soka performing arts center - soka university of … · performing arts center ... music historian...

ENJOY WORLD-CLASS ENTERTAINMENT 1

P E R F O R M I N G A R T S C E N T E RS O K A

S O K A U N I V E R S I T Y O F A M E R I C A

Academy of St Martin in the Fields

Saturday, April 1, 2017, at 8:00 p.m.

presents

Inon Barnatan, PianoTomo Keller, Director

Quiet City .............................................. AARON COPLAND (1900-1990)Mark David, trumpetRachel Ingleton, cor anglais

Concerto for Piano and Orchestra No. 9 in E-flat Major, K. 271 .......... ........................................WOLFGANG AMADEUS MOZART (1756-1791)

Inon Barnatan, pianoI. AllegroII. AndantinoIII. Rondo: Presto

- INTERMISSION -

Piano Concerto No. 2 (The Haunted Ebb) for piano, trumpet and strings .................................................... ALASDAIR NICOLSON (b. 1961)

Inon Barnatan, pianoMark David, trumpet

I. abandoned bells: “the white crying music”II. distant half-told lullabies: “Time, the deer, is in the woods of Hallaig”III. fiddles, pipes, drums: “the ghost band begins to dance”IV. moonlight on the sea edge: “the light levels the sea flatness.”

Symphony No. 29 in A major, K. 201/K. 186a ....................... MOZARTI. Allegro moderatoII. AndanteIII. MenuettoIV. Allegro con spirito

The Academy of St Martin in the Fields’ March 2017 tour is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

Exclusive Management for the Academy of St Martin in the Fields and Inon Barnatan:Opus 3 Artists | 470 Park Avenue South, 9th Floor North, New York, NY 10016 | www.opus3artists.com

The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. Please silence all cell phones and paging devices, and please refrain from text

messaging during the performance.

ENJOY WORLD-CLASS ENTERTAINMENT2

Program NotesQuiet CityAARON COPLANDBorn November 14, 1900, in Brooklyn, New York; died December 2, 1990, in North Tarrytown, New York

The background of this piece is best expressed in Aaron Copland’s words: In the spring of 1939, I was asked by my friend Harold Clurman to supply the incidental music for a new play by Irwin Shaw, Quiet City, a realistic fantasy concerning the night-thoughts of many different kinds of people in a great city. It called for music evocative of the nostalgia and inner distress of a society profoundly aware of its own insecurity. The author’s mouthpiece was a young trumpeter whose playing helped to arouse the conscience of his fellow musicians and of the audience. The play was given two try-out performances in New York in 1939, and then withdrawn. Several friends urged me to use some of the thematic material as the basis of an orchestral piece. I did so in the summer of 1940 as soon as my duties at the Berkshire Music Center were finished. I borrowed the name, the trumpet, and some themes from the original play. The English horn and string orchestra, and the form of the piece as a whole were worked out in a barn-studio two miles from Tanglewood. The orchestration was completed in late September, and the score dedicated to Ralph Hawkes, of the London firm of Boosey and Hawkes, who published the composition.

Shaw’s Quiet City is reflective in its recounting of the story of two brothers, one of whom rejected his heritage in an effort to conform to the business world, while the other maintained an unconventional, artistic, socially conscious lifestyle. In the music, the prominent trumpet part portrays one of the brothers wandering about the city at night, imagining the thoughts of those around around him.

Quiet City is a brief, gentle work in which the trumpet makes a few strong, declamatory statements, while the English horn and strings reflect musingly on the ideas that it has suggested. Overall, both solo instruments heighten, personalize, and individualize the mood Shaw was trying to create. The play’s protagonist, David, has a trumpet-player brother, Gabe, whose music, as described by Copland’s biographer, Howard Pollack, “represents the fear and restlessness—alternately associated with sexual repression, material deprivation, and anti- Semitic violence—felt by David and the other characters.” At the conclusion, one hears, according to the stage direction, “the trumpet, wonderfully clear, wonderfully promising, wonderfully triumphant.” The play only had a few performances but Copland’s musical take on it has become one of his most popular scores.


Concerto for Piano and Orchestra No. 9 in E-flat Major, K. 271WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna

The elegant Concerto for Piano and Orchestra No. 9 is Mozart’s first mature piano concerto, written when he was only twenty-one. Mozart wrote it in Salzburg in January 1777 for the celebrated Mlle. Jeunehomme, a French pianist who visited Salzburg as part of a long concert tour. In some ways this concerto could be understood to be his third because only two of his earlier piano concertos were entirely original rather than arrangements or adaptations. In this work, Mozart suddenly displays the extraordinary, unmatched expressive powers that he possessed.

The work in this concerto represents a great advance in Mozart’s work: in structure and materials it is entirely unlike the music for social occasions he was writing in Salzburg. His skills have now become those of a mature master, no longer those of a highly talented youth. It is probably, as Charles Rosen said in The Classical Style, “the first unequivocal masterpiece in a classical style purified of all mannerist traces,” even though it does lean heavily on the music of the past. The work was considered so unusual that when Leopold, Mozart’s father, tried to peddle it in Paris to a publisher, the publisher would not accept it.

Later in Mozart’s career, when he wrote concertos for his own performance, he sometimes only sketched the piano part, but he worked with great care on this concerto. Here, he meticulously wrote out every note, even those of the cadenzas, which were then usually improvised by the performer. The music historian Alfred Einstein compared Mozart’s achievement in this concerto with its bold originality to Beethoven’s in his Symphony No. 3, subtitled Eroica, and also composed in the key of E flat. Einstein said it was one of Mozart’s “monumental works . . . in which he is entirely himself, seeking not to ingratiate himself with his public but rather to win them through originality and uniqueness.”

Six years went by before Mozart wrote his next piano concertos, and they are, in comparison, relatively simple works, designed to be so that they could also be performed as chamber music, without the wind parts. The concertos that he wrote from 1784 do not represent advances over this one either; they are simply expansions of the art and skill he first demonstrated in this work.

The piano enters almost immediately in the second measure of the first movement, Allegro. By convention until then, the orchestra always played the opening material alone before the soloist entered; deviating from this


tradition was a bold step for Mozart. Here Mozart makes the orchestra and the soloist present one motive; the orchestra answers it with the presentation of another. Again, later in the movement, Mozart defies convention making the piano enter before the end of the tutti section. In the recapitulation section, Mozart gives the orchestra the motive the piano had in the initial exposition, and the piano plays what the orchestra had articulated in the beginning section. In the second movement, Andantino, for the first time in a concerto movement, Mozart utilizes a minor key instead of using the light galanterie he was accustomed to composing in the slow movements of his earlier concertos. Using a minor key for any movement of a concerto was rare at that time, and by employing it here, Mozart is able to create powerful music of heroic grief. The wit and the energy of the Rondeau finale, Presto, are enhanced by Mozart’s insertion of a stately minuet with four variations as an episode in the rondo. Here again, this was an unusual choice of structure for Mozart; usually a minuet is treated as a separate movement. The score calls for two oboes, two horns, and strings, and the piano solo.

(Program note by Susan Halpern 2017)

Piano Concerto No. 2 (The Haunted Ebb) for piano, trumpet, and stringsALASAIR NICOLSONBorn 1961 in Inverness, Scotland

Time and again I am drawn back to the music of my upbringing on the Isle of Skye where, far from the string quartets and concertos that I would later learn about, there was bagpipe music and solo song connecting back to ancient traditions and very much wrapped into society and life. The power of this music is visceral and one which, though the superficial musical layer may seem simple, has intense and profound resonances. For this concerto I have used some of these ancient songs and tunes as well as elements of the old classical pipe music--the pibroch--as thematic starting points. Mostly these “tunes” are used to create my own musical material by re-inventing and processing the notes and rhythms into new scales, chords, and rhythmic patterns, but sometimes fragments of the old melodies reach the surface in momentary revelations. In keeping with some of the compositional theory of bagpipe music, the development of musical ideas is often partly created by ornamentation of the main melody line, with grace notes aplenty, against the backdrop of drone-like harmony. In the case of these movements I’ve drawn on the Pibroch “The Lament of the Children” and songs such as “Tog orm mo phiòb” and “Maighdeannan na h-àirigh” as my raw material.


But in this work my musical reflections on place and culture take a literary starting point in the words of the late Sorley MacLean, a fellow Skye-man and internationally acclaimed poet, whose words have always inspired me because they are deeply connected to the atmosphere of the old music: with great ease they conjure place, memories, universal emotions, and the islander’s disposition. They bring to life the woods, the seascapes, the elements, the landscapes, and way of life effortlessly and succinctly. The title of this concerto is also the title of a collection of poems by MacLean imagining the ebb tide, the disappearance of things, whilst each movement has quotes from various poems around the idea of an empty landscape populated by ghost images. Many of these poems have strong descriptions of landscape and particularly memories of times past and historical events. The poems are also reflections of times of conflict and a significant period in Highland history where the people were “cleared” from the lands by force and the great migration of Scots during the mid-eighteenth to mid-nineteeth centuries began.

The Concerto was commissioned by the Academy of St Martin in the Fields.(Program note ©Alasdair Nicolson 2017)

Alasdair Nicolson’s commission is generously supported byThe Leche Trust and RVW Trust.

Symphony No. 29 in A Major, K. 201/K. 186aWOLFGANG AMADEUS MOZART

For two months of the summer of 1773, Mozart left provincial Salzburg for the capital city, Vienna, a great artistic center that was then crowded with important composers. There he undoubtedly encountered the new kind of symphony that Joseph Haydn had been writing recently, the passionate music of a time of storm and stress. Sturm und Drang (storm and stress), a movement then flourishing in German literature, based on strong emotions, was revolutionary in its emphasis on subjectivity and on man’s discomfiture in contemporary society. The movement developed


the theme of youthful genius in rebellion against accepted standards. It also emphasized its enthusiasm for nature and its rejection of the rules of eighteeth century neoclassical style. In music, it usually refers to passages with sudden dynamic changes, surprising harmonic turns, unexpected pauses, and highly contrasted themes. Sturm und Drang helped transform the rococo delicacy of the galant style into mature classicism.

On his return home from Vienna, Mozart composed a series of symphonies; he completed No. 29 on April 6, 1774, with a fullness and freedom of expression that he had only rarely approached before then. Even before he wrote this symphony, Mozart had often included the lyricism and texture that he had gleaned from Italian opera, and the historical origins of the symphony as a form can be found in the Italian opera, whose overtures were often called sinfonias, and were three-part compositions made up of a fast, spirited section, followed by a slow lyrical strain, ending with another fast section or minuet. Mozart was working on his opera La finta giardiniera while writing this symphony, a possible reason why many of its themes may have a vocal quality. In this symphony, particularly, Mozart used a strikingly Italianate style for the thematic material and textural fabric.

His new work was also influenced by the poetic strain in the compositions of Michael Haydn, Joseph’s younger brother, who was Mozart’s colleague in Salzburg. Leopold Mozart, the composer’s father, disapproved of what he considered to be Michael Haydn’s dissolute ways, but Wolfgang enjoyed his company and his music, and he loosely modeled this symphony after one of the younger Haydn.

This symphony is one of young Mozart’s most advanced orchestral works, a composition he liked so much that he revived it ten years later at the concerts he gave in Vienna. It is a high-spirited yet serious symphony in four movements, and it and the symphony he composed just before it, No. 25 in G minor (written after the ones numbered 26–28), are considered Mozart’s finest symphonies before his last ten, even though he was still a teenager when he wrote them. This symphony is substantial in content and in length, especially when compared with his earlier works.

In the first movement, Allegro Moderato, in the first theme, Mozart’s use of appoggiaturas may be understood as evocative of a vocal gesture, although the counterpoint evident throughout the symphony does not come from opera. Albert Einstein, an eminent musicologist of the early twentieth century commented, “there is here a new feeling for the necessity of intensifying the symphony through imitation and of rescuing it from the


domain of the purely decorative through a refinement of detail.” He found that the “instruments change character: the strings become wittier, the winds lose everything that is simply noisy, the figuration drops everything merely conventional.” In this movement, Mozart was also innovative: he introduced a new theme in the development section and composed a longer than usual coda. The orchestration, however, is more typical of his earlier symphonic works, emphasizing the strings with contributions by oboe and horn. Mozart’s love of the viola, an instrument he played very well, is evident here, and he gives the viola section a larger and more interesting role than was usual.

The lyrical second movement, Andante, distinguished by its grace and refinement, is quite operatic in style. It seems almost as if he had written a melody with accompaniment, especially as the strings are muted. In the coda, with which the movement ends, the violins recapitulate the theme, this time without their mutes.

In the Menuetto, Mozart creates many contrasting dynamic effects. The movement is rhythmically unusual, with a use of dotted rhythms, and the trio has atypical emotional depth, especially in the beginning of the second half. This vigorous and brief minuet is very different from the stately court dance, and its energy and humor clearly show the influence of Joseph Haydn. Mozart even includes parodies of genteel curtseying at the ends of some phrases. The syncopated rhythms in the gentler trio section continue the rustic mood he sets.

The spirited Finale, Allegro con spirito, in sonata-allegro form, like the opening Allegro, contains numerous imitative passages, where one section of the orchestra takes up a figure that has been heard in another. The protracted and rather dramatic development section in the movement’s center is one of the most complex Mozart had written until that time. Overall, the movement has a rococo lightness, but Mozart also makes use of a popular device known as the “Mannheim rocket,” a rapidly ascending scale that here leads to an “explosion” in the final two chords of the symphony.

Program note by Susan Halpern 2017


BiographiesTOMO KELLERDirector

Tomo Keller was born in Stuttgart, Germany, in 1974 to German-Japanese parents, both of whom were professional pianists. He started playing the violin at the age of six and at ten years old he gave his first performances as a soloist with an orchestra.

Keller studied at Vienna’s University for Music and Performing Arts and New York’s Juilliard School. Numerous prizes and awards followed, including first prize at the Austrian National Music Competition, third prize at the Fritz Kreisler Competition, first prize at the Johannes Brahms Competition, and the Grand Prize at the German Music Competition Berlin. He was also the first instrumentalist to receive the Aalto Stage Prize for young musicians.

He has since performed at major concert halls all around the world, including the Musikverein and Konzerthaus Vienna, Gewandhaus Leipzig, Konzerthaus Berlin, Beethovenhalle Bonn, Kirov Theatre St Petersburg, Salle Pleyel Paris, and the Barbican in London. He has been invited to music festivals such as the Schleswig-Holstein Musik Festival, Mecklenburg-Vorpommern Festspiele, Ludwigsburger Schlossfestspiele, Festival de Musica Manuel de Falla, and Oberösterreichische Stiftskonzerte. He has also been a frequent guest on radio and television broadcasts (ARD, BBC, NHK, and ORF).

As a soloist Keller has performed with the Beethovenhalle Orchestra Bonn, St. Petersburg Camerata, London Symphony Orchestra, Radio Symphony Orchestra Berlin, and the Vienna Symphony Orchestra. Concert tours have led him all across Europe, as well as Russia, Asia, the United States, and the Middle East.

Keller is a much sought-after orchestral leader, having led the Essen Philharmonic Orchestra (1999–2007), the London Symphony Orchestra (Assistant Leader 2009-2015), and the Swedish Radio Symphony Orchestra (2014-present). He has appeared with more than twenty orchestras as guest leader including the BBC Symphony Orchestra, Chamber Orchestra of Europe, DSO Berlin, SWR Stuttgart, WDR Cologne, London Philharmonic Orchestra, Philharmonia Orchestra, and Pittsburgh Symphony Orchestra. Keller was appointed Leader of the Academy of St Martin in the Fields in December 2015.


Keller’s recordings include solo works by Bach, Bartok, and Ysaye; and orchestral recordings including Stravinsky’s Apollon musagète with Sir John Eliot Gardiner/LSO, and Avant Gershwin with Patti Austin and the WDR Big Band, which was awarded a Grammy in 2008.

He has given masterclasses and orchestral classes at the Guildhall School and the Royal Academy of Music London as well as in South Korea and the United States.

Keller plays a violin by Andrea Guarneri, Cremona 1667, made available to him by the Swedish Järnåker Foundation.

INON BARNATANPiano

Celebrated for his poetic sensibility, probing intellect, and consummate artistry, Israeli pianist Inon Barnatan is embarking on his third and final season as the inaugural Artist-in-Association of the New York Philharmonic, appearing as soloist in subscription concerts, taking part in regular chamber performances, and acting as ambassador for the orchestra.

This summer Barnatan makes a host of high-profile festival appearances, including the Seattle, Santa Fe, Delft, and Aspen festivals, all capped by a solo recital marking his Mostly Mozart debut. In the 2016-17 season he debuts with the Leipzig Gewandhaus Orchestra under the baton of New York Philharmonic Music Director Alan Gilbert, the Chicago Symphony Orchestra under Jesús López-Cobos, the Baltimore Symphony under Vasily Petrenko, and the Seattle Symphony under Ludovic Morlot. He returns to the New York Philharmonic under Manfred Honeck, and embarks on three tours: of the United States with the Academy of St Martin in the Fields, of Europe with his frequent recital partner Alisa Weilerstein, and of the United States again performing a trio program with Weilerstein and clarinetist Anthony McGill including a concert at the Chamber Music Society of Lincoln Center. Other highlights include concerto performances in Japan, Hong Kong, and Australia, the complete Beethoven concerto cycle in Marseille, and several concerts at London’s Wigmore Hall.

A recipient of both the Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, Barnatan has performed extensively with many of the world’s foremost orchestras including those of Cleveland, Los Angeles, Philadelphia, and San Francisco; Deutsches Symphonie-Orchester


Berlin; the Royal Stockholm Symphony Orchestra; and the Gulbenkian Orchestra of Lisbon. He has worked with such distinguished conductors as Gustavo Dudamel, Michael Tilson Thomas, James Gaffigan, Susanna Mälkki, Matthias Pintscher, Thomas Søndergård, David Robertson, Edo de Waart, Pinchas Zukerman, and Jaap van Zweden. Passionate about contemporary music, in recent seasons the pianist has premiered new pieces composed for him by Matthias Pintscher, Sebastian Currier, and Avner Dorman.

“A born Schubertian” (Gramophone), Barnatan’s critically acclaimed discography includes Avie and Bridge recordings of the Austrian composer’s solo piano works, as well as Darknesse Visible, which scored a coveted place on the New York Times’ Best of 2012 list. Last October the pianist released Rachmaninov & Chopin: Cello Sonatas on Decca Classics with Weilerstein, which earned rave reviews on both sides of the Atlantic.

MARK DAVIDTrumpet

Mark David, principal trumpet in the Academy of St Martin in the Fields, has enjoyed a distinguished career as a performer with some of the most prestigious ensembles in the world. He has been described as “epitomising the very best of British Trumpet playing: clarity of tone, elegance of style and with sustained power when required.” Prior to joining the ASMF he held the position of principal trumpet in the Philharmonia Orchestra for more than twenty years. He performed as a soloist with the Philharmonia in Bach’s Brandenburg Concerto No. 2 directed by András Schiff, the Haydn trumpet concerto conducted by Vladimir Ashkenazy, and Copland’s Quiet City at Buckingham Palace in a private concert for the Prince and Princess of Wales. He has also performed the Haydn concerto with the ASMF in London and Switzerland.

David was born in Cornwall and began his musical life in the county’s renowned brass bands. He studied at the Birmingham School of Music with John Wilbraham and later with Håkan Hardenberger. His professional career began as principal trumpet at Opera North and continued at the Bournemouth Symphony before he moved to the Philharmonia in 1990.

Alongside his performing schedule, David is artistic director and head of brass at the Royal Academy of Music. Under his leadership, the brass


department has become widely recognised as one of the foremost in the world and his former students occupy positions in orchestras worldwide.

In his leisure time David is a keen sportsman, competing in triathlons and ultra-marathons and is a qualified ski instructor, personal trainer, and mountain bike instructor. His teaching draws on techniques and inspiration from these and other disciplines to underpin his teaching philosophy of guided self-discovery.

ALASDAIR NICOLSONComposer

Alasdair Nicolson was born in Inverness, Scotland, in 1961 and was brought up on the Isle of Skye and the Black Isle. His first musical experiences were in traditional folk music before going on to study at Edinburgh University as an undergraduate, later returning as Shaw McFie Lang Fellow. An award-winning composer, he came to prominence after winning the IBM Composers’ Prize in the early 1990s and is now regarded as one of Scotland’s most important new compositional voices alongside his contemporary James MacMillan. His work is in demand at home and abroad, and he has written music for many of the leading orchestras, ensembles, and soloists in the United Kingdom, Europe, and beyond. His music has its roots in old Scottish music and has been praised for its clarity, invention, and emotional depth. Works have been performed and broadcast all over the world from New York to Santiago, Tokyo, and Sydney. He has worked with some of the world’s most renowned ensembles including the Nash Ensemble, London Symphony Orchestra, Sydney Symphony Orchestra, Trondheim Soloists, London Sinfonietta, BBC Symphony Orchestra, Hebrides Ensemble, Scottish Chamber Orchestra, and Fidelio Trio as well as many eminent solo performers. He was for many years composer in association with the City of London Sinfonia for whom he wrote several works. Most recently he has written an opera, The Iris Murder, which premiered at the Cottier Chamber Project, and a reimagining of Purcell’s King Arthur for London’s Wigmore Hall. Nicolson has a strong commitment to work within education, with amateur performers, and particularly with young composers; and has made a television program with the BBC Scottish Symphony Orchestra about composition and written two books about composing. He is director of the St Magnus Composers’ Course for young professional composers


and artistic director of the award-winning Sound Inventors Project which aims to engage school children with composing he has also taught at the Britten-Pears schools in Aldeburgh.

Although he has a busy schedule writing music he has always maintained a career as a performing musician and conductor having begun his career as an opera repetiteur and theatre musician. He is highly regarded as a creative producer and is currently artistic director of St Magnus International Festival and was formerly artistic director of Bath International Music Festival where he followed in a long line of eminent musicians in artist-led programming. He also runs his own ensemble the Assembly Project which is a multi-artform performing group.

Current projects include a new piano concerto for Inon Barnatan and the Academy of St Martin in the Fields, a collaboration with the Norwegian writer John Fosse for the BBC Singers and Trondheim Soloists, a new work for pianist Rolf Hind in memory of Peter Maxwell Davies, and a work for organ for Christian Wilson.

ACADEMY OF ST MARTIN IN THE FIELDS

The Academy of St Martin in the Fields is one of the world’s premier chamber orchestras, renowned for its fresh, brilliant interpretations of the world’s most-loved classical music.

Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through its live performances and vast recording output—highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscar-winning film Amadeus—the orchestra quickly gained an enviable international reputation for its distinctive, polished, and refined sound.

Today they are led artistically by Music Director, virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark. Each year they work with some of the most talented soloists and directors in the classical music scene, performing symphonic repertoire and chamber music on a grand scale at prestigious venues throughout the world, whilst expanding the Academy’s celebrated recording catalogue.


Academy of St Martin in the Fields US 2016–2017 Tour Roster

FIRST VIOLINTomo KellerHarvey de SouzaAmanda SmithFiona BrettAnna-Liisa BezrodnyAlicia SmietanaSECOND VIOLINRobert SalterHelen PatersonMark ButlerWinona FifieldRaja HalderVIOLARobert SmissenAlexandros KoustasMartin HumbeyChian Lim CELLOMartin LovedayWilliam SchofieldJudith Herbert DOUBLE BASSLynda HoughtonCathy ElliottOBOETim RundleRachel IngletonHORNAlec Frank-GemmillFinlay BainTRUMPETMark David

Music DirectorJoshua BellPrincipal Guest ConductorMurray Perahia KBE

ACADEMY STAFFChief ExecutiveAlan WattOrchestra Personnel ManagerSally SparrowLibrarianKatherine AdamsHead of Concerts and TouringJenny ChadwickConcerts ManagerRichard BrewerConcerts and Administration AssistantJo HarveyOrchestral Administration TraineeAnnie de GreyHead of DevelopmentAndrew McGowanDevelopment ManagerAmy ScottDevelopment AssistantPrudence DiStasioProducerCharlotte O’DairMarketing ManagerPeter FisherPR ConsultantRebecca Driver Media RelationsLife PresidentSir Neville Marriner CH, CBE

BOARD OF DIRECTORSTim Miller ChairmanElizabth BennettMark DavidEvelyne DubeSimon HaslamRachel IngletonJulia JordanAlan KerrAnthony O’CarrollBernard OppetitCharlotte RichardsonHarvey De Souza

FOR OPUS 3 ARTISTS:President and CEO David V. FosterSenior Vice President, Director, Touring Division Leonard SteinVice President, Manager, Artists & AttractionsRobert BerrettaAssociate, Touring DivisionTania LeongAssociate, AttractionsSamantha CortezCompany ManagerJohn Pendleton


You might also enjoy these classical music events...

Murray PerahiaFri . Apr . 21 . 2017 . 8 PM

Solo piano. In the more than forty years he has been performing on the concert stage, Grammy Award-winning American pianist Perahia has become one of the most sought-after, cherished pianists of our time. “Perahia’s extraordinary pianism is a sacrament of purification and a kind of return to an age of pianistic innocence” (LA Times).

Pacific Symphony with Joyce YangSun . Apr . 30 . 2017 . 3 PM

A Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. “Her attention to detail and clarity is as impressive as her agility, balance, and velocity” (Washington Post).

Soka University’s Spring Faculty RecitalTue . Apr . 18 . 2017 . 8 PM

SUA faculty Wan-Chin Chang joins forces with MiraCosta College faculty member Branden Muresan presenting classical masterworks for the piano and violin.Program: Dvořák’s Romance, Op.11; Beethoven’s Sonata for Violin and Piano, Op.24 Spring; Liszt’s Sonata in B minor.


Coming Up Next...PamyuaSun . Apr . 8 . 2017 . 8 PM

Hailing from Alaska, Pamyua showcases Native American Inuit culture and shares indigenous knowledge and history through music and dance. Often described as “Inuit Soul Music,” their style derives from traditional melodies reinterpreted with contemporary R&B vocalization and instrumentation. Pamyua is a Yup’ik Inuit word meaning “encore” or “do it again.”

The Urban Renewal Project | thePOETFri . Apr . 14 . 2017 . 8 PM

The Urban Renewal Project is a Los Angeles based band that uses instruments of a bygone era to create a signature sound that blurs the boundaries between soul, jazz, and hip hop. Brandishing an instantly recognizable voice and style, as well as an acute ear in the studio, thePOET writes, sings, raps, produces, and engineers songs with emotional impact.

Critical Conversations @Soka presentsMoby: Vegan Meat-UpA Safe Space for the Curious CarnivoreSun . Apr . 8 . 2017 . 8 PM

Opening musical performance by electronica star and notable vegan Moby, followed by discussion on the benefits of a whole-food, plant-based diet, with Moby, Farm Sanctuary Founder Gene Baur, Emmy Award-winning filmmaker Allison Argo, moderated by global sustainability leader Jaime Nack. The event culminates with a screening of The Last Pig.


Soka University of America Board of Trustees:Steve Dunham, JD, ChairTariq Hasan, PhD, Vice ChairYoshihisa Baba, PhDMatilda BuckLawrence E. Carter Sr., PhD, DD, DH, DRSMaria Guajardo, PhDClothilde V. Hewlett, JDLawrence A. Hickman, PhD

Soka University of America Administration:Daniel Y. Habuki, PhD, PresidentEdward M. Feasel, PhD, Vice President of Academic Affairs & Dean of FacultyArchibald E. Asawa, Vice President for Finance and Administration & CFOTomoko Takahashi, PhD, Vice President of Institutional Research and Assessment & Dean of Graduate SchoolWendy Harder, MBA, APR, Director of Community RelationsKatherine King, PHR, Director of Human ResourcesHyon J. Moon, EdD, Dean of StudentsAndrew Woolsey, EdD, Director of Enrollment Services

We would like to thank our Board of Trustees and our Administration for their extraordinary support of Soka Performing Arts Center

With deepest gratitude to the donors who made Soka Performing Arts Center possible.

www.performingarts.soka.edu | (949) 480-4278 | [email protected]

Kris Knudsen, JDKaren Lewis, PhDDaniel Nagashima, MBAGene Marie O’Connell, RN, MSDavid P. Roselle, PhDYoshiki TanigawaShunichi Yamada, MBA

Soka Performing Arts Center Staff:David C. Palmer, General ManagerRebecca Pierce Goodman, Marketing and Administrative ManagerShannon Lee Blas, Patron Services ManagerSam Morales, Technical Services ManagerSteve Baker, House Manager; Lindsey Cook, Stage Manager; Marcia Garcia, Production Coordinator; Kay Matsuyama, Sound & Video Technician; Ray Mau, Lighting Technician; May Nakatsuka, Stage TechnicianJim Merod, Director, Jazz Monsters Series and Soka University Jazz FestivalStudents of Soka University of America who serve as patron and technical services crew, as well as marketing assistants. Citizens of Aliso Viejo and surrounding communities who volunteer their service as ushers and hospitality aides.

Our Sponsors and Partners:The Orange County Register, KJazz 88.1, KUSC 91.5, California Presenters, and California Arts Council.

soka performing arts center - soka university of … · performing arts center ... music historian...

Documents