The Stars of our Orchestra - Orchestra Nova San Diego

OUR DREAM:
A World of Music
for Every Child
A New Name
A New Venue
A New Era
Innovation:
the iNova Connection
The Stars of
our Orchestra
2009-2010 SEASON PROGRAM
VOLUME 4
ORCHESTRANOVA.ORG

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CONTENTS
Notes from Us
3 From Our Editor’s Desk
4 Charting A New, Exhilarating Course
5 A Bright Light in These Dark Times
Features
4 A Profile of Success
6 Innovation: the iNova Connection
7 Nova Cares
8 Connecting with Jung-Ho
10 The Stars of Our Orchestra
12 Up Close: Getting to Know Some of Our Stars
13 Our Dream: A World of Music for Every Child
Concerts
14 The Many Faces of Mozart
18 Flying Solo
22 Haydn Seek
26 All in the Family: Meet the Bachs
32 The Next Star
36 CSI: Beethoven — Inside Ludwig’s Head
40 Masterpiece Messiah
43 Pops at the Center
Our Support
44 Introducing Nova Club
45 Maestro’s Circle
46 Nova Club Members
49 Corporate Sponsors, Foundation and Government Supporters
50 Planned Giving for the Next Generation
51 General Information and Venues
Reduce, Recycle, Reuse!
Take your Inspire magazine
home and bring it back for
the next concert —
or leave it in our
special recycle
box as you leave.
40
14
26
3
18
32
36
44
22

From our Editor’s Desk
“It’s not just about notes
on a page but about
bringing the music to
life, giving it meaning
and a purpose.”
Ulli Reiner, orchestra director with the Poway Unified Schools, used
that description to illustrate how our own Jung-Ho Pak nurtures
the hearts and souls of young performers through his unique
approach to music, both in performance and education.
Ulli’s quote is so relative to everything we do at Orchestra
Nova. Bringing music to life — bringing joy and beauty to a
diverse group of individuals, young and old, through creative
programming and a personal touch that makes a connection —
that’s what Orchestra Nova is all about.
With that as a guiding principle, we set out to put this magazine
together. No, it’s not the usual “concert program” — it’s really a
magazine that serves as a program. It’s full of articles that, we
hope, will keep you reading and wanting to learn more about the
stories behind the music and about the people at the heart of this
fantastic orchestra.
Fast forward through these pages if you want, but stop long
enough to learn about our Internet initiatives through iNova
Connection on our hip new web site; “listen in” on a conversation
with Maestro Pak; learn a little about the everyday lives of our stars,
the musicians; and prepare to be gripped by the true story that
continues to this day about Beethoven’s death.
And on and on it goes — there are so many wonderful stories to
tell! I hope some of these stories will bring the music to life for you.
Orchestra Nova staff
PUBLICATION
Design Services
DAVENPORT CREATIVE
davenportcreative.com
Beverly Lambert
Photographers
GREG MERINO PHOTOGRAPHY
gregmerino.com
ERICA HORN
(Connecting with Jung-Ho)
Features
JUDITH ANDERSON
BEVERLY LAMBERT
MAILE MILLER
PAIGE SATTER
Concert Program Notes
BEVERLY LAMBERT
Advertising Sales
DENISE KOLDE
Stock Photography
ISTOCK PHOTOS
DREAMSTIMES
NAXOS
BIG STOCK
Inspire
Editor-In-Chief, Beverly Lambert
CONTRIBUTORS
ADMINISTRATION
Executive Director
TYLER RICHARDS HEWES
Artistic Director and Conductor
JUNG-HO PAK
Director of Marketing Strategy
and Communications
BEVERLY LAMBERT
Director of Development
JUDITH ANDERSON
Artistic Administrator
and Education/Outreach
Coordinator
PAIGE SATTER
Customer Relations and
Ticketing Manager
ERIN OLENO
Administrative Assistant
STELLA KARL
Accountant
ELAINE STANDRING
Volunteer Assistant
JUDY MOORE
Marketing Interns
CHAD CORTVRIENDT (USCD)
MAILE MILLER (USC)
QUYNH-NHU MAI (UCSD)
3

4
Notes from Us
Charting A New, Exhilarating Course
As we journey through our 2009-2010
season, I am compelled to comment on
how much excitement there is surrounding
the changes Orchestra Nova, formerly
San Diego Chamber Orchestra, is making
and how thrilled we are to have you along
for the ride.
Our new name captures the energy of
this moment. Each of our musicians is a
bright star with his/her own talent, joy
and virtuosity. It also reflects the way in
which Jung-Ho shines a bright light on the
incredible music we all experience — giving
a depth that allows each of us to appreciate
it so much more. Orchestra Nova honors
the tradition and legacy of the past 25 years
while charting a new, exhilarating course.
A pro le
of success
A look at the life of an
Orchestra Nova board
member (1995-Present)
Helen and Harry Miyahira
Beverly Lambert, director of marketing,
Orchestra Nova; former music educator,
corporate marketing executive
Our new state-of-the-art home, the Irwin
M. Jacobs Qualcomm Hall, is a venue of
unmatched acoustics and visual splendor
and is vital in bringing masterpieces to
you on an intimate level. The multimedia
elements of each concert will enliven
your experience and present all of these
“classical” pieces in a new light.
Our dynamic new season will take you on
a journey of sight and sound and of energy
and emotion. Our mission is to make every
part of your Orchestra Nova experience
unique — to take you out of the every day
and bring you to a world of joy, beauty and
extraordinary music.
Thank you for joining us and making
Orchestra Nova a part of your life.
Tyler Richards Hewes, executive director,
Orchestra Nova; actor, former College
Knowledge Bowl champion
“We believe that beautiful music is not a luxury, but a necessary
comfort and pleasure during difficult times. Now, more than ever,
the soul needs to be soothed and nourished.”
If you’ve ever had just five minutes
to grab a quick lunch, you know
how important every second is as
you go through that restaurant drivethru.
What you probably haven’t thought
about is how technologically advanced
that restaurant’s communication system
is that gets you in and
out so quickly.
Technology meets
McDonalds
Harry Miyahira knows all
about it — he invented it.
And, he and the technology
experts at the company he
founded, HME, invented so
much more, for example:
wireless digital headsets
used by emergency,
concert and broadcasting
personnel and coaches;
wireless paging systems
used by nurseries and
restaurants.
Dreaming big in Hawaii
Harry grew up in the Sugar Plantation
camp in Maui, Hawaii, one of eleven
children brought up by immigrant
parents who instilled in him the thrill that
comes from working and studying hard
to achieve one’s dreams.
During high school, he
operated a radio-TV
service shop and quickly
discovered how nice
it was to be one’s own
boss. That desire for
independence would
be a motivating factor
throughout his life.
Learning life’s lessons
After serving in
the military as a
commissioned officer
and subsequently
in the aerospace
industry with satellite
A Bright Light in These Dark Times
And there’s more, even in this tough economy.
Our long-time enthusiastic supporters believe in us.
The world’s financial
situation is a mess…
but we’re still focused on
bringing beauty and joy into
our communities through an
extraordinary classical music
experience with
Orchestra Nova
Jacobs Qualcomm Hall
our 26th!
Young professionals are responding to our “experience” and
supporting us.
Our terrific professional musicians, stars in their own right, are
making Orchestra Nova truly special.
“We support and keep coming to Orchestra Nova because it is a
unique orchestra in so many ways. You get to meet and develop a
relationship with the maestro and many of the musicians. Maestro
Jung-Ho Pak, with his creative approach to the performances,
makes each concert delightfully stimulating.”
communications, he founded HME in
1971. Harry says, “Military training taught
me how to become an effective leader
and working in the defense industry
taught me business management and
technology — that combination aided
me in developing a competent staff
with excellent products.” He quickly adds,
however, “Above all, it was the inspiration
and encouragement I received from my
wife Helen, especially during the difficult
start-up times, that really made the
difference.”
A definition of success
Harry and Helen strongly believe that
giving back to the community and
supporting nonprofit organizations is a
critical part of living a balanced life. He
says, “Feeling good about one’s life goes
beyond financial success.”
Playing golf, especially with his son
and grandson, is one of his favorite
“fun things” to do. “It’s an excellent
social event, but it requires focus and a
commitment to be competitive,” he says.
Music! Music! Music!
At an early age, Harry learned to play
musical instruments and he played
in bands, jazz groups and orchestras
throughout high school. As an adult, he
has been a church choir director and is
Our dynamic, creative artistic director Jung-Ho Pak is producing a
classical music “experience” that’s way beyond anything else in the
music world of San Diego today.
Our Frances Hunter Music Memory Program for classrooms is the
most extensive support given to music education by a nonprofit
organization in the area.
Our ticket sales are up — we sold out nearly all of our concerts
downtown and in La Jolla last season, and we expect to optimize
our opportunity for filling our bigger new venue in Sorrento Valley
this season.
No matter how great this news is, without the financial support of
our donors, sponsors and Nova Club members, we will not be able
to continue on this exciting new path. As a member of our family,
you are critical to our success. We truly appreciate your support!
Gay Hugo-Martinez, president, Orchestra Nova board of
directors; former federal prosecutor of organized crime in Chicago,
quoted in major publications, including Wall Street Journal and Elle
currently active with his church, a very
important part of his life today.
Harry and Helen have been major
supporters of Orchestra Nova, not just in
monetary support, but with his words of
gentle encouragement and wisdom to
the staff, musicians and to fellow board
members. Never one to talk about his
successes (in fact, he had to be urged to
agree to an interview for this article), Harry
is the epitome of success. Orchestra Nova
is proud to count Harry and Helen as an
integral part of the organization!
Purdue University (2001) – Harry
Miyahira named as one of one
hundred “Outstanding Electrical
Engineers” graduating from Purdue
(out of 20,000 graduates to date)
McDonalds – Award to HME (Harry
Miyahira) in “recognition for your
pioneering spirit as one of the
founders of the McDonald’s Kitchen
Equipment Supply Chain.”
5

6
Features
Innovation: the iNova
What do Facebook, MySpace, Twitter, blog,
YouTube, eNotes and Orchestra Nova all
have in common? Put the words together in
a sentence and it may sound like a foreign
language. However, each one of these,
from Facebook to Orchestra Nova, brings
people together from around the world —
languages really don’t matter so much. The
real commonality comes in the connection.
Facebook, MySpace and Twitter are called
the leading people connectors of this day
and age. A blog is a great way to share
your opinions and hear what others have
to say. An online eNotes subscription
alerts subscribers to the hot new stories
and promotions of the day. And Orchestra
Nova has them all! You can connect to us
through any or all of them.
Our goal is to connect with you and
San Diego in the most accessible and
technologically savvy style that’s possible.
Go to orchestranova.org and select
iNova Connection — voila! you’re
connected! You will have the option
to join one or all of these to stay
connected to Orchestra Nova.
All you have to do is:
Maile Miller, marketing intern, Orchestra Nova;
USC Class of 2011, International Relations
Connection
1. click on the respective icon (Blog,
Facebook, etc.)
2. sign up with your e-mail address and
follow the directions
Blog
site (linked through orchestranova.
org) designed for our entries of
commentaries, videos, photos — and
your responses or comments
activities not discussed anywhere else
Facebook
founded by Harvard students to connect
with their peers
us and with other fans, sharing thoughts
about Orchestra Nova
receptions can be
viewed
Twitter
users send short text messages from cell
phones or computers about what’s new
about Orchestra Nova activities
MySpace
originally founded as a venue for aspiring
musicians to share music
and chat about Orchestra Nova events
others are saying about Orchestra Nova
E-Mail
to Orchestra Nova staff
get a quick response
Nova Cares
A major focus for Orchestra Nova this
season is CONNECTION — a connection
between friends, fans, guests, musicians,
the Nova staff and, most importantly, with
the San Diego community.
As an organization with several “homes”
throughout San Diego, Orchestra Nova has
a unique opportunity to connect with a
number of different communities in a way
that reflects its value of and care for the
people within those communities.
Causes in concert
Reaching beyond the concert hall to
help worthwhile nonprofits, Orchestra
Nova is offering complimentary tickets to
nonprofits as a fundraiser for their unique
causes, partnering with the American
Cancer Society, Helen Woodward
Animal Center, Volunteer San Diego,
Father Joe’s Village, The New Children’s
YouTube
site that provides millions of videos
Nova and post comments about
the videos
Orchestra Nova — stay tuned in to
YouTube
eNotes
newsletter
come to you
about the latest promotions
Exciting. Innovative. Growing. These are
applicable descriptions of the current life
Museum and Rady Children’s Hospital-
San Diego.. Nonprofit organizations
interested in participating as partners are
asked to call Orchestra Nova’s office for
more information.
During the 2008-2009 season, Orchestra
Nova donated hundreds of concert tickets
to over 100 nonprofit organizations.
Celebrating professions
Recognizing that social connection is
important too, a different industry or
organization will be highlighted for
each concert, with a special invitation to
members of the industry to meet, mingle
and share an Orchestra Nova experience
through a special promotion.
September is logically the best month for
a celebration of teachers, especially since
education plays such an important role in
Paige Satter, artistic administrator and education/outreach coordinator, Orchestra Nova;
community arts volunteer, former tuba player
of Orchestra Nova San Diego. Building
upon its rich tradition of beautiful music
and phenomenal entertainment, Orchestra
Nova seeks to engage all San Diegans in
their latest programs, performances and
community outreach initiatives.
iNova Connection at orchestranova.org
— YOU are invited to join!
“Orchestra Nova is truly on the ‘leading edge’ — technologically and with their
music education programs. They are definitely “on the move!”
Kimberly King, Morning Weather Anchor, KFMB CBS8
the orchestra’s mission. Without dedicated
teachers, important programs such as the
Frances Hunter Music Memory Program
would never get off the ground.
Highlighted industries and organizations in
2009-2010:
September ............................................... Educators
October ........................................... Entrepreneurs
November ............. High-tech professionals
January ........................ Bio-tech professionals
March ............................ Rotary Club members
May .......................... Healthcare professionals
Groups interested in participating are
welcomed. Contact Orchestra Nova at
858-350-0290 or
tyler.hewes@orchestranova.org.
7

8
Features
During the three years he’s led
our orchestra, Maestro Pak
has helped change the face of
classical music in San Diego. Audiences
have responded with increased ticket
sales, and the media has taken notice.
We sat down with him to discuss the
future of Orchestra Nova and what it
means for San Diego.
Inspire: We know how busy you
are, with orchestras on both coasts and
summers at the Interlochen Center for
the Arts, but we also know that you
have a soft spot for San Diego.
Connecting with Jung-Ho
A one-on-one conversation with Orchestra Nova’s visionary artistic director and conductor
Jung-Ho: I truly do have a
special love for San Diego, and I feel
so fortunate to be a part of all of the
excitement that surrounds our orchestra
today — our new name and our new
venue are just two examples of the
ground-breaking changes we’re making
this season.
I: Speaking of changes, what role do
you see technology playing in the future
of this orchestra?
J: I think it’s essential that we have
a presence on the Internet and to
increasingly integrate multimedia into our
programs. As part of the MTV generation,
I understand how my generation
is visually stimulated, and I
also realize that Gen X and
Y audiences are even more
interconnected. We want to
go where the next generation
“lives,” so we’re also starting new
elements for our web site like
our own blog, video and audio
content, and much more.
I: What does the new Irwin M.
Jacobs Qualcomm Hall mean
to Orchestra Nova?
J: For me, the addition of this hall
as one of our permanent venues is
as important as our new name. We
couldn’t ask for a more perfectly tailored
hall for us if we had built it ourselves!
It fits our needs for intimacy for our
audiences, and the acoustic resonance
of music in this hall is fantastic.
The comfort of the seats, convenience
of driving and parking, the great
artists’ accommodations backstage…
everything is extraordinary and makes
this among the greatest halls in the
country. To top it off, this concert hall
is equipped with the very latest in
technological capabilities for audiovisual
presentations, and we intend to
take full advantage of them.
I: How do our other venues fit into your
overall vision?
J: I’m glad you asked that because
both St. Paul’s Cathedral and Sherwood
Auditorium are very important to the
future of our organization. There are
those who love the very reverberant
sound at St. Paul’s. It’s a majestic
space that has its own grandeur and
ambience. Mixed with its proximity to
downtown restaurants, many find that
it’s their favorite spot.
Sherwood Auditorium is our most
traditional location. Our La Jolla friends see
us as “their” orchestra, and we’re tickled by
that. Its drier sound makes for an intimate
experience, and there are those who love
that best. It’s also in an excellent location,
right next to La Jolla restaurants.
So each venue definitely has its own
personality and experience.
I: How is Orchestra Nova successfully
maneuvering through the economic
downturn that seems to be affecting
every arts organization these days?
J: It’s a cliché, but I see challenging
times as opportunities to evolve into
a stronger company. An orchestra has
many “investors”: audiences, board
members, musicians, staff, corporate
partners and donors. Each has a stake
in our identity and product. So to take
important steps, like presenting a new
name or new concert hall, requires
strong reasoning. We’ve always been
about innovation and pushing the
envelope to bring our guests the best
possible experience, but the economic
environment has just accelerated
our plan to be at the forefront of this
revolution.
I: And, finally — I know you feel very
strongly about “connection” — can you
tell us what that word means to you?
J: Our events are about connecting
with people’s hearts and minds, so
physically making that connection,
for example, by greeting our guests
before we perform makes our musical
communication that much more
powerful. It also signifies that we’re not
playing “at” someone, but “with” them.
I: You obviously have a passion for
music education for all generations,
especially for children. How did that
passion begin for you?
J: I’ll always be indebted to public
school music education. I had my own
“Mr. Holland’s Opus” experience with a
great teacher in junior high, and without
that I wouldn’t be here today. I’ve been
diligently trying to pay back that gift
by working with as many children and
music teachers across the country
as I can. Of course, I feel a particular
obligation to my own “home” of San
Diego County.
Beverly Lambert, director of marketing, Orchestra Nova; former music educator,
corporate marketing executive
Pak’s Favorites:
Concert hall: The Great Hall in
St. Petersburg (Russia)
Airport food: SFO (San Francisco)
— great variety, from Japanese
tempura udon and sushi to
killer nachos and authentic fruit
juices at Andale; DFW (Dallas)
— Cousin’s BBQ; BOS (Boston) —
Legal Seafood (need I say more!)
Admired figures: Walter
Cronkite, Stanley Kubrick, Jackie
Robinson, Alice Waters, my
junior high band director
Musicals: West Side Story and
Oklahoma!
Vacation spot: Coming home
is a vacation, when traveling
the world
Classical recordings: Bruno
Walter’s recordings of the
Mahler Symphonies; Carlos
Kleiber’s recording of Schubert’s
Unfinished Symphony No. 8; and
Anner Bylsma’s performances of
the Bach Suites for Cello
PC or Mac: Mac
Pak’s guilty habits: Skipping
meals and lack of sleep
9

10
Features
1
2
3
4 6
8
11
14
5
The Stars
of our Orchestra
7
Meet our stars
Meet our stars, the orchestra’s musicians. Many of them have been
performing with us for years, and one of them has been with us from the
very beginning, twenty-six years ago — our percussionist, Pat Pfiffner!
Violins
Alexander Palamidis, Concertmaster ~ 1
Healy Henderson, Assistant Concertmaster ~ 2
Hernan Constantino, Principal ~ 3
Andrea Altona ~ 4
Victoria Bietz ~ 5
Karla Contreras ~ 6
Irena Fraden ~ 7
Tricia Lee ~ 8
Robert Schumitzky ~ 9
Yvonne Shay ~ 10
Jeffrey Zehngut ~ 11
9
10
Violas
Qing Liang, Principal ~ 12
Che-Yuan Chen ~ 13
Judith Hendershott ~ 14
Linda Piatt ~ 15
Cellos
Erin Breene, Principal ~ 16
Mary Alice Hendricks ~ 17
Yao Zhao ~ 18
Bass
Michael Wais, Principal ~ 19
12
13
15
16
17
18
Flutes
Beth Ross-Buckley, Principal ~ 20
Suzanne Kennedy ~ 21
Oboes
Susan Barrett, Principal ~ 22
Scott Paulson ~ 23
Clarinets
Frank Renk, Principal ~ 24
Robert Zelickman ~ 25
Bassoons
Ryan Simmons, Principal ~ 26
David Savage ~ 27
19
20
21
22
French Horns
John Lorge, Principal ~ 28
Tricia Skye ~ 29
Trumpets
John MacFerran Wilds, Principal ~ 30
Frank Glasson ~ 31
Trombone
Richard Gordon, Principal ~ 32
Timpani/Percussion
Patrick Pfiffner, Principal ~ 33
Harp
Elena Mashkovtseva, Principal ~ 34
Piano/Celeste/Harpsichord
Mary Barranger, Principal ~ 35
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25
26 31
27
28
29
30
32
33
34
35
11

12
Features
Up Close: Getting to know some of our stars
Andrea Altona
Violin
“When asked how she was introduced to
music, Andrea humorously replied, “A pushy
orchestra conductor accosted me in the
halls of my elementary school, promising
me fame and fortune. Then she told me
they were all out of flutes and shoved a
violin in my hand. The rest is kind of a blur.”
And thus began a journey to what became
Healy Henderson
Assistant concertmaster, Violin
“My grandfather was a
violinist in Vienna, and I
remember him playing
Brahms’ Hungarian Dances
when I was very young,”
says Healy about her
introduction to music.
It seems like a lucky
coincidence that, after
years of studying the
violin herself, Healy
performed in a joint
concert with the Vienna Philharmonic as part
of the Salzburg Festival. Healy counts this as
one of her fondest musical experiences.
When asked what
she loves to do when
she’s not playing the
violin, she replied,
“Growing up in Dana
Point, I have always
loved the water, I
spent this summer
living on a 44’
sailboat and honing
my sailing skills for
exciting adventures!
Someday I hope to
have the chance to sail around the world...
but of course I will have to plan it around the
Orchestra Nova schedule!”
Beverly Lambert, director of marketing, Orchestra Nova; former music educator,
corporate marketing executive
Concert
Staff
Sahba Javedani
Stage manager
David O’Gwynn
Audio engineer
a deep love for music that has kept her
performing throughout the years, even
though she has also managed to acquire an
M.B.A. in marketing, a real estate license and
experience as a stockbroker and mortgage
broker. When asked about her non-musical
interests, Andrea says, “I love animals, scubadiving
in tropical locations, tennis, fixing up
houses and reselling them, the stock market
and cheese; not necessarily in that order.”
David Savage
Bassoon
“Music has always been the most interesting and fun way of putting my voice, an ongoing
project, into the world around me. I love being a communicating creature, connecting
with others: listening, responding, finding my way here and there,” David says, which is
indicated by his love of backpacking and mountain climbing.
During and since college, David has focused on the bassoon, creating electronic music and
studying tuning systems of both ancient and
modern music. He has played with ancient
music groups, dramatic music theatre (on
stage, in costume, choreographed), classical
orchestras, chamber music groups and avantgarde
ensembles of many types.
Hernan Constantino
Musician personnel manager
Ryan Simmons
Librarian
Mary Barranger
Piano/Celeste/Harpsichord
When asked to remember one of her
fondest memories of performing, she said,
“I remember the opening concert with
Jung-Ho back in 2006. I couldn’t sleep that
night — I was so jazzed.” She also recalled,
“One of the worst times was when a violinist
fell into the upper end of my harpsichord 15
minutes before the performance of Messiah
at St. James’ church, breaking seven of the
uppermost strings. Fortunately, I didn’t need
them for that performance.”
Her fantasy is that she “waltzs in” to a rehearsal
or performance with her instrument(s)
moved in, set up, tuned and ready to play.
Although that’s never reality, she says, “That’s
o.k….it’s still better than the alternative of not
playing with Orchestra Nova.”
Our Dream: A World of Music for
It’s like nding a lost civilization of people
who absolutely love classical music — that’s
the kind of ‘infection’ we’re trying to pass on
to other children,” enthused Jung-Ho Pak as
he observed contestants in the rst “Music Bee”
competition in San Diego in May 2009.
Over 5,000 children in grades 3-6 participated in Orchestra Nova’s
Frances Hunter Music Memory Program during the 2008-2009
school year, and 150 finalists from 18 area schools competed
for awards by identifying classical works after listening to the
orchestra play just two or three measures from 16 pieces of music
that each class learned during the year.
Classical music made “sort of cool” for thousands of students
As Adam Trubitt, a student convert to classical music said, “Some
kids think classical music is boring…I think it’s sort of cool.”
Anyone who knows Jung-Ho Pak knows that one of his biggest
passions is music education — for all ages and generations,
regardless of their economic or cultural advantages or
disadvantages. But it’s music education in the San Diego schools
that is his priority these days. “It gives them a reason to come to
school — it gives them beauty — and it gives them a healthy
bit of curiosity,” he says. “We will continue to expand our music
education program as more and more
schools sign up.”
Paige Satter,
artistic administrator
and education/outreach
coordinator, Orchestra Nova;
community arts volunteer,
former tuba player
Maestro Pak, the teacher
As one of the nation’s most
recognized and requested music
educators, Maestro Pak also leads
Orchestra Festivals and Master Classes
throughout the San Diego area, many
times with Orchestra Nova musicians.
New this year is the Orchestra Nova
Student Passport Program, which allows students who participate
in Maestro Pak’s Master Classes to attend Orchestra Nova concerts
at special discounted rates. For more information, contact Education
Every Child
Coordinator Paige Satter at paige.satter@orchestranova.org or
858-350-0290, ext. 1.
Student Tickets
Any student can attend any Classics Series concert for just $10.
A current student ID is required when picking up the tickets. Call
858-350-0290 for tickets.
Life-long learning
Orchestra Nova’s music education programs aren’t limited to
students. Life-long learning programs include: Encore Q and A
with Jung-Ho for 20 minutes at the close of every concert at the
Irwin M. Jacobs Qualcomm Hall (free to all concert-goers) and to
the Backstage with Jung-Ho talk show series, hosted by Jung-Ho
and modeled after Bravo’s Inside the Actors Studio.
“I was fascinated by the different students that
really “got into this” and became listening
experts. It reached students that I would not
have guessed would enjoy this kind of activity.
It gave my school a way to honor its musicians
like it honors its readers, writers, scientists and
mathematicians.”
Classroom teacher, Frances Hunter Music Memory Program
13

14
Concerts | Season Opening Night
The
many
faces of
Mozart
Wolfgang Amadeus Mozart
(1756 – 1791)
Friday, September 11, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Monday, September 14, 7:30 p.m.
Sherwood Auditorium, La Jolla
Principal guest artist
Lindsay Deutsch, Violin
Violin Concerto No. 3
Allegro
Adagio
Rondeau-Allegro
Three German Dances
No. 1
No. 2
No. 3
Intermission
Symphony No. 40
Molto Allegro
Andante
Allegretto
Allegro assai
Saturday, September 19, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
It was 1761 in Salzburg, Austria, and the little five-year old boy named Joannes
Chrysostomos Wolfgangus Theophilus Mozart (later called Wolfgang Amadeus Mozart)
danced his way into the hearts of those in the audience with his first appearance as a
public performer. The occasion was a celebration of the end of the academic year and the
play was “Sigismundus Rex.” This was a banner year for the little boy. He had been playing
the violin and piano for a couple of years, and had just composed his first piece of music.
Three years later, he had composed his first symphony and had already performed
throughout Europe, including highly acclaimed appearances before royalty.
A life cut short
During the next 27 years, there were very few Europeans throughout the continent who
weren’t aware of the “many faces of Mozart,” for he was recognized as an exceptionally talented
composer and performer. Tragically, he died at the age of 35, probably of rheumatic fever,
although recent studies indicate he may have died of “strep throat.”
Looking at the many faces of Mozart
It’s a fact that the most successful composers throughout history could “do many things” —
Wolfgang Amadeus Mozart was no exception, and he did them very well!
symphonies, operas, chamber music, choral music, concertos and dances.
contrapuntal works.
England, Germany and France.
borrowing money from friends.
Salzburg
Violin Concerto No. 3
If only you would focus
The son of a violin teacher, Mozart was
trained to play the violin before he was
five and he became very proficient at
playing the instrument, but his heart
seemed to be elsewhere. His father,
Leopold Mozart, once wrote that his son
could be the best violinist in Europe if
only he would put his mind to it.
However, it’s doubtful that he would
have been hired to be the konzertmeister
and organist at the court of Archbishop
Colloredo in Salzburg had he not been an
exceptional violinist.
Here are your violin concertos —
now I’m off to Mannheim
He only wrote five violin concertos, and
it is believed that they were written
between 1773 and 1777 during his
tenure with Archbishop Colloredo. Mozart
wrote them knowing that he would play
the part of the soloist. Shortly after he
finished writing Violin Concerto No. 5, he
resigned his commission. The 21-year-old
composer was ready to write operas and
Salzburg wasn’t that interested in operas.
He never wrote another violin concerto.
The most beautiful of all
Violin Concerto No. 3 is far more
sophisticated than the first two
concertos so it is widely believed
that there was at least a two-year gap
between Concerto No. 2 and Concerto
No. 3, the most popular of the five. Most
scholars agree that Mozart reached his
full maturity when he composed this
concerto.
Mozart built his concertos around a
beautiful melody, allowing the soloist to
take on the role of a singer. In his mind,
instrumental solo concertos were closely
related to operatic arias. The Adagio
movement of this concerto is often
considered to be the most beautiful
and quintessential Mozart of any of his
compositions.
15

16
Concerts | Season Opening Night
Three German Dances
It was well known that Mozart loved to dance. Biographer
Nissen (who married Mozart’s widow, Constanze, several
years after his death) reported that “he passionately loved
dancing, and missed neither the public masked balls in the
theatre, nor his friends’ domestic balls. And he danced very
well indeed, particularly the minuet.” Mozart’s friend Michael
Kelly wrote, “As great as Mozart’s genius was, he was an
enthusiast in dancing, and often said that his taste lay in that
art, rather than in music.”
A dancer in his heart
As a boy, Mozart had many opportunities to go dancing, as
his parents often hosted dancing in their homes. Later, after
his move to Vienna with his wife, Constanze, the couple often
hosted balls.
He once wrote to his father, “Last week I gave a ball in my own
rooms — but it goes without saying that the young beaux paid
2 florins each; we began at 6 in the evening and stopped at 7 —
what? Only an hour? — no, no, at seven in the morning.”
“They pay me too much for what I do, too little for what I
could do” — Mozart
Mozart began composing dances when he was only five years
old and he continued composing minuets and dance music
for various occasions throughout his life. Although he was
able to compose dances very quickly — he once completed
nine dances for Count Johann Pachta in one hour after he had
Passion and Power:
A Rare Combination
Lindsay Deutsch returns as our
principal guest artist after a series of
standing ovation performances two
seasons ago. Lindsay is exemplary
of what we’re all about —
performing with her heart and
soul in a way that connects
with and inspires those who are
participating as guests in the
Orchestra Nova experience.
failed to complete them earlier — he did not find composing
dances to be very challenging. However, the pay was good,
and they were popular.
Not just a minuet
The German dance was associated with the lower social classes
and was said to be immoral. It was much livelier than the minuet
and resembled the waltz. The dancers were in close physical
contact with each other and the constant spinning often resulted
in dizziness. Even so, it was a popular dance throughout Europe.
These dances were normally played by a scaled-down
orchestra in which there were no violas and the bass and
cello played the same line. A variety of wind instruments
were usually included and trumpets and timpani were
sometimes included. Instruments not usually found in the
orchestra of Mozart’s time were often added: fife and drum,
tambourine, tuned sleigh-bells, the hurdy-gurdy, the post
horn and the flageolet, which was the piccolo of the day.
Mozart’s German dances
This set of German dances was composed for organized ball
dancing in Vienna during the latter part of Mozart’s life.
He titled the third dance of this set, a well-known holiday
tune, “Die Schlittenfahrt” (“The Sleigh Ride”). It depicts a
sleigh ride, a popular winter pastime of the court, with bells
jingling and post horns sounding. The melody was based
upon an Austrian folk-tune.
A passionate performer filled with
limitless energy, Lindsay Deutsch
has thrilled audiences since she
was 11 years old when she made
her performance debut.
“An important component to
performing is inspiration. Every
piece I play has something special to
offer and makes me feel something
different inside,” Lindsay remarks.
“But, if ever I am feeling like it’s going
to be a dreary practice day, I just put
on a CD of some of the greats and feel
immediately inspired.”
As a young artist in the dawn of a
career, dedication and determination
are two of the most important
elements to success. Once the #1
ranked junior racquetball player in
the world, before a knee injury forced
her to quit, Lindsay has learned a
thing or two about dedication and
determination. With a bit of humor,
Lindsay notes, “Now I stick to pingpong.
It is much safer and, although I
don’t compete, I still play to win!”
Although her calendar is filled with
festivals and guest appearances
Symphony No. 40
It’s a mystery
It was the summer of 1788 and Wolfgang
had no court appointment. He was very
low on money so he and Constanze had
moved to the outskirts of Vienna. This is
where he composed his three greatest
and final symphonies, Nos. 39, 40 and 41.
Why were they written? Were they
intended to be a series of subscription
concerts that never materialized or were
cancelled for insufficient interest?
Did he intend to present them during
a trip to England where German
composers, led by Handel, had met
with great success?
Did he hope to publish them as a
single opus?
Or did he just want to create music
without worrying about the demands of
patrons or the public?
No one knows the answer. He died three
years later, and we don’t even know if
they were performed during his lifetime.
each year, Lindsay continues to
dedicate herself to cultivating music
appreciation in young people. In 2007,
she and her sister, Lauren, co-founded
Classics Alive (www.ClassicsAlive.
org), a nonprofit dedicated to
building classical music audiences.
Classics Alive is now in the process of
developing a new web site which will
allow student musicians to upload
videos of their performances to be
viewed by fellow young musicians
from around the world.
To stay on top of her game, Lindsay
rehearses five hours each day, seven
days a week, leaving enough time to
read, listen to rock music, and play
with her dog, Chloe.
www.lindsaydeutsch.com
A familiar melody
Even people who claim no familiarity
with classical music will recognize the
opening bars of Symphony No. 40
because of its frequent use in movies
and on TV. Children are taught to sing
along with the melody, “It’s a bird, it’s a
plane; no, it’s Mozart!”
A timeless treasure
It is one of the very few symphonies
which Mozart wrote in a minor key (G
minor). It’s been speculated that its minor
key reflected some of the composer’s
inner feelings during this low point in his
life, but no one knows if that is true.
This symphony is often considered to
be the beginning of modern symphonic
composition as we know it today. Mozart
infused the form of the symphony with a
new kind of romantic expression.
It is generally acclaimed to be one of the
best — not only among Mozart’s 600+
works, but among all symphonic works of
the century.
Outskirts of Vienna
Did You Know?
Re Re Requ qu q ie iem. m.
“I rst met Jung-Ho at a summer music
festival when I was 10 years old. That
experience with him really lit a musical re
within me and made me realize that music
was what I wanted to spend my life doing.
Working with Jung-Ho again all these years
later is really a special experience for me
because I still feed off of the innovative, ery
energy he creates onstage.”
Lindsay Deutsch
17

18
Concerts
Wednesday, October 21, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Saturday, October 24, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
Flying
Solo
Guest artist: Norman Krieger, Piano
Divertimento in D major
(Salzburg Symphony No. 1) Wolfgang Amadeus Mozart
Allegro
Andante
Presto
Piano Sonata No. 14
(Moonlight Sonata) Ludwig van Beethoven
Adagio sostenuto
Allegretto
Presto
Intermission
Piano Concerto No. 3 Ludwig van Beethoven
Allegro con brio
Largo
Rondo-Allegro
Monday, October 26, 7:30 p.m.
Sherwood Auditorium, La Jolla
Our players are like a superstar sports team — each person individually strong
and a star in his/her own right, but collectively a winning team. Tonight, our
leader Maestro Pak lets his stars “fly solo” with Beethoven’s Piano Concerto No. 3.
Who needs a conductor
During the Renaissance period, a choir kept together by tapping each other on the shoulder.
Before the 19th century, the first violinist in an instrumental group usually gave a few
necessary signals with his bow or the keyboard player led them, using his hands and head.
In the 19th century, the larger size of ensembles and the growing complexity of the music
with its varying tempos and heightened expressiveness made it necessary for a person to
coordinate and interpret the music.
The first conductors, including Mendelssohn, Berlioz and Richard Wagner, were composers
themselves; however, by the end of the century, conducting had become a specialty and
great conductors had become celebrities in their own right.
Come Together:
A closer look at some of our stars
John MacFerran Wilds
Trumpet, Principal
Family and heritage have played a
significant role in John’s musical career.
His father, a fan of classical music and a
trombonist, introduced John to the basics
of music via the Highland bagpipe. To this
day, John’s view of music and performance
is strongly influenced by the pride and
tradition of a Celtic heritage. John explains,
“I am hopelessly addicted to the heroic/
romantic nature of my instrument. I love
to take the ideas of composers and give
them life in the present. I love what I
do, I love my colleagues, and I am very
connected to my friends and family.”
Suzanne Kennedy
Flute/Piccolo
Suzanne has a double career as a vocalist
and a flutist. She directs four choirs,
teaches 550 students and arranges
music for her ensembles and students
on a regular basis. Yet, one of her fondest
memories is her experience playing with
her favorite rock band, STYX. She also
sang on the David Letterman show when
she was ten and then again in 2003. ”I
love the challenge of being a musical
chameleon,” states Suzanne, “changing
from one moment to the next.”
“The joy I have with
Orchestra Nova
is that I don’t feel
like a conductor,
but rather another
musician. All of our
musicians are stars,
having individual
personalities and
gifts. It’s a miracle
how they come
together to create a
single splendid voice.”
Jung-Ho Pak
Tricia Lee
Violin
Tricia began playing the piano at age five
but quickly switched over to the violin
when her older brother began to play.
She simply wanted to do everything he
was doing. Years later, Tricia has continued
to perform for “that special moment in a
performance when you experience the
collective, collaborative energy. When it
really happens, there is no high like it.”
Her first chamber music experience was
truly her “eye opener,” Tricia explains. “It
was when I first experienced what it really
means to communicate with another
musician. There can be so much joy!”
19

20
Concerts
Divertimento in D major (Salzburg Symphony No. 1)
Wolfgang Amadeus Mozart
was fifteen going on sixteen
(at the end of his first decade
as a composer) when he wrote the
three Salzburg Symphonies, often called
divertimentos instead of symphonies.
It’s party time
If the word “Divertimento” reminds you a
bit of the word “diversion,” you would be
correct! This catch-all word that has too many
musical meanings to list here has basically
served to describe pieces that please.
For Mozart, this kind of music served as
party music or background music for a
banquet. It may seem like an insult for
Did you know?
Because from their Abbey Road album is based
on Moonlight Sonata; John Lennon got the inspiration when he
was listening to his wife, Yoko Ono, playing the first movement on
the piano and asked her to play the chords backwards; he then
wrote Because using these backward chords.
Piano Sonata No. 14
(Moonlight Sonata)
such a great master to write art that is used
for such insignificant and unappreciated
events, but such was the life of a composer
employed by aristocracy and nobility.
Music on demand
Composers throughout the Baroque
and Classical eras and into the Romantic
period (mid-19th century) did not have
the opportunity to “be their own boss,”
so they had to look for service under a
patron and, for the most part, compose for
those occasions that their patron deemed
important enough to have special music.
Mozart’s previous patron, the Archbishop
of Salzburg, Count von Schrattenbach, had
died and had been succeeded by Count
Colloredo, a zealous but unsympathetic
ruler, who later dismissed him as a result of
a quarrel. We don’t know for what event(s)
these divertimentos were composed, but
the assumption is that they were written
for happy occasions.
An infectious piece
One of Mozart’s most famous pieces
of music in this genre is his Eine Kleine
Nachtmusik (A Little Night Music) and, like
that work, the Divertimento in D major is
light and tuneful. It does not have the long
sections of developmental ideas found in his
symphonies or concertos, but it still bears the
mark of a true genius. The melodies
and rhythms are infectiously optimistic.
that of any other composer — from Star Trek: Insurrection to The
Horse Whisperer to Die Hard.
education never exceeded elementary level.
the European Union national anthem in 1972.
Instantly recognized by almost everyone today, Beethoven’s Moonlight Sonata
is one of the most famous classical pieces of music ever composed for piano.
What isn’t generally known, however, is that the original title for the piece wasn’t
Moonlight Sonata — it was Quasi una Fantasia (Almost a Fantasy).
The name Moonlight Sonata was coined in the 1830s, after Beethoven’s death, by
German poet and music critic Ludwig Rellstag who said the piece reminded him of how
the moonlight reflected off of Lake Lucerne in Switzerland. It has been Moonlight Sonata
ever since.
It was a love song
Beethoven wrote this sonata at the age of 31 during the early stages of his deafness
and he dedicated it to his young student at the time, 17-year-old Countess Giulietta
Guicciardi. After just a few lessons, they fell in love and it is believed that he proposed
to her. According to most reports, she accepted, but her parents forbade the marriage,
and she later wed Count Gallenberg. Beethoven never married.
Working for Peanuts
Why is this sonata, of all of Beethoven sonatas, so popular? Being used in many
Hollywood films certainly does not hurt, and it was also a favorite piece by piano
prodigy Schroeder from the Peanuts comic strip.
Piano Concerto No. 3
Beethoven lived during a period of tremendous upheaval which had
been fermenting throughout the 18th century and had burst forth
in the French Revolution. It deeply affected his work. On the other
hand, Haydn and Mozart lived during part of the same
period and they rarely mentioned it — and
it seems that it didn’t affect their music.
The music of Beethoven, however, is
unthinkable without it.
Way ahead of the times
Through these external
circumstances and the
force of his own genius,
he transformed the
heritage of the Classical
period and became
the source of much
that was characteristic
of the Romantic period.
As musicologist Donald Jay
Grout stated, “He himself is
neither Classic nor Romantic; he is
Beethoven, and his figure towers like a
colossus astride the two centuries.”
A connoisseur of life
Norman Krieger loves sky diving, cooking Asian food, speed skating, Gary Larson’s
comic strip The Far Side and — oh, yes — performing on the piano! He does say,
however, that his fondest memories are of the births of his three young children.
A native of Los Angeles, Norman Krieger is one of the most acclaimed pianists
of his generation, highly regarded as an artist of depth, sensitivity and
virtuosic flair. He discovered music at an early age, drawing inspiration from his
grandmother who told him, in short, that he had to study or he could not play
outside with his friends.
Norman admits to getting a unique opportunity with Orchestra Nova — the chance
to learn and perform Moonlight Sonata, something he has always wanted to do. “This
is the perfect opportunity to add this great work to my repertoire — I can’t wait!”
His training began in Los Angeles under the guidance of Esther Lipton which led
him to a full scholarship at the age of 15 to The Juilliard School where he earned
his Bachelor’s and Master’s degrees, after which he moved back to California.
When asked about inspiration, Norman responded “At this stage of my life I find
total silence a great source of inspiration. After silence, the sounds of nature,
birds, the wind and the evening sky make me long for music.”
Norman Krieger is the founding artistic director of The Prince Albert Music
Festival in Hawaii. In the spring of 1997, he was appointed Associate Professor of
the distinguished faculty of the University of Southern California.
Breaking new ground
Piano Concerto No. 3 in C minor, composed in 1800 but not
performed until 1803, was a startling change from the Classical
concertos. Although it was modeled after Mozart’s
Piano Concerto in C minor (a work about
which Beethoven once commented,
“We shall never be able to do
anything like that”), this
concerto was “muscular,” as
if established standards
no longer mattered and
the capabilities of the
instruments were being
challenged.
Although it was
received very coolly at
the first performance
(with Beethoven himself
playing the piano),
audiences quickly warmed to
it and it soon became known as
one of Beethoven’s most beautiful
compositions.
21

Concerts
22
Friday, November 20, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Haydn Seek
Franz Joseph Haydn
(1732–1809)
Saturday, November 21, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
Guest artist:
Erin Breene, principal cellist
Orfeo ed Euridice Overture
(also known as L’anima del filosofo)
Franz Joseph Haydn
Cello Concerto No. 1
Franz Joseph Haydn
Intermission
Symphony No. 45
(Farewell Symphony)
Franz Joseph Haydn
Monday, November 23, 7:30 p.m.
Sherwood Auditorium, La Jolla
Franz Joseph Haydn revolutionized
music of the Classical era, often
experimenting with dynamics
and spiking his works with humor and
musical trickery.
A true original
Known as the father of the Classical
symphony and of the string quartet,
he was a superb craftsman whose
adventuresome works incorporated
new compositional techniques that
greatly influenced the next generation
of composers such as Ludwig van
Beethoven.
Humble beginnings
The son of a wheelwright and a former
cook, he left home at an early age to
study music in Vienna after his parents
recognized his talent and realized he could
never get the training he deserved in their
little Austrian village.
Although the years of his childhood and
young adulthood were full of trials and
tribulations — he was tossed out on the
streets of Vienna with no home to go to
at the age of 17 when his voice changed
— he worked hard at learning all he could
learn about music composition.
Patronage — crucial for a composer in
this era
Eventually, Haydn was introduced to
Prince Paul Anton Esterhazy of Eisenstadt,
a nobleman of enormous wealth who
was also an intelligent and cultured man,
very much interested in music. He and
his brother Nikolaus I, became Haydn’s
patrons, employing him first as assistant
kapellmeister, then as kapellmeister of the
court. He remained with the Esterhazy
family for 30 years, composing music for
them and their guests.
Because of the remoteness of the
Esterhazy estates, Haydn was somewhat
isolated from other composers and trends
in music until the latter part of his long
life so he was “forced to become original,”
as he put it. However, there was always a
constant stream of distinguished guests
and artists coming to the estates and there
were occasional trips to Vienna, so he
wasn’t totally isolated.
Some independence at last
Although his contract with the Esterhazys
originally forbade him to sell or give away
any of his compositions, this provision was
later relaxed and his fame spread throughout
Europe. After Prince Nikolaus I died in 1790,
the new prince, who cared less for Haydn’s
music than for the glory of having such a
famous man in his service, dismissed all
of the court musicians. However, he gave
Haydn a lifetime pension of 1,000 gulden
a year and retained him as the court
composer, giving him the freedom to travel
and accept other engagements.
From that point on, Haydn spent a great
deal of time in London and in Vienna,
composing music and enjoying a life of
wealth and fame.
Franz Joseph Haydn,
the composer
It is impossible to know exactly how
many compositions Haydn wrote because
no complete and reliable catalogue
was made during his lifetime and many
compositions were falsely attributed
to him after his death to attract buyers.
We do know, however, that at the time
of his death at the age of 77 in 1809, his
prodigious output included over 100
symphonies, 83 string quartets, 52 piano
sonatas, 23 operas and many overtures,
divertimentos, Masses, trios and music of
other genres.
Interestingly,
had he died
at the same age
as his friend, Wolfgang
Amadeus Mozart (at age 35), he would
hardly be remembered today.
Franz Joseph Haydn, the man
Franz Joseph Haydn, sometimes lovingly
called “Papa” Haydn, was highly respected
and well-liked by those around him,
including the court musicians whom he
supervised and for whom he maintained
a cordial working atmosphere and
effectively represented their interests
to their employer, his many friends, his
colleagues and, of course, his patron.
He was a devout Catholic who often
turned to his rosary when he had trouble
composing and often added “praise be
to God” at the end of his manuscripts.
His music was characterized by a deep
spirituality and a very real connection with
the life of the common people from which
he had come.
He captured a wide variety of human
emotions in his music — joy and laughter,
sadness and anger, and perhaps most of
all, a good sense of humor.
Esterhazy Estate
23

24
Concerts
A conversation with our soloist, Erin Breene
Tell us about your “growing up” years.
Where did you live and what was your
family life like?
My dad is a retired farmer who
worked for the U.S. Dept. of
Agriculture, and my mom is a retired
social worker. They live on the family
farm of a few hundred acres in
Adams, Wisconsin, where they grow
and sell all of their own vegetables.
As a child, I always played music.
It was an important part of my life,
but I still had time to play with my
friends, watch TV, all of the normal
“kid” things. But what I loved most of
all was being outside. I spent most of
my weekends outdoors helping in the
fields. I developed an absolute love of
nature and the idea of “wilderness.”
My family also owns a small cabin in a very isolated area of
Michigan. I remember sitting on the front porch swing and
reading for hours. I would also take my cello up to the cabin
and practice, sometimes even outside in the yard! It was such a
different experience to play in the woods away from all of the
noise of everyday life. These are some of my best memories.
What were some of your early childhood music experiences?
Although I don’t remember it, I’m told that I began
“playing” the cello when I was 15 months old, using the
Suzuki method. The cello was actually a detergent box
with a yardstick stuck through the end and a wooden
stick as a bow. I was sort of an experiment in the program.
At the age of two, I graduated to a cello converted from a
viola. Apparently, I performed in my first recital before age
Cello Concerto No. 1
Lost — and found 200 years later
This work was presumed lost until 1961 when
the score was discovered at the Prague National
Museum. Only its first two measures were known
from the handwritten catalog Haydn had kept of
his own works. Based on its style, scholars have
dated the Cello Concerto in C major from between
1762 and 1765. It’s an early work, from the first years
of his tenure at Esterhazy, composed for Joseph
Weigl, a gifted cellist in the Esterhazy orchestra.
It belongs to that transitional period between
Baroque and Classicism, whose greatest
three; however, I really don’t have any
memories of those first years. Since I
didn’t learn to read music until I was
eight or so, I learned the first three
Suzuki Books completely from memory.
What was your formal training as a
young adult?
During my college years, I mostly just
practiced a lot! I was so inspired by
my teachers at both Rice and Juilliard.
One of my best experiences was
attending the Tanglewood Institute.
I was playing all day long under
conductors like Segei Ozawa, Andre
Previn, James Conlan and others. My
chair at the festival was sponsored by
none other than singer/songwriter
James Taylor. He came to introduce
himself after a concert. How cool is that? James Taylor was
waiting backstage to meet me!
What one thing would we find surprising or unexpected
about you?
Probably that Bob Dylan is my favorite non-classical
musician and composer. I seem to identify with him in some
strange, unexplainable way. I have seen him perform live
five times now. I’ve read multiple biographies and have
spent many hours listening to his songs. I continue to find
new meaning in his lyrics.
How about one more thing about you that might interest us?
I am a huge fan of California wines, and I’ve visited the wine
regions of Napa, Santa Barbara County and the Carmel/
Monterrey region in search of the best Pinot Noir.
representative Carl Philipp Emanuel Bach had a
strong influence on the young Haydn.
Only the best cellists need apply
The solo part is extremely demanding, with
rapid passagework that frequently ascends to
the instrument’s highest register. The second
movement calls for an exceptionally beautiful
tone, and the last movement calls for uncommon
brilliance and stamina.
Surely, Joseph Weigl must have been one of the
outstanding players of his time. Just as our own
Erin Breene is a truly outstanding cellist...up to the
task of playing this beautiful concerto.
Orfeo ed Euridice Overture
It was a good deal for Haydn
The year was 1790. Prince Nikolaus Esterhazy
had died, and Haydn had traveled to
London where he was found by Johann
Peter Salomon, the great German-born
violinist and impresario. Salomon had read of
the Prince’s death while recruiting singers
in Cologne and had hastened to Vienna to
engage Haydn and, if possible, Mozart as
well (but Mozart was already committed to
composing Die Zauberflöte and was not free).
Salomon was a brilliant businessman and
his proposal to Haydn was so attractive that
the composer could hardly refuse: 3,000
gulden from another great impresario, Sir
John Gallini, director of the King’s Theatre in
the Haymarket, for a new opera.
The official title of the opera was L’anima del
filosofo but it was often referred to as Orfeo
ed Euridice, under which name it was also
published by Breitkopf & Hartel in 1806.
Symphony No. 45 (Farewell)
The poet Carlo Francesco Badini wrote the
libretto. His main source for the libretto
was the myth of Orpheus and Euridice as
told in Ovid’s Metamorphoses.
The premiere performance occurred
150 years later
By the end of the 1791 season, it was
obvious that Haydn’s new opera was
not going to be performed at the King’s
Theatre, Haymarket, because of a dispute
between King George III and the Prince
of Wales. Haydn, in any case, scrupulously
fulfilled the terms of his contract, since the
3,000 gulden had already been deposited
in his bank account.
Orfeo ed Euridice was the last of Haydn’s 24
operas, and it was never performed during
his lifetime. In fact, it wasn’t performed
until 1951 in Florence with a cast that
included Maria Callas.
It’s time to go home
Summer was over — winter was on its
way. The stay at Prince Nikolaus Esterhazy’s
summer palace had been longer than
expected and the musicians were anxious
to get back to their families at home.
Farewell, Prince Nikolaus
This symphony, nicknamed the Farewell
Symphony, owes its nickname to a bit
of theatrics written by Haydn into the
music. True to his commitment to “go to
bat” for his musicians and using his wellknown
sense of humor, he wrote the
coda of the final movement by having
small pockets of musicians taper off,
stop playing, pinch out their candles and
get up and leave — as if too exhausted
to continue. Bits of orchestra continue
to flake away until only two violinists
remain. They valiantly play through to
their final strains. Then they pinch out
their candles and get up and leave.
What a hint to Prince Nikolas! He got
the message, and the musicians were
allowed to go home the next day!
Did you know?
Aloysia Apollonia Keller, the sister
of Therese, with whom he had
previously been in love — by
most accounts, it was an unhappy
marriage.
and occasionally played in string
quartets together.
composer who lived under the
patronage system.
The “Sturm und Drang” period
Although the story of the frustrated
musicians is always associated with this
symphony, it is worth noting that this
symphony has always been immensely
popular and is considered to be one of
Haydn’s best symphonies. It was one of his
“Sturm und Drang” (“Storm and Stress”)
symphonies, composed during the 1770s.
Haydn’s “Sturm und Drang,” or Romantic,
period show him as a composer of ripe
technique and fervent imagination. The
symphonies of these years are considered
to be among his best works. All are on a
larger scale than the symphonies of the
previous decades, and they are much
more dramatic, with unexpected changes
from forte to piano and many crescendos.
The slow movements have a romantically
expressive warmth.
He was one of the last great masters of the
Classical period, and his forward thinking
and imagination echoed throughout
the Romantic period, influencing future
composers of all genres.
25

26
Concerts
All in the Family:
Meet the Bachs
Friday, January 29, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Saturday, January 30, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
Monday, February 1, 7:30 p.m.
Sherwood Auditorium, La Jolla
Brandenburg Concerto No. 4
Johann Sebastian Bach
Allegro
Andante
Presto
Sinfonia in D minor
Wilhelm Friedemann Bach
Adagio
Allegro
Sinfonia in A major
Carl Philipp Emanuel Bach
Movement I
“Fuga Meshuga” from
The Musical Sacrifice
P.D.Q. Bach (Peter Schickle)
Intermission
Sinfonia in D minor
Johann Christoph Friedrich Bach
Allegro
Andante amoroso
Allegro assai
Symphony in E-flat major
Johann Christian Bach
Allegro
Andante
Allegro assai
Orchestral Suite No. 3, Excerpts
Johann Sebastian Bach
Johann Sebastian Bach could
certainly be called a family man. He
had 20 children, nine of whom lived
to adulthood. His first wife, Maria Barbara,
died and left him with four children (three
other children had died at a young age)
when he was 35 years old. He married
Anna Magdalena Wilcken, a singer and
daughter of a trumpeter, one year later.
They had 13 children (seven lived to
adulthood). It was a busy household, full
of music.
A comparison with that other
Baroque composer
In a bit of irony, he and the other “music
giant” of the Baroque era George Frideric
Handel were born within months of
each other in 1685, in towns less than
80 miles apart. Yet they never met, much
to Bach’s regret.
Handel did not come from a musical
family, but he became an internationally
renowned composer during his lifetime,
traveling extensively throughout Europe.
He never married nor had children.
The family tree — full of musicians
Going back several generations, Bach’s
family tree was filled with musicians (over
70 of them, 50 of them named Johann
or Johanna) and most of them lived in
the region of Thuringia, Germany. In fact,
by the time Johann Sebastian was born,
the word “Bach” was synonymous with
“musician” in that region.
Like his ancestors, he was a middle-class
family man, trained as a violinist and as
an organist, who never traveled outside
Germany. He was, however, greatly
influenced by the music styles of French,
Austrian, Italian and other German
composers, whose scores he copied,
arranged and studied.
It was just a job
Bach didn’t compose for posterity. In fact,
he was totally unaware of the monumental
influence that his music would have on
future generations. He supported his
family as a church or court organist/music
director. A requirement of that position
was that he compose the music to be
performed by instrumental groups and
choirs. He regarded himself as a craftsman
doing a job to the best of his ability for the
satisfaction of his superiors.
He died at the age of 65. After his death,
all of his original music manuscripts
were divided among his family. Some of
the music was sold, much of it lost. It is
estimated that only about half of all the
music Bach actually composed (estimated
to be at least 1,200 compositions) has
been found.
Johann Sebastian Bach (1685-1750)
The next generation carried on
Ironically, four of Johann Sebastian Bach’s
sons went out into the world and on
to significant musical careers during
their lifetimes. Their father’s influence is
unmistakable, but each of the four took
different paths. We’ll explore those paths
during this performance of their music.
100 years later — the world took
notice of their father
It was not until nearly 100 years later when
Felix Mendelssohn took an interest in his
music that Johann Sebastian’s genius
became widely recognized.
Today, more than 250 years after his
death, his music is performed and studied
throughout the world, and his name is
more deeply revered by many musicians
than that of any other composer.
27

28
Concerts
Brandenburg Concerto No. 4
A resume of sorts
Very few musical works are as loved
as the six Brandenburg Concertos by
Johann Sebastian Bach. Although the
exact dates of their composition are not
known, it is known that they were written
prior to 1721, probably when Bach was in
service at the Court of the young musicloving
Prince Leopold of Anhalt-Cöthen.
Although Bach enjoyed his work, he
craved a more substantial position.
Remembering a conversation he had
with the Margrave of Brandenburg two
years earlier, he brought the six pieces
together, titling them “Six Concerts
Avec Plusieurs Instruments” and sent
them off to the Margrave with a flowery
Carl Philipp Emanuel Bach (1714-1788)
Sinfonia in A major
dedication, typical of the period. The
assumption is that he was hoping for a
position in the Margrave’s court.
There wasn’t even a call back
There is no record that the Margrave
ever responded to Bach; in fact, scholars
believe that he never examined the
scores because the original manuscript
was found unopened in pristine
condition in his library when he died
thirteen years later. They were brought
to light during the 19th century Bach
revival, were published in 1850, and
have since come to be recognized as
some of the best examples of Baroque
instrumental music.
A most illustrious son
Carl Philipp Emanuel Bach,
known today as C.P.E. Bach
and as the most influential
composer bridging the
transition between the
Baroque and Classical period,
was the second of five sons
of Johann Sebastian and
Maria Barbara.
Mozart said of him, “He
is the father, we are the
children.” Haydn, known as
the father of the Classical
symphony, studied his
works, and Beethoven expressed admiration for his genius. Far
from being a mere transitional figure, C.P.E. Bach is increasingly
being recognized as a significant composer in his own right. In
fact, he was often called the founder of the Classical style.
Interestingly, his older brother, Wilhelm Friedemann, was his
father’s favorite and the one son he thought was capable of
carrying on the family’s rich tradition with music. He would have
been heartbroken had he lived to see this favored son reach an
old age after a dissolute and unproductive life.
The music with no name - for 150
years
They didn’t have a name for 150 years,
until Bach’s biographer Philipp Spitta
called them Brandenburg Concertos for
the very first time, and the name stuck.
A showcase for the great composer
The concertos are considered by most
scholars to be a culmination of Bach’s
talents as a composer, showcasing all
of the compositional tools he had at his
disposal: a perfect compositional resume.
The violin part in the 4th Brandenburg
Concerto is extremely virtuosic, especially
in the first and third movements.
A law degree down the tubes
When C.P.E. was ten years old, he entered the St. Thomas School
at Leipzig, where his father had become cantor. He received a law
degree, but never practiced law; instead, he decided to devote
himself to music.
He obtained an appointment in the service of King Frederick II of
Prussia (“Frederick the Great”) and became a member of the royal
orchestra as a noted keyboard performer (harpsichord, clavichord
and, later, pianoforte). He remained with the King, an avid flutist
and music lover, for 22 years, composing and performing.
At the age of 53, he succeeded his godfather William Telemann as
kapellmeister at Hamburg where he turned his attention toward
church music. He remained in that position until the end of his life.
A dutiful and loving son
Undoubtedly, this is the one child who was most active in
preserving the music and legacy of Johann Sebastian. He treasured
the original scores he had inherited from his father and he was
responsible for the only publication of the music of J.S. Bach.
He created his own masterpieces and a legacy of his own
He was a superb composer in his own right, with a highly
emotional, vibrant style.
A great deal of his music was written for the instruments on which
Wilhelm Friedemann Bach (1710-1784)
Sinfonia in D minor
The eldest son
The eldest son of J.S. Bach, Wilhelm
Friedemann has not been treated well
by posterity. His long life (74 years) was
marred by personal problems, including
alcoholism, and scholars have never
forgiven him for selling off his share of his
father’s musical estate to cover his debts,
thus dispersing dozens, and possibly
hundreds, of original works by J.S. Bach,
most of which remain lost to this day.
A path through life with lots of bumps
Trained as a keyboard player and violinist,
Wilhelm Friedemann was greatly
influenced by his father who wrote
keyboard works for him when he was ten.
He was 23 years old when he became
organist in Dresden. Thirteen years later he
he was acknowledged to be pre-eminent as a performer, the
harpsichord and the gentler clavichord. However, he was a prolific
composer in most genres popular in his day — chamber music,
including a set of sonatas for flute and harpsichord that sent shock
waves throughout the music establishment of the day, vocal works
for choirs as well as for soloists and orchestral works, including 18
(some say 20) symphonies.
“Music should come from the Heart.” – C.P.E. Bach
His compositions are full of unusual musical features (for that era)
in which he imprints his individualized and highly creative style.
They are notable for their rich use of harmonic language and
abrupt changes of harmonic style and for melodies with unusual
dynamic contrasts and complicated rhythms. In short, his music
is unusually expressive, full of sensitivity and feeling (categorized
as Empfindsamer Stil) — almost representative of the Romantic
period of the following century.
An entrepreneur at heart
Like many composers, he composed for well-trained professional
musicians who could handle difficult parts, but he also had to
compose for non-professionals who just enjoyed performing.
His astute differentiation of those two sets of musicians was
well documented in the marketing and publication of his works.
At the end of his life, he left his wife with many unpublished
compositions for her to sell as a source of income. He was indeed
an entrepreneur who was thinking of the future.
became the organist in Halle, a position
that had been rejected by his father years
earlier. He left that position after 18 years,
and was never employed again. He died in
poverty 20 years later.
A Bach moves to America
His wife Dorothea owned a great deal
of land, but was forced to sell most of
it to raise cash for the high taxes which
resulted from the Seven Years War.
The couple produced two sons and a
daughter, Friederica Sophia (born in 1757),
who was the only one of their offspring
to live past infancy. Friederica Sophia
eventually migrated to America.
What might have been
Although he did not compose a great
deal of music, he did compose in most
of the popular genres of the time. He
was extremely talented, but his personal
struggles precluded him from ever
reaching his true potential.
The brief and lovely Sinfonia in D minor
is a two-movement piece for church
performance in “prelude and fugue” form.
Sinfonia? Symphony?
In early 18th century Italy, a sinfonia was a three-movement prelude
(overture) to an Italian opera. However, in France during the same
era, an opera preluding piece was a one-movement form known as
the French overture. Handel and Bach used the French overture to
begin their orchestral suites.
Haydn and Mozart began composing in the Italian threemovement
sinfonia format as an independent orchestral
composition. Mozart also composed divertimentos in this format.
Then Haydn took it a step further and inserted a fourth
movement, called a minuet, between the last two movements
and added a French-style overture before the first movement.
The resulting composition was no longer called a sinfonia — the
symphony was born.
Back to the sinfonia and C.P.E. Bach
After C.P.E. Bach moved to Hamburg, he wrote a set of six string
works in 1773 for Baron Gottfried van Swieten, an Austrian patron
to many well-known composers, including Mozart and Haydn.
Although the composers did not work for van Swieten on salary or
commission, they received payments from him from time to time.
For this set of works, Bach specified that “the composer’s creative
imagination might have free reign, unfettered by any regard for
technical difficulties.” Thus, the Sinfonia in A major came into existence.
Mountains of Thuringia
29

30
Concerts
Johann Christoph Friedrich Bach (1732-1795)
Sinfonia in D minor
The ninth son, the Bürkeburg Bach
Johann Christoph Friedrich Bach was the
ninth son of J.S. Bach and was sometimes
referred to as “the Bürkeburg Bach” after he
was appointed harpsichordist (and, later,
konzertmeister) at Bürkeburg by Count
Wilhelm of Schaumburg-Lippe. He and the
poet Johann Gottfried Herder, who arrived
at the Court a few years after Bach arrived,
collaborated on cantatas and oratorios for
five years.
Touted as the best musician in the family
Taught by his father and by a distant cousin, he was also
influenced by his brother C.P.E. Bach. He was a virtuoso keyboard
player who was, in fact, regarded by his oldest brother Wilhelm
Friedemann as the best musician in the family.
Johann Christian Bach (1735-1782)
Symphony in E-flat major
The eleventh son — the London Bach
This Bach boy, the eleventh and youngest
son of J.S. Bach, was a composer of the
Classical era. He is often referred to as “the
London Bach” due to the time he spent
living in that city.
His esteemed father was already 50 years
old when Johann Christian was born. After
his father’s death, when Johann Christian
was 15, he studied with his second oldest
brother C.P.E. Bach, 21 years his senior.
Becoming a Catholic in Italy
Four years later, at the age of 19, he left for
Italy and was appointed as chapel master to
Conte Agostino Litta who gave him enough
funds to train under Padre Martini. During
this time, he became a Catholic and became
a composer of church music. His first major
work, a Mass, was highly acclaimed.
He later became organist at the cathedral
of Milan and began to compose operas,
an economically feasible endeavor. His
operas proved to be very popular and his
reputation became wide-spread.
To London he moved — and found
favor with the queen
At the age of 27, he moved to London
and made this city his home until his
death 20 years later. The “London Bach”
achieved immediate renown in England
and was appointed music master to the
Queen within two years. He was the first
composer who preferred the piano to
older keyboard instruments such as the
harpsichord and clavichord.
Friend and fame
Soon after he moved to London, he
became friends with Karl Friedrich Abel,
a virtuoso of the viola da gamba, a viol
usually much larger than the violin which
He married a singer, and the Count stood as the
godfather to their son Wilhelm Friedrich Ernst
Bach, who later became music director to King
Frederick William II of Prussia.
His Sinfonia in D minor
As with the other Bach boys, he composed for all
popular genres of the day, but he had to adapt
his music to the Italian style favored by the Count.
His sinfonias (he wrote 20 of them) have been
performed more in recent years. His Sinfonia in
D minor demonstrates that this Bach was at least
acquainted with the “sturm und drang” (“storm and stress”) music
of the 1770s, primarily associated with Haydn.
Sadly, however, most of his compositions were lost in the destruction
of the Staatliches Institut for Musikforschung in Berlin, where the
scores had been on deposit since 1917, during World War II.
was played while seated and supported
between the legs, developed in Europe in
the 1400s and used primarily during the
Renaissance and Baroque periods. Johann
Christian joined his friend as keyboardist
and, for the next two decades, the two
achieved great fame with their joint
concerts in London.
Connecting with Mozart
He also met and taught young Mozart
in London. Mozart acknowledged his
debt to his mentor by using Bach’s piano
sonatas as the bases for his own early
piano concertos.
From sinfonia to sympohony
J.C. Bach wrote at least 48 symphonies (43
others have not been authenticated as his
works), written in style galant, the “new”
elegant, playful pre-Classical music where
the melody becomes much more important
than the bass part. His symphonies, however,
are closer to the Italian sinfonias than to
the later Classical symphony in its most
fully developed state of four movements,
composed by Haydn and Mozart.
Eisenach (state of Thuringia) — birthplace of at least
four generations of the Bach family
Johann Sebastian Bach
Orchestral Suite No. 3,
excerpts
A symphonic dance — with the mind,
not the legs
The four Orchestral Suites (or Overtures) are
a set of compositions by Johann Sebastian
Bach that were probably composed
between 1725 and 1739 in Leipzig.
Air on the G String
The Air from No. 3 is one of the most
famous pieces of classical music, often
used today in movies and TV programs.
An arrangement of the piece by German
violinist August Wilhelmj has come
to be known as Air on the G String. By
transposing the key of the piece from
its original D major to C major and
transposing the melody down an octave,
Wilhelmj was able to play the piece on
only one string of his violin, the G string.
“I always look
forward to each
and every
performance by
Orchestra Nova,
knowing that I’m
going to learn
something I
didn’t know and
could never have
even imagined...
what a wonderful
experience!”
Jessica Betancourt, member of Orchestra Nova’s
Young Professionals Advisory Group and board
of directors
P.D.Q. Bach
“Fuga Meshuga” from
The Musical Sacrifice
The 21st child of 20 Bach children
P. D. Q. Bach is a fictional composer
invented by musical satirist “Professor”
Peter Schickele. In a running gag that
Schickele has used in a four-decade-long
career, he performs “discovered” works
of this forgotten member of the Bach
family. His music combines parodies of
musicological scholarship, the conventions
of Baroque and Classical music and
elements of slapstick comedy.
P. D. Q. Bach
Johann Sebastian Bach and three sons
Did you know?
the town council voted to reduce the pension to his widow after he died; she died in
abject poverty ten years later and was buried in a pauper’s grave.
to strike the strings or the harpsichord that plucks the strings, puts pressure on the
strings from below - as a result the clavichord has a much softer tone.
31

32
Concerts
The Next
Star
Friday, March 5, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Saturday, March 6, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
The Impresario Overture Wolfgang Amadeus Mozart
The Prize Winners Composers TBD
San Diego Regional
Open-talent Competition
Intermission
Symphony No. 5 Franz Schubert
Allegro
Andante con moto
Menuetto. Allegro molto
Allegro vivace
Monday, March 8, 7:30 p.m.
Sherwood Auditorium, La Jolla
The search is on
Who will be the next big star of classical music in San
Diego? Orchestra Nova hosts the first open-talent
competition of its kind in this area. Excitement has
been building since the competition was announced last summer.
Will it be the truck driver who sings on his long drives? Will it be
the out-of-work young attorney who gave up violin lessons to
study law? Will it be the young college student who loves music?
You can be the participant — or the judge! Three finalists (all
amateurs) will perform with the orchestra at the March concerts
in all three venues, and audience members will vote for the
winner. Internet voting will also be available. The winner will be
announced at the conclusion of the final concert on March 8.
The next star will have the opportunity to perform with
Orchestra Nova in the 2010-2011 season, and who knows what
the future will hold?!
Competition rules and application available at orchestranova.org.
“Working with Jung-Ho
reminds me of why I
became a musician. The
joy and the love of music
is constantly there. He
allows the orchestra to
explore these composers
as a team, and the result
is only ours to share.
I have admired his
creativity, leadership,
kindness… he is truly
a genuine individual. It
has been an honor to be
associated with and to be
working with Jung-Ho and
Orchestra Nova.”
Hernan Constantino, violin principal
The Impresario Overture
Wolfgang Amadeus Mozart
(1756-1791)
Let the competition begin
What better way could we begin this
concert focused on our The Next Star
competition than with the overture
to Wolfgang Amadeus Mozart’s The
Impresario? Ironically, Mozart wrote this
singspiel (a comic dramatic musical work
popular in Germany in the latter part of
the 18th century, characterized by spoken
dialogue interspersed with popular or folk
songs) as an entry in a musical competition.
The competition, sponsored by Holy
Roman Emperor Joseph II in Vienna in
1786, was to pit a German singspiel against
an Italian opera. The competitive Italian
entry was the opera buffa Prima la musica,
poi le parole (First the Music, then the Words)
by Antonio Salieri, a musician in the
Emperor’s court and Mozart’s rival.
Surely, both the Emperor and Mozart
felt deflated when Salieri’s farce “won,” as
determined by the invited audience.
The impresario’s job is not an easy one
— unless you’re with Orchestra Nova
An impresario, of course, is the manager
of a concert or opera hall, the one person
who is responsible for getting his “stars”
to work together. This singspiel concerns
the woes of an impresario named Frank
who must put together a company of
actors and singers while dealing with their
whims, rivalries and pretensions.
There are, of course, none of those
problems with the next stars performing
in our concert.
A postscript
A few months after his loss in the
competition, Mozart regained his ground
when his newly composed Le Mariage de
Figaro was selected by the Emperor to
go into production immediately, moving
Salieri’s new opera to a later production slot.
Mozart’s impresario
Mozart’s The Impresario opens with a
grand overture — much more grandiose
than would normally be expected for
such a work. Obviously, Mozart wanted to
impress his audience.
33

34
Concerts
Franz Schubert
(1797-1828)
Humble beginnings with music
in the air
Schubert came from a humble family in
Vienna — his father was a pious and strict,
but kindly and honorable, schoolmaster.
His home and school life was full of music.
He studied the violin, viola and piano and
began harmony and counterpoint studies
when he was a boy, but it was his soprano
voice that brought him to the attention of
Antonio Salieri (infamous rival of Mozart)
and later earned him a scholarship to the
Stadtkonvikt (Imperial seminary).
Teaching wasn’t in the cards
He tried following in his father’s teaching
profession, but his heart wasn’t in it so he
retired after three years to devote the rest
of his life to music composition. From that
time on, he never held an official position,
other than as a short-term private teacher,
for any period of time. He was dependent
upon his compositions to earn money.
Unlike most other noted composers of his
time, he didn’t perform in public so there
was no financial gain to be made from
performing.
Living the life of a Bohemian in Vienna
Schubert lived a Bohemian lifestyle,
shunning nobility in an age when royal
patronage was still the key to success.
He enjoyed drinking and carousing with
his circle of friends, and they often made
music in Viennese coffeehouses and
homes, performing Schubert’s songs and
chamber music. These evenings became
known as Schubertiads.
A genius “on the treadmill”
His tragically short life, like Mozart’s,
illustrates the tragedy of genius
overwhelmed by the petty necessities
and annoyances of everyday existence.
Without wide public recognition and
sustained only by the love of his friends,
he constantly struggled against illness and
poverty, composing ceaselessly.
In the year 1815 alone, he wrote 144
songs. Scholars disagree about whether
his prolific output resulted from his
financial needs or because his fertile
mind was always thinking about the
next composition, paying no attention
whatsoever to marketing completed
works of music.
“When I have finished one piece, I
begin another.” – Franz Schubert
Schubert’s works include nine symphonies,
22 piano sonatas, a multitude of short
piano pieces for two and four hands,
about 35 chamber compositions, six
Masses, 17 operatic works and over 600
Lieder (songs).
Death came too soon
He died at the age of 31of syphilis, and on
his tombstone was inscribed “Music has here
buried a rich treasure but still fairer hopes.”
There had been just a single public
concert of his works and only a few songs
had been published during his lifetime.
He would be astounded to learn that his
name is often mentioned in the same
breath as that of his idol Beethoven nearly
two hundred years later.
How much richer we are that he lived,
even for such a short time.
Symphony No. 5
Songs, not symphonies, are his thing
Schubert would be amazed to learn that he has come to be
regarded as a great composer of symphonies. Of all the genres
in which he excelled, these fared the worst during his lifetime.
His first two were written for his school orchestra and the next
four for an amateur group he was able to assemble, all intended
to be heard once and then assumed to be forever forgotten.
Serious music - maybe
Written during his teens, Symphony No. 5 is often considered
to represent Schubert’s first serious foray into a symphonic
composition. Obviously modeled after Mozart’s symphonies,
thoroughly Classical in structure, it is known for its lyric beauty,
understated power and poetic expression.
Rooftops of Vienna
Did you know?
increased dramatically in the
decades following his death, after
composers Robert Schumann and
Liszt discovered his works and
Mendelssohn performed them.
classroom and private teaching.
Beethoven (a death-bed request).
and an autopsy was performed in
1863 when Beethoven’s body was
exhumed for an autopsy.
The symphony with no trumpets or drums
The Groves Dictionary of Music described this symphony as
“…graced by abundant melody (and) the formal perfection which
is characteristic of his early work; its finale is a worthy conclusion of
the fine preceding movements.”
The score was written for a small orchestra of former days, with
no clarinets, no drums and no trumpets.
A performance at last
This was the only composition of his that was performed publicly
during his lifetime. It was first performed in 1817 as part of a
house concert series put on by Otto Hatwig, a prominent violinist
in whose amateur orchestra Schubert often played viola.
35

36
Concerts
Friday, May 7, 7:30 p.m.
St. Paul’s Cathedral, Downtown
CSI: Beethoven
Saturday, May 8, 8:00 p.m.
Irwin M. Jacobs Qualcomm Hall,
Sorrento Valley
Inside Ludwig’s Head
Highlights from the three Leonore Overtures
Ludwig van Beethoven
Fidelio Overture Ludwig van Beethoven
Intermission
Ludwig van Beethoven (1770-1827)
Symphony No. 4 Ludwig van Beethoven
Adagio. Allegro vivace
Adagio
Allegro vivace
Allegro ma non troppo
Special guest: Jennifer L. Shen,
supervising criminalist, San Diego
County Forensic Chemistry Unit
Monday, May 10, 7:30 p.m.
Sherwood Auditorium, La Jolla
On Monday, March 26, 1827,
Ludwig van Beethoven died at
the age of 56 in Vienna.
Melody to malady
Beethoven’s health was quite normal
as a boy. However, in his early 20s, he
developed chronic illnesses that plagued
him throughout his adult life. His primary
complaint was abdominal pain which was
referred to as “colic.”
His personality also transformed during
these years of illness. The friendly and
charming young man gradually became
irritable, hot-tempered and socially isolated.
At the age of 31, Beethoven reported that
he was losing his hearing. He was nearly
completely deaf by the age of 42.
He experienced a prolonged and painful
death after developing pneumonia.
His death was witnessed by his sisterin-law
and his close friend Anselm
Hüttenbrenner, who provided a vivid
description of the event.
“When I am dead, request on my behalf
Professor Schmidt, if he is still living, to
describe my disease, and attach this
written document to his record, so that
after my death at any rate the world and
I may be reconciled…” Beethoven to
brothers Karl and Johann in 1802.
It was just a snip of hair — but
what a story!
The day after Beethoven’s death, a
15-year-old Jewish musician named
Ferdinand Hiller snipped
a large lock of the
composer’s hair as
a keepsake. For a
century, the lock of
hair was a treasured
family keepsake.
During the Holocaust in Nazi
Germany, the lock of hair was given to
Kay Fremming, a Danish doctor who
was secretly involved in efforts to save
hundreds of hunted and frightened Jews.
After Fremming’s death, his daughter
consigned the lock of hair for auction
at Sotheby’s in London. The successful
bidders were four Americans, including Ira
Brilliant, founder of the Beethoven Center
in San Jose, California. The new owners
selected the Health Research Institute to
derive scientific information from the hair.
The mystery is solved — or is it?
Non-destructive chemical testing of the
hair was performed by two separate
laboratories with the
greatest technological
capability for chemical
analysis of tiny objects.
Results of the scientific
analysis of the hair
samples:
of lead, indicating lead
poisoning
evidence that Beethoven did not receive
medical treatment for syphilis, usually
treated in the 1820s with mercury
compounds; supporting the consensus
of Beethoven scholars who believe that
Beethoven never had syphilis
that Beethoven avoided opiate painkillers
during his long and painful death;
history records that he continued
working on his music until the day he
died, implying that he decided to keep
his mind clear for his music
So, lead poisoning was responsible
for Beethoven’s miserable
illnesses, but how did the
poison get into his body?
No one knows for certain, of
course, but water flowed
through lead pipes in
Vienna and most drinking
containers were made
of lead during that
time. And Beethoven
did love wine.
However, lead poisoning isn’t usually
associated with deafness — so the
mystery continues.
Then there was the skull
Beethoven’s body was exhumed in 1863
for an autopsy, but two bone fragments
from his skull (1.75 inch pieces) didn’t
make it back into the grave. They were
eventually passed down through
generations to Paul Kaufmann in Danville,
California, who has loaned them to the
Beethoven Center.
Those bones were studied
and determined to be
Beethoven’s after the DNA
matched the DNA from his
lock of hair.
And the mystery
continues
A small sample of the
skull bone has been set aside for future
tests as scientists continue their work
toward identifying a gene, nicknamed “the
Beethoven gene,” that might cause deafness.
During the original autopsy one day after
his death, his inner ears were removed from
his body and have never been recovered.
37

38
Concerts
The Leonore Overtures
What’s going on inside the brain of a Beethoven?
Why can one person produce music masterpiece after
masterpiece while another cannot create a simple song?
There have been many speculative answers to that question
through the years, but no one has really known why. However,
scientists are working hard to find those answers as more
advanced technology becomes available.
We may soon have an answer
With the aid of sensitive imaging equipment, scientists are
now literally mapping creative juices as they flow through the
brain. For example, two researchers at the National Institutes
of Health, Charles Limb and Allen Braun, have recently shown
that when jazz musicians improvise, their brains turn off areas
linked to self-censoring and inhibition — and turn on those
that let self-expression flow.
Originally, they tested to determine if musical training affected
the brain’s architecture by presenting both musicians and
non-musicians with a series of rhythmic patterns. Only the
musicians activated a portion of the left side of the brain when
they heard them. Musicians, it seems, do indeed “hear” music
differently than others — almost like a second language.
What about the impact of external forces?
Beethoven was a political composer. He was dedicated to the
ideals of human dignity, freedom and heroism. It was the first
decade of the 1800s. These were the years of the “Heroic” style
of music, a pivotal point for music of this period.
His music, more than that of any composer before him, gives
the impression of being a direct outpouring of his personality.
Europe was in turmoil
The French Revolution had erupted. Bonaparte was leading
the charge to become Emperor, much to the disappointment
of Beethoven and others who had seen him as the champion
of the common man. As his army bombarded Vienna for the
second time in 1809, Beethoven hid in a cellar with mufflers
around his ear, frightened that the dreadful noise of war
would remove the last of his remaining ability to hear.
His Symphony No. 3 (Eroica Symphony), the opera Fidelio and
Symphony Nos. 4-8 were composed during this period.
Leonore — or is it Fidelio?
Beethoven called his only opera Leonore, but his impresario
insisted on entitling it Fidelio, so Fidelio it was — but not
until a revival of the work was performed nine years after the
first performance.
This work was one of many theatrical works of the “rescue” genre
of this period. The essence of the story is how Leonore disguises
herself as a man, taking the name “Fidelio” in order to get a job
as an assistant jailer, to rescue her husband who is a political
prisoner. It was based on supposedly true incidents during the
The Reign of Terror period in France after the Revolution.
Perfecting the composition
The original version, performed in 1805, was performed at
the Theater an der Wien before a small audience because the
French invasion had driven away the aristocratic Viennese. The
performance was a failure, considered to be too long.
It was revised and performed again in 1806. Once again, the
opera was considered a failure. Then, in 1814, Beethoven, on
his own initiative, revised the opera once again for a revival
performance. This time, it was a resounding success.
“This child of my spirit has cost me greater
birth pangs than any other and therefore is
also my favorite; I consider [the manuscript]
particularly worthy of being preserved,”
Beethoven once said of Fidelio.
Typical jail where “Fidelio” could have worked as a jailer during
the French Revolution
Even the music genius didn’t get it right the first time
“I carry my ideas a long time, rejecting and rewriting until I am
satisfied…I change many things, discard, and try again until I am
satisfied,” Beethoven once told Louis Schlosser, a young musician
and friend.
Symphony No. 4
How can it compete with
these two gems?
Sandwiched between his Third (Eroica)
and Fifth symphonies, Beethoven’s
Fourth symphony is often overlooked.
As a perceptive critic remarked in 1811,
“On the whole, the work is cheerful,
understandable and engaging, and is
closer to the composer’s justly beloved
First and Second symphonies than to the
Fifth and Sixth. In the overall inspiration we
may place it closer to the Second.”
Pleasing the Count takes precedence
Beethoven wrote the piece during a
late-summer stay at the palace of Count
Franz von Oppersdorff, to whom the work
eventually was dedicated. The Count
had heard a performance of Beethoven’s
Symphony No. 2 and he liked it so much that
he offered a great amount of money for the
composition of a new symphony for him.
At the time, Beethoven was working on
what is now known as Symphony No. 5, but
he put that aside to compose a symphony
closer to the style of the Second symphony
to please the Count.
It passed the test
This symphony, marked with joviality and
humor, premiered at a private concert
at the Lobkowitz Palace in Vienna, along
with the first performance of the Fourth
Piano Concerto. Though not much was
written about the piece after its premiere,
contemporaries celebrated it.
Finding the “right” overture
The overture for the first performance was actually the one we
now know as Leonore Overture No. 2.
The most important revision in the 1806 version of the opera was
Beethoven’s substitution of a new overture, Leonore Overture
No. 3. It was considered to be a masterpiece on its own; however,
it completely overshadowed the first act of the opera, thus
contributing to the failure of that version of the opera, too.
The overture with the misleading title, Leonore Overture No. 1, was
composed in 1807, in anticipation of a performance of the opera
in Prague, which never took place.
Beethoven put the opera on the shelf until 1814, when it was
successfully produced with substantial dramatic and musical
revisions. This version — the version of Fidelio we know today —
had an entirely new overture (the fourth), the Fidelio Overture.
Did you know?
Schubert (who was buried nearby)
were exhumed, studied and reburied in
proceedings paid for by the Gesellschaft
der Musikfreune.
was taken two days after his death by
Carl Danhauser, a normal procedure for
famous men during that period; the best
copy of it is in the Historisches Museum
in Vienna.
forced the boy’s early progress in the
hope of making a second Mozart of him.
pianists of all time.
proposed to at least one lady.
Requiem was played at
Beethoven’s funeral.
39

40
Concerts
Masterpiece Messiah
Messiah George Frideric Handel (1685-1759)
Libretto by Charles Jennens
Guest artists
Bach Collegium San Diego
Ruben Valenzuela, Music director
Virginia Sublett, Soprano
Katherine Lundeen, Alto
Robert MacNeil, Tenor
John Polhamus, Bass
Thursday, December 10, 7:30 p.m.
St. Paul’s Cathedral, Downtown
Friday, December 11, 7:30 p.m.
St. James by-the-Sea Episcopal Church, La Jolla, 7:30 p.m.
Saturday, December 12 , 7:30 p.m.
Solana Beach Presbyterian Church, Solana Beach,
An economic downturn for
opera — and bankruptcy
for Handel
It was 1741 and Handel’s beloved opera
house had gone bankrupt as public
interest in opera in England faded. He
was at the peak of his musical prowess,
but now in debt and, not surprisingly,
somewhat depressed. He wisely turned to
the oratorio, in essence a sacred English
opera that was not staged.
Composing at high speed
He began setting Charles Jennens’ biblical
libretto to music at his usual breakneck
speed. Within 24 days, Messiah was
complete. A practical reason that Handel
could compose this work so quickly was
that he often drew upon music composed
earlier. It was often fascinating in the way
he “borrowed” these notes. For example,
the joyous chorus “For Unto Us A Child Is
Born” was originally written for a profane,
The Bach Collegium San Deigo was
founded in 2003 by Ruben Valenzuela
with the purpose of presenting historically
informed performances of music of the
Renaissance and Baroque periods of
history and, in particular, the vocal works
of Bach. The chorus consists of the finest
singers in San Diego, many of whom have
longstanding experience with noted
ensembles on the west coast.
frivolous duet for two
sopranos, castigating “blind
Cupid” and “cruel beauty.”
During its first six seasons, the ensemble has earned an
impressive reputation, captivating diverse audiences with their
unique style and highly expressive and provocative approach to
Renaissance and Baroque repertoire. Among its strengths has
been its ability to tailor a vocal ensemble to a specific repertoire.
“I did think I saw
all Heaven before
me, and the great
God himself!”
Handel, after
finishing the
Hallelujah Chorus
The evolution of
Handel’s Messiah
Messiah is divided into
three sections.
Part I focuses on the
prophecy of the coming
of a Messiah and,
subsequently, Christ’s Nativity.
Part II deals with Christ’s suffering
and death.
Part III offers an affirmation of the Christian
faith and glimpses of the Revelation.
Revisions and adaptations were made many
times after the first performance in Dublin
in 1742, even by Handel himself. Mozart
re-orchestrated the work in 1789 for the
Classical period orchestra and more versions
would come in the 19th and 20th centuries,
sometimes for large choral
festivals with hundreds, even
thousands, of singers.
A tradition was begun
in San Diego
In 2006, joined by the Bach
Collegium San Diego chorus,
Orchestra Nova (then known
as the San Diego Chamber
Orchestra) created a sensation
by performing this great oratorio with the
original 18th century period approach,
creating an unforgettable emotional
experience.
It was the first time in San Diego that a
fully professional chorus and orchestra
had come together to present a
performance that captured much of the
original aestheticism of Handel’s very first
concert. Audience members responded
enthusiastically, and a tradition was begun.
Enhancing the tradition
In 2008, a dramatic video presentation of
great masterpieces of art complemented
the orchestra’s performance of this most
famous of all oratorios, enhancing the
experience even more.
New this year!
Spanish translations of the libretto will be
provided at each of the concerts.
Won over by Handel at age six
Ruben Valenzuela remembers, “I was six years old when I
realized that music was in my life to stay. I heard my local church
choir sing portions of Handel’s Messiah — in Spanish! I remember
hearing the “Hallelujah” Chorus and stopping dead in my tracks.”
Ruben has since distinguished himself as a conductor, organist,
harpsichordist, continuo player and scholar. He is the founder
and music director of Bach Collegium San Diego which has been
influential in enriching the San Diego music community with
music from the Renaissance and Baroque eras.
He is the director of music and organist of St. Peter’s Episcopal
Church in Del Mar and is pursuing a Ph.D. in musicology and
historical performance practices at Claremont Graduate University.
41

42
Concerts
Coast-to -coast — then back to
the Midwest — for this soprano
Virginia Sublett grew up in Kansas City,
Kansas, where her love of music was
nurtured by parents who loved classical
music and where, as a teenager, she was
encouraged
by friends and
teachers to
develop her
vocal talent.
Today, she’s back
in the Midwest,
where she is on
the faculty of
North Dakota
State University,
teaching applied
voice, opera
theatre and
voice-related academic subjects. She
is renowned for her warm, expressive
soprano voice and clear diction that
brings the music to life.
But that’s only half the story — she has
spent a great deal of time on the east and
west coasts, performing as a principal
artist with the New York City Opera and
other opera companies across the country
and in Europe. She lived in San Diego
for 24 years and received her graduate
degrees in music from the University
of California, San Diego. This is her fifth
appearance with our orchestra.
His heart is in San Diego
John Polhamus grew up in Pacific
Beach when it was mostly lemon
groves, slowly turning into pavement
— and he still calls Pacific Beach
home. “I am very parochial regarding
San Diego…making music here is
more important to me than making
music anywhere else, even if it means
I’m not making headlines, “ he says.
“My earliest memory of music is my mother’s singing and hearing
Bach played at St. Brigid’s. My dad would hold me on his shoulder
so that I could look backwards at the choir-loft to see the organist.
A scienti c research pro at home on the stage
Katherine Lundeen says, “I always knew that music was
something I couldn’t do without.” Growing up in Colorado with
musical parents, she remembers listening to Messiah sung by
the church choir and thinking, “that’s what I want to do.”
Although majoring in the sciences in college, she was studying
piano when her teacher heard her sing and immediately took
her to a vocal professor. And so Katie became “bi-vocational.”
While she was winning international vocal competitions, she
was publishing scientific papers in prestigious journals. “I’m able to sing enough to satisfy my
soul and at the same time have a career that satisfies the analytical side of my brain,” she says.
She is the alto section leader and soloist with the Village Presbyterian Church in Rancho
Santa Fe, the director of four children’s choirs and co-president of the San Diego Chapter of
the Choristers Guild, which extends musical opportunities to kids in San Diego County.
One song changed his life
Robert MacNeil has been praised by the Los Angeles
Times for possessing a voice that is “clarion and clear.” That
statement is even more poignant when you consider where
he “found his voice.”
He says, “I never sang in my youth, growing up in a small town
in the central valley of California. I was a history major in college
(Chapman University) and had to take a required fine arts class.
I signed up for a class on George Gershwin and at the end of
the semester, each student had to sing one song. I sang my song and the university’s choir
director happened to be at the presentation. He offered me a scholarship on the spot —
he actually matched and surpassed the history department award. The next year, faculty
members suggested that I change majors to voice. Little did I know what would happen.
From there, I went to USC and then to the National Finals of the Metropolitan Opera, to
Carnegie Hall, San Francisco Opera and the Los Angeles Opera.”
MacNeil has performed as a soloist with orchestras and opera companies in Asia,
Australia and Europe in addition to the United States.
Later, one of my favorite music memories occurred when I was
a 20-year-old San Diego Opera chorister and heard Dame Joan
Sutherland sing Verdi’s “Carlo vive” — that’s when I really came to
know what the heroism of the performer was all about.”
John has founded two music organizations during his varied
career, the Tomás Luis de Victoria Choir (first professional
polyphonic vocal ensemble in San Diego) and the Chorus Breviari,
a Gregorian Chant Study and Liturgical Group.
Valerie Scher, Arts and Entertainment Editor at San Diego New
Network (SDNN), recently described his performance of Handel’s
Theodora, “Bass John Polhamus, a native San Diegan, brought
expressive fervor to the role of Valens, the Roman villain.”
Pops at the Center
Fun and engaging concerts at the California Center
for the Arts, Escondido.
Wish Upon A Star: Disney’s Greatest Hits
Jung-Ho Pak, artistic director and conductor
Nicole Werner, soprano
Joey Landwehr, tenor
Caleb Goh, tenor
Francis Parker Children’s Choir
Sunday, September 13, 2009 – 4:00 p.m.
Making music fun is a hallmark of Orchestra Nova, formerly
the San Diego Chamber Orchestra, for the past 26 years…
whether it’s the Classics Series or the Pops Series.
Nowhere is that more evident than the Pops at the Center series,
generously sponsored by Bob and Jean Will.
Toes are guaranteed to tap and concertgoers will have a hard time refraining from singing along
as they experience the “best of the best” from the world of Disney. One supercalifragilistic concert!
From Snow White through Beauty and the Beast, the concert will feature music from the classic
era (Mary Poppins, Pinocchio) through the hits of today (Little Mermaid, Aladdin).
Whether re-living favorite moments or sharing this special concert with favorite young friends,
this is one concert not to be missed!
Martinis and Tikis: Cool Music and Hot Nights
Jung-Ho Pak, artistic director and conductor
Nicole Werner and Dave Scott, vocal stylists
Holly Hofmann, jazz flutist
Elena Rodriguez and partner, award-winning
ballroom dancers
Saturday, April 24, 2010 – 4:00 p.m.
In what promises to be the hippest and most sophisticated evening in the area, Orchestra Nova
will perform the cool and sensuous hits of the 50s and 60s in this Pops concert — unforgettable
gems from Henry Mancini (Moon River, Charade, Pink Panther) and other Hollywood and jazz
favorites, including Frank Sinatra songs and famous Latin bossa nova classics by Jobim.
It will be a cool party — shaken with a twist!
Nicole Werner Joey Landwehr
Caleb Goh
Dave Scott
Elena Rodriguez Holly Hofmann
Tickets available through California Center for the Arts, Escondido
800-988-4253 or www.artcenter.org
43

44
Our Support
Introducing
Nova Club
Join this special club
Subscribe to the six-concert Classics Series at any of the three
venues. If travel or other circumstances keep you from subscribing
to the season, you can still become a Nova Club member by
investing $100 or more.
Fantastic benefits at the basic membership level
availability)
Radiant
$ 100 - $ 999
Inspire magazine
invitation to one
orchestra rehearsal
invitation to one of
Orchestra Nova’s talk
show series with
Maestro Pak
Stellar
$1,000 - $4,999
invitation to second
orchestra rehearsal
to annual donor
recognition event
at annual major
fundraiser (must
purchase ticket)
general admission
tickets to concert
of choice (based on
availability)
Maestro’s Circle
Become part of the special group of
donors who contribute support over a
three-year period. Enjoy special interaction
and events with Maestro Pak throughout
the season.
Judith Rosen and Elaine Standring
each invested $100 that paid for two
musicians at a rehearsal.
William and Mary Jane Rohn’s
investment of $2,500 paid for a
month’s rent for the office and library.
A very special place.
Where you are appreciated.
Where you are valued.
organization that gives back
Your gifts make a difference
Moving up the Nova Club levels
As a Nova Club member, you have the opportunity to move on
up to the level that best suits you by making an investment in
Orchestra Nova that lives on
…in your life
…in the lives of children throughout San Diego County
…in the lives of generations to come.
More and more benefits as you move up the membership levels
Brilliant
$5,000 - $9,999
special dinner event
rehearsal, followed by
lunch or cocktails with
Maestro Pak
Luminary
$10,000 - $24,999
a private home with
Maestro Pak
Each level includes all benefits of the previous level(s)
Every single gift counts! And the
process of giving is easy!
Every single gift will be acknowledged on
the Orchestra Nova web site this season,
whether it’s made by a Nova Club member
or a nonmember. Every gift of any amount
is appreciated, and you have three options
to make your gift:
Helen Hodges
invested $500 that helped us pay for
air travel for one of our guest artists.
Richard and Patricia Schonfield
invested $5,000 to help pay for St.
Paul’s Cathedral for the entire season.
Super Nova
$25,000+
designed event
recognition
1. online (www.orchestranova.org)
2. call 858-350-0290 with your credit card
information
3. mail a check to our office:
Orchestra Nova
11772 Sorrento Valley Road, Suite 212,
San Diego, CA 92121
Dr. Harold Walba’s
investment of $1000 ensured Internet
access for Orchestra Nova for a year.
Frances Hunter and Hunter Industries
funded the $20,000 cost for the
“Music Bee” competition last spring.
Maestro’s
Circle
We are especially grateful to the members
of the Maestro’s Circle who have expressed
their confidence in Jung-Ho Pak’s artistic
leadership and the future of the orchestra
with a three-year commitment of a
minimum of $5,000 annually.
Thank you for your generous support!
EXECUTIVE COMMITTEE
Gay Hugo-Martinez,
President
Cindy Bertrand,
Chief Financial Officer
Harry Miyahira,
Member-at-Large
Elsie V. Weston,
Member-at-Large
Sue and Bill Weber
Judith A. Moore Laura M. Robinson Elsie V. Weston
Harry and Helen Miyahira
Gay and Albert Hugo-Martinez Frances Hunter
Board of Directors, 2009-2010
& Past Presidents
BOARD MEMBERS
Alan Ball
Jessica Betancourt
R. Park Carmon
Russell L. Chapman
Susan Childs
Susan Christopher
Kathleen Davis
Victor S. Engleman
Lee Ann Kim
Lisa Norton
Laura M. Robinson
ADVISORY BOARD
MEMBERS
William Comer
Dave Darwin
Albert Hugo-Martinez
Frances Hunter
Bill Weber
Susan Childs
PAST PRESIDENTS
Gayle Gillies, 1984-85
George Goudy, 1986-87
Ray Sparling, 1987-88
John Feighner, M.D., 1988-90,
1996-97, 2002-03
Charles Dierenfield, 1990-93
Jack Charney, 1993-95
Michael Davis, 1995-96
Walter Bregman, 1997-2000
Bill Weber, 2000-02
Elsie V. Weston, 2003-05
Gay Hugo-Martinez, 2005-07
Gary Phillips, 2007-08
45

46
Our Support
You are truly special!
What a critical
difference you’ve
made in our ability to
bring joy into the lives
of so many through
our music and our
music education and
outreach programs in
the community.
Luminary
Nova Club members
($10,000 – $24,999)
Royce R. Baker
Kathleen Davis
Gay and Albert Hugo-Martinez
Frances Hunter
Helen and Harrison Miyahira
Mary Jane and William R. Rohn
Elsie V. Weston
Brilliant
Nova Club members
($5,000 – $9,999)
Susan Childs
Deborah Pate and Jack V. Forrest
Aune and Ramon Garcia
Bobbi and Claude Kordus
Mary Lou Matthews
Judith A. Moore
Teresa and Robert J. O’Connor
Joyce and Jere Oren
Laura M. Robinson
Patricia and Richard E. Schonfeld
Susan and J. William Weber
Eileen B. Wingard
Stellar
Nova Club members
($1,000 – $4,999)
Anya Galasso and Alan Ball
Victoria Baron
Cindy J. Bertrand
Licia and Brian Britt
Ellen and Matthew Burkhart
Charles Billingsly Foundation
Mary-Kay Butler
Louise and R. Park Carmon
Melanie and Russell Chapman
Robin and William T. Comer
Patti Dahlgaard
Elaine and Dave Darwin
Anne and Edward L. Davis
Judy and Richard Eby
Louise and Victor Engleman
Danah H. Fayman
Linda and Glen Freiberg
Susan Stone Hayes
Joan and Irwin M. Jacobs
Vicki Johnson
David B. Marino
Virginia S. Oliver
Erica Horn and Jung-Ho Pak
Michael Pasqua
Jane and Peter Polgar
Carol and David Primuth
Marjorie B. Reeves
Cathy and Larry Robinson
June and Robert Shillman
Alice and Lewis Silverberg
Nancy E. Snyder
Emmy Sobieski
Jeanette Stevens
Harold Walba
Thomas W. Ziegler
Wilma Engel and Nathan Zvaifler
Radiant
Nova Club members
($100 – $999)
R. Jane Adlong
Jerome W. Albers
Jeannette Amen
Patricia Amtower
Lori Arnold
Peppy and Norm Bahr
Jane S. Bastien
Herbert Bernstein
Phyllis K. Bettelheim
Rosemary and Charles Bird
Denise and Gene Blickenstaff
Mary Ann and Edward Bosanac
Wendy Bowers
Lisa and Brian Brinig
Peggy and David R. Brooks
Pamela and Mel Brown
Anne Gray and Charles R. Bubb III
Janice and Nelson Byrne
Mary Ann Calcott
Erin Oleno, customer relations and ticketing manager, Orchestra
Nova; singer/songwriter, customer relations ace
Stella Karl, administrative assistant, Orchestra Nova; college
student, future arts administrator
Maestro Pak and friends
Linda Mae and David R. Calder
Joy and Jack Charney
Joann Clark
Rita and Boyd Collier
Robert Cushman
Carl and George L. Damoose
Mabelle Daugherty-Eeg
Ted Delevoryas
Ralph Dilley
Mitzi and Ricardo Dominguez
Rose Marie Doyle
Michael Dwyer
Patricia M. Easton
Paula Eisenhart
Betsy and Alan Epstein
Susan D. Fee
Lois D. Ferguson
Samuel S. Fisher
Teresa and John Fistere
Sima and Parviz Foroozan
Catryn Fowler
Francine and Charles C. Frasier
Barbara and Arthur Friedman
Ann and Robert Fry
Barbara Gagnon
Arianne and David Galluccio
K. Michael Garrett
Marie and Gary Gevisser
Stephen J. Gordon
Delores Gordon
Elaine Graybill
Irma and Gilbert Greenspan
Ronald B. Haas
Gayle E. Hall
Sally and Paul Hasson
Joanne and Glenn Haworth
Theresa A. Hill
Sarah and John Hilton
Helen J. Hodges
Nancy A. Hoffmann
Nancy and William Homeyer
Charlene and James Hooker
Erika and Wolfgang Horn
Geoffrey Hueter
Heather Hull
Thank youto our Nova Club members
Joe Mize, Gayle G. Mize, Jung-Ho Pak, Crystal Watkins Nancy Snyder at the Silent Auction
IvyGroup members
William Johnson Jr.
Helen E. Jones
Carol and Bruce Jordan
Janet and Frederick L. Judge
Neda Vossoughi and Amir Karam
Michael Keller
Gail and Chuck Kendall
Louise Keough
Brigit and Kenneth King
Marsha and Alvin J. Korobkin
Leona Krevat
Frances and Jack Kyte
Beverly Lambert
Dorine and Richard Lantz
Catherine and Robert G. Lence
Eilene and Donald Levi
Linnea and Donald Levine
Sally and Dean Lind
Thelma Lindblade
Karina Lion
Violet D. MacDonald
Mary MacKenzie
Jain Malkin
Mercy and Ronald Mandelbaum
Lynne E. Martin
Barbara and Edward Mayers
Sheila M. McDevitt
Judy and Alex McDonald
Glenis E. McDonald
Anne Morgan and Richard C. Mellien
Paula C. Mendell
Patricia and David W. Meyers
Fletcher Miller
Gayle Mize
Charles Muha
Lisa Norton and Jim Mulvaney
Joanne and Dominic Munafo
Tim Nader
Barbara Nenno
Nancy and Alan Nevin
Peggy Oechsle
Elizabeth Ortlieb
Nancy and William R. Otto
Scott Paulson
Cynthia and James D. Peterson
Frances and Thomas Powell
“They [Orchestra Nova] bring
heart to music. As a member
of the audience I cannot help
but be deeply affected by their
music…the most exciting
classical music experience in
San Diego!” Dick Pinney, concert guest
Patricia and Ole Prahm
Robert Preston of EuroPanache
Guggi and Paul A. Quaintance
Joan and Edward Rasp
Rosalind and Frank Reinhard
Ellen Rindell
Kathleen Robb
Linda and Stuart Robinson
Sue B. Roesch
Judith Rosen
Elaine and Richard M. Roth
Vanya Russell
Barbara and John D. Ryan
Jane A. Ryan
Sheryl and Nicolas Saenz
Brigitte and Gerrard Salomon
Linda and Manley Sarnowsky
Florence and Jack Schaps
Edith Schroeder
Gigi and Bill Simmons
Ronald I. Simon
Margaret R. Singleton
Mary Colette and Albert B. Smith
Sylvia and Luis Sneider
Susie Snow
Elisabeth and Hans L. Spiegelberg
Elaine Standring
llia Voronchinin and Amanda Stephens
of KMA Architecture and
Engineering
Kimberly Stewart
Adrienne Swerdlow
Christina Northover and James
Sylvester
Nancy J. Taylor
Anthony R. Turnbull
Patricia Vainik
Jerry Valencia
Kris Van Lom
Maria Verbrugge
Helen E. Wagner
Mary G. Walker
Norma Walter
Sally Ann Wasson
Rebecca Wood Watkin
Marcia and Jay Weinberg
Jo and Howard Weiner
Jean and Jack Wheaton
Sybil and Floyd Wilkins
Olivia and Martin K. Winkler
Cindy and Timothy Wollaeger
Sharrie Woods
Ellen and Tim K. Zinn
Josephine M. Zolin
Nova Club members
A. Lucy Abernathy
Kathleen Almgren
Doris and Eliot Alport
Margery Abinanti
Sharon R. Ackroyd
Lynn C. Anderson
Alyce and Michael Archuleta
Wanda Arsulich
Huguette Ashley
Karen Ballew
Arthur E. Banta
Carol Bartfeld
Stella Bartholomew
Laura Berend
Richard Bensfield
Alan Bentley
Silvia and Jean Berchtold
Doris and William Bingham
Suzanne Boehm
Mary Ann and Lee Bowman
Rebecca Bradbury
Geraldine Brech
Norma and Martin Brickson
Mary and Gerry Brummit
Josie Burdick
Nancy Bye
Hannelore and Albert Byers
Joy and Robert Callicott
Joyce Calvin
Mary Cates
Martha Ceriani
Joann Clark
Janice and Alvin Clavin
Martha Clemens
Patricia S. Collie
Joanne Corder
48

48
Our Support
John Campbell and John McHugh Linda and Glen Freiburg
Jane and Steven Coutts
Patricia Crowley
Mimi and Donald Curtin
Judy Daniels
Janet Lee Davis
Sally and Stanley Davis
Diane and Anthony Desiderio
Ellen Deweese
Marybeth and Larry Dirksen
Ruth Disraeli
Claree and Howard Doty
Elizabeth Dowding
Robert Dwyer
Zofia Dziewanowska
Anne Marie Ebeling
Catherine and James Eckles
Gloria Ellis
Yolanda and Richard Emery
Sara Fassihi
Susan Dersnah Fee
Mrs. Daryl Ferguson
Virginia and William Ferguson
Norma and Richard Ferrara
Betty Foss
Frances and Nicholas Frost
Isabelle Friedlieb
Shari and Peter Gantzel
Mindy and Stuart Gold
Nancy Gonzalez-Manero
Randall A. Grabowski
Kathy Greenberg
Helga Halsey
Stuart Brown and Barbara Hammitt
Nancy and Danford Hand
Janet and Phillip Harris
Jean Harris
Martha Hart
Barbara and Joseph A. Hartman
Pamela Hartwell
Eila and William Haubrich
Anne Haugh
Angela and John Hecht
Lois and Lars Hellberg
Susan Heller
Sheila Herron
Kaye Hobson
Anne Holst
Robin and Jack Holzman
Judith Howarter
Fredrick Howden
Susan Hutchin
Ethel and J. Richard Iverson
Valentina Jones-Wagner
Natasha Josefowitz
Harriet Kaplan
Leah Karp
Joan J. Keetch
Jennifer and Mark Kelley
Jean Kokinof
Katie Klumpp
Susan Koshkarian
Judith D. Langhoff
Ani Lanuza
Bruce Laru
David A. Latham
Christine Leidhoff
Eric Lekven
Jean and Claude Letien
Mary Jo LeTourneau
Ina Liddell
Martha Livingston and Richard Six
Estelle and Hamilton M. Loeb Jr.
Frances and Allan Lolly
Mary and Michael Lorch
Jo and Sy Lotsoff
Margaret and Douglas Magde
The Frances Hunter Music Memory Program
gives the kids an opportunity to experience
a world of beauty, a reason to be happy…
and to be curious. I can’t think of anything
more important. We are so grateful to Frances
Hunter and Hunter Industries for bringing this
program to life.” Maestro Pak
J. Rodgers Magee
Ruth,Trudy and Bob Mangrum
Bobbie and Tony Marciante
Patricia Martell
Katherine Martinez
Patricia Maxwell
Sandra and Peter McCreight
Linda McDougall
Vernie and John McGowan
Barton McKay
Joanne O. McKee
Sharon McKenzie
Jacqui McNally
Anne Meek
Louise A. Merryman
Susanne and Douglas Metz
Sandra Miner
Mickey Mitchell
Barbara and Donald Mitchell
Sylvia Naliboff
Gene Nathan
Elizabeth Nolan
Sally Noorany for Noorany
Geotechnical Consulting
Karin Norberg
Lisa Oberndorfer
Elizabeth and Michael Oldstone
Ellen O’Neal
Marcia and Kenneth O’Neal
Thomas O’Neill
Darlene Palmer
Patricia Pastore
Jean and Patrick Payne
Anne Petersen
Victoria Phillips
Kathy Pickard
Rosemary Bognar and Richard
Pinney
Steven Poceta
Colette Rabuel
Janice and Joseph Rashid
Irma and Jack Redfern
Doug Richman
Susan Rick
Marty and Russ Ries
Patricia Rinaker
Albert R. Rodriguez
Lynda Romero
David Roseman
Rhoda Rosenfeld
Carolyn Runyan
Mary and John R. Russell
Susan and Lloyd Russell
Marion Schmidt
Addie Schofield
Elizabeth Sevison
Estelle Shabetai
Peter Shearer
Barbara Shelton
Gloria and Joseph Shurman
Dr. Cathleen Silliman
Janet Simpson
David Smith
Olga Snow
Donald Snowden
Dee Anne Snyder
Cheryl Spicer
Dianne Staines
Carol and John Stark
Dori and Craig Starkey
Marjorie Stevens
Marilyn Stewart
Susan Stillings
Robert J. Stinner
Elizabeth Struve
Janette R. Sturckow
Donna Swennes
Carrol Dymott and Wayne Thomas
Martha and Lawrence Thum
William Tong
Barbara Tuthill
Nancy L. Tyler
Anthony and Ilona Vail
Luisa Vargas
Cynthia Waage
Margo Washburn
Alice Weed
Peggy and Colin Williams
Barbara Willson
Andrew Wright
Sherry Yardley
Hao Ye
Trude and Hermann Zillgens
Ingrid and Robert Zimmerman
We value your commitment to
Orchestra Nova and have diligently
tried to include the names of all
Nova Club members as of August
13, 2009. However, if we have
inadvertently omitted a name,
please contact us so we can make
the correction. We do care!
Corporate Matching Funds: If
your company supports you by
supporting your choice of nonprofit
organizations with matching
funds, we encourage you to take
advantage of that wonderful
program. Our orchestra has greatly
benefited from this source of
support and you, too, can reap the
benefits of increased donations!
Our Corporate sponsors &
Foundation & Government supporters
We are proud to include these businesses and individuals among our supporters and hope you will join us in
applauding their partnership with Orchestra Nova.
$40,000 and above
SPONSORS AND SUPPORTERS
$20,000 and above
Clarence E. Heller Charitable
Foundation
$100,000 and above
The James Irvine Foundation
$5,000 and above
The James Irvine Foundation
Nonprofit Management
Solutions
William Hall and Ruth Rathell
Tippett Foundation
Mandell Weiss Charitable Trust
MAJOR GOVERNMENT SUPPORT
San Diego Commission for Arts and Culture
Major funding provided by the
City of San Diego Commission for Arts and Culture
San Diego County Community Enhancement Program
Pam Slater-Price
Ron Roberts
San Diego County Community Projects Grants Program
Pam Slater-Price
Pam Slater-Price Ron Roberts
Orchestra Nova’s official
host hotel partner
$2,000 and above
Charles & Ruth Billingsley
Foundation
Samuel I. and John Henry Fox
Foundation
Ann and Gordon Getty
Foundation
Qualcomm
Rancho Santa Fe Foundation
49

50
Our Support
Judy Moore’s mother instilled a work
ethic and a giving philosophy into
her daughter that has influenced
her character and the course of her life.
“When you can,” her mother said, “give to
somebody else, and when they ask to pay
you back, say ‘no’ and ‘pass it on.’” Judy has
not only honored her mother’s advice with
a $100,000 planned gift to Orchestra Nova,
she also donates approximately 20 hours
each week to the organization, providing
administrative help and keeping the office
organized and operating smoothly.
Judy Moore
Planned Giving for the
Next Generation
Russell and Melanie Chapman
enjoy supporting the
organizations that bring them
pleasure performance after performance.
According to the Chapmans, “Our
available funds for annual donations
are limited, but our estate will provide
adequately for our sons and their
families, so there is ‘room’ to include a
provision for Orchestra Nova. Of course,
we would be happy to be able to make
larger gifts right now, but at least we
can make a significant investment in the
long-term well-being of Orchestra Nova,
ensuring the pleasure and enjoyment
of future generations of listeners.” The
Chapmans have generously provided a
$10,000 planned gift to Orchestra Nova.
JOIN THE LEGACY CIRCLE
Planned Giving enables individuals to
make gifts to Orchestra Nova through wills,
estates, bequests, trusts and other estateplanning
vehicles — and to receive a tax
advantage. Because Planned Giving is also
a major source of endowment funding to
support the orchestra’s mission, it represents
a mutually beneficial relationship between
both giver and receiver.
Whether you use cash or other assets,
whether you choose to provide an outright
bequest, a trust, charitable gift annuity or
one of many other financial planning tools,
your gift can provide valuable tax benefits
and/or income for life. With the help of a
qualified financial advisor, anyone can craft
a planned gift to meet his or her charitable
and financial goals.
Melanie and Russell Chapman
How Planned Gifts can work for you:
reduced tax cost
Orchestra Nova, helping to ensure its
long-term financial stability
For more information about bequests,
charitable gift annuities and other
vehicles for participating in the Planned
Giving program, please contact Tyler
Richards Hewes, executive director, at
858-350-0290, ext. 5.
Become a member of the Legacy Circle
and help secure Orchestra Nova’s future.
Note: Always consult with a tax attorney and/or
tax advisor for legal and tax advice to ascertain the
best financial or estate planning strategy for you.
Judith Anderson, director of development, Orchestra Nova; professor of theatre,
veteran arts administrator
General Information
Silence is golden
Please turn off all cell phones, pagers
and electronic watches prior to and
throughout the performance. We also
ask that there be no e-mailing or texting
during the performance.
Cameras and recording equipment
Our agreement with the American
Federation of Musicians prohibits
unauthorized recording devices (including
cell phones and digital cameras) and
photography during the performance.
Late arrivals and early exits
Performances at St. Paul’s Cathedral and
Sherwood Auditorium begin promptly
at 7:30 p.m. and performances at the
Irwin M. Jacobs Qualcomm Hall begin at
8:00 p.m. Latecomers will be seated at an
appropriate interval. We regret that no
refunds or price adjustments can be made
for late arrivals. Guests who must leave
before the end of the performance are
requested to do so between completed
works and not during the performance.
Access for persons with disabilities
Wheelchair access, seating, and curbside
service are available. Please make
arrangements with our customer relations
manager at 858-350-0290, ext. 7, so that
we may assist you.
Concert Venues
Downtown San Diego
St. Paul’s Cathedral
2728 Sixth Ave., San Diego
Parking: street parking
Administrative Office 11772 Sorrento Valley Rd.
Suite 212
San Diego, CA 92121
Refunds and ticket exchanges
We regret that no refunds can be made
on season tickets or individual ticket sales.
However, we understand that plans change
so we offer ticket holders the opportunity to
exchange their tickets in advance for a ticket
of the same value for an alternate date of the
performance (single ticket exchanges are
based on availability). Call Orchestra Nova at
858-350-0290 to make arrangements.
Tax deductions for unused tickets
We also offer ticket holders the option of
donating unused tickets for a tax-deductible
donation of the face value of the ticket(s).
Please contact our office and we will send
you a receipt for a tax-deductible donation.
Lost tickets
If you have lost or misplaced your tickets,
please call Orchestra Nova and we will be
happy to arrange for a new set of tickets to
be mailed to you or left at the box office
the night of the concert.
Web site
For more information about our
concerts or about Orchestra Nova, visit
orchestranova.org. Get to know the
musicians, learn about the education
programs, watch videos or order tickets for
your friends and colleagues. We invite you
to stay connected to us through our iNova
Connection options.
Sorrento Valley
Irwin M. Jacobs Qualcomm Hall
5775 Morehouse Drive, Sorrento Valley
Parking: adjacent parking garage (free)
858-350-0290
858-350-0297 (fax)
orchestranova.org
Free eNotes subscriptions
Keep up with Orchestra Nova news by
subscribing to our eNotes newsletter.
There is no cost to join and signing up is
easy — simply click on the eNotes icon on
the homepage and provide us with your
e-mail address.
Flexible offerings for busy people
We offer a variety of buying options:
(a total of six concerts)
(choose three concerts at the same
venue of your choice)
Messiah and Pops at the
Center concerts
Friends in the Nova special offer program
for you and your friends
Orchestra Nova goes green
We’re continuing to “go green” this
season. We cut our printing costs
for this magazine by half last
season. We want you to read the
magazine so we encourage you to
take it home — we just ask that you bring
it back for the next concert. Jung-Ho
will continue the tradition of signing
your program at the last concert of
the season.
La Jolla
Sherwood Auditorium
Museum of Contemporary Art San Diego
700 Prospect St., La Jolla
Parking: street parking
51

What a deal for you and your friends.
You get to be the VIP with a free ticket and
your Friends in the Nova get discounted tickets.
— that’s all you have to do; we’ll even develop the
e-mail for you
Red carpet treatment
for your organization –
to the most exciting classical music
experience in San Diego!
We’ll help you make
social networking fun!
groups of 10 or more
preconcert reception so
your group can mingle
members buy them directly
from Orchestra Nova
signage for your group at the concert
For information, e-mail erin.oleno@orchestranova.org
or call 858-350-0290.
NEW! Friends in the Nova
FREE ticket for you. Discounts for your friends.
You only need five or more friends to join you!
Attention Nova Club members! Friends in the Nova is
for you too — you’ll get an extra free ticket for another
friend (after at least five of them have signed up).
For more information, e-mail
erin.oleno@orchestranova.org
or call 858-350-0290.
Bishop’s
Shaping the Future
Since 1909 The Bishop’s School has helped young
people excel in academics, arts and athletics.
As the School begins its second century, its mission remains
unchanged – to make a difference in the lives of young people.
Founded in 1909, The Bishop’s School is an independent,
coeducational, college preparatory school affiliated with the
Episcopal Church located in La Jolla for students in grades 6–12.
Testing & Application Deadlines (858) 459-4021, Ext. 244
www.bishops.com
Residential
Commercial
Fine Accessories
760-434-8722
denisekolde@
yahoo.com
For information on our products & services
please visit us in person or online
7069 Consolidated Way, Suite 300
San Diego, CA 92121
Tel: 858.496.9700
WWW.CLASSICPARTYRENTALS.COM
Denise Kolde Interior Design
www.denisekolde.com
Let us
the sights and sounds
of
in the 21st century.

Hand-crafted
Sculpture
Furniture
Jewelry
Lighting
Blown Glass
Gifts & More
Executive Chef
John Beriker
From custom-made furniture
to decorative items & unique jewelry,
Trios Gallery has the perfect one-of-a-kind
artistic piece for you.
404 North Cedros Avenue
www.triosgallery.com
The Inn at
Rancho Santa Fe
Come enjoy our exquisite menu
at our restaurant “Innfusion”
Featuring the finest and freshest local ingredients
serving Rancho Cuisine along with “East Meets
West” an Asian flair cuisine which is based on
superb pairings of basic flavors from Western and
Eastern traditions presented by award winning
Executive Chef John Beriker
Also, every Thursday and Friday come and join
us for Happy Hour in our Main Bar and living room
serving complimentary hors d’oeuvres.
For reservations,
please call
858-756-1131
www.theinnatrsf.com
Voted
Best Gallery
2009
Celebrating our 10th anniversary!
JOIN US FOR THE 2009-2010 SEASON
Community
Concerts
ofRanchoSantaFe
FREE ADMISSION
to school age children
accompanied by an adult!
TICKETS Adults - $60
SEASON MEMBERSHIP
(Four Concerts)
Adults - $175
SUBSCRIBE TODAY!
For information, call 858/756-4000
www.communityconcertsofranchosantafe.com
PLEASE MAKE CHECKS PAYABLE TO & MAIL TO:
Community Concerts of Rancho Santa Fe
P.O. Box 2781 · Rancho Santa Fe, CA 92067
Friday · OCTOBER 9, 2009 ·7p.m.
PIANISTS
DAVIDE CABASSI &
TATIANA LARINOVA
At the Fellowship Hall ·TheVillage Church
6225 Paseo Delicias · Rancho Santa Fe
Wednesday · JANUARY 27, 2010 ·7p.m.
AMERICA’S BELOVED TENOR
DANIEL RODRIGUEZ
At the Fellowship Hall ·TheVillage Church
6225 Paseo Delicias · Rancho Santa Fe
Wednesday · MARCH 10, 2010 ·7p.m.
THE CANADIAN
TENORS
At the Fellowship Hall ·TheVillage Church
6225 Paseo Delicias · Rancho Santa Fe
Wednesday · MAY 5, 2010 ·7p.m.
THE HUNT FAMILY
FIDDLERS
At the Fellowship Hall ·TheVillage Church
6225 Paseo Delicias · Rancho Santa Fe

100 steps to the
village of La Jolla.
100 steps to the beach.
One step to the
perfect retirement.
Welcome to The White Sands
of La Jolla, California’s only
beachfront continuing care
retirement community.
You’re Invited to Dock & Dine:
Enjoy an intimate luncheon overlooking the Pacific in our newly
refurbished dining room with Executive Director Wendy Matalon.
For reservations, or to
schedule a personal tour,
call (888) 643-1285.
7450 Olivetas Ave.
La Jolla, CA 92037
(888) 643-1285
www.whitesandslajolla.com
DSS #372000641 COA #056
a year-round retreat from
the commonplace
With 49 unique and luxurious suites, Rancho Valencia
Resort and Spa welcomes you with fine dining, tennis,
adjacent golf, and more than 40 gorgeously landscaped
acres—and our signature Spa. Join us for a day,
or a week, of well-deserved vacation at this Southern
California icon that’s made Conde Nast’s Gold List
for three years running.
Cal State University, San Marcos CA
5921 Valencia Circle · Rancho Santa Fe, CA
858.756.1123 www.ranchovalencia.com
{ }
Number 5 of the
top 50 small hotels
Zagat Survey
Sprinkling Goodwill in the
Community is Music to Our Ears
1940 Diamond Street
San Marcos CA 92078
www.hunterindustries.com
The Irrigation Innovators

In The Right Surroundings,
Watching Paint Dry Can Be Exciting...
At Casa de Mañana, there are no “ordinary” days.
Set against the breathtaking backdrop of this
picture-perfect seaside locale, every day is
extraordinary. Keep your body fit with tai chi, ocean
walks, water aerobics and a personal trainer, or
pamper yourself with a relaxing massage. Stimulate
your mind through study of a foreign language,
enjoy one of our music programs and so much
more. Plus, you’ll have the peace of mind that
comes from knowing on-site assisted living services
are available should you ever need them. When you
combine our resort-style amenities and oceanfront
dining with the cultural and recreational delights
of La Jolla, the result is a true masterpiece!
849 COAST BOULEVARD
LA JOLLA, CA 92037
858-456-4256 | 800-959-7010
www.casademanana.org
Ask about our move-in specials for
Independent and Assisted Living.
license 374600801
The Cambridge School
Nurturing the next generation of leaders
Visit CambridgeClassical.org to
discover San Diego’s newest treasure
and to RSVP for our next open house.
“You’ll wish you could go back to school!”
CambridgeClassical.org | 858-484-3488 Educating for Life
15th Anniversary Season
Great Friends, Great Spaces, Great Music

m u s e u m o f m a k i n g
MUSIC
c a r l s b a d , c a l i f o r n i a
DISCOVER...
the story of musical
instruments and
innovations, how
they shaped and
continue to shape
the way we make
music.
EXPLORE...
vintage &
modern musical
instruments. Hear
samples of sounds
& songs spanning
over a century of
American popular
music.
CREATE...
music of your own
on a collection of
modern, hands-on
instruments in our
interactive area.
Plan a visit today!
$7 general admission; $5 students & seniors
Children age 5 and under receive free admission
Open Tuesday - Sunday, 10 AM - 5 PM
5790 Armada Drive, Carlsbad
760.438.5996 www.museumofmakingmusic.org
Beth Ross-Buckley
heartlightphotography.net
PRODUCT
ARCHITECTURAL
PORTRAIT
LIFESTYLE
Creative marketing solutions.
By design.
Creative partner for the last 4 years
in producing the Inspire magazine.
Let us inspire your company or nonpro t organization.
619-224-6004
davenportcreative.com
Our Dream:
A World of Music
for Every Child
A New Name
A New Venue
A New Era
i
the iNova Connection
The Stars of
our Orchestra
2009 2010 SEASON PROGRAM
INSPIREVOLUME 4
ORCHESTRANOVA.ORG
The Finest
Finishing Touch
The classic lines of a grand piano. The
beauty of matched woodgrains. The gleam
of ebony perfection. The thrilling versatility
of a piano that plays itself.
Available in only one place.
San Diego’s Exclusive Authorized Dealer
Miramar Road Pyramid Center
(858) 586-7000
www.greenemusic.com

A CONTINUING LIFE ® RETIREMENT COMMUNITY
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we do!
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