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Home , Big Eyes, Big Fish, Cabin Boy, Chris Lebenzon, Danny Elfman, Derek Frey

Lincoln Center Festival lead support is provided by American Express

July 6 –12 Avery Fisher Hall Danny Elfma n’s from the Films of

Music Composed and Arranged by Films and Artwork by Tim Burton

Special Guest Performer Danny Elfman

Conductor Soloist Sandy Cameron Boy Sopranos John-Dominick Mignardi, Leif Christian Pedersen

Philharmonia Orchestra of New York Concert Chorale of New York

Approximate performance time: 2 hours 20 minutes, including one intermission

Major support for Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2015 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would be neither here, there, nor probably anywhere without them and their general magnificence.

Now, the world is fully aware of the individual genius to be found betwixt the two, but what is more important here is the way in which these unique talents combine and ulti - mately complement one another, allowing the other’s work to bloom in a way unfore - seen independently.

Essentially, Danny’s darkly sonorous creations are the audio manifestations of Tim’s sin - gularly shadowy visions. He is the Ralph Steadman to Tim’s Hunter S. Thompson. Together they breathe color into one another’s worlds—from my initial experience, work - ing alongside them both—on , throughout the many projects that constitute a relationship, which now spans some 20 years…and counting. His music, so warm and inviting, yet somehow unnerving, ultimately manages to sound both elegant and haunting, perfectly defining the character of that very first collaboration. Having then unearthed the precise mood of Tim’s film, within the divine notes of his celestial score, Danny soundtracked the tale’s soul deep into the hearts of millions.

Subsequently, their working relationship has never floundered. Time after time, their industry gives birth to new beings of wonder and weirdness, charged to delight and excite cinema goers the planet ‘round.

So, a match made in the stars, you might say. Tim and Danny, it was simply meant to be.

— LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Program

Program order and selections are subject to change.

ACT I Charlie and the Chocolate Factory Pee-wee’s Big Adventure Sleepy Hollow Boy Soprano: Leif Christian Pedersen Mars Attacks! /

Intermission

ACT II Tim Burton’s Frankenweenie Edward Scissorhands Violin: Sandy Cameron Tim Burton’s The Nightmare Before Christmas Guest Performer: Danny Elfman Alice in Wonderland Boy Soprano: John-Dominick Mignardi LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Danny Elfman’s Music from the Films of Tim Burton Music Composed and Arranged by Danny Elfman Films and Artwork by Tim Burton

Concert Produced by Tim Fox and Alison Ahart Williams of Columbia Artists Management LLC Richard Kraft and Laura Engel of Kraft-Engel Management

Supervising Orchestrator Steve Bartek , Edgardo Simone , David Slonaker , Jeff Atmajian Additional Orchestrations Scott Dunn Music Production Supervisor Melisa McGregor MIDI Supervision and Music Preparation Synth Programming and Technical Supervision TJ Lindgren Score Proofreading Misha Morgovsky , Tim Rodier Music Preparation Dakota Music Services, David Hage ; Reprise Music Services, Rob Skinnell Assistant to Mr. Elfman Melissa Karaban Pre-record Mix Engineer Noah Snyder Chief Studio Tech Greg Maloney Transcriptions Tim Rodier MIDI Mock-ups Dan Negovan , Peter Bateman , Miles Bergsma Technical Directors Mike Edelman , Brendon Boyd , John Kinsner Audio Consultant Paul Bevan Librarians Travis Hendra , Scott McRae Sibelius Set-up Sandra Schneiders Project Interns Alex Arntzen , Seth Kaplan , Sergei Stern Video Editing Todd Miller , Concert Producers’ Assistants Jonathan Clark , Sarah Kovacs , Sarah Davis

Special thanks to: , Holly Kempf Keller, and Leah Gallo at , Bill Abbott, Bob Badami, Peter Cobbin, Bobby Fernandez, Isobel Griffiths, Mike Higham, Doug Mark, Shawn Murphy, Bobbi Page, Shie Rozow, Dennis Sands, Steve Savitsky, Ellen Segal, Thiago Tiberio, Nick Woolidge, Gina Zimmitti, Patti Zimmitti, Cinesamples, and Thomas DiGiovanni.

In loving memory of Richard Zanuck LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Thirty Years of In high school Elfman began listening to the classical composers who would later Elfman and Burton become his inspiration. The Russian com - Danny Elfman’s working relationship with posers Stravinsky, Prokofiev, and Shos - Tim Burton is one of the longest and most takovich particularly got under his skin. He successful filmmaker/composer collabora - also began to refine his interest in film, tions in the history of film—and one of the rediscovering through most unexpected. Elfman was drawn to the legendary composer’s other great col - the movies his entire life, but only came to laborator, Alfred Hitchcock. Elfman was music as a young adult with no formal absorbing the language of movie music. training. It was at 18, during a year of trav - His first taste in scoring would come from eling in West Africa, when Elfman picked another collaboration with his brother, who directed the in the up his first musical instrument (violin) and late ’70s—but he wouldn’t truly become a began to toy with the fantasy of a composer until 1985, when he got a direction for his life. At 19 he teamed up strange call from an extraordinary young with his brother Richard, who founded the animator he had never heard of. avant-garde musical cabaret troupe The Mystic Knights of the , and it Tim Burton came out of the suburbs of was there Elfman taught himself to write Burbank and the California Institute for the music by doing transcriptions of the works Arts (CalArts), and, like Elfman, he had of 1930s bands. He also began writing been mesmerized by ’s his first original compositions. stop-motion fantasies as a child, as well as the vivid black-and-crimson iconographies After eight years with the troupe, Elfman of horror films. Burton had made an started the idiosyncratic rock band known uncomfortable fit for the Walt Disney simply as Oingo Boingo. As their writer Company, toiling as a conceptual artist and and singer he performed and recorded animator on movies like The Fox and the with them for almost two decades. Hound . But his short film Frankenweenie grabbed the attention of executives and But there was another side to Danny filmmakers in , including Paul Elfman—the kid who religiously attended Reubens, the performer who created and Saturday matinees, watching every type of portrayed Pee-wee Herman. Reubens and horror and fantasy movie imaginable. The Phil Hartman had written a movie for the young Danny had no interest in music—he character called Pee-wee’s Big Adventure , wanted to be a scientist, or a “radiation and after seeing Frankenweenie , Reubens biologist” as he once explained. When he quickly lobbied for Burton to direct it. did begin to notice music, it was movie music, and he found a particular delight in Both Burton and Reubens were familiar the filmmaker/composer relationship of with Danny Elfman through Oingo Boingo stop-motion animator Ray Harryhausen and Forbidden Zone , and when editor Billy and Bernard Herrmann. “If I saw the Webber tracked a scene from the movie names Harryhausen and Herrmann in the with music from Bernard Herrmann’s same title sequence,” he said, “I already score to the Harryhausen movie The 7th knew the movie was going to be a huge Voyage of Sinbad , Burton loved the effect. favorite—something really special.” When Elfman came in to interview for the LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON job, he happened to mention that very Amazingly, Elfman faced doubts again on same score as one of his life-long his fourth collaboration with Burton, favorites. Burton was sold, and Elfman, Edward Scissorhands . With three suc - after some hesitation, decided to jump into cesses under his belt, Burton could afford a completely new world, figuring he would to make a film that was truly his, and either learn to swim or drown in the Edward was nakedly autobiographical, attempt. He was certain of one thing—that depicting an inarticulate, artistic character the score would not be a rock score. He adrift in a hostile world that looked suspi - would explore an insane mashup of ciously like the suburbs of Burbank. There Bernard Herrmann and (who did were no questions about whether Elfman Federico Fellini’s scores) and in the pro - could score this kind of a movie, because cess created an alternately joyous and no one knew what kind of a movie Edward manic sound that fit the hyper-enthusiastic Scissorhands was. But from the opening Pee-wee character like a glove. celeste notes of Elfman’s score, it was clear he had found Edward’s soul. Edward Elfman’s score to Pee-wee’s Big Adventure Scissorhands became a film was a revelation, and an instantly indelible just as much as Burton’s film defined his musical personality had invaded film. And output as a director—and it’s still perhaps Elfman was also now hooked on a new Elfman’s most imitated and personal work. addiction…film scoring. He immediately began getting offers to score other films, Burton and Elfman revisited Batman with but it was already clear he had a special Batman Returns , expanding on the gothic working relationship with Burton. Their next landscape both men had initiated in their collaboration was another comedy, but one first effort, with Elfman providing distinctive out of left field—the “ghost exterminator” approaches to Michelle Pfeiffer’s Cat - story Beetlejuice , a movie that allowed woman and Danny DeVito’s Penguin. But Burton to express his own personality more for their next project, the two men dug into than he had on Pee-wee’s Big Adventure . their past love of stop-motion animation and Elfman’s frantic opening music demon - took advantage of Elfman’s skills as a song - strated his love for the “danse macabre”— writer and performer. The Nightmare Before the ability to have a fiendishly good time. Christmas turned vintage Rankin-Bass holiday specials inside out, exploring a Elfman and Burton would both have to monsters-eye-view of Christmas through prove themselves on their next project: the character of , brought to Batman . Shot well before the current life with the singing voice of Elfman himself. vogue of costumed superheroes, Burton’s The Nightmare Before Christmas was a take on the Caped Crusader created a vivid, original vision and a cult smash, shadowy world halfway between a film throwing songs like “This Is ” noir and an animated graphic novel. The into the cultural marketplace and again film required a major symphonic score, demonstrating Elfman’s versatility. which he knew would be an enormous challenge. Elfman’s score was a sensa - Mars Attacks! bubbled with subversive tion—as quirky and unpredictable as his humor, kicked off by Elfman’s Russian- earlier comic works, yet so muscular and inspired main title march, which grows from violently stark that it instantly helped an impishly comic rhythm into a full-blown define the comic book genre. sci-fi anthem complete with theremin. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Elfman and Burton explored more serious Christmas and Corpse Bride , with Elfman genre territory in their next two collabora - creating songs whose inspiration ranged tions. Sleepy Hollow was Burton’s love from Gilbert and Sullivan to . poem to the British Hammer horror movies he’d loved as a child, and Elfman Burton’s adaptation of Alice in Wonderland responded with a richly atmospheric and became one of the highest-grossing films in gothic score. For Planet of the Apes , movie history in 2010. It was a hugely chal - Elfman stepped into the footsteps of leg - lenging technical exercise for the director, endary composer , fash - who shot the majority of the film on green ioning his own musical world of simian rule screen sets so most of his cast could be using the massive collection of exotic per - transformed into computer generated ver - cussion instruments he had collected as sions of Lewis Carroll’s classic characters. far back as his teenage trip to Africa. Elfman responded to the controlled chaos by writing one of his grandest scores, driven As he had with Batman , Burton followed by his stirring “Alice’s Theme.” up Planet of the Apes with a more per - sonal project. Big Fish mixed Burtonesque For their most recent collaborations, Burton fantasy with a more serious personal and Elfman once again turned to their estab - drama, as a resentful son tries to come to lished genre. Burton cast Johnny Depp, the terms with his father’s predilection for tall star of numerous Burton films, as Barnabas tales—lies, as the son sees them. By the Collins in his tongue-in-cheek remake of the time he scored Big Fish , Danny Elfman had Dark Shadows television series. Elfman cre - been completely accepted in Hollywood— ated a lush score dominated by the iconic, in 1997 he received his first Oscar nomina - sensuous inspired by the eerie vibe tions for both and Men from the ’70s television series. in Black . For his touching Americana score to Big Fish , Elfman received his first Oscar Burton mounted an animated version of nomination earned by one of his collabora - his own Frankenweenie in 2012 (which tions with Tim Burton. ironically, was his first live-action film). Filmed in black-and-white, Frankenweenie For Charlie and the Chocolate Factory , sprang directly from Burton’s illustrations, Elfman again took advantage of his rock and Elfman returned to his gothic, yet and performance background to create the emotionally charged style to accompany songs performed by the movie’s diminutive the story of a young boy who brings his pet Oompa-Loompas (all voiced by Elfman) in a dog back to life. pageant of pop rock styles—everything from Beatlesesque to , all along - Elfman and Burton continue their movie side an evocative orchestral score to char - music relationship with Burton’s recent Big acterize the edible environment of Willy Eyes , which marked their 16th collaboration Wonka’s sweets factory. over the past 30 prolific years. —Jeff Bond

Burton and Elfman returned to the gothic stop- Jeff Bond is the author of Danse Macabre: motion territory of The Nightmare Before 25 Years of Danny Elfman and Tim Burton. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

About the Artists choreographed by ; a sym - phony, , for Danny Elfman (Composer) is a four-time ; an overture named The Oscar nominee and over the past 30 years Overeager Overture for the Hollywood has established himself as one of the most Bowl; and Iris —for . versatile and accomplished film composers “Having a particular style is not bad,” says in the industry. He has collaborated with Elfman, “but I prefer to push myself in the such directors as Tim Burton, , direction of being a composer who you , Paul Haggis, , Rob never know what he’s doing next.” Marshall, , , and . Beginning with Tim Burton (Film Director) is widely his first score on Tim Burton’s Pee-wee’s Big regarded as one of the cinema’s most imag - Adventure , Elfman has scored a broad range inative filmmakers—he has enjoyed great of films, including Milk (Oscar-nominated), success in the worlds of both live-action Good Will Hunting (Oscar-nominated), Big and animation. Most recently Burton Fish (Oscar-nominated), (Oscar- directed the critically acclaimed , nominated), Edward Scissorhands, Wanted, and his 2012 stop-motion film Franken- Charlie and the Chocolate Factory, Mission: weenie was nominated for an Academy Impossible, Planet of the Apes, A Simple Award for Best Animated Picture. Plan, , Spider-Man (1 and 2), Batman, Dolores Claiborne, , In 2012 Burton directed Johnny Depp, Chicago, Dick Tracy, The Nightmare Before Michelle Pfeiffer, , Christmas, Alice in Wonderland, David O. and Eva Green in the gothic thriller Dark Russell’s award-winning films Silver Shadows, which was based on the cult Linings Playbook and , favorite television show. He also produced Sam Raimi’s Oz: The Great and Powerful, the fantasy horror : Mr. Peabody and Sherman, the Vampire Hunter which was directed by documentary The Unknown Known: The Timur Bekmambetov. Life and Times of Donald Rumsfeld, and Tim Burton’s Big Eyes. Most recently he In 2010 he directed Alice in Wonderland , has provided the music for Fifty Shades of an epic fantasy based on the classic story Grey and Marvel’s Avengers: Age of Ultron. by Lewis Carroll, starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, A native of , Elfman grew up and Mia Wasikowska in the title role. The loving film music. He traveled the world as film earned more than a billion dollars at the a young man, absorbing its musical diver - box office, making it the second-highest- sity. He helped found the band Oingo grossing release of 2010. Alice in Won - Boingo and came to the attention of a derland also received a Golden Globe nomi - young Tim Burton, who asked him to write nation for Best Picture—Musical or Comedy, the score for Pee-wee’s Big Adventure . and won two , for Best Thirty years later, the two have forged one Art Direction and Best Costume Design. of the most fruitful composer/director col - laborations in film history. In addition to his Burton was previously honored with an film work, Elfman wrote the iconic theme Academy Award nomination for Best music for the television series The Animated Feature for the 2005 stop- Simpsons and . He motion film Corpse Bride , which he also composed a ballet, Rabbit and Rogue , directed and produced. He earlier received LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

BAFTA Award and Critics’ Choice Award beloved book and grossed more than $470 nominations for Best Director for the million worldwide. acclaimed fantasy drama Big Fish . More recently, Burton won a National Board of Burton’s additional directing credits include Review Award and garnered Golden Globe the all-star sci-fi comedy Mars Attacks! , and Critics’ Choice Award nominations for which he also produced, and the 2001 his directing work on : The remake of Planet of the Apes , which Demon Barber of Fleet Street , which also marked his first collaboration with producer won the Golden Globe for Best Film— Richard Zanuck. Musical or Comedy. Depp earned an Oscar nomination for his performance in the title Burton also conceived and produced the role of Burton’s 2007 film adaptation of the stop-motion animated feature The Night- Stephen Sondheim musical thriller, also mare Before Christmas , which remains an starring Bonham Carter and Alan Rickman. enduring holiday favorite. In addition, he has produced such films as , Batman Burton began his film career in animation, Forever , and the animated features James and, in 1982, directed the stop-motion ani - and the Giant Peach and 9. mated short Vincent , narrated by Vincent Price, which was received numerous awards No stranger to Lincoln Center, his films The on the film festival circuit. He made his fea - Nightmare Before Christmas and Ed Wood ture film directorial debut in 1985 with the were on the main slate of The Film Society hit comedy Pee-wee’s Big Adventure . of Lincoln Center’s New York Film Festival in 1993 and 1994, respectively. In 1988 Burton helmed the inventive com - edy hit Beetlejuice , starring Michael In 2010 the filmmaker released The Art of Keaton. He then reteamed with Keaton on Tim Burton , a 430-page book comprising the action blockbusters Batman , which more than 40 years of his personal and pro - became the top-grossing film of 1989 and ject artwork. In November of that year, the also starred as the Joker, opened an exten - and Batman Returns, also starring Michelle sive exhibit of his work, which has gone on Pfeiffer and Danny DeVito. to tour in Melbourne, Toronto, Los Angeles, Paris, Seoul, Prague, Tokyo, and Osaka. In 1990 Burton directed, co-wrote, and pro - duced the romantic fantasy Edward John Mauceri (Conductor) John Mauceri Scissorhands . The film also marked the was born in New York and is a world- start of his successful cinematic partner - renowned conductor, educator, and writer. ship with Johnny Depp, who delivered a He has appeared with many of the world’s poignant performance in the title role. Their leading opera companies and symphony subsequent collaborations include the orchestras, as well as on the musical Burton-directed films Ed Wood , also star - stages of Broadway and in Hollywood. ring Martin Landau in an Oscar-winning portrayal of Bela Lugosi; Sleepy Hollow , Mauceri has conducted the Metropolitan adapted from the classic tale by Opera, New York City Opera, Covent Washington Irving; and the 2005 world - Garden, La Scala, Deutsche Oper Berlin, wide smash Charlie and the Chocolate New York Philharmonic, Chicago Symphony Factory , which was based on ’s Orchestra, Boston Symphony Orchestra, LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

L’Orchestre Nationale de France, and Israel vast catalogue of restorations and first per - and Tokyo Philharmonic Orchestras, formances and has conducted significant among others. premieres of works by Verdi, Debussy, Hindemith, Ives, Gershwin, Stockhausen, On Broadway he initiated and was co- Rodgers, Korngold, and Weill. producer of On Your Toes and served as musical supervisor for Hal ’s produc - Mr. Mauceri has released over 80 audio tion of Candide , as well as Andrew Lloyd CDs and is the recipient of numerous Webber’s Song and Dance . He also con - awards, including Grammy, Tony, Olivier, ducted the orchestra for the film version Drama Desk, Edison Klassiek, three of Evita . Emmys, two Diapasons d’Or, Cannes Classique, ECHO Klassik, Billboard, and He is the founding director of the four Deutsche Schallplatten awards. In Orchestra, which was 1999 he was chosen as a Standard-bearer created for him in 1991 by the Los Angeles of the Twentieth Century by WQXR. In Philharmonic Association. Breaking all addition, CNN and CNN International records at the Bowl, he conducted over chose him as a Voice of the Millennium. 300 concerts there for a total audience of more than four million people. For 15 years Sandy Cameron (Violin) is one of the most he served on the faculty of his alma mater, strikingly unique artists of her generation. Yale University, and recently completed Since her debut at age 12 in Eindhoven, the seven years as chancellor of the University Netherlands, she has performed exten - of North Carolina School of the Arts. sively as a soloist and recitalist throughout North America, Europe, and Asia. At 15 she Mr. Mauceri served as music director of was a featured guest at St. Petersburg’s Turin’s Teatro Regio for three years after White Nights Festival, the Salzburg completing seven years as music director Festival, and Switzerland’s Verbier Festival. of the Scottish Opera. He was music direc - Since then she has appeared at the tor of the Washington National Opera, as Kennedy Center, London’s Royal Albert well as the Pittsburgh Opera, and was the Hall, and Australia’s Adelaide Festival. She first music director of the American has appeared as a soloist with the Kirov Symphony Orchestra in Carnegie Hall after Orchestra, Seattle Symphony, San Diego its legendary founding director, Leopold Symphony, Royal Liverpool Philharmonic, Stokowski, with whom he studied. Tokyo Philharmonic, and National Sym - Maestro Mauceri worked closely with com - phony Orchestra and recently performed in poser and conductor Leonard Bernstein Cirque du Soleil’s Iris . She is a graduate of from 1972 until his death in 1990, and con - Harvard University and New England ducted many of Bernstein’s premieres. Conservatory, and is a Presidential Scholar. She created her own Music Benefit Fund in For over 30 years, he has taken a leading 2004 which provides funding for musical role in preserving two American art forms: education and activity in the schools the Broadway musical and Hollywood film and community of Poolesville, Maryland. scores (whose intersection with composers Her violin was crafted by Pietro Guarnerius, who fled Fascist Europe in the 1930s and c. 1735, and is on extended loan through 40s has been the subject of much of his the generous efforts of the Stradivari writing). He has edited and performed a Society of Chicago. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

John-Dominick Mignardi (Boy Soprano) sang with the Children’s Chorus of St. is a student at Saint Thomas Choir School Joseph’s Church in Bronxville under the for Boys where he sings with the Choir of direction of John Strybos and received Men and Boys of Saint Thomas Church vocal training from Thomas Jamerson at under the direction of Dr. John Scott. A the Music Conservatory of Westchester. vocal student of Ms. Stephanie Tennill, he also performs with the Choir of Men and Leif Christian Pedersen (Boy Soprano) is a Boys of Saint Thomas Church and Concert singer and actor. He first became inter - Royal, appearing in annual concerts includ - ested in performing after becoming a pro - ing performances of Bach’s St. Matthew fessional chorister for St. Thomas Fifth Passion and Handel’s Messiah . Avenue in New York. As a member of the St. Thomas Choir of Men and Boys, Leif In 2014 he sang at Lincoln Center’s White sings five times or more weekly. In 2014 Light Festival along with the Choir of Men he appeared in Lincoln Center’s White and Boys of Saint Thomas Church and the Light Festival in Bach’s St. Matthew’s , in a staged production Passion (directed by Peter Sellars) and was of the St. Matthew Passion conducted by an acolyte in Britten’s Curlew River Simon Rattle and directed by Peter Sellars. (directed by Netia Jones). His most recent Since age 11, John-Dominick has taken theater work was a leading role in Amen at part in the Manhattan School of Music’s The Manhattan Repertory Theatre. He summer musicals. Prior to enrolling at resides in New York City. Saint Thomas Choir School for Boys, he

Artist Talk: Danny Elfman’s Music from the Films of Tim Burton Thursday, July 9 6:00 –7:00 p.m. at Lincoln Center’s Stanley H. Kaplan Penthouse Tickets: $15 ($7.50 if purchased with a ticket for Danny Elfman’s Music from the Films of Tim Burton )

WQXR radio host Elliott Forrest will moderate a discussion with conductor John Mauceri and violinist Sandy Cameron about Danny Elfman’s Music from the Films of Tim Burton .

The Stanley H. Kaplan Penthouse is located within the Rose Building at 165 West 65th Street, 10th floor. To purchase tickets, or for more information about this and the many other ancillary events that are part of Lincoln Center Festival 2015, visit LincolnCenterFestival.org. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Philharmonia Orchestra of New York

FIRST Elzbieta Weyman Eric Wyrick Kate Zahradak Laura Flax Morris Kainuma CONCERTMASTER David Creswell PRINCIPAL Ellen Payne David Blinn Dean LeBlanc Ming Yang Kathleen Ciechomski Mitch Kriegler May Gunji Alisa Wyrick Crystal Garner Maya Shirashi Alissa Smith SAXOPHONE PERCUSSION Elizabeth Nielsen Carla Fabiani Allen Won Samuel Budish Robin Zeh PRINCIPAL Adda Kridler John Ostrowski Joanna Farrer Mark Shuman Marc Goldberg Michael Caterisano Brendan Speltz PRINCIPAL PRINCIPAL Jared Soldivero Matt Lehmann Alberto Parinni William Hestand Eric Poland Alexis Sykes Ted Ackerman Mayumi Wyrick Na-Young Baek FRENCH HORNS HARP Wan Zhen Li Diane Barere Stewart Rose Nuiko Wadden Robert LaRue PRINCIPAL SECOND VIOLINS Mariko Wyrick Eric Reed Laura Frautschi Christime Kim Lawrence DiBello Stephen Gosling PRINCIPAL David Byrd-Marrow Francine Storck DOUBLE BASSES Colin Sutliff KEYBOARD Yukie Handa Lewis Paer Jonathan Carroll David Broome Yuko Naito-Gotay PRINCIPAL Alexandra Gorokhovsky Gail Kruvand GUITAR Avril Brown Jonathon Storck James De La Garza Michael Rood Whitney LaGrange Stephan Sas PRINCIPAL Gabrielle Fink Chris Johnson Alex Holton THEREMIN Rachel Handman Lisa Stokes John Dent Darryl Kubian Sophia Park Carolyn Schoch Allison Mase FLUTES David Titcomb Alexander Sharpe Sonora Slocum Orchestra Manager PRINCIPAL Tom Hutchinson Kathleen Nester PRINCIPAL Daniel Panner Maciej Pietraszko PRINCIPAL Brian Mahany Jessica Troy Alexander Knoll Chris Oleness Christof Huebner PRINCIPAL Patrick Herb Julia DeRosa

Concert Chorale of New York SOPRANOS ALTOS TENORS BASSES Wendy Baker Esther David James Bassi Daniel Alexander* Eileen Clark Sarona Farrell John Kawa* Dennis Blackwell Margery Daley Megan Friar Matthew Kreger Clinton Curtis Toni Dolce Wendy Gilles Adam MacDonald Mischa Fruzstajer Patti Dunham Erin Kemp* Drew Martin Conor McDonald Sarah Griffith Judith Malafronte Steven Rosser Steven Moore Phenisher Harris Nedra Neal Joshua Simka Joseph Neal Melissa Casey Jose Tami Petty John Tiranno Mark Rehnstrom Margarita Martinez Jacqueline Pierce Nate Widelitz Scott Wheatley Adrienne Pardee Monica Soto-Gil James Archie Worley Lewis White Erika Grace Powell* Rhesa Williams Elena Williamson* Debi Wong James Bassi Music Director

Jacqueline Pierce Artistic Administrator

*Chorus Soloists LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

About this Production and Tim Burton 25th Anniversary Music Box, which was nominated for a Grammy Danny Elfman’s Music from the Films of Award. Richard Kraft started his career rep - Tim Burton is the epic result of the need to resenting his musical heroes including celebrate the unique partnership that is Jerry Goldsmith, , George Tim Burton and Danny Elfman—one that Delerue, , and Henry Mancini. In that has generated 16 movies in 30 years. 2011 Laura Engel was honored by Variety as Celebrating the unique orchestral and one of the year’s 50 Most Impactful Women choral composition style of Elfman, punc - in Showbiz. Engel was previously nominated tuated by Burton’s original sketches and for a Grammy Award for producing the artwork, the combination seemed well long form Oingo Boingo video: Farewell: suited for the expanding live concert hall Live From the Universal Amphitheater . audience around the world. This concert was created by the duo working in collabo - Columbia Artists Management Inc. ration with producers Richard Kraft and (CAMI) Laura Engel of Kraft-Engel Management Since 1930 Columbia Artists Management and Tim Fox and Alison Ahart Williams of Inc. (CAMI) has been an international Columbia Artists Management LLC (CAMI). leader in the management and touring The vision was to present a highly varied activities of performing artists and institu - show that balances music and visuals, tions, including: instrumental soloists, orchestra and choir, large ensembles and opera singers, conductors, soloists, instrumental music and songs. ensembles, orchestras, dance companies, Danny Elfman decided instead of just per - forming the music as originally created for popular and theatrical attractions, and the films, he would re-conceive his music multi-media productions. as concert works by arranging original orchestral suites created uniquely for this Philharmonia Orchestra of New York show. Tim Burton reached into his library The Philharmonia Orchestra of New York is of original art and film clips and assembled a recently formed ensemble made up of a visual collages to complement those musi - diverse range of musicians from the New cal suites. Since the sold-out world pre - York metropolitan area. The orchestra miere in October 2013 at London’s Royal members are drawn from diverse ensem - Albert Hall, this concert has played 35 per - bles, including the New York City Opera formances on five continents, in ten coun - Orchestra, New Jersey Symphony, tries (and counting), to over 115,000 peo - Orchestra of St. Luke’s, Orpheus Chamber ple in attendance. For more information on Orchestra, American Ballet Theater Danny Elfman’s Music from the Films of Orchestra, and the American Symphony Tim Burton visit cami.com. Orchestra. Our principal members have extensive experience performing with all Kraft-Engel Management the major ensembles at Lincoln Center, Richard Kraft and Laura Engel are the co- including the Met Opera Orchestra, New owners of Kraft-Engel Management, one York Philharmonic, and New York City of the world’s leading agencies specializing Ballet Orchestra, as well as a number of in representing film and theater com - leading orchestras nationwide. The orches - posers, including a number of Oscar, Tony, tra encompasses some of the area’s most Emmy, and Grammy winners. Kraft and experienced freelance musicians com - Engel executive produced Danny Elfman bined with the best of young conservatory LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

graduates. Many members of the orches - music- theater productions in New York tra recently performed concerts in Japan, a and in regional venues and has appeared as continuation of the ensemble’s Hand in Hand pianist in concerts with sopranos Deborah project which has included concerts at Voigt, Ute Lemper, and Jessye Norman. His Lincoln Center’s Rose Hall over the last compositions have been performed in all four years. The orchestra has also per - the major halls in New York and his music is formed with Andrea Bocelli on his concert published by Oxford University Press. tours to the U.S. The Saint Thomas Choir of Men and Boys Concert Chorale of New York The Saint Thomas Choir of Men and Boys is The Concert Chorale of New York is made considered by many to be the leading up of professional singers performing with ensemble in the Anglican choral tradition in various conductors and presenters. They the United States. Directed since 2004 by have appeared at Carnegie Hall, the John Scott, formerly organist and director Caramoor Festival, Brooklyn Academy of of music at St. Paul’s Cathedral in London, Music (in ’s CIVIL warS , John the choir performs regularly with the period Adams’s Nixon in China and The Death of instrument ensemble, Concert Royal, or Klinghoffer , and in productions of the Mark with the Orchestra of St. Luke’s as part of Morris Dance Company), the Perform- its own concert series. Its raison d’être, ing Arts Center at Purchase College, and in however, is to provide music for five choral the Emmy nominated Salute to the services each week. Live webcasts of all American Musical as seen on the Live choral services and further information From Lincoln Center series. including recordings of the choir may be found at SaintThomasChurch.org. The chorale has also performed with the American Symphony Orchestra, Chicago Saint Thomas Choir School Symphony Orchestra, singer Judy Collins, Founded in 1919, Saint Thomas Choir and in the New York premiere of Paul School is the only church-related boarding McCartney’s Ecce Cor Meum . The chorale choir school in the U.S., and one of only a performs regularly with Mostly Mozart and few choir schools remaining in the world. was recently heard in Beethoven’s The Choir School offers a challenging pre- Symphony No. 9 and the Mozart Requiem . preparatory curriculum, interscholastic The Concert Chorale of New York appeared sports, and musical training for boys in at Lincoln Center Festival in 2006 in Julie grades three through eight. The Choir Taymor’s Grendel . School is committed to training and edu - cating talented musicians without regard to James Bassi (Music Director, Concert religious, economic, or social background. Chorale of New York) is a music director, Choristers are sought from all regions of composer, and pianist. He has worked the country. Details of admissions proce - extensively with the New York Philhar - dures and audition requirements are avail - monic playing rehearsals with Alan Gilbert, able at ChoirSchool.org. Pierre Boulez, Riccardo Muti, and many distinguished conductors. He has served Director John Scott as music director for many operatic and Assistant Director Benjamin Sheen LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON

Danny Elfman’s Music from the Films of by internationally acclaimed artists from Tim Burton Acknowledgements more than 50 countries. To date, the Assets from Alice in Wonderland , Franken - Festival has commissioned more than 42 weenie , and The Nightmare Before Christ- new works and offered some 142 world, mas courtesy of Disney Enterprises, Inc. U.S., and New York premieres. It places Footage and Stills from Planet of the Apes particular emphasis on showcasing con - (2001) and Edward Scissorhands courtesy temporary artistic viewpoints and multidis - of Twentieth Century Fox, all rights reserved ciplinary works that challenge the bound - Sleepy Hollow courtesy of Paramount aries of traditional performance. Pictures Big Fish courtesy of Lincoln Center for the Performing Arts Corpse Bride , Pee-wee’s Big Adventure , Lincoln Center for the Performing Arts Batman , Batman Returns , Mars Attacks! , (LCPA) serves three primary roles: presenter Charlie and the Chocolate Factory , Dark of artistic programming, national leader in Shadows , and Beetlejuice courtesy of arts and education and community relations, Warner Brothers and manager of the Lincoln Center campus. Music provided for: Alice in Wonderland , A presenter of more than 3,000 free and Frankenweenie, and The Nightmare ticketed events, performances, tours, and Before Christmas courtesy of Wonderland educational activities annually, LCPA offers Music Company, Inc. and Buena Vista 15 series, festivals, and programs including Music Company American Songbook , Avery Fisher Artist Edward Scissorhands and Planet of the Apes Program, Great Performers , Lincoln Center courtesy of JoAnn Kane Music Service Books, Lincoln Center Festival , Lincoln Sleepy Hollow and Big Fish courtesy of Center Out of Doors , Lincoln Center Vera Mandalay Entertainment Group and List Art Project, Midsummer Night Swing , Sony/ATV Music Publishing LLC Martin E. Segal Awards, Meet the Artist, Licensing of copyrighted material for Mostly Mozart Festival , and the White Light Corpse Bride , Pee-wee’s Big Adventure , Festival , as well as the Emmy Award-win - Batman , Batman Returns , Mars Attacks!, ning , which airs Charlie and the Chocolate Factory , Dark nationally on PBS. As manager of the Shadows , and Beetlejuice provided by Lincoln Center campus, LCPA provides sup - Alfred Music on behalf of Warner Bros. port and services for the Lincoln Center Entertainment complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus Lincoln Center Festival renovation, completed in October 2012. Now in its 20th season, Lincoln Center Festival has received worldwide attention for Acknowledgements presenting some of the broadest and most Lighting Equipment PRG Lighting original performing arts programs in Lincoln Video Equipment World Stage Center’s history. The Festival has presented Line array speakers, amplifiers, and on-site over 1,300 performances of opera, music, technical supervision graciously provided dance, theater, and interdis ciplinary forms by RCF-USA . Looking At Festival h p l o d u R

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Harry Partch’s Delusion of the Fury

incoln Center Festival isn’t only vocalist David Moss. Or at the Druid L about the nearly 60 exciting Theatre Company symposium, ask performances by companies from one of the creative geniuses behind around the world, it also offers DruidShakespeare: The History Plays opportunities for audiences and that nagging question about The Bard families to peek behind the curtain you’ve always wanted to pose. And with a variety of ancillary events—artist most importantly, help create the talks, lectures, a symposium, and next generation of great musicians! special programs for children. Introduce aspiring young virtuosos to instruments in the symphonic Care to learn more about the stunning orchestra, and help them discover puppetry in Rezo Gabriadze’s Ramona? their inner musician, when Cleveland In conjunction with the performances Orchestra members, horn player Hans of the show, LC Kids offers a hands- Clebsch and keyboardist Joela Jones, on puppet-building workshop led by lead . Who award-winning puppeteer Erin Orr. If Fantastic knows? It could be your young one’s Delusion of the Fury doesn’t completely first step toward taking the stage at satisfy your cravings for the daring Avery Fisher Hall one day! and original music of maverick composer , then come to For more information, and complete New York City Center to experience schedule of Lincoln Center Festival a hybrid lecture-performance of his and corresponding ancillary events, personal journal, Bitter Music, by visit LincolnCenterFestival.org.