LaJo

lla Symphony

Steven SchickMolli & Arthur Wagner Music Director

June 9-10, 2018Mandeville Auditorium

& Chorus2017-2018 Season

Celebrating 50 Years at UC San Diego1967-2017Celebrating 50 Years at UC San Diego1967-2017

Breaking Barriers, Pushing BoundariesIn the same spirit as the UC San Diego Music Department, La Jolla Symphony & Chorus has for 50 years pushedback the boundaries of music. As we conclude thisanniversary season, expect no less! Below are reminders of just a few ground-breaking moments.Photo credit: Bill Dean, Tom Peisch, Tina Tallon

Sila: The Breath of the World. Eighty LJS&C musicians performed this free, 70-minute concert along the trails of the Japanese Friendship Garden, as part of the Balboa Park Centennial.

Fiona Digney performs “M.Alone,” a percussion concerto written

for her by Roland Auzet and premiered by LJS&C.

A commissioned work from composer Nathan Davis produced “A Sound, uttered”

for chorus, percussion ensemble, boy soloist and audience participation by cell phones.

World-renowned pipa playerWu Man made her local

symphony debut with LJS&C on the stages of Mandeville in

Lou Harrison’s “Pipa Concerto,”written for the artist.

Stravinsky’s “Oedipus Rex” for male chorus and soloists is given a theatrical presentation.

Choral Director Emeritus David Chase and UCSD alumnus composer Rick Burkhardt teamed up for “Haydn in Plain Sight,”

a theatrical choral work premiered at The Natural History Museum.

Vast forces combined for a performance of Verdi’s “Requiem,” with two guest choruses swelling LJS&C ranks

to over 300 musicians, seen here at a rehearsal.

Frequent collaborators Lux Boreal set off 100 metronomes for Györgi Ligeti’s “Poème Symphonique” (left photo), followed by a choreographed

version of Stravinsky’s “Les Noces.”

David ChaseChoral Director Emeritus

A Line BrokenSaturday, June 9, 2018, 7:30pm / Sunday, June 10, 2018, 2:00pm

Mandeville Auditorium, UCSD

Steven Schick conducting

Steven SchickMolli & Arthur Wagner Music Director

Unauthorized photography and audio/video recording are prohibited during this performance.No texting or cell phone use of any kind allowed.

RAND STEIGER Template for Improvising Trumpeter & OrchestraPeter Evans, trumpet

COURTNEY BRYAN Yet UnheardHelga Davis, soprano

ORNETTE COLEMAN Lonely Woman (arr. Asher Tobin Chodos)Helga Davis, soprano / Peter Evans, trumpetKyle Motl, contrabass / Kjell Nordeson, percussion

INTERMISSION

GABRIEL FAURÉ Requiem, Opus 48

Introit and KyrieOffertoireSanctusPie JesuAgnus DeiLibera meIn Paradisum

Priti Gandhi, soprano / Jonathan Nussman, baritone

We gratefully acknowledge our underwriters for this concertDr. James Swift & Suzanne Bosch-Swift

Cover illustration of Steven Schick by Jay Wolf Schlossberg-Cohen

All lines eventually break. It’s the deal we make when we are born.We live fully; we are as generous as we can be; we hold the peoplewe love close to our hearts. As closely as possible. And if we arevery lucky, our line will break some day, as Barbara Bush’s just did,peacefully, surrounded by the love of family and with a valedictoryglass of bourbon.

But some people aren’t lucky. They leave the house one day, thebed unmade and the radio still playing, and they never return.Sandra Bland was arrested on July 10, 2013 after an altercationwith a police officer at a routine traffic stop and died in custodythree days later. We don’t know what happened; yet, we do. Itdoesn’t matter whether you support the police for doing aharrowing and necessary job—which I do—or you align yourselveswith the Black Lives Matter crusaders for social justice—which Ialso do—in 2017, African-Americans accounted for 25% of police-related deaths and just 13% of the population. That statistic shouldhorrify everyone.

But what are we classical musicians supposed to do? Are we notpowerless in the face of such a problem? In response, we offertoday’s concert, neither to point the finger of blame nor to avertour eyes, but as an offering of light, amplifying Martin LutherKing’s axiom that, “Darkness cannot drive out darkness; only lightcan do that.”

At the center of everything is Courtney Bryan’s remarkable workYet Unheard, for orchestra and chorus, featuring a setting ofSharan Strange’s searing poem in memory of Sandra Bland, withthe incomparable Helga Davis as soloist. Helga, singing to us onbehalf of Sandra Bland, exhorts us to relive the terrible scenario,one that is nearly unimaginable to someone of my position andprivilege, yet an all-too-frequent reality for many of my fellowcitizens. Through Helga’s voice, Courtney Bryan brings us close to

the tragedy, makes us feel the heat of it on our faces. Thecombined voices of the chorus prod us further by asking: “How dowe imagine something different, that centers black people, thatsees them in the future?” What a stark question! How shockingthat it even has to be asked!

We pair Strange’s agonizing question and Bryan’s extraordinarymusic with Gabriel Fauré’s Requiem. Though it was written nearly130 years ago, Fauré’s music still feels fresh and relevant to thequestion of how we see the future. Fauré’s is a “gentle requiem,”nearly completely absent of images of fire and fury. Unlike Verdiand Berlioz, he asks for no titanic bass drum strokes to mark thefateful Day of Judgment of the “Dies Irae,” nor antiphonal brassbands as the dead are called forth in the “Tuba Mirum.” Faurédoes indeed set the Dies Irae but it is merely a passing cloud ofmurky tonality, a transitory problem rather than a final judgment.Instead his Requiem is suffused with musical light—throughomnipresent organ sounds and luminous writing for chorus andsolo voices. Fauré employs an ingenious sleight-of-hand here. Bycentering the ensemble on the duskier sounds of violas and lowerstrings—the violins play relatively rarely in Requiem—the women’svoices sound even brighter and higher than they otherwise would.

Courtney Bryan and Gabriel Fauré would barely recognize eachother’s worlds. The former has a Web Site, the latter theconservative musical training of 19th century France. Courtneylives in 21st century New Orleans; Fauré flourished in the belleépoque. Some might say that Fauré’s music sanctifies the oldworld and Bryan’s critiques the new world. But that’s wrong; theseworks are not opposites. Each strives to see the invisible and totouch the ineffable. And in the end, they share a message: thegoal of living and dying is to transcend darkness, or in Dante’swords at the end of the “Divine Comedy” to “riveder le stelle,” tosee the stars again.

From the Conductor

Steven SchickMolli & Arthur WagnerMusic Director

Percussionist, conductor, andauthor Steven Schick was born inIowa and raised in a farmingfamily. Hailed by Alex Ross in TheNew Yorker as “one of oursupreme living virtuosos, not justof percussion but of anyinstrument,” he has championed contemporary percussionmusic by commissioning or premiering more than 150 newworks. The most important of these have become corerepertory for solo percussion. In 2014 he was inducted intothe Percussive Arts Society Hall of Fame.

Schick is in his 11th season as artistic director andconductor of the La Jolla Symphony and Chorus. He is alsoartistic director of the San Francisco Contemporary MusicPlayers, co-artistic director of the Banff Centre for Arts

and Creativity Summer Music Program, and artisticdirector and conductor of the Breckenridge Music Festival.

As a guest conductor he has appeared with the BBCScottish Symphony Orchestra, the Saint Paul ChamberOrchestra, the Milwaukee Symphony, Ensemble Modern,the International Contemporary Ensemble, and theAsko/Schönberg Ensemble.

Schick’s publications include a book, “The Percussionist’sArt: Same Bed, Different Dreams,” and many articles. Hehas released numerous recordings including the 2010“Percussion Works of Iannis Xenakis,” and its companion,“The Complete Early Percussion Works of KarlheinzStockhausen” in 2014 (both on Mode). He received the“Diapason d’Or” as conductor (Xenakis Ensemble Musicwith ICE) and the Deutscheschallplattenkritikpreis, aspercussionist (Stockhausen), each for the best new musicrelease of 2015.

Steven Schick is Distinguished Professor of Music andholds the Reed Family Presidential Chair at the Universityof California, San Diego.

Photo: Bill Dean

Rounding out our concert is another pairing of light and dark.Rand Steiger’s lustrous Template for the improvising trumpeterPeter Evans is a study in brilliance. There are Steiger’s ingeniousmusical textures, enhanced by real-time computer modificationsof the instrumental sounds. You’ll hear things you’ve never evenimagined! And, speaking of the unimaginable, never at the end ofthe many dozens of Peter Evans performances I’ve heard has mymouth ever been closed. I dare you to try it! His playing is nothingless than jaw dropping.

In offering a companion to the incandescent music of Rand andPeter, we close the season as we began it, with an invitation to thepolymath composer and arranger Asher Tobin Chodos to createan orchestral environment based on an important work of 20thcentury jazz. Here Tobin offers his view of Ornette Coleman’smasterpiece Lonely Woman, with the La Jolla Symphony and anall-star cast of soloists, including Helga Davis, Peter Evans and UCSan Diego luminaries, bassist Kyle Motl and drummer KjellNordeson. Lonely Woman isn’t exactly dark, but it surely is

discomfiting. Coleman spoke about working in a department storebefore he became the free jazz giant we know. On a break, he sawa rich woman who seemed to have all the material possessionsone could hope for in life, yet had the most solitary expression onher face. This is the lonely woman, the one who had everythingexcept life itself.

Finding “life itself” is our ultimate goal. And as elusive as that mayfeel in real life, it is a quest that music captures beautifully. Musicis the natural medium for life-force. We hear life-force in thevirtuosic acrobatics of Peter Evans as he plays Rand Steiger’smusic, and we hear it when Tobin Chodos translates OrnetteColeman’s mid-century jazz tone poem to the orchestral medium.We hear it as Fauré guides us through his requiem towards theapotheosis of “In Paradisum,” his last movement and our ultimategoal. And we can hear it mostly clearly of all if we dare to lookunflinchingly at Courtney Bryan’s tragic tableau. Finding lifealways means driving out darkness. n

Template for Improvising Trumpeter & OrchestraRAND STEIGERBorn June 18, 1957, New York City

The following note has been providedby the composer.

Template for Improvising Trumpeterand Orchestra is a new version of apiece I originally wrote for Peter Evansand Steven Schick to perform with 12members of the InternationalContemporary Ensemble. In responseto Maestro Schick’s request, I havescaled the piece up for orchestra, and

some things have changed in the middle of the piece. Template isa collaborative work that relies on the soloist to make a significantcreative contribution. Almost the entire solo trumpet part isimprovised, with only a few brief notated phrases (or prescribedrests) appearing at key moments in the score. There are also someopportunities for others in the ensemble to improvise as well,particularly the conductor. As in the original version, I deploydigital signal processing to transform the sound of the soloist, andsome of the other instruments in the orchestra. n

Program Notes

PeterEvanstrumpet

Peter Evans is atrumpet player andimprovisor/composerbased in New YorkCity since 2003. Heis part of a broad, hybridized scene of musicalexperimentation, and his work cuts across a wide rangeof modern musical practices and traditions. Evans iscommitted to the simultaneously self-determining andcollaborative nature of musical improvisation as acompositional tool, and works with an ever-expandinggroup of musicians and composers in the creation ofnew music. He leads the Peter Evans Septet in additionto performing and recording solo trumpet music. He iswidely recognized as a leading voice in the field, havingreleased several recordings over the past decade. As acomposer, he has been commissioned by theInternational Contemporary Ensemble (ICE), Yarn/Wire,the Donaueschingen Musiktage Festival, the JeromeFoundation’s Emerging Artist Program, and the DorisDuke Foundation. Evans has presented and/orperformed his works at major festivals worldwide andtours his own groups extensively. He has worked withsome of the leading figures in new music: John Zorn,Kassa Overall, Jim Black, Weasel Walter, MatanaRoberts, Tyshawn Sorey, Levy Lorenzo, Nate Wooley,Steve Schick, Mary Halvorson, Joe McPhee andperforms with both ICE and the Wet Ink Ensemble.

La Jolla Symphony& Chorus now accepts

vehicle donations!Call 1 (800) 500-7433 or visit

www.lajollasymphony.com/giving-opportunities to schedule your free pickup, get a

tax deduction and help support LJS&C.

Officers

Pat FinnPresident

Brian SchottlaenderVice President

Catherine PalmerTreasurer

Erica GambleSecretary

Paul E. SymczakImmediate

Past President

Mark AppelbaumPeter Gourevitch

Ida HoubyCarol C. LamJames Lauth

Stephen L. MarshBetty McManus

Ex-OfficioDiane SalisburySteven Schick

HonoraryMembersDavid BorgoDavid ChaseEloise DuffDavid ParrisJeanne Saier

2017-2018Boardof Directors

Mission Statement

Rooted in San Diego for over 60 years, the

La Jolla Symphony and Chorus enriches

our lives through affordable concerts of ground-breaking,

traditional and contemporary classical music.

HonoraryArtistic BoardJohn Luther Adams

Claire ChasePhilip GlassDavid Lang

Wu ManBernard Rands

Yet UnheardCOURTNEY BRYANBorn August 16, 1982, New Orleans

The following note has been provided by the composer.

“What happened toSandra Bland?” is aquestion that has beenrepeated without asatisfactory answer. Themystery and thetragedy of whathappened to SandraBland brings up

complicated questions. What is the value ofblack lives in our society? What can be done tohave a sense of justice for the lives affected bypolice brutality? As vocalist, composer, andactivist Abbey Lincoln asked, “who will reverethe Black woman?”

As an artist, the best way for me to deal withemotions brought on by these questions isthrough music. Through music, my aim was tomourn the tragedy of what happened toSandra Bland and her unfinished contributionsto the world, and yet to celebrate the strengthof her spirit, and to recognize her humanity.

Collaboration was a very important element inthe creation of Yet Unheard for orchestra,

chorus, and soloist Helga Davis. At thebeginning of the process, founder of TheDream Unfinished, Eun Lee, and I discussed thedirection for the piece. Over a number ofmonths, poet Sharan Strange and Icollaborated on the intention, direction, andelements of the piece, confirming that we werein sync every step of the way. Vocalist HelgaDavis collaborated with Sharan Strange and meon musical interpretation of the poem. Aftercomposing the piece, my conversations withconductor James Blachly on the intention ofthe piece were important in the final stages ofthe physical manifestation of the piece. We allfelt a need to honor Sandra Bland in ameaningful way. In its chamber version, YetUnheard remains true to the originalcomposition, yet with a greater focus on theindividual voices. Conductor Steven Schick andHelga Davis bring a powerful spirit to the piece.

“What Sandy Speaks wants to do is let mykings and queens know, ‘you can do it, wecan be successful, it is up to us.’ I love youall dearly. I hope you have a great day. Ihope you have a successful andprosperous day. Do what is necessary toestablish your kingdom and queendom,and just be great! Go out there and be thegreatest thing that you can, and Iguarantee it will turn your life around.Sandy speaks.”

– Sandra Bland, Sandy Speaks podcastn

HelgaDavissoprano

Helga Davis is avocalist andperformanceartist at home inthe world. Sheplants her feeton the mostprestigiousstages around the world, grown with firmroots in the full-blown life of her localcommunity. She is the recipient of the2014 BRIC Media Arts Fireworks Grant—anaward that supported the completion ofher first evening-length piece, Cassandra.Davis served as a principal actor in the25th-anniversary international revival ofRobert Wilson and Philip Glass’s seminalopera Einstein on the Beach. Leading

artists and composers have written worksfor her including: Oceanic Verses by PaolaPrestini, Elsewhere by Missy Mazzoli, YouUs We All by Shara Nova (of My BrightestDiamond) and Andrew Ondrejcak, Faust'sBox, by Italian contemporary musiccomposer Andrea Liberovici, and YetUnheard, a tribute to Sandra Bland byCourtney Bryan, based on the poem bySharan Strange. Robert Wilson describesher as “a united whole, with spellbindinginner power and strength.” She alsostarred in Wilson’s The Temptation of St.Anthony, with libretto and score byBernice Johnson Reagon (of Sweet Honeyin the Rock) and The Blue Planet, by PeterGreenaway. Current projects include SilentVoices with the Brooklyn Youth Choruswith text by Hilton Als, Jomama JonesBlack Light by Daniel Alexander Jones,Requiem for a Tuesday with bass-baritoneDavóne Tines  and dancer/choreographerReggie Gray,  Davis has been artist-in-residence at National Sawdust since 2016and is the host of the eponymous podcastHELGA, on WQXR/New Sounds.

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I. PreludeMother, call out to your daughterLift her up now, sisters, brothersBreak through fear, push back hatred’s stone

It’s an honor to protest for herWe will not forget her name

People, lift her up to chant her storyLift her, hear her speak again…

II.What did he seethat prompted such rage?What did he feel—with my face reflectedin his eyes, my voice in his mind…

What frustration did he unleash, what empathy dismiss,when a woman did not cower,but chastised his arrogance, his cowardice?

Did the rush of traffic stirsome dormant emotion— an urge to anxiety, self-pity…?He was undone so quickly!And my power—robust, unbidden, was it too much on display? Did that drive his angerto kill me that day?

III.Didn’t he kill me that day—not just in that moment, butwith torturous delay?I sat three days in a cell,a cocoon of despair,my head bursting,my questions unanswered,my challenge criminally rebuked,my anger no match for them as they robbed me of heirs…

And tried to kill my dignity, too. But you are my heirs, my witnesses,beyond all glaring disregard,all contempt for truth…Hold me precious, kin.Don’t relinquish our livesto erasure by brutes.

We’ve forgotten how to imagine black life…Our imagination has only allowed for us to understand black people as a dying people.

IV.My life was my own,my body my own,a Black woman’s joys and pain— much the same as ancestors’ physical losses, spiritual gains—But my death! I cannot reconcile,under their cover of brutality,neglect, official lies…

The police made a yokeI could not slip. I tell you,I willed myself to live! asmy life was clipped.And what was the crime?I dared to resistsociety’s murderous design.

How do we imagine something different,that…centers black people, that sees them in the future…?

V.I’m done with this life,gone and done. My footprints,my shadow, my laughter, my quick, strong speech…gone. What mercy I have known…done. And stifling injustice sits in its place.

But I know truth spreads.No stone of ignorance can stand against it forever. No fire of hatecan outlast its reach. Silence will be shatteredby its piercing notes.Strength will rise along its path.

VI. CodaNow is the time to dream about impossible futures,the conditionsfor possibilityfor the impossible…

My people, won’t you sing her name?Unabashed woman, defiant black life, skin-to-marrow Blackness…house of wounds, need, deep love, and faith.

Yes! We sing her name, clearand open in this place…We’ll transmute her death to justice,make freedom flourish in her wake.

Yet UnheardCommissioned by The Dream Unfinished: an Activist Orchestra in dedication to Sandra Bland

Composer Courtney BryanPoet Sharan StrangeSoloist Helga Davis

Note: Italicized lines comprise quotes/paraphrases by Patrisse Cullors and Angela Davis.

Lonely WomanORNETTE COLEMANBorn March 9, 1930, Fort Worth, TexasDied June 11, 2015, New York CityArr. Asher Tobin Chodos

The following note has been providedby the arranger.

Ornette Coleman’s Lonely Woman is achallenging piece. Its melody, thoughhaunting and unforgettable, isdisjointed and somehow inscrutable. Itsformal structure occupies a middleground between specificity anddiscrepancy. Perhaps most challengingof all from the perspective of a

symphonic arrangement, it is deeply connected to the musicalcontext in which Ornette Coleman first offered it to us: on hisgroundbreaking 1959 release, The Shape of Jazz to Come.There, Coleman and his ensemble challenged some of the jazzworld’s most cherished musical values. In its relationship toinstrumental virtuosity, in its treatment of rhythm andharmony, in its novel take on musical form, in its reframing ofthe blues—in nearly every way, this album representedsomething truly new (and, for many, something trulythreatening). In many ways, The Shape of Jazz to Come reallydid deliver on the promise of its title. Even so, its embeddedchallenges remain vital and provocative, even if their meaningsare different today from in 1959. This arrangement is anattempt to reckon with those challenges as I understand them,to create a musical space in which an orchestra and foursoloists can do the same, and, of course, to communicatesome of the remarkable beauty that imbues Coleman’s originalwith such undeniable power.n

Asher Tobin Chodos has a practice that combinescomposition, performance and music scholarship. He has beennamed a fellow of the Dave Brubeck Institute, the AsianCultural Council, and the Ucross Foundation. He holds adegree in Classical languages and literature from ColumbiaUniversity, and is a doctoral candidate in the UC San DiegoDepartment of Music, where he is writing a dissertation aboutautomated music recommendation.

KyleMotlcontrabass

Kyle Motl is a bassist,composer, andimproviser. Active in avariety of ensemblesand settings, his workcrosses the boundariesbetween idioms aswide as free jazz,contemporary concertmusic, folk music, andnoise. He regularlygives solo concertsthat utilize the vast timbral resources of the contrabass.This work explores aspects of chaos and complexity whiledeveloping a form of solo polyphony throughmanipulation of sonic spectra. Motl regularly performswith the Peter Kuhn Trio and in a number of groups withAbbey Rader. His compositions for piano trio can be heardon the record Panjandrums with Kjell Nordeson and TobinChodos. He has performed and recorded alongside artistssuch as Anthony Davis, Kidd Jordan, Mary Halvorson,Roscoe Mitchell, Mark Dresser, and Wadada Leo Smith,among others.

Motl holds a BM from Florida Atlantic University and anMM from Florida International University. He is a DMAcandidate at UC San Diego, where he studies bass withMark Dresser and composition with Anthony Davis.

KjellNordesondrummer andpercussionist

Kjell Nordeson is a Swedishpercussionist residing inCalifornia. As a performer ofimprovised music and jazzsince the early 90s, he hasplayed over 1200 concerts in26 different countries. Nordeson is featured on more than50 CDs as a member of ensembles in the fields of jazz,improvised music, and contemporary music. His musicalcollaborations include musicians such as Mats Gustafsson,Peter Brötzmann, Barry Guy, Mark Dresser, Sten Sandelland many others. He is a Ph.D. candidate in IntegrativeStudies at the Department of Music, UC San Diego, wherehis research focuses on musical improvisation in relation tocultural and personal identity, and to the notion of fluency.

A Special Thanks to

Robert Whitley

for his generous donation of fine wines for LJS&C events this season.

Syndicated Wine ColumnistPublisher of www.winereviewonline.com

A Special Thanks to

Robert Whitley

for his generous donation of fine wines for LJS&C events this season.

Syndicated Wine ColumnistPublisher of www.winereviewonline.com

On April 21, 75 guests attended the 17th annual Wine Tasting and Benefit.The focal point of the event was a blind tasting moderated by syndicated

wine columnist Robert Whitley of red wines from Italian wine regions other than Tuscany. Complemented by a beautiful spring day,

the event raised over $8,000 for LJS&C.

Hosts Robert Engler and Julie Ruedi.

Happy raffle prize-winnerPeter Gourevitch.

Susan and Gary Brown hit awinning streak in the wine raffle!

Ryan and Erica Gamble with their winnings,

a bottle of ZD Chardonnay.

Executive Director Diane Salisbury and moderator Robert Whitley

look for bidders on this 6-bottle boxed auction lot.

A standing ovation for RobertWhitley concludes the event.

Beyond the Tuscan Sun

Requiem, Opus 48GABRIEL FAURÉBorn May 12, 1845, Pamiers, FranceDied November 4, 1924, Paris

Setting theRequiem Massfor the Dead tomusic is one ofthose challengesthat makecertaincomposersreveal theirdeepest nature,and when wehear their

Requiem settings, we peer deep into theirsouls. From the self-conscious pageantry ofthe Berlioz Requiem to the lyric drama ofVerdi, from the independence of Brahms(who chose his own texts to make it adistinctly German Requiem) to the anguishof Britten’s War Requiem, a setting of theRequiem text can become a spectacularlydifferent thing in each composer’s hands.What most distinguishes the Requiem ofGabriel Fauré is its calm, for surely this spareand understated music is the gentlest of allsettings. Where Berlioz storms the heavenswith a huge orchestra and chorus (and fourbrass bands!), Fauré rarely raises his voiceabove quiet supplication. Verdi employs fourbrilliant soloists in an almost operatic setting,but Fauré keeps his drama quietlyunobtrusive. While Brahms shouts out thetriumph of resurrection over the grave, Faurécalmly fixes his eyes on paradise. Britten isoutraged by warfare, but Fauré remains atpeace throughout.

Much of the serenity of Fauré’s Requiemresults from his alteration of the text, for heomits the Dies Irae (Day of Wrath) of thetraditional text. Berlioz and Verdi evoke theshrieking horror of damnation, but Fauréignores it—his vision of death foresees notdamnation, but only salvation. While hereinserts a line from the Dies Irae in theLibera me, the effect remains one of quietconfidence in redemption. Fauré underlinesthis by concluding with an additional section,In Paradisum—that title reminds us of theemphasis of the entire work, and Faurébrings his music to a quiet resolution on thealmost inaudible final word “requiem” (rest).Responding to criticism that he did not offerthe traditional terror of death, Faurédefended himself: “That’s how I see death: ajoyful deliverance, an aspiration toward ahappiness beyond the grave, rather than apainful existence… Perhaps I have sought todepart from what is conventional becausefor so long I was organist at services of

interment. I’m fed up with that. I wanted todo something different.”

The Fauré Requiem has become one of thebest-loved of all liturgical works, but it tookshape very slowly. The mid-1880s foundFauré struggling as a composer. He hadachieved modest early success with a violinsonata and piano quartet, but now—in hisforties—he remained virtually unknown as acomposer. For over twenty-five years hesupported himself by serving as choirmasterand organist at the Madeleine, and it wasduring these years—particularly followingthe death of his father in 1885—that Faurébegan to plan his Requiem setting. He wasjust completing the score when his motherdied on January 31, 1887—the firstperformance took place at the Madeleinetwo weeks later, on February 16.

But the music performed on that occasionwas very different from the version weknow today: it was scored for a chamberensemble and was in only five movementsrather seven. Over the next decade, Fauréreturned to the score several times andchanged it significantly—the orchestrationbegan to grow, and he added twomovements: the Offertorium in 1889 and theLibera me in 1892. The “final” version datesfrom about 1900. Fauré had been asked byhis publisher to prepare a version for fullorchestra, and it appears that he delegatedthat task to one of his students. This full-orchestra version has been criticized for itsuncharacteristically thick sound (many partsare doubled), and in 1984 the Englishcomposer John Rutter attempted to createa more authentic version by re-scoring theseven-movement version for an ensemblemore closely approximating Fauré’s originalinstrumentation. It may not be possible toachieve an absolutely authentic version ofthe Fauré Requiem, and it is performedtoday in a number of versions (theseconcerts offer the music in the full-orchestra version of 1900). As always inthese cases, the skill and sensitivity of theperformers are more important in creating asatisfying performance than the choice of aparticular edition.

The Fauré Requiem seems to come from atwilight world. There are no fast movementshere (Fauré’s favorite tempo markings—theyrecur throughout—are Andante moderatoand Molto adagio), dynamics are for themost part subdued, and instrumental colorsare generally from the darker lowerspectrum. Violin sections were added only inthe final version, and even here they remainsilent in three of the seven movements. Thechorus almost whispers its first entrance onthe words “Requiem aeternam,” and while

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the movement soon begins to flow, this prayer for mercycomes to a pianissimo conclusion. At this point in a RequiemMass should come the Dies Irae, with its description of thehorrors of damnation, the admission of man’s unworthiness,and an abject prayer for mercy. Fauré skips this movementaltogether and goes directly to the Offertorium, with itsbaritone solo at Hostias. This movement, which Faurécomposed and added to the Requiem the year after itsoriginal premiere, comes to one of the most beautifulconclusions in all the choral literature as the long final Amenseems to float weightlessly outside time and space. Faurédoes finally deploy his brass instruments in the Sanctus, buteven this movement comes to a shimmering, near-silent close.

The Pie Jesu brings a complete change. In his GermanRequiem, Brahms used a soprano soloist in only one of theseven movements, and Fauré does the same thing here. Theeffect—almost magical—is the same in both works: above thedark sound of those two settings, the soprano’s voice soundssilvery and pure as she sings a message of consolation.

At the start of the Agnus Dei the violas play one of the mostgraceful melodies ever written for that instrument, a long,flowing strand of song that threads its way through much ofthe movement. Tenors introduce the text of this movement,which rises to a sonorous climax, and at this point Faurébrings back the Requiem aeternam from the very beginning;the violas return to draw the movement to its close.

The final two movements set texts from the Burial Servicerather than from the Mass for the Dead. The Libera me wascomposed in its earliest form in 1877, and Fauré adapted it forthe Requiem in 1892. Over pulsing, insistent pizzicatos, thebaritone soloist sings an urgent prayer for deliverance. Thechoir responds in fear, and the music rises to its mostdramatic moment on horn calls and the sole appearance inthe entire work of a line from the Dies Irae. But the specter ofdamnation passes quickly, and the movement concludes withone last plea for salvation.

That comes in the final movement. Concluding with InParadisum points up the special character of the FauréRequiem: it assumes salvation, and if Fauré believed thatdeath was “a happiness beyond the grave,” he shows us thatin his concluding movement. There is a surprising parallelbetween the conclusions of the Fauré Requiem and theMahler Fourth Symphony, both completed in 1900: bothfinales feel consciously light after what has gone before,both offer a vision of paradise, and in both cases it is thesound of the soprano voice that leads us into that world ofinnocence and peace. Mahler’s soprano soloist presents achild’s unaffected vision of heaven, while Fauré has thesoprano section take the part of the angels who draw us intoparadise. Fauré “wanted to do something different” with hisRequiem and he achieves that in a finale that quietly arrivesat “eternal happiness.”

Fauré’s Requiem has been called pagan rather than Christian,no doubt by those who miss the imminence of judgment. Butit is hard to see this gentle invocation of Christ and the mercyof God—and confidence in paradise—as pagan. Rather, itremains a quiet statement of faith in ultimate redemption andrest, one so disarmingly beautiful as to appeal to believer andnon-believer alike.n

Program Note by Eric Bromberger

PritiGandhisoprano

A native of Mumbai, India, PritiGandhi began her performingcareer at San Diego Opera whilestudying theatre and journalism atUC San Diego. During her career,she has been praised by the New York Times for her “creamysound and agile coloratura”, while Opera Pulse has describedher voice as a “sparkling soprano.” Ms. Gandhi’s 20-yearsinging and acting career includes performances at home andoverseas, with companies including the Théâtre du Châtelet inParis, New York City Opera, the New York Philharmonic, SanFrancisco Opera, the Philadelphia Orchestra, Los AngelesOpera, Seattle Opera, the Caramoor International MusicFestival, UNAM in Mexico City, San Diego Opera, the EstatesTheatre in Prague, Opera Pacific, the Memphis Symphony, andMichigan Opera Theatre. While serving as San Diego Opera’sArtistic Administrator, Ms. Gandhi has continued singing withArt of Élan at the SDMoA, the La Jolla Symphony and Chorusin Jonathan Dove’s cantata There was a Child, a concert at thefamed Spreckles Organ Pavilion as part of their InternationalSummer Music Festival, and a series of recitals sponsored bythe California Center for the Arts in Escondido, the Universityof San Diego, and the Musical Merit Foundation. Ms. Gandhialso lends her vocal talents to voiceover work in radio andtelevision commercials, as well as appearing in varioustelevision and film projects.

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JonathanNussmanbaritone

Jonathan Nussman is a baritonewhose varied interests includeopera, theater, and chamber music,with a special emphasis on musicfrom the 20th and 21st centuries. Hisstrong musicality and thoughtful interpretations have madehim a unique performer and contributor to the music sceneon both the East and West Coasts. As a performer, heexplores multi-disciplinary intersections of contemporaryvocal practice, theater, new technologies, performance art,visual art, movement and dance, improvisation, and moretraditional operatic and concert repertoire. Nussman attendedthe University of North Carolina at Chapel Hill, and received aMaster’s in Music from The Boston Conservatory. He iscurrently a doctoral candidate in contemporary vocalperformance at the UC San Diego. Recent majorperformances include George Crumb’s Songs, Drone andRefrains of Death, György Kurtág’s Hölderlin-Gesänge, andLuciano Berio’s Sinfonia with the La Jolla Symphony.

Photo: Mary Len Cutter

Libera me Libera me, Domine,de morte aeterna,in die illa tremenda:Quando caeli movendi sunt et terra:Dum veneris judicare saeculum per ignem.Tremens factus sum ego, et timeo,dum discussio venerit,atque ventura ira.Dies illa, dies iraecalamitatis et miseriae,dies magna et amara valde.Requiem aeternam dona eis, Domine:et lux perpetua luceat eis.

Free me, Lord,from eternal death,on that day of dread,when the heavens and earth shall move,when you shall come to judge the world by fire.I am made to tremble, and to fear,when destruction shall come,and also your coming wrath.O that day, that day of wrath,of calamity and misery,the great and exceedingly bitter day.Grant eternal rest to them, Lord,and let perpetual light shine on them.

In Paradisum In Paradisum deducant te Angeli;in tuo adventususcipiant te martyres,et perducant tein civitatem sanctam Jerusalem,Chorus Angelorum te suscipiat,et cum Lazaro quondam paupereaeternam habeas requiem.

May angels lead you into Paradise.At your comingmay martyrs receive you,and may they lead youinto the Holy City, Jerusalem.May the chorus of angels receive you,and with Lazarus, who once was a pauper,may you have eternal rest.

Angus DeiAgnus Dei, qui tollis peccata mundi,dona eis requiem.Agnus Dei, qui tollis peccata mundi,dona eis requiem.Agnus Dei, qui tollis peccata mundi,dona eis requiem sempiternam.Lux aeterna luceat eis, Domine,cum sanctis tuis in aeternum,quia pius es.Requiem aeternam dona eis, Domine:et lux perpetua luceat eis.

Lamb of God, who takes away the sins of the world,grant them rest.Lamb of God, who takes away the sins of the world,grant them rest.Lamb of God, who takes away the sins of the world,grant them eternal rest.May eternal light shine on them, Lord,with your saints, for eternity,for you are merciful.Grant eternal rest to them, Lord,and let perpetual light shine on them.

Introit and KyrieRequiem aeternam dona eis, Domine:et lux perpetua luceat eis.Te decet hymnus, Deus in Sion,et tibi reddetur votum in Jerusalem:Exaudi orationem meam,ad te omnis caro veniet.

Kyrie eleison.Christe eleison.Kyrie eleison.

Grant eternal rest to them, Lord,and let perpetual light shine on them.A hymn befits you, God in Zion,and a vow to you shall be fulfilled in Jerusalem.Hear my prayer,for unto you all flesh shall come.

Lord, have mercy upon us.Christ, have mercy upon usLord, have mercy upon us. 

OffertoryO Domine Jesu Christe, rex gloriae,libera animas defunctorumde poenis inferni, et de profundo lacu:libera animas defunctorum de ore leonis,ne absorbeat eas tartarus,ne cadant in obscurumHostias et preces tibi,Domine, laudis offerimus:tu suscipe pro animabus illis,quarum hodie memoriam facimus:Fac eas, Domine, de morte transire ad vitam,Quam olim Abrahae promisisti, et semini ejus.

O Lord Jesus Christ, King of glory,free the souls of the deadfrom infernal punishment, and from the deep abyss.free the souls of the dead from the mouth of the lion,do not let Hell swallow them updo not let them fall into the darkness.Sacrifices and prayers of praisewe offer to you, O Lord.Receive them for the souls of thosewhom we commemorate today.Lord, make them pass from death to life,as you once promised to Abraham, and to his seed.

SanctusSanctus, Sanctus, Sanctus,Domius Deus Sabaoth,Pleni sunt caeli et terra gloria tua.Osanna in excelsis!

Holy, Holy, Holy,Lord God of Hosts,the heavens and earth are filled with your glory.Hosanna in the highest!

Pie JesuPie Jesu Dominedona eis requiem,requiem sempiternam. 

Merciful Lord Jesus,grant them rest,eternal rest.

Fauré Requiem Text and Translations

Thank You, 2017-2018 Season Volunteers!

We couldn’t do it without you.

SUPERSTARS

Education & OutreachMarty Hambright

Mary Ellen Walther

We regret if we missed your name. Please accept our heartfelt thanks for all you do!

BRIGHT LIGHTS

Concert & Office SupportGeorge AndersonSharon BeckasBarbara BisioAllen BondKarla Dadd

Amber GreenChris LehmanRobert Mickle

Rebecca RamirezTiffany RemuzziLisa ScalabrinoBeth SondheimRichard Tilles

Sophia ValenzuelaNina WoodsDanlei Zhao

Ensemble SupportChuck Carver, chorus caterer Jeannie Stutzer, dress maven

Gala CommitteeJulie Croom

Ann DesmondAshley Gardner

Sue GordonLeta Keyes

Judy NelsonDebra SpencerJ. Marie TuthillElena Yarritu

PhotographyBill Dean

Tom PeischTina Talon

TuttiDanbi Ahn

Usher CaptainsJohn BenbowMary BenbowMary Arana

Event SupportJune Allen

Cherrie AndersonNed DearbornBetsy FaustLoie Flood

Anne Gero-StillwellAmber Green

Ina PageRay & Debby Park

Jeanne SaierSatomi Saito

Richard SchampFriedrike Touillon

Bill WingardLeslie Zoref

Gil & Dot Omens Will Call � Concert SupportDennis & Marianne Schamp and Family Potluck � Events � Young Artists

Fiona Chatwin, Laurinda Nikkel, Jeanne Saier, Elena Yarritu Young Artists Competition

Major funding provided by theCity of San Diego Commission for Arts and Culture and the

County of San Diego

Major Sponsor Supportfor the 2017-2018 Season

Founded in 1965 by Patricia Smith

David Chase, Interim Choral DirectorLuke Schulze, Assistant Choral Conductor

Victoria Heins-Shaw, Accompanist

Mea Daum Chorus Manager • Marianne & Dennis Schamp, Chorus LibrariansSean McCormac, Facilities Assistant • Dennis Schamp, Supertitle Coordinator

Soprano Danbi Ahn #Marné Amoguis Cherrie Anderson Jami Baar #Marcia Banks #Elise Chen #Sally Dean #Hannah De Los Reyes Kerri De Rosier #Justine Desan #Lizze Fisher #Ruvani Fonseka #Cecilia Frankenfeld Georgia Gebhardt #Meryl Gross** #Marty Hambright Martha Hamilton Ida Houby Anita Ip #Karen Johns #Jessica Jones #Hima Joshi #Karen Kakazu Kathryn Kinslow #Jin-Soo KimMaria Kotaitis Christine Lehman#Anna Lettang #Stacey Lichter #Carol Manifold #Krystyna Olszewska Yolanda Orrantia Alexandra Outcalt #Amy Schick Jeanne Stutzer #Paula Tallal Emily Tam Mary Ellen Walther* Katherine Wilkes Yehan (Sally) Yuan

Alto June Allen #Kathy Archibald Sonja Brun #Kim Burton #Peggy Clapp Jo Clemmons #Susan Elden #Elinor Elphick Karen Erickson #Cathy Funke** #Kathleen Gullahorn Vicki Heins-Shaw #Deanna Johnson #Jean LowerisonMona McGorvin Barbara McGowenVicki Moore Debby Park Barbara Peisch Rebecca Ramirez #Tiffany Remuzzi #Satomi Saito* #Lisa Scalabrino #Marianne Schamp #Lisa Shelby Janet Shields #Carol Slaughter Jil Stathis Susan Taggart Friedrike Touillon Dasha Vovk #Amee Wood #Nina Woods

TenorWalter Desmond* #Bill Eadie Joseph Garcia #James Gilliam #David Jorstad #Jim Macemon #Sean McCormac** #Joe Mundy #Tam Phan #Ashwin Rao #Samuel Rohrbach #Nathan Samskey #Bill Ziefle#

BassJack Beresford* #Vic Cardell Ned Dearborn Larry Dickson Jim Friedhofer #Paul Engel #Peter Gourevitch Frank Hafner Bryan Heard #Don Jenkins # Michael Kaehr #Daniel Kosoy #Steve Marsh #Bill Miller #Gilbert OmensRay Park Luke Schulze #Stewart Shaw** #Otto Sorensen #Julien Stroumza #Vince Tedjasaputra #Richard Tilles #

** Section Leader* Assistant Section Leader# Yet Unheard Ensemble Member

La Jolla Symphony Chorus

Founded in 1954 by Peter Nicoloff

Steven Schick, Molli & Arthur Wagner Music DirectorMichael Gerdes, Assistant Conductor

R. Theodore Bietz, Orchestra Manager • Ryan Beard, Orchestra Librarian • Celeste Oram, Production Assistant

Violin IDavid Buckley, Concertmaster

Sofia Asasi, Asst. Concertmaster

Susanna HanPat GiffordJennifer KhoeAnna Matuszczak Wendy PatrickJeanne SaierTed Tsai

Violin IIPeter Clarke, Principal

Gary Brown, Asst. Principal

Susan BrownCatherine ChyiDavid CooksleyCiara DabkowskiSavanna DunawayBetsy FaustIgor KorneitchoukIna Page

ViolaDaniel Swem, Principal

Nancy Swanberg, Asst. Principal

Emily BentleyLoie FloodAnne Gero-StillwellRoark MillerDavid PhanSarah QuemadaCynthia SnyderPaul WangColleen Weatherwax

CelloCaitlin Fahey Crow, Principal

Peter Stoffer, Asst. Principal

Alana BorumCurtis ChanValerie ChenSarah Gongaware Carolyn SechristCliff ThrasherCarol TolbertChiaki Watanabe

ContrabassChristine Allen, Principal

Darrell Cheng, Asst. Principal

Patrick FitzpatrickLance GucwaErik JohnsonBryan Lowe

FluteJoey Payton, Principal

Erica Gamble

PiccoloErica GambleVanessa Miller

OboeCarol Rothrock, Principal

Heather Marks-SoadySamantha Stone

English HornHeather Marks-Soady

ClarinetJenny Smerud, Principal

Gabe Merton

Bass ClarinetGabe MertonSteve Shields

BassoonTom Schubert, Principal

Mohammad Sedarat

HornRyan Beard, Co-Principal

Buddy Gibbs, Co-Principal

Eric BurkeJonathan Rudin

TrumpetKen Fitzgerald, Principal

Rachel AllenMarcelo Braunstein

Trombone R. Theodore Bietz, Principal

Niki Miragliotta

Bass TromboneMatthew Vancelette

TubaKenneth Earnest

TimpaniSean DowgrayDan King

PercussionSean Dowgray, Principal

Kayla AftahiDan King

HarpLaura Vaughan-Angelova

PianoDavid Han-Sanzi

OrganBill Engel

La Jolla Symphony Orchestra

The La Jolla Symphony & Chorus (LJS&C) is deeply grateful to the Department of Music at UC San Diego for its generous support and assistance, and to the following contributors for their donations to the 2017-2018 season. While making every effort

to ensure that our contributors’ names are listed accurately, if you find an error, please let us know and we will correct it. LJS&C is a 501(c)3 non-profit corporation, making your donation tax-deductible.

Annual GiftsDonations listed below were receivedMay 15, 2017 - May 15, 2018

MajorSponsor $25,000+City of San Diego,Commission for Arts & Culture

Department of Music, UCSDFamily of Joan Forrest

SeasonUnderwriter $15,000+AnonymousCarol C. Lam & Mark Burnett

Angel $10,000+Michael & Nancy Kaehr Glenn & Rochelle Kline-Casey Diane Salisbury & Robert WhitleySD County Board of SupervisorsAmee Wood & Eric Mustonen

Benefactor $5,000+Betty Scalice FundBeda & Jerry Farrell Bill Miller & Ida HoubyBob & Catherine Palmer Dr. Jim Swift & Suzanne Bosch-SwiftJ. Marie L. Tuthill

Sustainer $2,500+The Bloor FamilyEric & Pat BrombergerGary & Susan Brown Dr. & Mrs. Curtis Chan Donald & Frances Diehl Dr. Robert Engler & Julie RuediIn Memory of Joan Forrest

Pat Finn-Burkhard & Walt BurkhardJudy & Bob Gaukel Kiwanis Club of La JollaDonald & Julie MacNeil Stephen L. Marsh Saier FamilyIn Memory of Tom & Mary Nee

Steven & Brenda Schick Brian & Sherri SchottlaenderSteven & Janet Shields

Supporter $1,500+Marty HambrightVicki Heins-Shaw & Stewart ShawTed & Beverly Kilman James Lauth Cecil Lytle & Betty McManusMarie L. Nelson Tom & Barbara Peisch The Takahashi Family FundWeil Family Foundation

Associate $1,000+Daniel & June Allen Mark & Suzanne AppelbaumGayle Barsamian & David ClappGeorge & Uli Burgin Elsa & George Feher David & Pat Gifford Peter Gourevitch & Celia FalicovDr. Phyllis Irwin & Lillian FadermanJoan Kastner David Kimball & Jean HumeMonique KunewalderIn Memory of Tony Kunewalder

Bernard & Ann Porter Barbara Rosen & Bob FaheyDavid Dwyer Smith Sweet Bay FoundationPaul E. Symczak & Debra WeinerSandra Timmons & Richard SandstromFrederick D. Walker & Katharine L. Sheehan

Patron $500+ Dave & Joann Stang George & Sarilee AndersonArleene Antin & Leonard OzerkisMary Beebe & Charles ReillyMary Berend Nelson & Janice Byrne Walter & Ann Desmond Nancy & Joel Dimsdale Julia S. Falk Lulu Hsu Michael Krause La Jolla Rotary FoundationJoseph & Barbara Pasquale Carol Plantamura & Felix PraelSheila Podell & Art BaerRamesh Rao & Malathi AcharyaAlex & Valerie Rubins

Thomas Schubert Dave & Joann StangElizabeth Taft Cathy ThompsonTed & Anna Tsai Peter & Mary Ellen Walther Robert WennerholtElaine W. Wolfe

Member $250+ Jami & Ken Baar Dr. & Mrs. Yi-Liang Chen Gordon & Lauren Clark Geoff Clow Cristina Della ColettaRobert & Ann Dynes Clare Friedman Erica & Ryan Gamble Michael Gerdes J.M. & Barbara Gieskes Irma Gigli Sue Gordon Bill & Sharon Griswold Michael & Meryl Gross Stephen M. & Susie Hedrick Karen Johns & Peter JorgensenKaren Kakazu Tony Leonard & Jin-Soo KimSylvia Liwerant Louis C. & Celia K. Grossberg Foundation, Inc.Paul & Susan Marks Antonia Meltzoff Walter & Mary Munk Rod & Cinda Peck Drs. Margaret Schoeninger & Jeffrey BadaGigi & Bill Simmons Carol Smith Otto E. Sorensen & Mary GillickElisabeth SpiegelbergPeter Stoffer Nancy Swanberg & Max FenstermacherSusan & Mark Taggart Art & Trish Vlastnik Mary Walshok John & Penelope West Elena Yarritu & Ehud KedarSandra Zarcades Bill Ziefle

Annual Contributions

Friend $100 Mr. & Mrs. Michael Allen Jacqueline Allen Georgios & Myrtali AnagnostopoulosMaureen Arrigo Marcia Banks Thomas Beers Ellen Bevier Magdolna BornemiszaSusan Brown Prof. ChivukulaByron Chow Peter & Megan Clarke Mary Jo ClemmonsJoe & Ramona Colwell Julie Croom Mea & Gaelen Daum Larry Dickson C.M. DonovanIn Memory of Dr. Roland Blantz

Edward & Edith Drcar Kenneth W. Earnest Susan Elden Karen Erickson & Michael GillisF.F.D. Betsy Faust Joanne Fink Jim FriedhoferSharon & Gene FriedmanIn Honor of Dr. & Mrs. Milton Saier

Amanda & Greg FriedmanIn Honor of Jeanne Saier

E.B. Gibbs Stephen & Civia Gordon Kathleen GullahornDavid & Susanna Han-SanziAndy HelgersonJane Howell & George HarrisonAnita Ip Don Jenkins Dilip V. Jeste, M.D. Dr. Horacio & Sonia Jinich Jennifer Khoe Edith Kodmur Barry D. & Helen Lebowitz Justine Lee Anna Lettang Laura Levine & Peter PolitzerStacey Lichter Claudia LowensteinRobin Luby Jim MacemonHaley MacPhee Daniel & Violeta Maloney Carol Manifold Larry E. Mc ClearyMona McGorvin & James OleskyBarbara McGowenDouglas & Susan McLeod

Gabriel Merton Roark Miller Vicki Moore Nancy Moore Charles Joe Mundy Elizabeth Newman John Neyenesch & Polly ConeNessa O’ShaughnessyIna Page Ray & Debby Park Joey A. Payton Michael Perkins J.L. Person Sarah M. QuemadaSam Rohrbach Carol Rothrock Stephanie Rudolph Vanya Russell David Ryan Jennifer Savion Paul A. Shurin & Rosalia SalinasTom & Carol Slaughter Kenneth Stanigar Scott Stellar J. Theodore Struck Peter & Joan SuffrediniPaula Tallal Carol Tolbert William Tong Glenn E. Torbett Friederike Touillon Charles P. Van BeverenDaryna Vovk Molli Wagner Helen E. Wagner Paul Wang Sarah Warisi Ellen Warner-ScottSharlene WeatherwaxColleen WeatherwaxHenry & Irene Weber Thomas E. Welch Harry & Sandra Wibur Bonnie B. Wright David & Elke Wurzel

CORPORATE GIFT MATCHCaterpillarIntuitQualcomm Charitable Foundation

If you have provided for La JollaSymphony & Chorus in your estateplans, please tell us about it so that wecan include you in Planned Givingevents and recognize your gift. If not,let us show you how.

Through a bequest you can:

• Provide a future for LJS&C

• Possibly reduce the tax burden on your estate

• Permanently link your name to LJS&C through the Therese Hurst Society for Planned Giving.

For information about planned gifts,contact Diane Salisbury at

dsalisbury@lajollasymphony.com or 858-822-3774

May We HearFrom You?

PLANNED GIVING NEWS

THERESE HURSTSOCIETY FORPLANNED GIVINGThe Therese Hurst Planned Giving Society isnamed in honor of our chief benefactress,Therese Hurst, who upon her death in 1985left her house to the LJS&C, providing a cashreserve and starting an endowment fund.

Mark & Suzanne AppelbaumRobert Backe & Frank JonesHans Beck*Colin* & Maxine BloorLarry Carter & Jeanne FerranteGeoff & Shem Clow Sue & James ColladoEdward James Earl*Julia S. FalkClare & Paul* J. FriedmanKempton Family TrustMonique KunewalderJames & Risa LauthWilliam B. Lindley*Stephen L. MarshDrs. Bill Miller & Ida HoubyRichard & Glenda Rosenblatt*Steven & Brenda SchickElie A. & Polly H. Schneour Memorial FundVicki Heins-Shaw & Stew ShawDr. David Dwyer SmithAmee Wood & Eric Mustonen

* deceased

$200,000+Anonymous

$50,000+LiveLikeJoan FundRancho Santa Fe FoundationMolli & Arthur* WagnerAmee Wood & Eric Mustonen+

$40,000+Marie NelsonIn honor of Nelson & Kean families

$30,000+Hans Beck*Frances & Don DiehlIn honor of David Chase

Ida Houby & Bill Miller+

$25,000+Ken FitzgeraldIn honor of Joan L. Fitzgerald

Clare & Paul J.* FriedmanDianne McKay & Andrew KingJeanne & Milton Saier+

Brenda & Steven Schick

$20,000+J. Lawrence CarterGayle Barsamian & David ClappIn honor of Steven Schick

Karen Johns & Peter Jorgensen+

Julie & Don MacNeilCatherine & Bob Palmer+

Janet & Steve Shields+

Timmstrom FoundationLouise Wood*

$15,000+Elie A. & Polly H. Shneour Memorial Endowment Fund

Beda & Jerry Farrell+

Nancy Moore+

In memory of Anthony Paul MooreJim Swift & Suzanne Bosch-Swift+

$10,000+Anonymous (4)Ann & Walt Desmond+

In honor of David ChaseDr. Robert Engler & Julie RuediIn memory of Dr. Joan Forrest

Sally & Einar GallIn honor of David Chase & Paul J.* Friedman

Marty Hambright+

Michael & Nancy Kaehr+

Glenn & Rochelle Kline CaseyCarol Lam & Mark BurnettStephen L. Marsh+

Jan MerutkaDrs. Katherine Sheehan & Frederick D. Walker Jr.

Susan & Mark Taggart+

In honor of Steven Schick & David ChaseRobert Wennerholt

$7,500+Evon & John* CarpenterKaren Erickson & Michael Gillis+

In memory of Doris GeorgeJoan KastnerValerie & Alex Rubins+

$5,000+Anonymous (4)June & Dan Allen+

Mary Berend+

Bloor Family+

In memory of Colin BloorCurtis & Mae ChanAnn & David ChaseDavid CooksleyIn memory of Barbara Cooksley

Bernard Eggertsen & Florence Nemkov

Pat Finn & Walter Burkhard Pat & David GiffordClarice & Neil HokansonKempton Family TrustBeverly & Ted KilmanEsther & Bob LaPortaJames & Risa LauthBetty McManus & Cecil LytleMary Nee*+

In memory of Tom NeeManuel & Paula RotenbergPatricia & Christopher Weil Family Foundation

Lorraine Wong & William Schneider

$2,500+AnonymousPat & Eric Bromberger+

David & Beth Buckley+

Jui-Yuan ChangGeoff & Shem ClowJoan & Frank* Dwinnell+In memory of C. Eckman

Elinor Elphick+

Celia Falicov & Peter Gourevitch+Elsa & George FeherIn honor of Steven Schick

Sarah & Steve HenriksenDeanna & Eldy* Johnson+

Michael McCannSheila Podell & Art BaerDiane Salisbury & Robert Whitley+

Sherri & Brian SchottlaenderTom SchubertSmerud Real Estate, Inc.Dr. David Dwyer Smith+

Otto Sorensen+

In memory of Elli Valborg SorensenJeanne & Bill Stutzer+

In honor of David Chase

Nancy Swanberg & Max Fenstermacher+

Elizabeth & Joseph Taft Revocable Trust

Patrick, Katie & Tallis Walders+

Mary Ellen & Peter C. Walther+

In memory of Clarence & Pansy BuecheleNadine & Ollie WilsonIn memory of Colin Bloor

Elena Yarritu & Ehud Kedar

$2,000+AnonymousJanet & Maarten ChrispeelsJudy & Robert GaukelHima Joshi & Jeremy CoppIn honor of David Chase

Monique Kunewalder+

Anthony Leonard & Jin-Soo KimGideon & Janice MarcusIn honor of David Chase

Gudrun NoeIn memory of Wolfgang Noe

Barbara Rosen & Bob FaheyGigi & Bill Simmons+

Pamela SurkoFrancis Tonello

$1,500+Arleene Antin & Leonard Ozerkis+

Ellen BevierIn honor of Ida Houby & Bill Miller

Gregory Brown+

In memory of Martha Neal-BrownMea & Gaelen Daum+

Julia S. FalkCathy & Bill Funke+

Claudia Lowenstein+

In memory of Carl LowensteinPaul Symczak & Debra Weiner Carol Tolbert+

$1,000+Aram AkhavanSue & Mark Appelbaum+

Maureen ArrigoJack & Dottie Beresford+

Ann BlockJudy & Jack Cater+Chenango TrustPeter & Megan ClarkeJerome & Joyce Cutler-ShawLois DayJoanne DriskillDarrell & D. Ann FanestilSusanna & David Han-Sanzi Richard HelmstetterSonya D. Hintz Phyllis IrwinDonna Johnson+

In honor of David ChaseDavid & Gail Kempton

Cynthia & William KoepckeIn honor of David Chase

Susan & Paul MarksRobert & Jan McMillanSandra MinerVicky Nizri & Daniel MayerJudith K. NyquistIn honor of David Chase

Ina PageIn memory of Charles Page

Cinda & Rod Peck+

Barbara & Tom Peisch+

Samuel Lawrence FoundationCarolyn Sechrist+

Carol & Thomas Slaughter+

In honor of David ChaseCarol & Stuart* SmithLaurie SmithHelen E. WagnerIn honor of David Chase

Carey WallSharlene WeatherwaxWelty Family+

Up to $999Anonymous (8)Cheryl AldenSusan & Joseph Allen+

In memory of William B. FrenchKathy Archibald+

Huguette AshleyMary Barranger & Jerry Blank+

Sandra BarstowMarcia BeatyMary Beebe & Charles Reilly+

Thomas BeersSilvia BerchtoldTed & Carol Bietz+

In memory of Tom NeeCathy Bullock+

Josie BurdickDana Burnett & Bruce Ennis+

George & Uli BurginMary Ann CalcottJudy & Jack Cater+

Richard & Jill Chagnon+

Lauren & Gordon ClarkRobert & Sheila ClarkRobert & Carol ClarkeJulie CroomSally & Bill Dean+

Ned Dearborn & Cherrie AndersonXiomara Di Maio+

Nancy & Joel DimsdaleRussell & Frances DoolittleEdward & Edith DrcarZofia Dziewanowska+Bill EadiePaul EngelRichard & Lauraine Esparza+

Maureen FaheyDavid FalconerAndrew FeldmanIn honor of Michael & Nancy Kaehr

For more information about making a gift to the endowment fund, please contact Executive Director Diane Salisbury at 858-822-3774.

Sostenuto Endowment Gifts

Joshua FiererJoanne FinkLoie Flood+

Laurie ForrestJoan Forrest Young Artist Performance FundPeter Gach+Erica & Ryan GambleAnne Gero-Stillwell & Will StillwellEstelle Gilson John J. & Mary A. GriffinMichael & Meryl Gross+

Marty Hambright & Ron Manherz+

William & Cathy Hawkins+

Bryan & Cheryl Heard+

Sarah & Ronald JensenIn memory of Frank Dwinnell

Barbara Jewell & Donald Green+

Steve & Gail JonesKaren Kakazu+

Khoe FamilyAline N. KingMichael Kinnamon & Mardine DavisSharon KipferLynn KnizePeter Kofoed+

Richard & Linda LafetraCarol LandersThomas LangChristine Lehman+

Burton & Dana LevineRobin B. LubyMarc Madison+

Carol Manifold+

Virginia & Mark Mann+

Kurt & Elizabeth Marti+

Maryann MartoneWendy & Michael MatalonKaren MatthewsDr. David McCann+

Marlene McCann+

Brian McCarthyLarry McClearyMona McGorvin+

Douglas & Susan McLeodMaggie & Paul MeyerIn honor of Ida Houby & Bill Miller

Frank & Linda Morral

Joe Mundy+

Walter & Mary MunkElizabeth NewmanJeff Nevin+

Marianne NicolsKathleen O’Brien+

Harry & Leslie OsterDeborah & Ray Park+

Alice Parker+David & Dorothy ParkerBarbara & Nolan PennAdam PerezCarol Plantamura & Felix Prael+

Skandar RassasJean & Milton RichlinDiana RowellDr. & Mrs. M. Lea RudeeJon & Judy RudinVanya Russell+

Satomi Saito+

Amy Schick+

Thomas SchlegelMark & Kathleen Schlesinger+

Ken & Mary Lou Schultz+

Gerald SeifertLisa Robock ShafferJan & Barry SharplessStew Shaw & Vicki Heins-ShawGay SinclairHeather Marks SoadyAnn Spacie+

Joann & David StangRandy & Trish StewartSarah Stockwell & Andre LehovichPhyllis StrandSusan Stroemple+

Joan & Peter SuffrediniErika & Fred TorriEleanor Tum SudenDennis TurnerEric Van YoungJim & Lynn ViallPortia WadsworthSarah Warisi+

Ellen Warner-ScottRuth Weber+

Ellen Weller+

Leslie WilliamsSteve & Stephanie WilliamsElaine WolfeLaura Wolszon & Dr. Eduardo MacagnoDavid & Elke WurzelGloria Xefos+

+ David Chase Choral Composition Donor* deceased

Concert VideoEducational FundThanks to a generous gift by the Familyof Joan Forrest, in her memory, La Jolla Symphony & Chorus has fundingto videotape each concert this season.These videos will be posted on ourYouTube channel for educators and thepublic to access free of charge as part ofour music education and outreach effort.The videos also will be broadcast byUCSD-TV to all of the UC campuses and by satellite and cable to over100,000 viewers.

With ongoing support, we can turnLJS&C’s unique commitment toperforming new music and lesser-knownworks into an invaluable educationalresource through videotaping andarchiving of our concerts. If you areinterested in joining the Family of JoanForrest in supporting this effort, pleasecontact Diane Salisbury atdsalisbury@lajollasymphony.com for details.