Edition 2 | 2018-2019

FRESNO PHILHARMONIC 7

“It’s Finger Lickin’ Good”

As KFC celebrates 75 years, we continue in our support of the Fresno Philharmonic. Your Locally Owned and Operated KFC Restaurants

The Central Valley’s Wendy’s restaurants proudly sponsor the Fresno Philharmonic, helping to enhance the quality of life in our community.

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This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2018.

Welcome to the Fresno Philharmonic’s 2018-2019 Season: The Power of Music. We are looking forward to an exciting season of concerts which traverse an extraordinary range of music from symphonies by Beethoven and Brahms to scores for Hollywood block busters. Along the way, we’ll mark the 100th anniversary of World War I with a performance of Benjamin Britten’s monumental War Requiem, explore music of the Silk Road and present the world premiere of a work composed for the Fresno Philharmonic by Dinuk Wijeratne, one of today’s most exciting young composers.

The Fresno Philharmonic’s passion for performance of great music is matched by our enthusiasm for making classical music engaging and accessible to all. We’re very pleased to welcome back Dr. Benjamin Boone this season as host of our Inside the Music pre-concert talks. In addition, we are expanding last season’s popular Stay Tuned post-concert experience in the lower lobby hosted by Music Director Rei Hotoda. We invite you to sample these opportunities to discover more about music and the people who perform it.

We are also thrilled to partner with three wonderful community organizations this season to present our Meet the Artist Luncheon Series: Arte Américas, the Islamic Cultural Center of Fresno and the San Joaquin River Parkway. These casual weekday events offer a deeper dive into three of our Masterworks concerts and are a great way to connect with fellow music lovers.

The Fresno Philharmonic will also be performing out in the community with a return to Bitwise South Stadium, a concert of new music at Fresno State and Beethoven with beer. Our partnerships with schools will introduce over 12,000 students this season to live symphonic music at no charge. Visit our newly redesigned website, fresnophil.org, for the latest on all Fresno Philharmonic events.

As always, thanks very much for being with us here today. Your support makes everything the Fresno Philharmonic does possible.

Sincerely,

Stephen Wilson President and CEO

II FRESNO PHILHARMONIC FROM THE PODIUM Dear Friends,

Thanks for being here today as we continue the Fresno Philharmonic’s 2018-2019 Season which highlights powerful stories told through music.

November 11, 2018 marks both Veterans Day and the 100th anniversary of the armistice which ended World War I. We are so pleased to present Benjamin Britten’s monumental War Requiem on this important day in history. The War Requiem is a landmark of 20th century music for both the brilliance of Britten’s composition and his innovative interweaving of poems by World War I soldier Wilfred Owen with the text of the Latin mass for the dead. Written to commemorate the rededication of a cathedral bombed during World War II, this powerful and dramatic work is a prayer for remembrance, understanding and peace.

In December, guest conductor Scott Dunn leads our annual Home for the Holidays concert. The holiday season is always a time for stories and music as families and friends come together to celebrate. This concert is no exception as we perform both new and familiar seasonal works from around the world.

We appreciate you being here to share in the Power of Music.

Rei Hotoda Music Director and Conductor

FRESNO PHILHARMONIC III MUSIC DIRECTOR BIOGRAPHY Rei Hotoda Music Director and Conductor Rei Hotoda, the newly appointed Music Director of the Fresno Philharmonic, is rapidly becoming one of America’s most sought after and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the Symphony Orchestras of Baltimore, Chicago, Dallas, Edmonton, Jacksonville, Utah, Toronto, and Winnipeg, as well as the Civic Orchestra of Chicago and the St. Louis Symphonies, among others. She most recently made her conducting debuts with the Nashville and Asheville Symphonies. © Todd Rosenberg © Todd Rei’s inaugural season as Music Director of the Fresno Philharmonic in 2017-18 has ushered in a new era for the institution. With a focus on celebrating the orchestra and the local artistic riches, Rei has programmed works that explore and define the developing role of the orchestra in the 21st Century. She has begun a new post-concert series at the Fresno Philharmonic, Stay Tuned, that features guest soloists and musicians from the orchestra in engaging and off-the-cuff conversations. She and the Fresno Philharmonic are partnering with Valley PBS on a new series that will feature short three-minute specials that are aimed at the younger viewers. Her dedication to engaging with the audiences she serves mirrors that of the Fresno Philharmonic. Together they have begun to host community conversations that have inspired several new and growing partnerships. A consummate advocate of new music, Rei has conducted premieres of works by such notable composers as John Cage, Dai Fujikura, and Salvatore Sciarrino, and has championed and recorded compositions by female composers, including Vivian Fung and Jennifer Higdon. As a recording artist, Ms. Hotoda’s credits are wide-ranging and feature her as both conductor and piano soloist. Ms. Hotoda is also an accomplished pianist. She is equally at home leading the orchestra from the piano as well as from the podium. She has appeared as soloist conducting from the piano with the Dallas, Edmonton, Utah, and Winnipeg Symphony Orchestras, and has performed in recital at several leading venues. Prior to her appointment as Music Director of the Fresno Philharmonic, Ms. Hotoda served as assistant conductor at several of today’s leading orchestras and festivals, including the Utah, Dallas, and Winnipeg Symphony Orchestras and the Cabrillo Festival. Ms. Hotoda is the proud recipient of several prestigious awards, including the 2006 Taki Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors.

IV FRESNO PHILHARMONIC FRESNO PHILHARMONIC V VI FRESNO PHILHARMONIC 2018-2019 SEASON

FRESNO PHILHARMONIC DANIEL R. MARTIN MASTERWORKS SERIES

NOVEMBER 11, 2018 WILLIAM SAROYAN THEATRE

Rei Hotoda, music director and conductor Celena Shafer, soprano Vale Rideout, tenor Christòpheren Nomura, tenor Fresno Master Chorale Anna Hamre, director Alta Sierra Intermediate School Chamber Choir Gail Barbour, director

BENJAMIN BRITTEN War Requiem, Op. 66 c. 78 min Requiem aeternam Dies irae Offertorium Sanctus Agnus Dei Libera me

This concert will be performed without intermission.

Inside the Music is presented one hour prior to the concert thanks to the sponsorship of McCormick Barstow, LLP.

Celena Shafer appears by arrangement with Colbert Artists Management. Vale Rideout appears by arrangement with Barrett Artists. Christòpheren Nomura appears by arrangement with California Artists Management. Music provided by Boosey & Hawkes.

2018-2019 Season Major Support provided by Bonner Family Foundation, Daniel R. Martin Family Foundation, Dr. J. D. Northway and Leon S. Peters Foundation.

FRESNO PHILHARMONIC VII GUEST ARTIST BIOGRAPHIES CELENA SHAFER, soprano

After two summers as an apprentice at the Santa Fe Opera, the career of soprano Celena Shafer was launched to critical raves as Ismene in Mozart’s Mitridate, Re di Ponto. Anne Midgette in the New York Times wrote, “It takes the debutante Celena Shafer, an alumna of the apprentice program here, to show how it should be done, singing the Oriental princess Ismene with flair, vocal balance and great cadenzas.”

Since that breakthrough debut, Ms. Shafer has garnered acclaim for her silvery voice, fearlessly committed acting and phenomenal technique. She spends much of her time on the concert stage and has appeared with the orchestras in New York, Chicago, Philadelphia, San Francisco, and Los Angeles with leading conductors such as Christoph von Dohnanyi, Alan Gilbert, Bernard Labadie, Robert Spano, Nicholas McGegan, Kent Nagano, Donald Runnicles, Michael Tilson Thomas, David Robertson and Sir Andrew Davis.

During the 2015/2016 season she appears at the Britt Festival in Oregon for Carmina Burana led by Teddy Abrams, Barqoue arias with the Alabama Symphony led by Gary Wedow, Handel’s Messiah with the New Jersey Symphony and Jacques Lacombe, Haydn’s Lord Nelson Mass with the Phoenix Symphony and Tito Munoz, and Beethoven Symphony No. 9 with the Kansas City Symphony and Michael Stern.

A celebrated artist in her home state of Utah, Ms. Shafer has a long relationship with the Utah Symphony|Utah Opera where during the 2014/2015 season she was Artist-in-Residence with the Symphony and returns in the 2015/16 season for Beethoven Symphony No. 9 and a New Year’s concert, both with music director Thierry Fischer.

Over the past decade with the Utah Symphony & Opera she has performed operatic roles including Constanze in The Abduction from the Seraglio, Rosina in Il barbiere di Siviglia, GIlda in Rigoletto, Norina in Don Pasquale, Lisette in La Rondine, Tytania in A Midsummer Night’s Dream, and Adele in Die Fledermaus; and orchestral works such as Mahler Symphonies 2 and 4 and the Big 5 tour of Utah’s great state parks, the Brahms German Requiem, the Bach Magnificat and wedding cantata Jauchzet Gott in Allen Landen, Vivaldi Gloria, Poulenc Gloria and several concerts of chamber music with conductors such as Bernard Labadie, Raymond Leppard, and former music director Keith Lockhart.

Some of her operatic highlights include Johanna in Sweeney Todd for the Lyric Opera of Chicago, Blonde in Abduction from the Seraglio with the Opera Theatre of St. Louis, Aithra in Die ägyptische Helena with the American Symphony Orchestra recorded for Telarc, Zerbinetta in Ariadne auf Naxos at the Concertgebouw, Nanetta in Falstaff with the Los Angeles Opera, and Gilda in Rigoletto with the Welsh National Opera. She has returned to the Santa Fe Opera for productions of Mozart’s Lucio Silla, Berlioz’s Beatrice and Benedict, and Britten’s Albert Herring.

VIII FRESNO PHILHARMONIC GUEST ARTIST BIOGRAPHIES VALE RIDEOUT, tenor

American tenor Vale Rideout has garnered critical acclaim for his musical artistry and superb stagecraft throughout the United States and Europe. Possessed of both a beautiful instrument and an ability to consistently deliver passionate, energetic performances, he is equally in demand for leading tenor roles from the standard repertory to contemporary works.

Mr. Rideout’s engagements in the 2017-18 season included performing Hades in the premiere of Julian Wachner’s REV 23 with the Boston New Music Festival; joining the Florentine Opera Company for their production of The Merry Widow as Camille; performing as soloist in Bach’s St. Matthew’s Passion with The Arcadia Chorale and Wilkes University Chorus, and joining the New York Festival of Song for their Bernstein “Marathon.” This season, Mr. Rideout returns to Florentine Opera as Villers in Carlisle Floyd’s Prince of Players, is soloist in Britten’s War Requiem with the Fresno Philharmonic Orchestra, and is soloist in Carmina Burana with the North Carolina Symphony.

In the 2016-17 season, Mr. Rideout was Mime in Das Rheingold with North Carolina Opera, the title role in Stravinsky’s Oedipus Rex with the Washington Chorus at the Kennedy Center, Hades in the world premiere of Julian Wachner’s Rev. 23 at Prototype Festival, and returned to Opera America’s New Works Forum with performances at New York Town Hall. He was also soloist in the world premiere of Joseph Vella’s The Hyland Mass at St. Patrick’s Catherdral in New York, Beethoven’s Symphony No. 9 with Winston-Salem Symphony, Philip Glass’ Symphony No. 5 at Trinity Wall Street New York, Carmina Burana with Indianapolis Symphony Orchestra, Mozart’s Requiem with Symphony Silicon Valley, and Berlioz’ Roméo et Juliette with Richmond Symphony Orchestra.

Mr. Rideout’s engagements in the 2015-16 season included singing the title role in Stewart Copleland’s The Invention of Morel, the main antagonist in Lash’s Beowulf for Opera America’s New Opera Showcase, Tamino in Die Zauberflöte in a return to Opera Coeur d’Alene, Alfred in Die Fledermaus with New Orleans Opera, Missa solemnis at Dallas’ Highland Park Presbyterian Church, and Les noces at New York’s Trinity Wall Street.

As soloist, Mr. Rideout’s recent concert engagements included Britten’s War Requiem with the Washington Chorus, Mendelssohn’s St. Paul with New York Choral Society at Carnegie Hall, and Berlioz’ La damnation de Faust with Richmond Symphony Orchestra. He has sung Messiah with Seattle Symphony Orchestra, Haydn’s Paukenmesse with Berkshire Choral Festival; and with conductor Lorin Maazel he has sung Britten’s War Requiem with the New York Philharmonic and Los Angeles Philharmonic, as well as Beethoven’s Symphony No. 9 with Symphonica Toscanini in Rome and Brussels.

Mr. Rideout’s recent operatic roles included Alfredo in La traviata with Eugene Opera, Davey Palmer in Dove’s Siren Song with Hawaii Opera Theater, Oedipus at Rutgers University, and Romeo in Gounod’s Roméo et Juliette with Kentucky Opera. He has sung the role of Alfred with San Francisco Opera, Tamino and Roderick in Glass’ The Fall of the House of Usher with Nashville Opera, the title role in Faust with Opera Tampa, Nadir in Les pêcheurs de perles with Hawaii Opera Theatre, and Edgar in Der Vampyr with American Symphony Orchestra.

FRESNO PHILHARMONIC IX GUEST ARTIST BIOGRAPHIES VALE RIDEOUT, tenor With Central City Opera he has performed as Edgardo in Lucia di Lammermoor, Stage Manager in Rorem’s Our Town, and Peter Quint in The Turn of the Screw (Boston Lyric Opera as well).

Vale Rideout can be heard on his debut solo recording Britten & Finzi Song Cycles, and as Edgar in the recently released, Grammy awarded recording of Floyd’s Wuthering Heights with Florentine Opera. He is also featured in the Grammy awarded recordings of Aldridge’s Elmer Gantry as Frank Shallard, and Davis’ Rio de Sangre as Igneo with Florentine Opera, the Grammy nominated recording of Stucky’s August 4th, 1964 with the Dallas Symphony Orchestra under Jaap Van Zweden, John Musto’s The Inspector as Tancredi withWolf Trap Opera, Beethoven’s Symphony No. 9 with Detroit Symphony Orchestra under Leonard Slatkin, and Carmina Burana with the New Jersey Symphony Orchestra.

CHRISTÒPHEREN NOMURA, baritone

Baritone Christòpheren Nomura stands at the forefront of his generation of singers. Since making his New York City debut, he has performed throughout the world, hailed as one of classical music’s “rising stars” by the Wall Street Journal.

Mr. Nomura has earned a prominent place on the operatic, concert and recital stages, appearing with many of the leading North American orchestras, in wide-ranging repertoire: the Boston Symphony, Philadelphia Orchestra, San Francisco Symphony, Minnesota Orchestra, Saint Paul Chamber Orchestra, National Symphony Orchestra, Orchestra of St. Luke’s, Baltimore Symphony Orchestra, Vancouver Symphony, Indianapolis Symphony, Charlotte Symphony, Utah Symphony Orchestra, Philharmonia Baroque Orchestra and the Boston Pops under internationally renowned conductors such as Leonard Bernstein, Seiji Ozawa, James Conlon, Sergiu Comissiona, Christof Perick, Roger Norrington, Christopher Hogwood, Ton Koopman, Bruno Weil, Paul Goodman, Jane Glover, Andrew Parrott, and Nicholas McGegan. He has become a regular guest artist with a number of orchestras including the Pacific Symphony Orchestra under Carl St. Clair, the North Carolina Symphony with Grant Llewellyn and the National Philharmonic. In 2006 he sang the title role in the premiere of Philip Glass’ The Passion of Rama Krishna for the Pacific Symphony’s inaugural concerts in Segerstrom Concert Hall, reprised and recorded there in 2011. He also gave the premiere of Alva Henderson’s From Greater Light with the Pacific Symphony in 2009. That season brought the first of several appearances with the Oregon Bach Festival in Haydn’s Creation under Helmuth Rilling. His debut with the Philadelphia Orchestra in Handel’s Messiah brought a return engagement in the 2012-13 season. 2015-16 brought his first Musical Theater performances in the role of Tatsuo KimuraAllegiance , which ran on Broadway with George Takei, Lea Solanga and Telly Leung, Other recent performances include Bach’s B Minor Mass with Dawn Upshaw at the Cartagena International Festival, his debut with Boston’s Discovery Ensemble in Martin’s Jedermann Monologues and the premiere of Songs of War & Loss by Anthony Plog, a commission for Nomura and the American Brass Quintet which was reprised for his Aspen Festival debut. Highlights of 2018 include a reprise of Philip Glass’ The Passion of Rama Krishna with the Pacific Symphony, Handel’sEsther with Musiuc of the Baroque and Bach’s B Minor Mass with the Mexico City Philharmonic.

X FRESNO PHILHARMONIC GUEST ARTIST BIOGRAPHIES CHRISTÒPHEREN NOMURA, baritone A noted Bach and early music specialist, Christòpheren Nomura has been a frequent performer with the Bach Choir of Bethlehem, Oregon Bach Festival, Carmel Bach Festival, Music of the Baroque, Baldwin-Wallace Bach Festival, Handel & Haydn Society, Boston Early Music Festival, Boston Baroque and the Berkshire Choral Festival. He has performed with Apollo’s Fire, Tafelmusik and the Philharmonia Baroque Orchestra. His collaborations with such ensembles as the S’Kampa, Boromeo, Brentano and St. Lawrence String Quartets and pianists Martin Katz, Dalton Baldwin, Charles Wadsworth, Jean-Yves Thibaudet and William Bolcom have brought him to the leading American Chamber Music Festivals in Santa Fe, Marlboro, Tanglewood, La Jolla, Spoleto, Music@Menlo and the Chamber Music Society of Lincoln Center.

In the realm of opera, Mr. Nomura is a noted Mozartean, known for his portrayals of Don Giovanni, Papageno in The Magic Flute, the Count in Le nozze di Figaro and Guglielmo in Cosi fan tutte. He sang Papageno for his debut with the Lyric Opera of Kansas City; Cosi fan tutte for his Hawaii Opera debut and the count in Figaro for his Opera Carolina debut. He has likewise had a strong association with Puccini’s Madama Butterfly. He was Prince Yamadori in the SONY film co-directed by Martin Scorsese and Frédéric Mitterand, conducted by James Conlon and appeared in Butterfly for his debuts with the Boston Symphony under Seiji Ozawa, Dallas Opera and Cincinnati Opera.

Known for his deep commitment to the art of the recital, he has given more than 250 recitals throughout North America, Europe, Asia, South America and Africa. He has appeared at Lincoln Center, the “Making Music” series at Carnegie Hall, the Celebrity Series in Boston, Ravinia, the John F. Kennedy Center and the Vancouver Recital Society. He was Artist-In- Residence with San Francisco Performances for four seasons.

Among other notable performances, he was invited to sing Bernstein’s Mass at the Vatican for the “Jubilee Year,” in 2000 performing before an audience of 15,000 in the Salla Nervi, simulcast to some 200,000 people in Vatican Square.

Christòpheren Nomura’s discography includes recordings on the Sony, Dorian, Teldec, London, Denon, TDK and L’oiseau Lyre labels. His recording of the Monteverdi Vespers of 1610 on Telarc was nominated for a Grammy (Best Classical Ensemble Recording). He recorded Schubert’s Die Schöne Müllerin for Well-Tempered Productions and Never Broken a solo recording of contemporary compositions, for Center Stage Records. All Is Bright with Grant Llewellyn and the Handel and Haydn Society made the Billboard classical charts and was named Musicweb International’s “Recording of the Month.” Gotham Siren, music of Stefania de Kenessey: was released by North/South Recordings in 2015. He appears on the original Broadway cast album of Allegiance released in January 2016 and in the hi-definition video broadcasts in movie theaters throughout the world in 2016-2017.

Mr. Nomura has been the recipient of numerous awards and distinctions including a four-year Fulbright Grant to study with Dietrich Fischer-Dieskau, Hermann Prey and Gérard Souzay. He was winner of the Young Concert Artists International Auditions as well as the Naumburg, United States Information Agency Music Ambassadors and the Marilyn Horne Foundation competitions. He holds a Masters degree and Artists Diploma from the New England Conservatory of Music.

FRESNO PHILHARMONIC XI GUEST ARTIST BIOGRAPHIES ANNA HAMRE, director

Anna Hamre serves as Artistic Director of the Fresno Community Chorus, where she conducts the Master Chorale, Coro Piccolo, and Coro Solare. While each ensemble mounts its own performances, the Master Chorale frequently collaborates with the Fresno Philharmonic Orchestra. Dr. Hamre took over the Fresno Community Chorus in 2002. With the collaborative leadership of an active board, the large ensemble Master Chorale has become the premier symphonic chorus in the Fresno area. In recent years, multiple performances of the Master Chorale have been included by the Fresno Bee in “Top Cultural Arts Events” in the Fresno area. The chamber ensemble Coro Piccolo is most noted for its holiday performances at St. Anne’s Chapel. In 2016, FCC, Inc. added to its organization a new classical choir, Coro Solare, which is designed to rehearse and perform only during daylight hours. The treble-voice ensemble Coro Vox Aeterna was created to perform on the CD Mother of Light, featuring international star Isabel Bayrakdarian, released in 2016. In demand as a conductor, adjudicator, presenter, and clinician, Dr. Hamre has accumulated an extensive list of guest engagements, mostly occurring during her 17-year tenure as Director of Choral Activities at Fresno State. She has conducted at Carnegie Hall twice on the MidAmerica series. Her sessions for various choral-conducting and music-education organizations have occurred at the local, state, and national levels. Her articles have appeared in state and regional music magazines, plus the International Choral Bulletin, The Choral Journal, and Spotlight on Teaching Chorus. Her extensive experience conducting choirs in school, church, and community settings has given her the opportunity to conduct numerous new works such as Joungmin Sur’s “Like Streams We Gather,” Anna DeFoe’s “A God and Yet a Man,” Bradley Nelson’s “This Central Garden,” and the American premiere of Philip Wilby’s reconstruction of Mozart’s Mass in C. She has performed with her groups in Mexico, China, Italy, Austria, England, Greece, France and Spain. Dr. Hamre is the author of The High-School/University Sight-Singer (Masterworks Press), a music literacy method in use in every state plus the District of Columbia, Guam, British Columbia, Hong Kong, and Indonesia. The Weekly Sight-Singer: An Abbreviated and Accelerated Method, was released in the summer 2011. Dr. Hamre holds a Bachelor of Arts degree in vocal and instrumental music education from Augustana College, Sioux Falls, SD, where she was inducted into their Performing and Visual Arts Hall of Fame in 2017. She earned a Master of Music degree in choral music from the University of Northern Colorado in Greeley and a Doctor of Musical Arts degree in choral literature and performance from the University of Colorado in Boulder. Recent honors include the Fresno Arts Council Horizon Artist Award (2007), the California Association for Music Education (CMEA) President’s Award (2013), the CMEA Choral Conductor Award (2006), the CMEA Central Section College/University Music Educator Award (2006), Fresno County Office of Education Roy Klassen Award for Excellence in Choral Music Education (2015), the Fresno State College of Arts and Humanities Excellence in Teaching Award (2003), the Fresno-Madera Counties Music Education Association Choral Educator Award (2003), and recognitions from Fresno State music fraternities. After holding numerous positions on local, state, and national boards, Dr. Hamre currently serves as Vice President of the American Choral Directors Association, Western Division. She is also a member of the Community Advisory Council for Valley Public Radio in Fresno. FRESNO PHILHARMONIC XIII PROGRAM NOTES November 11, 2018

War Requiem, Op. 66 Benjamin Britten 1913-1976

“Since I believe that there is in every man the spirit of God, I cannot destroy and feel it my duty to avoid helping to destroy human life. The whole of my life has been devoted to acts of creation, being by profession a composer and I cannot take part in acts of destruction. I believe sincerely that I can help my fellow human beings best by continuing the work I’m most qualified to do by nature of my gifts and training.” Benjamin Britten, 1942

Having spent his childhood during and immediately after the carnage of World War I, Britten was a committed and lifelong pacifist. As World War II loomed, he followed poet W. H. Auden and other pacifists of his group to Canada and the United States, where he remained until 1942. Meanwhile, in November 1940, German bombers deliberately and symbolically bombed the city of Coventry, gutting the city center and its famed medieval St. Michael’s Cathedral. In subsequent propaganda broadcasts, they even coined a new word: “Coventrate,” as a threat to all Britain’s great cities and monuments.

Still conflicted and afraid, Britten returned home in 1942, as a conscientious objector, to do his share for the country’s morale, composing scores for concerts, radio dramatizations and propaganda films.

Sixteen years after his return, in 1958, and by now Britain’s foremost composer, Britten was commissioned to write a work for the dedication ceremonies of the new Coventry Cathedral, built upon the ashes of the destroyed church. For his text, he combined the Latin Requiem Mass with the powerful antiwar poetry of the 25-year-old English poet Wilfred Owen, who was killed in France on November 4, 1918, just seven days before the armistice. Owen’s poetry, much of it written in the trenches and published posthumously, eloquently condemns the futility, horror and mindless cruelty of war – human inhumanity.

War Requiem is one of the twentieth century’s most powerful musical expressions. It encompasses a series of ironies that resonated both at its premiere and even more so today. The text of the Requiem Mass itself presents a contrast between the promise of eternal rest and excruciatingly violent punishment (with an emphasis on the latter). Its central text, the sequence, Dies irae, describes the terror of the Day of Judgment, literally threatening eternal suffering for the damned as the soul pleas for divine mercy. Owen’s poems, carefully selected by the composer and interpolated into the text of the Latin Mass, personalizes the hopelessness and futility of man-made wars set against divinely assured Armageddon. And although Owen was writing during “the War to end all wars,” Britten memorialized its inevitable sequel. At this performance, nothing has changed; a procession of international wars – including the threat of nuclear conflagration – in Korea, Vietnam, Iraq, Libya and Afghanistan joins a seemingly endless list of civil conflicts. Britten’s music and Owen’s poetry are indeed as eternal as the Requiem Mass itself.

For the premiere, to emphasize the historic universality and symbolism of the work, Britten chose as soloists Russian soprano Galina Vishnevskaya, British tenor Peter Pears and German baritone Dietrich Fischer-Dieskau. But the Russians barred Vishnevskaya from participating.

Since Mozart’s musically and emotionally groundbreaking masterpiece, the Requiem has become a genre in and of itself. Every subsequent composer has responded to and built upon Mozart while adding his own signature. Berlioz added choirs of brass to signal the Day of Judgment; Verdi supplied a desperate wailing motive and series of arias, personalizing the formulaic text; Fauré altered the entire tone by concentrating on the message of rest (requiem) and including the burial prayer, “In Paradisum deducant angeli;” Brahms abandoned the Mass text altogether replacing it with a grand existential and spiritual statement.

XIV FRESNO PHILHARMONIC PROGRAM NOTES November 11, 2018

Despite Henry VIII’s split from the Catholic Church, Britten retained the Latin mass and deliberately borrowed from each of his great predecessors: Berlioz’s blaring brass and Verdi’s chromatically descending wailing motive in the Dies irae; Fauré’s gentle resolution. His own contribution, the interpolated poems of Wilfred Owen, gives War Requiem a personal context that their creator couldn’t have foreseen – or perhaps did. The tenor and baritone solos are not tuneful arias, but rather somber accompanied recitative, their musical coherence supplied by brief, evocative motives in the orchestra. Their words eloquently complement, broaden and even argue with the Latin text.

Britten was in the habit of adapting his compositions to the space and people available for their performance, in the case of the War Requiem, the large Coventry Cathedral. In it, the ruins of the burnt out shell were left standing and form an integral part of the new building. Britten’s music is arranged in three “layers” and the arrangement of the forces attempt to reflect this separation, as well as symbolic resonance.

In a semi-circle in the center is a large mixed chorus and a solo soprano, singing the Latin Requiem Mass, surrounding a full symphony orchestra.

To both sides and closer to the audience, a tenor and a baritone, who represent two soldiers from the opposing camps, sing Owen’s poetry accompanied by a chamber orchestra.

In the back, detached and physically remote like the heavenly host, is a boys’ choir chanting parts of the Latin text from the Mass, accompanied only by an organ.

The musical motive that dominates the entire work is the tritone (diminished fifth/augmented fourth), referred to in the Middle Ages as diabolus in musica (the Devil in music), which has been a common piece of musical symbolism employed by composers ever since. It is a dissonant interval creating harmonic tension that demands resolution; it is also ambiguous in that it can resolve in two ways, perhaps symbolizing the dichotomy between damnation and salvation. Frequent chromatic motives complement the symbolism of the tritone.

In the declamatory solos, Britten scrupulously shapes each line of music to the corresponding line of Owen’s poetry, often enhancing the text with frequent orchestral tone painting, musical symbolism and even irony: funereal tolling bells; snare drums and timpani as percussive gunfire and explosions, flashes of the high woodwind as streaks of lightning and tracers. Syncopated, staccato versus legato articulation juxtapose violence and fear with mourning and prayer.

War Requiem maintains the general six-section structure of the Catholic Requiem, plus the prayer, “In paradisum,” traditionally chanted at the burial. Like his predecessors, Britten divides the lengthy Dies irae into separate musical entities, although not always breaking at the same places and, of course integrating Owens’ poems.

Introit: Requiem aeternam, for chorus and boys’ choir, introduces and focuses on the tritone (C-F-sharp), which dominates both the melodic lines and harmony, especially in the tolling bells. A limping, ascending chromatic motive in the strings – reinforced by drumbeats and trumpets – provides a sense of foreboding despite the comforting text. The Baritone then sings Owen’s “What passing bells for thee who die like cattle?” a Shakespearean sonnet that bitterly negates the message of peace. The choral Kyrie eleison is uncharacteristically brief.

Sequence: Dies irae: The brass’ call to judgment motive introduces the Dies irae, and the chorus’ whispered phrase in halting syncopation with the orchestra, concludes with a descending wail (an allusion to Verdi). It is paired with the Baritone’s “Bugles sang.”

FRESNO PHILHARMONIC XV PROGRAM NOTES November 11, 2018

The Soprano joins the chorus in the verses beginning “Liber scriptus – The line, “Quid sum miser tunc dicturus” (What can I, miserable wretch, say [to Him]?) is a chromatic choral wailing while the soprano soloist desperately cries up (a minor ninth) to God. The Tenor and Baritone, however, respond with bitter, ironic laughter “Out there we’ve walked quite friendly up to death.” Presciently, Owen added: “We laughed, knowing that better men would come, and greater wars.”

In the verse, “Recordare Jesu pie,” the women’s chorus solemnly prays to Christ not to abandon them, but the men answer with the frenetic “Confutatis maledictis.” (When the damned are confounded). With timpani accompaniment, the Baritone’s: “Be slowly lifted up, thou long black arm.” pairs damnation with the horror of war. The poem is reinforced by a choral restatement of the Dies irae.

Terror morphs into mourning in the “Lacrimosa dies illa.” The Soprano’s melody alludes to the sighing motive from the introduction to the corresponding section in Mozart’s Requiem, the rest left unfinished by his death. It serves as a refrain for the Tenor’s Move“ him into the sun,” a recitative, accompanied only by a sustained tremolo in the strings. Occasional instrumental outbursts erupt with the singer’s anger. And the a cappella chorus “Pie Jesu” resolves the ubiquitous tritone.

Offertory: This musically integrated unit includes a reprise of earlier war motives, as well as bitter musical irony. The Boys’ Choir begins with a chanted invocation to God, “Domine Deus,” followed by the War Requiem’s only fugue, “Quod Abraham promisisti,” reminding God of His covenant with Abraham. But the Tenor and Baritone retell the story of Abraham and Isaac altering the ending: “But the old man would not so, but slew his son/And half the seed of Europe one by one.” With the words, “One by one,” the soloists and orchestra interrupt the Boys’ Choir as it intones the rest of the Offertory, and the chorus repeats the fugue. Britten borrowed from his earlier canticle, Abraham and Isaac for the duet, in which the Tenor and Baritone together sing the voice of the Angel.

Sanctus: A feature of every Latin mass, the Sanctus is an angelic outpouring of praise, but here more often a cry of pain. The Benedictus is the promise of that humankind can integrate into that heavenly chorus. But the Baritone questions that promise: “After the blast of lightning.”

Agnus Dei: Against the words, Agnus Dei, a quietly sighing, chromatic choral refrain and orchestral ostinato, the Tenor likens a limbless soldier to Christ, abandoned by his disciples in “One ever hangs where shelled roads part.” The tone becomes more bitter in, “Near Golgotha strolls many a priest,” condemning these Christian Pharisees. The commentary presages the terror in the following Libera me.

Libera me: Against funereal drumbeats, the Chorus repeatedly intones a five-note sigh on the words “Libera me.” The music becomes increasingly animated, as snare drum and whip cracks again equate war with damnation. In another allusion to Verdi, the Soprano virtually shrieks out her fear, “Tremens factus sum ego.”

A British soldier, now dead, encounters his German counterpart whom he had killed in battle, “It seemed that out of battle I escaped.” Now, joined by the chorus and soprano, they reconcile in eternal rest (requiem aeternam). The Boys’ Chorus chants the burial prayer, In paradisum, and The symbolic tritone finally resolves, symbolic of peace and redemption.

Program notes by: Elizabeth & Joseph Kahn [email protected] www.wordprosmusic.com

XVI FRESNO PHILHARMONIC PROGRAM NOTES November 11, 2018

I. REQUIEM AETERNAM Chorus Chorus Requiem aeternam dona eis, Domine; Lord, grant them eternal rest; et lux perpetua luceat eis. and let the perpetual light shine apon them. Boys Boys Te decet hymnus, Deus in Sion: Thou shalt have praise in Zion, of God: et tibi reddetur votum in Jerusalem; and homage shall be paid to thee in Jerusalem; exaudi orationem meam, hear my prayer, ad te omnis caro veniet. all flesh shall come before Thee. Chorus Chorus Requiem aeternam dona eis, Domine; Lord, grant them eternal rest; et lux perpetua luceat eis. and let the perpetual light shine apon them. Tenor What passing bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs, – The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them at all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. Chorus Chorus Kyrie eleison Lord, have mercy apon them Christe eleison Christ, have mercy apon them Kyrie eleison Lord, have mercy apon them

II. DIES IRAE Chorus Chorus Dies irae, dies illa, This day, this day of wrath Solvet saeclum in favilla: Shall consume the world in ashes, Teste David cum Sibylla. As foretold by David and Sibyl. Quantus tremor est futurus, What trembling there shall be Quando Judex est venturus, When the judge shall come Cuncta stricte discussurus! To weigh everything strictly. Tuba mirum spargens sonum The trumpet, scattering its awful sound Per sepulchra regionum Across the graves of all lands Coget omnes ante thronum. Summons all before the throne. Mors stupebit et natura, Death and nature shall be stunned Cum resurget creatura, When mankind arises Judicanti responsura. To render account before the judge. Baritone Bugles sang, saddening the evening air; And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept. FRESNO PHILHARMONIC XVII PROGRAM NOTES November 11, 2018

Soprano Soprano Liber scriptus proferetur, The written book shall be brought In quo totum continetur, In which all is contained Unde mundus judicetur. Whereby the world shall be judged. Judex ergo cum sedebit When the judge takes his seat Quidquid latet, apparebut: All that is hidden shall appear: Nil inultum remanebit. Nothing will remain unavenged.

Chorus Chorus Quid sum miser tunc dicturus? What shall I, a wretch, say then? Quem patronem rogaturus, To which protector shall I appeal Cum vix justus sit securus? When even the just man is barely safe?

Soprano and Chorus Soprano and Chorus Rex tremendae majestatis, King of awful majesty, Qui salvandos salvas gratis, Who freely savest those worthy of salvation, Salva me, fons pietatis. Save me, fount of pity.

Tenor and Baritone Out there, we’ve walked quite friendly up to Death: Sat down and eaten with him, cool and bland,– Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath,– Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorused when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death – for Life; not men – for flags.

Chorus Chorus Recordare Jesu pie, Remember, gentle Jesus, Quod sum causa tuae viae: That I am the reason for Thy time on earth, Ne me perdas illa die. Do not cast me out on that day. Quarens me, sedisti lassus: Seeking me, Thou didst sink down wearily, Redemisti crucem passus: Thou hast saved me by enduring the cross, Tantus labor non sit cassus: Such travail must not be in vain. Ingemisco, tamquam reus: I groan, like the sinner that I am, Culpa rubet vultus meus: Guilt reddens my face, Supplicanti parce Deus. Oh God spare the supplicant. Qui Mariam absolvisti, Thou, who pardoned Mary Et latronem exaudisti, And heeded the thief, Mihi quoque spem dedisti. Hast given me hope as well. Inter oves locum praesta, Give me a place among the sheep Et ab haedis me sequestra, And separate me from the goats, Statuens in parte dextra. Let me stand at Thy right hand. Confutatis maledictis, When the damned are cast away Flammis acribus addictis, And consigned to the searing flames, Voca me cum benedictis. Call me to be with the blessed. Oro supplex et acclinis Bowed down in supplication I beg Thee, Cor contritum quasi cinis My heart as though ground to ashes: Gere curam mei finis. Help me in my last hour.

XVIII FRESNO PHILHARMONIC PROGRAM NOTES November 11, 2018

Baritone Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul!

Chorus Chorus Dies irae, dies illa, This day, this day of wrath Solvet saeclum in favilla: Shall consume the world in ashes, Teste David cum Sibylla. As foretold by David and Sibyl. Quantus tremor est futurus, What trembling there shall be Quando Judex est venturus, When the judge shall come Cuncta stricte discussurus! To weigh everything strictly.

Soprano and Chorus Soprano and Chorus Lacrimosa dies illa, Oh this day full of tears Qua resurget ex favilla, When from the ashes arises Judicandus homo reus: Guilty man, to be judges: Huic ergo parce Deus. Oh Lord, have mercy upon him.

Tenor Move him into the sun – Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know.

Soprano and Chorus Soprano and Chorus Lacrimosa dies illa... Oh this day full of tears...

Tenor Think how it wakes the seeds – Woke, once, the clays of a cold star. Are limbs, so dear-achievd, are sides, Full-nerved – still warm – too hard to stir? Was it for this the clay grew tall?

Soprano and Chorus Soprano and Chorus ...Qua resurget ex favilla...... When from the ashes arises...

Tenor Was it for this the clay grew tall?

Soprano and Chorus Soprano and Chorus ...Judicandus homo reus. ...Guilty man, to be judged.

Tenor – O what made fatuous sunbeams toil To break earth’s sleep at all?

Chorus Chorus Pie Jesu Domine, dona eis requiem. Gentle Lord Jesus, grant them rest. Amen. Amen.

FRESNO PHILHARMONIC XIX PROGRAM NOTES November 11, 2018

III. OFFERTORIUM Boys Boys Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of the faithful defunctorum de poenis inferni, departed from the pains of hell, et de profundo lacu: and the bottomless pit: libera eas de ore leonis, ne absorbeat eas deliver them from the jaw of the lion, lest hell tartarus, ne cadant in obscurum. engulf them, lest they be plunged into darkness.

Chorus Chorus Sed signifer sanctus Michael But let the holy standard-bearer Michael repraesentet eas in lucem sanctam: lead them into the holy light Quam olim Abrahae promisisti, as Thou didst promise Abraham et semini ejus. and his seed.

Tenor and Baritone So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenched there, And streched forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, – And half the seed of Europe, one by one.

Boys Boys Hostias et preces tibi Domine Lord, in praise we offer to Thee laudis offerimus; tu suscipe pro sacrifices and prayers, do Thou receive them animabus illis, quarum hodie for the souls of those whom we remember memoriam facimus: fac eas, Domine, this day: Lord, make them pass de morte transire ad vitam. from death to life. Quam olim Abrahae promisisti As Thou didst promise Abraham en semini ejus. and his seed.

Chorus Chorus ...Quam olim Abrahae promisisti ...As Thou didst promise Abraham et semini ejus. and his seed.

IV. SANCTUS Soprano and Chorus Soprano and Chorus Sanctus, sanctus, sanctus Holy, holy, holy Dominus Deus Saboath. Lord God of hosts. Pleni sunt coeli et terra gloria tua, Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Sanctus. Holy. Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. Sanctus. Holy.

XX FRESNO PHILHARMONIC PROGRAM NOTES November 11, 2018

Baritone After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage? – Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: “My head hangs weighed with snow.” And when I hearken to the Earth, she saith: “My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.”

V. AGNUS DEI Tenor One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him.

Chorus Chorus Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem. grant them rest.

Tenor Near Golgatha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied.

Chorus Chorus Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem. grant them rest.

Tenor The scribes on all the people shove and bawl allegiance to the state,

Chorus Chorus Agnus Dei, qui tollis peccata mundi... Lamb of God, that takest away the sins of the world...

Tenor But they who love the greater love Lay down their life; they do not hate.

Chorus Chorus ...Dona eis requiem. ...Grant them rest.

Tenor Tenor Dona nobis pacem. ...Grant us peace.

FRESNO PHILHARMONIC XXI PROGRAM NOTES November 11, 2018

VI. LIBERA ME Chorus Chorus Libera me, Domine, de morte aeterna, Deliver me, O Lord, from eternal death in die illa tremenda: in that awful day Quando coeli movendi sunt et terra: when the heavens and earth shall be shaken Dum veneris judicare saeculum per ignem. when Thou shalt come to judge the world by fire.

Soprano and Chorus Soprano and Chorus Tremens factus sum ego, et timeo I am seized with fear and trembling, dum discussio venerit, atque ventura ira. until the trial shall be at hand and the wrath to come. Libera me, Domine, de morte aeterna. Deliver me, O Lord, from eternal death. Quando coeli movendi sunt i terra. When the heavens and earth shall be shaken. Dies illa, dies irae, calamitatis That day, that day of wrath, of calamity et miseriae, dies magna et amara valde. and misery, a great day and exceeding bitter. Libera me, Domine. Deliver me, O Lord.

Tenor It seems that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. “Strange friend,”” I said, “here is no cause to mourn.”

Baritone “None”, said the other, “save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world, For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil boldly, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even from the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold. Let us sleep now...”

XXII FRESNO PHILHARMONIC PROGRAM NOTES November 11, 2018

Boys, then Chorus, then Soprano Boys, then Chorus, then Soprano In paridisum deducant te Angeli; Into Paradise may the Angels lead thee: in tuo adventu suscipiant te Martyres, at thy coming may the Martyrs receive thee, et perducant te in civitatem sanctam and bring thee into the holy city Jerusalem. Chorus Angelorum te suscipiat, Jerusalem. May the Choir of Angels receive thee et cum Lazaro quondam paupere aeternam and with Lazarus, once poor, habeas requiem. may thou have eternal rest.

Boys Boys Requiem aeternam dona eis, Domine: Lord, grant them eternal rest, et lux perpetua luceat eis. and let the perpetual light shine upon them.

Chorus Chorus In paradisum deducant etc. Into Paradise, etc.

Soprano Soprano Chorus Angelorum, te suscipiat etc. May the Choir of Angels, etc.

Tenor and Baritone Let us sleep now.

Chorus Chorus Requiescant in pace. Amen. Let them rest in peace. Amen.

FRESNO PHILHARMONIC XXIII XXIV FRESNO PHILHARMONIC 2018-2019 SEASON

FRESNO PHILHARMONIC POPS SERIES

DECEMBER 15, 2018 WILLIAM SAROYAN THEATRE

Scott Dunn, conductor Fresno Master Chorale Anna Hamre, director Mark Standriff, narrator HOME FOR THE HOLIDAYS HERBERT March of the Toys

LEONTOVICH (arr. Naughtin) Carol of the Bells

TRADITIONAL (arr. Dunn) Away in a Manger

TRADITIONAL (arr. Dunn) Los Peces en el Rio

VAUGHAN WILLIAMS Fantasia on Greensleeves (arr. Reed)

HANDEL Hallelujah, from Messiah

ROSNER Sugar Plum on the Run

— INTERMISSION —

ANDERSON A Christmas Festival

BLAINE and MARTIN Have Yourself a Merry Little Christmas

HERMAN (arr. Wendel) We Need a Little Christmas

BERLIN White Christmas

WILLIAMS Selections from Home Alone Somewhere in My Memory Merry Christmas, Merry Christmas

WENDEL, arr. Little Bolero Boy

WENDEL, arr. A Merry Christmas Sing Along

Scott Dunn appears by arrangement with Kaylor Management, Inc.

2018-2019 Season Major Support provided by Bonner Family Foundation, Daniel R. Martin Family Foundation, Dr. J. D. Northway and Leon S. Peters Foundation.

FRESNO PHILHARMONIC XXV GUEST ARTIST BIOGRAPHY SCOTT DUNN, conductor

American conductor Scott Dunn has led the Atlanta Symphony, Los Angeles Philharmonic, BBC Concert Orchestra and Singers, Hollywood Bowl Orchestra, Orchestra of St. Luke’s, Orchestre Nationale de France, Pittsburgh Symphony, San Diego Symphony, Seattle Symphony, Vancouver Symphony, Vienna Radio Orchestra (RSO), the St. Petersburg (Russia) Philharmonic, Sydney Symphony Orchestra and many other distinguished ensembles. Dunn, a former assistant to Lukas Foss and a one-time student of Byron Janis, has been the Associate Conductor of the LA Philharmonic’s Hollywood Bowl Orchestra since 2012.

Noteworthy recent appearances include the premiere of Michael Giacchino’s Star Trek Beyond live with the Seattle Symphony and Pixar’s Ratatouille with the San Diego Symphony; Scott Dunn conducts Richard Rodney Bennett/ Total Immersion at London’s Barbican with singer Claire Martin, the BBC Concert Orchestra and Singers in a live BBC 3 broadcast including new orchestrations by Dunn; the LA Phil’s world premiere of Dunn’s live orchestral adaptation of Rebel Without A Cause at Disney Hall; Danny Elfman’s Music from the films of Tim Burton (with additional orchestrations by Dunn) at the Sydney Opera House, Atlanta Symphony, San Diego Symphony and elsewhere; Sondheim and Jazz Side by Side with pianist Bill Charlap, Ann Hampton Callaway and others at the 92nd Street Y, UC Berkeley and Disney Hall; Tony-winning singer Sutton Foster with the Atlanta Symphony; Wynonna, David Foster and Leslie Odom Jr. with the San Diego Symphony; Disney’s Fantasia with the Seattle Symphony and with the RSO at the Konzerthaus in Vienna; Elvis Costello and Ben Folds with the LA Phil at the Hollywood Bowl; symphonic concerts with Phish front-man and guitarist Trey Anastasio with the LA Phil, Atlanta, Colorado, Oregon, Pittsburgh and Seattle symphonies; and multiple memorial concerts in New York, London and elsewhere for the late Sir Richard Rodney Bennett featuring American and world premieres of works by Bennett, Nico Muhly and arrangements by Dunn.

Also a distinguished pianist and orchestrator, Dunn is a noted advocate for American and contemporary music and has a special passion for film and so-called crossover composers – ranging from George Gershwin and Vernon Duke to Leonard Rosenman and Danny Elfman. His advocacy can be traced to his late friend, orchestration-mentor and sometime duo-piano partner, Sir Richard Rodney Bennett, who encouraged Dunn to explore music outside the usual classical canon. Through Bennett, Dunn discovered the concert music of songwriter and composer Vernon Duke (aka Vladmir Dukelsky). In 1999 he orchestrated and premiered Duke’s ‘lost’ Piano Concerto in C in Dunn’s Carnegie Hall début with Dennis Russell Davies and the American Composers Orchestra. Subsequently Dunn continued to reconstruct, champion and record Duke’s neglected output. In 2006 he recorded the piano concerto in Moscow for Naxos, along with Duke’s Cello Concerto and Homage to Boston. In 2011 he reconstructed and conducted the Russian premiere Duke’s Orphic Trilogy (The End of Saint Petersburg – Oratorio, Dedicaces and Epitaph –

XXVI FRESNO PHILHARMONIC GUEST ARTIST BIOGRAPHY SCOTT DUNN, conductor for Diaghilev) at the Philharmonia in St. Petersburg. In 2012, he edited The Vernon Duke Songbook Vol 1 for Hal Leonard. In 2015, he recorded in Vienna The Duke Violin Concerto and Complete Works for Violin with violinist Elmira Darvarova, the RSO and Dunn as conductor and pianist. In 2016, he conducted for PS Classics the cast recording of a ‘new’ Vernon Duke musical, MISIA, based on the life of Parisian muse and Diaghilev confidant Misia Sert – with music of Vernon Duke arranged and adapted by Dunn, book and lyrics by Barry Singer and orchestrations by Jonathan Tunick.

Born and raised in Iowa, Dunn was making piano concerto appearances with Midwestern orchestras by age twelve. In five semesters and on full merit scholarship, he graduated summa cum laude with a Bachelor’s degree in music and a Phi Beta Kappa key from the University of Iowa. Dunn continued music studies at the Manhattan School of Music (Masters), Aspen Festival and School (Collaborative Fellow) and the University of Southern California. Dunn’s teachers have included John Simms, Brooks Smith and Byron Janis (piano); Lukas Foss and Jorge Mester (conducting); Leonard Rosenman, Ludmila Ulehla and Sir Richard Rodney Bennett (composition and orchestration). Though he does not practice medicine, Dunn also earned an MD, Board Certification in Ophthalmology and Fellowship in the American College of Surgeons during an seven year hiatus from the stage. He restarted his concert career in 1991 with an LA début solo recital which caused the LA Times to extol Dunn’s ”… abundance of technique and musicality. Clearly born to play the piano.” In 1999, Lukas Foss gave him his first professional conducting post as Associate Music Director for Foss’ Music Festival of the Hamptons. Dunn worked with Foss for four years and then subsequently held posts at Glimmerglass Opera and Pittsburgh Opera. In 2007, John Mauceri invited him to the conducting staff of the LA Philharmonic’s Hollywood Bowl Orchestra and in 2012 was named Associate Conductor.

Of his remarkable musicianship, one New York critic noted “He is a conductor of great promise, a pianist of note, and a sensitive and intelligent artist. All of these elements came together to give the audience an experience closer to heaven than most of us will get in this lifetime.”

FRESNO PHILHARMONIC XXVII FRESNO PHILHARMONIC ORCHESTRA

Rei Hotoda, Music Director and Conductor

VIOLIN I CELLO HORN Stephanie Sant ‘Ambrogio Gerald Miller, III Meredith Brown Concertmaster Principal Principal Shenhua Hu Pearl B. Winter Endowed Chair William and Eleanor Knudsen Assistant Concertmaster Open Endowed Chair Calvin Lewis Assistant Principle Amy Sanchez Andrew Hagopian William T. Coyle and Wanda G. Lauren Varley Endowed Chair Coyle Endowed Chair Alex Rosenfeld Lianna Stuart Alicja Blanquart John and Mitzi Conrad Judy Robinson TRUMPET Endowed Chair Michelle Kwon John Freeman Debra Nguyen Melinda Mack Principal Janice Fleming Parker M. Powell Endowed Chair John Morrice BASS Ron Franklin Elaine Ikemoto Andy Butler Joe Farkas Matt Mazzei Principal Jay Zhong Heidi Franklin TROMBONE Amy Lindsey Timothy Giannopoulos Bruce Chrisp Gabrielle Wunsch Keith Biondi Principal Benjamin Green Phil Keen VIOLIN II Sheldon Schlesinger Wayne Solomon Caitlin McSherry Principal FLUTE TUBA Cynthia Stuart Janette Erickson Scott Choate Assistant Principal Principal Principal Darren Sagawa Pam Ellzey Joseph Galamba Red and Nancy Arnold TIMPANI Chinh Le Endowed Chair Open Gaylene Debra Joe Cathi Graves Tudman Principal Brad Taylor Mary Bell Crummey Barbara Schaefer OBOE Endowed Chair Akiko Kojima Rong-Huey Liu Principal PERCUSSION VIOLA Honorable Edward and Anita Corey Ritter Meredith Kufchak Shanahan Endowed Chair Principal Principal Marissa Honda Del Crummey and Family Frank and Roxie Moradian Endowed Chair Endowed Chair CLARINET Tammy van der Paardt Roz Gratz Peter Nevin Craig Cory Assistant Principle Principal Lynn Grants Jeannie Psomas HARP Nina Mendelson Torbin V. Hansen Laura Porter Claudia Shiuh Endowed Chair Principal Jeffrey Sandersier Lea Steffens Heather Gardner PIANO Galina Andre BASSOON Open Larry Gardner Principal Principal Ruth Anderson Phillips Theresa Treuenfels Endowed Chair Wendy La Touche

XXVIII FRESNO PHILHARMONIC

ADMINISTRATIVE STAFF

Stephen Wilson, Wayne Solomon, Laura Bautista, Chief Executive Officer Orchestra Personnel Manager House Manager Annie Schmidt, Cathi Graves Tudman, Bertz-Rosa Strategy Creative, Development Director Orchestra Librarian Design & Marketing Consultant Connie Miranda, Vincent Keenan, Patron Services Manager Stage Manager The Grid Agency, Social Media & Danielle Fisher, Mark Stotzer, Digital Marketing Patron Services Assistant Production Manager Boos & Associates, Bookkeeping & Accounting 2018-2019 BOARD OF DIRECTORS

Bernard K. Karian, D.D.S., Henry J. Barkett PRESIDENTS EMERITI Chairperson Michael James Chappell Charles W. Bonner* Caren Myers, Peter Fashing Karney Hodge* Vice Chairperson David Fox, M.D. Curtis Wong, C.P.A., Margaret Desmond Hughes DIRECTORS EMERITI Treasurer Larry King Larry Balakian José A. Díaz, D.M.A. Ben Krikorian, C.P.A. J. Delbert Crummy* Secretary Judith L. Kuipers, Ph.D. Joseph F. Desmond* Stephen Wilson, Elizabeth Looney Henrietta Hagopian President & CEO Kevork Oflazian Annette La Rue James V. Prochazka, M.D. Frank Moradian* Nicholas Rasmussen Roxie Moradian* Peter N. Smits, Ph.D. Edward Nichols* Todd Suntrapak J. D. Northway, M.D. Robert G. Ware, Ph.D. Anita Shanahan Lawrence E. Wayte James H. Winter, Ph.D*

*Deceased

The Fresno Philharmonic is a proud member of the Association of California Symphony Orchestras, the Valley Cultural Coalition, and The League of American Orchestras. The Fresno Philharmonic Association is a corporation formed under the California Non-Profit Public Benefit Corporation Law for the purpose of promoting orchestral music in the central San Joaquin Valley region. The Association is the parent organization of the Fresno Philharmonic. The Board of Directors of the Association is elected by the membership at the Annual Meeting held in June. A current voting member is a person who is both a current season subscriber and a donor at or above the $250 level. Contributions to the Fresno Philharmonic Association are tax-deductible for both Federal and State purposes.

XXX FRESNO PHILHARMONIC FRESNO PHILHARMONIC PAST PRESIDENTS

Lynn Stewart Richard “Gus” Bonner Hon. Donald Black 1954-1955 1984-1985 1998-2000 James V. Paige Richard E. Herrinton Larry Hagopian 1955-1956 1985-1986 2000-2002 Mrs. Gladys Sharp Dr. Parker Powell, M.D. W.F. Docker, Esq. 1956-1957 1986-1988 2002-2004 Charles W. Bonner Larry Balakian Robert Cherry 1957-1964 1988-1990 2004-2006 Gene Chenault Dr. Bernard Karian, D.D.S W.F. Docker, Esq. 1964-1965 1990-1992 2006-2008 Karney Hodge Dr. Charles Mittman, M.D. Judith Peracchi 1965-1974 1992-1993 2008-2010 Lawrence E. Wayte Edward Nichols Dr. Sasan Rhamatian, Ph.D 1974-1979 1993-1995 2010-2012 Hon. Nickolas J. Dibiaso Dr. Brice W. Harris, Ed.D. Dr. J.D. Northway, M.D. 1979-1982 1995-1996 2012-2015 Roger C. Coryell Susan K. Early Dr. Judith L. Kuipers, Ph.D. 1982-1984 1996-1998 2015-2017

FRESNO PHILHARMONIC XXXI XXXII FRESNO PHILHARMONIC CONTRIBUTORS TO THE FRESNO PHILHARMONIC ASSOCIATION

We gratefully acknowledge the following individuals, corporations, and foundations for their generous support of the Fresno Philharmonic. This listing includes contributions received through October 24, 2018.

VIRTUOSO $50,000 AND ABOVE August Madrigal Estate Roxie Moradian Trust Daniel R. Martin Family Foundation William T. Coyle and Wanda G. Coyle Dr. J.D. Northway Charitable Trust IMPRESARIO $25,000 AND ABOVE A Friend of the Philharmonic Leon S. Peters Foundation Richard and Betsy Dietrich Family Trust GOLD BATON $15,000 AND ABOVE Bonner Family Foundation Clarence E. Heller Harris Construction California Arts Council Charitable Foundation Dr. and Mrs. Bernard K. Karian Mrs. Fermin Campos CRU Winery Mr. and Mrs. Curtis R. Wong Fresno State PRESIDENT’S COUNCIL $10,000 AND ABOVE Henry Barkett and Coke and James Hallowell Stan and Darlene Spano Octavia Diener Margaret Desmond Hughes United Security Bank Chappell-McCullar, LLC J.P. Lamborn Co. Valley Children’s Healthcare Fresno County Superintendent Annette La Rue John L. and Bernice Woolf of Schools Penny Newman Grain Company Zenith Insurance Company Fresno Lexus, Caren Myers Mrs. Edward J. Shanahan CIRCLE OF 25 $5,000 AND ABOVE A Friend of the Philharmonic Nat and Ann Dellavalle Lyles Foundation Bank of America Virginia S. Eaton McCormick, Barstow, LLP Charitable Foundation Educational Employees Judith and Donald Peracchi Bank of the West Credit Union Dr. and Mrs. James V. Prochazka Boos & Associates, Fresno City College Radin Foundation A Professional Corporation David Fox, M.D. and Saint Agnes Medical Center California Eye Institute Kathy Wosika Three Friends of the Mr. and Mrs. Antonio Campos Drs. Linda and Robert Glassman Philharmonic The Clovis Community Mrs. Andrew Hagopian Patricia A. Towne, C.P.A. Foundation Christy V. Hicks Stephen Wilson and Commercial Manufacturing, Siranouche Krikorian Martha Brody Blythe and Larry Hagopian ORCHESTRA COUNCIL $2,500 AND ABOVE A Friend of the Philharmonic Five Points Ranch, Inc. Dr. Gerald and Marguerite Adeline E. Ritchie Beanie Irola McMenamin Charitable Trust Larry King and Charlotte Singer Palm Village Retirement Jack and Nancy Baker Ben and Clarice Krikorian Community California Bank & Trust Patricia B. Libby Rotary Club of North Fresno DERCO Associates, Inc. Raymond C. Libby Gordon and Nancy Turl Eaton and Gibson Family Dr. and Mrs. J. Malcolm Masten Dr. Richard and Kay Whitten Fund at the Central Valley Ken and Carol Maul Community Foundation Gifts received after October 24, 2018 will be acknowledged in the next concert program. FRESNO PHILHARMONIC XXXIII CONTRIBUTORS TO THE FRESNO PHILHARMONIC ASSOCIATION

CONDUCTOR’S CIRCLE $1,000 AND ABOVE The Family of Dr. Charles Achki John R. Donaldson Sharon Metzler Augusto and Louise Altamura William and Paula Dragoo Miles, Sears & Eanni Association of California Peter and Lynette Fashing Chester Miszewicz and Symphony Orchestras Fresno Dental Professionals Gerald Palladino Baker, Peterson & Franklin, CPA Mr. Mark A. Hagopian Steve Moore Peter and Susan Bartlett Dr. Anna Hamre and Mrs. Edward Nichols Kenneth and Jane Bedrosian Roxanne L. Bates Pearson Realty Richard Bittikofer Louise Hastrup Dr. and Mrs. Christopher Perkins Central California Women’s Carolyn Hodge Marcia and Jack Shafer Conference Mr. and Mrs. Douglas Jensen Drs. Peter and Susan Smits Robert and Tay Cherry Richard A. Johanson Robert Truxell Gary and Anita Cregger Dr. Ernest Kazato and Cathi Graves Tudman Cynthia Curry, M.D. Dr. Carolyn Sakauye Marsha L. Vucovich Avnell Daniels Claude Laval Dr. Robert G. Ware Dr. Jose A. Diaz and Dr. Marketa Limova Tom Wilson Thomas Sanchez DeLeon Lively Arts Foundation James and Debra Yakligian Dill Family Trust Elizabeth and Blair Looney Evany D. Zirul, D.O. Rick and Christie Docker Steven Lum Marilyn Zitterkopf

COMPOSER’S CIRCLE $750 AND ABOVE Robert McParland Nicholas Rasmussen Jane Willson and Donald Peter Eleni Rotous Rockas, M.D. and Malcolm MacDonald Chris E. Rockas Women’s Philharmonic Advocacy

PRINCIPAL PLAYER $500 AND ABOVE A Friend of the Philharmonic (3) Dr. and Mrs. Arnold Gazarian Ed and Kristan O’Neill Ruth Elaine Andersen Paul Gibson and Joan Eaton Kenneth and Sheila Otteson Mrs. Jean Beardsley Alvin and Sharon Green Nicholas Don Paladino The Bertha & John Garabedian Lisa Grote and John Northway Barbara and Jack Paris Charitable Foundation John Hastrup Mrs. James H. Perkins Gus and Greti Bonner Jonathan Higgins Dr. and Mrs. William Podolsky Barbara Christian Ellen Hirth Olga Quercia Darden Architects Edwin D. Huff Michael and Linda Rogers Mary Ann Dews Mrs. Arthur Jing Dr. David and Susan Snyder William and Kathryn Elliott Drs. Robert and Nooshin Julian Ernie and Marcy Valdovinos Ken and Pamela Ellzey Joyce and Bob Kierejczyk Jim and Terri Walls Gary and Jane Fisher Eiji and Keiko Maruko Jerry and Rosemary Waters Robert and Beatrice Fleming Larry Metzler Bill Wells Heather Gardner & Friends Robert and Zandra Ogata

Gifts received after October 24, 2018 will be acknowledged in the next concert program.

XXXIV FRESNO PHILHARMONIC CONTRIBUTORS TO THE FRESNO PHILHARMONIC ASSOCIATION

SUSTAINER $250 AND ABOVE A Friend of the Philharmonic (3) Larry and Diane Honda Dr. and Mrs. W. Vincent Moats Howard and Rose Marie Atamian Roxie Jizmejian Kevork Oflazian Anne Betancourt Kerri Johnston Don and Sharon Oliver Mary and Genevieve Bollman Kevyn Sue Johnston Lyn Peters Robert Boro Greta Katen Dr. and Mrs. Ned Radich Allen and Denice Carden Peter and Nancy Klassen and Family Bill and Kathy Coit Martin and Christine Krikorian Arminee Shishmanian Kaye B. Cummings Dr. and Mrs. Michael Leoni Mr. and Mrs. Mark W. Snauffer Don and Lois Fahrney Diane Majors Thomas and Jacqueline Spencer Alberta Ferrer Manco Abbott, Inc. Olivia and Dan Stockton Bob and Nada Fishman Eldon and Diana Marks Kay Sutherland Dr. Patrick and Cynthia Ginn Charles and Genie McAlexander Walter Vosganian John and Carole Greening Dr. John and MaryLou John and Genie Waugh Betty Haak McGuckin Mr. and Mrs. Edward L. Wells Jean R. Harris Ron and Kathy McLaughlin Prof. James R. Wilson Dr. and Mrs. William Hastrup Elizabeth Mitchell

ASSOCIATE $100 AND ABOVE A Friend of the Philharmonic (9) Ray and Jo Dull Barbara Mendes Mr. and Mrs. Robert Ackerman Mr. and Mrs. Philip Erro Jayne Middleton Kenneth and LaVonne Aldag Carolyn and Al Evans Janet Moore Ken and Rachel Aldrich Francine and Murray Farber Karen Morais Elizabeth O. Aller Roger and Joan Fast Marie Motta Adeline Arakelian David and Karen Gaylin Robert and Peggy Nevin Dr. Roberta Asahina Ron and Roberta Genini Charlett Nilan Elizabeth Ayvazian Mr. and Mrs. George Gianopulos Bill and Linda Northway Chuck Bandelian and Dale and Veronica Golden Robert Owen Lisa Franco Dr. and Mrs. Theodore Greaves Gladys Peters Nancy Barg Steve and Sarah Griffith Jerrie Peters Cleo Bauer and Dominic Papagni Katherine Hart Roberta A. Pruitt Tom and Sheri Bohigian Ellen and Lynn Hemink Chip and Carol Putnam Kevin Bohnstedt Margaret House Ruby Quackenbush Suhre Dr. Harry D. Chambas Wayne and Laurell Huber Dr. and Mrs. Henning Robin Chiero Mike and Denise Hurst Rasmussen Jim Chinello and Jean Janzen Pamela Ann Ripley and Sally Ann Henry Mr. and Mrs. Stephen Knudsen Eric C. Christensen Anna and Bruce Clayton Shirley Kovacs Dr. and Mrs. Mort Rosenstein Dr. and Mrs. Jacob Colarian Eric and Teresa Kurtz Anthony and Hilary Ross Mrs. Charlene Corrin Jim and Marie Lambe Dr. and Mrs. David A. Ross Mr. and Mrs. Vincent Cruz Dr. Jean Linder Joan Rubinstein and John Curtis and Joanne Lippert Alex Sherriffs Karen Yelton-Curtis Judith and Jerry MacDonald Ross and Carolyn Rueger Richard and Janis DeBenedetto Barbara Marshall Jim and Elaine Salvatore Charles and Sheila Dreiling John Mazuski Jim and Houry Sanderson

Gifts received after October 24, 2018 will be acknowledged in the next concert program.

FRESNO PHILHARMONIC XXXV CONTRIBUTORS TO THE FRESNO PHILHARMONIC ASSOCIATION

ASSOCIATE $100 AND ABOVE (continued) Barbara Sausen James and Patricia Swanson Don and Eilene Werum Julie and Eric Showers Ronald and Patricia Trapin Ed and Leilani Whittinghill William Sivick and Janice Jansen Michael Varlas Mrs. Rita Woo Pam Smith Gillian D. Walke Conrad and Sue Yhnell

FRIEND $50 AND ABOVE A Friend of the Philharmonic (9) Alec Karayan Tara Soojian Nadine Bartsch Hovig Karayan William and Judith Stevens BBVA Compass Bank Revs. Mas and Hope Kawashima Suzanne Swanson Karen Chooljian John Lauri and Deborah Dixon Dana Taylor Pete and Patsy Cooper Joaquin Lewis Tamara Treisman Dolores DeTeresi and John and Rebecca McGregor Barbara Ulman and Burke Zane Michael Harman J. William McGuinness United Way Dawn and Elena Diestelkamp Susan McQuirk-Jensen The Family of Mrs. George Clifford Dodd James Mendez Van Vleet, III James and Rebecca Doe Patricia Nash Peter and Cissy Van Vleet Russell and Patty Doyland Lua Nadine Pickrell-Marsh Barbara VanDeVelde Anne and Jim Ellis Kay Pitts Felix W. Wang Mr. and Mrs. Steven W. Forker Pat and Sue Quigley Dr. Robert O. Wilson and John Henderson JL Rains Faith Soares-Wilson Dave and Janet Hendrickson Ashley Ricchiuti Leonard and Linda Zavala Ms. Betty Higdon Peter Robertson Dr. and Mrs. Zhornitskiy Lois High Fernando and Melissa Salmeron Mary Hung Walter and Daphne Saul

Gifts received after October 24, 2018 will be acknowledged in the next concert program.

XXXVI FRESNO PHILHARMONIC FRESNO PHILHARMONIC MEMORIAL AND TRIBUTE GIFTS

Memorial and Tribute gifts will be designated to the Annual Fund unless otherwise requested by the donor or family members. The following list includes contributions received from July 1, 2017 through October 24, 2018.

IN MEMORY IN MEMORY OF IN MEMORY OF ROBERT AND ROXIE MORADIAN IN MEMORY OF BETTYELOU GRAVES Mrs. Andrew Hagopian DR. CHARLES ACHKI Melissa Graves and Mr. Mark A. Hagopian The Family of Dr. Charles Achki Cathi Graves Tudman IN MEMORY OF IN MEMORY OF IN MEMORY OF ANN NORTHWAY J. THOMAS AMOS MARNIE JENSEN Dr. J. D. Northway Gladys Peters Jack and Nancy Baker IN MEMORY OF IN MEMORY OF IN MEMORY OF GILES “J.D.” DOMINIC KELKHATIR AYVAZIAN ROBERT A. JOHNSON OSTDIEK Siranouche Krikorian Sharon Metzler Commercial Manufacturing, Blythe and Larry Hagopian IN MEMORY OF IN MEMORY OF DR. IRWIN BARG DR. MYRON “MIKE” IN MEMORY OF Elizabeth and Blair Looney JOSEPH EDWARD PELOIAN Dr. and Mrs. James V. Prochazka Mrs. Andrew Hagopian IN MEMORY OF JAMES LEE BYRD IN MEMORY OF IN MEMORY OF Patricia B. Libby PETER KRIKORIAN ROBERT S. PETERS Siranouche Krikorian Jerrie Peters IN MEMORY OF CHARLES CHITCHJIAN IN MEMORY OF IN MEMORY OF The Family of Dr. Charles Achki ROBERT M. LIBBY DR. JEROME RADDING Patricia B. Libby The Family of Dr. Charles Achki IN MEMORY OF Raymond C. Libby PHYLLIS CRIBARI IN MEMORY OF Elizabeth O. Aller IN MEMORY OF RUTH H. REYNOLDS LORAMAE MAGEE John R. Donaldson IN MEMORY OF Sharon Metzler HAROLD DEBBAN Ernie and Marcy Valdovinos IN MEMORY OF Friends of the Philharmonic LESLIE SALWASSER IN MEMORY OF Howard and Rose Marie Atamian IN MEMORY OF GARY EDWARD MARSELLA John Lauri and Deborah Dixon ED DEIS Commercial Manufacturing, Wilbur Wells Sharon Metzler Blythe and Larry Hagopian IN MEMORY OF IN MEMORY OF IN MEMORY OF HAROLD SCHAEFER DR. JON R. DEWS MARK MITCHELL Marie Motta Mary Ann Dews The Family of Dr. Charles Achki IN MEMORY OF IN MEMORY OF IN MEMORY OF DORIS SIEGEL EDMUND DILL WILDA MOLLER Sharon Metzler Dill Family Trust Robert and Tay Cherry Virginia S. Eaton IN MEMORY OF IN MEMORY OF Dave and Janet Hendrickson ALLEN SIMMONS SHIRLEY J. DONALDSON Bill and Chris Rogers Sharon Metzler John R. Donaldson Barbara Sausen Julie and Eric Showers IN MEMORY OF IN MEMORY OF Pam Smith COLBURN THOMASON DONALD FERRER The Family of Mrs. George Sharon Metzler Alberta Ferrer Van Vleet, III IN MEMORY OF IN MEMORY OF Peter and Cissy Van Vleet Ann Wanger ANNA M. WARE RICHARD GLASS Dr. Robert G. Ware Roxie Jizmejian FRESNO PHILHARMONIC XXXVII FRESNO PHILHARMONIC MEMORIAL AND TRIBUTE GIFTS

IN MEMORY OF IN MEMORY OF IN HONOR OF SUSAN LIBERTY WARWICK DR. DANIEL WOO REI HOTODA Olga Quercia Mrs. Rita Woo Christy V. Hicks

IN MEMORY OF IN HONOR IN HONOR OF LEO WEIL DR. J. D. NORTHWAY The Family of Dr. Charles Achki IN HONOR OF Lisa Grote and John Northway VERONICA CAMPOS Bill and Linda Northway IN MEMORY OF Drs. Linda and Robert Glassman ROCHELLE WILSON IN HONOR OF Tom Wilson IN HONOR OF ANNA SCHRECKENGOST NAYIRI DERMENJIAN Tamara Treisman IN MEMORY OF Kevork Oflazian PROFESSOR JAMES H. IN HONOR OF WINTER IN HONOR OF ANITA SHANAHAN Dr. and Mrs. James V. Prochazka HENRIETTA HAGOPIAN David and Karen Gaylin David and Karen Gaylin

IN-KIND GIFTS July 1, 2017 through October 24, 2018 CONCERTO $5,000 AND ABOVE Baker, Peterson & Franklin, CPA CRU Winery Ratzlaff, Tamberi & Wong Chappell-McCullar, LLC McCormick, Barstow, LLP

OVERTURE $1,000 AND ABOVE Baker, Manock & Jensen Fresno Lexus Steinway Piano Gallery of Fresno The Bar Method The Painted Table Dr. Robert G. Ware Bertz-Rosa Strategy & Creative Dr. and Mrs. James V. Prochazka Dr. Richard and Mrs. Kay Whitten

PRELUDE $999 AND BELOW Ara Karkazian Watch & Jewelry Dr. Richard Mendoza, Eye Medical RSVP Aporjon Leather & Luggage Center of Fresno Ruth’s Chris Steak House Margaret Desmond Hughes Muses Salon & Spa She She JCrew Caren Myers Skookum Trees Jones Cleaning Centers, Inc. Nonnie’s House Boutique Stein Mart JULIA Ooh La La Talbots The Linen Shoppe Orloff Jewelers Patricia A. Towne, C.P.A. Elizabeth Looney Photo Now Photo Booths Verdalee Lou Gentile’s Flower Basket Nicholas Rasmussen Vino Grille & Spirits Macy’s River Park Round Table Pizza Vonda’s

XXXVIII FRESNO PHILHARMONIC ENCORE SOCIETY

The community leaders who joined together in 1954 to create the Fresno Philharmonic had a vision for the future. That vision was to present great music that enriches lives, inspires passion for classical music, and connects audiences to history. As standard bearers for that vision, we believe that hearing great music from the past and present is a legacy worth preserving for future generations, and that the Fresno Philharmonic itself, is a beacon for community pride, achievement and advancement.

To support the vision of the Fresno Philharmonic, we rely on the many generous individuals who support our Annual Fund and those members of our Encore Society, who with their legacy gifts to the endowment provide funding for the Philharmonic in perpetuity.

GENERAL Dr. and Mrs. Bernard K. Karian GUEST ARTIST ENDOWMENT The Family of ENDOWMENT Susan Abundis and Glen Burgess Mrs. Eleanore Knudsen Bonner Family Guest Artist The Family of Dr. Charles Achki Dr. Marion Kremen Endowment Red and Nancy Arnold The Estate of Enok Lohne, M.D. Foundation Mr. August Madrigal ORCHESTRA CHAIR Harry J. Aslan Trust Dr. and Mrs. J. Malcolm Masten Andrew Hagopian Endowed John and Nancy Baker Mr. and Mrs. Frank Moradian Violin I Chair Mr. Larry Balakian National Endowment for the Arts John and Mitzi Conrad Family and Friends of Mr. and Mrs. Edward Nichols Endowed 5th Violin I Chair Arthur C. Berdahl Mrs. Karla Nichols Frank and Roxie Moradian Mrs. Charles W. Bonner In Memory of Edward Nichols Endowed Principal Viola Chair Bonner Family Foundation Edward and Irene Peloian Pearl B. Winter Mrs. Jane M. Cleave Estate of William R. Perry Endowed Principal Cello Chair Dr. John P. Conrad, Jr. Mrs. Leon S. Peters William T. Coyle and William T. and Wanda G. The William David and Wanda G. Coyle Coyle Charitable Trust Mary Walker Endowed Assistant Mr. J. Delbert Crummey Phillips Foundation Principal Cello Chair and Family in Memory Mrs. Parker M. Powell Red and Nancy Arnold of Mary Crummey Dr. and Mrs. James Prochazka Endowed Flute Chair Joseph F. Desmond Mrs. Lakhbir Purewal The Honorable Edward L. José A. Díaz and John and Vicky Seasholtz and Anita M. Shanahan Thomas Sanchez DeLeon Mrs. Edward Shanahan Endowed Principal Oboe Chair Leon S. Peters Foundation Mr. and Mrs. James Shelton Torben V. Hansen Susan K. and Larry Early Ken and Viv Shinkawa Endowed Clarinet Chair Phillips Foundation Ms. Patricia A. Towne William N. and Eleanore Janette Erickson Valley Foundry and Knudsen Endowed Principal Fisher Industries Machine Works Horn Chair The Fresno Bee Division of Ametek, Inc. Parker M. Powell Ms. Patricia Gebs The Estate of Lloyd G. and Endowed Principal Drs. Robert and Linda Glassman Phyllis Whitman Trumpet Chair Mrs. Andrew Hagopian Family and Friends of Mary Bell Crummey Coke and James Hallowell Dr. Richard Whitten, Sr. Endowed Principal Estate of Mrs. Torben V. Hansen Family and Friends of Timpani Chair Mr. Torben V. Hansen and Dr. James and Pearl Winter Del Crummey and Family Victoria R.T. Landgren Dr. David Yamaguchi Endowed Principal Estate of Clarence and Percussion Chair Caroline Harris MUSIC EDUCATION Ruth Anderson Phillips The William Randolph ENDOWMENT Endowed Piano Chair Hearst Foundation Karney Hodge Memorial Chair Christy V. Hicks William Randolph Hearst The Karney Hodge Family Foundation Chair Dr. F Lee and Jean Hull Enok Lohne, M.D., Memorial Scholarship

By making a bequest to the Fresno Philharmonic, you are eligible to join the Encore Society. Please notify the Philharmonic Development Office at 559-261-0611, ext. 614 regarding your intention so that you may be recognized.

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FRESNO PHILHARMONIC 25 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance

• 4 times more likely to win an award for writing an essay or poem

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