
spirit of place that was essential to O’Keeffe’s artistic evolution.
This exhibition is organized by The Hyde Collection, Glens Falls, New
York, in association with the Georgia O’Keeffe Museum, Santa Fe,
New Mexico. The exhibition is supported by the National Endowment
for the Arts. The foundation sponsor is the Henry Luce Foundation.
F E B R UA RY 15— M AY 1 1 , 2 0 1 4
HE RB ST E X H I BI T I O N G A L L E R I E S
The presentation at the de Young is made possible by the Ednah Root Foundation, the
San Francisco Auxiliary of the Fine Arts Museums, and the Lisa and Douglas Goldman Fund.
Media Sponsors
Georgia O’Keeffe, Petunias, 1925. Oil on board. Fine Arts Museums of San Francisco, museum purchase,
gift of the M. H. de Young Family. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York
Golden Gate Park • deyoungmuseum.org
LETTER FROM THE BOARD CHAIRMAN
F
or many of us, the place we call “home” is a beautiful stretch of rolling hills and lush vineyards, spanning the
counties of Sonoma and Napa and referred to around the world as Wine Country. Though long-known for
its fine wine, gourmet cuisine, and ideal climate, this spectacular region now boasts a cultural arts destination
that has just begun to make its mark on the global landscape of the performing arts.
Nestled in the heart of Wine Country, Weill Hall at Sonoma State University is surrounded by a perfect storm of culture,
cuisine and climate. Since our doors opened in September 2012, Weill Hall has hosted some of the most talented artists from
the world of music – Lang Lang, Yo-Yo Ma, Renée Fleming, Yefim Bronfman, Audra McDonald, Itzhak Perlman, Wynton
Marsalis and the San Francisco Symphony, just to name a few. People from all across the Bay Area and around the country
have journeyed here to experience performances at what many musical experts deem to be one of the top acoustical concert
halls in the world – and one of the most breathtaking!
In doing so, our parent home of Sonoma State University has stepped in to an ever-growing spotlight. Already a renowned
liberal arts institution, this campus has caught the attention of a global audience, and is hoping to attract students from all
over the world, bringing a terrific element of diversity to this phenomenal, burgeoning community. After all, who wouldn’t
want to attend a university that boasts a high percentage of professors with doctoral degrees from the top 50 research
institutions in the country and is ranked #1 for the best student housing accommodations of any public university!
Photo: Liz Lovi.
On the near horizon, we ready ourselves for the opening of two new venues – Schroeder Hall and the MasterCard
Performing Arts Pavilion – which will launch new chapters in this institution’s history with intimate recitals, dance
performances, and popular music in an unforgettable setting.
These new additions – paired with the highest caliber presentations in
Weill Hall – represent both a cultural and economic strong point for
the region, and certainly the university. It is truly transformational.
Photo: Linnea Mullins.
And as our physical surroundings expand and grow, so too do
our partnerships. Perhaps the best example is our multifaceted
collaboration with Carnegie Hall. Together, we have established the
Weill Hall Artists-in-Residence program, a collaboration between
Sonoma State University, and The Academy – a program of
Carnegie Hall, The Juilliard School, and the Weill Music Institute
in collaboration with the New York City Department of Education.
Our collaboration with Carnegie Hall takes on new life this summer,
when Weill Hall opens its doors to the remarkable National Youth
Orchestra of the United States of America on Saturday, August 2.
These bright young musicians – brought together by Carnegie Hall’s
Weill Music Institute – represent the future of the arts and a way
to help bridge cultural divides, and I’m delighted that Weill Hall is
among only eight exclusive venues to host this remarkable ensemble
(more information on page 9 of this book).
These collaborations and prestigious engagements speak volumes
as to our place in the national setting of cultural arts venues, and
provide us with a fantastic global stage on which to showcase
Sonoma State University. In just two short years, Weill Hall has
already established itself as a dominant force within the arts – from
performance and education, to collaboration and innovation. With
phenomenal leadership, embodied this year by the new appointment
of Zarin Mehta coupled with an outstanding Board of Advisors and a
committed staff, there’s no telling how far we can go.
Sanford I. Weill
Chairman, Green Music Center Board of Advisors
A MESSAGE FROM THE EXECUTIVE DIRECTORS
T
he second season of the MasterCard Performance Series is drawing to a close at Weill Hall, in a year
marked with artistic triumphs and performance milestones. But before this chapter comes to an end,
we have the pleasure of hosting seven phenomenal performers here at Sonoma State University, showcasing
a broad spectrum of artistic expression at its best.
We begin on March 15 with a fiery display of flamenco, by the passionate and graceful Estrella Morente. Born
into a dynasty of flamenco greats, she commands dazzling authority over Spain’s most famous musical tradition.
Backed by an ensemble of guitar and palmas – hand-clapping musical accompaniment – this is an evening of
international talent not to be missed.
The tempo changes the following day, with the Green Music Center debut of Grammy Award-winning singersongwriter Jason Mraz. His legions of fans know him best for hits such as “The Remedy” and “I’m Yours” but
in this intimate acoustic evening, he highlights new pieces from his yet-to-be-released fifth studio album with
indie-folk quartet Raining Jane.
On March 29, the legendary diva Jessye Norman brings to life Broadway, the Great American Songbook, and
more. Among the most celebrated artists of our time, with broad range and unshakable charisma, the soprano
pays tribute to iconic artists from Ella Fitzgerald to Leonard Bernstein in a captivating night of song.
For more than two decades, the versatility and endearing charm of Deborah Voigt has cemented her status as
opera’s leading dramatic soprano. On April 13, experience firsthand the powerful range of this captivating artist,
in a varied repertoire including works by Tchaikovsky, Richard Strauss, and a century of American composers:
Amy Beach, Bernstein, William Bolcom, and Ben Moore.
Hilary Hahn is a violin virtuoso with astonishing talent. In the 1990s, she burst onto the scene at just twelve
years old, debuting with the world’s leading orchestras. Since then, she has released twenty albums and has twice
been awarded with Grammys for Best Instrumental Soloist. Her Weill Hall debut on April 27 will undoubtedly
be a display of technical mastery and luminous flair.
On May 11, fast-rising Austrian baritone Florian Boesch partners with critically acclaimed English pianist
Malcolm Martineau for a recital of Schubert’s exquisite song cycle, Winterreise – a setting of 24 poems by
Wilhelm Müller on loneliness, longing, and love.
From pop to flamenco, the violin to
piano, the American art song to 19th
century Vienna, there is truly something
for everyone at the Green Music Center.
Join us for more this summer, and watch
your in-box and mailbox for the insider’s
opportunity to subscribe to the spectacular
2014-15 season.
Photo: Kristen Loken.
The season culminates on May 18 with the globally renowned pianist Richard Goode, who has earned critical
acclaim for fresh interpretations, fastidious performance, and infallible technique throughout his five-decade
career. An all-Beethoven afternoon – what better way to end a season of remarkable performances?
Zarin Mehta and Larry Schlereth
Co-Executive Directors
Green Music Center
8 WEILL HALL AT SONOMA STATE UNIVERSITY
GREEN MUSIC CENTER
gmc.sonoma.edu
This Summer at Weill Hall
SAN FRANCISCO
CONSERVATORY
HEADS NORTH TO THE
GREEN MUSIC CENTER
In 1917, San Francisco pianists Ada
Clement and Lillian Hodghead founded
the small Ada Clement Piano School with
just three pianos, four studios, and two
blackboards. Unbeknownst to them at
the time, they had just started a legacy.
By 1923, enrollment had skyrocketed
and the small school incorporated as the
San Francisco Conservatory of Music,
with curriculum including instruments,
theory, composition, and voice. Young
violin virtuosos Isaac Stern and Yehudi
Menuhin were among the earliest pupils.
By 1960, the San Francisco Conservatory
had become the first music school on the
west coast to receive accreditation from
both the Western Association of Schools
and Colleges, and the national Association
of Schools of Music. Over the next decade,
enrollment soared six-fold and educational
programming flourished.
More than ninety years after it’s humble
beginnings, the now iconic-conservatory
relocated to a sophisticated Civic Center
campus, ushering in a new era of growth.
At present, the Conservatory is home to
more than 400 students from 34 states and
30 countries. The distinguished faculty
include more than two dozen members of
the San Francisco Symphony, Opera, and
Ballet orchestras.
Each year, the Conservatory hosts
more than 500 performances across a
phenomenal spectrum of genres and
ensembles, making it one of the most
diverse concert series in the greater
Bay Area.
This summer, experience the San
Francisco Conservatory’s musical
community of phenomenal students,
gifted faculty, renowned guests, and
accomplished alumni, as they journey
north for their first-ever performance
at Weill Hall.
The San Francisco Conservatory performs
a special one-night only concert at Weill
Hall on Thursday, June 12 at 7:30pm.
Photo: Chris Lee.
SNEAK PEEK
NYO-USA performs their first concert with Valery Gerglev and Joshua Bell at SUNY Purchase College
THE NATIONAL YOUTH ORCHESTRA OF THE
UNITED STATES OF AMERICA BRINGING THEIR TALENTS
TO WINE COUNTRY
Each year, Carnegie Hall’s Weill Music
Institute brings together 120 of the
brightest young musicians from across the
country to form the prestigious National
Youth Orchestra of the United States
of America (NYO-USA). Following
a comprehensive audition process and
two-week training residency with leading
professional orchestra musicians, these
remarkable teenagers embark on a tour
to some of the great musical capitals of
the world, servings as dynamic musical
ambassadors on behalf of the nation.
This summer, the NYO-USA embarks
on an eight-city, coast-to-coast American
tour led by conductor David Robertson
and featuring violinist Gil Shaham. The
Green Music Center’s very own Weill
Hall is one of the exclusive venues to host
this remarkable ensemble – along with
iconic national venues including Carnegie
Hall, Tanglewood, Millennium Park, and
Disney Concert Hall.
Prior to departing on their national
tour, the 120-member orchestra will
spend two weeks training on the campus
of Purchase College, State University of
New York, with principal players from the
country’s finest orchestras. This residency
includes sectional and full orchestral
rehearsals, workshops on musical and
non-musical topics designed to complement
the tour repertoire, and social and
recreational activities.
And, once the summer tour concludes
the practice begins once more: the NYOUSA makes its debut tour to China in
summer 2015.
These bright young musicians represent
the future of arts in America – don’t miss
their Sonoma County debut on Saturday,
August 2.
The National Youth Orchestra of the
United States of America performs
Saturday, August 2 at Weill Hall.
Tickets and additional information
for these special presentations
will soon be available online at
http://gmc.sonoma.edu.
Photo: Bernardo Doral - Elle.
Estrella Morente
Saturday, March 15 at 7:30 p.m.
Weill Hall
ARTISTS
PROGRAM
Estrella Morente, voice
Pregón
Requiem
Habanera
Tangos Toreros
Granaína
Seguiriya
Instrumental
En un sueño vinistes
La Estrella
Sevillanas a Lola
Bulería de la corriente
José Carbonell “Montoyita,” guitar
José Carbonell Serrano “Monti,” guitar
Antonio Carbonell, palmas, chorus
Enrique Morente Carbonell “Kiki,” palmas, chorus
Angel Gabarre, palmas, chorus
Pedro Gabarre, palmas, chorus
TECHNICAL & STAFF
Joan Fornés, sound
Bea Vega, road manager
Macande, management
Program is subject to change
GREEN MUSIC CENTER
gmc.sonoma.edu
ARTIST BIO
PROGRAM NOTES
ESTRELLA MORENTE
AUTORRETRATO (SELF PORTRAIT)
Estrella Morente was born in Granada.
She is the eldest daughter of the legendary
Enrique Morente and the dancer Aurora
Carbonell. She grew up surrounded by
flamenco and has since become one of
Spain’s most sought-after performers.
Prestige venues and events, both in
Spain and overseas, have hosted Estrella’s
concerts, among these; Konzerthaus
Vienna, Theatre Carré Ámsterdam, Parco
Della Musica Roma, Oslo International
Festival, Suds à Arles, Helsinki World
Music Festival and Voix de Femmes,
Brussels. In 2011 she visited South
America and headlined the Festival de
Buenos Aires and Santiago a Mil.
Recently, she recorded De Falla’s El
Amor Brujo with the Spanish National
Orchestra, under the direction of Maestro
Joseph Pons. She has sung with the top
orchestras across Spain and Catalunya.
Estrella has won many awards including
the Premio Ondas and was nominated for
a Grammy for best flamenco recording.
Her recordings have reached platinum
status. After five years since the release
of Mujeres (EMI), her new album
Autorretrato (EMI) was launched. The
record includes collaborations by Michael
Nyman, Pat Metheny, Ketama and
Vicente Amigo, among others.
Estrella Morente is a fervent admirer
of La Niña los Peines, Camarón de la
Isla, Marchena, Vallejo, and of course,
her father Enrique. Lola Flores, María
Callas and Montserrat Caballé have all
influenced Estrella’s approach to singing.
In spite of her youth, she has sown the
seeds of her art and her musical gifts
across the globe. She is blessed with a
pure, crystalline vocal timbre and moves
easily between warm, seductive tones and
raw, expressive phrases.
Flamenco Festival 2014 is sponsored
by Instituto Andaluz del Flamenco,
Regional Ministry of Education, Culture
and Sports, Junta de Andalucía; Instituto
Nacional de las Artes Escénicas y de la
Música Ministry of Education, Culture
and Sports of Spain.
The first time I saw Estrella Morente live,
was at a concert at the Madrid College of
Medicine in 1998. I was speechless. No
other artist had ever impressed me as much
on stage. Never. Not even my idol Georges
Brassens, nor my beloved Leonard Cohen or
Bruce Springsteen. Estrella was something
new, something different. The first thing
that impressed me was her attitude, innate
elegance, a new sophistication, an apparent
security, not the result of arrogance but of
courage and nobility. But then Estrella started
singing and I entered a kind of twilight zone.
It seemed impossible, someone so young with
so much wisdom at the same time. Or was it
intuition? Or was it in the genes? Who cares?
For me, that day, a star was born. Because
Estrella, like it or not, belongs to the great,
crazy, strange family of the Divas: Callas,
Bernhardt, Duncan, Garbo.
In Estrella I found heritage, tradition,
and also innovation, the future. The
improviser, who never repeats herself,
because true feelings can never be duplicated
or manufactured. They are conjured up at
a given moment. Every time Estrella takes
a stage to sing, the place becomes a theatre
or an arena, whether in a tablao, on film,
or in any performance. She is archaic and
futuristic at the same time. Estrella is a
performer who uses her voice like any of the
jazz greats, as the noblest, the most primitive
and most quintessential of instruments. But
Estrella is also an actress, although in her
oeuvre, roles and characters are not defined
or mechanical. They represent an open score,
upon which to open the heart of Cante,
like a ritual sacrifice in which art is always
renewed, always alive.
Today, fate has forced Estrella to become
matriarch of a family quite unlike any
other in the Spanish arts realm. She began
recording her new album, Autorretrato
(Self Portrait), with her father, mentor
and teacher, as well as producer, the great
Enrique Morente, but he was unable to finish
it. Autorretrato is pure magic. It consists of
seemingly disparate tracks which, passed
through the filter of Estrella’s voice, become
one, in a kind of unique composition,
an oratory in several movements. The
overwhelming intimacy of the music makes
it a self –portrait of a great star, Estrella, as
she is today.
—Fernando Trueba
“ We have just returned from
the Festival and loved every
minute of it…”
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for TWO WEEKS OF
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Photo: David Heisler.
Jason Mraz
with very special guests Raining Jane
Sunday, March 16 at 8:00 p.m.
Weill Hall
ARTISTS
PROGRAM
Jason Mraz, lead vocals
Mai Bloomfield, vocals, guitar, cello
Becky Gebhardt, bass, guitar
Chaska Potter, vocals, guitar
Mona Tavakoli, drums, vocals, percussion
Program will be announced from the stage.
GREEN MUSIC CENTER
gmc.sonoma.edu
ARTIST BIO
JASON MRAZ
Photo: Eric Morgensen.
Jason Mraz has quietly amassed a youthful,
diverse, and vibrant fan-base throughout
all parts of the globe. His critically
acclaimed live performances have propelled
him from the San Diego coffee house
circuit to amphitheaters, arenas, festivals
and stadiums all over the world. Among
many other international accolades, Mraz
has won two major GRAMMY® Awards
and garnered six nominations, a People’s
Choice award, the Hal David Songwriter
Hall Of Fame Award, and several Teen
Choice Awards, to name a few.
Jason Mraz is indisputably among
the most gifted and beloved artists of the
modern era, making pop history with
his record-breaking classic single, “I’m
Yours,” while also earning platinum and
multi-platinum certifications in more than
twenty countries for his various releases.
Moreover, the San Diego-based troubadour
has proven a truly diverse creative presence.
A dedicated surfer, farmer-gardener,
filmmaker, and photographer, Mraz is first
and foremost a committed global citizen.
JASON MRAZ
His impassioned social activism and
philanthropic efforts span wide-ranging
environmental advocacy and ardent
support for LGBT equality. His global
activism includes participating in a rescue
mission to Ghana with Free The Slaves
and an internationally broadcast
live performance in Myanmar to 70,000
people to bring awareness to human
trafficking with MTV Exit. Through
it all, Jason Mraz continually confirms
and celebrates music’s myriad forms and
miraculous power, inspiring and delighting
his countless fans around the world he calls
home. www.jasonmraz.com
RAINING JANE
In an era of over-night sensations that fizzle
as quickly as they spark, and a time when
music seems often overshadowed by a side
show of special effects, daredevil costumes
and lip-synching illusionists, it's a relief to
know that there are still bands out there that
are the real thing: bands who play their own
instruments, write their own songs, and have
the musical chemistry that can only come
from playing and touring together for over a
decade. This is Raining Jane.
It wasn't long after their first show at
UCLA in 1999, that the four women of
Raining Jane hit the road to make music
their full-time gig. With their original
blend of indie-rock-folk, they launched into
a hefty touring schedule, performing over
120 shows per year (for 6 years straight), all
independently booked and managed. From
colleges to concert halls, from supporting
tours for Sara Bareilles to headlining
their own shows, Raining Jane became an
example of indie success.
In 2007 their career took an exciting
turn when they began writing with Jason
Mraz, initiating a creative partnership that
continues to the present day. One of their
co-writes, A Beautiful Mess, appeared
on Mraz's platinum album "We Sing. We
Dance. We Steal Things," while another,
Collapsible Plans was featured in the
Cannes-Selection documentary "The Big
Fix," which earned a Hollywood Music
and Media Award for Best Song in a Film.
In 2012, Mona Tavakoli (percussion/
backup vocals) joined Mraz on his world
tour, venturing as far as Antarctica and
Myanmar. The ever-evolving collaboration
between Mraz and Raining Jane reached
a new level in 2013 with multiple writing
and recording sessions, a tour and plans for
more exciting collaborations in 2014.
Over the years Raining Jane has released
four albums, with The Good Match as
their latest flame. The album showcases the
band's uplifting and heartfelt songwriting,
as well as rich vocal harmonies and diverse
instrumentation (guitars, cello, cajon, sitar,
bass.) Their music can be heard elsewhere
with songs appearing on shows like Grey's
Anatomy, So You Think You Can Dance
and Dancing With The Stars. They've also
played on records for other artists such as
Willy Porter's How To Rob A Bank.
In addition to their musical work as
a band, Raining Jane has always been
passionate about community outreach.
In 2010 they established Rock n' Roll
Camp for Girls Los Angeles, a non-profit
dedicated to empowering girls through
music education. Now in its fifth year, the
organization has reached over 300 young
girls, has inspired the help of hundreds
of volunteers, and has provided a vibrant,
creative resource for Los Angeles.
Photo: Carol Friedman.
Jessye Norman
American Masters
Saturday, March 29 at 7:30 p.m.
Weill Hall
ARTISTS
PROGRAM
Jessye Norman
soprano
A Celebration of the American Musical Theatre
Mark Markham
piano
I
Rodgers
Kern
alling in Love with Love, frrom
F
The Boys From Syracuse
The Song is You, from Music in the Air
Bernstein Lucky to Be Me, from On The Town
Gershwin I Got Rhythm, from Girl Crazy
II
Gershwin The Man I Love, from Lady, Be Good!
Arlen
Sleepin’ Bee, from House of Flowers
Arlen
Hooray for Love, from Casbah
Bernstein Lonely Town, from On The Town
Gershwin M
y Man’s Gone Now, from
Porgy and Bess
INTERMISSION
A Celebration of the American Musical Mosaic:
A Tribute to the Greats
III
For Nina Simone
Donaldson My Baby Just Cares For Me
For Lena Horne
Arlen Stormy Weather
For Odetta
Traditional Pretty Horses
For Ella Fitzgerald
Weill Mack the Knife
IV
Edward Kennedy ‘Duke’ Ellington
Meditation for Piano
Don’t Get Around Much Anymore
I’ve Got It Bad (and That Ain’t Good)
It Don’t Mean A Thing (If It Ain’t Got That Swing)
Song texts begin on page 16.
GREEN MUSIC CENTER
gmc.sonoma.edu
ARTIST BIOS
“
The immensity of
her voice struck like a
thunderbolt… It was like an
eruption of primal power.”
— The Jerusalem Post
Jessye Norman performs a breadth and
depth of repertory encompassing her
innovative programming and scholarship.
She is as admired and respected for
her artistry presented on the world’s
opera and concert stages and now into
her newest expansion into jazz, as for
her humanitarian contributions. Her
collaborations with today’s most exciting
and creative artists include her work with
four-time Grammy-winning composer
Laura Karpman, resulting in a multi-media
musical theater piece, Ask Your Mama—
Twelve Poems on Jazz—by Langston
Hughes, premiered at Carnegie Hall in
2009 as a part of the HONOR! Festival, a
fifty-two event celebration of the AfricanAmerican contribution to world culture,
curated and directed by Miss Norman.
Ask Your Mama was also presented at
the Hollywood Bowl. The Jessye Norman
School for the Arts in her hometown of
Augusta, Georgia is a tuition-free arts
program for talented middle-school
students otherwise unable to experience
private arts tutoring. The school, founded
in 2003, is Miss Norman’s response to the
understanding that, given the opportunity
to explore the arts, students introduced
to this positive means of self-expression
perform better academically and become
more involved citizens. To find out more,
visit jessyenormanschool.org.
Miss Norman’s latest recording, Roots:
My Life, My Song, shares with listeners
part of her personal universe; in it she
pays homage to some of the many who
encourage her curiosity and what she
feels is an obligation to offer musical
expression outside the Classical canon,
to reach all those open to taking this
often surprising musical journey with
her. In 2012 she appeared with the San
Francisco Symphony Orchestra in a fully
staged production of John Cage’s Song
Books as part of the American Mavericks
Festival. Her work with not-for-profit
organizations, including the New York
Public Library, the Dance Theatre of
Harlem, Howard University, Carnegie
Hall, and the Partnership for the
Homeless speaks to her concern for the
larger community and the citizenship
she credits her parents for demonstrating
through their own community service.
Among Miss Norman’s many recognitions,
she is an honorary ambassador to the
United Nations, a Kennedy Center
honoree, a National Medal of Arts awardee
from President Obama, a Commandeur
des Arts et des Lettres and an officer in
the French Legion of Honor. With five
Grammys and almost forty honorary
doctorates, it is yet the sheer joy of singing
that keeps her searching, exploring, and
seeking to honor the ancestors.
Photo: Jean-Luc Fieve.
JESSYE NORMAN
JESSYE NORMAN
MARK MARKHAM
Pianist Mark Markham made his debut
in 1980 as soloist with the New Orleans
Symphony Orchestra and in the same
year was invited by the renowned Boris
Goldovsky to coach opera at the Oglebay
Institute, hence the beginning of a
multi-faceted career. His teachers at the
time, Robert and Trudie Sherwood, were
supportive of all his musical endeavors
from solo repertoire, vocal accompanying
and chamber music to Broadway and jazz.
During the next ten years as a student
at the Peabody Conservatory, where he
received Bachelor’s, Master’s, and Doctoral
degrees in Piano Performance, this same
support for the diversity of his musical
gifts came from Ann Schein, a pupil of
the great Artur Rubinstein. While under
her tutelage Mr. Markham won several
competitions including the First Prize
and the Contemporary Music Prize at
the 1988 Frinna Awerbuch International
Piano Competition in New York City.
Mr. Markham has given solo recitals
at the National Gallery of Art in
Washington, DC; the New York Public
Library; the Baltimore Museum of Art;
and the Getty Museum in Los Angeles.
In 1987 Mr. Markham was appointed
pianist of the Contemporary Music
Forum of Washington, DC. During
five seasons he gave numerous premiere
performances at the Corcoran Gallery
with this ensemble.
Since 1995 Mr. Markham has been the
recital partner of Jessye Norman, giving
nearly three hundred performances in over
twenty-five countries, including recitals
in Carnegie Hall, the Concertgebouw
in Amsterdam, La Palau de la Musica in
Barcelona, London’s Royal Festival Hall,
the Musikverein in Vienna, the Salzburg
Festival, Bunka Kaikan in Tokyo, Mann
Auditorium in Tel Aviv, the Ancient
Theatre of Epidaurus in Greece, and at
the 2002 Nobel Peace Prize presentation
to President Jimmy Carter in Oslo.
Recently he has performed with Ms.
Norman in London, Paris, Lyon, Moscow,
St. Petersburg, Ghent, Zurich, Oman,
Beirut, Baden-Baden, Washington, DC
and San Francisco. His gift for jazz has
been recognized in the Sacred Ellington, a
program created by Ms. Norman in which
he serves as pianist and musical director
and which has toured Europe and the
Middle East. Most recently, his recording
with Jessye Norman of Roots: My Life, My
Song was nominated for a Grammy.
For more information visit
markmarkhampianist.com.
TEXTS
A Celebration of the American Musical Theatre
I
Falling in Love with Love, from The Boys From Syracuse
Falling in love with love is falling for make believe,
Falling in love with love is playing the fool.
Caring too much is such a juvenile fancy,
Learning to trust is just for children in school.
I fell in with love with love one night when the moon was full,
I was unwise with eyes unable to see,
I fell in love, with love everlasting,
But love fell out with me!
Music: Richard Rodgers (1902-1979)
Lyrics: Lorenz Hart (1895-1943)
The Song is You, from Music in the Air
I hear music when I look at you
A beautiful theme of every dream I ever knew
Down deep in my heart, I hear it play
I feel it start, then melt away.
I hear music when I touch your hand,
A beautiful melody from some enchanted land,
Down deep in my heart, I hear it say ‘Is this the day?’
I alone have heard this lovely strain,
I alone have heard this glad refrain
Must it be forever inside of me
Why can’t I let it go, why can’t I let you know?
Why can’t I let you know the song my heart would sing?
That beautiful rhapsody of love and youth and spring
The music is sweet, the words are true
The Song is You.
Music: Jerome Kern (1885-1945)
Lyrics: Oscar Hammerstein II (1895-1960)
Lucky to Be Me, from On The Town
I used to think it might be fun to be
Anyone else but me
I thought that it could be a pleasant surprise
To wake up in some other disguise.
But now that I’ve found you,
I’ve changed my point of view,
And now I wouldn’t give a dime to be
Anyone else but me.
What a day,
Fortune smiled and came my way,
Bringing love I never thought I’d see,
I’m so lucky to be me.
What a night,
Suddenly you came in sight,
Looking just the way I’d hoped you’d be,
I am simply thunderstruck
JESSYE NORMAN
At this change in my luck:
Knew at once I wanted you,
Never dreamed you’d want me, too.
I’m so proud
You chose me from all the crowd,
There’s no other girl I’d rather be,
I could laugh out loud,
Music: Leonard Bernstein (1918-1990)
Lyrics: Betty Comden (1917-2006) and
Adolph Green (1914-2002)
I Got Rhythm, from Girl Crazy
I Got Rhythm, from Girl Crazy
I got rhythm, I got music, I got my man
Who could ask for anything more?
I’ve got daises in green pastures
I’ve got my man, who could ask for anything more?
Old man trouble I don’t mind him
You won’t find him around my door.
I’ve got starlight, I’ve got sweet dreams
I’ve got my man, who could ask for,
Who could ask for more?
Old man trouble, I don’t mind him
You won’t find him, hanging ’round my door.
Oh, I’ve got rhythm, I’ve got music
I got my man, who could ask for anything more?
Music: George Gershwin (1898-1937)
Lyrics: Ira Gershwin (1896-1983)
II
The Man I Love, from Lady, Be Good!
Someday he’ll come along
The man I love;
And he’ll be big and strong,
The man I love;
And when he comes my way,
I’ll do my best to make him stay.
He’ll look at me and smile,
I’ll understand;
And in a little while
He’ll take my hand;
And though it seems absurd,
I know we both won’t say a word.
Maybe I shall meet him Sunday,
Maybe Monday, maybe not;
Still I hope to meet him one day,
Maybe Tuesday will be my
Good news day.
He’ll build a little home,
Just meant for two,
GREEN MUSIC CENTER
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TEXTS
JESSYE NORMAN
The Man I Love, continued
From which I’ll never roam,
Who would, would you?
And so all else above,
I’m waiting for the man I love.
Lyrics: Ira Gershwin (1896-1983)
When a bee lies sleeping
In the palm of your hand
You’re bewitched
And deep in love’s long looked after land
Where you’ll see a sun up sky
With a mornin’ new
And where the days go laughin’ by
As love comes callin’ you
Sleep on bee, don’t waken
Can’t believe what just passed
He’s mine for the takin’
I am so happy at last
Maybe I dream but he seems
Sweet, golden as a crown
A sleepin’ bee done told me
I will walk with my feet off the ground
When my one true love
I have found.
Music: Harold Arlen (1905-1986)
Lyrics: Harold Arlen and
Truman Capote (1924-1984)
Hooray for Love, from Casbah
It’s the wonder of the world,
It’s a rocket to the moon
It gets you high, it gets you low,
But once you get that glow…
Here’s to my best romance,
Here’s to my worst romance
Here’s to my first romance – ages ago
Here’s to the boys I’ve kissed,
And to complete the list
Here’s to the boys who said “No!”
Love, love, hooray for love
Who was ever too blasé for love
Make this the night for love
If we have to fight, let’s fight for love
Some sigh and cry for love
Ah, but in Pa-ree they die for love
Some waste away for love
Just the same – hooray for love!
It’s the rocket to the moon,
With a touch of “Clare de lune”
It gets you high, it gets you low,
But once you get that glow…
Some trust to fate for love,
Others have to take off weight for love
Some go berserk for love
Loafers even go to work for love
Sad songs are sobbed for love
People have their noses bobbed for love
Some say we pay for love
Just the same – hooray for love!
Music: Harold Arlen (1905-1986)
Lyrics: Leo Robin (1900-1984)
Lonely Town, from On The Town
A town’s a lonely town.
When you pass through and there is no one waiting there for you
Then it’s a lonely town, you wander up and down
The crowds rush by, a million faces pass before your eyes
Still it’s a lonely town.
Unless there’s love, a love that’s shining
Like a harbor light, you’re lost in the night
Unless there’s love, the world’s an empty place
And every town’s a lonely town.
Music: Leonard Bernstein (1918-1990)
Lyrics: Betty Comden (1917-2006) and
Adolph Green (1914-2002)
My Man’s Gone Now, from Porgy and Bess
My man’s gone now
Ain’t no use a listening
For his tired footsteps
Climbin’ up the stairs.
Old man sorrow’s
Come to keep me company
Whisperin’ beside me
When I say my prayers.
Ain’t that I mind working
Work and me is travelers
Journeyin’ together
To the promised land
But old man sorrow
Marchin’ all the way with me
Tell me that I’m old now
Since I lose my man
Old man sorrow’s sitting by the fireplace
Lyin’ all night long by me in the bed
Tell me the same thing morning noon and evening
That I’m all alone, since my man is dead.
Ah . . .
Lyrics: Edwin DuBose Heyward 1885-1940) and
Ira Gershwin (1896-1983)
TEXTS
JESSYE NORMAN
A Celebration of the American Musical Mosaic:
A Tribute to the Greats
III
For Nina Simone
My Baby Just Cares For Me
My baby don’t care for clothes
My baby don’t care for shows
My baby just cares for me
My baby don’t care for cars and races
My baby don’t care for high-tone places
Liz Taylor is not his style
And even Lana Turner’s smile
Is somethin’ he can’t see
My baby don’t care who knows it
My baby just cares for me
Music: Walter Donaldson (1893-1947)
Lyrics: Gus Kahn (1886-1941)
For Lena Horne
Stormy Weather
Don’t know why there’s no sun up in the sky
Stormy weather since my man and I ain’t together
Keeps raining all the time, the time.
Life is bare, gloom and misery everywhere
Stormy weather, just can’t get my poor self together
Keeps raining all the time, the time.
When he went, the blues walked in and met me
If he stays away, that ol’ rocking chair’s gonna get me
All I do is pray, the Lord above will let me walk in the sun once more.
Can’t go on, everything I had is gone
Stormy weather since my man and I ain’t together
It’s raining all the time.
Music: Harold Arlen 1905-1986)
Lyrics: Ted Koehler (1894-1973)
For Odetta
Pretty Horses
Hush-a-bye, don’t you cry
Go to sleepy little baby
When you wake, you shall have
All the pretty little horses
Blacks and Bays,
Dapples and grays
All the pretty little horses.
Way down yonder, in the meadow
Lies a poor little lamb-y
Bees and butterflies pickin’ on his eyes
Poor little thing is cryin’ ‘Mammy’.
Blacks and Bays..Dapples and grays
All the pretty little horses.
For Ella Fitzgerald
Mack the Knife, from The Threepenny Opera
Oh, the shark has pretty teeth, babe,
And he shows them pearly white.
Just a jackknife has Macheath, babe,
And he keeps it out of sight.
You know when that shark bites with its teeth, babe,
Scarlet billows start to spread.
Fancy gloves, oh, wears Macheath, babe,
So there’s never a trace of red.
On the sidewalk one Sunday morning,
Lies a body just oozing life,
Someone’s sneaking ’round the corner,
Could that someone be Mack the Knife?
There’s a tugboat down by the river,
With a cement bag just a drooping on down,
Well, the cement’s just for weight, dear,
Five’ll get you ten, old Mackie’s back in town.
Did you hear about old Louie Miller,
He disappeared after drawing all his cash,
And now Macheath is out here spending like a sailor,
Can it be our boy’s done something rash?
Oh, Jenny Diver, and Sueky Tawdry,
Then there’s Lotte Lenya and old Lucy Brown,
Well, the line forms right here on the right babes,
Now that Mackie’s back in town.
Music: Kurt Weill (1900-1950)
Lyrics: Bertolt Brecht (1898-1956)
Translation: Marc Blitzstein (1905-1964)
IV
Edward Kennedy “Duke” Ellington (1899-1974)
Don’t Get Around Much Anymore
Missed the Saturday dance
Heard they crowded the floor
Couldn’t bear it without you
Don’t get around much anymore.
Thought I’d go to the club
Got as far as the door
They’d have asked me about you
Darling I guess my mind’s more at ease
But nevertheless, why stir up memories
Got invited on dates, might have gone but what for
Awfully different without you
Lyrics: Bob Russell (1914-1970)
Music: Traditional
GREEN MUSIC CENTER
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TEXTS
“Duke" Ellington, continued
I’ve Got It Bad and That Ain’t Good
Never treats me sweet and gentle
The way he should
I’ve got it bad
And that ain’t good.
My poor heart is sentimental
Not made of wood
I’ve got it bad
But when the weekend’s over
And Monday rolls around
I end up where I started
Just crying my heart out.
He don’t love me like I love him
No, nobody could
I’ve got it bad
Lord above me, make him love me
The way he should
I got it bad
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Lyrics: Paul Francis Webster
(1907-1984)
It don’t mean a thing if it ain’t got
that swing
Doh wap, doh wap, doh wap, doh wap
It don’t mean a thing, all you’ve got
to do is sing
Doh wap, doh wap, doh wap, doh wap.
It makes no difference if it’s sweet or hot.
Just give that rhythm everything
you’ve got!
It don’t mean a thing if it ain’t got
that swing,
Doh wap, doh wap, dop wap, doh wap
GERSTEIN
—T H E N E W YO R K T I M E S
It Don’t Mean a Thing if It Ain’t
Got That Swing
Lyrics: Irving Mills (1894-1985)
August 10 - 15
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DeborahVoigt
Sunday, April 13 at 3 p.m.
Weill Hall
ARTISTS
PROGRAM
Deborah Voigt, soprano
Brian Zeger, piano
Amy Beach
(Mrs. H.H.A. Beach)
The Year’s at the Spring, Op. 44, No. 1
Ah, Love, But a Day, Op. 44, No. 2
I Send My Heart Up to Thee, Op. 44, No. 3
Pyotr Ilyich Tchaikovsky
Ya li v pole da ne travushka byla, Op. 47, No. 7
Den’ li tsarit? Op. 47, No. 6
The Koret Foundation is a generous
supporter of the Green Music Center
and is underwriting tonight’s concert.
Columbia Artists Management, LLC
Personal Direction: Tim Fox
1790 Broadway, New York, NY 10019
www.cami.com
Richard Strauss
Ich trage meine Minne, Op. 32, No. 1
Schlechtes Wetter
Lob des Leidens, Op. 15, No. 3
Ach, Lieb, ich muss nun scheiden, Op. 21, No. 3
Zueignung
INTERMISSION
Ben Moore
I Am in Need of Music
This Heart that Flutters
To the Virgins, To Make Much
of Time
Bright Cap and Streamers
Leonard Bernstein
Piccola serenata
So pretty
Greeting
Another love
It’s gotta be bad to be good
Somewhere
William Bolcom
Toothbrush Time
At the Last Lousy Moments of Love
George
GREEN MUSIC CENTER
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ARTIST BIOS
“
Deborah Voigt crosses the opera-Broadway boundary
with grace and elegance, harboring a strength reserved for
special moments. She is also in the possession of a devilish
sense of humor, which was delightfully used to frame a lyric
with a naughty smile.”
DEBORAH VOIGT
— Variety
of San Francisco Opera’s Merola Program,
and won both the Gold Medal in Moscow’s
International Tchaikovsky Competition
and First Prize at Philadelphia’s Luciano
Pavarotti Vocal Competition. Voigt is a
Chevalier de l’Ordre des Arts et des Lettres
and was Musical America’s Vocalist of
the Year in 2003. In 2007 she won an
Opera News Award for distinguished
achievement, and in 2009 she received an
Honorary Doctorate from the University
of South Carolina. Known to Twitter
fans as a “Dramatic soprano and down-toearth Diva,” Voigt was named by the Los
Angeles Times as one of the top 25 cultural
tweeters to follow. She is currently writing
a memoir scheduled for publication by
HarperCollins later this year.
Follow Deborah Voigt at www.
deborahvoigt.com, www.facebook.com/
DeborahVoigt, and twitter.com/debvoigt.
BRIAN ZEGER
Photo: Jared Slater.
Deborah Voigt is increasingly recognized
as one of the world’s most versatile
singers and one of music’s most endearing
personalities. Through her performances
and television appearances, she has
distinguished herself through the singular
power and beauty of her voice, as well
as for her captivating stage presence. A
leading dramatic soprano, internationally
revered for her performances in the operas
of Richard Wagner and Richard Strauss,
she is also celebrated for her portrayals of
some of the greatest heroines of Italian
opera. An active recitalist and performer
of Broadway standards and popular songs,
Voigt has an extensive discography, and has
given many enthusiastically received master
classes. She also appears regularly, as both
performer and host, in the Metropolitan
Opera’s The Met: Live in HD series, which
is transmitted live to movie theaters across
the U.S. and overseas.
Voigt launched 2013-14 as host of a starstudded Sing With Haiti benefit concert
at San Francisco’s Grace Cathedral, to
aid in the rebuilding of the Holy Trinity
Music School in Port-au-Prince, Haiti,
which was destroyed in the earthquake of
2010. In the opera house she makes her
role debut as Marie in Berg’s Wozzeck at
the Metropolitan Opera, with Thomas
Hampson in the title role and James
Levine conducting, while recitals take her
to numerous cities nationwide, including
Miami, Fort Worth, Texas, Kansas City,
Sonoma, Palm Desert, Stanford, CA, and
Boston. It was also in Boston that the
soprano performed Voigt Lessons, the onewoman show she developed with awardwinning playwright Terrence McNally
and director Francesca Zambello, which
debuted to acclaim at the Glimmerglass
Festival in 2011; as The Examiner observed,
“The piece breathed spontaneity, wit, and
vulnerability that moved and engaged
the audience.” In concert, she appeared
with the Orchestre de la Suisse Romande
and Zurich’s Tonhalle Orchester, besides
taking part in Christmas concerts with the
Mormon Tabernacle Choir. Throughout
the season, Voigt serves as the first Artist-inResidence in Washington National Opera’s
Domingo-Cafritz Young Artist Program.
Voigt studied at California State
University at Fullerton. She was a member
DEBORAH VOIGT
Pianist Brian Zeger has built an important
career not only as a pianist, appearing in
distinguished concert venues throughout
the United States and Europe, but also
as an ensemble performer par excellence,
radio broadcaster, artistic administrator,
and educator. During his extensive concert
career, Mr. Zeger has collaborated with
many of the world’s top singers including
Marilyn Horne, Deborah Voigt, Anna
Netrebko, Susan Graham, René Pape,
Dame Kiri Te Kanawa, Piotr Beczala,
Bryn Terfel, Joyce DiDonato, Denyce
Graves, and Adrianne Pieczonka. Recent
and upcoming engagements include
recitals with Ms. Voigt, Ms. Netrebko, Ms.
Graham, Ms. Pieczonka, and Mr. Beczala.
In addition to performing onstage,
he also serves as artistic director of the
Vocal Arts Department at The Juilliard
School and the executive director of the
Metropolitan Opera Lindemann Young
Artists Development Program. He
recently served as the director of the vocal
program at the Steans Institute at the
Ravinia Festival. Mr. Zeger has been on
the faculties of the Music Academy of the
West in Santa Barbara, the Chautauqua
Institute, the Mannes College of Music and
the Peabody Conservatory and has given
master classes for numerous institutions,
including the Guildhall School of Music in
London, Cincinnati College-Conservatory
of Music, Tanglewood Music Center, and
the Marilyn Horne Foundation.
Mr. Zeger also enjoys an active career
as a chamber musician. From 1993-2000
he was artistic director of the Cape
and Islands Chamber Music Festival,
headquartered on Cape Cod, where his
performances included collaborations with
the Borromeo and Brentano Quartets
as well as with Bernard Greenhouse,
Glenn Dicterow, Eugene Drucker, and
Paula Robison. A regular guest at many
summer festivals, he has also collaborated
regularly with An die Musik, the New
York Philharmonic Chamber Ensembles
and made concerto appearances with the
Boston Pops. Some of his critical essays
and other writings have appeared in Opera
News, The Yale Review and and Chamber
Music magazine. For more information
about Mr. Zeger’s activities, please visit his
website, www.brianzeger.com.
TEXTS AND TRANSLATIONS
Amy Beach (1867–1944)
The Year’s at the Spring
Text: Robert Browning
T
he year’s at the spring,
And day’s at the morn;
Morning’s at seven;
The hill-side’s dew-pearl’d;
The lark’s on the wing;
The snail’s on the thorn;
God’s in His heaven-All’s right with the world!
Ah, Love, But a Day
A
h, Love, but a day,
And the world has changed!
The sun’s away,
And the bird estranged;
The wind has dropped,
And the sky’s deranged;
Summer has stopped.
Pyotr Ilyich Tchaikovsky (1840-1893)
DEBORAH VOIGT
Look in my eyes!
Wilt thou change too?
Should I fear surprise?
Shall I find aught new
In the old and dear,
In the good and true,
With the changing year?
Thou art a man,
But I am thy love.
For the lake, its swan;
For the dell, its dove;
And for thee — (oh, haste!)
Me, to bend above,
Me, to hold embraced.
I Send My Heart Up to Thee
I
send my heart up to thee, all my heart
In this my singing,
For the stars help me, and the sea,
and the sea bears part;
The very night is clinging
Closer to Venice’s streets to leave one space
Above me, whence thy face
May light my joyous heart to thee,
to thee its dwelling place..
Ya li v pole da ne travushka byla
Text: Ivan Surikov
Was I not a little blade of grass in the field
J
a li v pole da ne travushka byla,
Ja li v pole ne zelenaja rosla;
Vzjali menja, travushku, skosili,
Na solnyshke v pole issushili.
Okh, ty, gore moje, gorjushko!
Znat’ takaja moja doljushka!
Was I not a little blade of grass in the field;
growing green in the field?
They mowed me down, a little blade of grass;
in the field they dried me in the sunshine.
Oh, my sorrow, my woe!
So this, this, then, is my destiny!
Ja li v pole ne kalinushka byla,
Ja li v pole da ne krasnaja rosla;
Vzjali kalinushku, slomali,
Da v zhgutiki menja posvjazali!
Was I not a little wild rosebush in the field,
growing red in the field?
They took the bush, uprooted it,
tied it in a bundle!
Ja l’ u batjushki ne dochen’ka byla,
U rodimoj ne cvetochek ja rosla;
Nevolej menja, bednuju, vzjali,
Da s nemilym, sedym povenchali!
Was I not my father’s daughter;
was I not his little flower?
Yet they took me, all unwilling,
and married me to an old man I do not love!
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U P C O M I NG P E R F O R M AN C E S
APR 2
A Conversation with Ina Garten,
The Barefoot Contessa
APR 13 Cesar Millan Live!
APR 18 Aimee Mann and Billy Collins: An Evening
of Acoustic Music and Spoken Word
MAY 1 Straight No Chaser
Under the Influence Tour
MAY 4 Rodney Carrington: Laughter’s Good
MAY 9 Mario Cantone Live!
MAY 31 Dana Carvey
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DEBORAH VOIGT
Tchaikovsky, continued
Den’ li tsarit?
Text: Aleksey Nikolayevich Apukhtin
Whether Day Dawns
D
Whether day dawns or in the stillness of the night,
Whether in a dream or awake,
Everywhere I go, I am filled entirely
With one thought alone,
Only of you!
No longer do shadows of the past frighten me,
My heart is renewed in love . . .
Faith, dreams, and inspiring words,
Everything that I hold dear to my soul, that is sacred,
It is all because of you!
Whether my days will be bright or dismal,
Whether my life ends soon or late!
One thing I know, that to the end
My thoughts, feelings and songs, and strengths,
All is for you!
en li tsarit, tishina li nochnaya,
F snakh li bessvyaznykh, v zhiteyskoy bor’be,
Fsyudu so mnoy, moyu zhizn’ napolnyaya,
Duma vse ta zhe, odna rokovaya,
Fsyo a tebe!
S neyu ne strashin mne prizrak bylova,
Sertse vaspranula snova lyubya . . .
Vera, mechty, vdokhnavennaya slova,
Fsyo, shto v dushe daragova, svyatova,
Fsyo at tebya!
Budut li dni mayi yasny, unyly,
Skora li zginu ya, zhizn’ zagubya!
Znayu adno, shto da samoy magily
Pomysly, chuvstva i pesni, i sily,
Fsyo dlya tebya!
Richard Strauss (1864-1949)
Ich trage meine Minne
Text: Karl Friedrich Henckell
I bear my love
I
ch trage meine Minne vor Wonne stumm
Im Herzen und im Sinne mit mir herum.
Ja, daß ich dich gefunden, du liebes Kind,
Das freut mich alle Tage, die mir beschieden sind.
I bear my love, with rapture mute,
about with me in heart and thought.
Yes, that I have found you, sweet child,
will cheer me all my allotted days.
Und ob auch der Himmel trübe, kohlschwarz die Nacht,
Hell leuchtet meiner Liebe goldsonnige Pracht.
Und lügt auch die Welt in Sünden, so tut mir’s weh,
Die arge muß erblinden vor deiner Unschuld Schnee.
And though skies be dim, the night coal-black,
bright shines the gold sun’s splendour of my love.
And though the world may sinfully lie, I am sorry—
the bad world must be blinded by your purity’s snow.
Schlechtes Wetter
Text: Heinrich Heine
Bad weather
D
as ist ein schlechtes Wetter,
Es regnet und stürmt und schneit;
Ich sitze am Fenster und schaue
Hinaus in die Dunkelheit.
The weather is bad,
it is raining and storming and snowing;
I sit by the window and look out
into the darkness.
Da schimmert ein einsames Lichtchen,
Das wandelt langsam fort:
Ein Mütterchen mit dem Laternchen
Wankt über die Strasse dort.
A lonely little light is glowing out there,
it is moving slowly away;
A young mother with her little lantern
stumbles along the street.
Ich glaube, Mehl und Eier
Und Butter kaufte sie ein;
Sie will einen Kuchen backen
Fürs grosse Töchterlein.
I believe she’s buying
flour and eggs and butter;
she wants to bake a cake
for her fat little daughter.
Die liegt zu Haus im Lehnstuhl,
Und blinzelt schläfrig ins Licht;
Die goldnen Locken wallen
Über das süsse Gesicht.
Her daughter is at home, lying in an armchair
blinking sleepily at the light;
her golden locks fall
over her sweet face.
GREEN MUSIC CENTER
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DEBORAH VOIGT
Strauss, continued
Lob des Leidens
Text: Adolf Friedrich von Schack
In praise of sorrow
O
, schmäht des Lebens Leiden nicht!
Seht ihr die Blätter, wenn sie sterben,
sich in des Herbstes goldenem Licht
nicht reicher, als im Frühling färben?
O do not revile the sorrows of life!
Look at the leaves: when they die,
is not the golden light of autumn
richer than when tinged by Spring?
Was gleicht der Blüte des Vergehens
im Hauche des Oktoberwehens?
Krystallner als die klarste Flut
erglänzt des Auges Tränenquelle,
What can compare to the blossom of forgiveness
in the October breeze?
More crystalline than the clearest waters
are eyes with glistening, streaming tears;
Tief dunkler flammt die Abendglut,
als hoch am Tag die Sonnenhelle,
und keiner kußt so heissen Kuß,
als wer für ewig scheiden muß.
Twilight glows with a profounder, darker gleam
than the sun does when it is high and bright in the sky;
and no one kisses with such ardent kisses
as when one must depart forever.
Ach, Lieb, ich muss nun scheiden
Text: Felix Ludwig Julius Dahn
Ah love, I must now depart
A
ch Lieb, ich muss nun scheiden,
Gehn über Berg und Tal,
Die Erlen und die Weiden,
Die weinen allzumal.
Ah love, I must now depart,
going over mountain and valley,
the alders and the willows,
they all weep together.
Sie sahn so oft uns wandern
Zusammen an Baches Rand,
Das eine ohn’ den andern
Geht über ihren Verstand.
They saw us walk together so often
along the brook,
when they see one of us without the other,
they just cannot understand.
Die Erlen und die Weiden
Vor Schmerz in Tränen stehn,
Nun denket, wie’s uns beiden
Erst muss zu Herzen gehn.
The alders and the willows
stand weeping in pain and tears,
now think how it is for both of us
in our hearts.
Zueignung
Text: Hermann von Gilm
Dedication
J
a, du weißt es, teure Seele,
daß ich fern von dir mich quäle,
liebe macht die Herzen krank,
habe Dank.
Yes, you know, dear soul,
That I’m in torment when I’m far away from you,
Love makes the heart sick,
Have thanks.
Einst hielt ich, der Freiheit Zecher,
hoch den Amethysten-Becher
und du segnetest den Trank,
habe Dank.
Once I, freedom’s reveler,
Held high the amethyst chalice
And you blessed that drink,
Have thanks.
Und beschworst darin die Bösen,
bis ich, was ich nie gewesen,
heilig, heilig an’s Herz dir sank,
habe Dank!
And you drove out the demons therein,
Until I, as never before,
Holy, holy sank upon your heart,
Have thanks!
Translations © 1999 Janet Gillespie
Ben Moore (b. 1960)
I Am in Need of Music
Text: Elizabeth Bishop
I
am in need of music that would flow
Over my fretful, feeling fingertips,
Over my bitter-tainted, trembling lips,
With melody, deep, clear, and liquid-slow.
Oh, for the healing swaying, old and low,
Of some song sung to rest the tired dead.
A song to fall like water on my head,
And over quivering limbs, dream flushed to glow!
There is a magic made by melody:
A spell of rest, and quiet breath, and cool
Heart, that sinks through fading colors deep
To the subaqueous stillness of the sea,
And floats forever in a moon-green pool,
Held in the arms of rhythm and of sleep.
DEBORAH VOIGT
This Heart that Flutters
Text: James Joyce
T
his heart that flutters near my heart
My hope and all my riches is,
Unhappy when we draw apart
And happy between kiss and kiss;
My hope and all my riches—yes!—
And all my happiness.
For there, as in some mossy nest
The wrens will divers treasures keep,
I laid those treasures I possessed
Ere that mine eyes had learned to weep.
Shall we not be as wise as they
Though love live but a day?
To the Virgins, To Make Much of Time
Text: Robert Herrick
G
Photo: Peter Ross.
ather ye rosebuds while ye may,
Old time is still a-flying :
And this same flower that smiles to-day
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he’s a-getting,
The sooner will his race be run,
And nearer he’s to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,
And while ye may go marry:
For having lost but once your prime
You may forever tarry.
Bright Cap And Streamers
Text: James Joyce
B
right cap and streamers,
He sings in the hollow:
Come follow, come follow,
All you that love.
Leave dreams to the dreamers
That will not after,
That song and laughter
Do nothing move.
With ribbons streaming
He sings the bolder;
In troop at his shoulder
The wild bees hum.
And the time of dreaming
Dreams is over-As lover to lover,
Sweetheart, I come.
GREEN MUSIC CENTER
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DEBORAH VOIGT
Leonard Bernstein (1918-1990)
It’s gotta be bad to be good
From On the Town
patter lyric
Da-ga-da-ga-dum-da-lai-la-lo, etc.
Y
Piccola serenata
So pretty
Text: Betty Comden & Adolph Green
W
e were learning in our school today
All about a country far away,
Full of lovely temples painted gold,
Modern cities, jungles ages old.
And the people are so pretty there,
Shining smiles, and shiny eyes and hair …
Then I had to ask my teacher why
War was making all those people die.
They’re so pretty, so pretty.
Then my teacher said, and took my hand,
‘They must die for peace, you understand.’
But they’re so pretty, so pretty.
ou don’t talk to me tender,
Or treat me easy,
The way that a good lover should.
It’s not very gay,
But love is that way.
It’s gotta be bad to be good.
Since the first day we started
You played me evil;
Don’t know how I’ve stood what I’ve stood,
But I’ll stay around
’Cause, baby, I’ve found
It’s gotta be bad to be good.
You say that I’ll leave you,
Bad penny, bye-bye,
That I’ll go and deceive you
With some sweeter guy.
The spell that you weave,
You know I’ll never fly.
Is it fair? I don’t care.
hen a boy is born,
the world is born again,
And takes its first breath with him.
It’s a strange kind of love
If it keeps you cryin’,
But I wouldn’t change it if I could.
I’m in for a ride,
But I’m satisfied,
’Cause it’s gotta be bad to be good.
’Cause it’s gotta be bad,
’Cause if love isn’t bad it ain’t good.
© 1981 Amberson Holdings LLC
When a girl is born,
the world stops turning ‘round,
And keeps a moment’s hushed wonder.
Somewhere
Text: Stephen Sondheim from West Side Story
I don’t understand.
Greeting
Text: Leonard Bernstein
W
Every time a child is born,
for the space of that brief instant,
The world is pure.
Another love
Text: Betty Comden & Adolph Green
A
nother love
And so I’ve had another love,
Another spring, another spell.
I thought that this time it was love,
The diamond ring, the wedding bell.
So we spent a few days in a magical haze;
You said, at the time,
It was wonderful, sweet, terrific, sublime!
And then you found it all a bore,
And here am I just like before.
And so I’ve had another love.
© Amberson Holdings LLC
T
here’s a place for us,
Somewhere a place for us,
Peace and quiet and open air
Wait for us somewhere.
There’s a time for us,
Some day a time for us,
Time together with time to spare,
Time to look, time to care.
Someday! Somewhere!
We’ll find a new way of living,
We’ll find a way of forgiving
Somewhere –
There’s a place for us,
A time and place for us.
Hold my hand and we’re halfway there,
Hold my hand and I’ll take you there,
Somehow, some day, somewhere.
William Bolcom (b. 1938)
Toothbrush Time
Text: Arnold Weinstein
I
t’s toothbrush time,
Ten a.m. again and toothbrush time
Last night at half past nine it seemed O.K.
But in the light of day not so fine at toothbrush time
Now he’s crashing round my bathroom
Now he’s reading my degree,
Perusing all my pills
Reviewing all my ills
And he comes out smelling like me
Now he advances on my kitchen
Now he raids every shelf
Till from the pots and pans and puddles and debris
Emerges three eggs all for himself
Oh, how I’d be ahead if I’d stood out of bed;
I wouldn’t sit here grieving
Waiting for the wonderful moment of his leaving
At toothbrush time, toothbrush time,
Ten a.m. again and toothbrush time
I know it’s sad to be alone
It’s so bad to be alone,
Still I should’ve known
That I’d be glad to be alone.
I should’ve known, I should’ve known!
Never should have picked up the phone and called him.
“Hey, uh, listen, uhm
Uh, I’ve got to, uh…
Oh, you gotta go too?
So glad you understand.
And…”
By the way, did you say
Nine tonight again?
See you then.
Toothbrush time!
At the Last Lousy Moments of Love
A
t the last lousy moments of love,
He wanted to tell me the truth.
At the last writhing rotten moments of love,
He wanted to tell me the truth about me, of course.
Thanks, I’ll need this.
At the last lousy moments of love,
He wanted to tell me that I wasn’t doing too well.
I was eating and drinking and talking too much.
He wanted to tell me as a friend,
At the end of those last lousy moments of love.
DEBORAH VOIGT
He wanted to tell me he was leaving,
He’d waited too long to tell me
That I was self-righteous even when I wasn’t wrong,
And I spoke about friendship,
‘Till our friends gave me up as a friend for the season,
For which reason he wanted to tell me this truth.
He wanted to tell me these things, as a friend.
He wanted to tell me, but he didn’t in the end,
At those last lousy moments of love.
He said it all, with his body to my best friend.
George, from Cabaret Songs
M
y friend George used to say
“Oh call me Georgia, hon,
Get yourself a drink,”
and sang the best soprano in our part of town.
In beads, brocade and pins,
he sang if you happened in
through the door he never locked
and said, “Get yourself a drink,”
and sang out loud till tears fell in the cognac
and the choc’late milk and gin
and on the beads, brocade and pins.
When strangers happened through his open door,
George said, “Stay, but you gotta keep quiet
while I sing and then a minute after,
And call me Georgia.”
One fine day a stranger
in a suit of Navy blue
took George’s life with a knife
George had placed beside an apple pie he’d baked
and stabbed him in the middle
of Un bel di vedremo
as he sang for this particular stranger
who was in the United States Navy.
The funeral was at the cocktail hour.
We knew George would like it like that.
Tears fell on the beads, brocade and pins
in the coffin which was white
because George was a virgin.
Oh call him Georgia, hon,
get yourself a drink.
“You can call me Georgia, hon
get yourself a drink!”
GREEN MUSIC CENTER
gmc.sonoma.edu
Photo: Michael Patrick O’Leary.
Hilary Hahn
Sunday, April 27 at 3 p.m.
Weill Hall
ARTISTS
PROGRAM
Hilary Hahn, violin
Cory Smythe, piano
The program order will be announced
from the stage.
Ms. Hahn will be on hand to personally
autograph programs and recordings
in the lobby following the performance.
Antón García Abril
(b. 1933)
Three Sighs*
Richard Barrett
(b. 1959)
shade*
W.A. Mozart
Sonata for Violin, to be announced
Arnold Schoenberg
Phantasy for Violin and Piano, Op. 47
Franz Schubert
Fantasia in C Major for Violin and Piano,
D. 934 (Op. posth. 159)
Andante moderato
Allegretto
Andantino
Allegro vivace
Georg Philipp Telemann
Fantasia No. VI in E Minor for Solo Violin,
TWV 40:19
*Selected Shorts from In 27 Pieces:
the Hilary Hahn Encores Project
Hilary Hahn appears by arrangement
with IMG Artists
152 W 57th St., 5th Floor,
New York, NY 10019
ARTIST BIOS
The 2013-14 season marks the 30th
anniversary of Hahn’s first violin lesson.
In the two decades since her professional
debut, Hahn has followed her passion
for adventurous programming, delving
into core repertoire, contemporary music,
and less familiar classic compositions
with equal commitment. This season,
she revisits pieces by Mozart, Vaughan
Williams, Sibelius, Brahms, Barrett, García
Abril, and Vieuxtemps, while expanding
her repertoire with works by Bruch,
Schoenberg, Nielsen, Schubert, Telemann,
and Rautavaara.
Between September and June, Hahn
will give performances in nearly fifty cities
in fourteen countries throughout North
America, Europe, and Asia. She will join
the Camerata Salzburg, the Chamber
Orchestra of Europe, the Frankfurt Radio
Symphony Orchestra, and the City of
Birmingham Symphony Orchestra on tour,
and make guest appearances with the Los
Angeles and Berlin philharmonics and the
Detroit, Atlanta, Indianapolis, New Jersey
and New World symphony orchestras.
In spring 2014, Hahn will dedicate two
months of the season to her ongoing recital
collaboration with pianist Cory Smythe.
Hahn took her first lessons in the
Suzuki program shortly before her
fourth birthday. When she was five
years old, she met Odessa native Klara
Berkovich, with whom she studied until
being admitted to the Curtis Institute of
Music at the age of ten. She completed
her university requirements at Curtis at
16, having already made her solo debuts
with the Baltimore and Pittsburgh
symphony orchestras, the Philadelphia and
Cleveland orchestras, and the New York
Philharmonic. Hahn delayed graduation a
few years in order to take further courses
in languages, literature, and writing. By the
time she received her Bachelor’s degree at
19, she was a full-time touring musician.
Hahn has released fourteen albums
on the Deutsche Grammophon and Sony
labels, in addition to three DVDs, an
Oscar-nominated movie soundtrack, an
award-winning recording for children, and
various compilations. All have debuted in
the top ten of the Billboard classical chart.
A recording pairing the Schoenberg and
Sibelius concerti spent twenty-three weeks
on the Billboard classical chart and also
earned Hahn her second Grammy. Her
first Grammy win came in 2003 for her
Brahms and Stravinsky concerto album. In
2010, she released Jennifer Higdon’s Violin
Concerto along with the Tchaikovsky
concerto. Higdon’s piece, written for
Hilary Hahn, went on to win the Pulitzer
Prize.
The 2013-14 season sees the release of
Hahn’s long-awaited album, In 27 Pieces:
the Hilary Hahn Encores, with pianist Cory
Smythe. This recording is the culmination
of a multi-year project to renew the encore
genre. Hahn commissioned 26 composers
from around the world to write short-form
works. For the 27th encore, she held an open
contest that drew more than 400 entries.
Hahn’s gregarious personality reaches
out to students, new listeners, and anyone
with an interest in music and the arts.
She is an avid writer and interviewer,
posting journal entries and articles on her
website, hilaryhahn.com. Additionally,
she produces a YouTube channel, youtube.
com/hilaryhahnvideos. Elsewhere, her
violin case comments on life as a traveling
companion, on Twitter and Instagram at
@violincase.
CORY SMYTHE
Pianist Cory Smythe is an inventive
improviser, chamber musician, and
performer of contemporary classical
music. He has performed internationally
both as a soloist and chamber musician
at the Darmstadt International Summer
Festival for New Music, the Bang on a Can
Marathon in New York City, Ravinia’s
Rising Stars Series, and Mostly Mozart at
Lincoln Center. He was recently selected
by composer John Adams to perform the
keyboard part in Nixon in China in the
Metropolitan Opera’s staging of the work.
As a core member of the International
Contemporary Ensemble, Smythe has
presented numerous premiers, collaborated
in the development of new works, and
worked closely with composers Philippe
Hurel, Dai Fujikura, Steve Lehman,
Magnus Lindberg, Kaija Saariaho,
Mathias Pintscher, and Alvin Lucier
among many others. A forthcoming
recording by ICE (on Mode Records) will
feature Smythe as the piano soloist in
GREEN MUSIC CENTER
Photo: Dylan Chandler.
HILARY HAHN
HILARY HAHN
Iannis Xenakis’s Palimpsest. Smythe has
also been a featured guest and soloist with
many new music ensembles throughout
the United States, including Milwaukee’s
Present Music, the Boston-based Firebird
Ensemble, Chicago Symphony Orchestra’s
MusicNOW, and the San Francisco
Contemporary Music Players.
A prolific improviser, Smythe has
worked in collaboration with artists
Greg Osby, Tyshawn Sorey, and Anthony
Braxton. His recent performance of the
latter’s seminal Composition No. 30 has
been released on the composer’s New
Braxton House label and described
by The Wire magazine as “startling…
gorgeously dense…” Smythe’s debut album
as improviser/composer, Pluripotent, has
garnered praise from New York Times critic
Steve Smith as well as jazz pianist Jason
Moran, who called it “hands down one of
the best solo recordings I’ve ever heard.”
Pluripotent is available for free download at
corysmythe.bandcamp.com.
Smythe holds degrees in classical piano
performance from the music schools at
Indiana University and the University of
Southern California, where he studied with
Luba Edlina-Dubinsky and Dr. Stewart
Gordon, respectively. He currently resides
in New York City.
gmc.sonoma.edu
PROGRAM NOTES
ANTÓN GARCÍA ABRIL
Three Sighs
Tres suspiros is part of a project made up of
short pieces. However, the fact that they
are short does not necessarily mean that it
was any easier to compose the work. Many
emotions were stirred up whilst composing
these “suspiros,” as Hilary Hahn, who
commissioned me to compose them, is a
great violinist and a deeply spiritual artist.
My admiration for our great violinist
knows no bounds. It stems from that
magical moment when on hearing her
play, we can truly feel the message that
only great artists who are gifted with
the superior skill of communication can
convey. This great admiration has heavily
influenced me whilst creating the piece.
Hilary Hahn’s extraordinary generosity
allows today’s composers to participate,
along with the great creators of history,
playing and performing their works, just as
other great artists did in the past.
Formally, one could see it as a microsonate in three movements, with one
unique factor, it is structured in such a way
that the three pieces are one and the same
and yet they can also be played as three
separate pieces. The three movements have
been based on very polyphonic musical
content, which is ever changing. The title
Tres suspiros comes from the brevity of each
of the pieces, and at the same time, from
the poetic and emotional content of each
one. Thank you Hilary.
— Antón García Abril
RICHARD BARRETT
Shade
Although Shade was commissioned as
an “encore,” probably the only aspect it
has in common with a traditional encore
is its duration – it has the character of
a much larger composition which has
been radically compressed into its present
three-minute dimensions, within which
are four distinct “movements,” each of
which unfolds a different kind of sonic and
structural relationship between violin and
piano, and in the course of which a wide
range of color and expression is explored.
In the first section, the violin emerges
repeatedly from the resonance of piano
HILARY HAHN
cluster-chords; in the second, the violin
weaves a convoluted thread through a dense
but delicate piano texture; in the third, the
two instruments are constantly and rapidly
exchanging roles in a sequence of brief
encounters; and finally, in the fourth, violin
and piano gradually withdraw to extremely
high and extremely low regions respectively.
The idea of one instrument being (in)
the shade of the other is a constant feature,
although from one moment to the next it
might not always be clear which is which.
Keeping me company during work on this
piece was Hilary’s recording of the violin
concerto by Arnold Schoenberg, whose
own “shade” appears at the very end, in the
form of a somewhat oblique reference to his
monodrama Erwartung.
— Richard Barrett
FRANZ SCHUBERT
Fantasia for Violin and Piano
Franz Schubert’s C Major Fantasia for
Violin and Piano has a simple musical
premise, but, emotionally and technically
speaking, an extremely complex realization.
The piece is roughly in four movements, and
approximates the basic topography of a fourmovement sonata (slow-fast-slow-fast) played
without breaks. The third section, marked
Andantino, contains the germ and crux of
the piece: a set of variations on a tune from
a song Schubert (1797-1828) wrote in 1821
entitled, simply, “Sei mir gegrüsst” (I greet
you). The song alone contains far more than
its title indicates: the ‘du’ is someone who
has been taken away, and can no longer be
greeted, or kissed – indeed, if the song is not
heard as maudlin (which is entirely possible),
it can come across as quite a difficult fantasy
in its own right, with strange and magical
emotional modulations.
In the C major Fantasia, Schubert causes
a simple rising line (on which the tune of
“Sei mir gegrüsst” is based) to emerge very
gradually. It appears first in a psychedelic sort
of opening (Andante Molto), in the violin
part over tremolos in the piano. It appears
again in the second and fourth movements;
and of course it appears fully in the third
movement, where the song itself is the subject
of variations. In a way, the rising line idea
is so simple that it doesn’t even count as a
motive – it is not developed systematically as
the motive of a sonata would be. Instead, it is,
appropriately, the subject of musical fantasy.
More externally it is important to
acknowledge the sheer virtuosity of the
Fantasia, for both instruments. The music
is crammed with notes. Moreover, the
piece asks for a very particular, and very
demanding, sort of virtuosity: fantastic
elements in both violin and piano usually
have very specific effects and relationships
to one another, and Schubert uses them
quite carefully to decorate crucial elements
below. Only occasionally does the virtuosity
seem simply celebratory, but when it finally
seems so, it is a most welcome development
for the performer, the listeners, and even
possibly, the narrator of “Sei mir gegrüsst.”
— Tim Summers (used with permission)
In 27 Pieces:
The Hilary Hahn Encores
At age 33, two-time Grammy
Award-winning violinist Hilary
Hahn has already made a lasting
impact on the violin repertoire,
premiering two concertos written
for her by American composers and
championing both well- and lesserknown works in performance and
recording. Hahn now delves deeper
into the world of contemporary
classical music, commissioning
over two dozen composers to write
short-form pieces for acoustic violin
and piano. She has toured half of
the new works during the 2011-12
seasons and is now touring the
second half of the new works
during the 2012-13 seasons. Hilary
is also recording the works. The
project is called In 27 Pieces: The
Hilary Hahn Encores.
In addition to commissioning 26
composers to write short-form
pieces for acoustic violin and piano,
Hilary Hahn put out an open call
for submissions on her website.
Over four hundred composers
of diverse ages and nationalities
submitted works. Each entry was
made completely anonymously. Jeff
Myers’s work, The Angry Birds of
Kauai, was selected as the winner
and received its world premiere in
South America in September 2012.
PROGRAM NOTES
ARNOLD SCHOENBERG
"Blue Self Portrait" from 1910 is one of sixty-one self
portraits that Schoenberg painted. It is located at
the Arnold Schoenberg Center in Vienna, Austria.
(Image courtesy of Wikipedia Commons)
Phantasy for Violin with Piano
Accompaniment
Phantasy for Violin with Piano
Accompaniment, Op. 47 is Arnold
Schoenberg’s last chamber work. It
was premiered by its dedicatee, Adolph
Koldofsky, during the composer’s 75th
birthday celebrations in September 1949.
Much of the general public seems to
fear Schoenberg’s music as well as that of
his disciples, including Anton Webern
and Alban Berg. True, Schoenberg was
the mastermind behind atonal music and
the inventor of the 12-tone row method
of composition, both of which appear
unnecessarily unforgiving; but, to quote
the inventor himself, his purpose was
clearly different:
Composing with twelve tones is not
nearly as forbidding and exclusive a
method as is popularly believed. It is
primarily a method demanding a
logical order and organization, of
which comprehensibility should be
the main result.
— Arnold Schoenberg
(My Evolution, 1949)
Schoenberg’s output for the violin
consists of only two works: the Violin
Concerto and the Phantasy. However, he
knew the instrument well, having taken
lessons from the age of eight, and having
included the instrument in his compositions
from very early on in his career.
The Phantasy can best be described
as expressive. Opening with a passionate
declamation, the work has a shifting
musical character that flows from one
HILARY HAHN
section to the next, and within each section,
from mysterious, humorous and sweet to
dark and serene. The dancelike Grazioso
and Scherzando are more folk-influenced
than a Viennese waltz, complete with a hint
of yodeling as well as spice. The passionate
opening theme returns in the Coda and soon
brings the work to a virtuosic conclusion.
The piece is neatly and meticulously laid
out, based on aggregates (all twelve notes
of the chromatic scale) that are divided
into two groups of six notes each. From
the aggregate, Schoenberg has constructed
eleven such groupings or divisions.
Dissecting the Phantasy in this way enables
us to understand how Schoenberg put
the work together and to appreciate his
ingenuity from an analytical perspective.
However, the expressiveness of the music
speaks for itself.
© 2005 Midori (used with permission)
GEORG PHILIPP TELEMANN
Fantasia No. VI in E Minor for Solo
Violin, TWV 40:19
It is a shame that Georg Philipp Telemann
(1681-1767) is often treated as an
afterthought, the obligatory third party to
the 18th-century musical triumvirate of J.S.
Bach (1685-1750) and G.F. Handel (16851759). “As if,” to put it in current lingo,
Telemann was somehow desiring a measure
of Bach’s much-vaunted spirituality, or of
Handel’s entrepreneurship. There is the
pesky issue of volume: each of the Three
North Germans composed a staggering
quantity of music covering instrumental,
vocal, sacred and secular. On that count
alone, Telemann is at the top of the heap:
estimates of his total output go as high as
3,000 compositions. By comparison, Bach
is credited with eleven hundred works and
Handel, a paltry six hundred. For the sake
of comparison, it may be mentioned that
Telemann indeed possessed a spirituality
that only deepened at losing his wife after the
birth of their first child. He was also keen on
the music business: while he may
not have become as rich as Handel,
Telemann was active in publishing and
promoting his own music.
It is perhaps Telemann’s generosity of
spirit that ultimately distinguishes him.
GREEN MUSIC CENTER
Georg Philipp Telemann
He passionately believed that music
should be heard everywhere, not just in
courts and churches, and that it should
be playable by amateurs and professionals
alike. While he was fully capable of writing
virtuoso music, his use of gallant style –
free melody supported by unobtrusive,
straightforward accompaniment –
brought his music to all strata of society.
Charismatic even as a student, he organized
bands (collegium musicum) with classmates
so that they could learn music not just by
reading about it but actually playing it.
Ever thinking ahead, Telemann organized
public concerts by these amateur groups
wherever he resided, which led to the
idea of public subscription concerts. The
collegium was frowned upon, especially
by church music professionals, but this
“power to the people” tradition continues
to this day at universities throughout
Europe and America.
Telemann composed the E minor
Fantasia for solo violin in 1735 in
Hamburg during his twenty-year career as
Kantor of the Johanneum, music director
of the city’s five churches, musical director
of the Hamburg Opera, and let’s not forget
the Hamburg Collegium Musicum. The
E minor Fantasia is the sixth in a set of
twelve fantasies for unaccompanied violin.
Like his fantasies for unaccompanied
flute (1732–3) and for unaccompanied
viola da gamba (1728), they demonstrate
Telemann’s mastery of compound melodic
lines and idiomatic writing.
© 2014 Ruth Wilson
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Photo: Lukas Beck (Florian Boesch) and Russell Duncan (Malcolm Martineau).
Florian Boesch
& Malcolm Martineau
Sunday, May 11 at 3 p.m.
Weill Hall
ARTISTS
PROGRAM
Florian Boesch, baritone
Malcolm Martineau, piano
Franz Schubert
Winterreise D. 911; Op. 89
1. Gute Nacht
2. Die Wetterfahne
3. Gefrorne Tränen
4.Erstarrung
5. Der Lindenbaum
6.Wasserflut
7. Auf dem Flusse
8.Rückblick
9.Irrlicht
10.Rast
11.Frühlingstraum
12.Einsamkeit
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der stürmische Morgen
19.Täuschung
20. Der Wegweiser
21. Das Wirtshaus
22.Mut!
23. Die Nebensonnen
24. Der Leiermann
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FLORIAN BOESCH
Austrian baritone Florian Boesch was born
in Vienna where he received his initial
vocal training from his grandmother,
the Austrian soprano (Kammersängerin)
Ruthilde Boesch. In 1997 he began
studies at the Vienna Music University,
concentrating ultimately on the fields
of lieder and oratorio, where his teacher
was Kammersänger Robert Holl. He
subsequently appeared with the Vienna
Chamber Opera and has since been heard
in a number of Mozart and Handel operas
at venues throughout Austria, Germany,
Switzerland, and Japan.
Mr. Boesch is counted as one of
today’s foremost Lieder interpreters, with
appearances at the Vienna Musikverein
FLORIAN BOESCH & MALCOLM MARTINEAU
ever. The baritone is also a frequent guest
on the concert stage and has been heard
at the Vienna Musikverein, Vienna and
Berlin Konzerthaus, Concertgebouw
Amsterdam, Barbican Center, Haydn
Festival Eisenstadt, Gewandhaus Leipzig,
Tonhalle Düsseldorf, Théâtre du Châtelet,
and Sydney Opera House.
Mr. Boesch regularly works with
conductors including Nikolaus
Harnoncourt, Sir Simon Rattle, Sir
Roger Norrington, Adam Fischer, Franz
Welser-Möst, and Philippe Herreweghe.
He has worked with renowned
orchestras such as the Vienna and Berlin
Philharmonic orchestras, Staatskapelle
Dresden (Christian Thielemann),
Gewandhausorchester Leipzig, and Royal
Concertgebouw Orchestra Amsterdam.
Photo: Alessandro Moggi.
ARTIST BIOS
“
Boesch was commendably understated in the quiet
music. His is a baritone of clarity with a steely edge when
called for, and he opted to use this edge to his fortissimo
tone on only a handful of occasions, throwing the text in to
sharp relief when he did so.”
— Ben Hogwood
and Konzerthaus, Wigmore Hall,
Concertgebouw Amsterdam, the Edinburgh
International Festival, Laeiszhalle in
Hamburg, the Schwetzinger Festival, and
the Philharmonie in Luxembourg as well
as in the USA and Canada. Accompanied
by Malcolm Martineau he performed the
complete Schubert cycle in Glasgow.
Operatic engagements have taken him
to renowned venues and festivals such
as Salzburger Festspiele (Cosi fan tutte
under Adam Fischer); Theater an der
Wien (world premiere of a staged version
of Handel’s Messiah); the Hamburg State
Opera (Radamisto); Handel Festspiele
Halle, Bregenzer Festspiele, Tokyo, Los
Angeles, and Moscow Bolshoi Theatre
(Die Zauberflöte/ Papageno). Further
Mr. Boesch has worked along with John
Malkovich for The Giacomo Variations.
In 2011 Florian Boesch successfully
debuted as Wozzeck (Alban Berg) with the
Cologne Opera and has been acclaimed
as one of the best interpreters of the role
MALCOLM MARTINEAU
Malcolm Martineau was born in
Edinburgh, studied Music at St.
Catharine’s College, Cambridge, and at
the Royal College of Music. Recognized
as one of the leading accompanists of his
generation, he has worked with many of
the world’s greatest singers including Sir
Thomas Allen, Dame Janet Baker, Olaf
Bär, Susan Graham, Thomas Hampson,
Anna Netrebko, Anne Sofie von Otter,
Frederica von Stade, Sarah Walker, and
Bryn Terfel, among others.
He has presented his own series at the
Wigmore Hall (a Britten and a Poulenc
series and Decade by Decade – 100 years of
German Song broadcast by the BBC) and
at the Edinburgh Festival (the complete
Lieder of Hugo Wolf). He has appeared
throughout Europe, North America,
Australia, and at the Aix en Provence,
Vienna, Edinburgh, Schubertiade, Munich,
and Salzburg festivals.
Recording projects have included
Schubert, Schumann and English song
recitals with Bryn Terfel (Deutsche
Grammophon); Schubert and Strauss
recitals with Simon Keenlyside (EMI);
recital recordings with Angela Gheorghiu
and Barbara Bonney (Decca), Magdalena
Kozena (DG), Della Jones (Chandos); and
Britten Song Cycles as well as Schubert’s
Winterreise with Florian Boesch (Onyx).
This season’s engagements include
appearances with Simon Keenlyside,
Magdalena Kozena, Dorothea Röschmann,
Susan Graham, Christopher Maltman,
Thomas Oliemanns, Kate Royal,
Christiane Karg, Iestyn Davies, Florian
Boesch, and Anne Schwanewilms.
Malcolm Martineau was a given an
honorary doctorate at the Royal Scottish
Academy of Music and Drama in 2004,
and appointed International Fellow of
Accompaniment in 2009. Malcolm was
the artistic director of the 2011 Leeds
Lieder+ Festival.
Schubert: Winterreise, continued
Franz Schubert (1797-1828)
Text: Wilhelm Müller (1794–1827)
1. Gute Nacht
Good Night
F
remd bin ich eingezogen,
Fremd zieh’ ich wieder aus.
Der Mai war mir gewogen
Mit manchem Blumenstrauß.
Das Mädchen sprach von Liebe,
Die Mutter gar von Eh’, Nun ist die Welt so trübe,
Der Weg gehüllt in Schnee.
As a stranger I arrived,
As a stranger again I leave.
May was kind to me
With many bunches of flowers.
The girl spoke of love,
Her mother even of marriage, Now the world is bleak,
The path covered by snow.
Ich kann zu meiner Reisen
Nicht wählen mit der Zeit,
Muß selbst den Weg mir weisen
In dieser Dunkelheit.
Es zieht ein Mondenschatten
Als mein Gefährte mit,
Und auf den weißen Matten
Such’ ich des Wildes Tritt.
I cannot choose the time
Of my departure;
I must find my own way
In this darkness.
With a shadow cast by the moonlight
As my traveling companion
I’ll search for animal tracks
On the white fields.
Was soll ich länger weilen,
Daß man mich trieb hinaus?
Laß irre Hunde heulen
Vor ihres Herren Haus;
Die Liebe liebt das Wandern Gott hat sie so gemacht Von einem zu dem andern.
Fein Liebchen, gute Nacht!
Why should I linger, waiting
Until I am driven out?
Let stray dogs howl
Outside their master’s house;
Love loves to wander
God has made her so
From one to the other.
Dear love, good night!
Will dich im Traum nicht stören,
Wär schad’ um deine Ruh’,
Sollst meinen Tritt nicht hören Sacht, sacht die Türe zu!
Ich schreibe nur im Gehen
An’s Tor noch gute Nacht,
Damit du mögest sehen,
An dich hab’ ich gedacht.
I will not disturb you in your dreaming,
It would be a pity to disturb your rest;
You shall not hear my footsteps
Softly, softly shut the door!
On my way out I’ll write
“Good Night” on the gate,
So that you may see
That I have thought of you.
2. Die Wetterfahne
The Weather Vane
D
er Wind spielt mit der Wetterfahne
Auf meines schönen Liebchens Haus.
Da dacht ich schon in meinem Wahne,
Sie pfiff den armen Flüchtling aus.
The wind plays with the weather vane
Atop my beautiful beloved’s house.
In my delusion I though
It was whistling at the poor fugitive.
Er hätt’ es ehr bemerken sollen,
Des Hauses aufgestecktes Schild,
So hätt’ er nimmer suchen wollen
Im Haus ein treues Frauenbild.
If he had seen it before,
The crest above the house,
Then he never would have looked for
A woman’s fidelity in that house
Der Wind spielt drinnen mit den Herzen
Wie auf dem Dach, nur nicht so laut.
Was fragen sie nach meinen Schmerzen?
Ihr Kind ist eine reiche Braut.
The wind plays with hearts within
As on the roof, but not so loudly.
What is my suffering to them?
Their child is a rich bride.
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3. Gefrorene Tränen
G
Frozen Tears
efrorne Tropfen fallen
Von meinen Wangen ab:
Und ist’s mir denn entgangen,
Daß ich geweinet hab’?
Frozen teardrops
Fall from my cheeks:
Can it be that, without knowing it,
I have been weeping?
Ei Tränen, meine Tränen,
Und seid ihr gar so lau,
Daß ihr erstarrt zu Eise
Wie kühler Morgentau?
O tears, my tears,
Are you so lukewarm,
That you turn to ice
Like cold morning dew?
Und dringt doch aus der Quelle
Der Brust so glühend heiß,
Als wolltet ihr zerschmelzen
Des ganzen Winters Eis!
Yet you spring from a source,
My breast, so burning hot,
As if you wanted to melt
All of the ice of winter!
4. Erstarrung
Numbness
I
ch such’ im Schnee vergebens
Nach ihrer Tritte Spur,
Hier, wo wir oft gewandelt
Selbander durch die Flur.
I search in the snow in vain
For a trace of her footsteps
When she, on my arm,
Wandered about the green field.
Ich will den Boden küssen,
Durchdringen Eis und Schnee
Mit meinen heißen Tränen,
Bis ich die Erde seh’.
I want to kiss the ground,
Piercing the ice and snow
With my hot tears,
Until I see the earth below.
Wo find’ ich eine Blüte,
Wo find’ ich grünes Gras?
Die Blumen sind erstorben
Der Rasen sieht so blaß.
Where will I find a blossom?
Where will I fin green grass?
The flowers are dead,
The turf is so pale.
Soll denn kein Angedenken
Ich nehmen mit von hier?
Wenn meine Schmerzen schweigen,
Wer sagt mir dann von ihr?
Is there then no souvenir
To carry with me from here?
When my pain is stilled,
What will speak to me of her?
Mein Herz ist wie erfroren,
Kalt starrt ihr Bild darin;
Schmilzt je das Herz mir wieder,
Fließt auch das Bild dahin!
My heart is as if frozen,
Her image is cold within,
If my heart should one day thaw,
So too would her image melt away!
Winterreise
Composed in 1827, work on setting Wilhelm Müller’s poems
made Schubert agitated and disturbed, according to friends.
Indeed the songs shocked his friends when they first heard
them: so powerful is the emotional content of the music
that they still leave the listener emotionally shaken. The
journey starts with ‘Gute Nacht’ (Good night), as our
traveller walks away from us into the bleak moonlit snowy
landscape. Towards the end of the cycle, at ‘Der Wegweiser’
(The signpost), he takes the path to his death.
5. Der Lindenbaum
A
The Linden Tree
m Brunnen vor dem Tore
Da steht ein Lindenbaum;
Ich träumt in seinem Schatten
So manchen süßen Traum.
By the fountain, near the gate,
There stands a linden tree;
I have dreamt in its shadows
So many sweet dreams.
Ich schnitt in seine Rinde
So manches liebe Wort;
Es zog in Freud’ und Leide
Zu ihm mich immer fort.
I carved on its bark
So many loving words;
I was always drawn to it,
Whether in joy or in sorrow.
Ich mußt’ auch heute wandern
Vorbei in tiefer Nacht,
Da hab’ ich noch im Dunkel
Die Augen zugemacht.
Today, too, I had to pass it
In the dead of night.
And even in the darkness
I had to close my eyes.
Und seine Zweige rauschten,
Als riefen sie mir zu:
Komm her zu mir, Geselle,
Hier find’st du deine Ruh’!
And its branches rustled
As if calling to me:
“Come here, to me, friend,
Here you will find your peace!”
Die kalten Winde bliesen
Mir grad ins Angesicht;
Der Hut flog mir vom Kopfe,
Ich wendete mich nicht.
The frigid wind blew
Straight in my face,
My hat flew from my head,
I did not turn back.
Nun bin ich manche Stunde
Entfernt von jenem Ort,
Und immer hör’ ich’s rauschen:
Du fändest Ruhe dort!
Now I am many hours
Away from that spot,
And still I hear the rustling:
There you would have found peace!
6. Wasserflut
Torrent
M
anche Trän’ aus meinen Augen
Ist gefallen in den Schnee;
Seine kalten Flocken saugen
Durstig ein das heiße Weh.
Many tears from my eyes
Have fallen into the snow;
Whose icy flakes thirstily drink
My burning grief.
Wenn die Gräser sprossen wollen
Weht daher ein lauer Wind,
Und das Eis zerspringt in Schollen
Und der weiche Schnee zerrinnt.
When the grass begins to sprout,
A mild wind will blow there,
And the ice will break up
And the snow will melt.
Schnee, du weißt von meinem Sehnen,
Sag’ mir, wohin doch geht dein Lauf?
Folge nach nur meinen Tränen,
Nimmt dich bald das Bächlein auf.
Snow, you know my longing,
Tell me, to where will you run?
Just follow my tears
And then before long the brook will take you in.
Wirst mit ihm die Stadt durchziehen,
Munt’re Straßen ein und aus;
Fühlst du meine Tränen glühen,
Da ist meiner Liebsten Haus.
It will take you through the town,
In and out of the lively streets.
When you feel my tears glow,
That will be my beloved’s house.
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7. Auf dem Flusse
D
On the Stream
er du so lustig rauschtest,
Du heller, wilder Fluß,
Wie still bist du geworden,
Gibst keinen Scheidegruß.
You who rushed along so merrily,
You clear, wild stream,
How quiet you have become,
You offer no parting words.
Mit harter, starrer Rinde
Hast du dich überdeckt,
Liegst kalt und unbeweglich
Im Sande hingestreckt.
With a hard, solid crust
You have clothed yourself.
You lie cold and motionless
Stretched out in the sand.
In deine Decke grab’ ich
Mit einem spitzen Stein
Den Namen meiner Liebsten
Und Stund’ und Tag hinein:
On your surface I carve
With a sharp stone
The name of my beloved
And the hour and the day:
Den Tag des ersten Grußes,
Den Tag, an dem ich ging;
Um Nam’ und Zahlen windet
Sich ein zerbroch’ner Ring.
The day of our first meeting,
The day I went away:
Name and numbers entwined
By a broken ring.
Mein Herz, in diesem Bache
Erkennst du nun dein Bild?
Ob’s unter seiner Rinde
Wohl auch so reißend schwillt?
My heart, in this brook
Do you recognize your own image?
Is there, under your surface, too,
A surging torrent?
8. Rückblick
Backward Glance
E
s brennt mir unter beiden Sohlen,
Tret’ ich auch schon auf Eis und Schnee,
Ich möcht’ nicht wieder Atem holen,
Bis ich nicht mehr die Türme seh’.
A fire burns under the soles of my feet,
Though I walk on ice and snow;
Yet I’ll not pause for a breath
Until the towers are out of sight.
Hab’ mich an jeden Stein gestoßen,
So eilt’ ich zu der Stadt hinaus;
Die Krähen warfen Bäll’ und Schloßen
Auf meinen Hut von jedem Haus.
I have stumbled on every stone,
So hastily did I leave the town;
The crows threw snowballs and hailstones
At my hat from every house.
Wie anders hast du mich empfangen,
Du Stadt der Unbeständigkeit!
An deinen blanken Fenstern sangen
Die Lerch’ und Nachtigall im Streit.
How differently did you welcome me,
You town of infidelity!
At your bright windows sang
The lark and the nightingale in competition.
Die runden Lindenbäume blühten,
Die klaren Rinnen rauschten hell,
Und ach, zwei Mädchenaugen glühten. Da war’s gescheh’n um dich, Gesell!
The round linden trees were blooming,
The clear streams rushed by,
And, ah, two maiden eyes were glowing, Then you were done for, my friend.
Kommt mir der Tag in die Gedanken,
Möcht’ ich noch einmal rückwärts seh’n,
Möcht’ ich zurücke wieder wanken,
Vor ihrem Hause stille steh’n.
When that day comes into my thoughts
I wish to glance back once more,
I wish I could stumble back
And stand in silence before her house.
9. Irrlicht
I
Will-o’-the-wisp
n die tiefsten Felsengründe
Lockte mich ein Irrlicht hin:
Wie ich einen Ausgang finde,
Liegt nicht schwer mir in dem Sinn.
Into the deepest chasms
A will-o’-the-wisp enticed me;
How I will discover a path
Does not concern me much.
Bin gewohnt das Irregehen,
‘s führt ja jeder Weg zum Ziel:
Uns’re Freuden, uns’re Wehen,
Alles eines Irrlichts Spiel!
I am used to going astray;
Every path leads to one goal;
Our joys, our woes,
Are all a will-o’-the-wisp game!
Durch des Bergstroms trock’ne Rinnen
Wind’ ich ruhig mich hinab,
Jeder Strom wird’s Meer gewinnen,
Jedes Leiden auch ein Grab.
Down the mountain stream’s dry course
I will calmly wend my way.
Every stream finds the sea,
Every sorrow finds its grave.
10. Rast
Rest
N
un merk’ ich erst, wie müd’ ich bin,
Da ich zur Ruh’ mich lege:
Das Wandern hielt mich munter hin
Auf unwirtbarem Wege.
Die Füße frugen nicht nach Rast,
Es war zu kalt zum Stehen;
Der Rücken fühlte keine Last,
Der Sturm half fort mich wehen.
Now I first notice how weary I am
As I lie down to rest;
Wandering had sustained me
As I walked a desolate road.
My feet do not ask for rest,
It was too cold to stand still;
My back felt no burden,
The storm helped me blow a long.
In eines Köhlers engem Haus
Hab’ Obdach ich gefunden;
Doch meine Glieder ruh’n nicht aus:
So brennen ihre Wunden.
Auch du, mein Herz, in Kampf und Sturm
So wild und so verwegen,
Fühlst in der Still’ erst deinen Wurm
Mit heißem Stich sich regen!
In a coal-burner’s narrow hut
I have found shelter.
Still, my limbs cannot rest,
So fiercely my wounds burn.
You too, my heart, in struggles and storm
So wild and so bold,
Only now in the quiet do you feel the sharp sting
Of the worm that lives within you!
11. Frühlingstraum
A Dream of Springtime
I
ch träumte von bunten Blumen,
So wie sie wohl blühen im Mai;
Ich träumte von grünen Wiesen,
Von lustigem Vogelgeschrei.
I dreamt of colorful flowers
Such as bloom in May;
I dreamt of green meadows,
Of merry bird songs.
Und als die Hähne krähten,
Da ward mein Auge wach;
Da war es kalt und finster,
Es schrieen die Raben vom Dach.
And hen the roosters crowed,
My eyes awoke;
It was cold and dark,
The ravens were shrieking on the roof.
Doch an den Fensterscheiben,
Wer malte die Blätter da?
Ihr lacht wohl über den Träumer,
Der Blumen im Winter sah?
But there on the window panes,
Who painted those leaves?
Do you laugh at the dreamer,
Who saw flowers in winter?
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Und als die Hähne kräten,
Da ward mein Herze wach;
Nun sitz ich hier alleine
Und denke dem Traume nach.
And when the roosters crowed,
My heart awoke.
Now I sit here alone,
And think about my dream.
Die Augen schließ’ ich wieder,
Noch schlägt das Herz so warm.
Wann grünt ihr Blätter am Fenster?
Wann halt’ ich mein Liebchen im Arm?
I shut my eyes again,
My heart still beats warmly.
When will you leaves on the window turn green?
When will I hold my beloved in my arms?
Ich träumte von Lieb’ um Liebe,
Von einer schönen Maid,
Von Herzen und von Küssen,
Von Wonn’ und Seligkeit.
I dreamt of requited love,
Of a beautiful girl,
Of hears and of kisses,
Of bliss and happiness.
12. Einsamkeit
Loneliness
W
ie eine trübe Wolke
Durch heit’re Lüfte geht,
Wann in der Tanne Wipfel
Ein mattes Lüftchen weht:
As a dark cloud
Passes through clear skies,
When a faint breeze wafts
Through the tops of the pine trees:
So zieh ich meine Straße
Dahin mit trägem Fuß,
Durch helles, frohes Leben,
Einsam und ohne Gruß.
So I make my way
With heavy steps,
Through bright, joyful life,
Alone and ungreeted.
Ach, daß die Luft so ruhig!
Ach, daß die Welt so licht!
Als noch die Stürme tobten,
War ich so elend nicht.
Ah, the air is so calm,
Ah, the world is so bright!
When the tempests were raging,
I was not so miserable.
13. Die Post
The Post
V
on der Straße her ein Posthorn klingt.
Was hat es, daß es so hoch aufspringt,
Mein Herz?
A posthorn sounds from the street.
What is it that makes you leap so,
My heart?
Die Post bringt keinen Brief für dich.
Was drängst du denn so wunderlich,
Mein Herz?
The post brings no letter for you.
Why do you surge, then, so wonderfully,
My heart?
Nun ja, die Post kömmt aus der Stadt,
Wo ich ein liebes Liebchen hatt’,
Mein Herz!
And now the post comes from the town
Where once I had a true beloved,
My heart!
Willst wohl einmal hinüberseh’n
Und fragen, wie es dort mag geh’n,
Mein Herz?
Do you want to look out
And ask how things are back there,
My heart?
14. Der greise Kopf
D
The Grey Head
er Reif hatt’ einen weißen Schein
Mir übers Haar gestreuet;
Da meint’ ich schon ein Greis zu sein
Und hab’ mich sehr gefreuet.
The frost sprinkled a white coating
All through my hear;
It made me think I was already grey-haired,
And that made me very happy.
Doch bald ist er hinweggetaut,
Hab’ wieder schwarze Haare,
Daß mir’s vor meiner Jugend graut Wie weit noch bis zur Bahre!
But soon it thawed,
Again my hair is black,
And so I grieve to have my youth –
How far still to the funeral bier!
Vom Abendrot zum Morgenlicht
Ward mancher Kopf zum Greise.
Wer glaubt’s? und meiner ward es nicht
Auf dieser ganzen Reise!
From dusk to dawn
Many a head has turned grey.
Who would believe it? and mine has not
In the whole course of this journey!
15. Die Krähe
The Crow
E
ine Krähe war mit mir
Aus der Stadt gezogen,
Ist bis heute für und für
Um mein Haupt geflogen.
A crow was with me
From out of the town,
Even up to this moment
It circles above my head.
Krähe, wunderliches Tier,
Willst mich nicht verlassen?
Meinst wohl, bald als Beute hier
Meinen Leib zu fassen?
Crow, strange creature,
Will you not forsake me?
Do you intend, very soon,
To take my corpse as food?
Nun, es wird nicht weit mehr geh’n
An dem Wanderstabe.
Krähe, laß mich endlich seh’n,
Treue bis zum Grabe!
Well, it is not much farther
That I wander with my staff in hand.
Crow, let me see at last
A fidelity that lasts to the grave!
16. Letzte Hoffnung
Last Hope
H
ier und da ist an den Bäumen
Noch ein buntes Blatt zu seh’n,
Und ich bleibe vor den Bäumen
Oftmals in Gedanken steh’n.
Here and there may a colored leaf
Be seen on the trees.
And often I stand before the trees
Lost in thought.
Schaue nach dem einen Blatte,
Hänge meine Hoffnung dran;
Spielt der Wind mit meinem Blatte,
Zitt’r’ ich, was ich zittern kann.
I look for a single leaf
On which to hang my hope;
If the wind plays with my leaf,
I tremble all over.
Ach, und fällt das Blatt zu Boden,
Fällt mit ihm die Hoffnung ab;
Fall’ ich selber mit zu Boden,
Wein’ auf meiner Hoffnung Grab.
Ah? if the leaf falls to ground,
My hope falls with it;
And I, too, sink to the ground,
Weeping at my hope’s grave.
GREEN MUSIC CENTER
gmc.sonoma.edu
17. Im Dorfe
E
In the Village
s bellen die Hunde, es rascheln die Ketten;
Die Menschen schnarchen in ihren Betten,
Träumen sich manches, was sie nicht haben,
Tun sich im Guten und Argen erlaben;
The hounds are barking, their chains are rattling;
Men are asleep in their beds,
They dream of the things they do not have,
Find refreshment in good and bad things.
Und morgen früh ist alles zerflossen.
Je nun, sie haben ihr Teil genossen
Und hoffen, was sie noch übrig ließen,
Doch wieder zu finden auf ihren Kissen.
And tomorrow morning everything is vanished.
Yet still, they have enjoyed their share,
And hope that what remains to them,
Might still be found on their pillows.
Bellt mich nur fort, ihr wachen Hunde,
Laßt mich nicht ruh’n in der Schlummerstunde!
Ich bin zu Ende mit allen Träumen.
Was will ich unter den Schläfern säumen?
Bark me away, you waking dogs!
Let me not find rest in the hours of slumber!
I am finished with all dreaming
Why should I linger among sleepers?
18. Der stürmische Morgen
The Stormy Morning
W
ie hat der Sturm zerrissen
Des Himmels graues Kleid!
Die Wolkenfetzen flattern
Umher im matten Streit.
See how the storm has torn apart
Heaven’s grey cloak!
Shreds of clouds flit about
In weary strife.
Und rote Feuerflammen
Zieh’n zwischen ihnen hin;
Das nenn’ ich einen Morgen
So recht nach meinem Sinn!
And fiery red flames
Burst forth among them:
This is what I call a morning
Exactly to my liking!
Mein Herz sieht an dem Himmel
Gemalt sein eig’nes Bild Es ist nichts als der Winter,
Der Winter, kalt und wild!
My heart sees its own image
Painted in the sky
It is nothing but winter,
Winter, cold and savage!
19. Die Täuschung
Deception
E
in Licht tanzt freundlich vor mir her,
Ich folg’ ihm nach die Kreuz und Quer;
Ich folg’ ihm gern und seh’s ihm an,
Daß es verlockt den Wandersmann.
A friendly light dances before me,
I followed it this way and that;
I follow it eagerly and watch its course
As it lures the wanderer onward.
Ach! wer wie ich so elend ist,
Gibt gern sich hin der bunten List,
Die hinter Eis und Nacht und Graus
Ihm weist ein helles, warmes Haus.
Und eine liebe Seele drin. Nur Täuschung ist für mich Gewinn!
Ah! one that is wretched as I
Yields himself gladly to such cunning,
That portrays, beyond ice, night, and horror,
A bright warm house.
And inside, a loving soul. –
Ah, my only victory is in delusion!
20. Der Wegweiser
W
The Signpost
as vermeid’ ich denn die Wege,
Wo die ander’n Wand’rer gehn,
Suche mir versteckte Stege
Durch verschneite Felsenhöh’n?
Why do I avoid the routes
Which the other travelers take,
To search out hidden paths
Through snowy cliff tops?
Habe ja doch nichts begangen,
Daß ich Menschen sollte scheu’n, Welch ein törichtes Verlangen
Treibt mich in die Wüstenei’n?
I have truly done no wrong
That I should shun mankind.
What foolish desire
Drives me into the wastelands?
Weiser stehen auf den Strassen,
Weisen auf die Städte zu,
Und ich wand’re sonder Maßen
Ohne Ruh’ und suche Ruh’.
Signposts stand along the roads,
Signposts leading to the towns;
And I wander on and on,
Restlessly in search of rest.
Einen Weiser seh’ ich stehen
Unverrückt vor meinem Blick;
Eine Straße muß ich gehen,
Die noch keiner ging zurück.
One signpost stands before me,
Remains fixed before my gaze.
One road I must take,
From which no one has ever returned.
21. Das Wirtshaus
The Inn
A
uf einen Totenacker hat mich mein Weg gebracht;
Allhier will ich einkehren, hab’ ich bei mir gedacht.
Ihr grünen Totenkränze könnt wohl die Zeichen sein,
Die müde Wand’rer laden ins kühle Wirtshaus ein.
My path has brought me to a graveyard.
Here would I lodge, I though to myself.
You green death-wreaths might well be the signs,
That invite the weary traveler into the cool inn.
Sind denn in diesem Hause die Kammern all’ besetzt?
Bin matt zum Niedersinken, und tödlich schwer verletzt.
O unbarmherz’ge Schenke, doch weisest du mich ab?
Nun weiter denn, nur weiter, mein treuer Wanderstab!
But in this house are all the rooms taken?
I am weak enough to drop, fatally wounded.
O unmerciful innkeeper, do you turn me away?
Then further on, further on, my faithful walking stick.
22. Mut!
Courage
F
liegt der Schnee mir ins Gesicht,
Schüttl’ ich ihn herunter.
Wenn mein Herz im Busen spricht,
Sing’ ich hell und munter.
The snow flies in my face,
I shake it off.
When my heart cries out in my breast,
I sing brightly and cheerfully.
Höre nicht, was es mir sagt,
Habe keine Ohren;
Fühle nicht, was es mir klagt,
Klagen ist für Toren.
I do not hear what it says,
I have no ears,
I do not feel what it laments,
Lamenting is for fools.
Lustig in die Welt hinein
Gegen Wind und Wetter!
Will kein Gott auf Erden sein,
Sind wir selber Götter!
Merrily stride into the world
Against all wind and weather!
If there is no God on earth,
We are gods ourselves!
GREEN MUSIC CENTER
gmc.sonoma.edu
23. Die Nebensonnen
D
The Phantom Suns
rei Sonnen sah ich am Himmel steh’n,
Hab’ lang und fest sie angeseh’n;
Und sie auch standen da so stier,
Als könnten sie nicht weg von mir.
I saw three suns in the sky,
I stared at them long and hard;
And they, too, stood staring
As if unwilling to leave me.
Ach, meine Sonnen seid ihr nicht!
Schaut Andren doch ins Angesicht!
Ja, neulich hatt’ ich auch wohl drei;
Nun sind hinab die besten zwei.
Ah, but you are not my suns!
Stare at others in the face, then:
Until recently I, too, had three;
Now the best two are gone.
Ging nur die dritt’ erst hinterdrein!
Im Dunkeln wird mir wohler sein.
But let the third one go, too!
In the darkness I will fare better.
24. Der Leiermann
The Hurdy-Gurdy Man
D
rüben hinterm Dorfe
Steht ein Leiermann
Und mit starren Fingern
Dreht er, was er kann.
There, behind the village,
Stands a hurdy-gurdy man,
And with numb fingers
He plays the best he can.
Barfuß auf dem Eise
Schwankt er hin und her
Und sein kleiner Teller
Bleibt ihm immer leer.
Barefoot on the ice,
He staggers back and forth,
And his little plate
Remains ever empty.
Keiner mag ihn hören,
Keiner sieht ihn an,
Und die Hunde brummen
Um den alten Mann.
No one wants to hear him,
No one looks at him,
And the hounds snarl
At the old man.
Und er läßt es gehen
Alles, wie es will,
Dreht und seine Leier
Steht ihm nimmer still.
And he lets it all go by,
Everything as it will,
He plays, and his hurdy-gurdy
Is never still.
Wunderlicher Alter,
Soll ich mit dir geh’n?
Willst zu meinen Liedern
Deine Leier dreh’n?
Strange old man,
Shall I go with you?
Will you play your hurdy-gurdy
To my songs?
Translations compiled by Arthur Rishi
Reprinted with kind permission.
Photo: Steve Riskind
Richard Goode
Sunday, May 18 at 3 p.m.
Weill Hall
ARTIST
PROGRAM
Richard Goode, piano
Ludwig van Beethoven
(1770 – 1827)
Sonata in E Major, Op. 109 (1820)
Vivace ma non troppo, Adagio
espressivo
Prestissimo
Gesangvoll, mit innigster Empfindung
Sonata in A-flat Major, Op. 110 (1821)
Moderato Cantabile, Molto Espressivo
Allegro Molto
Adagio Ma Non Troppo – Fuga
INTERMISSION
Bagatelles, Op. 119 (1790-1822)
VI. Andante – Allegro
VII. Allegro, ma non troppo
VIII. Moderato cantabile
IX. Vivace moderato
X. Allegramente
XI. Andante, ma non troppo
Sonata in C Minor, Op. 111(1822)
Maestoso, Allegro con Brio Appassionato
Arietta: Adagio Molto Semplice e
Cantabile
Richard Goode is managed by
Frank Salomon Associates
121 W. 27th Street, Suite 703
New York, NY 10001-6262
www.franksalomon.com
GREEN MUSIC CENTER
gmc.sonoma.edu
ARTIST BIO
RICHARD GOODE
Richard Goode has been hailed for music-making of
tremendous emotional power, depth, and expressiveness, and
has been acknowledged worldwide as one of today’s leading
interpreters of Classical and Romantic music. In regular
performances with the major orchestras, recitals in the
world’s music capitals, and acclaimed Nonesuch recordings,
he has won a large and devoted following.
In the 2013-2014 season, Mr. Goode appears as soloist
with such orchestras as the New York Philharmonic with
David Zinman, the Chicago Symphony with Mark Elder,
the Deutsches Symphonie-Orchester Berlin with Herbert
Blomstedt, and the Royal Scottish National Orchestra with
Peter Oundjian, with whom he will also tour throughout
Canada with the Toronto Symphony. His alwayscompelling recitals will be heard at Carnegie Hall in New
York, in London, in Paris, at the Aldeburgh Festival, and
on leading concert and university series around the world.
In addition, he will perform a chamber music concert with
members of Boston Symphony Orchestra, and will hold
master classes at major conservatories and music schools on
both sides of the ocean.
Richard Goode is an exclusive Nonesuch artist, and
has made more than two dozen recordings, including the
complete Beethoven Piano Sonatas, the complete Partitas by
J.S. Bach, and solo and chamber works of Brahms, Schubert,
Schumann, Chopin, Busoni, and George Perle. His four
recordings of Mozart Concerti with the Orpheus Chamber
Orchestra were received with wide critical acclaim, including
many “Best of the Year” nominations and awards.
A native of New York, Richard Goode studied with
Elvira Szigeti and Claude Frank, with Nadia Reisenberg
at the Mannes College of Music, and with Rudolf Serkin
at the Curtis Institute. His numerous prizes over the years
include the Young Concert Artists Award, First Prize in the
Clara Haskil Competition, the Avery Fisher Prize, and a
Grammy award for his recording of the Brahms Sonatas with
clarinetist Richard Stoltzman. His first public performances
of the complete cycle of Beethoven sonatas at Kansas City’s
Folly Theater and New York’s 92Y in 1987-88 brought him
to international attention being hailed by The New York
Times as “among the season’s most important and memorable
events.” It was later performed with great success at London’s
Queen Elizabeth Hall in 1994 and 1995.
Mr. Goode served, together with Mitsuko Uchida, as coArtistic Director of the Marlboro Music School and Festival
in Marlboro, Vermont from 1999 through 2013. Participating
initially at the age of 14, at what The New Yorker magazine
recently described as “the classical world’s most coveted
retreat,” he has made a notable contribution to this unique
community over the twenty-eight summers he has spent
there. He is married to the violinist Marcia Weinfeld, and,
when the Goodes are not on tour, they and their collection of
some 5,000 volumes live in New York City.
PROGRAM NOTES
T
he last decade of Beethoven’s life is
universally regarded as one of the most
intensely creative periods of any artist.
Musicologists cannot resist the allure
of the tortured genius, conscious of his
approaching death choosing to sacrifice his life to art
or the resulting compositions that still sound modern
nearly 200 years later. Although he was enormously
popular and financially secure, this period was
incredibly stressful for Beethoven personally. By his
early forties, he had finally admitted that his marriage
project had been a dismal failure. Despite yearning to
be a husband and father, Beethoven renounced the
idea of domestic happiness and isolated himself more
and more from the outside world. The legal battle
he started for guardianship of his nephew Karl was a
misguided attempt at creating a family of his own and
ended disastrously. During this turmoil, Beethoven
became acutely aware of his own mortality and was
certain that he would not be given enough time to
complete his creative endeavors.
In 1818, he wrote in his diary, “before my departure
for the Elysian fields I must leave behind me what the
Eternal Spirit has infused into my soul and bids me
complete. Why, I feel as if I had hardly composed
more than a few notes.” In light of this, Beethoven had
to decide between enjoying his remaining years and
continuing to work on his art. It seems that in the end,
the decision was not so difficult. He wrote again in his
diary, “Only in my divine art do I find the support which
enables me to sacrifice the best part of my life to the
heavenly Muses.” In light of the limited time he had
remaining, Beethoven felt it necessary to perform a
sort of “compositional triage” on his remaining ideas.
He prioritized to ensure that the most important
compositions were completed before his death.
There is a very definite sense of finishing up in his late
works with the results being four piano sonatas, the
Diabelli Variations, the Ninth Symphony, Missa Solemnis
and five string quartets. Stylistically, Beethoven’s late
sonatas exhibit an enormous tension between radical
and retrospective that is bewitching to musicologists,
theorists, performers and listeners alike. These three
works show Beethoven’s love of rich harmonies, his
fascination with intricate counterpoint and strict
adherence to some Baroque and Classical forms,
all the while ignoring others. Despite the strictures
of fugue, these sonatas contain some of his most
expressive music. Movements are marked Arietta,
Cantabile and Gesganvoll, all markings related to
singing. Indeed, sketches for Missa Solemnis were
found in the same sketchbook as these sonatas.
PROGRAM NOTES
RICHARD GOODE
BEETHOVEN
Piano Sonata No. 30 in E Major,
Op. 109 (1820)
I. Vivace ma non troppo; Adagio espressivo
II. Prestissimo III. Gesangvoll, mit innigster
Empfindung
In these last three sonatas Beethoven
discards traditional sonata form wholesale.
He alternates between improvisatory
sections and strictly worked out fugue,
adagio and vivace, cheeky and souldestroyingly tragic whenever it suits him.
In Op. 109, he even mixes German and
Italian tempo markings. At his stage in
his life, Beethoven has no contemporary
influences and is creating completely
original music. Although marked Vivace,
the opening of the first movement is
essentially an improvisatory meditation
on what will turn out to be the Adagio
theme. A seventh chord announces the
beginning of the Adagio section, where
the theme is heard in full after a reprise
of the improvisatory opening. The second
movement gets off to a strong start with a
fortissimo statement of a thematic motive.
It is not fugal but contains imitative,
canonical elements and usage of the
circle of fifths typical of counterpoint.
Beethoven prescribes the third movement
to be songlike, with the most intimate of
feelings and indeed the opening theme of
this variation set is one of his most singable.
Traditionally variation sets increase the
decoration and number of notes as the set
progresses. Here, the tempo changes with
each of the six variations and their styles
vary widely. The final variation reverts to
the opening tempo and slowly becomes
more and more dense as accompaniment
duples give way to triples, quadruples and
finally a full out trill that eventually fades
in to an unadorned restatement of the
opening theme.
Piano Sonata No. 31 in A flat Major,
Op. 110 (1821)
I. Moderato cantabile molto espressivo
II. Scherzo: Allegro molto III. Adagio ma
non troppo; Fuga: Allegro ma non troppo
On paper, Op. 110 is a traditional fourmovement sonata. In reality however the
work is a further example of the dissolution
of sonata form within the outer movements
as well as any sense of the usual order of
Portrait of Beethoven composing the Missa Solemnis, painted in 1820 by
Joseph Karl Stieler (1781-1858).
the movements themselves. The cantabile
theme of the first movement is more
reminiscent of a Haydn string quartet
adagio than a Beethoven sonata opening.
The melody is unadorned in the right hand
and accompanied by repeated chords in
the bass. With the expected sonata form
abandoned, the next six minutes are taken
up with a sort of meandering through the
movement with periodic restatement of
the opening theme. Secondary themes
are short and mostly motivic and the
development section is practically nonexistent. Although less than three minutes
long, the second movement is a fully
formed scherzo and trio. The extreme
dynamics and uneasy accents are almost
comical. A contemplative recitative beings
the final movement of Op. 110, further
illustrating Beethoven’s preoccupation with
song during this period. The basic structure
is arioso, fugue, arioso, fugue with the
opening recitative soon transformed into
the single line melody of the first arioso.
Simple, repeated chords in the bass create
a transparent texture. The fugue theme
is stated quietly at first and increases in
GREEN MUSIC CENTER
volume and intensity as the other two
voices make their entrances. Its sturdy,
no-nonsense feel is in stark contrast to the
delicate beauty of the arioso.
Bagatelles, No. VI-XI Op. 119 (1822)
VI. Andante – Allegro VII. Allegro,
ma non troppo VIII. Moderato cantabile
IX. vivace moderato X. Allegramente
XI. Andante, ma non troppo
The first five of the eleven Bagatelles
Op. 119 were already sketched by 1803.
Numbers seven through eleven were
written in 1820. Number six was composed
last, in late 1822. Opinions differ as to why
the set contains works from such a time
spread, but one thought is that Beethoven
prepared them that way for publication
in England. The latter pieces, six through
eleven, show a remarkable depth of intent
and formal experimentation, not unlike
the sonatas of the same period. Though
not without their whimsical moments, they
cover the gamut of moods and anticipate by
more than a decade the character pieces of
Robert Schumann.
gmc.sonoma.edu
PROGRAM NOTES
Piano Sonata No. 32 in C Minor, Op. 111
(1822)
I. Maestoso; Allegro con brio e appassionato
II. Arietta: Adagio molto semplice e cantabile
Beethoven still had five years left to live
when he wrote this sonata but in many ways
it feels like a definite end. The thirty two
piano sonatas has spanned nearly thirty years
of his life and transformed the genre from
an at-home entertainment to a vehicle of
intimate, personal expression. The work is
only two movements, something Beethoven
did in four previous sonatas but still unusual
enough for his publisher to assume that the
final sonata-rondo has been lost in the post.
Beethoven had managed to solve the
problem of unity between movements by
resolving the conflicts of one in the other.
The two-movement format also results in an
interesting binary comparison representing
the opposing forces of major/minor, allegro/
adagio, appassionato/semplice, sonata form/
variation form, turmoil/ecstatic serenity,
earthly/spiritual prevalent in much of his
work. In the first movement, the two main
thematic motives are tossed about between
registers without ever getting completely off
the ground. Beethoven manages to make it
sound impressive without formally doing
anything. The classic Beethoven dichotomy
between C minor and C major is very much
present here as final fortissimo statement
of the theme in the home key in C minor
mysteriously leads to a C major cadence.
The final movement in Beethoven’s piano
oeuvre is a mammoth variation set, nearly
twenty minutes in length. In C major, the
key he used most often to indicate triumph
and happiness, Beethoven finally lets go of
tension and instead concentrates on writing
joyful, exuberant music. It is significant
that he chooses a variation set. A master
improviser, Beethoven could vary any theme
almost indefinitely even if he had only
heard it once. He had no shortage of skill or
imagination and would gleefully accept the
challenge given by his friends or members of
the nobility. Although it is impossible to say
with any certainty, it is certainly plausible
that it was in these situations that Beethoven
felt the least tormented by his personal
afflictions and frustrations and was able to
truly be content.
—Marcia Adair, TheOmniscientMussel.com
(Reprinted with permission)
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Richard Barbieri, in memory of
Mary Ann Barbieri
Frank and Grace Barner
Chuck Bartley
Bauers and Keenans, in memory of
Elizabeth K. Bauer, PhD
Dr. and Mrs. Jeffrey D. Bean
Donn and Patricia Bearden
In memory of Eleanor Bearden
Chester Beck, Paul Dillon, and
Jack Murphy
Stephen and Terry Beck
Richard and Pamela Beebe
Mike and Foster Beigler
Milo and Marj Bell
Dr. and Mrs. Bruce M. Bell
Gail and Barry Ben-Zion
Anne and Dan Benedetti
Gene and Evelyn Benedetti
Timothy and Corey Benjamin
Roberta Gourse Berg, MD
James and Joann Berger
Nancy and David Berto
Beyers|Costin
Ajaib Singh and Sukhninder
Kaur Bhadare
Barbara Biebush
The Bippart Family
Tom Birdsall and Rebecca Green Birdsall
Dr. Kate Black
The Blades Family
Ann and Gordon Blumenfeld
John Boland and James Carroll
Brad and Corine Bollinger
John and Sandy Bond
Berenice and Lawrence Brackett
Don Bradley, for Ted and Helen Zoe
Ryan C. Bradley
Suzanne Brangham and Jack Lundgren
Sanford and Jo Anne Bressick
Elva J. Brinegar
Lawrence Broderick
Ginger and Sam Brown
Keven Brown and Jeri Yamashiro Brown
Corrick and Norma Brown and Family
The Corrick Brown family, in memory
of Stan Diamond
In loving memory of LaVerna Brown
Robert F. Brown, in memory of
Katherine L. Cleveland-Brown
The Browns, in memory of Dorothy
McGuire
Bertie and Robert Brugge
Gary and Charlene Bunas
Mark Burchill and MeL Konrad
Richard and Karin Burger
Tom and Elinor Burnside
Barbara Butler and Jim Ford
Thera A. Buttaro
To honor the Cahn and Bennett Families
Francisco Canales MD and Heather
Furnas MD
Mrs. Grant W. Canfield
Carle, Mackie, Power & Ross LLP
Arnie and Gayle Carston/World of
Carpet One
B.J. and Bebe Cassin
Linda Castiglioni
Patti and Ray Chambers
The Chan-Stanek Family
Pamela and Timothy Chanter
Laura Chenel and John Van Dyke
F. Scott and Shirley Chilcott
Ken and Darlene Christiansen
Tom and Irene Clark
Helen M. Clasper
Clay Foundation - West
William and Sara Clegg, in memory of
Dr. Harding Clegg
Kim and Clay Clement
Patricia F. Clothier
Clover-Stornetta Farms
Hugh and Connie Codding
Harold L. Coleman and
Alice S. Coleman
Michael and Mary Colhoun
Ellen and Louis Comaduran
Dan and Janet Condron
Steven and Geraldine Congdon
Edward and Nancy Conner
Nan and Ransom Cook
Jess and Crawford Cooley
Randolph W. and Jean W. Cornes
Mr. and Mrs. Kim and
Michelle Covington
John K. and Katharyn W. Crabbe
Wilson Craig
Jack and Beverly Cranston
Marcia Da Pont, in memory of
Richard Hastings Da Pont
Mrs. W.A. Dager
Terry and Joanne Dale
Chet and Noelle Dangremond
Rocky L. Daniels and Deborah W. Trefz
Susan and Fred David
Chris and Bonnie Day
John and Nancy Dayton
Ellen De Martini
In memory of Flora Dean
Dr. and Mrs. Thomas C. Degenhardt
Didi and Pershing DeGolia
Anne and Edward Del Monte
Jayne DeLawter and
Kenneth Koppelman
Edward and Bernice Dermott
Ron and Kris Dick
Raul and Nancy Diez
Joan Withers Dinner, in memory of
Richard S. Dinner
Pete Dintiman
Family and friends, in memory of
Bill Donaldson
Darlene Donaldson Family
Peggy Donovan-Jeffry and John J. Jeffry
Carolyn Doran and Lawrence Shapiro
Nancy and Dale Dougherty
James and Jean Douglas
Gordon and Joanne Dow
Hallie and Paul Downey
Nancy Doyle MD and George L. Smith
Jr. MD
Robin A. Draper and Mike Davis
Donors and Friends, in honor of
Robin Draper
Mary and Eric Drew
Timothy and Gloria Oster Duncan
Charles A. Dunkel
Jack Dupre and Marsha Vas Dupre
Randon and Juliana Duranceau
E.A. Durell & Co. Inc.
Karen Dutton and George R. Dutton
Kate Ecker and John Mackie
Charles and Deborah Eid
Sheila and Harold Einhorn, in honor of
our parents
Winston and Louann Ekren
Paul and Mary Elliott
Ted and Peggy Elliott
Edward and Joanne Enemark
Eschelon Telecom
Robert and Dolores Evans
Whitney and Jeanette P. Evans
Exchange Bank
Harry W. Fall and Barbara J. Fall
Mary and Scott Farrar
Stanley A. Feingold and Roslyn Edelson
In memory of Martin and
Elisabeth Feinman
Dr. Reed and Nancy Ferrick
Kathleen Nanette Ferrington and
Brent Finley
Dr. Richard and Barbara Ferrington
Mildred Ferro, in memory of Michael
O. Ferro
Jeanne Ferroggiaro
Fireman’s Fund Insurance Company
Fred and Juelle Fisher
Pauline “Polly” Fisher
Ned and Sally Foley
Fornage Family
Lewis and Diana Forney
Dr. and Mrs. Jacob J. Foster
Herbert M. Fougner
Tom and Betty Freeman
Charles and Perry Freeman
Anne and John Friedemann
Gene and Marjorie Friedrich
Michelle and Robert Friend
Friends of the Green Music Center
Bob and Rita Frugoli
Continued on page 53
GREEN MUSIC CENTER
gmc.sonoma.edu
$5,000 – $999,999 continued
Patricia and William Fuller
Larry and Karen Furukawa-Schlereth
Lynn and Claude Ganz
Joseph A. and Judith M. Gappa
Gary Garabedian
Cappie and Tom Garrett
Janet Gavagan, in memory of
James Gavagan
Robert Gilchrist, in memory of Gay Kenny
Robert and Terese Gilford
Jan Gilman of the Lenore and Howard
Klein Foundation
Paul M. and Marcia H. Ginsburg
Richard and Jennifer Girvin
Pat Glasner Family, in memory of Mary
“Taffy” Glasner and Kevin Glasner
Mr. and Mrs. C. Convers Goddard
Karen Godfrey and Richard Israel
Steve Goldberg and Renee Miguel
Richard and Rhoda Goldman Fund
Bernie and Estelle Goldstein
Laurence K. Gould, Jr.
Jule Grant, in honor of Dr. Susan McKillop,
Dr. Robert Jefferson, Dr. Gardner Rust
John and Pamela Graziano, in memory of
Dot Drew and Joe Marasco
Leona and Joel Green
Victoria Green-Comfort
Florence Gresty
Lawrence Guernsey Family Trust
Guerrera Family
Karin Guzmán, in memory of
Raoul Guzmán
Ray and Amanda Haas
John and Jean Hackenburg
Dick and Mary Hafner
Ann Hall
William K. Hamilton
Marty Hamilton, in memory of
Beverly Hamilton
William and Constance Hammerman
Jim and Anne Handley
Hansel Auto Group
Alyce Hansel
Jack F. Harper and Deyea V. Harper
Sandy and Cindy Harris
In memory of Chod Harris
VP2ML WB2CHO
Stu Harrison and Dave Ring
Jim and Jean Harrison and Keir Skinner
William C. and Doris E. Harrison
Deborah and Michael Hatfield
Marta Hayden, in memory of
Blanche Hayden and Carmen Roberts
Mr. and Mrs. Robert Hayden
Sally L. Heath
Douglas P. Heen and
William A. Scogland
Judge Patricia Herron (Ret.)
Henry H. and Gloria Fabe Hersch
The William and Flora Hewlett
Foundation
Spence and Anne Hiatt
Professor Bryant and Mrs. Diane Hichwa
Helen R. Higby, in memory of
Ruth and Nick Higby
In memory of Juelle and Allen Hinman
James and Carolyn Hinton
John and Joan Hodge
Bruce and Elizabeth Hoelter
Jean Holm Shell
John A. Holt and Geraldine P. Holt
Ruth V. Hosty
Herbert and Lois Howe
Keith and Cherie Hughes
Jim and Betty Huhn
Gary and Lynn Imm
Jackson Family Wines
Jeff and Judy James and Family
Gene Jemail and Betty Joslyn Jemail
Dr. and Mrs. Nathan Johnson
Rick and Geri Johnston
Jack V. and Marilyn R. Jones
Samuel L. Jones and Candace P. Jones
David and Ann Jones
Malcolm Jones and Karen Roche
Sandra Jordan
Tom Jordan
Martha and Jeffrey Kahane
Michael and Susan Kashack
Michael and Karen Kasper
Arthur and Judith Kayen
Keegan & Coppin Company, Inc.
Louis and Olivia Kendall
John and Jan Kern
Janet and Bo Kirschen
Kiwanis Club of Santa Rosa Suburban
Katharine and Jean-Serge Klein
Martha G. Köhn
Lorraine Komor, in memory of
Peter S. Komor
Koret Foundation
Dr. John Kornfeld and Laurie Prothro
Edward and Elizabeth Kozel, Sr.
Sara and Edward Kozel
Diane Krause and Gerrett Snedaker
Lily Krulevitch, in memory of
Tova and Max Fishman
Jim and Linda Kuhns, in honor of
Charlotte Lamb
Antoinette Kuhry and Thomas Haeuser
James H. L’Hommedieu
Jim and Charlotte Lamb
Peter and Exine Lamonica
Dan Lanahan and Martin Reilley
In memory of Bruce S. Lane and
Mary Ellen Lane
Jeff Langley, in honor of Leonard and
Judith Kertzner
Dennis E. Lantz, in memory of
Lawrence L. Lantz
Judge Henry B. and Bonnie Lasky
Eugenia Lea-McKenzie
The Leavens Foundation
Maribelle and Stephen Leavitt
Louisa Leavitt
Richard and Dianne Leger
Lemo USA, Inc.
Stephanie Leong and Raymond Tom
Amy Miller Levine and
Joel R. Levine, MD
Dan G. and Carol Ann Libarle
Millie G. Libarle
Joanne and Glenn Lillich
Nancy and Tony Lilly
Sid and Gerry Lipton
Barney and Cindy Locke
Lawrence and Frances Lok and Family
Anne and Alexander Long
Jim Lotter, in memory of Gladys V. Lotter
John and Joan Lounsbery
Maria Elizabeth Lucidi
Richard C. Ludmerer
Darrell Luperini DDS and Chantal Vogel
Merrill Lynch
Dale Lynch and Joanne Foote Lynch
Michael MacDonald
Malkemus family, in honor of
Annabelle George
Photo: Linnea Mullins.
GREEN MUSIC CENTER DONOR HONOR ROLL
A percussionist with the SSU Wind Ensemble rehearses in Weill Hall.
Kitty and Fred Mann
Richard and Caroline Marker
Drs. David and Norma Marks
Valerie J. Marshall and
Mark A. Matthews
Catherine and David Marsten
John and Pat Martin
Jane Mastick
Arthur and Lynda Matney
Frank and Kathleen Mayhew
Henry and Diane Mayo
Kai-Uwe Mazur MD and Lindsay Mazur
Louise and William B. McCann
Mr. and Mrs. Jack W. McCarley
Margaret McCarthy and Robert Worth
John and Evelyn McClure
Neil and Amelia McDaniel
Charitable Trust
Neil and Amelia McDaniel
Gerald and Lynn McIntyre
George and Marie McKinney
Jean McLaughlin
Laura Kimble McLellan
Hannah Rose McNeely,
Rosemary McNeely, Kevin McNeely
Patricia McNeill and Gabriela Schwenker
Clifford and Patty Melim
Jim and Shirley Meyer
Gene and Carole Michel
William and Julie Middleton
Syd and Judy Miller
James Stewart Miller
James and Joann Mitchell
Greg and Laura Mlynarczyk
Patricia Moehlman, in memory of
Shirley Sparling
Melissa Monson
Laurence Lusk Moore Charitable Trust
Richard Morehead Jr. and Kenneth Knight
Doug Morton and Paula Jackson
Barbara Moulton, in memory of
Charity H. Morse
Madi and Robert Mount
Tim and Nancy Muller
The Charles Murphy Family
Douglas and Barbara Murray
Alan and Dorothy Murray
Warren and Elizabeth Musser
Lorna and Neil Myers
The Neal Family
Jim and Gwen Neary
Daniel Needham
Gary D. and Marcia L. Nelson
Ron and Eileen Nelson
Gary and Elsa Nelson
Phyllis Steinman Caplan and
Douglas Nesbitt
Manuel and Cynthia Nestle
H. Andrea Neves and Barton Evans
Charles Nevil and
Nancy Bleiweiss-Nevil
Bruce and Sindy Nevins
Nadenia Newkirk
Delphine Newman
Bob and Carole Nicholas
Barbara and Ambrose R. Nichols, Jr.
Robert and Sally Nicholson
Estate of Paul Nielsen
Susan and Philip Nix
David Noorthoek, MD
Eric and Yvonne Norrbom
Cissie and Mid O’Brien
Paul D. O’Connor
The Reverend Francis and Mary O’Reilly
OCLI /a JDS Uniphase Company
Gloria Ogg and David Bates
Nancy Ogg, in memory of
Gilbert ‘Tim’ Foote
GREEN MUSIC CENTER DONOR HONOR ROLL
$5,000 – $999,999 continued
John and Kirsten Olney
Steve and Lynn Olsen, in memory of the
Price and Olsen Families
David and Aggie Olson
Steve Osborn, Renata Breth,
Celeste Osborn
Paul and Sandra Otellini, in honor of
Alexis Otellini
Raul and Diana Paabo
Louise Packard and Larry Moskowitz
Harriet and Bernard Palk
Joan Ramsay Palmer
Michael Panas, in memory of
Elaine “Honey” Panas
Dorothy B. Pathman
William A. Payne and Sandra J. Settle
Clare Pearson, MD, in honor of
Kathryn and Kent
Joyce and Steve Pease
Dr. Charles and Margaret Peck
Sonne J. Pedersen
Fred J. Pedersen
Judith Peletz
Tom and JaMel Perkins
Beverly J. Perry
Glenn and Jana Peterson
The Family of Katherine Pew,
in her honor
Monika and Peter Piasecki
Douglas Pinter and David Young
Pisenti & Brinker LLP
Joan and Lewis Platt
Richard Pratt and Kathie Murphy
Marty and Ken Prouty
The Putney Financial Group
Virginia Pyke
Chuck and Kati Quibell
Damon and Marjorie Raike
William H. and Barbara Ramsey
The Family of Estelle Ratner
Joseph A. and Mary E. Rattigan
John and Susan Reed
Gail Reid, for her father,
Leland Chapman
Bill and Mary-Louise Reinking
Republic Services, Inc.
Dr. Robert and Barbara Richardson
Harry and Dee Richardson
Betty and Herb Riess
Jonathan M. Riley
Kenneth Ripple and Peggy Morris
David and Vicki Ritter
C. Beth Robertson
Rabbi Michael A. and Ruth Robinson
Sharon and Jerry Robison
Emily and Walter Roeder
Venetta and John P. Rohal
Jack and Katie Rohrman for
Florence R. Lamb
Michele Rosen
Ira H. and Ruth S. Rosenberg
The Joseph and Evelyn Rosenblatt
Charitable Fund
Floyd Ross, in memory of William and
Virginia Ross
Eric Rossin and Beth Weisburn
Roxy and Kathleen Roth
William and Joan Roth
Irwin and Coleen Rothenberg, Wealth
Management Consultants, LLC
Harry L. Rubins
Martha Rapp Ruddell and
Perry M. Marker
William J. and Helen B. Rudee
E. G. Rust
David L. and Sandra J. Sandine
Santa Rosa Symphony
Santa Rosa Symphony Musicians
and Staff
Santa Rosa Symphony Musicians from
the Corrick Brown Fund
Santa Rosa Symphony League
George S. Sarlo
Denise Scaglione
Ralph and Janice Sceales
Doris Schaefer
Carol Cochran Schaffner
Robert and Joan Scheel
Richard and Ann Schindler
William M. and Marilyn P. Schlangen
Susan and Dale Schmid
Diane Schoenrock
John and Gayle Schofield
Bob and Priscilla Schultz
Schurter Inc.
Bruno H. Schurter
Jean and Ian Seddon
Raymond N. Shapiro, MD
Harvey and Deborah Shein
Mr. and Mrs. Andrew J. Shepard
Michael Troy and Judy Shubin
Michelle Sikora
Vernon and Lida Simmons
Robert W. and Rachel M. Sinai
Susan K. Skinner and
Robert G. Heisterberg
Dr. and Mrs. W. McFate Smith
Larry and Zilpha Snyder
Irene and David Sohm
Marv and Fran Soiland
Sonoma Bank
Sonoma State University Alumni
Association
Alan Soule
Walter and Mary Spellman
Shirley Spencer
Kathleen Spitzer and Stephen C. Miller
Stuart Davidson Squair
Roslyn Squair, in memory of Stuart and
Jean Squair
Rich and Laura Stanfield
Dr. Michael Star
Dry Creek Vineyard and David S. Stare
Jon and Teresita Stark
State Farm Companies Foundation
Kathleen and David Steadman
In memory of Kathleen R. Steadman by
family and friends
Gregory and Patricia Steele
Marlene and Martin Stein
The Audrey and Barry Sterling Family of
Iron Horse Vineyards
Gay B. and Hans L. Stern
Margaret Stock
Charles and Maryanna Stockholm
Stoesser-Gordon Plastics
David and Vicki Stollmeyer
Edward and Carolyn Stolman Foundation
Gillian and Ross Stromberg
Roy and Emily Stubbs
Jane and Jack Stuppin
Cornelia Sulzer
Summit State Bank
Judith Croll Swanger
Earle and Terri Sweat
Barry Swenson Builder
Roselyne Chroman Swig
J.F. and Susan S. Taylor
Joanne and John Taylor
Waights Taylor and Liz Martin
Temple Family Trust
Michele and Scott Thayer
Sigrid Thomason and Hedy Stut
Mrs. Edward J. Throndson
Tietz Family Foundation
Mrs. Walter J. Treanor, in memory of
Dr. Treanor
Dr. and Mrs. Alessandro Trombetta
Evelyn Niemack Truman, in memory of
Robert V. Truman
Hugh Trutton
L. Stephen and Neva Turer
Ransom and Marilyn Turner
Arlene and Joseph Ulmer
Joe and Eunice Valentine
Wayne and Gladys Valley Foundation
The Veritys, in memory of
Frances Barrick Verity
Michael and Janet Verlander
Dr. and Mrs. Eric W. Vetter
William M. Vick and Susan Lee Vick
Robert and Catherine Vila
Vineyard Creek Hotel
Renee Vollen
Alice and Lloyd von der Mehden
John and Terry Votruba
Terry and Cristina Wadsworth
Victor Waithman, in memory of
Norma Waithman
Michael J. Waldorf
In loving memory of Bruce R. Walker
Marilyn and Edward Wallis
Rod and Lynne Wallace
Dr. and Mrs. Richard Wallrich
David Walls and Barbara Walls Hanson,
in memory of Elizabeth S. Walls
Mrs. Joan Walsh
Robert H. Walter Family Trust
Dotty and Jim Walters
Shirley and Bill Ward
Ron Welch and Ellen Watson
Jane and Nelson Weller
Wells Fargo Bank
Holly and Henry Wendt
Janet and Patrick Wentworth
Harry and Margaret Wetzel
Bill and Pat White
Creighton and Dorothy White
Matt and Melissa White
Annette and Rick Wilber
Greg and Gay Wilcox
Zeanette Williams
Sharon and Clark Winslow
Elizabeth B. Witchey, in memory of
Julian C. Ryer and Mary F. Holme
Constance Wolfe and Marshall Kent
Peter and Sara Woodfield
Michael and Katie Wright
Scott and Lee Wright
Robert and Donna Young
Tim and Pam Zainer
Shirlee Zane and Peter Kingston
Kirt and Bev Zeigler
John and Dayna Van-Kleeck Ziegler
Joseph C. Zils Family Fund
Beryl F. Zimberoff, in memory of
Michael J. Fasman
The San Francisco Symphony returns to Weill Hall during the 14-15 Season.
GREEN MUSIC CENTER
gmc.sonoma.edu
Green Music Center Board and Administration
UNIVERSITY PRESIDENT
Ruben Armiñana
BOARD OF ADVISORS
Sandy Weill, Chairman
Joan Weill, Vice-Chair
Marne Olson, Vice-Chair
Lynn Fritz, Treasurer / Chair, Finance
Gary Nelson, Secretary
Darius Anderson
Alice Chiang
Ted Deikel
Anisya Fritz
Larry Furukawa-Schlereth
Laurence K. Gould, Jr.
Craig Hall
Henry Hansel
Debby Hopkins
Keith Hughes
Victor Lacombe
Janet Lamkin
Jeff Langley
Zarin Mehta
Carol Miller
John Ryan
Judy Vadasz
Les Vadasz
Lars Walton
Richard West
Sharon Winslow
Frank Yeary
ADMINISTRATION
EXECUTIVE COMMITTEE
CO-EXECUTIVE DIRECTORS
Sandy Weill, Chairman
Joan Weill, Vice-Chair
Marne Olson, Vice-Chair
Lynn Fritz, Treasurer/ Chair, Finance
Gary Nelson, Secretary
Darius Anderson
Henry Hansel, Chair, Development
Keith Hughes, Chair, Nominating
Janet Lamkin
Les Vadasz, Chair, Strategy
Zarin Mehta
Larry Furukawa-Schlereth
ARTISTIC ADMINISTRATION
Caroline Ammann
BOX OFFICE
Megan Christensen
FINANCE
Laura Lupei
LOGISTICS & OPERATIONS
Kevin Martin
Adam Burkholder
Kamen Nikolov
Jerry Uhlig
GUEST SERVICES
Patrick Maloney
Lori Hercs
HOSPITALITY
Kelley Kaslar
Kindra Kautz
Josef Keller
MARKETING & COMMUNICATIONS
EX-OFFICIO
Ruben Armiñana, University President
Mac Hart, Associated Students President
Andrew Rogerson, University Provost
Richard Senghas, Vice Chair of the Faculty
EMERITUS
Donald Green, Co- Chair Emeritus
Ryan Ernst
Jessica Anderson
Jana Jackson
Ruth Wilson
CONSULTANTS
Rick Bartalini
Eric Latzky
Inge Reichenbach
Annual Gifts
AS OF FEBRUARY 15, 2014
We wish to thank our donors for their generous support of the 2013-2014 season at Weill Hall. Your contributions allow the University to bring
world-renowned artists to campus and support the educational programs that are a cornerstone of our vision. For more information on how you
can help, please contact Laurie Ogg at 707-664-3355.
Mr. and Mrs. Michael D. Colhoun
Mr. and Mrs. Louis J. Comaduran
Mr. and Mrs. Daniel S. Condron
Mr. and Mrs. Christopher Costin
Marty & Sandy Coyle
John Crowe
Rocky Daniels and Deborah Trefz
Jayne DeLawter and Ken Koppelman
Bonnie Demergasso
Ms. Joan Withers Dinner
Sarah and Duane Dove
Richard and Jane Drever
Ms. and Ms. Diana M. Dumbadse
Mr. and Mrs. Bruce J. Dzieza
Mr. and Mrs. William Edelen
Mrs. Deborah Eid
Kathie Elcombe
Ms. Nancy Fawcett
Mr. Mark Feichtmeir
Richard and Barbara Ferrington
Pauline “Polly” Fisher
Mr. Burton Fohrman
Dr. Heather Furnas and Dr. Francisco Canales
Mr. and Mrs. Robert Giddings
Drs. James and Michelle Glenn
David Gray and Vrenae Sutphin
Janice and Joel Hadary
Dr. Robert and Dianne Hales
Mr. Richard Handal
Mr. John Hayes
Patricia and Michael Hickey
Ms. Kathy Horan
Mr. and Mrs. Jack L. Howard
Mr. and Mrs. William A. Ingels
Mr. Malcolm Jones and Ms. Karen Roche
Amy and Joel Levine
Mr. Mark Matthews and Ms. Valerie J. Marshall
Mr. and Mrs. David Marsten
Mr. and Mrs. James McElwee
Mr. and Mrs. William Meseroll
Judith and Irwin Miller
Dr. and Mrs. Greg Mlynarczyk, D.D.S.
Mr. and Mrs. Garrett Nelson
Mr. and Mrs. Douglas Nesbitt
$50,000 and above
Darius Anderson
Alice Chiang
Ted Deikel
Lynn and Anisya Fritz
Craig Hall
Henry Hansel
Debby Hopkins
Cherie and Keith Hughes
Victor Lacombe
James Lamb
Janet Lamkin
Carol and Samuel Miller
Gary Nelson
John Ryan
Les and Judy Vadasz
Joan and Sandy Weill
Sharon and Clark Winslow
Frank Yeary
$10,000 - $24,999
Dr. and Mrs. Thomas C. Degenhardt
Dr. William Hinkle
Mr. and Mrs. William M. Roth
$5,000 - $9,999
Ms. Nancy D. Lilly
Andrew and Mitsuyo McDermott
Tim and Nancy Muller
Mr. and Mrs. Steven Pease
Dr. and Mrs. Earle Sweat
Mr. and Mrs. Michael Verlander
John Boland and James Carroll
Mr. and Mrs. Lawrence R. Brackett
Ms. Jeanne Collester
Mr. and Mrs. Sam Guerrera
John and Nancy Lasseter
Maribelle and Stephen Leavitt
Ellen De Martini
Jolene Patterson and Robert Mezzanatto
The Honorable Mariana R. Pfaelzer
Mr. James Farrell and Emma Farr Rawlings
$1,000 - $2,499
Mr. and Mrs. Lawrence V. Amaturo
Mr. and Mrs. Lindsay Austin
Mr. and Mrs. Stephen W. Bailey
Mr. and Mrs. Gerald Baldwin
Mr. Eli Barntsen
Mr. Ivan Barta
Mr. and Mrs. Dante Benedetti
Tim and Corey Benjamin
Mr. Mark A. Dierkhising and Ms. Karen Brodsky
Corrick and Norma Brown
Mr. and Mrs. Richard A. Burger
Chuck Maisell and Steve Carroll
Dr. Devron H. Char
$500 - $999
Mr. Vernon Birks
Lauren Bower
Jon Bumgarner
Sara Ferrandi
Rachel Leader
Gerald and Lynn McIntyre
Dr. and Mrs. Charles H. Merrill
Mr. Russell Schweickart and Ms. Nancy Ramsey
Ms. Francoise Stone
Dr. Elizabeth and Mr. Mike Thach
Mr. Hugh Trutton
Photo: Sandy Destiny.
$2,500 - $4,999
Robert and Sally Nicholson
Eric and Yvonne Norrbom
Mr. and Mrs. Ernest Olson
William A. Payne and Sandra J. Settle
Ms. Judith S. Peletz
Thomas and Danni Randolph
Mr. Michael Rataj
Paula Thomassen Rector
Dr. and Mrs. John B. Reed
Mr. and Ms. John G. Rohrman, Jr.
Mr. Lance Rosedale
Mr. David Sandine
Michael Selby and Gudrun Zomerland
Mrs. Janet B. Siela
Mr. and Mrs. Norman Silverman
Mrs. Jacqueline M. Smith
Mr. Alan M. Soule
Roselyne Chroman Swig
Irene Tabet
Mr. and Mrs. David Trezise
Mr. and Mrs. Stephen L. Turer
Dr. and Mrs. Michael Visser
Ms. Renee Vollen and Mr. Eugene Shapiro
David L. Webb & W. Lynn McLaughlin
Noah and Caryn Weiss
Mr. and Mrs. Richard P. West
Dr. Sharon Wiles
Scott Wright and Lee Golden
Ms. Cathie Zunino
Members of the SSU Chamber Singers rehearse in Weill Hall.
GREEN MUSIC CENTER
gmc.sonoma.edu
Green Music Center
FAQs
There are 1406 seats in Weill Hall. When also utilizing the outdoor
terrace and lawn areas, concert capacity can stretch up to 6,000 guests.
Stage lifts and risers can be arranged to fine-tune ensemble
communications as well as the sound on the main floor.
Weill Hall was built by the same design team as Seiji Ozawa Hall at
Tanglewood.
To keep the hall at an optimum temperature, conditioned air rises
from floor vents and escapes through ceiling vents.
Artisans at the 200 year-old Fancher Chair Co. in New York spent
approximately 15 weeks on each of the handcrafted, custom-built
chairs in Weill Hall. The chairs are made of European Steamed
Beech wood and are a part of the hall’s acoustical design, each
manufactured specifically for its particular location in the hall.
The Green Music Center Courtyard serves as an entryway to Weill
Hall, and is lined with 125-year old olive trees from Corning,
California.
The modular rear wall of Weill Hall is 54 feet wide by 20 feet tall
and consists of folding panels that slide and conceal into alcoves on
the side of the hall.
Adjustable banners and curtains cover windows and flat spaces
throughout the hall, allowing acoustic liveliness to be tuned to
support a wide range of music and audience sizes.
The cornice around the perimeter of the ceiling is comprised of
sound-transparent perforated metal panels.
The attic space of Weill Hall functions as a return air plenum, a
platform for the lighting rig, and an exterior sound buffer.
The concert hall’s lightweight ceiling reduces seismic loads and
provides full-frequency reflections thanks to wood-framed
construction.
The Green Music Center is home to a 9-foot Fazioli Concert
Grand piano that was signed by legendary jazz musician Herbie
Hancock after the 2008 GRAMMY Awards.
The MasterCard Performing Arts Pavilion at the Green Music
Center is expected to open in 2015, and will be a separate outdoor
amphitheater with seating for up to 10,000 concertgoers.
Schroeder Hall at the Green Music Center is a 250-seat recital
hall named by philanthropist Jean Schulz, after her late husband’s
piano-playing Peanuts character.
A number of wood types were used in the design of Weill Hall,
including White Maple for the stage floor, Douglas Fir for the
floors and balcony undersides, and European Steamed Beech on
the walls, railings, trim, and chairs.
Patron Information
Refreshment bars are located in Person
Lobby, and are open prior to the
performance and during intermission.
No food or drink is allowed in the concert
hall. Outdoor concessions are available
whenever lawn seating is open.
HALL AMENITIES
• Indoor restrooms are located: on the first
floor at the end of Dwight Courtyard
Gallery, adjacent to Person Lobby; on the
second floor at the north end of the hall.
Outdoor restrooms are located near the
concessions, on the south walkway behind
Weill Lawn.
• Drinking fountains are located in the foyer
of the first floor restrooms.
• Elevator service for Weill Hall is located
on the north end of Person Lobby for
access to the Choral Circle and Balcony.
COAT CHECK/LOST & FOUND
FIRST AID SERVICES
First Aid services are available on-site. Patrons
requiring medical attention can speak to any
member of the Guest Services staff.
DINING & BAR SERVICE
Prelude at the Green Music Center is a
fine-dining restaurant located at the end
of Dwight Courtyard Gallery. Prelude
is open on most concerts nights before,
during intermission, and after the
performance. Reservations are strongly
advised: 1-866-955-6040 ext. 2.
RECORDING DEVICES
The use of cameras, recording devices, and other
electronic equipment is strictly prohibited both
inside and outside during all performances.
Devices may be used prior to the show.
PATRONS WITH DISABILITIES
SMOKING POLICY
Coat check is available in Person Lobby at no
charge. For lost or found items, visit the Coat
Room on the first floor or call the House
Manager at 707-664-3957 on the same day
as the event. Thereafter, call the SSU Seawolf
Service Center at 707-664-2308..
OUTDOOR CONCERTS
You are welcome to bring food and nonalcoholic beverages to outdoor spaces.
However, alcohol cannot be brought into the
Green Music Center complex.
Smoking is not permitted on the Green
Music Center grounds.
EMERGENCY EXITS
In case of an emergency, please walk
calmly to the lighted “Exit” sign nearest
to your seat.
LATE SEATING
All concerts will begin promptly. Ushers
will seat latecomers at appropriate intervals
at the discretion of the performer. If you
need to exit the hall following your arrival,
please present your ticket to a ticket taker
for exit scanning.
• Weill Hall has accessible seating for people
with mobility limitations. Please notify
us of any special needs at the time you
purchase tickets.
• Assisted listening devices for the hearingimpaired are available at the coat check
room in Person Lobby.
• Large-print / Braille programs: contact
the Box Office two weeks prior to your
concert date to request specialty programs.
Pre-ordered programs may be retrieved
from the service desk in Person Lobby.
• Sign language interpretation: contact the
Box Office at least three weeks prior to your
concert date.
FACILITY RENTALS
For more information on renting a space for
your next event, please contact Conference
and Event Services at 707-664-4091.
CHILDREN
WEILL HALL EMERGENCY EXITS
STAI RS
STAI RS
STAI RS
A ticket is required for everyone entering
the hall. Performances are generally
recommended for children seven and older.
STAIRS
PETS
STAGE
With the exception of service animals,
no pets are allowed on the Green Music
Center grounds.
STAG E
STAG E
STAIRS
VOLUNTEERS
The Green Music Center is not accepting
volunteer requests at this time.
TICKET SALES
STAIRS
STAI RS
Orchestra/Boxes
STAIRS
STAI RS
Choral Circle
STAI RS
STAIRS
Balcony
y
ATTENTION: Please take note of the exit nearest to your seat. In an
emergency, WALK, do not run, to the nearest exit. Disabled patrons,
proceed to elevator and await assistance.
GREEN MUSIC CENTER
Our Box Office is happy to assist you
with all your ticketing needs.
hours: Mon-Fri, 8am to 4:30pm and
one hour prior to performances.
phone: 866-955-6040
online: gmc.sonoma.edu
email: tickets@sonoma.edu
emergency messages: 707-664-3956
general information:
greenmusiccenter@sonoma.edu
gmc.sonoma.edu
“First Republic Trust Company is one of the
best things that ever happened to me.”
RU B Y S H O RT
Community Volunteer
P R I VAT E B A N K I N G • P R I VAT E B U S I N E S S B A N K I N G • W E A LT H M A N A G E M E N T
(800) 392-1400 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC
Banking products and services are provided by First Republic Bank, Member FDIC and
Equal Housing Lender.
Wealth Management products and services are provided by First Republic Trust Company; First Republic Trust Company of Delaware LLC;
First Republic Investment Management, Inc., an SEC Registered Investment Advisor; and First Republic Securities Company, LLC, Member FINRA/SIPC.
Investment and Advisory Products and Services are Not FDIC Insured, Not Guaranteed, and May Lose Value.
SUPPORTING THE ARTS
AT SONOMA STATE UNIVERSITY:
THAT’S MASTERCARD
®
STIRRING THE SOUL:
THAT’S PRICELESS
®
The greatest performances from around the world,
brought here to Weill Hall. Because MasterCard believes
music that transforms the spirit is truly priceless.
Copyright 2012, Daydreamer Cinema. MasterCard, Priceless, and the MasterCard brand mark are registered trademarks of MasterCard
International Incorporated. ©2012 MasterCard.

Green Music Center March-May 2014_Encore Arts San Francisco

Transcription

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