July 6 –12 Danny Elfma n’spastseasons.lincolncenterfestival.org/past-seasons-files/2015... ·...

Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Lincoln Center Festival 2015 is made possible in part with public funds from the New York CityDepartment of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts.

July 6–12 Avery Fisher Hall

Danny Elfman’sMusic from the Films of

Tim Burton

Lincoln Center Festival lead support is provided by American Express

Music Composed and Arranged by Danny Elfman

Films and Artwork by Tim Burton

Special Guest Performer Danny Elfman

Conductor John Mauceri

Violin Soloist Sandy Cameron

Boy Sopranos John-Dominick Mignardi, Leif Christian Pedersen

Philharmonia Orchestra of New York

Concert Chorale of New York

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

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

Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would beneither here, there, nor probably anywhere without them and their general magnificence.

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

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

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

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

—Johnny Depp


Program order and selections are subject to change.

ACT I Charlie and the Chocolate Factory Pee-wee’s Big AdventureBeetlejuiceSleepy Hollow

Boy Soprano: Leif Christian PedersenMars Attacks! Big Fish Batman/Batman Returns

Intermission

ACT II Planet of the ApesTim Burton’s Corpse BrideDark Shadows FrankenweenieEdward Scissorhands

Violin: Sandy CameronTim Burton’s The Nightmare Before Christmas

Guest Performer: Danny ElfmanAlice in Wonderland

Boy Soprano: John-Dominick Mignardi

Program


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

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

Supervising Orchestrator Steve BartekOrchestrations Steve Bartek, Edgardo Simone, David Slonaker, Jeff AtmajianAdditional Orchestrations Scott DunnMusic Production Supervisor Melisa McGregorMIDI Supervision and Choir Music Preparation Marc MannSynth Programming and Technical Supervision TJ LindgrenScore Proofreading Misha Morgovsky, Tim RodierMusic Preparation Dakota Music Services, David Hage;Reprise Music Services, Rob Skinnell

Assistant to Mr. Elfman Melissa KarabanPre-record Mix Engineer Noah SnyderChief Studio Tech Greg MaloneyTranscriptions Tim RodierMIDI Mock-ups Dan Negovan, Peter Bateman, Miles BergsmaTechnical Directors Mike Edelman, Brendon Boyd, John KinsnerAudio Consultant Paul BevanLibrarians Travis Hendra, Scott McRaeSibelius Set-up Sandra SchneidersProject Interns Alex Arntzen, Seth Kaplan, Sergei SternVideo Editing Todd Miller, Chris LebenzonConcert Producers’ Assistants Jonathan Clark, Sarah Kovacs, Sarah Davis

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

In loving memory of Richard Zanuck


Thirty Years ofElfman and BurtonDanny Elfman’s working relationship withTim Burton is one of the longest and mostsuccessful filmmaker/composer collabora-tions in the history of film—and one of themost unexpected. Elfman was drawn tothe movies his entire life, but only came tomusic as a young adult with no formaltraining. It was at 18, during a year of trav-eling in West Africa, when Elfman pickedup his first musical instrument (violin) andbegan to toy with the fantasy of a musicaldirection for his life. At 19 he teamed upwith his brother Richard, who founded theavant-garde musical cabaret troupe TheMystic Knights of the Oingo Boingo, and itwas there Elfman taught himself to writemusic by doing transcriptions of the worksof 1930s jazz bands. He also began writinghis first original compositions.

After eight years with the troupe, Elfmanstarted the idiosyncratic rock band knownsimply as Oingo Boingo. As their writerand singer he performed and recordedwith them for almost two decades.

But there was another side to DannyElfman—the kid who religiously attendedSaturday matinees, watching every type ofhorror and fantasy movie imaginable. Theyoung Danny had no interest in music—hewanted to be a scientist, or a “radiationbiologist” as he once explained. When hedid begin to notice music, it was moviemusic, and he found a particular delight inthe filmmaker/composer relationship ofstop-motion animator Ray Harryhausenand Bernard Herrmann. “If I saw thenames Harryhausen and Herrmann in thesame title sequence,” he said, “I alreadyknew the movie was going to be a hugefavorite—something really special.”

In high school Elfman began listening to theclassical composers who would laterbecome his inspiration. The Russian com-posers Stravinsky, Prokofiev, and Shos -takovich particularly got under his skin. Healso began to refine his interest in film,rediscovering Bernard Herrmann throughthe legendary composer’s other great col-laborator, Alfred Hitchcock. Elfman wasabsorbing the language of movie music.His first taste in scoring would come fromanother collaboration with his brother, whodirected the cult film Forbidden Zone in thelate ’70s—but he wouldn’t truly become afilm composer until 1985, when he got astrange call from an extraordinary younganimator he had never heard of.

Tim Burton came out of the suburbs ofBurbank and the California Institute for theArts (CalArts), and, like Elfman, he hadbeen mesmerized by Ray Harryhausen’sstop-motion fantasies as a child, as well asthe vivid black-and-crimson iconographiesof horror films. Burton had made anuncomfortable fit for the Walt DisneyCompany, toiling as a conceptual artist andanimator on movies like The Fox and theHound. But his short film Frankenweeniegrabbed the attention of executives andfilmmakers in Hollywood, including PaulReubens, the performer who created andportrayed Pee-wee Herman. Reubens andPhil Hartman had written a movie for thecharacter called Pee-wee’s Big Adventure,and after seeing Frankenweenie, Reubensquickly lobbied for Burton to direct it.

Both Burton and Reubens were familiarwith Danny Elfman through Oingo Boingoand Forbidden Zone, and when editor BillyWebber tracked a scene from the moviewith music from Bernard Herrmann’sscore to the Harryhausen movie The 7thVoyage of Sinbad, Burton loved the effect.When Elfman came in to interview for the


job, he happened to mention that verysame score as one of his life-longfavorites. Burton was sold, and Elfman,after some hesitation, decided to jump intoa completely new world, figuring he wouldeither learn to swim or drown in theattempt. He was certain of one thing—thatthe score would not be a rock score. Hewould explore an insane mashup ofBernard Herrmann and Nino Rota (who didFederico Fellini’s scores) and in the pro-cess created an alternately joyous andmanic sound that fit the hyper-enthusiasticPee-wee character like a glove.

Elfman’s score to Pee-wee’s Big Adventurewas a revelation, and an instantly indeliblemusical personality had invaded film. AndElfman was also now hooked on a newaddiction…film scoring. He immediatelybegan getting offers to score other films,but it was already clear he had a specialworking relationship with Burton. Their nextcollaboration was another comedy, but oneout of left field—the “ghost exterminator”story Beetlejuice, a movie that allowedBurton to express his own personality morethan he had on Pee-wee’s Big Adventure.Elfman’s frantic opening music demon-strated his love for the “danse macabre”—the ability to have a fiendishly good time.

Elfman and Burton would both have toprove themselves on their next project:Batman. Shot well before the currentvogue of costumed superheroes, Burton’stake on the Caped Crusader created ashadowy world halfway between a filmnoir and an animated graphic novel. Thefilm required a major symphonic score,which he knew would be an enormouschallenge. Elfman’s score was a sensa-tion—as quirky and unpredictable as hisearlier comic works, yet so muscular andviolently stark that it instantly helpeddefine the comic book genre.

Amazingly, Elfman faced doubts again onhis fourth collaboration with Burton,Edward Scissorhands. With three suc-cesses under his belt, Burton could affordto make a film that was truly his, andEdward was nakedly autobiographical,depicting an inarticulate, artistic characteradrift in a hostile world that looked suspi-ciously like the suburbs of Burbank. Therewere no questions about whether Elfmancould score this kind of a movie, becauseno one knew what kind of a movie EdwardScissorhands was. But from the openingceleste notes of Elfman’s score, it wasclear he had found Edward’s soul. EdwardScissorhands became a film music genrejust as much as Burton’s film defined hisoutput as a director—and it’s still perhapsElfman’s most imitated and personal work.

Burton and Elfman revisited Batman withBatman Returns, expanding on the gothiclandscape both men had initiated in theirfirst effort, with Elfman providing distinctiveapproaches to Michelle Pfeiffer’s Cat -woman and Danny DeVito’s Penguin. Butfor their next project, the two men dug intotheir past love of stop-motion animation andtook advantage of Elfman’s skills as a song-writer and performer. The Nightmare BeforeChristmas turned vintage Rankin-Bass holiday specials inside out, exploring a monsters-eye-view of Christmas throughthe character of Jack Skellington, brought tolife with the singing voice of Elfman himself.The Nightmare Before Christmas was avivid, original vision and a cult smash,throwing songs like “This Is Halloween”into the cultural marketplace and againdemonstrating Elfman’s versatility.

Mars Attacks! bubbled with subversivehumor, kicked off by Elfman’s Russian-inspired main title march, which grows froman impishly comic rhythm into a full-blownsci-fi anthem complete with theremin.


Elfman and Burton explored more seriousgenre territory in their next two collabora-tions. Sleepy Hollow was Burton’s lovepoem to the British Hammer horror movieshe’d loved as a child, and Elfmanresponded with a richly atmospheric andgothic score. For Planet of the Apes,Elfman stepped into the footsteps of leg-endary composer Jerry Goldsmith, fash-ioning his own musical world of simian ruleusing the massive collection of exotic per-cussion instruments he had collected asfar back as his teenage trip to Africa.

As he had with Batman, Burton followedup Planet of the Apes with a more per-sonal project. Big Fish mixed Burtonesquefantasy with a more serious personaldrama, as a resentful son tries to come toterms with his father’s predilection for talltales—lies, as the son sees them. By thetime he scored Big Fish, Danny Elfman hadbeen completely accepted in Hollywood—in 1997 he received his first Oscar nomina-tions for both Good Will Hunting and Menin Black. For his touching Americana scoreto Big Fish, Elfman received his first Oscarnomination earned by one of his collabora-tions with Tim Burton.

For Charlie and the Chocolate Factory,Elfman again took advantage of his rockand performance background to create thesongs performed by the movie’s diminutiveOompa-Loompas (all voiced by Elfman) in apageant of pop rock styles—everythingfrom Beatlesesque to Bollywood, all along-side an evocative orchestral score to char-acterize the edible environment of WillyWonka’s sweets factory.

Burton and Elfman returned to the gothic stop-motion territory of The Nightmare Before

Christmas and Corpse Bride, with Elfmancreating songs whose inspiration rangedfrom Gilbert and Sullivan to Cab Calloway.

Burton’s adaptation of Alice in Wonderlandbecame one of the highest-grossing films inmovie history in 2010. It was a hugely chal-lenging technical exercise for the director,who shot the majority of the film on greenscreen sets so most of his cast could betransformed into computer generated ver-sions of Lewis Carroll’s classic characters.Elfman responded to the controlled chaosby writing one of his grandest scores, drivenby his stirring “Alice’s Theme.”

For their most recent collaborations, Burtonand Elfman once again turned to their estab-lished genre. Burton cast Johnny Depp, thestar of numerous Burton films, as BarnabasCollins in his tongue-in-cheek remake of theDark Shadows television series. Elfman cre-ated a lush score dominated by the iconic,sensuous flutes inspired by the eerie vibefrom the ’70s television series.

Burton mounted an animated version ofhis own Frankenweenie in 2012 (whichironically, was his first live-action film).Filmed in black-and-white, Frankenweeniesprang directly from Burton’s illustrations,and Elfman returned to his gothic, yetemotionally charged style to accompanythe story of a young boy who brings his petdog back to life.

Elfman and Burton continue their moviemusic relationship with Burton’s recent BigEyes, which marked their 16th collaborationover the past 30 prolific years.—Jeff Bond

Jeff Bond is the author of Danse Macabre:25 Years of Danny Elfman and Tim Burton.


About the ArtistsDanny Elfman (Composer) is a four-timeOscar nominee and over the past 30 yearshas established himself as one of the mostversatile and accomplished film composersin the industry. He has collaborated withsuch directors as Tim Burton, Gus Van Sant,Sam Raimi, Paul Haggis, Ang Lee, RobMarshall, Guillermo del Toro, Brian DePalma, and Peter Jackson. Beginning withhis first score on Tim Burton’s Pee-wee’s BigAdventure, Elfman has scored a broad rangeof films, including Milk (Oscar-nominated),Good Will Hunting (Oscar-nominated), BigFish (Oscar-nominated), Men in Black (Oscar-nominated), Edward Scissorhands, Wanted,Charlie and the Chocolate Factory, Mission:Impossible, Planet of the Apes, A SimplePlan, To Die For, Spider-Man (1 and 2),Batman, Dolores Claiborne, Sommersby,Chicago, Dick Tracy, The Nightmare BeforeChristmas, Alice in Wonderland, David O.Russell’s award-winning films SilverLinings Playbook and American Hustle,Sam Raimi’s Oz: The Great and Powerful,Mr. Peabody and Sherman, the Errol Morrisdocumentary The Unknown Known: TheLife and Times of Donald Rumsfeld, andTim Burton’s Big Eyes. Most recently hehas provided the music for Fifty Shades ofGrey and Marvel’s Avengers: Age of Ultron.

A native of Los Angeles, Elfman grew uploving film music. He traveled the world asa young man, absorbing its musical diver-sity. He helped found the band OingoBoingo and came to the attention of ayoung Tim Burton, who asked him to writethe score for Pee-wee’s Big Adventure.Thirty years later, the two have forged oneof the most fruitful composer/director col-laborations in film history. In addition to hisfilm work, Elfman wrote the iconic thememusic for the television series TheSimpsons and Desperate Housewives. Healso composed a ballet, Rabbit and Rogue,

choreographed by Twyla Tharp; a sym-phony, Serenada Schizophrana, forCarnegie Hall; an overture named TheOvereager Overture for the HollywoodBowl; and Iris—for Cirque du Soleil.“Having a particular style is not bad,” saysElfman, “but I prefer to push myself in thedirection of being a composer who younever know what he’s doing next.”

Tim Burton (Film Director) is widelyregarded as one of the cinema’s most imag-inative filmmakers—he has enjoyed greatsuccess in the worlds of both live-actionand animation. Most recently Burtondirected the critically acclaimed Big Eyes,and his 2012 stop-motion film Franken -weenie was nominated for an AcademyAward for Best Animated Picture.

In 2012 Burton directed Johnny Depp,Michelle Pfeiffer, Helena Bonham Carter,and Eva Green in the gothic thriller DarkShadows, which was based on the cultfavorite television show. He also producedthe fantasy horror Abraham Lincoln:Vampire Hunter which was directed byTimur Bekmambetov.

In 2010 he directed Alice in Wonderland,an epic fantasy based on the classic storyby Lewis Carroll, starring Johnny Depp,Helena Bonham Carter, Anne Hathaway,and Mia Wasikowska in the title role. Thefilm earned more than a billion dollars at thebox office, making it the second-highest-grossing release of 2010. Alice in Won -derland also received a Golden Globe nomi-nation for Best Picture—Musical or Comedy,and won two Academy Awards, for BestArt Direction and Best Costume Design.

Burton was previously honored with anAcademy Award nomination for BestAnimated Feature for the 2005 stop-motion film Corpse Bride, which hedirected and produced. He earlier received


BAFTA Award and Critics’ Choice Awardnominations for Best Director for theacclaimed fantasy drama Big Fish. Morerecently, Burton won a National Board ofReview Award and garnered Golden Globeand Critics’ Choice Award nominations forhis directing work on Sweeney Todd: TheDemon Barber of Fleet Street, which alsowon the Golden Globe for Best Film—Musical or Comedy. Depp earned an Oscarnomination for his performance in the titlerole of Burton’s 2007 film adaptation of theStephen Sondheim musical thriller, alsostarring Bonham Carter and Alan Rickman.

Burton began his film career in animation,and, in 1982, directed the stop-motion ani-mated short Vincent, narrated by VincentPrice, which was received numerous awardson the film festival circuit. He made his fea-ture film directorial debut in 1985 with thehit comedy Pee-wee’s Big Adventure.

In 1988 Burton helmed the inventive com-edy hit Beetlejuice, starring MichaelKeaton. He then reteamed with Keaton onthe action blockbusters Batman, whichbecame the top-grossing film of 1989 andalso starred Jack Nicholson as the Joker,and Batman Returns, also starring MichellePfeiffer and Danny DeVito.

In 1990 Burton directed, co-wrote, and pro-duced the romantic fantasy EdwardScissorhands. The film also marked thestart of his successful cinematic partner-ship with Johnny Depp, who delivered apoignant performance in the title role. Theirsubsequent collaborations include theBurton-directed films Ed Wood, also star-ring Martin Landau in an Oscar-winningportrayal of Bela Lugosi; Sleepy Hollow,adapted from the classic tale byWashington Irving; and the 2005 world-wide smash Charlie and the ChocolateFactory, which was based on Roald Dahl’s

beloved book and grossed more than $470million worldwide.

Burton’s additional directing credits includethe all-star sci-fi comedy Mars Attacks!,which he also produced, and the 2001remake of Planet of the Apes, whichmarked his first collaboration with producerRichard Zanuck.

Burton also conceived and produced thestop-motion animated feature The Night -mare Before Christmas, which remains anenduring holiday favorite. In addition, he hasproduced such films as Cabin Boy, BatmanForever, and the animated features Jamesand the Giant Peach and 9.

No stranger to Lincoln Center, his films TheNightmare Before Christmas and Ed Woodwere on the main slate of The Film Societyof Lincoln Center’s New York Film Festivalin 1993 and 1994, respectively.

In 2010 the filmmaker released The Art ofTim Burton, a 430-page book comprisingmore than 40 years of his personal and pro-ject artwork. In November of that year, theMuseum of Modern Art opened an exten-sive exhibit of his work, which has gone onto tour in Melbourne, Toronto, Los Angeles,Paris, Seoul, Prague, Tokyo, and Osaka.

John Mauceri (Conductor) John Mauceriwas born in New York and is a world-renowned conductor, educator, and writer.He has appeared with many of the world’sleading opera companies and symphonyorchestras, as well as on the musicalstages of Broadway and in Hollywood.

Mauceri has conducted the MetropolitanOpera, New York City Opera, CoventGarden, La Scala, Deutsche Oper Berlin,New York Philharmonic, Chicago SymphonyOrchestra, Boston Symphony Orchestra,


L’Orchestre Nationale de France, and Israeland Tokyo Philharmonic Orchestras,among others.

On Broadway he initiated and was co-producer of On Your Toes and served asmusical supervisor for Hal Prince’s produc-tion of Candide, as well as Andrew LloydWebber’s Song and Dance. He also con-ducted the orchestra for the film version of Evita.

He is the founding director of theHollywood Bowl Orchestra, which wascreated for him in 1991 by the Los AngelesPhilharmonic Association. Breaking allrecords at the Bowl, he conducted over300 concerts there for a total audience ofmore than four million people. For 15 yearshe served on the faculty of his alma mater,Yale University, and recently completedseven years as chancellor of the Universityof North Carolina School of the Arts.

Mr. Mauceri served as music director ofTurin’s Teatro Regio for three years aftercompleting seven years as music directorof the Scottish Opera. He was music direc-tor of the Washington National Opera, aswell as the Pittsburgh Opera, and was thefirst music director of the AmericanSymphony Orchestra in Carnegie Hall afterits legendary founding director, LeopoldStokowski, with whom he studied.Maestro Mauceri worked closely with com-poser and conductor Leonard Bernsteinfrom 1972 until his death in 1990, and con-ducted many of Bernstein’s premieres.

For over 30 years, he has taken a leadingrole in preserving two American art forms:the Broadway musical and Hollywood filmscores (whose intersection with composerswho fled Fascist Europe in the 1930s and40s has been the subject of much of hiswriting). He has edited and performed a

vast catalogue of restorations and first per-formances and has conducted significantpremieres of works by Verdi, Debussy,Hindemith, Ives, Gershwin, Stockhausen,Rodgers, Korngold, and Weill.

Mr. Mauceri has released over 80 audioCDs and is the recipient of numerousawards, including Grammy, Tony, Olivier,Drama Desk, Edison Klassiek, threeEmmys, two Diapasons d’Or, CannesClassique, ECHO Klassik, Billboard, andfour Deutsche Schallplatten awards. In1999 he was chosen as a Standard-bearerof the Twentieth Century by WQXR. Inaddition, CNN and CNN Internationalchose him as a Voice of the Millennium.

Sandy Cameron (Violin) is one of the moststrikingly unique artists of her generation.Since her debut at age 12 in Eindhoven, theNetherlands, she has performed exten-sively as a soloist and recitalist throughoutNorth America, Europe, and Asia. At 15 shewas a featured guest at St. Petersburg’sWhite Nights Festival, the SalzburgFestival, and Switzerland’s Verbier Festival.Since then she has appeared at theKennedy Center, London’s Royal AlbertHall, and Australia’s Adelaide Festival. Shehas appeared as a soloist with the KirovOrchestra, Seattle Symphony, San DiegoSymphony, Royal Liverpool Philharmonic,Tokyo Philharmonic, and National Sym -phony Orchestra and recently performed inCirque du Soleil’s Iris. She is a graduate ofHarvard University and New EnglandConservatory, and is a Presidential Scholar.She created her own Music Benefit Fund in2004 which provides funding for musicaleducation and activity in the schools and community of Poolesville, Maryland.Her violin was crafted by Pietro Guarnerius,c. 1735, and is on extended loan throughthe generous efforts of the StradivariSociety of Chicago.


John-Dominick Mignardi (Boy Soprano)is a student at Saint Thomas Choir Schoolfor Boys where he sings with the Choir ofMen and Boys of Saint Thomas Churchunder the direction of Dr. John Scott. Avocal student of Ms. Stephanie Tennill, healso performs with the Choir of Men andBoys of Saint Thomas Church and ConcertRoyal, appearing in annual concerts includ-ing performances of Bach’s St. MatthewPassion and Handel’s Messiah.

In 2014 he sang at Lincoln Center’s WhiteLight Festival along with the Choir of Menand Boys of Saint Thomas Church and theBerlin Philharmonic, in a staged productionof the St. Matthew Passion conducted bySimon Rattle and directed by Peter Sellars.Since age 11, John-Dominick has takenpart in the Manhattan School of Music’ssummer musicals. Prior to enrolling atSaint Thomas Choir School for Boys, he

sang with the Children’s Chorus of St.Joseph’s Church in Bronxville under thedirection of John Strybos and receivedvocal training from Thomas Jamerson atthe Music Conservatory of Westchester.

Leif Christian Pedersen (Boy Soprano) is asinger and actor. He first became inter-ested in performing after becoming a pro-fessional chorister for St. Thomas FifthAvenue in New York. As a member of theSt. Thomas Choir of Men and Boys, Leifsings five times or more weekly. In 2014he appeared in Lincoln Center’s WhiteLight Festival in Bach’s St. Matthew’sPassion (directed by Peter Sellars) and wasan acolyte in Britten’s Curlew River(directed by Netia Jones). His most recenttheater work was a leading role in Amen atThe Manhattan Repertory Theatre. Heresides in New York City.

Artist Talk: Danny Elfman’s Music from the Films of Tim BurtonThursday, July 96:00–7:00 p.m. at Lincoln Center’s Stanley H. Kaplan PenthouseTickets: $15 ($7.50 if purchased with a ticket for Danny Elfman’s Music from theFilms of Tim Burton)

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

The Stanley H. Kaplan Penthouse is located within the Rose Building at 165 West65th Street, 10th floor. To purchase tickets, or for more information about this and the many other ancillary events that are part of Lincoln Center Festival 2015, visitLincolnCenterFestival.org.


Philharmonia Orchestra of New York

FIRST VIOLINSEric Wyrick

CONCERTMASTEREllen PayneMing YangAlisa WyrickMaya ShirashiElizabeth NielsenRobin ZehAdda KridlerJoanna FarrerBrendan SpeltzMatt LehmannAlexis SykesMayumi WyrickWan Zhen Li

SECOND VIOLINSLaura Frautschi

PRINCIPALFrancine StorckYukie HandaYuko Naito-GotayAlexandra GorokhovskyAvril BrownWhitney LaGrangeGabrielle FinkRachel HandmanSophia ParkAllison MaseAlexander Sharpe

VIOLASDaniel Panner

PRINCIPALJessica TroyChristof Huebner

Elzbieta WeymanKate ZahradakDavid CreswellDavid BlinnKathleen CiechomskiCrystal GarnerAlissa SmithCarla Fabiani

CELLOSMark Shuman

PRINCIPALAlberto ParinniTed AckermanNa-Young BaekDiane BarereRobert LaRueMariko WyrickChristime Kim

DOUBLE BASSESLewis Paer

PRINCIPALGail KruvandJonathon StorckStephan SasChris JohnsonLisa Stokes

FLUTESSonora Slocum

PRINCIPALKathleen Nester

OBOESAlexander Knoll

PRINCIPALJulia DeRosa

CLARINETSLaura Flax

PRINCIPALDean LeBlancMitch Kriegler

SAXOPHONEAllen Won

BASSOONSMarc Goldberg

PRINCIPALWilliam Hestand

FRENCH HORNSStewart Rose

PRINCIPALEric ReedLawrence DiBelloDavid Byrd-MarrowColin SutliffJonathan Carroll

TRUMPETSJames De La Garza

PRINCIPALAlex HoltonJohn DentCarolyn Schoch

TROMBONESTom Hutchinson

PRINCIPALMaciej PietraszkoBrian MahanyChris OlenessPatrick Herb

TUBAMorris Kainuma

TIMPANIMay Gunji

PERCUSSIONSamuel Budish

PRINCIPALJohn OstrowskiMichael CaterisanoJared SoldiveroEric Poland

HARPNuiko Wadden

PIANOStephen Gosling

KEYBOARDDavid Broome

GUITARMichael Rood

THEREMINDarryl Kubian

David TitcombOrchestra Manager

Concert Chorale of New YorkSOPRANOSWendy BakerEileen ClarkMargery DaleyToni DolcePatti DunhamSarah GriffithPhenisher HarrisMelissa Casey JoseMargarita MartinezAdrienne PardeeErika Grace Powell*Elena Williamson*

ALTOSEsther DavidSarona FarrellMegan FriarWendy GillesErin Kemp*Judith MalafronteNedra NealTami PettyJacqueline PierceMonica Soto-GilRhesa WilliamsDebi Wong

TENORSJames BassiJohn Kawa*Matthew KregerAdam MacDonaldDrew MartinSteven RosserJoshua SimkaJohn TirannoNate WidelitzJames Archie Worley

BASSESDaniel Alexander*Dennis BlackwellClinton CurtisMischa FruzstajerConor McDonaldSteven MooreJoseph NealMark RehnstromScott WheatleyLewis White

James BassiMusic Director

Jacqueline PierceArtistic Administrator

*Chorus Soloists


About this ProductionDanny Elfman’s Music from the Films ofTim Burton is the epic result of the need tocelebrate the unique partnership that isTim Burton and Danny Elfman—one thatthat has generated 16 movies in 30 years.Celebrating the unique orchestral andchoral composition style of Elfman, punc-tuated by Burton’s original sketches andartwork, the combination seemed wellsuited for the expanding live concert hallaudience around the world. This concertwas created by the duo working in collabo-ration with producers Richard Kraft andLaura Engel of Kraft-Engel Managementand Tim Fox and Alison Ahart Williams ofColumbia Artists Management LLC (CAMI).The vision was to present a highly variedshow that balances music and visuals,orchestra and choir, large ensembles andsoloists, instrumental music and songs.Danny Elfman decided instead of just per-forming the music as originally created forthe films, he would re-conceive his musicas concert works by arranging originalorchestral suites created uniquely for thisshow. Tim Burton reached into his libraryof original art and film clips and assembledvisual collages to complement those musi-cal suites. Since the sold-out world pre-miere in October 2013 at London’s RoyalAlbert Hall, this concert has played 35 per-formances on five continents, in ten coun-tries (and counting), to over 115,000 peo-ple in attendance. For more information onDanny Elfman’s Music from the Films ofTim Burton visit cami.com.

Kraft-Engel ManagementRichard Kraft and Laura Engel are the co-owners of Kraft-Engel Management, oneof the world’s leading agencies specializingin representing film and theater com-posers, including a number of Oscar, Tony,Emmy, and Grammy winners. Kraft andEngel executive produced Danny Elfman

and Tim Burton 25th Anniversary MusicBox, which was nominated for a GrammyAward. Richard Kraft started his career rep-resenting his musical heroes includingJerry Goldsmith, Elmer Bernstein, GeorgeDelerue, John Barry, and Henry Mancini. In2011 Laura Engel was honored by Variety asone of the year’s 50 Most Impactful Womenin Showbiz. Engel was previously nominatedfor a Grammy Award for producing thelong form Oingo Boingo video: Farewell:Live From the Universal Amphitheater.

Columbia Artists Management Inc.(CAMI)Since 1930 Columbia Artists ManagementInc. (CAMI) has been an internationalleader in the management and touringactivities of performing artists and institu-tions, including: instrumental soloists,opera singers, conductors, classical musicensembles, orchestras, dance companies,popular and theatrical attractions, andmulti-media productions.

Philharmonia Orchestra of New YorkThe Philharmonia Orchestra of New York isa recently formed ensemble made up of adiverse range of musicians from the NewYork metropolitan area. The orchestramembers are drawn from diverse ensem-bles, including the New York City OperaOrchestra, New Jersey Symphony,Orchestra of St. Luke’s, Orpheus ChamberOrchestra, American Ballet TheaterOrchestra, and the American SymphonyOrchestra. Our principal members haveextensive experience performing with allthe major ensembles at Lincoln Center,including the Met Opera Orchestra, NewYork Philharmonic, and New York CityBallet Orchestra, as well as a number ofleading orchestras nationwide. The orches-tra encompasses some of the area’s mostexperienced freelance musicians com-bined with the best of young conservatory

graduates. Many members of the orches-tra recently performed concerts in Japan, acontinuation of the ensemble’s Hand in Handproject which has included concerts atLincoln Center’s Rose Hall over the lastfour years. The orchestra has also per-formed with Andrea Bocelli on his concerttours to the U.S.

Concert Chorale of New YorkThe Concert Chorale of New York is madeup of professional singers performing withvarious conductors and presenters. Theyhave appeared at Carnegie Hall, theCaramoor Festival, Brooklyn Academy ofMusic (in Philip Glass’s CIVIL warS, JohnAdams’s Nixon in China and The Death ofKlinghoffer, and in productions of the MarkMorris Dance Company), the Perform-ing Arts Center at Purchase College, and inthe Emmy nominated Salute to theAmerican Musical as seen on the LiveFrom Lincoln Center series.

The chorale has also performed with theAmerican Symphony Orchestra, ChicagoSymphony Orchestra, singer Judy Collins,and in the New York premiere of PaulMcCartney’s Ecce Cor Meum. The choraleperforms regularly with Mostly Mozart andwas recently heard in Beethoven’sSymphony No. 9 and the Mozart Requiem.The Concert Chorale of New York appearedat Lincoln Center Festival in 2006 in JulieTaymor’s Grendel.

James Bassi (Music Director, ConcertChorale of New York) is a music director,composer, and pianist. He has workedextensively with the New York Philhar -monic playing rehearsals with Alan Gilbert,Pierre Boulez, Riccardo Muti, and manydistinguished conductors. He has servedas music director for many operatic and

music-theater productions in New York and in regional venues and has appeared aspianist in concerts with sopranos DeborahVoigt, Ute Lemper, and Jessye Norman. Hiscompositions have been performed in allthe major halls in New York and his music ispublished by Oxford University Press.

The Saint Thomas Choir of Men and BoysThe Saint Thomas Choir of Men and Boys isconsidered by many to be the leadingensemble in the Anglican choral tradition inthe United States. Directed since 2004 byJohn Scott, formerly organist and directorof music at St. Paul’s Cathedral in London,the choir performs regularly with the periodinstrument ensemble, Concert Royal, orwith the Orchestra of St. Luke’s as part ofits own concert series. Its raison d’être,however, is to provide music for five choralservices each week. Live webcasts of allchoral services and further informationincluding recordings of the choir may befound at SaintThomasChurch.org.

Saint Thomas Choir SchoolFounded in 1919, Saint Thomas ChoirSchool is the only church-related boardingchoir school in the U.S., and one of only afew choir schools remaining in the world.The Choir School offers a challenging pre-preparatory curriculum, interscholasticsports, and musical training for boys ingrades three through eight. The ChoirSchool is committed to training and edu-cating talented musicians without regard toreligious, economic, or social background.Choristers are sought from all regions ofthe country. Details of admissions proce-dures and audition requirements are avail-able at ChoirSchool.org.

Director John ScottAssistant Director Benjamin Sheen


Danny Elfman’s Music from the Films ofTim Burton Acknowledgements

Assets from Alice in Wonderland, Franken -weenie, and The Nightmare Before Christ -mas courtesy of Disney Enterprises, Inc.

Footage and Stills from Planet of the Apes(2001) and Edward Scissorhands courtesyof Twentieth Century Fox, all rights reserved

Sleepy Hollow courtesy of ParamountPictures

Big Fish courtesy of Columbia PicturesCorpse Bride, Pee-wee’s Big Adventure,Batman, Batman Returns, Mars Attacks!,Charlie and the Chocolate Factory, DarkShadows, and Beetlejuice courtesy ofWarner Brothers

Music provided for: Alice in Wonderland,Frankenweenie, and The NightmareBefore Christmas courtesy of WonderlandMusic Company, Inc. and Buena VistaMusic Company

Edward Scissorhands and Planet of the Apescourtesy of JoAnn Kane Music Service

Sleepy Hollow and Big Fish courtesy ofMandalay Entertainment Group andSony/ATV Music Publishing LLC

Licensing of copyrighted material forCorpse Bride, Pee-wee’s Big Adventure,Batman, Batman Returns, Mars Attacks!,Charlie and the Chocolate Factory, DarkShadows, and Beetlejuice provided byAlfred Music on behalf of Warner Bros.Entertainment

Lincoln Center FestivalNow in its 20th season, Lincoln CenterFestival has received worldwide attention forpresenting some of the broadest and mostoriginal performing arts programs in LincolnCenter’s history. The Festival has presentedover 1,300 performances of opera, music,dance, theater, and interdisciplinary forms

by internationally acclaimed artists frommore than 50 countries. To date, theFestival has commissioned more than 42new works and offered some 142 world,U.S., and New York premieres. It placesparticular emphasis on showcasing con-temporary artistic viewpoints and multidis-ciplinary works that challenge the bound-aries of traditional performance.

Lincoln Center for the Performing ArtsLincoln Center for the Performing Arts(LCPA) serves three primary roles: presenterof artistic programming, national leader inarts and education and community relations,and manager of the Lincoln Center campus.A presenter of more than 3,000 free andticketed events, performances, tours, andeducational activities annually, LCPA offers15 series, festivals, and programs includingAmerican Songbook, Avery Fisher ArtistProgram, Great Performers, Lincoln CenterBooks, Lincoln Center Festival, LincolnCenter Out of Doors, Lincoln Center VeraList Art Project, Midsummer Night Swing,Martin E. Segal Awards, Meet the Artist,Mostly Mozart Festival, and the White LightFestival, as well as the Emmy Award-win-ning Live From Lincoln Center, which airsnationally on PBS. As manager of theLincoln Center campus, LCPA provides sup-port and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

Acknowledgements Lighting Equipment PRG LightingVideo Equipment World StageLine array speakers, amplifiers, and on-sitetechnical supervision graciously providedby RCF-USA.


Looking At Festival

L incoln Center Festival isn’t only about the nearly 60 exciting

performances by companies from around the world, it also offers opportunities for audiences and families to peek behind the curtain with a variety of ancillary events—artist talks, lectures, a symposium, and special programs for children.

Care to learn more about the stunning puppetry in Rezo Gabriadze’s Ramona? In conjunction with the performances of the show, LC Kids offers a hands-on puppet-building workshop led by award-winning puppeteer Erin Orr. If Delusion of the Fury doesn’t completely satisfy your cravings for the daring and original music of maverick composer Harry Partch, then come to New York City Center to experience a hybrid lecture-performance of his personal journal, Bitter Music, by

vocalist David Moss. Or at the Druid Theatre Company symposium, ask one of the creative geniuses behind DruidShakespeare: The History Plays that nagging question about The Bard you’ve always wanted to pose. And most importantly, help create the next generation of great musicians! Introduce aspiring young virtuosos to instruments in the symphonic orchestra, and help them discover their inner musician, when Cleveland Orchestra members, horn player Hans Clebsch and keyboardist Joela Jones, lead Fantastic French Horn. Who knows? It could be your young one’s first step toward taking the stage at Avery Fisher Hall one day!

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Harry Partch’s Delusion of the Fury

For more information, and complete schedule of Lincoln Center Festival and corresponding ancillary events, visit LincolnCenterFestival.org.

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