Wells Fargo Presents HADLEIGH ADAMS SINGS MAHLER

CLARK SUPRYNOWICZ FRIDAY, OCTOBER 14, 2016, 8 PM Red States, Blue States PARAMOUNT THEATRE, OAKLAND PAUL JUON Episodes Concertantes in D minor, op. 45 I. Allegro moderato II. Lento III. Allegro non troppo with Delphi Trio

INTERMISSION

GUSTAV MAHLER Rückert Lieder I. Ich atmet’ einen linden Duft (I breathed a gentle fragrance) II. Blicke mir nicht in die Lieder! (Do not look at my songs!) HADLEIGH ADAMS, III. Liebst du um Schönheit baritone (If you love for beauty) IV. Um Mitternacht (At midnight) V. Ich bin der Welt abhanden gekommen (I am lost to the world) with Hadleigh Adams, baritone

EDWARD ELGAR In the South Overture, op. 50

Season Media Sponsors: East Bay Express, KDFC The 2016/17 season of Oakland Symphony is generously funded in part by the East Bay Community Foundation; Clarence E. Heller Charitable Foundation; Women’s Philharmonic Advocacy; William and Flora Hewlett Foundation; the California Arts Council, a state agency; the National Endowment for the Arts, a federal agency; and the Oakland City Council and the City of Oakland’s Cultural Funding Program. MICHAEL MORGAN, music director and conductor

2 OAKLAND SYMPHONY OAKLAND SYMPHONY 3 OAKLAND SYMPHONY ORCHESTRA GUEST ARTISTS

Michael Morgan, Music Director & Conductor Bryan Nies, Assistant Conductor VIOLIN I CELLO ENGLISH HORN BASS TROMBONE Terrie Baune, Daniel Reiter, Robin May Ryan Black Concertmaster Principal Tom Nugent Vivian Warkentin, Joseph Hébert TUBA Asst. Concertmaster Michael Graham CLARINET Scott Choate, Natasha Makhijani Jeff Parish William Kalinkos, Principal Assoc. Concertmaster Paul Rhodes Principal Patrice May Julie Feldman Diane Maltester HARP Carla Picchi Beth Snellings Meredith Clark, Ellen Gronningen Dina Weinshelbaum BASS CLARINET (Elgar, Suprynowicz) Deborah Spangler Ginger Kroft Elisabeth Zossender, Emma Noel Votapek BASS (Mahler) Brian Lee Patrick McCarthy, BASSOON Katherine Button Principal Rufus Oliver Jr. PIANO George Hayes Carl Stanley, Karla Ekholm Hadley McCarroll, Julia Birnbaum Asst. Principal Principal Andy Butler CONTRA BASSOON VIOLIN II Bruce Moyer Patrick Johnson-Whitty TIMPANI David Cheng, Pat Klobas Tyler Mack, Principal Stephanie Payne HORN Principal DELPHI TRIO HADLEIGH ADAMS, BARITONE Sharon Calonico, Meredith Brown, raised for “spot-on ensemble playing and a an Francisco-based baritone Hadleigh Adams was Asst. Principal FLUTE Principal PERCUSSION Pbeautifully blended sound” (San Francisco Classical Sborn in Wellington, New Zealand. He began his Baker Peeples Alice Lenaghan, Alicia Telford Ward Spangler, Voice) and “rich, committed string tone, dazzling artistic training at the University of Auckland, earning Adrienne Duckworth Principal Alex Camphouse Principal pianism, rhythmic flexibility, and risky tempi” a Bachelor of Music degree with first class honors, Sergi Goldman-Hull Leslie Chin Ross Gershenson Allen Biggs (Sarasota Herald Tribune), the Delphi Trio has and then received a scholarship to The Opera Studio, Cecilia Huang Amy Likar become a powerfully eloquent voice in the world of Melbourne. He was awarded a further full scholarship Robert Donehew TRUMPET PERSONNEL MANAGER chamber music. to the Guildhall School of Music and Drama in Josepha Fath PICCOLO William Harvey, Craig McAmis 2009, and gained his Masters of Music degree with 2015-2016 highlights include performances at the distinction in 2010. He went on to study in the Heghine Boloyan Amy Likar Principal Orlando Festival in Kerkrade, the Netherlands, tours Hande Erdem Leonard Ott LIBRARIAN Conservatory’s opera program. It was during this time throughout California, Vermont, the Midwest, and a that he was invited to perform at London’s Royal OBOE Graham Taylor Paul Rhodes forthcoming commissioned work by William Bolcom, National Theatre. He was then accepted to the 2012 VIOLA Andrea Plesnarski, written for Delphi. Each member of the Delphi Trio Merola Opera Program. He is a former Adler Fellow Tiantian Lan, Principal TROMBONE RECORDING ENGINEER maintains a busy schedule of solo, concerto, and with the San Francisco Opera and has performed in Principal Robin May Bruce Chrisp, Tom Johnson, Johnson chamber music performances, having collaborated over 75 mainstage performances with the company. Margaret Titchener, Denis Harper Principal Digital with artists such as Robert Mann, Anthony Marwood, Asst.Principal Craig McAmis and Menahem Pressler. Mr. Adams enjoys a varied career of stage and concert Betsy London OBOE D’AMOUR Passionate educators, the Delphi Trio is on faculty at work. In the last two years, he has performed with the Stephanie Railsback Andrea Plesnarski the Crowden School’s Summer Chamber Music Los Angeles Philharmonic, London’s Philharmonia Katy Juneau programs, where the Trio coaches and mentors Orchestra, the San Francisco Opera, San Francisco Linda Green musicians of all ages. Liana Bérubé, Michelle Kwon, Symphony Chorus, London’s Royal National Theatre, Evan Buttemer and Jeffrey LaDeur are graduates of the University Cincinnati Opera, Pittsburgh Opera, Opera Orlando, Clio Tilton of Toronto, Stanford University, and the Eastman Townsend Opera, Pinchgut Opera - Sydney, and in School of Music, respectively, and formed the Trio 2015 made his New York operatic debut to critical while studying in the prestigious Chamber Music acclaim from the New York Times. Program at the San Francisco Conservatory of Music. This is Mr. Adams’ second performance with the The ensemble is founded on a passion for engaged Oakland Symphony, having performed in the communication and, towards that end, each Delphi Orchestra’s 2015 presentation of Candide. Hadleigh’s Trio rehearsal starts with a shared meal, conversation, last performance in Oakland was in West Edge Opera’s and music. production of Powder Her Face at the 16th Street Station. He is thrilled to once again be singing on this Ensemble members Liana Bérubé and Michelle Kwon side of the bridge. are Oakland Symphony orchestra members. Jeffrey LaDeur is regularly called upon for piano parts. Upcoming engagements include J.S. Bach’s St. Matthew Passion with the Colorado Symphony, Paul in Philip Glass’ Les Enfants Terrible, and Steward in Jonathan Dove’s Flight, both with Opera Parallele, and many other exciting things he can’t talk about yet. www.hadleighadams.com

4 OAKLAND SYMPHONY OAKLAND SYMPHONY 5 PRECONCERT LOBBY PERFORMERS COMPOSER

Jane Hirshfield; and Machine, with writer/director Mark Streshinsky, which premiered at the Crucible in Oakland, January 2012.

Clark has written extensively for the stage. Of his opera Chrysalis, written with librettist John O’Keefe, the San Francisco Classical Voice wrote: “Chrysalis is an important event, signaling the arrival of a new, fresh, authentic voice.” Joshua Kosman opined, in his San Francisco Chronicle review, “When Suprynowicz goes all out with lyrical, melodic writing, the effect is ravishing” (Mr. Suprynowicz reports he had a T-Shirt made shortly after this review appeared, which reads “Suprynowicz -- the effect is ravishing!”)

Other recent events include a performance of Clark’s Elegance and Superstition at the Hell Hot Festival in Hong Kong, in a program with works by the Hear Here Composers Collective at the 2016 California Music Educators Association THE DOUGHERTY VALLEY HIGH Bay Section Conference, the 2016 California All- and composer Tan Dun. Clark spent many years in State Music Educators Conference, the San Francisco the trenches as a jazz musician before decamping SCHOOL CHAMBER ORCHESTRA State University Orchestra Festival, and the 2016 CLARK SUPRYNOWICZ to compose full-time. He has worked as a bassist with John Zorn, Bill Frisell, Max Roach, and with he Dougherty Valley High School Chamber Sounds of Summer International Music Festival at lark Suprynowicz is a San Francisco Bay Area Orchestra, under the direction of Patricia Drury, is Carnegie Hall. Many DVHS Chamber Orchestra Tom Waits. His teachers include Dave Holland, T Ccomposer. Following residencies with the Berkeley Gary Peacock, Elinor Armer, David Conte, and Ken part of a large, thriving music department at Dougherty musicians are members of the Oakland Symphony Symphony and with the Berkeley Opera, Clark has Valley High School (San Ramon Valley Unified Youth Orchestra, and Ms. Drury and the Chamber Durling. The composer would like to thank Maestro had three large works premiered post 9/11: the opera School District). In addition to having the honor of Orchestra enjoy and are inspired by visits to the high Michael Morgan, the Oakland Symphony Board, and presenting a concert in the Paramount Theatre lobby, school by Maestro Michael Morgan. Caliban Dreams (with librettist Amanda Moody, the esteemed musicians of the Oakland Symphony the DVHS Chamber Orchestra was invited to perform featuring John Duykers and Laura Bohn) in a Berkeley for this opportunity to realize this music with care, Opera production; Tectonic, a commission from the rehearsal, and at full power. Mill Valley Philharmonic, featuring readings by poet

6 OAKLAND SYMPHONY OAKLAND SYMPHONY 7 PROGRAM NOTES PROGRAM NOTES

SUPRYNOWICZ JUON MAHLER ELGAR Red States, Blue States last pages of the score, the animated figure in Episodes Concertantes, was composed in 1910 The general idea of the work came from Tennyson’s the strings returns. The horns move to the and first played in Leipzig on March 27, 1919. The Daisy: CLARK SUPRYNOWICZ foreground, excoriating us and calling us to Arthur Nikisch conducted the Gewandhaus “What hours were thine and mine, action. The whole business is over sooner than Orchestra, with Franz Wagner, piano; Fritz In lands of palm and southern pine; ed States, Blue States got its first reading you might think. A lot seems to have happened Schneider, violin; and Hans Bottermund, cello. In lands of palm, of orange blossom, Rthrough the “Under Construction” series, in a short time, and one feels something Of olive, aloe, and maize and vine.” wherein Berkeley Symphony hosts a small important has been indicated, even if we can’t Rückert Lieder collection of composers to write new music for say with certainty what it is, what has changed, Elgar’s score also quotes from Byron’s orchestra. That was in 2008, and the reading or why we got so excited there for a while. GUSTAV MAHLER Childe Harold: at St. John’s Church that I was part of coincided “...a land with Joana Carneiro’s guest appearance as - Note by Clark Suprynowicz riedrich Rückert (1788-1866) was an editor Which was the mightiest in its old command conductor, auditioning for her role of music Fand professor of Oriental languages, who And is the loveliest... director, a job which she secured and still holds. Episodes Concertantes wrote poetry imitating Asian and Middle Wherein were cast... Leadership of another kind was in the works. Eastern styles as well as German lyric poems. ...the men of Rome! 2008 was a presidential election year, as is 2016. in D minor, op. 45 Mahler set many of his poems to music, Thou art the garden of the world.” I was given the assignment of writing something PAUL JUON including a set that has come to be called the that was - however tangentially - related to the Rückert Lieder. Mahler made these five settings Elgar said the middle section of the work came theme of “Democracy In America.” And so, Red orn in Moscow to Swiss parents, Juon entered during the summers of 1901 and 1902. Not from viewing ancient Roman ruins, “the States, Blue States. There is a musical opportunity Bthe Moscow Conservatory, where his teachers technically a song cycle as they are independent relentless and domineering onward force of the provided in depicting a binary. The binary has included and . works, they were published together and are ancient day…the strife and wars, the ‘drums a lot to say and a lot to answer for. In life, in He attended the Hochschule für Musik in . most often performed together. The first four and tramplings’ of a later time.” Again he music - and in the political system we enjoy - He worked for ten years as professor of theory songs were premiered in Vienna, with Mahler quoted Tennyson: it seems we can go only so long before we and violin at the Conservatory in Baku. In conducting, on January 29, 1905, together “What Roman strength Turbia show’d desire a fresh start. In politics our desire for 1906, hired him as composition with his Kindertotenlieder (also Rückert In ruin, by the mountain road!” variety may not serve us well. In music things professor at the Hochschule, where his pupils settings). The last song was orchestrated by Max go better. To the point, what happens here is a included , Stefan Wolpe Puttmann, an employee of the first publisher. “In a flash it all came to me,” he said, “the gentle, insistent, animated figure in the strings and Gunnar Johansen. He retired to Switzerland conflict of the armies on that very spot long that underpins dialogue in the orchestra: the in 1934. ago, where now I stood–the contrast of the opening material. A middle section is heartfelt In the South Overture, op. 50 ruin and the shepherd, and then, all of a and romantic (as we Americans can sometimes Juon’s works include sonatas for violin, viola, EDWARD ELGAR sudden, I came back to reality. In that time I be). The players of the orchestra are asked to cello, and winds, as well as four symphonies, a had composed the overture–the rest was merely play cantabile, and, later, molto espressivo. This is chamber symphony, four string quartets, several ate in 1903, Elgar was vacationing in the writing it down.” the great speechmaking section, where sincerity piano trios, piano quartets and piano quintets, Ltown of Alassio, in Italy. There he began a is heard, and those who carry on may themselves three violin concertos, solo piano works and concert overture, later titled In the South, which be surprised by the earnestness that takes them lieder. His triple concerto for , titled he said was inspired by “thoughts and sensations over. There are a few punctuation marks. In the of one beautiful afternoon in the Vale of Andora.” cont.

8 OAKLAND SYMPHONY OAKLAND SYMPHONY 9 PROGRAM NOTES TEXT AND TRANSLATIONS The first performance took place on March 16, harmonic excursions as he recalls past grandeur GUSTAV MAHLER 1905, in London, at the Royal Opera House, together with the ‘drums and tramplings.’ Elgar Rückert Lieder Covent Garden, on the third night of an Elgar builds a very brilliant passage in this striding Festival, with the composer conducting the theme before it merges, on muted strings, into I. Ich atmet’ einen linden Duft I breathed a gentle fragrance Hallé Orchestra. After the rehearsals, Elgar the Canto popolare episode. This haunting Ich atmet’ einen linden Duft! I breathed a gentle fragrance! reported: “That Overture is good & the Roman melody (original and so Elgarian, but Italian Im Zimmer stand A linden branch stood in the room, section absolutely knocking over. They [the in spirit) is given to the solo viola as a salute to Ein Zweig der Linde, A token of love from a beloved hand. Halle Orchestra] read it like angels and the Berlioz from ‘Edward in Italy.’ It sounds even Ein Angebinde How lovely was that scent of the linden! Von lieber Hand. thing goes with tremendous energy & life.” more romantic as a horn solo before its return, Wie lieblich war der Lindenduft! over a drumroll, on the viola, but it is suddenly In his book on Elgar, Michael Kennedy writes: cut off as the brilliance of the opening returns. Wie lieblich ist der Lindenduft! How lovely is the scent of the linden! “Nothing in Elgar is more thrilling and uplifting The end is sheer poetry. The nobilmente theme Das Lindenreis of the sprig you gathered so carefully than the leaping opening…divided strings and from the introduction is transformed into a Brachst du gelinde! Gently I breathe in the scent of the linden brass crowning all. This effervescent start is moving 6/4 melody and gradually grows more Ich atme leis Love’s delicate fragrance. followed by a reflective pastoral episode in which impassioned until it is worked up to a final Im Duft der Linde the shepherd’s piping (clarinet) is answered by climax on strings, brass and glockenspiel in the Der Liebe linden Duft. an espressivo phrase suggested to him by the ascendant, crowned by triumphant brass.” name of the town, Moglio…. Then follows II. Blicke mir nicht in die Lieder! Do not look at my songs! Blicke mir nicht in die Lieder! Do not look at my songs! the agitated, lumbering episode of the ancient - Notes by Charley Samson, copyright 2016 Meine Augen schlag’ ich nieder, My eyes I lower, Romans…containing some of Elgar’s boldest Wie ertappt auf böser Tat. as if caught in a misdeed. Selber darf ich nicht getrauen, I can’t even trust myself Ihrem Wachsen zuzuschauen. to watch them grow.

Blicke mir nicht in die Lieder! Do not look at my songs! Deine Neugier ist Verrat! Your curiosity is a betrayal! Bienen, wenn sie Zellen bauen, Bees, when they build their cells, Lassen auch nicht zu sich schauen, also do not let anyone observe them; Schauen selbst auch nicht zu. even themselves. Wenn die reichen Honigwaben If the rich honeycombs Sie zu Tag gefördert haben, are brought out to the light of day, Dann vor allen nasche du! then you shall taste them before everyone else!

III. Liebst du um Schönheit If you love for beauty Liebst du um Schönheit, If you love for beauty, O nicht mich liebe! Oh do not love me! Liebe die Sonne, Love the sun, Sie trägt ein gold’nes Haar! It has gold hair!

Liebst du um Jugend, If you love for youth, O nicht mich liebe! Oh do not love me! Liebe den Frühling, Love the spring-time Der jung ist jedes Jahr! That is young each year!

Liebst du um Schätze, If you love for wealth, O nicht mich liebe. Oh do not love me! Liebe die Meerfrau, Love the mermaid, [Die]1 hat viel Perlen klar. [Who]1 has many limpid pearls!

Liebst du um Liebe, If you love for love, O ja, mich liebe! Oh yes, love me! Liebe mich immer, Love me forever; Dich lieb’ ich immerdar. I will love you forevermore!

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IV. Um Mitternacht At midnight Um Mitternacht At midnight IT’S IN THE STARS: Hab’ ich gewacht I awoke Und aufgeblickt zum Himmel; and gazed up to heaven; Kein Stern vom Sterngewimmel No star in the entire mass SONGS OF FATE Hat mir gelacht did smile down at me Um Mitternacht. at midnight. SAMUEL BARBER Sure on This Shining Night Um Mitternacht At midnight Hab’ ich gedacht I projected my thoughts SATURDAY, NOVEMBER 12, 2016, 8 PM RAFAEL INCIARTE Hinaus in dunkle Schranken; out past the dark barriers. CASTRO VALLEY CENTER FOR THE ARTS Rumbamban Es hat kein Lichtgedanken No thought of light CASTRO VALLEY, CA Mir Trost gebracht brought me comfort GEORGE GERSHWIN Um Mitternacht. at midnight. Our Love is Here to Stay arranged by Darmon Meader Um Mitternacht At midnight Nahm ich in Acht I paid close attention with Oakland Symphony Chorus Die Schläge meines Herzens; to the beating of my heart; Ein einz’ger Puls des Schmerzens One single pulse of agony War angefacht flared up PAUL DUKAS Um Mitternacht. at midnight. Fanfare from La Péri

Um Mitternacht At midnight Kämpft’ ich die Schlacht I fought the battle, O Menschheit deiner Leiden; o Mankind, of your suffering; Schicksalslied (Song of Destiny), Op. 54 Nicht konnt’ ich sie entscheiden I could not decide it with Oakland Symphony Chorus Mit meiner Macht with my strength Um Mitternacht. at midnight. GERSHWIN Um Mitternacht At midnight Cuban Overture Hab’ ich die Macht I surrendered my strength In deine Hand gegeben: into your hands! Herr über Tod und Leben, Lord! over death and life INTERMISSION Du hältst die Wacht You keep watch Um Mitternacht. at midnight! GEORGES BIZET Carmen Suites No. 1 & 2 V. Ich bin der Welt abhanden gekommen I am lost to the world LYNNE MORROW, Ich bin der Welt abhanden gekommen, I am lost to the world, Suite No. 1 Mit der ich sonst viele Zeit verdorben, with which I used to waste so much time, conductor I. Les Toreadors Sie hat so lange nichts von mir vernommen, It has heard nothing from me for so long II. Prelude to Act I Sie mag wohl glauben, ich sei gestorben! that it may very well believe that I am dead! III. Aragonaise OMID ZOUFONOUN, IV. Intermezzo conductor Es ist mir auch gar nichts daran gelegen, It is of no consequence to me V. Séguedille Ob sie mich für gestorben hält, Whether it thinks me dead; VI. Les Dragons d’Alcala Ich kann auch gar nichts sagen dagegen, I cannot deny it, Denn wirklich bin ich gestorben der Welt. for I really am dead to the world. Suite No. 2 I. Marche des contrabandiers Ich bin gestorben dem Weltgetümmel, I am dead to the world’s tumult, II. Habanera Und ruh’ in einem stillen Gebiet! And am resting in a quiet realm! III. Nocturne Ich leb’ allein in meinem Himmel, I live alone in my heaven, IV. Chanson du toreador In meinem Lieben, in meinem Lied! In my love and in my song. V. La garde montante VI. Danse Boheme

Season Media Sponsors: East Bay Express, KDFC The 2016/17 season of Oakland Symphony is generously funded in part by the East Bay Community Foundation; Clarence E. Heller Charitable Foundation; Women’s Philharmonic Advocacy; William and Flora Hewlett Foundation; the California Arts Council, a state agency; the National Endowment for the Arts, a federal agency; and the Oakland City Council and the City of Oakland’s Cultural Funding Program.

12 OAKLAND SYMPHONY OAKLAND SYMPHONY 13