Contents a MESSAGE from the PRESIDENT &

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A MESSAGE FROM THE PRESIDENT & CEO Contents

A Message from the President & CEO 1 Music Director Jacques Lacombe 2 NJSO Orchestra Roster 3 Musician Spotlight: Derek Fenstermacher 4 Greetings! A Take 6 Holiday At the NJSO, the months of December and January are with the NJSO typically busy—this season, more so than ever with the Dec 13–14 5 addition of the Messiah and Warner Bros. Presents Bugs Bunny at the Symphony II performances, leading into the Education & Community NJSO’s traditional January Winter Festival. Engagement Notes : NJSO Youth Orchestras 7 This year’s Winter Festival is the first of a two-year project showcasing music inspired by the works of Handel’s Messiah William Shakespeare, celebrating the 450th anniversary Dec 19–21 8 of his birth. We are thrilled to present violinist Sarah Warner Bros. Presents Chang in a two-week residency, made possible by Bank Bugs Bunny at of America. During her residency, Chang will perform the Symphony II in all six of the NJSO’s performance venues, as well as Jan 3–4 15 work with the students in the NJSO Academy’s Youth Orchestras and CHAMPS programs. Just imagine the Winter Festival: impact these personal visits will have on the hearts and Lacombe Conducts minds of these young people! Romeo and Juliet Jan 9–11 Finally, I would like to commend those subscribers and 23 single ticket buyers who make an annual donation to Winter Festival: the NJSO, and I would encourage those of you who have Sarah Chang not previously made a donation to seriously consider Plays Bernstein participating in our “Friend in Every Seat” program. Jan 16–18 29 The NJSO depends on donations for nearly 70% of our operating budget. Your gift will help us enrich lives Winter Festival: through music, encourage lifelong learning and support West Side Story with our communities. Sarah Chang Jan 22–25 36 Enjoy the concerts and events surrounding them. Patron Spotlights: Christopher Petermann; Investors Foundation 40 James R. Roe The Centennial President & CEO Legacy Challenge 41 The Ruth C. and A. Michael Lipper President & CEO Chair NJSO Supporters 42 www.njsymphony.org About Us 46 Front cover: Oboist Andrew Adelson. Photo by Tristan Cook. NJSO Board and Staff 48 MUSIC DIRECTOR JACQUES LACOMBE

A remarkable conductor whose artistic integrity and rapport with orchestras have propelled him to international stature, Jacques Lacombe has been Music Director of the New Jersey Symphony Orchestra since 2010 and Orchestre Symphonique de Trois-Rivières since 2006. He was previously Principal Guest Conductor of the Orchestre Symphonique de Montréal and Music Director of orchestra and opera with the Philharmonie de Lorraine. Lacombe has garnered critical praise for his creative programming and bold leadership of the NJSO. Time Out New York has named the Orchestra’s acclaimed Winter Festivals “an eagerly anticipated annual event” for their innovative concert experiences. The New York Times wrote, “It was an honor to be in the hall” for Lacombe’s performance with the NJSO at the 2012 Spring For Music Festival at Carnegie Hall. In July, Lacombe helmed a pair of unique initiatives through the New Jersey Roots Project: the NJSO launched the immersive NJSO Edward T. Cone Composition Institute for young composers, and Lacombe led the world premiere of Cone’s Symphony in a special lecture-concert. Other 2014–15 NJSO highlights include the “Sounds of Shakespeare” Winter Festival, featuring collaborations with violinist Sarah Chang and The Shakespeare Theatre of New Jersey. After making his Tanglewood Music Festival debut with the Boston Symphony Orchestra, Lacombe returns to the Deutsche Oper Berlin for productions of Carmen, The Damnation of Faust and Samson and Delilah; L’Opera de Monte Carlo for Shostakovich’s Lady Macbeth of Mtsensk and Vancouver Opera for Carmen. He has appeared with the orchestras of Cincinnati, Columbus, Québec, Toronto, Vancouver, Ottawa and New Zealand. He frequently conducts in France, Spain and Australia and has led tours and recordings with the National Youth Orchestra of Canada. Opera highlights include all-star productions of La Bohème and Tosca at the Royal Opera House Covent Garden and numerous productions with the Deutsche Oper Berlin and Metropolitan Opera, as well as engagements at opera houses in Marseille, Strasbourg, Turin and Munich. He has recorded for the CPO and Analekta labels and has been broadcast on PBS, the CBC, Mezzo TV and Arte TV. Born in Cap-de-la-Madeleine, Québec, Lacombe attended the Conservatoire de Musique de Montréal and Hochschule für Musik in Vienna. He was named a Chevalier de l’Ordre national du Québec in 2012 and a Member of the Order of Canada in 2013—among the highest civilian honors in the country. 2 www.njsymphony.org 2014–15 ORCHESTRA ROSTER

NEW JERSEY SYMPHONY ORCHESTRA JACQUES LACOMBE, Music Director, The Jaqua Foundation Chair JEFFREY GROGAN, Education & Community Engagement Conductor GEMMA NEW, Associate Conductor Photo by Fred Stucker

FIRST VIOLIN VIOLA Jonathan Storck, HORN Eric Wyrick, Frank Foerster, The Tray and Lucinda-Lewis, Concertmaster, Principal, Maris Davis Chair Principal The Donald L. The Margrit David Rosi Andrea Menousek Mulford Chair McCrane Chair Joseph Campagna Chris Komer Brennan Sweet, Elzbieta Weyman, FLUTE Susan Standley Associate Assistant Principal Bart Feller, Principal TRUMPET Concertmaster Michael Stewart Kathleen Nester Garth Greenup, Albin Ifsich Christine Terhune Principal Adriana Rosin Martin Andersen PICCOLO Kathleen Nester Christopher Stingle, Naomi Youngstein Lucy Corwin Assistant Principal James Tsao Henry Kao OBOE David Larson Xin Zhao Brett Deubner Robert Ingliss, TROMBONE Darryl Kubian David Blinn Principal, The Arthur E. Walters Charles Baker, Judy Lin Wu • CELLO Principal Jonathan Spitz, and Marjory S. SECOND VIOLIN Vernon Post Principal, Walters Chair Francine Storck, Andrew Adelson Vincent Belford Principal, The MCJ Amelior TUBA The Dr. Merton Foundation Chair, ENGLISH HORN in honor of Andrew Adelson Derek Fenstermacher, L. Griswold, Jr. Chair Principal, Rebekah Johnson, Barbara Bell Coleman CLARINET Anonymously Assistant Principal Karl Herman, Endowed Chair Debra Biderman Stephen Fang, Associate Principal Principal, Ann Kossakowski The Roy and Diana TIMPANI John Connelly Myung Soon Wooh Randall Hicks, Sarah Seiver Vagelos Chair Susan Gellert Andrew Lamy Principal, Lisa Matricardi • Ted Ackerman The Mia and Victor Alexandra Gorokhovsky Frances Rowell E-FLAT CLARINET Parsonnet Chair Na-Young Baek Andrew Lamy Ming Yang PERCUSSION Héctor Falcón BASS BASSOON David Fein, Principal Paul Harris, Principal, Robert Wagner, VIOLIN PERSONNEL Fatima Aaziza The Lawrence J. Principal, The Tamburri Chair Charlotte and Morris James Neglia, Manager Wendy Y. Chen Naomi Youngstein, Maya Shiraishi Frank Lomolino, Tanenbaum Chair Assistant Principal Mark Timmerman Assistant Manager LIBRARIAN Ann Kossakowski • Leave of Absence

The NJSO uses a system of string rotation. In each string section, members are listed in order of seniority. The musicians and librarians employed by the New Jersey Symphony Orchestra are members of the American Federation of Musicians of the United States and Canada. www.njsymphony.org 3 MUSICIAN SPOTLIGHT Photo by Fred Stucker

DEREK FENSTERMACHER, principal tuba INSPIRED BY: I feel like everyone has a purpose, and mine is to play music. That in itself gets me up every day. When I come play with the Orchestra, it’s not work, it’s fun—and I never want to lose that. My hope is that I’ll be able to look back on my life and say that I never worked a day—I just did what I did for the love of music. PRACTICE ROUTINE: The two big things I focus on are improving my fundamentals as a brass player and improving my musicianship, which incorporates a lot of things—playing lyrically, playing songs, singing or vocalizing. WHY MUSIC MATTERS: To me, music is life. Where I am now, music and I are one and the same. But as I get older and more mature, I see the social and community aspects of music in what the NJSO does, like Ask a Musician and performing chamber music across the state. I’m really seeing how music is something everyone can enjoy. HOBBIES: Cooking has always been my other big passion. As far back as middle school, I knew I’d either be a musician or a chef. So my self-given nickname is TubaChef—it incorporates the two biggest loves of my life! FAVORITE FILM: The Shawshank Redemption. FAVORITE TV SHOW: “Breaking Bad”—it will blow your mind. SATURDAY NIGHT LIGHTS: Every Saturday, if I’m not working, I’m watching football. I went to the University of Alabama, so that’s my football team—when you look at the back of my car, you’ll know! FAVORITE MUSICAL MOMENT: My favorite moment so far has been winning the job with the NJSO! It’s been an incredible ride with the Orchestra so far, and I’m so glad to be here. ADVICE FOR YOUNG MUSICIANS: Don’t put off until tomorrow what you can do today. If you really love music, be very curious about exploring it. I find that the people who make it in this business have a genuine love for what they do, and they make time on a regular basis to get better. 4 www.njsymphony.org Sat, Dec 13, 2014, at 8 pm NJPAC in Newark *

JACQUES LACOMBE MUSIC DIRECTOR Sun, Dec 14, 2014, at 3 pm State Theatre in New Brunswick * Pre-concert Prelude Performance by Newark Boys Chorus, and post-concert #ChoraleYou “sing-in” in the lobby. A TAKE 6 HOLIDAY WITH THE NJSO TAKE 6: CLAUDE MCKNIGHT MARK KIBBLE JOEY KIBBLE ALVIN CHEA DAVE THOMAS KHRISTIAN DENTLEY JOSEPH JOUBERT conductor NEW JERSEY SYMPHONY ORCHESTRA

Program to be announced from the stage. There will be one intermission.

NJSO CONCERT SPONSOR NJSO ACCENTS SPONSOR

The December 13 concert is sponsored by The Horizon Foundation for New Jersey. The December 14 performance is presented in collaboration with the State Theatre. NJSO Accents in Newark are generously sponsored by The Prudential Foundation.

This program is made possible in part by funds from the New Jersey State Council on the Arts, a Partner Agency of the National Endowment for the Arts. We kindly request that you silence all electronic devices and take extra caution when recording microphones are on the stage. Program and artists are subject to change. The use of flash bulbs, cameras or recording equipment during the concert is strictly prohibited. Latecomers will be seated at the discretion of the management. Food and beverages may not be taken into the auditorium. Smoking is not permitted anywhere in the building. Fire notice: The red exit sign nearest your seat is the shortest route outside. The management is not responsible for personal property of patrons. ABOUT THE ARTISTS

TAKE 6 is the most-awarded a cappella group in history, with 10 Grammy Awards, 10 GMA Dove Awards, induction into the Gospel Music Hall of Fame, Best Jazz Vocal Group honors for seven consecutive years in Downbeat’s prestigious Readers and Critics Polls, a Soul Train Music Award, BRE (Black Radio Exclusive) Vocal Group of the Year and two NAACP Image Award nominations, amid countless other musical and humanitarian citations. Showing the global appeal of this phenomenal group, Take 6 celebrated its 25th anniversary with a world tour of Asia, South America, Eastern and Western Europe and the United States, including debuts in Australia and Canada. From New York’s famed Blue Note to the Montreux Jazz Festival, from PBS to ABC TV specials, Take 6’s 25th year has been a smashing success.

JOSEPH JOUBERT has served as the conductor of Motown The Musical on Broadway and keyboardist/assistant conductor for Billy Elliot. His accomplishments are wide ranging, and his talent has taken him throughout the world. He has performed with the Bronx Arts Ensemble, New Philharmonia and the Manhattan, West Palm Beach, Mobile, Marin, Lancaster and Colonial symphonies. For two seasons, he served as staff pianist for the Metropolitan Opera Company’s revival of Porgy and Bess. Abroad, he has performed in the International Festival of Two Worlds in Spoleto, Italy, and Nice, France. Joubert has performed at the Pushkin Museum of Fine Arts in Moscow and was the pianist/associate conductor for the Broadway show The Color Purple. He was an orchestrator for the film Nights in Rodanthe. He also has a solo piano CD, “Total Praise: Classic Hymns for Piano.”

THE NJSO WELCOMES THE FOLLOWING GROUPS: New Jersey Medical Association, Georgia Tech Alumni Network of NY/NJ, New York Harbor Healthcare System and Collaborative Support Programs of NJ.

Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

6 www.njsymphony.org EDUCATION & COMMUNITY ENGAGEMENT NOTES Photo by Fred Stucker Photo by Fred SPOTLIGHT ON THE NJSO YOUTH ORCHESTRAS The NJSO Youth Orchestras give qualified middle- and high-school students— especially African-American and Latino youth in the Greater Newark area— unparalleled opportunities to achieve personal and musical excellence. Weekly coaching by NJSO musicians and a supportive peer-to-peer environment provide quality learning and performing experiences and build a unique culture of collaboration. The achievements of this program and its impact on the lives of these young musicians have received national recognition from the President’s Committee on the Arts and Humanities. Serving students from 10 counties, the Youth Orchestras comprise three ensembles—the Academy Orchestra, Chamber Orchestra and Violin Ensemble— and a preparatory program that offers group lessons and ensemble experiences. Academy Orchestra violinist Melissa Jean says her years in the program “have definitely broadened my experience. Going from playing by myself to performing in an ensemble has made me better at working with other people. This season’s music is very difficult, but I look forward to the challenge of playing [big works] with the full orchestra. And it’s really fun—that’s why I come back every year!” Melissa’s mother, Marlene Jean, says: “This program is really a gem. Some student orchestras charge thousands of dollars, but this one is tuition-free, and the students get to [study with NJSO musicians] and attend NJSO concerts. Violin Ensemble leader Naomi Youngstein, an NJSO violinist, says that what makes the program unique is the attitude. “One of the things l love the most about this program is the collegiality of all the kids and adults working together. The students are here to make music, and we’re here to help them. It’s not super competitive; it’s very supportive, and seeing families come out is the best part.” Hear these ambitious ensembles live this season! The Youth Orchestras perform on Saturday, May 9, at Montclair State University. The Academy Orchestra makes its annual side-by-side appearance with the professional orchestra at the NJSO’s family concert on Saturday, February 7, at NJPAC in Newark; the ensemble will also give a chamber music concert in the spring. Learn more about the NJSO Youth Orchestras—part of the NJSO Academy— at www.njsymphony.org/youthorchestras. Follow them on Facebook at www.facebook.com/NJSOyo and Twitter at @NJSOyo.

www.njsymphony.org 7 Fri, Dec 19, 2014, at 7:30 pm Richardson Auditorium in Princeton Sat, Dec 20, 2014, at 7:30 pm Michael T. Lake PAC in Neptune

JACQUES LACOMBE MUSIC DIRECTOR Sun, Dec 21, 2014, at 3 pm NJPAC in Newark HANDEL’S MESSIAH

JACQUES LACOMBE conductor NATHALIE PAULIN soprano MIREILLE LEBEL mezzo-soprano ISAIAH BELL tenor GORDON BINTNER bass-baritone MONTCLAIR STATE UNIVERSITY SINGERS Heather J. Buchanan, director NEW JERSEY SYMPHONY ORCHESTRA

HANDEL Messiah Part I

~INTERMISSION~

Part II Part III

We invite the audience to participate in the centuries-old tradition of standing for Messiah’s “Hallelujah Chorus.”

The December 19 performance is presented in collaboration with McCarter Theatre. The December 20 performance is hosted by the Neptune Township School District Board of Education. The December 21 performance is presented in collaboration with the New Jersey Performing Arts Center.

For NJSO Music Director Jacques Lacombe’s bio, see page 2. An interpretative artist of the very first rank, soprano NATHALIE PAULIN has collaborated with internationally renowned conductors including Jane Glover, Yannick Nézet-Séguin, Antony Walker, Roger Norrington, Andrew Parrott, Bernard Labadie, Michael Christie, Robert Spano, Graeme Jenkins and Andrew Litton on both concert and opera stages. Paulin’s 2014–15 engagements include the title role in La Calisto for Cincinnati Opera, the title role in Theodora for Vancouver Early Music, the Countess in The Marriage of Figaro for Opera Lyra Ottawa and solo soprano roles in Carmina Burana for Festival de Lanaudière, Messiah for Orchestre symphonique de Trois-Rivières and Beethoven’s Mass in C with Kent Nagano conducting Tafelmusik. Last season included engagements as Micaëla in Opera Tampa’s Carmen and performances of music by Handel and Vivaldi with Harry Christophers and the Handel and Haydn Society, as well as Beethoven’s Symphony No. 9 with the Seattle Symphony. She performed as Marie in Wozzeck with Ensemble nouvelle moderne de Montréal and in Poème de l’amour et de la mer with Orchestre symphonique de Laval. Further credits include engagements with the Wexford Festival, Rotterdam Philharmonic, Opera de Lafayette, Chicago Opera Theater, Bard Summerscape and Boston Baroque.

Canadian mezzo-soprano MIREILLE LEBEL grew up in Vancouver and studied music at the University of Toronto and the University of Montréal. Following her studies, she was awarded major grants by the Canada Council and the Jacqueline Desmarais Foundation and furthered her artistic training as a member of the Atelier Lyrique de l’Opéra de Montréal. While in Montréal, she won the Jeunes Ambassadeurs Lyriques competition and was invited to join the ensemble at Theater Erfurt, Germany, where she has sung the title roles in La Cenerentola, Carmen and Hänsel und Gretel, as well as Sesto in La Clemenza di Tito and Julius Caesar, Nerone in Poppea, Idamante in Idomeneo, Cherubino in The Marriage of Figaro, Prince Orlovsky in Die Fledermaus and Olga in Eugene Onegin. In addition to her work in the Theater Erfurt ensemble, her guest engagements have taken her to Theater Basel, Opéra de Tours, Opéra de Nice, Toronto’s Opera Atelier, Opéra-Théâtre de Metz and the Schwetzingen Festival. She has made several recordings with the Boston Early Music Festival, two of which, Lully’s Thésée and Psyché, were nominated for Grammy Awards.

www.njsymphony.org 9 ABOUT THE ARTISTS

A native of British Columbia, tenor ISAIAH BELL recently made his Lincoln Center debut with the Mostly Mozart Festival as Damon in Mark Morris’ production of Acis and Galatea conducted by Nicholas McGegan. Engagements during the 2014–15 season include his debut at the Bethlehem Bach Festival, Mendelssohn’s Lobgesang with the Vancouver Symphony, Written on Skin with the Toronto Symphony, performances and a recording of L’Aiglon led by Orchestre symphonique de Montréal’s Kent Nagano, Heart of Darkness for Opera Parallele in San Francisco and Messiah with Orchestre symphonique de Trois- Rivières with Jacques Lacombe. Career highlights include St. Matthew Passion with Yannick Nézet-Séguin and Orchestre Metropolitain du Grand Montréal and Britten’s Owen Wingrave at the Edinburgh Festival. Bell was a member of Atelier Lyrique de l’Opéra de Montréal, attended the Universität Mozarteum in Salzburg and holds a Bachelor of Music degree from the University of Victoria. He is also the composer and librettist of four operas and a number of song cycles. Winner of the vocal prize at the National Music Festival, he includes Schubert’s Winterreise and Schumann’s Liederkreis in his recital repertoire.

Canadian bass-baritone GORDON BINTNER made his European debut singing the role of Colline in Puccini’s La Bohème with Angers-Nantes Opera in France. In the summer of 2012, Bintner sang the role of Nardo in Mozart’s La Finta Giardiniera at the Merola Opera Program in San Francisco. He also performed with the San Francisco Opera Orchestra, singing repertoire by Mozart, Rossini and Donizetti. Bintner made his debut at Opéra de Montréal singing the role of Lescaut in Massenet’s Manon in 2013. Later that year, he sang the role of Escamillo in Bizet’s Carmen with Saskatoon Opera. Upcoming engagements include roles as Junior in Bernstein’s A Quiet Place with Montreal Symphony Orchestra and Official Registrar in Puccini’s Madama Butterfly with Canadian Opera Company, Handel’s Messiah with Orchestre symphonique de Trois-Rivières, Mozart’s Mass in C Minor with Toronto Symphony Orchestra, Basilio in Rossini’s The Barber of Seville with Canadian Opera Company Ensemble Studio Performance and Beethoven’s Symphony No. 9 with McGill Chamber Orchestra. He is a member of the Canadian Opera Company Ensemble Studio.

10 www.njsymphony.org ABOUT THE ARTISTS

Over the last decade, the Montclair State University (MSU) choral program has been recognized for its successful collaborations with numerous world-renowned artists and celebrated professional musicians in national and international venues. The MONTCLAIR STATE UNIVERSITY SINGERS is a mixed-voice elective choir comprising undergraduate and graduate students and is accompanied by pianist Steven W. Ryan. Its repertoire encompasses sacred and secular genres from the Renaissance to the 21st century, with special interest in contemporary composers. Previous highlights include Mozart’s Requiem with the NJSO, New York Choral Festival Showcase Concerts performances at Carnegie Hall and Alice Tully Hall, collaborations with Meredith Monk and Vocal Ensemble and tours of Central Europe and Russia. They recorded the CD “Songs of Ascension” with Meredith Monk and Vocal Ensemble on the prestigious European label ECM Records under legendary producer Manfred Eicher. This collaboration was included in the Producer of the Year section of the 2012 Grammy nominations. Building on a distinguished 105-year history, MSU is proud to be a leading institution of higher education in New Jersey.

Australian-born conductor HEATHER J. BUCHANAN, PhD, is professor of music and director of choral activities at Montclair State University, where she conducts the Chorale, University Singers and Vocal Accord. Choirs under her direction have won critical acclaim and have collaborated with world-renowned artists including Meredith Monk, Richard Alston, Mícheál Ó Súilleabháin, Tarik O’Regan and Chen Yi. Buchanan is co-editor and compiler of the landmark GIA Publications choral series Teaching Music through Performance in Choir and has released a DVD, Evoking Sound: Body Mapping & Gesture Fundamentals. A licensed Andover educator, Buchanan specializes in the teaching of body mapping for musicians and holds degrees from the University of New England in Australia, Westminster Choir College of Rider University and the Queensland Conservatorium at Griffith University in Australia. A vibrant teacher, dynamic performer and passionate advocate for musicians’ health, she is in demand as a guest conductor, somatic educator and choral clinician in the United States and abroad.

THE NJSO WELCOMES THE FOLLOWING GROUP: Nowak Family Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

GEORGE FRIDERIC HANDEL HANDEL: Messiah Born: February 23, 1685, in Halle, Certain works of classical music belong to Germany everyone, regardless of cultural background. Died: April 14, 1759, in London, Handel’s Messiah has universal appeal England not only because of its association with the Composed: Handel composed his holiday season (although Charles Jennens’ most famous oratorio in a period of text places it more accurately as an Easter 24 days from late August to mid- work), but also because Handel’s lovely arias September 1741 in London. and bubbling choruses lift us up. They are, World premiere: April 13, 1742, collectively, a cause for celebration. The in Dublin, Ireland. joining together of large performing forces—a NJSO premiere: 1976–77 season modern phenomenon that would have amazed with the Westminster Symphonic Handel—with unfailingly enthusiastic Choir; John Nelson conducted. audiences is among the most convivial Duration: 2 hours 30 minutes, traditions in our society. including intermission Handel was born in Germany and educated in Germany and Italy; he spent his mature career in England, his adopted home. Born the same year as Johann Sebastian Bach, Handel lived a far more cosmopolitan life, and he must be counted among the most international of composers. Recognizing early on that his future success lay in Italian opera, he went to Florence in 1706 at the invitation of Prince Ferdinando de’ Medici. During his Italian years, his path crossed that of Vivaldi, Albinoni, Caldara, Corelli and both Alessandro and Domenico Scarlatti. He cultivated a variety of vocal music—including operas, oratorios and chamber cantatas—and he mastered important instrumental forms like concerto and sonata. When Handel left Italy in 1710 for Hanover and, eventually, England, he was a highly accomplished composer and a superb organist. Initially, he made his reputation in London through Italian opera, but by the late 1720s, English taste was changing. The highly successful run of John Gay’s The Beggar’s Opera (1728) led to a sea change in popular demand. English audiences now wanted their musical entertainment in English, and the future of Italian opera in London looked grim. Ever the pragmatist, Handel turned his energies in the 1730s to a series of sacred oratorios. Messiah is the crown jewel among them. While its first London performance in 1743 received an indifferent reception, Handel had the satisfaction of witnessing Messiah’s improved fortunes. After 1750, when a performance was presented in London to benefit a Foundling Hospital, Messiah became an annual event. That tradition has taken firm hold in many countries besides England. Handel’s librettist for Messiah was Charles Jennens, a wealthy Englishman with whom he had collaborated on the 1738 oratorio Saul. Jennens selected his texts primarily from the Book of Common Prayer, also drawing on the Book of Isaiah and the Gospels. Far from being exclusively Christmas-season texts, Jennens’ words also have relevance to Easter, Ascension and Pentecost. As English music administrator and writer Nicholas Kenyon has observed: “Messiah is an oratorio which celebrates the whole of Christ’s work, from its anticipation in the prophecy

12 www.njsymphony.org PROGRAM NOTES of the Old Testament, through his life, suffering, death and Resurrection, to his future second coming in glory.” No small order for a composer, that. But Handel was equal to the task. Winton Dean has admirably summarized some elements of what makes Messiah so special: The greatness of Messiah—Handel’s only sacred oratorio in the true sense and therefore untypical—derives on one level from its unique fusion of the traditions of Italian opera, English anthem and German passion, and on another from the coincidence of Handel’s personal faith and creative genius to express, more fully than in any other work of art, the deepest aspirations of the Anglican religious spirit. To the chorister, whether in a formal performing ensemble or in an audience participating from a seat in the hall, Messiah is more than what Dean describes. Who can resist the excitement of the full chorus’ first entrances in “And the glory of the Lord”? What choral singer does not greatly anticipate the prospect of negotiating the formidable melismas in the fugue subjects of “And he shall purify” and “His yoke is easy, and His burden is light”? Is there any choral movement that encapsulates the spirit of the holiday season so perfectly as “For unto us a child is born”? Here is music that speaks to the spirit in the most warm and communicative of ways; here is music that is fun—albeit very demanding!—to sing. And for those moments of participatory repose between choruses, Handel provides a wealth of glorious solo music for our enjoyment, including some recitatives as moving as any operatic example: “Then shall the eyes of the blind be open’d” (preceding “He shall feed His flock/Come unto Him”) and “Thy rebuke hath broken his heart” (leading to “Behold, and see if there be any sorrow”) come immediately to mind. To Messiah as well belongs the most famous and revered tradition in all choral music: the entire audience rising to stand at the conclusion of Part II, when the orchestra intones the familiar three introductory measures of “Hallelujah.” We invite our audiences to stand and enjoy this singular moment in the choral tradition. Among the other favorites in this rich family of arias, recitatives, orchestral interludes and choruses are the tenor arias “Comfort Ye” and “Ev’ry Valley Shall be Exalted,” soprano arias “Rejoice Greatly” and “I Know that my Redeemer Liveth,” the bass aria “The Trumpet Shall Sound” and the incomparable contralto solo “He was despised.” With the latter is associated a wonderful story that epitomizes the spirit of Messiah. On the occasion of the work’s world premiere in Dublin on April 13, 1742, the contralto soloist was the English singer and actress Susannah Maria Cibber, the sister of composer Thomas Arne. Several years previously, she had eloped with her lover, John Sloper. The scandal precipitated a lawsuit initiated by the cuckolded husband, Theophilus Cibber. Susannah Cibber was forced to retire from public appearances for several years, and she chose to reside quietly in the Berkshire countryside with Sloper.

www.njsymphony.org 13 PROGRAM NOTES

In 1741, Cibber traveled to Dublin for a single season at the Aungier Street Theatre. Travel was slow in the mid-18th century, but gossip, as always, made its way rapidly. Cibber’s muddied reputation preceded her. Handel had met Susannah Cibber in 1733, when she sang in the first performance of his oratorio Deborah. They liked and respected each other. When he arrived in Dublin to prepare for the premiere of Messiah, he contracted with her to perform as one of his soloists. His decision, though risky with respect to public opinion, was artistically sound. So sweet was her singing, and so transporting her interpretation, that a distinguished member of that first audience, the Reverend Dr. Delany, was moved to rise from his seat and exclaim: “Woman, for this, be all thy sins forgiven!” No such drama is expected from modern audiences, but singers and instrumentalists alike take great pride in faithful execution of this immortal score. More than 270 years after that first performance, Handel’s music is still capable of transporting us to a higher plane. Instrumentation: Messiah was originally scored for strings and continuo, plus solo trumpet for the obbligato aria “The Trumpet Shall Sound.” For the London performances in 1743, Handel added oboes and bassoons, doubling the strings during the choruses. Today, Messiah is generally performed with oboes, bassoon, trumpets, timpani, strings, harpsichord and organ continuo, a quartet of vocal soloists and mixed chorus.

SEE THE ART STRINGS PAINTED VIOLINS RAFFLE IN THE NJPAC LOBBY Sat, Dec 13 at 8 pm – POPS: A Take 6 Holiday with the NJSO Sun, Dec 21 at 3 pm – Handel’s Messiah Fri, Jan 9 at 8 pm – Winter Festival: Lacombe Conducts Romeo and Juliet Sat, Jan 24 at 8 pm – Winter Festival: West Side Story with Sarah Chang For more information, visit www.njsymphony.org/artstrings.

14 www.njsymphony.org Sat, Jan 3, 2015, at 3 pm NJPAC in Newark

JACQUES LACOMBE MUSIC DIRECTOR Sun, Jan 4, 2015, at 3 pm State Theatre in New Brunswick

Starring BUGS BUNNY Conducted by GEORGE DAUGHERTY Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG Also Starring ELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER TWEETY SYLVESTER PEPE LE PEW PENELOPE PUSSYCAT GRANNY GIOVANNI JONES MICHIGAN J. FROG MARVIN THE MARTIAN SPEEDY GONZALES TASMANIAN DEVIL YOSEMITE SAM FOGHORN LEGHORN WITCH HAZEL . . . and special guest starring appearance by TOM AND JERRY Music by CARL W. STALLING MILT FRANKLYN SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt Animation Direction by CHUCK JONES FRIZ FRELENG ROBERT CLAMPETT TEX AVERY ROBERT McKIMSON ABE LEVITOW WILLIAM HANNA JOSEPH BARBERA Voice Characterizations by MEL BLANC ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY HANS CONRIED and NICOLAI SHUTOROV as Giovanni Jones “I Tawt I Taw A Puddy Tat” and “Coyote Falls” Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ Produced in Association with IF/X PRODUCTIONS SAN FRANCISCO Official Website www.BugsBunnyattheSymphony.net Original Soundtrack Recording on WATERTOWER MUSIC www.watertower-music.com Follow Bugs Bunny at the Symphony II on Facebook and Twitter! BUGS BUNNY AT THE SYMPHONY II

THE PROGRAM “JOHANN MOUSE” (Scenes) Music by Scott Bradley, after Johann Strauss II ACT I Piano Solos by Jakob Gimpel Narrated by Hans Conried THE DANCE OF THE COMEDIANS Story and Animation Direction by from “The Bartered Bride” WILLIAM HANNA and JOSEPH BARBERA by Bedřich Smetana and “TOM AND JERRY THE WARNER BROS. FANFARE IN THE HOLLYWOOD BOWL” Music by Max Steiner Music by Johann Strauss II (Overture to “Die Fledermaus”) “MERRILY WE ROLL ALONG” Music Originally Arranged by Scott Bradley (“The Merrie Melodies Theme”) Story and Animation Direction by Music by Charles Tobias, Murray Mencher, WILLIAM HANNA and JOSEPH BARBERA and Eddie Cantor, Arranged and Orchestrated by Carl W. Stalling “BACK ALLEY OPROAR” (Scene) Music by Carl W. Stalling “BATON BUNNY” “Largo Al Factotum” by Gioachino Rossini from Music by Milt Franklyn “The Barber of Seville” Based on the Overture to “Morning, Noon, Story by Michael Maltese and Tedd Pierce and Night in Vienna” Animation Direction by by Franz von Suppé FRIZ FRELENG Story by Michael Maltese Animation Direction by CHUCK JONES and ABE LEVITOW “ZOOM AND BORED” Music by Carl W. Stalling and Milt Franklyn “SHOW BIZ BUGS” Based on “The Dance of the Comedians” Music by Milt Franklyn from “The Bartered Bride” by Bedřich Smetana “Jeepers Creepers” by Harry Warren Story by Michael Maltese and Johnny Mercer Animation Direction by “Those Endearing Young Charms” Irish Folk CHUCK JONES Melody, words by Thomas Moore Story by Warren Foster Animation Direction by PEPE LE PEW, FRIZ FRELENG LE CHANTEUR ROMANTIQUE “FOR SCENT-IMENTAL REASONS” “RHAPSODY RABBIT” (Scenes) Music by Carl W. Stalling Music by Carl W. Stalling Based on “Hungarian Rhapsody No. 2” Story by Michael Maltese by Franz Liszt Animation Direction by CHUCK JONES Piano Solo performed by Milt Franklyn “A SCENT OF THE MATTERHORN” (Scene) Story by Tedd Pierce and Michael Maltese Music by Milt Franklyn “Tiptoe Through The Tulips” Music by Joe Burke, Animation Direction by and Lyrics by Al Dubin FRIZ FRELENG Story and Animation Direction by CHUCK JONES “SCENT-IMENTAL ROMEO” (Scenes) Music by Carl W. Stalling “Baby Face” Music by Harry Akst, and Lyrics by Benny Davis Story by Michael Maltese Animation Direction by CHUCK JONES

16 www.njsymphony.org BUGS BUNNY AT THE SYMPHONY II

“THE RABBIT OF SEVILLE” “LONG-HAIRED HARE” (Scene) Music by Carl W. Stalling Music by Carl W. Stalling Based on the Overture to “The Barber of Seville” after Wagner, von Suppé, Donizetti, and by Gioachino Rossini Rossini Story by Michael Maltese Story by Michael Maltese Animation Direction by Animation Direction by CHUCK JONES CHUCK JONES

~INTERMISSION~ “WHAT’S OPERA, DOC?” Music by Milt Franklyn Based on music from “The Flying ACT II Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “I TAWT I TAW A PUDDY TAT” “Tannhäuser” Music and Lyrics by Alan Livingston, by Richard Wagner Billy May, and Warren Foster Story by Michael Maltese Musical Adaptation and Orchestration by Animation Direction by Christopher Lennertz CHUCK JONES With original voices by Mel Blanc and June Foray Executive Producer: Sam Register Story and Animation Direction by MERRIE MELODIES MATTHEW O’CALLAGHAN “THAT’S ALL FOLKS” and Music Arranged and Orchestrated “COYOTE FALLS” by Carl W. Stalling Music by Christopher Lennertz Voice Characterization by Noel Blanc Story by Tom Sheppard Executive Producer: Sam Register Program Subject To Change Without Notice. Story and Animation Direction by LOONEY TUNES and all related characters and MATTHEW O’CALLAGHAN elements are trademarks of and © Warner Bros. Entertainment Inc. “ROBIN HOOD DAFFY” (Scenes) TOM AND JERRY and all related characters and elements are trademarks of and © Turner Music by Milt Franklyn Entertainment Co. Story by Michael Maltese (s15) Animation Direction by CHUCK JONES and “DUCK AMUCK” Music by Carl W. Stalling Story by Michael Maltese Animation Direction by CHUCK JONES

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PRODUCTION, CREATIVE, and TOURING STAFF Creator / Music Director / Special Effects and CGI/ Music Transcription Conductor / Producer Animation Editor and Restoration George Daugherty Shawn Carlson Ron Goldstein Caryn Rasmussen Creator / Producer / Sound Design, Sound Effects, Leo Marchildon Technical Director / and Re-Mastering Robert Schietroma Tour Director Robb Wenner Cameron Patrick David Ka Lik Wong John Larabee Robert Guillory Production Touring Musicians Audio Mixer and Tour Special thanks to USC/ (Rotating) Sound Supervisor Warner Bros. Music Archives Jo Pusateri, Marty Bierman Music Copyists Principal Percussion New CGI Animation Elements Caryn Rasmussen Robert Schietroma, Lawton Design Robert Schietroma Principal Percussion Michael Hernandez Stephanie Lynne Smith, New Animation Elements John Norine Principal Pianist Warner Bros. Animation Jeff Turner Keisuke Nakagoshi, Audio CD Producers Valle Music Principal Pianist George Daugherty Judy Green Music Brenda Vahur, David Ka Lik Wong Principal Pianist Steve Linder Production Associate Matthew So Art Director, CGI Producer, Sound Effects Editors and Graphics / Robb Wenner Video and Audio Production Animation Designer John Larabee Coordinated and Executed by Melinda Lawton IF/X Productions Music Supervisor San Francisco Editors David Ka Lik Wong George Daugherty Exclusive Worldwide David Ka Lik Wong Click Masters Representation Scott Draper Mako Sujishi IMG ARTISTS Mark Beutel Robb Wenner Maureen Taylor, Peter Koff John Larabee General Management, Special thanks to Kristopher Carter Vice President, Tour Keep Me Posted, Burbank and Artist Manager Grant Chaput, Orchestral Booking Manager

IF/X WISHES TO EXTEND ITS SPECIAL THANKS TO: Warner Bros.; Warner Bros. Consumer Products; Warner Bros. Animation; WaterTower Music; The Sydney Symphony, The Sydney Opera House, and The Sydney Opera House Recording Studios and Facilities; The Power Station Recording Studios, New York; U.S.C. Film School/Scoring for Motion Pictures and Television; U.S.C. Film/ Music Archives; U.C.L.A. Film Archives; The Chuck Jones Center for Creativity; Chuck Jones Enterprises; Linda Jones Productions; Post Effects Chicago; Screen Magazine; and very special personal thanks to Isabelle Zakin, Bruce Triplett, Foote Kirkpatrick, Ruth L. Ratny, Mike Fayette, Rick Gehr, Melinda Lawton, and Charlene Daugherty.

George Daugherty dedicates this concert to the memory of his mother, Charlene Elizabeth Daugherty. 18 www.njsymphony.org BUGS BUNNY AT THE SYMPHONY II

BUGS BUNNY AT THE SYMPHONY II had its world premiere on July 5, 2013, at the Hollywood Bowl, with the Los Angeles Philharmonic.

BUGS BUNNY AT THE SYMPHONY had its world premieres on May 7, 2010, at the Sydney Opera House with the Sydney Symphony; and July 16, 2010, at the Hollywood Bowl, with the Los Angeles Philharmonic.

BUGS BUNNY ON BROADWAY had its world premiere on June 16, 1990, at the San Diego Civic Theatre; its Broadway premiere at the Gershwin Theatre, New York City, on October 2, 1990; and its international premiere on May 15, 1996, at the Sydney Opera House, Sydney, Australia. BIOGRAPHIES . . . BUGS BUNNY Bugs Bunny is one of the most recognized cartoon characters in the world, whose signature phrase “What’s Up, Doc?” has long since entered the English language.

Bugs’ first ‘reel’ appearance in front of his soon-to-be-adoring public was in A Wild Hare directed by Tex Avery. Since then, Bugs’ zany antics in hundreds of cartoon favorites have made him a legend throughout the world.

This cool, collected, carrot-chomping rabbit is the unequivocal superstar of the Looney Tunes family. With never a ‘hare’ out of place he always manages to outsmart his adversaries, whoever they may be. He’s a real American icon who has graced the TV and cinema screens the world over.

Bugs Bunny’s cartoons have twice been nominated for Academy Awards, and his Knighty Knight Bugs won a coveted Oscar. Bugs has starred in four films in addition to his hundreds of animated shorts and 21 prime time television specials. GEORGE DAUGHERTY Conductor George Daugherty is one of the classical music world’s most diverse artists. In addition to his 35-year conducting career which has included appearances with the world’s leading orchestras, ballet companies, opera houses, and concert artists, Daugherty is also an Emmy Award- winning / five-time Emmy nominated creator whose professional profile includes major credits as a director, writer, and producer for television, film, innovative and unique concerts, and the live theater.

Since 1993, he has conducted over 20 performances at The Hollywood Bowl with the Los Angeles Philharmonic and Hollywood Bowl Orchestra (most recently in 2013, with a return scheduled for 2015), and an equal number with The National Symphony Orchestra at Wolf Trap (most recently, in 2013 with a pair.) His current and recent conducting schedule includes multiple performances with St. Louis Symphony (returning for the fourth time), Pittsburgh Symphony, Minnesota Orchestra, The Cleveland Orchestra at both Severance Hall and the Blossom Festival, The Philadelphia Orchestra, San Francisco Symphony, as well as appearances with dozens of other orchestras in the U.S., Canada, and abroad. He has been a frequent guest conductor at the Sydney Opera House since 1996, and in both 2002 and 2005, he returned to guest conduct the Sydney Symphony Orchestra at the Sydney Opera House. In 2010, he returned to the Sydney Symphony at the Opera House for

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performances of two different programs, and recorded a new CD with the orchestra. Recently, he also made his debuts with the Baltimore Symphony, Dallas Symphony, Omaha Symphony, Calgary Philharmonic, Kitchener-Waterloo Symphony, Malaysian Philharmonic Orchestra, West Australia Symphony Orchestra, the Danish National Symphony Orchestra, and multiple engagements with the RTÉ Concert Orchestra at both the National Concert Hall, and the new Grand Canal Theatre, both in Dublin, Ireland. He has been a frequent guest conductor de Bellas Artes Opera House in Mexico City, where he has conducted the Orquesta del Teatro de Bellas Artes in ballet and opera productions.

In 2012, he was appointed Music Director of Ballet San Jose, where he conducts nearly 50 performances per season for the company, with Symphony Silicon Valley in the orchestra pit. This past season, he also conducted a major international gala for the company starring principal dancers from American Ballet Theatre, New York City Ballet, San Francisco Ballet, Boston Ballet, and other major companies. In summer 2013, he made his debut conducting The Russian National Orchestra at the internationally acclaimed Napa Valley Festival del Sol, presiding over the reconstruction of a long-lost Fokine ballet with music by Rachmaninoff, plus an international ballet gala.

He has also been a frequent conductor of London’s Royal Philharmonic Concert Orchestra, with whom he first made his debut in Royal Festival Hall, and most recently conducted a 15-city U.S. and Canadian concert tour with the orchestra and guest artists Dame Julie Andrews, Christopher Plummer, Charlotte Church, dancers of the Royal Ballet, and the Westminster Choir and Bell Ringers.

Daugherty has also conducted for scores of major American and international symphony orchestras, ballet companies, and opera houses, including numerous performances with the Houston Symphony, Seattle Symphony, American Ballet Theatre, Munich State Opera and Ballet, Fort Worth Symphony, Indianapolis Symphony, National Arts Centre Orchestra, Atlanta Symphony, Cincinnati Symphony, Milwaukee Symphony, Vancouver Symphony, Buffalo Philharmonic, Louisville Orchestra, Moscow Symphony, Kremlin Palace Orchestra of the Russian Federation, Grant Park Symphony Orchestra, Columbus Symphony, Melbourne Symphony, the Auckland Philharmonia, Adelaide Symphony, the RCA Symphony Orchestra, Sadlers Wells Royal Ballet, Mexico City’s Bellas Artes Opera House, Montreal Symphony, Winnipeg Symphony, Rochester Philharmonic, Syracuse Symphony, Memphis Symphony, Long Beach Symphony, Pacific Symphony, Edmonton Symphony, North Carolina Symphony, Charlotte Symphony, Delaware Symphony, Tucson Symphony, New Orleans Symphony, Venezuela Symphony, Oklahoma City Philharmonic, Seoul Prime Philharmonic, and major Italian opera houses in Rome, Florence, Turin, and Reggio Emilia.

During the course of his career, he has also conducted for an extensive and eclectic list of international concert artists, including violinists Nadja Salerno-Sonnenberg, Cho-Liang Lin, Zachary De Pue, Rachel Lee, Kyung-wha Chung, Eugene Fodor; international opera artists Roberta Peters, Rosalind Elias, Julia Migenes, Jennifer Holloway, Rhys Meirion, Kristin Clayton, Bojan Knezevic, and Grace Bumbry; singers including Dame Julie Andrews, Etta James, Rosemary Clooney, Charlotte Church; and ensembles ranging from The Harvard Glee Club to The Westminster Choir to the Preservation Hall Jazz Band.

As a ballet conductor, Daugherty has conducted for the greatest ballet stars in the world over the past three and a half decades, including Mikhail Baryshnikov, Rudolf Nureyev, Gelsey Kirkland, Suzanne Farrell, and has been on the conducting staffs of American Ballet Theatre, the Bavarian State Opera Ballet, La Scala Ballet, and Teatro Regio di Torino Ballet. Prior to his Music Directorship with Ballet San Jose, he has been music director of The Louisville Ballet, Ballet Chicago, Chicago City Ballet, and Eglevsky Ballet, and he has guest conducted for scores of 20 www.njsymphony.org BUGS BUNNY AT THE SYMPHONY II international companies. He has conducted numerous versions of every full-length ballet, as well as scores of works by countless major choreographers ranging from George Balanchine to Sir Frederick Ashton.

As a director, writer, and producer of music-based television programs, Daugherty has created several major productions for the ABC Television Network project, including a primetime animation-and-live action production of Prokofiev’s Peter and the Wolf, which he created, co-wrote, conducted, and directed, and for which he won a Prime Time Emmy Award as producer, as well as numerous other major awards (including an additional Emmy nomination as conductor and music director.) He also collaborated with The Joy Luck Club author Amy Tan on a television series adaptation of her celebrated children’s book Sagwa, The Chinese Siamese Cat. The Emmy Award-winning 80-episode series debuted on PBS in the fall of 2001 as a daily-animated children’s television series. Daugherty executive produced, and also wrote a large number of the animated tales.

Daugherty also received an Emmy nomination for Rhythm & Jam, his ABC television network specials which taught the basics of music to a teenage audience, which he created and produced with David Ka Lik Wong.

In 1990, Daugherty created, directed, and conducted the hit Broadway musical Bugs Bunny On Broadway, a live-orchestra-and-film stage production which sold-out its extended run at New York’s Gershwin Theatre on Broadway, and has since played to critical acclaim and sold-out houses all over the world. The Bugs Bunny symphonic concert tradition continued when Daugherty and producing partner David Ka Lik Wong launched a new version, Bugs Bunny at the Symphony, in 2010, with double World Premieres at the Sydney Opera House with the Sydney Symphony, and the Hollywood Bowl with the Los Angeles Philharmonic. The current version of the concert, Bugs Bunny at the Symphony II, also created by Daugherty and Wong, premiered in 2013 with world premieres at the Hollywood Bowl/Los Angeles Philharmonic, Houston Symphony, and National Symphony at Wolf Trap. Daugherty is also the executive producer, conductor, and creator of the touring concert Rodgers & Hammerstein on Stage and Screen.

Daugherty has lived in San Francisco for the past 15 years. DAVID KA LIK WONG Bugs Bunny at the Symphony Executive Producer David Ka Lik Wong was awarded with a coveted Emmy Award for his work as producer on Peter and the Wolf in 1996, and was also nominated for an Emmy in 1994 for his work as producer of Rhythm & Jam, the ABC series of Saturday morning music education specials for children.

He teamed with George Daugherty as principal producer for the Peter and the Wolf project, the animation and live-action production starring Kirstie Alley, Lloyd Bridges, Sleepless in Seattle’s Ross Malinger, and the new animated characters of legendary animation director Chuck Jones. He also produced the interactive CD-ROM version of the production for Time Warner Interactive.

He was also the senior Producer for the Warner Bros. documentary film The Magical World of Chuck Jones, directed by George Daugherty and starring interviews by Steven Spielberg, Whoopi Goldberg, George Lucas, and Ron Howard, among many others.

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He has been Producer for the Warner Bros. touring production Bugs Bunny On Broadway since 1991, as it has toured the world, and co-produced the audio CD album and tape for Warner Bros. Records. Mr. Wong has also produced innovative symphony orchestra concerts for some of the world’s leading orchestras, including the National Symphony, The Philadelphia Orchestra, the Royal Philharmonic, the Sydney Opera House, the San Francisco Symphony, the Los Angeles Philharmonic, the Wales Millennium Centre, Sinfonia Britannia, and many others. Most recently, he produced critically acclaimed Christmas concerts for Canada’s National Arts Centre, and the National Arts Centre Orchestra. He is also Executive Producer and the co-creator of the touring concert Rodgers & Hammerstein on Stage and Screen.

Mr. Wong has teamed with George Daugherty, Amy Tan, and the legendary Sesame Workshop to produce and create the new Emmy Award winning PBS / Sesame Workshop children’s television series Sagwa, The Chinese Siamese Cat, based on the book by Ms. Tan, which premiered on PBS in the fall of 2001, and has since been one of the most highly rated children’s television series on all broadcast networks. Mr. Wong also wrote a number of episodes for the series and story-edited all 80 segments.

Mr. Wong is also the producer of the new WaterTower Music CD release of Bugs Bunny at the Symphony. In addition to his Emmy Awards and nominations, he has won numerous other awards during his career, including the Grand Award of both the Houston and Chicago International Film Festivals, a Silver Award of the Chicago Film Festival, two Parents’ Choice Awards, and the Kids First Award.

Mr. Wong was born in Hong Kong, and moved to San Francisco with his family as a teenager. He still calls San Francisco home.

SPECIAL THANKS TO SIX FLAGS GREAT ADVENTURE FOR PROVIDING LOONEY TUNES COSTUMED CHARACTERS FOR THIS ENGAGEMENT! For more information on Six Flags Great Adventure, please visit www.sixflags.com

THE NJSO WELCOMES THE FOLLOWING GROUPS: Lakeland Youth Symphony Nancy Modell’s Music Students Girl Scout Troop 65042 Andrea Beck & Friends

Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

22 www.njsymphony.org Fri, Jan 9, 2015, at 8 pm NJPAC in Newark Sat, Jan 10, 2015, at 8 pm State Theatre in New Brunswick JACQUES LACOMBE MUSIC DIRECTOR Sun, Jan 11, 2015, at 3 pm NJPAC in Newark WINTER FESTIVAL: LACOMBE CONDUCTS ROMEO AND JULIET JACQUES LACOMBE conductor RACHEL STERRENBERG soprano MINGJIE LEI tenor THE SHAKESPEARE THEATRE OF NEW JERSEY Bonnie J. Monte, artistic director NEW JERSEY SYMPHONY ORCHESTRA TCHAIKOVSKY Romeo and Juliet Fantasy-Overture

GOUNOD Selections from Romeo and Juliet “Ah! Je veux vivre” ( “Ah ! I want to live” ) “L’amour ... Ah! lève-toi, soleil!” ( “Love … Ah! Arise, o sun!” ) “Ö nuit divine: Ah! ne fuis pas” ( “O divine night: Ah! Do not go yet” ) RACHEL STERRENBERG soprano MINGJIE LEI tenor ~INTERMISSION~ PROKOFIEV Selections from Romeo and Juliet Act I: Scene I: “Two Households Both Alike in Dignity” Scene II: “Fair Verona” Scene III: “Star-Crossed Lovers” Act II: Scene I: “What’s in a Name?” Scene II: “Parting is Such Sweet Sorrow” Act III: Scene I: “Mistempered Weapons” Scene II: “Wilt thou be gone?” Scene III: “Not a Word of Joy” Act IV: Scene I: “Thus with a Kiss I Die” Act V: Scene I : “O Happy Dagger” Epilogue: “A Glooming Peace” THE SHAKESPEARE THEATRE OF NEW JERSEY

The January 10 concert is sponsored by The Horizon Foundation for New Jersey. Sponsored by Herbert & Evelyn Axelrod. CONCERT SPONSOR

For NJSO Music Director Jacques Lacombe’s bio, see page 2. American lyric soprano RACHEL STERRENBERG is a native of Madison, Georgia, and currently studies at the Curtis Institute of Music. In the 2014–15 season, she will sing the title role in Tchaikovsky’s Iolanta and Anne Trulove in Stravinsky’s The Rake’s Progress at Curtis. She makes her debut with Opera Philadelphia in June 2015 in the newly commissioned opera Yardbird and also appears with the Curtis Chamber Orchestra on its North American tour. Past roles include Adina in The Elixir of Love, Blanche de la Force in Dialogues of the Carmelites, Pamina in The Magic Flute and Armida in Rinaldo, as well as Contessa Almaviva in The Marriage of Figaro with the Princeton Symphony Orchestra and Ada Monroe in the workshop of Pulitzer Prize winner Jennifer Higdon’s first opera, Cold Mountain. Other credits include La Ciesca in Gianni Schicchi, Mary Warren in The Crucible and Donna Anna in Don Giovanni with the Chautauqua Music Festival. While attending the University of Kentucky, she appeared as the First Lady in The Magic Flute, Musetta in La Bohème and the title role in Gounod’s Romeo and Juliet.

Born in Hengyang, China, tenor MINGJIE LEI is a second-year Professional Studies Certificate candidate at the Curtis Institute of Music, studying with Mikael Eliasen and Marlena Malas. He made his Carnegie Hall debut as a soloist in Handel’s Messiah with the Cecilia Chorus and Orchestra of New York. Other credits include soloist in Stravinsky’s Pulcinella and the role of Tamino in a production of The Magic Flute at the Music Academy of the West, under the tutelage of Marilyn Horne and Warren Jones. He holds a master’s degree from the Manhattan School of Music, where he performed the roles of Leon in The Ghosts of Versailles and Arturo in Lucia di Lammermoor, and also sang as Uriel in The Creation with Manhattan School of Music Symphony Orchestra, conducted by Kent Tritle. Other credits include Don Ottavio in Don Giovanni at the Banff Centre Opera, Aeneas in Dido and Aeneas at Central Conservatory of Music in Beijing, and Nemorino in The Elixir of Love and Don Ramiro in La Cenerentola with the Curtis Institute of Music.

24 www.njsymphony.org ABOUT THE ARTISTS

Founded in 1963 as the New Jersey Shakespeare Festival, THE SHAKESPEARE THEATRE OF NEW JERSEY is one of the leading Shakespeare theatres in the nation, and the longest running on the East Coast. The 2015 season marks Artistic Director Bonnie J. Monte’s 25th year at the helm of the renowned company, the state’s largest professional theatre company dedicated to Shakespeare’s canon and other classic masterworks. Through exceptional theatrical productions and dynamic education programs, the Theatre strives to illuminate the universal and lasting relevance of the classics for contemporary audiences. The Theatre’s ambitious annual Main Stage season includes six productions as well as an adored outdoor theatre production that runs each summer at a nearby one-of-a-kind Greek amphitheatre. In addition to being an acclaimed producer of classic plays, the Theatre is New Jersey’s preeminent provider of transformative theatre education programs, including performances and workshops in underprivileged schools, free community performances, in-school residencies and classes for theater lovers of all ages and experience levels.

BONNIE J. MONTE, now in her 25th season as artistic director of The Shakespeare Theatre of New Jersey, has garnered national recognition for her highly successful revitalization of the institution, her outstanding commitment to arts education and professional training and her bold and ambitious presentations of both well-known and rarely produced classics. Prior to arriving in New Jersey, Monte worked with many prestigious theatres including the Manhattan Theatre Club and the Williamstown Theatre Festival in Massachusetts, where, as associate artistic director, she worked closely with the renowned theater producer and director Nikos Psacharopoulos for almost a decade. Monte has directed more than 50 productions for The Shakespeare Theatre and has authored a number of original translations and adaptations for the company. In addition to establishing a training ground at The Shakespeare Theatre, she also has taught and directed at universities across the nation. She obtained her BA from Bethany College in West Virginia and a graduate degree from The Hartman Conservatory, and she has received honorary doctorates from Drew University and the College of Saint Elizabeth.

THE NJSO WELCOMES THE FOLLOWING GROUP: Cedar Crest Village Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

WINTER FESTIVAL: LACOMBE CONDUCTS ROMEO AND JULIET Introduction William Shakespeare was born in 1564, thus, 2014 was his 450th birthday. He died in 1616, which means that 2016 will mark 400 years since his death. This weekend, the NJSO embarks on the first season of “Sounds of Shakespeare,” a two-year Winter Festival cycle presenting music inspired by the Bard’s plays. Three works based on Romeo and Juliet are the focus of this festival opener. “Each composer took a different approach: orchestral tone poem, opera and ballet,” says Music Director Jacques Lacombe. “Tchaikovsky’s [Romeo and Juliet Fantasy-Overture] does not relate the story from beginning to end. Rather, he takes elements of the drama. The music communicates mood and conflict, not in such a strict narrative.” Gounod’s opera Romeo and Juliet is the source of three vocal scenes, including a glorious love duet. In 2013, actors from The Shakespeare Theatre of New Jersey joined Lacombe and the NJSO to perform scenes from The Tempest as the Orchestra performed Sibelius’ interpretation of the famous play. Actors from the company return to NJSO stages this weekend to perform scenes from Romeo and Juliet woven among excerpts from Prokofiev’s ballet masterpiece. “Performers and audiences know this music well,” Lacombe says. “To hear the words that inspired Prokofiev helps the Orchestra give more character to our performance. There are moments when music alone tells the story, but the actors will enhance the experience.”

PETER ILYCH TCHAIKOVSKY TCHAIKOVSKY: Romeo and Juliet Fantasy-Overture Born: May 7, 1840, in Votkinsk, Viatka District, Russia Tchaikovsky called this work a “fantasy- Died: November 6, 1893, in St. overture.” The title distinguishes Romeo and Petersburg, Russia Juliet from the Lisztian tone poems that were Composed: Autumn 1869. Revised prevalent at the time. Tchaikovsky’s approach summer 1870; second revision to Shakespeare’s play is conceptual, rather completed August and September than a musical attempt to depict the play 1880. scene by scene. As author Michael Hoffman World premiere: March 16, 1870, has observed: “Romeo is not a piece of story- in Moscow. The second version was telling, but a series of impressions that recall first performed in St. Petersburg in February 1872. Tchaikovsky’s the tragedy of the star-crossed lovers.” definitive version from 1880 was Tchaikovsky originally intended to set introduced in Tbilisi on May 1, Shakespeare’s play as an opera. That 1886. project never came to fruition. But with this NJSO premiere: 1934–35 season; fantasy-overture, he achieved his first mature Rene Pollain conducted. masterpiece. Duration: 18 minutes Love, death and fate all figure prominently in Romeo and Juliet. All three themes preoccupied Tchaikovsky throughout his life. In the fantasy-overture, each has its musical manifestation and is clearly developed, in various guises, within the framework of sonata form. Tchaikovsky treats the melodies broadly; for example, the sword theme is not limited to the 26 www.njsymphony.org PROGRAM NOTES fighting among Mercutio, Romeo and Tybalt; it also symbolizes the enmity between the two feuding families and the lovers’ futile plight. Tchaikovsky’s orchestration is economical and brilliant, with cymbal crashes employed to great effect in rhythmically exciting passages. Tchaikovsky’s greatest achievement in Romeo and Juliet is the unforgettable love theme. Its two segments—one for Romeo and one for Juliet—intertwine beautifully and are full of longing. In the 1880 version, Tchaikovsky reworked the coda to re-emphasize the love music through recapitulation and further development. His triumphant ending provides the lovers with spiritual catharsis and redemption, making clear where lay his personal sympathies. United together eternally in death, Romeo and Juliet have the advantage over those left behind to contend with the vagaries of fate. Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, harp and strings. * * * * GOUNOD: Selections from CHARLES GOUNOD Romeo and Juliet Born: June 17, 1818, in Paris, France Adapting a Shakespeare play for opera requires the elimination of complicated Died: October 18, 1893, in Paris subplots. Gounod’s librettists pared Romeo Composed: 1865–67 and Juliet to its central elements, focusing on World premiere: April 27, 1867, arias and love duets for the two principals. at the Théâtre Lyrique in Paris Juliet’s “Ah! Je veux vivre” is a cross NJSO premiere: “Ah! Je veux between a waltz and an arietta. She sings it as vivre” received its NJSO premiere a carefree, lighthearted response to her nurse, in the 2011–12 season (Jeanine De Bique was the soloist; Jacques who has praised Paris. Juliet sings that she Lacombe was the conductor); the is not interested in a suitor or marriage: she remaining two arias are receiving wants to experience life and fulfill the dreams their NJSO premieres. of youth. Freshness and spontaneity have Duration: 15 minutes made this the most popular solo number from the opera. Romeo sings “Ah! lève-toi, soleil!” in the Capulet garden, before the balcony scene. It is a cavatina: shorter than a full-fledged aria, in a simple style with no repeated sections. Gounod’s descending bass line is a marvelous underpinning to Romeo’s romantic vocal line. “Ö nuit divine” is Romeo and Juliet’s pledge of love and commitment to marry. Gounod mixes recitative and aria, shifting mood and rhythm to reflect the characters’ emotions. Their closing line “jusqu’à demain” (“until tomorrow”) demonstrates his genius at writing love duets. Instrumentation: woodwinds in pairs (second oboe doubling English horn), four horns, two trumpets, three trombones, timpani, bass drum, cymbals, triangle, harp and strings.

www.njsymphony.org 27 PROGRAM NOTES

PROKOFIEV: Selections from SERGEI PROKOFIEV Romeo and Juliet, Op. 64 Born: April 23, 1891, in Sontzovka, Ukraine While many operas and orchestral works have been based on Romeo and Juliet, Prokofiev Died: March 5, 1953, in Moscow, Russia was the first to compose a ballet inspired by Shakespeare’s tragedy. His decision was Composed: 1935 both a stroke of genius and a monumental World premiere: December 30, challenge. 1938, in Brno, Czechoslovakia (now Czech Republic) Shakespeare’s drama was difficult to NJSO premiere: 1987–88 season; convey through ballet. In order to project Hugh Wolff conducted. the emotional and psychological nuances of Duration: one hour, including Shakespeare’s drama, the dancers required spoken portions strong acting skills. Prokofiev developed the ballet scenario with Sergei Radlov (1892– 1958), a Soviet stage director with considerable Shakespearean experience, and since World War II, Romeo and Juliet has become Prokofiev’s most beloved ballet score. The excerpts we hear correspond roughly to principal events in the play and ballet. Lacombe opens with the theme of the Montagues and the Capulets, setting forth the tension of the family feud and potential for violence, and communicating their menacing antipathy. Prokofiev paints a portrait of the innocent Juliet as we first meet her: half girl, half woman. She is untroubled and teasing—responsibility, passion and tragedy have not yet clouded her life. The next two selections present Romeo and Juliet’s initial meeting at a dance, and their subsequent courtship. The following three excerpts reflect major plot developments: the balcony scene, Romeo’s duel and the death of Tybalt, and the love scene at dawn following Romeo and Juliet’s wedding night together. The next scene is another fine character portrait, suggesting the gentle wisdom of the sympathetic priest, Friar Laurence. The final two scenes present Juliet when she has taken the potion to make her appear lifeless, thereby circumventing her parents’ wish that she marry Paris. Unaware that her lifeless appearance is induced by the potion, Romeo—now banned from the city—slips into her family crypt to mourn her, then drinks poison. Prokofiev is a master at capturing both the vibrancy and tragedy of their doomed love. These performances conclude with the powerful, threatening music of “Montagues and Capulets,” underscoring the family feud at the heart of the tragedy. Prokofiev’s music is among the greatest balletic treatments of Shakespeare. Heard with portions of the Bard’s immortal play, the music takes on additional layers of meaning and depth. Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, tenor saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, celeste, harp, piano and strings.

Learn more about these selections from Prokofiev’s full score as well as the other works on this program, at www.njsymphony.org/notesJan9-11.

28 www.njsymphony.org Fri, Jan 16, 2015, at 8 pm Richardson Auditorium in Princeton * Sat, Jan 17, 2015, at 8 pm Count Basie Theatre in Red Bank * Sun, Jan 18, 2015, at 3 pm Mayo Performing Arts Center

JACQUES LACOMBE MUSIC DIRECTOR in Morristown * * Enjoy a Winter Festival Panel Discussion beginning one hour before the performance. WINTER FESTIVAL: SARAH CHANG PLAYS BERNSTEIN JACQUES LACOMBE conductor SARAH CHANG violin ELENA PERRONI soprano HEATHER STEBBINS soprano ROY HAGE tenor NEW JERSEY SYMPHONY ORCHESTRA

DVOŘÁK Othello Overture, Op. 93

TCHAIKOVSKY Romeo and Juliet Orch. by Sergei Taneyev “Love Duet” ELENA PERRONI soprano ROY HAGE tenor

BARBER Antony and Cleopatra, Op. 40 Two Scenes HEATHER STEBBINS soprano

~INTERMISSION~

DELIUS “The Walk to the Paradise Garden” from A Village Romeo and Juliet

BERNSTEIN West Side Story Suite Arr. Newman SARAH CHANG violin

Sarah Chang’s residency with the NJSO is generously sponsored by Bank of America.

For NJSO Music Director Jacques Lacombe’s bio, see page 2. Recognized as one of the foremost violinists of our time, SARAH CHANG has performed with the most esteemed orchestras, conductors and accompanists in an international career spanning more than two decades. Since her debut with the New York Philharmonic at the age of 8, Chang has dazzled audiences with her technical virtuosity and emotional depth. This season, Chang’s appearances in North America will include the Philadelphia Orchestra, Houston Symphony, Detroit Symphony and Madison Symphony. Her European engagements will take her to Spain, Germany and Turkey; in Asia, she will appear in concert in Malaysia, Australia and New Zealand. As a recital and chamber musician, Chang regularly travels throughout the world and has performed with such artists as Pinchas Zukerman, Yefim Bronfman, Leif Ove Andsnes, Yo-Yo Ma, Isaac Stern, Wolfgang Sawallisch and members of the Berlin Philharmonic Orchestra. Chang is a past recipient of the Avery Fisher Career Grant, Gramophone’s “Young Artist of the Year” award, Germany’s “Echo” Schallplattenpreis, “Newcomer of the Year” honors at the International Classical Music Awards in London and Korea’s “Nan Pa” award. For the June 2004 Olympic games, she was given the honor of running with the Olympic Torch in New York, and that same month, she became the youngest person ever to receive the Hollywood Bowl’s Hall of Fame award. In 2004, Chang was awarded the Internazionale Accademia Musicale Chigiana Prize in Sienna, Italy, and in 2011, she was named an official Artistic Ambassador by the United States Embassy. Her most recent recording for EMI Classics—her 20th for the label—featured the Brahms and Bruch violin concertos with Kurt Masur and the Dresdner Philharmonie. More information is available at www.sarahchang.com.

Australian soprano ELENA PERRONI completed her Bachelor of Music at the Western Australian Academy of Performing Arts. She is currently completing her master’s degree in opera at the Curtis Institute of Music, where she has appeared in the roles of Adina in The Elixir of Love, Lauretta in Gianni Schicchi and Chlorina in La Cenerentola. Perroni has spent her past summers at the Chautauqua Institute, where she has performed the roles of Zerlina in Don Giovanni and Lisette in La Rondine. She will appear in the role of Anne Truelove in The Rake’s Progress this year at the Curtis Institute of Music.

30 www.njsymphony.org ABOUT THE ARTISTS

Soprano HEATHER STEBBINS, of Wellsville, New York, is a second-year master’s student at the Curtis Institute of Music studying with Marlena Malas. She completed her undergraduate degree at The Juilliard School, where she sang the role of Eleonora in Wolf Ferrari’s The Inquisitive Women. Last season, at Curtis, Stebbins sang the roles of Giannetta in Donizetti’s The Elixir of Love, Madame Lidoine in Poulenc’s Dialogues of the Carmelites and Clorinda in Rossini’s La Cenerentola. This season, she sings the role of Ciesca in Puccini’s Gianni Schicchi, makes her debut with the NJSO and sings the title role of Ariadne in Richard Strauss’ Ariadne auf Naxos.

Highlights of tenor ROY HAGE’s recent performances include the world premiere of Stephen Stucky’s The Stars and the Roses, for tenor and chamber ensemble, with the Curtis 20/21 Ensemble; his Philadelphia Orchestra debut as Zweiter Jude in Salome with Yannick Nézet-Séguin conducting; and a workshop for the roles of Reverend Veasy, Reid and Charlie in Jennifer Higdon’s first opera Cold Mountain, which is to be premiered at the Sante Fe Opera this summer. A student at the Curtis Institute of Music, Hage has performed with Opera Philadelphia, Chautauqua Music Festival, Opera Theatre of Saint Louis, Curtis Opera Theater, Yale Opera and Oberlin Opera Theater, among others.

THE NJSO WELCOMES THE FOLLOWING GROUPS: Governor Livingston High School, Collaborative Support Programs of NJ

Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

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WINTER FESTIVAL: SARAH CHANG PLAYS BERNSTEIN DVOŘÁK: Overture, Op. 93 ANTONÍN DVOŘÁK Othello “Shakespeare has been a huge source of Born: September 8, 1841, in Mühlhausen, Bohemia inspiration for many artists and composers,” says Music Director Jacques Lacombe. “For Died: May 1, 1904, in Prague, Czechoslovakia this second week of the Winter Festival, we wanted to include other plays besides Composed: Autumn 1891; completed January 18, 1892 Romeo and Juliet. Dvořák’s Othello is an interesting take on the tragedy: less violence World premiere: April 28, 1892, in Prague; the composer conducted. and jealousy, and partly inspired by the more peaceful and tender parts.” NJSO premiere: 1992–93 season; Zdenek Macal conducted. Antonín Dvořák was a proponent of absolute Duration: 15 minutes music: symphonies, concertos, sonatas, quartets. His instrumental works celebrate Czech heritage without programmatic content. In his later years, however, he began to incorporate literary and philosophical ideas into his music, beginning with three overtures: In Nature’s Realm, Carnival and Othello. Their unifying factor is a pastoral theme that opens In Nature’s Realm and recurs, transmogrified, in the other two overtures. Dvořák transforms it most freely in Othello. Penciled notes in his manuscript detail the events of the drama. A slow introduction opens the overture, laden with ominous foreshadowing of the tragedy. A motif usually dubbed “jealousy” constitutes the main theme of the Allegro. A central episode of love-music provides one of the overture’s most beautiful segments. Dvořák’s dramatic, frenetic, impassioned close is his tribute to Shakespeare. At the same time, it seals the excitement and dramatic effect of one of his finest mature orchestral works. Instrumentation: two flutes (second doubling piccolo), two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbal, bass drum, harp and strings. * * * * TCHAIKOVSKY: “Love Duet” from PYOTR ILICH TCHAIKOVSKY Romeo and Juliet, Op. Posth. Born: May 7, 1840 in Votkinsk, Viatka District, Russia Completed and orchestrated by Sergei Taneyev Died: November 6, 1893 in St. Petersburg, Russia Tchaikovsky was interested in Shakespeare Composed: Scholars disagree when his entire life. He composed several works Tchaikovsky sketched this duet. It inspired by the Bard’s plays, and he kept was unfinished when he died. returning to the idea of an opera based on World premiere: October 1894 in St. Romeo and Juliet. In letters to his brother Petersburg. Anatoly, he referred to Shakespeare’s tragedy NJSO premiere: 2000–01 season. as “that old, but eternally new subject.” After Zdenek Macal conducted Tchaikovsky died, sketches for a love duet Duration: 12 minutes drawing heavily on themes from the Romeo and Juliet Fantasy-Overture were found among his papers. The music is thus familiar, 32 www.njsymphony.org PROGRAM NOTES but with its principal melodies allocated to the singers. Instrumentation: two flutes, oboe, English horn, two clarinets, two bassoons, four horns, two trumpets, timpani, harp, strings, solo soprano and solo tenor. * * * * BARBER: Two scenes from SAMUEL BARBER Antony and Cleopatra, Op. 40 Born: March 9, 1910, in West Chester, Pennsylvania When he was awarded the commission for Antony and Cleopatra, Samuel Barber was Died: January 23, 1981, in New York City arguably the most successful American opera composer. The commissioned work’s failure Composed: 1964–66; revised 1968–74 drove Barber into seclusion for five years. He revised it for a 1974 production that was World premiere: September 16, 1966, New York City. Leontyne more favorably received. Price sang the role of Cleopatra; Cleopatra sings “Give Me Some Music” in Thomas Schippers conducted. Act I, after Antony has left for Rome, trying NJSO premiere: These performances to sever the liaison. Cleopatra reflects on are the NJSO premiere. sweet moments she has shared with him. Duration: 16 minutes Her phrase “My man of men” is a recurrent motive that symbolizes her love. She bids farewell to her attendants Iras and Charmian in “The Death of Cleopatra,” the scene in which she allows the poisonous asp (a venomous snake) to bite her. In the second half of the aria, at the words “Dost thou not see my baby at my breast that sucks the muse asleep?” Barber re-introduces her love music with Antony. The melodic fragment recurs again at “O Antony! Nay, I will take thee too: What should I stay … in this vile world?” bringing dramatic and musical closure to this moving scene. Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, piano and strings. * * * *

FREDERICK DELIUS DELIUS: “The Walk to the Paradise Garden” from Born: January 29, 1862, in A Village Romeo and Bradford, England Juliet Died: June 10, 1934, in Frederick Delius was born of German Grez-sur-Loing, France parents; he spent crucial formative years in Composed: Delius’ sketches go as far the United States, was encouraged by the back as 1898; he continued to make Norwegian composers Edvard Grieg and revisions until 1907. Christian Sinding, and lived most of his adult World premiere: February 21, 1907, life in France. Yet he was one of the most at the Komische Oper in Berlin. quintessentially English composers of the NJSO premiere: 2000–01 season; 20th century, somehow distilling the rich Christopher Seaman conducted. panoply of British expression through his Duration: 8 minutes colorful musical scores.

www.njsymphony.org 33 PROGRAM NOTES

His opera A Village Romeo and Juliet (1907) is based on a story about feuding Swiss farming families and the love affair between a young man and woman from each family. “The Walk to the Paradise Garden” is an instrumental interlude that retains a cool English character while hinting at the lovers’ passion. The title refers to a riverside tavern. The lovers flee to the Paradise Garden after being jeered at a local fair, seeking a private place to express their love. Instrumentation: two flutes, oboe, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, harp and strings. * * * * BERNSTEIN: West Side Story Suite LEONARD BERNSTEIN Arranged for violin and orchestra by Born: August 25, 1918, in David Newman Lawrence, Massachusetts Nearly 60 years after its premiere, West Died: October 14, 1990, in New Side Story has become an American classic. York City Most of us can easily recall not only tunes but Composed: Bernstein composed also lyrics to many of its songs. “Tonight,” West Side Story from 1955–57. “Maria,” “Somewhere,” “America”—all are David Newman (born March 11, 1954, in Los Angeles) composed testimony to the enduring appeal of Arthur his Suite in 2011. Laurents’ book, Stephen Sondheim’s lyrics World premiere: The musical and, perhaps most of all, Leonard Bernstein’s opened September 26, 1957, music. at New York’s Winter Garden Hollywood composer David Newman Theater. Sarah Chang played the premiere of Newman’s suite in composed this West Side Story Suite for Jackson Hole, Wyoming, on July 2, Sarah Chang in 2011. Newman—son of the 2011; Donald Runnicles conducted legendary film composer Alfred Newman the Grand Teton Music Festival and a successful Hollywood composer and Orchestra. conductor in his own right—has also written NJSO premiere: These some concert pieces. His West Side Story performances are the NJSO Suite touches on many beloved tunes from premiere of Newman’s arrangement of the West Side Bernstein’s immortal musical, and it gives Story Suite. Chang an impressive workout in the process. Duration: 18 minutes Solo violin becomes soprano opera diva, Olympic gymnast and emotional heartstring- puller in this thrilling adaptation. Instrumentation: two flutes, two oboes (second doubling English horn), three clarinets (third doubling bass clarinet), two bassoons (second doubling contrabassoon), four horns, three trumpets, three trombones, timpani, percussion, harp, celeste, piano and strings.

Learn more about the works on the program at www.njsymphony.org/notesJan16-18.

The NJSO thanks United for providing travel agreements for NJSO guest artists and conductors.

34 www.njsymphony.org SARAH CHANG RESIDENCY

VIOLIN STAR INSPIRES BOTH ON STAGE AND OFF In her eagerly anticipated return to the NJSO, Sarah Chang is making her presence known across the Garden State. During her two-week Winter Festival residency, the violin superstar is going to perform Bernstein’s West Side Story Suite in all six of the NJSO’s performance venues throughout New Jersey. Chang is an unforgettable performer, but the most lasting impression she makes in New Jersey may indeed happen outside the concert hall. As part of the residency, generously sponsored by Bank of America, Chang is visiting and leading masterclasses for two of the NJSO’s major education programs—the NJSO Youth Orchestras and the El Sistema-inspired NJSO CHAMPS (Character, Achievement and Music Project)—in between her performances with the Orchestra. The impact Chang’s presence and feedback will provide these student musicians is invaluable, says NJSO Education & Community Engagement Conductor and NJSO Youth Orchestras Artistic Director Jeffrey Grogan. “The students are incredibly excited about the fact that someone at the level of Sarah Chang is visiting them. It has given them a real boost of inspiration and confidence—it gives them a sense that what they’re doing [with their own playing] is really important, that a star on her level would come to give them advice. “I know that everything she’s going to address is going to go way beyond the notes and technique, into the really deep emotional and musical part of their playing. It will be really inspiring.” CHAMPS Artistic Director Michelle Hatcher says the program’s young musicians—all of whom started playing a string instrument within the last two years—will benefit from meeting and hearing from Chang: “The students will have the opportunity to meet an incredible artist, and they’ll get to see what some of the possibilities are. Just to have the opportunity to interact with somebody whose life has been all about music and who has had such a spectacular career is a gift. “I think these children will put a smile on her face as well,” Hatcher says, “because their budding passion for music is so evident on their faces.” For their part, CHAMPS students are excited at the possibilities of what Chang might want to teach them. Says Precious: “It’s going to be amazing to meet a violin superstar. She could help us with skills like reading notes better, better bowhold, better posture.” Kyla says she can’t wait for the “cool” visit and says Chang could teach them “how to play more professionally.” Shantreea mimes vibrato and wonders if Chang will give them tips on it. She says that learning from a professional violin soloist “sounds like the best opportunity. And I’m excited to meet someone famous for the first time!”

www.njsymphony.org 35 Thu, Jan 22, 2015, at 7:30 pm bergenPAC in Englewood * Sat, Jan 24, 2015, at 8 pm NJPAC in Newark * JACQUES LACOMBE MUSIC DIRECTOR Sun, Jan 25, 2015, at 3 pm State Theatre in New Brunswick * * Enjoy a Winter Festival Panel Discussion beginning one hour before the performance. WINTER FESTIVAL: WEST SIDE STORY WITH SARAH CHANG

JACQUES LACOMBE conductor SARAH CHANG violin NEW JERSEY SYMPHONY ORCHESTRA

ELGAR Falstaff, Op. 68

KORNGOLD Much Ado About Nothing Suite, Op. 11 Overture Mädchen im Brautgemach” (Bridal Morning) “Holzapfel und Schlehwein (Marsch der Wache)” (“Dogberry and Verges – March of the Watch”) Intermezzo (“Gartenszene”) (Intermezzo – “Garden Scene”) Hornpipe

~INTERMISSION~

BERNSTEIN West Side Story Suite Arr. Newman SARAH CHANG violin

Sarah Chang’s residency with the NJSO is generously sponsored by Bank of America.

For NJSO Music Director Jacques Lacombe’s bio, see page 2. For Sarah Chang’s bio, see page 30.

WINTER FESTIVAL: WEST SIDE STORY WITH SARAH CHANG Our Winter Festival concludes this weekend with a look at two Shakespeare plays that have not figured on the previous concerts, complemented by a welcome revisit of Romeo and Juliet. Edward Elgar, a Shakespeare enthusiast, was fascinated by the character of Sir John Falstaff. He based his symphonic poem Falstaff on events in Henry IV and Henry V, not The Merry Wives of Windsor. Erich Wolfgang Korngold is best known for film scores from Hollywood’s Golden Age. His incidental music to Much Ado About Nothing is earlier, dating from Korngold’s youth. The sparkling score is unusual for its inclusion of a harmonium part. Violinist Sarah Chang concludes the program with Leonard Bernstein’s West Side Story Suite. “Sarah really connects with our audience,” declares Music Director Jacques Lacombe. “We are pleased to feature her in this great piece that was arranged for her.” * * * *

SIR EDWARD ELGAR ELGAR: Falstaff, Op. 68 Born: June 2, 1857, in The guy is severely overweight, he’s conceited Broadheath, near Worcester, and he drinks too much. Falstaff is not your England conventional hero. Died: February 23, 1934, in Worcester Nevertheless, he is an affectionate favorite among Shakespeare’s dozens of piquant Composed: April to September 1913. The earliest sketch is dated characters, and he plays an essential role in 1902. the two histories Henry IV and Henry V, as World premiere: October 1, 1913, well as in the comedy The Merry Wives of at the Leeds Festival. Windsor. Falstaff’s rich and multi-faceted personality had already inspired two great NJSO premiere: 1975–76 season; Henry Lewis conducted. operas by the time Elgar turned his attention to the topic. Both Otto Nicolai’s Die Lustigen Duration: 35 minutes Weiber von Windsor (1849) and Verdi’s Falstaff (1893) derive from Shakespeare’s comedy, portraying Falstaff as a sympathetic buffoon. Elgar took a different approach, turning instead to the historical plays. He was exceptionally well read in Shakespeare. In addition to having studied Henry IV and Henry V carefully, he also delved into literary criticism. Maurice Morgann’s 1777 “Essay on the Dramatic Character of Sir John Falstaff” and the writings of the Victorian scholar Edward Dowden were major influences. Both of them emphasized Falstaff’s nobility along with his weakness. Elgar was similarly struck by the contradictions in Falstaff’s personality. For him, Sir John was first and foremost “a knight, a gentleman and a soldier.” Falstaff was Elgar’s last major work before World War I erupted. He considered

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it his orchestral masterpiece. He told Ernest Newman, who wrote program notes for the premiere: “Falstaff is the name but Shakespeare—the whole of human life—is the theme. A theatre conductor could easily have given a heavy scherzo and called it Falstaff—but you will see I have made a larger canvas—and over it all runs—even in the tavern—the undercurrent of our failings and sorrows.” Falstaff consists of one extended movement with connections to sonata form. Broadly speaking, it has four major divisions, opening with an extended section introducing Falstaff and Prince Harry. Elgar then takes us through the tale, moving to various locales. First is Eastcheap, with a scene in the Boar’s Head Inn, Falstaff’s preferred watering hole, where Prince Harry mingles with commoners. The action then traces Falstaff’s march to Gloucestershire, a battle and the return to London to acknowledge and greet his new monarch. At Westminster, Prince Harry—now King Henry V—repudiates Falstaff and banishes him. The piece concludes with a symphonic epilogue portraying Falstaff on his deathbed. Rich character portraits pepper this episodic score, and at the center is the title character. Elgar introduces Sir John with several themes that summarize his cajoling character and his flattering view of himself. The wide leaps in his signature theme suggest the gaps between truth and reality. Prince Harry has a march theme: straightforward and less complex. We also meet Mistress Quickly. In two interludes, Falstaff thinks back on events of his youth, including a happy time when he was page to the Duke of Norfolk. The interludes provide contrast and a shift in pacing. Elgar unifies this sprawling work with amazing instrumental fluency. Virtually every instrument has a cameo solo, with especially prominent roles for principal bassoon and the concertmaster. Sometimes the sonorities suggest Renaissance music—for example, when oboe and clarinet play in parallel fourths. Elsewhere, Elgar demonstrates his technical expertise with fugal textures. Yet there is never any doubt that this piece is a vehicle for modern symphony orchestra. Falstaff draws us into the complex psychological fabric of this flawed hero. Elgar persuades listeners to share his more sympathetic view. Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, tambourine, triangle, cymbals, bass drum, tabor, two harps and strings. * * * * KORNGOLD: Much Ado About Nothing Suite, Op. 11 Remember those swashbuckling and romantic Errol Flynn movies from the 1930s and 1940s—The Sea Hawk, The Adventures of Robin Hood, Captain Blood, Anthony Adverse and The Private Lives of Elizabeth and Essex? A substantial part of their aura was the sweeping, lush scores of Erich Wolfgang Korngold, one of the greatest film composers in Hollywood history. Korngold was a child composition prodigy. As an adolescent, he produced scores that elicited praise from Richard Strauss and Gustav Mahler. He published a piano trio at age 12; by the time he was 16, both Artur Nikisch and Felix 38 www.njsymphony.org PROGRAM NOTES

Weingartner had conducted his music in ERICH WOLFGANG KORNGOLD Vienna. Born: May 29, 1897, in Brno, Czechoslovakia His meteoric career expanded to cinema in 1929, when he began working with the Died: November 29, 1957, in Hollywood, California Austrian director Max Reinhardt. Inevitably, involvement in the film industry took him Composed: 1918–19 across the Atlantic to Hollywood. Because of World premiere: January 24, the rise of Nazism, Korngold eventually settled 1920, in Vienna. The composer permanently in Southern California, changing conducted the Vienna Symphony Orchestra. his citizenship in 1943. NJSO premiere: These Toward the end of World War I, the Vienna performances are the NJSO Volksbühne commissioned Korngold to premiere. compose incidental music for a production Duration: 17 minutes of Shakespeare’s Much Ado About Nothing. Korngold jumped on the project, despite the restrictions of writing for a small ensemble. He was enchanted by the subject matter, in large part because he was courting Luise (Luzi) von Sonnenthal, a Viennese woman whom he subsequently married. Fueled by the passion and excitement of youthful love, Korngold completed 14 short movements of his sparkling score by the end of 1918, orchestrated the following summer. He subsequently compiled five movements into an orchestral suite of delightful intimacy. Individual instrumental colors capture the spice and tartness of Beatrice and Benedick’s verbal sparring. Their feisty relationship is the driving force in the sonata-form overture; its lyrical second theme reveals their mutual attraction. The suite’s other movements are snapshots of individual scenes within the comedy. “Bridal Morning” explores Hero’s uneasiness on her wedding day, with lovely chamber writing. “Dogberry and Verges” is a satirical march of the night guards, who are a bit the worse for drink. A cello solo in “Intermezzo” accompanies Beatrice’s realization that she loves Benedick. The Suite concludes with a lively hornpipe. At the play’s happy ending, everyone celebrates with this dance. Instrumentation: flute (doubling piccolo), oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, bass drum, cymbals, snare drum, triangle, tambourine, tam tam, glockenspiel, ratchet, rute, harp, piano, harmonium and strings. * * * * BERNSTEIN: West Side Story Suite For program notes, please see page 34. Learn more about the works on the program at www.njsymphony.org/notesJan22-25.

THE NJSO WELCOMES THE FOLLOWING GROUP: Collaborative Support Programs of NJ

Add your group to this list! Visit www.njsymphony.org/groups to find out more about group ticket pricing.

www.njsymphony.org 39 PATRON SPOTLIGHTS

CHRISTOPHER PETERMANN NJSO Trustee WHY DO MUSIC AND THE ARTS MATTER TO YOU? Life without music is empty. My daughter’s music teacher at Verona High School has a quote from Nietzsche attached to his email signature: “Without music, life would be a mistake.” The arts have always been a part of my life. It’s a legacy from my parents. My mother would bring me to concerts at Symphony Hall in Newark back in the old days, and I grew to love them, especially opera performances. WHY DO YOU SUPPORT THE NJSO? I’m a Jersey guy, and I support the NJSO because it’s always been a part of my life. Art and music are integral parts of my life, and I think it is important to play a role in supporting them to ensure that they thrive. No great society has ever existed without culture. WHAT IS IMPORTANT TO YOU ABOUT BEING PART OF THE NJSO FAMILY? There’s a reward in supporting the NJSO and making sure it continues to exist. There are a lot of cogs in the wheel, and being one of those cogs is important to me—just being part of the mechanism that keeps this great orchestra moving means a lot to me. I wasn’t blessed with the talent to be an artist, so it’s nice for me to be a part of the team that supports our talented musicians.

GIVING PHILOSOPHY: The Investors Foundation enriches the lives of New Jerseyans by supporting initiatives in the arts, education, youth development, affordable housing and health and human services. To date, the Foundation has pledged more than $10 million in support of the communities the bank serves.

NJSO SPONSOR: The Investors Foundation is a strong supporter of the NJSO’s education and community engagement programs. These include programs such as NJSO CHAMPS (Character, Achievement and Music Project), the NJSO Youth Orchestras, Concerts for Young People and Resources for Education and Community Harmony (REACH) chamber ensembles. Through these programs, the NJSO educates, entertains and enriches the lives of more than 40,000 young people, their families and their educators annually.

WHY DO YOU SUPPORT THE NJSO? The Foundation believes that the NJSO’s education and community engagement programs prepare students for successful futures. They help to develop students’ creativity, leadership and teamwork skills, among other benefits, and instill a sense of appreciation for the arts. The NJSO’s programs exemplify our vision for a high quality of life for our young people and their communities.

40 www.njsymphony.org The Centennial Legacy Challenge Enriching lives through music for generations to come

Establish a legacy to your NJSO with a beneficiary designation

“The NJSO is my family, and, of course, we all provide for our families.”

NJSO Laureate Society member

and Orchestra violinist Debra Biderman

If you’ve thought about joining the NJSO’s growing family of Laureate Society members and Centennial Legacy Challenge donors, did you know you can establish your own legacy gift with a beneficiary designation?

In just a few simple steps, and without involving an attorney, you can name the NJSO as a beneficiary and become a Centennial Legacy Challenge donor. All you need is a change of beneficiary or other appropriate form from your financial institution or retirement plan administrator.

How to Participate:  Name the NJSO as a beneficiary of your retirement plan, life insurance policy, commercial annuity, bank account or investment account  Inform the NJSO of your gift  A generous donor will match a portion of your gift’s future value today

The NJSO may be identified on your beneficiary form as follows: Legal Name: New Jersey Symphony Orchestra Tax ID #: 22-1559422

For more information, please contact Anne DeVivo DeMesa, Director of Major & Planned Gifts, at [email protected] or 973.735.1724. www.njsymphony.org/plannedgiving SUPPORTERS

SYMPHONY ANGELS Cumulative Giving of $500,000–$1 Million + The New Jersey Symphony Orchestra honors each of the following generous donors whose cumulative giving to the NJSO exceeds $500,000 with the designation of Symphony Angel. We applaud these very special patrons for their collective vision and for providing the bedrock of the NJSO for the past 92 seasons. Included are all gifts and pledges received as of June 30, 2014.

$1 Million and Above The New Jersey Cultural Trust Dr. and Mrs. Victor J. Bauer Automatic Data Processing New Jersey Department of Education Allen and Joan u Bildner and the Dr. and Mrs. Herbert Axelrod New Jersey Department of State Bildner Family Foundation Russell Berrie Foundation New Jersey State Council on the Arts Bloomberg L.P. Freda Brown Dr. Victor and Jane Parsonnet Mr. u and Mrs. William B. Cater Marjorie Bunnell Charitable Fund Prudential Financial, Inc. Ms. Jennifer A. Chalsty The Edward T. Cone Foundation Judith and William u Scheide Maris and Trayton Davis The Geraldine R. Dodge Foundation The Star-Ledger Anna Drago Beth and Bill Furman The Starr Foundation Edda and James Gillen Stella Goldstein u Dr. and Mrs. Morris Tanenbaum Mary Victoria Griswold u Horizon Blue Cross Blue Shield of Turrell Fund The Laraja Foundation u New Jersey / The Horizon Foundation Diana and Roy Vagelos Mr. and Mrs. William J. Marino for New Jersey The Victoria Foundation Ruth and Peter Metz Foundation u The Jaqua Foundation Marjory S. Walters – in memory National Endowment for the Arts Johnson & Johnson of Arthur E. Walters City of Newark Robert Wood Johnson 1962 Judy and Josh Weston PNC Bank, N.A. Charitable Trust Wells Fargo Barbara and Russell Prince The Lipper Family Foundation Anonymous (3) Public Service Electric & Estate of Alan V. Lowenstein u Gas Company Mrs. Margrit McCrane $500,000 to $999,999 Pat and Art Ryan The MCJ Amelior Foundation Carole and Albert Angel Robert and Mary Ellen Waggoner The Andrew W. Mellon Foundation The Frank and Lydia Bergen Edward and Barbara Zinbarg The Merck Company Foundation Foundation u Deceased

LAUREATE SOCIETY: LEAVING A LIVING LEGACY The Laureate Society recognizes and honors those who have established a planned gift for the future benefit of the New Jersey Symphony Orchestra. Included are all donors who have shared with us their intention to make a deferred gift, as of June 30, 2014. If you would like information about how to include the NJSO in your gift plans through a planned gift, please contact Anne DeVivo DeMesa, Director of Major & Planned Gifts, at 973.735.1724 or [email protected]. The Estate of Joachim J. Adamczyk Maris and Trayton Davis Dr. Julian B. Hyman and Carole and Albert Angel Anna Drago Elaine u Hyman Gerald M. Appelstein Dr. Yvonne M. Duncan Estate of Frances E. Jenkins Dr. Michael L. Barnett Estate of Stephen Dvorak Robert L. Jones, Jr. u Audrey Bartner Ken and Susan Fahrenholtz Roxanne and Gregg Kam W. John Bauer Dr. and Mrs. S. Ashby Foote Walpurga G. Kessler Debra Biderman John Forrest Nancy Kimble u Frederick and Teris Binder Barbara Frye Living Trust Mr. and Mrs. Stanlee G. Kissel Ms. Barbara L. Birdsall Drs. Mark Fulcomer and Marcia Sass Douglas R. Krohn, M.D. and Ms. Linda M. Bowden Beth and William Furman Monique Rubens Krohn Carole J. Brand James J. Gallagher, Ph.D. The Laraja Foundation Jean and Jack Braun Lisa Marie Gerondeau Diane and Jerry Levitz Sally and Ron Briggs – in memory Edda and James Gillen Stephen Lewis Charitable of Harry & Joseph Briggs The Honorable Robert H. Grasmere u Remainder Trust Mr. u and Mrs. William B. Cater Mildred Weber Grauman The Lipper Family Foundation Ann L. Cavalli Memorial Fund Amy C. Liss Mrs. Robert S. Charles Mrs. Jane M. Grotta – in memory Estate of Alan V. Lowenstein Alan and Carol Chesler of Harold E. Grotta Marcia C. Maytner Jean Clark Estate of Janice Henry Helen and Albert Mazurkiewicz Albert H. Cohen Mrs. Gavin Hildick-Smith Mr. and Mrs. Michael Meyers-Jouan Ms. Roberta Cripps Sylvia Finkle Holder Elin Heine Mueller Mrs. Ann Denburg Cummis Dr. Francis J. and Alyce u B. Honn Judith Musser Hope and Alan Danzis Theodore U. Horger u Maria Parise

42 www.njsymphony.org SUPPORTERS

Dr. and Mrs. Victor Parsonnet Barbara S. Tabachnick – in memory Linda K. Walker and William Ms. Dorothy Powell u of Irv Tabachnick T. Walker Evelyn Ronell Catherine M. Terrell Thomas C. Wallace Margaret H. Rowe u Kevin A. Terrell Marjory S. Walters – in memory Janet S. Schmidt Mrs. Williamson Thomas u of Arthur E. Walters Mildred S. Schmidt u James u and Ruth Thornton Isobel Wayrick Sharon and James Schwarz The Estate of Frederick J. Tormino Elizabeth Weber Norman Slonaker Patricia and Frederic Tourelle Mary Claire White Estate of Caroline M. Small Mrs. Dorothy B. Wagner John T. Wooster, Jr. Irene and Paul Stalets Rita K. Waldor Edward and Barbara Zinbarg Anonymous (32) u Deceased

SPECIAL EVENTS The New Jersey Symphony Orchestra wishes to express appreciation to the individuals and institutions who helped make our fundraising events such a success. Included are all gifts and pledges of $5,000 and above for the 2013–14 season. Arthur Appelstein Horizon Blue Cross Blue Shield of New Jersey Resources Gerald Appelstein New Jersey Dr. Victor and Jane Parsonnet Audrey Bartner Investors Bank Christopher D. Petermann, CPA BD Michael Kay, Financial Focus, LLC, PNC Bank, N.A. The Nicholas J. and Anna K. Bouras Livingston – in memory of PricewaterhouseCoopers Foundation, Inc. NJSO Violinist, Sylvia Kay Prudential Financial, Inc. Freda Brown Robert and Elaine LeBuhn Mr. and Mrs. Stephen Sichak, Jr. Monica and Carlos Camin JPL Dr. and Mrs. Morris Tanenbaum Jennifer A. Chalsty The Lipper Family Foundation U. S. Trust, Bank of America Lydia and Dinis D’almeida Amy C. Liss Private Wealth Management Maris and Trayton Davis Lowenstein Sandler, PC Diana and Roy Vagelos Edda and James Gillen Mr. and Mrs. William J. Marino Verizon Sylvia Golden McCarter & English, LLP Richard and Arlene Vezza Mr. and Mrs. Mark B. Grier The MCJ Amelior Foundation Robert and Mary Ellen Waggoner Gemzel A. Hernández Martinez, M.D. Merck Wells Fargo Dr. and Mrs. Michael Nakhamkin Anonymous

INSTITUTIONS Gifts of $500–$100,000+ The New Jersey Symphony Orchestra gratefully acknowledges support from the following corporations, foundations, institutions and government agencies. Included are all gifts, pledges and in-kind contributions of $500 and above received for the 2013–14 season. DIRECTORS Samuel I. Newhouse Foundation PACESETTERS $100,000+ Turrell Fund $15,000–$24,999 Marjorie Bunnell Charitable Fund United Airlines, Inc. The Frank and Lydia Bergen The Edward T. Cone Foundation Anonymous Foundation The Geraldine R. Dodge Foundation Stephen & Mary Birch Foundation The Horizon Foundation for BENEFACTORS Ann and Gordon Getty Foundation New Jersey/Horizon Blue Cross $25,000–$49,999 The Harold I. & Faye B. Liss Blue Shield of New Jersey BD Foundation, Inc. Robert Wood Johnson 1962 Bloomberg L.P. TD Charitable Foundation Charitable Trust The Charles E. & Edna T. Brundage Merck Foundation Foundation DISTINGUISHED MEMBERS New Jersey State Council on the Arts Fox Rothschild LLP $10,000–$14,999 Prudential Financial, Inc. Healthcare Foundation of New Jersey The Thomas and Agnes Carvel The Star-Ledger New Jersey Cultural Trust Foundation UJA Benefit Concert Supporting Novo Nordisk Inc. William H. Donner Foundation Foundation PNC Foundation The Leavens Foundation, Inc. Verizon Donald and Emily Mulford Fund LEADERS The Victoria Foundation The Fannie and Morris Sklaw $50,000–$99,999 The Wells Fargo Foundation Foundation Investors Foundation WQXR Johnson & Johnson

www.njsymphony.org 43 SUPPORTERS

SUSTAINING MEMBERS PATRONS New Jersey Monthly $5,000–$9,999 $500–$4,999 Amy Klette Newman Foundation Deluxe Corporation Foundation Bagel Chateau OceanFirst Foundation E. J. Grassmann Trust C. R. Bard, Inc. Palriwala Foundation of America The Hyde and Watson Foundation City National Bank of New Jersey Pio Costa Foundation Lowenstein Sandler, PC Franklin Mutual Insurance Company The Piper Hill Foundation Macy’s Francis and Mildred Hallenbeck The Provident Bank Foundation The North Ward Center Foundation Puffin Foundation, Ltd. The Philip W. Riskin Charitable Richard H. Holzer Memorial Sobel & Co. Foundation, Inc. Foundation United Water New Jersey The Smart Family Foundation Infineum USA L.P. Wallerstein Foundation for Geriatric The Union Foundation The Jorgensen Foundation Life Improvement Anonymous The Lichtman Foundation WNYC New Jersey Manufacturers Anonymous Insurance Company AMADEUS CIRCLE Gifts of $2,000–$75,000+ The New Jersey Symphony Orchestra is grateful to the members of the Amadeus Circle for their steadfast support. The following list recognizes gifts and pledges of $2,000 or more from individuals to the 2013–14 annual fund or endowment. AMADEUS CIRCLE LEADERS MAESTRO’S CIRCLE Valerio and Barbara Azzoli Margaret H. Rowe u $75,000+ Ann and Stan Borowiec Donald E. Strangfeld *Freda Brown Dottie Litwin Brief and Dr. John and Mary Kay Strangfeld *Anna Drago Donald K. Brief *Mrs. Sally Todd Edda and James Gillen John u and Rose Cali John T. Wooster, Jr. Theodore U. Horger u Kerry Clayton and Paige Royer The Lipper Family Foundation Carmen A. Corrales MUSICIAN’S CIRCLE *Amy C. Liss Ken and Susan Fahrenholtz $10,000–$14,999 Elin Heine Mueller Drs. Mark Fulcomer and Marcia Sass *Dr. and Mrs. Victor J. Bauer Dr. and Mrs. Michael Nakhamkin – in memory of Blanche R. Sass Richard and Kay Chase *Dr. Victor and Jane Parsonnet Kitty and Dave Hartman Alex B. Donner, Esq. Pat and Art Ryan Estate of Frances E. Jenkins *Marc and Ronnie Fox *Dr. and Mrs. Morris Tanenbaum Roberta Renard Mr. Cary J. Frieze *Judy and Josh Weston *Karen and Gary Rose James J. Gallagher, Ph.D. Mr. and Mrs. Stephen Sichak, Jr. Mildred Weber Grauman CONCERTMASTER’S CIRCLE *Thomas C. Wallace Memorial Fund $50,000–$74,999 *Marjory S. Walters – in memory *Dr. u and Mrs. Jack Grundfest Mr. and Mrs. William J. Marino of Arthur E. Walters Judith M. Lieberman *Mrs. Margrit McCrane *Dr. and Mrs. Richard M. Watson Sheila and Joseph Nadler *Barbara and Russell Prince *Edward and Barbara Zinbarg Christopher D. Petermann, CPA Gwendolyn M. Robosson Anonymous Mr. and Mrs. Lawrence Rutkowski *Dr. u and Mrs. William H. Scheide – Donna and Marvin Schwartz The New York Community Trust – PRINCIPAL’S CIRCLE Carole Alter Sklar – in memory The Scheide Fund $15,000–$24,999 of Martin Sklar *Mr. u and Mrs. William B. Cater Norman Slonaker TRUSTEE’S CIRCLE *Hope and Alan Danzis Dr. and Mrs. Anthony R. Volpe $25,000–$49,999 Maris and Trayton Davis Gerald Appelstein Dave and Ellen Huber AMADEUS CIRCLE MEMBERS BENEFACTOR’S CIRCLE *Carol S. Charles *Dr. Francis J. and Alyce B. u Honn $5,000–$9,999 *Ms. Jean Clark Ruth and Robert u Hutter *Audrey Bartner – in memory Mr. and Mrs. Stewart Colton Gregory and Jacqueline Khost of Martin Bartner *Fred and Anne Dennehy *Susan and Scott Kobler W. John Bauer and Nancy B. Boucher Denise and John Forrest Douglas R. Krohn, M.D. and Ron Beit Dr. Alvin Friedman-Kien and Mr. Monique Rubens Krohn Dr. Sanfurd G. Bluestein u Ryo Toyonaga *Diane and Jerry Levitz Mr. and Mrs. Stanley L. Burd *Mr. and Mrs. William L. Gibson *Judith Musser Jennifer A. Chalsty Peter Gonzales Dr. and Mrs. William H. Olson 44 www.njsymphony.org SUPPORTERS

Mr. and Mrs. Benjamin N. Pyne Elizabeth Del Tufo Mr. and Mrs. Donald C. MacGowan *Barbara and Robert Sanderman Nancy Desnoyers Robert W. Messershmidt *Mrs. David M. Satz Jr. Jerry and Hélène Dreskin *Mary Anne Miller Craig Silliman and *Florence and Ridley Enslow Dr. and Mrs. Philip M. Neches Kate Ransom-Silliman Barry Evenchick – in memory of Alan and Martha Ostrowitz Susan and Fred Stucker Linda Evenchick Jean and Kent Papsun Cecilia Sweeney *Anita Falla, M.D. *Drs. Algernon A. and Michael and Jill Tanenbaum Howard and Julia Fang – in honor Elois Rogers-Phillips Mrs. Williamson Thomas u of Stephen Fang Judy and James Pohlman Richard and Arlene Vezza Stephen and Alexa Fang Mary and Larry Prendergast *Mrs. Rita Waldor Myron and Nettie Feldman Bethany and Jonathan Rabinowitz Anonymous (2) Curtland E. Fields Mr. and Mrs. William Reuter *Clyde K. Fisk Arthur and Betty Roswell PATRON’S CIRCLE *William and Beth Furman *Eleanor and Robert u Rubin $3,500–$4,999 Mr. and Mrs. Jay Galeota, Jr. Meryl and Joel Sachs Judith Bernhaut John and Molly Garone Barbara L. Sager Lewis D. Brounell Charitable Trust *Charles W. Gear and Janie and George Schildge *Janet and Dick Cashion Ann Lee Morgan *Janet S. Schmidt Bob and Bobbie Constable *Vivienne Sikora Gilroy *Mildred S. Schmidt u Joyce K. Fahrenholtz *Mrs. Patricia Gleason Linda and Dug Schroeder The Guptill-Paradis Family Dr. Morris Goodman Kathleen E. Shannon Mr. and Mrs. Steven R. Johnson Wayne and Catherine Greenfeder Iris and Floyd Shapiro *Ellen and Donald Legow Michael and Jane Griffinger Andrea P. Some and Robert & Brenda Fischbein Donor Linda and John Groh Murray D. Elmquist Advised Fund of JCF Metrowest Scott and Christine Hayward Dr. Barbara S. Starr and Berit and Jim Phair Gemzel A. Hernández Martinez, M.D. Robert M. Starr James Roe *Mr. and Mrs. Robert S. Hillas Sandra and William Stevens *Ronald R. Sauers Robert Wood Johnson, Jr. Fund David P. Stone *Sharon and Jimmy Schwarz of the Princeton Area Community *Mr. and Mrs. Jon Stufflebeem J. Richard Tellson Foundation Mr. and Mrs. Paul L. Talarico *Mr. Richard Jordan Dr. and Mrs. William A. Tansey, III DONOR’S CIRCLE Roxanne and Gregg Kam Kevin and Kate Terrell $2,000–$3,499 Bob and Andrea Kircher – in honor Penelope Vance and William Hobbie Janet and Rande Aaronson of Stephen Fang Marica and Jan Vilcek Murray and Cynthia Aitken Mr. and Mrs. Stanlee G. Kissel *Linda K. Walker *Carole and Albert Angel Kimberlynn Kleasen and *Dr. and Mrs. Marven H. Wallen Dr. Michael L. Barnett Glenn Thomas Isobel Wayrick Edward and Barbara Becker Mr. and Ms. Thomas M. Kopczynski Bette Weber *Marc E. Berson *Dr. Carole Shaffer-Koros and *Anne and Michael Weil *Debra Biderman Dr. Robert Koros Mr. & Mrs. L. Richard Wolff Felicia and David Bieber Mr. and Mrs. Theodore G. Koven Dr. Diane C. Young and Mrs. Patricia W. Blair *Drs. Peter and Susan Lederman Mr. Phil Crowley Linda Bowden and Buddy Jenssen Catherine and Harold Levin Mrs. Mildred L. Younger *Carol and George Carleu Nancy Lifland Linda and Jeffrey Zissu F. Patterson and Jean Clark JPL Anonymous (9) Eleonore and Max Cohen Mrs. Donald G. Livingston u Deceased Fred and Margery Cohen *James M. Lukenda and * Amadeus Circle charter member Stanley and Marion Cohen Maura C. Lockhart

WELCOME TO THE FAMILY We are pleased to acknowledge the following donors, who are new to the Amadeus Circle for the 2014–15 season. Included are gifts and pledges received prior to November 14, 2014. DONOR’S CIRCLE $2,000–$3,499 Robert Gutenstein Drs. Alford and Clarise Ottley

www.njsymphony.org 45 ABOUT US Photo by Fred Stucker NEW JERSEY SYMPHONY ORCHESTRA Named “a vital, artistically significant musical organization” by The Wall Street Journal, the New Jersey Symphony Orchestra embodies that vitality through its statewide presence and critically acclaimed performances, education partnerships and unparalleled access to music and the Orchestra’s superb musicians.

Under the bold leadership of Music Director Jacques Lacombe, the NJSO presents classical, pops and family programs, as well as outdoor summer concerts and special events. Embracing its legacy as a statewide orchestra, the NJSO is the resident orchestra of the New Jersey Performing Arts Center in Newark and regularly performs at the State Theatre in New Brunswick, Count Basie Theatre in Red Bank, Richardson Auditorium in Princeton, Mayo Performing Arts Center in Morristown and bergenPAC in Englewood. Partnerships with New Jersey arts organizations, state universities and civic organizations remain a key element of the Orchestra’s statewide identity.

In addition to its lauded artistic programming, the NJSO presents a suite of education and community engagement programs that promote meaningful, lifelong engagement with live music. Programs include school-time Concerts for Young People performances and multiple offerings—including the three-ensemble NJSO Youth Orchestras and El Sistema-inspired NJSO CHAMPS (Character, Achievement and Music Project)—that provide and promote in-school instrumental instruction as part of the NJSO Academy. The NJSO’s REACH (Resources for Education and Community Harmony) chamber music program annually brings original programs—designed and performed by NJSO musicians—to a variety of settings, reaching as many as 17,000 people in nearly all of New Jersey’s 21 counties.

For more information about the New Jersey Symphony Orchestra, visit www.njsymphony.org or email [email protected]. Tickets are available for purchase by phone at 1.800.ALLEGRO (255.3476) or on the Orchestra’s website.

The New Jersey Symphony Orchestra’s programs are made possible in part by The New Jersey State Council on the Arts, along with many other foundations, corporations and individual donors. United is the official airline of the NJSO. 46 www.njsymphony.org

NEW JERSEY SYMPHONY ORCHESTRA

BOARD STAFF EXECUTIVE COMMITTEE EXECUTIVE Ruth C. Lipper, Co-Chair of the Board James Roe, President & CEO Stephen Sichak, Jr., Co-Chair of the Board The Ruth C. and A. Michael Lipper Dr. Victor Parsonnet, Chairman Emeritus NJSO President & CEO Chair Albert D. Angel, Vice Chair H Susan Stucker, Chief Operating Officer David R. Huber, Vice Chair/Treasurer j Roxanne Kam, Chief Financial Officer Alan L. Danzis, Secretary j Marshell Jones Kumahor, Vice President of Education & Gerald Appelstein Community Engagement, The Marjorie Bunnell Linda M. Bowden Charitable Fund Chair Trayton M. Davis H Philip Leininger, Chief of Staff & Board Liaison Andrew Lamy Catherine Ogden Levin, Vice President of Marketing & Amy Liss e External Affairs William J. Marino Dr. Algernon A. Phillips, Jr. ADMINISTRATION & FINANCIAL SERVICES James Roe H Karen Duda, Office Manager Penelope Vance Denise Jaffe, Controller Robert Wagner ARTISTIC OPERATIONS e Edward D. Zinbarg Brian Donnelly, Stage Technician TRUSTEES Amanda Fischer, Artistic Operations Coordinator Valerio Azzoli j Laurel Gilmer, Director of Artistic Operations Audrey Bartner Dervin Sabater, Stage Technician Ron Beit Deborah Ann Bello DEVELOPMENT Ann Borowiec Heidi Baumbach, Manager of Institutional Giving Rose C. Cali Alicia Benoist, Senior Director of Development Carmen Corrales Anne DeVivo DeMesa, Director of Major & Planned Gifts Derek Fenstermacher Alice Golembo, Senior Manager of Special Events Curtland E. Fields e Ingrid Novak, Director of Institutional Giving Jay Galeota j Renée Pachucki, Senior Director of Patron Relations John T. Garone j Christopher Van Cleve, Manager of Donor James R. Gillen Database & Research Gregory Khost Lindsay Wood, Development Associate Scott Kobler Robert LeBuhn EDUCATION & COMMUNITY ENGAGEMENT Elin Mueller j Stacy Beltran, Assistant of Education & Christopher Petermann Community Engagement Daria Placitella Joanna Borowski, Manager of Education & Stephen A. Ploscowe, Esq. Community Engagement Warren K. Racusin Audra Fuhr, Senior Coordinator of Education & Roberta Renard Community Engagement Gwendolyn Robosson Thomas Gorman, Associate Director of Education & Adriana Rosin Community Engagement e Craig Silliman v Florence Johnson, Community Liaison Donald Strangfeld Sophie Kossakowski, NJSO CHAMPS Site Coordinator Susan Stucker Judy Yin-Chi Lee, Manager of Education & Mark Timmerman Community Engagement Richard Vezza e John T. Wooster, Jr. MARKETING & EXTERNAL AFFAIRS j LIFE TRUSTEES Geoffrey Anderson, Senior Manager of Dr. Victor J. Bauer Marketing & Digital Communications John Campbell j Raquel Bonassisa, Art Director Barbara Bell Coleman v Mary Brenycz, Director of Patron Services & Sales Dr. Anita Falla j Amy Brondyke, Director of Marketing & External Affairs R. John Forrest Terri Campbell, Sales Consultant William S. Furman v Enide Charlemagne, Senior Patron Services Representative Dr. Francis J. Honn Nesary Cruz, Patron Services Representative Willard D. Nielsen v Julia Escueta-Acosta, Patron Services Manager Russell Prince j Tess Giardina, Sales Manager Charlotte Tanenbaum j Victoria McCabe, Communications & Robert C. Waggoner External Affairs Manager Josh S. Weston v Carissa Taliaferro, Patron Services Representative

NJSO musician j 5+ years of service v 10+ years of service H 20+ years of service e 48 www.njsymphony.org