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Lineage Curated by Julia Bullock Soundbox

Lineage Curated by Julia Bullock Soundbox

LINEAGE CURATED BY SOUNDBOX

1 julia bullock on lineage

“I’ve found that musicians often share a lot about the various influences in their lives— whether they be historical, political, philosophical, personal, or based on other mediums of art. They let diverse influences not only impact their work, but find ways to let them register explicitly. It’s like musicians are hyper conscious of their lineage—they honor it and value it. So, as I continue to follow along the path and legacy of artists that came before me, lineage has become increasingly important—it’s a part of knowing from where I originated and letting that inform where I envision myself going. The musicians on this SoundBox program could not make music all together in one place, or even at one time, but the very nature of this program—which links material that spans across almost 900 years—captures an audio and visual snapshot of how lineage can inform, influence, impact, and express itself in a musical context.”

2 Esa-Pekka Salonen SYMPHONY

San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile roles and work as a leading , shaped a unique vision for the present and future of the contemporary symphony . Salonen is currently the Principal Conductor & Artistic Advisor for London’s and is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in , where he developed and directs the pre-professional Negaunee Conducting Program. Salonen is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the , where he was Music Director from 1992 until 2009. Salonen co-founded— and from 2003 until 2018 served as the Artistic Director for—the annual Baltic Sea Festival.

3 The Orchestra

Esa-Pekka Salonen, Music Director SECOND , Music Director Laureate Dan Carlson, Principal Vacant, Principal , Conductor Laureate Dinner & Swig Families Chair Philip S. Boone Chair Daniel Stewart, Youth Helen Kim, Associate Principal Peter Wyrick, Associate Principal Orchestra Wattis Foundation Music Director Audrey Avis Aasen-Hull Chair Peter & Jacqueline Hoefer Chair Ragnar Bohlin, Chorus Director Jessie Fellows, Assistant Principal Amos Yang, Assistant Principal Vance George, Chorus Director Emeritus Paul Brancato Margaret Tait The Eucalyptus Foundation Second Century Chair Lyman & Carol Casey Second Century Chair FIRST VIOLINS Raushan Akhmedyarova Barbara Andres Alexander Barantschik, Concertmaster David Chernyavsky The Stanley S. Langendorf Foundation Naoum Blinder Chair John Chisholm Second Century Chair Nadya Tichman, Associate Concertmaster Cathryn Down Barbara Bogatin San Francisco Symphony Foundation Chair Darlene Gray Phylis Blair Chair Wyatt Underhill, Assistant Concertmaster Stan & Lenora Davis Chair Jill Rachuy Brindel 75th Anniversary Chair Amy Hiraga Gary & Kathleen Heidenreich Second Century Chair Jeremy Constant, Assistant Concertmaster Kum Mo Kim Sébastien Gingras Mariko Smiley Kelly Leon-Pearce Penelope Clark Second Century Chair Paula & John Gambs Second Century Chair Eliot Lev* David Goldblatt Melissa Kleinbart Chair Christine & Pierre Lamond Second Century Chair Katharine Hanrahan Chair Chunming Mo Carolyn McIntosh Yun Chu Polina Sedukh Elizabeth C. Peters Cello Chair Sharon Grebanier Chen Zhao Anne Pinsker Naomi Kazama Hull In Sun Jang VIOLAS BASSES Yukiko Kurakata Jonathan Vinocour, Principal Scott Pingel, Principal Catherine A. Mueller Chair Yun Jie Liu, Associate Principal Daniel G. Smith, Associate Principal Suzanne Leon Katie Kadarauch, Assistant Principal Stephen Tramontozzi, Assistant Principal Leor Maltinski John Schoening Richard & Rhoda Goldman Chair Sarn Oliver Joanne E. Harrington & Lorry I. Lokey S. Mark Wright Diane Nicholeris Second Century Chair Lawrence Metcalf Second Century Chair Florin Parvulescu Gina Cooper Charles Chandler Victor Romasevich Nancy Ellis Chris Gilbert Catherine Van Hoesen David Gaudry Brian Marcus David Kim William Ritchen Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young

4 FLUTES SAN FRANCISCO SYMPHONY CHORUS Tim Day, Principal Mark Inouye, Principal Members of the American Guild of Musical Artists Caroline H. Hume Chair William G. Irwin Charity Foundation Chair Robin McKee, Associate Principal Aaron Schuman, Associate Principal SOPRANOS Catherine & Russell Clark Chair Peter Pastreich Chair Cheryl Cain, Michele Kennedy, Ellen Leslie, Linda Lukas Guy Piddington Jennifer Mitchell, Natalia Salemmo, Daphne Touchais, Alfred S. & Dede Wilsey Chair Ann L. & Charles B. Johnson Chair Cindy Wyvill, Angelique Zuluaga Catherine Payne, Piccolo Jeff Biancalana ALTOS The Rainbow Piccolo Chair Terry Alvord, Karen Carle, Silvie Jensen, Margaret (Peg) Lisi, Brielle Marina Neilson, Timothy Higgins, Principal Leandra Ramm, Dr. Meghan Spyker, Merilyn Telle Vaughn , Principal Robert L. Samter Chair Chair Nicholas Platoff, Associate Principal TENORS James Button, Associate Principal Paul Welcomer Seth Brenzel, Michael Desnoyers, Elliott JG Encarnación, Pamela Smith John Engelkes, Bass Samuel Faustine, Kevin Gibbs, Michael Jankosky, Dr. William D. Clinite Chair Jimmy Kansau, David J. Xiques Russ deLuna, English Horn BASS Joseph & Pauline Scafidi Chair Jeffrey Anderson, Principal Adam Cole, Mitchell Jones, Clayton Moser, James Irvine Chair Matthew Peterson, Chung-Wai Soong, Michael Taylor, David Varnum, Nick Volkert Carey Bell, Principal HARP William R. & Gretchen B. Kimball Chair Douglas Rioth, Principal Luis Baez, Associate Principal & E-flat David Neuman TIMPANI Jerome Simas, Edward Stephan, Principal Marcia & John Goldman Chair Bryce Leafman, Assistant Principal * On leave Stephen Paulson, Principal † Acting member of the SFS Steven Dibner, Associate Principal PERCUSSION Rob Weir Jacob Nissly, Principal Steven Braunstein, Bryce Leafman The San Francisco Symphony utilizes revolving seating James Lee Wyatt III on a systematic basis. Players listed in alphabetical order change seats periodically. HORNS Stan Muncy† Robert Ward, Principal Second Century Chairs are supported in part by the Richard and Rhoda Goldman Foundation, ensuring the ongoing artistic excellence Mark Almond, Associate Principal LIBRARIANS of the San Francisco Symphony’s string sections. Bruce Roberts, Assistant Principal Margo Kieser, Principal Alexander Barantschik plays the 1742 Guarnerius del Gesù , on Jonathan Ring Nancy & Charles Geschke Chair loan from the Fine Arts Museums of San Francisco. Jessica Valeri John Campbell, Assistant Daniel Hawkins Matt Gray, Assistant Daniel Stewart’s appointment as Music Director of the San Francisco Symphony Youth Orchestra is generously supported by the Paul L. and Phyllis Wattis Endowment Fund.

5 Soundbox: lineage

Julia Bullock curator

NINA SIMONE and WELDON IRVINE (arr. Julia Bullock) Revolution First appeared on the To Somebody (1969), by Julia Bullock soprano

WALTER DONALDSON and GUS KAHN Love Me or Leave Me from The Ed Sullivan Show ©SOFA Entertainment Nina Simone vocals and

JOHANN SEBASTIAN BACH Invention No. 13 in A minor, BWV 784 Sarah Cahill piano

HILDEGARD VON BINGEN frondens virga Excerpt from the album Christmas (2003) San Francisco Girls Chorus Valérie Sainte-Agathe artistic director Susan McMane conductor

NINA SIMONE (poem by William Waring Cuney) Images First appeared on the album Let It All Out (1964), by Nina Simone Julia Bullock soprano Members of the San Francisco Symphony Chorus Ragnar Bohlin director

Soundbox: Lineage is proudly sponsored by Solomon B. Cera and Fred M. Levin, The Shenson Foundation

6 COLERIDGE-TAYLOR PERKINSON Plain Blue/s, from Blues Forms for Solo Violin Wyatt Underhill violin

GEORGE WALKER Lyric for Strings Daniel Stewart conductor Wyatt Underhill · Suzanne Leon · David Chernyavsky · Darlene Gray violins Matthew Young · Christina King violas Margaret Tait cello Chris Gilbert

ARUÁN ORTIZ (transcribed Edmar Colón) Mompouana First appeared on the album (2006), by Julia Bullock soprano John Wilson piano Scott Pingel double bass Jacob Nissly drums

ESPERANZA SPALDING (poem by ) Little Fly First appeared on the album (2010), by Esperanza Spalding Julia Bullock soprano Chen Zhao violin David Gaudry viola Amos Yang cello Scott Pingel double bass

ELIZABETH OGONEK variations on many forms, from In Silence Daniel Stewart conductor Benjamin Beilman violin Yun Jie Liu · Adam Smyla violas Sébastien Gingras · Anne Pinsker cellos Stephen Tramontozzi · S. Mark Wright double basses John Wilson piano James Lee Wyatt III percussion

7 FRANCIS POULENC Pastorale and Final, from Rapsodie nègre Julia Bullock soprano Robin McKee flute Carey Bell clarinet Leor Maltinski · Raushan Akhmedyarova violins Jonathan Vinocour viola Barbara Bogatin cello Marc Shapiro piano

ELIZABETH OGONEK In this uncontainable night, from Orpheus Suite (after Rilke) Sarah Cahill piano

RICKY IAN GORDON (poem by Langston Hughes) Litany Julia Bullock soprano Natalia Salemmo soprano Silvie Jensen mezzo-soprano Amy Hiraga violin Peter Wyrick cello Marc Shapiro piano Members of the San Francisco Symphony Chorus Ragnar Bohlin director

Steven Condiotti director & director of photography Taylor Joshua Rankin editor Luke Kritzeck director of lighting Adam Larsen projection and graphic designer

8 program notes “She is loved or feared, adored 1722–23. In this concert we hear Bach’s Invention in or disliked, but few who have A minor, which demands independence and balance met her music or glimpsed her of the pianist’s hands as she traces his skeins of soul react with moderation,” contrapuntal imitation. In the 1960s, Simone became wrote the poet an important voice in the civil rights movement, of the singer, pianist, , unflinching in speaking—or singing—truth to power. and political activist NINA The two songs in this concert both relate to this aspect SIMONE (1933–2003). Born into a devoutly religious of her oeuvre. Simone, collaborating with composer- family in North Carolina, and named Eunice Kathleen and-poet Weldon Irvine, released “Revolution” in 1969. Waymon, she received financial support from her It was her response to a John Lennon/Paul McCartney community that enabled her to pursue musical song had recorded the previous year (and training. She spent a summer at the from which it borrows some material). Where the preparing for a piano audition at the Curtis Institute Beatles framed their revolution in hopefulness (“It’s in Philadelphia, which rejected her. She suspected gonna be all right”), Simone assumed a more racism and felt somewhat vindicated when Curtis challenging stance (“The only way that we can stand awarded her an honorary degree in 2003, days before in fact / Is when you get your foot off our back”). she died. She did continue her piano studies privately, “Images,” which Simone included which she afforded by performing in a dive in Atlantic on her 1964 album Let It All City. That is when she took her stage name, to keep Out, relates to the Black is her mother from discovering that she was working in Beautiful movement that was what she described as a “seedy little bar where old gaining force at that moment. guys go to huddle over a drink and fall asleep.” Its lyrics, a 1926 poem by the She became famous for Harlem Renaissance writer performances that ranged William Waring Cuney, suggest that, where a woman’s through , blues, folk, and positive self-image and esteem might flourish in a gospel, and she always liberal, natural landscape, they become stunted in an maintained her love of classical oppressive, manufactured environment. Simone’s music, and especially of unaccompanied song takes the form of a chantlike JOHANN SEBASTIAN BACH monody (i.e. a single vocal line). This concert connects (1685–1750). Her debut album, Little Girl Blue (1958), it to “O frondens virga,” an antiphon (that is, a piece included a cover of the Walter Donaldson/Gus Kahn framing a psalm-setting in Catholic liturgy) composed song “Love Me or Leave Me” into which she by the medieval abbess, composer, poet, philosopher, interpolated an improvisation in the style of a fugue and mystic HILDEGARD VON BINGEN (1098–1179). by Bach, reminiscent of the Two-part Inventions that Its text exalts the Virgin Mary as a blooming branch Bach assembled into a collection for his eldest son in that supports humankind.

9 The concert continues with to be tenured), Rutgers University (where he chaired works by two prominent Black- the music department), and the Peabody Institute of American of the Johns Hopkins University. His much-played Lyric for twentieth century, COLERIDGE- Strings began as the second movement of his String TAYLOR PERKINSON and Quartet No. 1 (1946), where it bore the title “Lament.” George Walker. Perkinson He recast the movement for a full string orchestra, (1932–2004) was born into a adding a double bass part, and it was premiered in musical family and was named after Samuel 1947 under the title Lyric for Strings. This echoes the Coleridge-Taylor, a notable Black-British composer process that gave rise to another American string who preceded him by half a century. Following study orchestra classic, Samuel Barber’s Adagio for Strings, at New York University and the Manhattan School of which also began as a movement of a string quartet Music (where he earned his master’s degree), he and preceded Walker’s piece by about a decade. As it co-founded the Symphony of the New World in 1965. happens, the two studied under the same composition The first integrated orchestra in the , its teacher at Curtis, though they did not overlap. mission statement declared that it would create San Francisco Symphony performing opportunities for “the many talented Collaborative Partner and non-white classical instrumentalists [and conductors] four-time Grammy winner who have so far not been accepted in this nation’s ESPERANZA SPALDING symphony .” He would also serve as music (b. 1984) is widely acclaimed as director of Jerome Robbins’s American Theater Lab a player, a singer, and and the Alvin Ailey American Dance Theater. His a composer. In addition to solo-violin piece “Plain Blue/s,” the first movement of serving as Professor of the Practice of Music at his 1979 suite Blue/s Forms, suggests a Bach violin Harvard, she is investigating links between music and partita infused with inflections of the blues. healing. Her buoyant music reflects influences as wide-ranging as , Brazilian cool, and Hip GEORGE WALKER (1922–2018) Hop. At the heart of her art is improvisation, as she was the first Black-American recounted in a recent San Francisco Symphony video composer to be honored with profile: “Improvisation affords a kind of transparency the , that’s really hard to get at in other art forms. I think awarded in 1996 for his Lilacs the ‘A-ha’ when I first touched improvisational music for Voice and Orchestra. A was like, ‘Oh, you play yourself here.’” She recently graduate of Oberlin added an improvisational flair to ’s Conservatory and the Curtis Institute (where he Throughline, a world premiere digital work studied piano with Rudolf Serkin and earned artist commissioned by the San Francisco Symphony and diplomas on both piano and composition), he spent performed by Symphony musicians and all eight decades balancing a busy career as a pianist, Collaborative Partners. composer, and teacher—the last most notably at Smith College (where he was the first Black faculty member “Mompouana” figured on Spalding’s debut album, Junjo (2006), released on a Spanish label. Composed

10 by Spalding’s bandmate Aruán Ortiz, the song spins (1917) marked his debut as a itself out gradually and revels in repeated motifs and composer. At the premiere, the phrases. The title is a salute to the Catalan composer vocal soloist was stricken by Frederic Mompou (1893–1987), admired for his songs stage-fright, so Poulenc (who and piano miniatures. “Little Fly” was featured on was no singer) leapt in to take Spalding’s third studio album, Chamber Music Society, his place. It was a great success; released in 2010. It sets a poem by William Blake, which Maurice Ravel praised Poulenc he published in his Songs of Experience (1794)—a for so convincingly inventing his own folklore, and self-effacing meditation on the transience of life. Stravinsky arranged for a publisher to take on the emerging composer. Cultural awareness was different ELIZABETH OGONEK a century ago, and we may raise an eyebrow at (b. 1989) has served on the Poulenc’s using a text by a presumed Liberian poet faculty at Oberlin Conservatory named Makoko Kangourou who was given to of Music since 2015 and will nonsense syllables and Parisian street slang. (Poulenc move this summer to Cornell admitted he was fictitious). The piece—of which we University. From 2015 to 2018 hear the last two movements of five—played into the she was composer-in-residence then-universally accepted cultural appropriation, at the Chicago Symphony, where she curated that exploitation, fascination, and exoticism of African orchestra’s new-music series MusicNOW. She wrote In cultures, driven by French colonialism. It launched Silence (2016–17, for solo violin and eight players) for Poulenc toward the next step of his career, as a that series, framing it as a creative response to the member of the Roaring Twenties avant-garde group “Mystery Sonatas” of the seventeenth-century known as Les Six. composer Heinrich Biber, famous for making expressive use of scordatura—tuning the violin’s RICKY IAN GORDON (b. 1956) is among the most strings to unaccustomed pitches. “variations on many appreciated of modern forms” is the second of that work’s three movements. American vocal composers. His Although she is mostly noted for instrumental music, language often bears kinship to Ogonek draws considerable inspiration from the the style of cabaret and musical written word. Her piano piece “In this uncontainable theater in addition to the art night,” from her Orpheus Suite (2018), was her musical song tradition. Nearly all his response to the last of Rainer Maria Rilke’s Sonnets to music features singers, Orpheus, reflecting, she says, “a certain sense of terror including thirteen operas, musical theater works, and that I associate with the night, but then also this “theatrical song cycles.” He has been recognized with extreme, fragile beauty.” many honors, including the prestigious Award, and has been featured as FRANCIS POULENC (1899–1963) came of age in a composer-in-residence at the Bravo! Vail, Aspen, and Paris that quaked to the breakthroughs of Igor Ravinia festivals. Recent premieres include his opera Stravinsky, Erik Satie, Serge Diaghilev, Guillaume Intimate Apparel, to a libretto by Lynn Nottage, Apollinaire, and Pablo Picasso. His Rapsodie nègre commissioned by the and Lincoln

11 Center Theater. His “Litany,” at once stately, contemplative, and hopeful, is drawn from his 1997 collection Only Heaven, which sets seventeen poems by Langston Hughes, a leader of the Harlem Renaissance. (The title of the poem has its own interesting history: It was first published as “Psalm” in 1931; retitled “Big City Prayer” in 1940; titled again as “Prayer 2” in 1947; and first given the title “Litany” by composer John Musto in 1986.) Gordon arranged a new version of this song for soprano, chorus, and chamber ensemble for Julia Bullock to introduce at the Metropolitan Museum in New York, where she was serving as artist-in-residence.—James M. Keller

James M. Keller is longtime Program Annotator of the San Francisco Symphony. ©2021 San Francisco Symphony

12 texts

REVOLUTION There’ll be no one unless that someone is you, We’re talkin’ about a revolution, I intend to be independently blue. because we see the face of things to come. Yes, our constitution I want your love, don’t wanna borrow, friends, it’s gonna have to bend. Have it today to give back tomorrow. I’m here to tell you about destruction Your love is my love, of all the evil that will have to end. There’s no love for nobody else. Gus Kahn Some folks are gonna get the notion, that I am here to preach hate. But if I have to swim the ocean, O FRONDENS VIRGA then I will just communicate. O frondens virga, It’s not as simple as talkin’ jive, in tua nobilitate stans It’s the daily struggle just to stay alive. sicut aurora procedit: nunc gaude et letare Yes, I am singin’ about a revolution, et nos debiles dignare because we are all talkin’ about a change. a mala consuetudine liberare It’s more than evolution, atque manum tuam porrige friends, we’ve got to clean our brains. ad erigendum nos. The only way that we can stand, in fact, is if you get your discriminating foot off our backs. Oh blooming branch, standing in your nobility, Alright? Alright. as dawn breaks: Weldon Irvine, adapted by Julia Bullock Now, rejoice and be glad, and because we are weak, consider freeing us from our bad practices; LOVE ME OR LEAVE ME extend your hand Love me or leave me and let me be lonely, to lift us up. You won’t believe me but I love you only, Translation: Julia Bullock I’d rather be lonely than happy with somebody else.

You might find the night time the right time for kissing, Night time is my time for just reminiscing, Regretting instead of forgetting with somebody else.

13 IMAGES If thought is life She does not know And strength and breath, her beauty, And the want she thinks her brown body Of thought is death; has no glory. Then am I If she could dance A happy fly, naked under palm trees If I , and see her image in the river, Or if I die. she would know. William Blake

But there are no palm trees on the street, LITANY and dish water gives back Gather up no images. In the arms of your pity William Waring Cuney The sick, the depraved, The desperate, the tired, All the scum LITTLE FLY Of our weary city. Little fly, Thy summer’s play, Gather up My thoughtless hand In the arms of your pity. Has brushed away. Gather up In the arms of your love— Am not I Those who expect A fly like thee? No love from above. Or art not thou Langston Hughes A man like me?

For I dance And drink, and sing: Till some blind hand Shall brush my wing.

14 Thank You to Our Concert Sponsors

SOUNDBOX: LINEAGE IS SPONSORED BY Solomon B. Cera

Fred M. Levin, The Shenson Foundation

ADDITIONAL SUPPORT IS PROVIDED BY

15 artists

JULIA BULLOCK Philharmonic Academy and London Symphony Combining versatile artistry Orchestra with , among others. Her with a probing intellect and recital highlights include appearances at New York’s commanding stage presence, , the Philadelphia Chamber Music American classical singer Julia Society, Cal Performances at UC Berkeley, Boston’s Bullock has, in her early thirties, Celebrity Series, Washington’s Kennedy Center, and already headlined productions the Mostly Mozart and Ojai Music festivals, where she and concerts at some of the preeminent arts joined Roomful of Teeth and the International institutions worldwide. An innovative programmer Contemporary Ensemble for the world premiere of whose artistic curation is in high demand, her Josephine Baker: A Portrait. This led to the creation of curatorial positions include San Francisco Symphony Perle Noire: Meditations for Joséphine, a work Artist-in-Residence in 2019–20 and Collaborative conceived by Bullock in collaboration with Peter Partner beginning with the 2020–21 season, Esa-Pekka Sellars, and written for her by and Salonen’s first as Music Director; Artist-in-Residence Claudia Rankine. Her growing discography includes of London’s Guildhall School for the 2020–21 and Adams’s Doctor Atomic, recorded with the composer 2021–22 seasons; opera-programming host of new conducting the BBC Symphony Orchestra, and West broadcast channel All Arts; founding core member of Side Story, with Michael Tilson Thomas and the San the American Modern Opera Company (AMOC); and Francisco Symphony, both of which were nominated 2018–19 Artist-in-Residence of New York’s for Grammy awards. Metropolitan Museum of Art. Bullock is also a Julia Bullock was born in Saint Louis, MO, and prominent voice of social consciousness and activism. holds degrees from the Eastman School of Music, Bullock has made key operatic debuts at San Bard College’s Graduate Vocal Arts Program, and New Francisco Opera in the world premiere of John York’s Juilliard School. She lives with her husband, Adams’s Girls of the Golden West; Santa Fe Opera in conductor Christian Reif, in Munich. Adams’s Doctor Atomic; Festival d’Aix-en-Provence and Dutch National Opera in The Rake’s Progress; and the English National Opera, Spain’s Teatro Real, Julia Bullock is represented by Étude Arts, LLC. and ’s Bolshoi Theatre in the title role of The Ansonia Station, P.O. Box 230132 Indian Queen. New York, NY 10023 In concert, she has collaborated with the Los juliabullock.com Angeles Philharmonic and , the and Alan Gilbert, the Boston Symphony Orchestra and , Japan’s NHK Symphony and Paavo Järvi, and both the Berlin

16 SARAH CAHILL has Highlights of violinist commissioned, premiered, and BENJAMIN BEILMAN’s recorded numerous 2020–21 season include compositions for solo piano. appearances with the Atlanta, More than forty composers Kansas City, and San Antonio have dedicated works to her, symphonies; debuts with the including , Terry Philharmonia Orchestra, Oslo Riley, Frederic Rzewski, , Annea Philharmonic, Warsaw Philharmonic, Basel Symphony, Lockwood, and Roscoe Mitchell. Recent and and Staatskapelle Weimar; and a return engagement upcoming appearances include engagements at the with the City of Birmingham Symphony Orchestra. In Barbican Centre, Huddersfield Contemporary Music recent seasons he made his debut with the Budapest Festival, Cleveland Museum of Art, Detroit Institute of Festival Orchestra and play-directed the London Art, the National Gallery, and Toyusu Hall in Chamber Orchestra. . Named a 2018 Champion of New Music by the In recital and chamber music, Mr. Beilman has American Composers Forum, her writing has performed at Carnegie Hall, , appeared in the John Adams Reader, Contemporary Concertgebouw Amsterdam, Berlin Philharmonie, Music Review, Keyboard Magazine, Ashgate Wigmore Hall, the Louvre (Paris), and Bunka Kaikan Research Companion to Minimalist and (Tokyo). In early 2018 he premiered a new work Postminimalist Music, and Piano and Keyboard dedicated to the political activist Angela Davis, Magazine. Her pre-concert talks and onstage written by Frederic Rzewski and commissioned by interviews have been featured at the Metropolitan Music Accord, which he has performed extensively Museum of Art, San Francisco Opera, San Francisco across the US. Symphony, Los Angeles Philharmonic, and Cal Mr. Beilman studied with Almita and Roland Performances; her joint interviews with Meredith Vamos at the Music Institute of Chicago, Ida Kavafian and Björk, and with Elliott Carter and Phil Lesh, and Pamela Frank at the Curtis Institute of Music, and have been heard on Counterstream Radio. Ms. Cahill Christian Tetzlaff at the Kronberg Academy. His is on the faculty at the San Francisco Conservatory accolades include a Borletti-Buitoni Trust Fellowship, and her radio show, Revolutions Per Minute, which an Avery Fisher Career Grant, and a London Music has recently featured two-hour interviews with John Masters Award. Adams, , Richard Goode, Helmut Lachenmann, and , can be heard every In 2016, he released his first album Spectrum on Sunday evening on KALW-FM in San Francisco. Warner Classics, featuring works by , Leoš Janáček, and Franz Schubert. He plays the “Engleman” Stradivarius violin from 1709, generously on loan from the Nippon Music Foundation.

17 DANIEL STEWART joined the SUZANNE LEON joined the San Francisco Symphony as San Francisco Symphony in Wattis Foundation Music 1990. Following her graduation Director of the San Francisco from the Curtis Institute of Symphony Youth Orchestra Music, she spent five years in (SFSYO) in the 2019–20 season. France, where she served as Previously a member of the concertmaster of the Orchestre SFSYO and a substitute violist for the San Francisco International de Paris and taught at the Sorbonne. Ms. Symphony, he has concertized frequently as a viola Leon has toured as a member of the Asia Philharmonic soloist, and served as principal violist of numerous Orchestra. She has performed chamber music ensembles Mr. Stewart currently serves as Music frequently with her Symphony colleagues, including Director of the Santa Cruz Symphony, and he has pre-concert performances and a concert at San conducted the San Francisco Symphony, Metropolitan Francisco’s Chinese Cultural Center. She has two Opera Orchestra, Boston Symphony Orchestra, Los children with her husband, former San Francisco Angeles Philharmonic, Houston Symphony, Saint Symphony violinist Dan Nobuhiko Smiley. Louis Symphony, hr-Sinfonieorchester, Frankfurt DAVID CHERNYAVSKY joined Opera Orchestra, and Boston Ballet, among others. the San Francisco Symphony in WYATT UNDERHILL joined 2009. Born in , the San Francisco Symphony as Russia, he began violin studies Assistant Concertmaster in at the age of six and at eleven 2018. He was previously gave his first solo recital. After assistant concertmaster of the winning prizes in competitions Baltimore Symphony, substitute in Russia and France, he entered the Saint Petersburg concertmaster with the New Conservatory. In 1997, Mr. Chernyavsky came to the Haven Symphony, and associate concertmaster of US to study at Indiana University’s Jacobs School of Symphony in C. He has won top prizes in the Irving Music and, later, at the Juilliard School. He has M. Klein International Competition for Strings and recorded several CDs with the Saint Petersburg the Minnesota Orchestra Young Artist Competition, Quartet and with the Joel Rubin Klezmer Music and has performed as soloist with the Milwaukee Ensemble, and he has released a solo CD, Klezmer Symphony, Concord Chamber Orchestra, and the Violin. He also performs and teaches with the San Oberlin Orchestra, and in recital at the Kennedy Francisco Academy Orchestra. Center in Washington DC, and the Gualala Arts Center in California. Founding first violinist of the award-winning Blue Hill String Quartet, he is a graduate of the Oberlin Conservatory and the Juilliard School.

18 concert supporters

SOUNDBOX IS SUPPORTED IN PART BY ADDITIONAL SUPPORT IS PROVIDED BY The Amphion Foundation, Inc.

19 Violinist DARLENE GRAY won those positions, she played with various orchestras in the Nevada Centennial Music Mexico City. Ms. King is a graduate of Barnard Award at age fifteen, College/Columbia University, where she pursued a performing Édouard Lalo’s degree in English while studying violin and viola at the Symphonie espagnole. She Manhattan School of Music. She was later granted a later attended the University of fellowship to Northwestern University, where she Southern California School of earned her master’s degree. Performing Arts where she first met Michael Tilson MARGARET TAIT joined the Thomas. After becoming the concertmaster of the San Francisco Symphony in Young Musicians’ Foundation Debut Orchestra, she 1975 and has occupied the joined the Los Angeles Chamber Orchestra and then Lyman & Carol Casey Second the Boston Symphony where she was the youngest Century Chair. A Virginia native, member at just twenty-two. In 1982 Ms. Gray joined she holds a bachelor’s degree the San Francisco Symphony. from the University of Southern MATTHEW YOUNG joined the California and a master’s degree from the San San Francisco Symphony viola Francisco Conservatory of Music, and she previously section in 2012. He was a served as principal cellist with the Birmingham founding member of the Symphony Orchestra. Ms. Tait was a founding Verklärte Quartet, which won member of the Aurora String Quartet, in which she grand prize in the 2003 Fischoff performed with San Francisco Symphony colleagues National Chamber Music for twenty-two years. Competition. He currently performs as a member of CHRIS GILBERT studied with Ensemble San Francisco. Winner of a 2007 McKnight Henry Loew at the University of Artist Fellowship for Performing Musicians and the Southern Illinois and at the Robert Vernon Prize for Viola Performance, he Saint Louis Conservatory. He attended the University of Kentucky, Yale School of participated in the Tanglewood Music, and Cleveland Institute of Music. Music Festival before joining CHRISTINA KING, a native of the San Francisco Symphony Newport Beach, CA, joined the bass section in 1978. San Francisco Symphony in 1996. She has been a member of the Tucson Symphony and served as principal viola in the Civic Orchestra of Chicago, the training orchestra of the Chicago Symphony. Prior to

20 Pianist JOHN WILSON has JACOB NISSLY was appointed performed in many of the major Principal Percussion of the San halls in North America with a Francisco Symphony in 2013. wide range of repertoire and Previously, he was principal ensembles. Most recently, he percussion of the Cleveland won first prize in the 2019 Orchestra and the Detroit International Respighi Symphony. He also served as a Competition, resulting in performances as soloist with member of the New World Symphony. He is on the the Chamber Orchestra of New York at Carnegie Hall; percussion faculty at the San Francisco Conservatory first place in the American Prize Foundation 2019 and is currently a coach for the San Francisco Competition; and Best Performance of an American Symphony Youth Orchestra. He has also taught at the Work at the 2017 Liszt-Garrison International Piano Eastman School of Music and the Cleveland Institute Competition. His appearances in chamber ensembles of Music. Mr. Nissly holds a Bachelor of Music and include engagements with musicians of the San Jazz Studies from Northwestern University and a Francisco Symphony and Orchestre Symphonique de Master of Music degree from the Juilliard School. He Montréal, and he has performed in duo recital with began his percussion studies with Woody Smith in Iowa. artists such as Joshua Bell and Johannes Moser. Mr. CHEN ZHAO joined the San Wilson has recorded for Naxos USA, MSR Classics, Francisco Symphony in 2000. A Medici.tv, and WQXR. His debut solo album will be native of Shanghai, he studied recorded this year on the Avie label. with his uncle and gave his first SCOTT PINGEL became public performance at the Principal Bass of the San Shanghai Children’s Palace at Francisco Symphony in 2004, age six. He went on to study at having previously served in that the Shanghai Conservatory of Music, Crossroads position with the Charleston School for Art and Sciences, Curtis Institute of Music, Symphony. Prior to that, he was San Francisco Conservatory of Music, and the New a member of the New World World Symphony, before joining the San Francisco Symphony. He has also served as guest principal with Symphony. Mr. Zhao has appeared as a soloist with the National Arts Centre Orchestra in Canada. Mr. the Curtis Symphony, Oslo Chamber Orchestra, San Pingel received degrees from the University of Francisco Symphony, San Francisco Symphony Youth Wisconsin-Eau Claire and the Manhattan School of Orchestra, and the Stanford Symphony. Currently a Music. Also a jazz musician, he has worked with artists violin coach for the San Francisco Symphony Youth including Tammy L Hall, Jason Hainsworth, Michael Orchestra, Chen Zhao is a violin professor at the San Brecker, Geoff Keezer, and James Williams. Francisco Conservatory of Music.

21 DAVID GAUDRY, a native of ADAM SMYLA, who joined the Vancouver, British Columbia, San Francisco Symphony in joined the San Francisco 2000, won the National Viola Symphony’s viola section in Competition in his native 1982. A graduate of Indiana Poland at age seventeen. University, he also studied at Shortly thereafter he became the Vancouver Academy of the youngest member of the Music and at the Banff School of Fine Arts. Prior to Polish National Radio and Television Orchestra and joining the San Francisco Symphony he was a member was invited to join the Penderecki String Quartet, with of the Vancouver Symphony. which he toured internationally for nearly a decade. AMOS YANG joined the San From 1995 to 2000, Mr. Smyla was assistant principal Francisco Symphony in 2007 as viola with the Lyric Opera of Chicago and principal Assistant Principal Cello. He viola of the Sun Valley Symphony. He is a viola coach was previously a member of the for the San Francisco Symphony Youth Orchestra and Seattle Symphony. Born and active in chamber music performing frequently with raised in San Francisco, he was his wife, pianist Edna Koren. a member of the San Francisco SÉBASTIEN GINGRAS joined Symphony Youth Orchestra and San Francisco Boys the San Francisco Symphony in Choir and holds bachelor’s and master’s degrees from 2010. He grew up in Chicoutimi, the Juilliard School. From 1996 to 2002 he was the Québec, where he was educated cellist in the Maia String Quartet. Mr. Yang serves on at the Conservatoire de the faculty of the San Francisco Conservatory of Musique. He received his Music and the San Francisco Academy Orchestra. master’s degree in music from YUN JIE LIU joined the San the New England Conservatory, where he studied with Francisco Symphony in 1993, Laurence Lesser. Previously a member of the New where he serves as Associate World Symphony and the Saint Louis Symphony, Mr. Principal Viola. Born in Gingras has joined in chamber music performances Shanghai, he began his violin with artists including Menahem Pressler, Anthony studies with his father. He Marwood, and the Alcan and Borromeo string quartets. entered the middle school of ANNE PINSKER joined the San the Shanghai Conservatory of Music, and was named Francisco Symphony in 1982. assistant professor of viola upon graduation. In 1990, She is a graduate of the Juilliard he was invited by to join the School of Music, where she National Symphony in Washington DC. He regularly studied with Leonard Rose, and gives chamber music concerts and solo recitals she has served as a member of throughout the US and in Shanghai and Hong Kong. the Lyric Opera of Chicago He currently serves on the faculty at the San Francisco Orchestra and as a regular substitute in the Chicago Conservatory. Symphony.

22 STEPHEN TRAMONTOZZI ROBIN MCKEE is Associate joined the San Francisco Principal Flute of the San Symphony in 1980 and serves Francisco Symphony, occupying as Assistant Principal Bass, the Catherine & Russell Clark occupying the Richard & Rhoda Chair. A native of Tulsa, OK, she Goldman Chair. A native of began her music studies on Arlington, MA, he studied at piano before switching to flute. the Eastman School of Music, New England She later studied with Robert Willoughby at the Oberlin Conservatory, and the San Francisco Conservatory. Conservatory. Before joining the San Francisco He has been Principal Bass with the Sun Valley Symphony in 1984, she played piccolo in the Richmond Summer Symphony since 2004. A member of the (Virginia) Symphony and served as assistant principal faculty at the San Francisco Conservatory since 1985, flute of the Baltimore Symphony. Mr. Tramontozzi also coaches members of the San CAREY BELL became San Francisco Symphony Youth Orchestra bass section. Francisco Symphony Principal He recently released a solo CD with pianist Keisuke Clarinet and occupant of the Nakagoshi. William R. & Gretchen B. S. MARK WRIGHT, a native of Kimball Chair in 2007. He has Emporia, KS, attended the held principal positions with Interlochen Music Camp as a the San Francisco Opera child and studied bass with Orchestra and the Syracuse Symphony, and served as Larry Hurst at the University of acting principal clarinet of the San Francisco Ballet Michigan. He played in the Orchestra, and as guest principal clarinet with the Detroit Symphony throughout . After graduating from the the summer of 1986, joining the San Francisco University of Michigan at Ann Arbor, he continued his Symphony in September of that year. training at DePaul University and was a member of the JAMES LEE WYATT III joined Civic Orchestra of Chicago. A member of the faculty the San Francisco Symphony in of the San Francisco Conservatory of Music, he has 2001 after serving as principal also taught at Stanford University. percussionist of the Honolulu Symphony. A native of Princeton, KY, he received his bachelor’s degree from the University of Michigan and his master’s degree from Temple University. Mr. Wyatt has performed with the Santa Fe Opera, National Repertory Orchestra, Sun Valley Summer Symphony, and the Ojai, Tanglewood, Spoleto festivals.

23 soundbox builders

The San Francisco Symphony is deeply grateful to the following donors who have made generous gifts of $250,000 or more to launch and expand SoundBox since its inception in 2014.

Sakurako & William Fisher Marcia & John Goldman League of American Orchestras Meyer Sound Susan & Nicholas Pritzker

24 LEOR MALTINSKI has been a JONATHAN VINOCOUR member of the San Francisco joined the San Francisco Symphony since 2003. Born in Symphony as Principal Viola in Tel Aviv in 1976, he began 2009, having previously served playing violin at age six. He as principal viola of the Saint studied with Igor Polesitsky in Louis Symphony and guest Florence from 1985 to 1993 and principal viola of the Leipzig then moved to the United States to continue his Gewandhaus Orchestra. A sought-after chamber musical education, first at the Curtis Institute and musician, he is a regular guest of such as festivals the then at Indiana University. He has also studied at the Seattle Chamber Music Society, Marlboro, Juilliard School and the Peabody Conservatory. Mr. Bridgehampton, Salt Bay, and Cleveland Chamberfest. Maltinski has won prizes at several competitions, Mr. Vinocour graduated from Princeton University including first prize at the 1999 Carl Nielsen with a degree in chemistry and from the New England International Violin Competition, an award that Conservatory where he studied with Kim Kashkashian. enabled him to present violin recitals and perform A dedicated teacher, he serves on the faculty of the with orchestras throughout the US and Europe. San Francisco Conservatory of Music as well as the RAUSHAN AKHMEDYAROVA Aspen Music Festival and School. He plays on a 1784 is a native of Kazakhstan and Lorenzo Storioni viola on loan from the San Francisco comes from a family of Symphony. musicians. She won first prize BARBARA BOGATIN joined at the National Violin the San Francisco Symphony in Competition of Kazakhstan, the 1994. Previously she was International Competition of principal cello with the Asia in Tashkent, the UNISA International Milwaukee and New Jersey Competition in Pretoria, and the Geneva International symphonies and played as a Competition. She graduated from the Kazakh State substitute with the New York Conservatory and studied privately at the Philharmonic for ten years. She studied cello in the Conservatory, and in 1994 she received a full preparatory division of the San Francisco scholarship to study at Southern Methodist Conservatory, and received bachelor’s and master’s University. Ms. Akhmedyarova was previously degrees from the Juilliard School. Along with her associate concertmaster of the New Century Chamber neuroscientist husband, she has led workshops on Orchestra and on the faculty of the San Francisco meditation and music practice at Spirit Rock Academy Orchestra. She joined the San Francisco Meditation Center, the Esalen Institute, Stanford Symphony in 2006. University, and in Italy and South Africa. She is a proud parent of two University of California graduates.

25 MARC SHAPIRO is Principal Orchestra. As a member of the Ridge String Quartet, Keyboard of the California he recorded Antonín Dvořák’s piano quintets with Symphony. From 1984 to 2003 pianist Rudolf Firkusny, an RCA recording that won he was San Francisco Symphony France’s Diapason d’Or and received a Grammy Chorus accompanist. In 1998 nomination. He has also recorded Gabriel Fauré’s cello he accompanied the City of sonatas with pianist Earl Wild for dell’Arte records. Birmingham Symphony Chorus Soprano NATALIA SALEMMO on tour in the US and Canada. Mr. Shapiro performs joined the San Francisco frequently with Composers, Inc., Chamber Music Symphony Chorus in 2019 after Sundaes, Sierra Chamber Music Society, Mainly relocating from New York. In Mozart Festival (San Diego), and the Mohonk Festival. December 2019, she performed He holds degrees from the Peabody Conservatory and in Messiah for the first time as a is on the faculty at Mills College. soloist with the South Dakota AMY HIRAGA studied at the Symphony. Other credits include performances as University of Cincinnati and the Zerlina in Don Giovanni with the South Dakota Juilliard School. She has been a Symphony, Gretel in Hänsel and Gretel with Amore member of the Orchestra of and Bronx Opera, First Spirit in Die Zauberflötewith Saint Luke’s and the Orpheus Opera Saratoga, La Fée in Cendrillon, and Frasquita in Chamber Orchestra. Ms. Hiraga Carmen. She received her master’s degree from spent one year as a member of Mannes School of Music. the San Francisco Symphony before returning to the Mezzo-soprano SILVIE East Coast with her husband, San Francisco JENSEN appeared with the San Symphony Associate Principal Cello Peter Wyrick. She Francisco Symphony as the worked as a freelance musician in New York and Nurse in Boris Godunov and as joined the Metropolitan Opera Orchestra in 1991, then alto soloist in J.S. Bach’s Saint rejoined the San Francisco Symphony when she and John Passion and Magnificat. Mr. Wyrick returned to San Francisco in 1999. She is also a member of the San PETER WYRICK has served as Francisco Opera Regular Chorus, where she made her Associate Principal Cello of the solo debut in the role as Lehrbuben in Die San Francisco Symphony, Meistersinger von Nürnberg. She has performed as occupying the Peter & soloist at the Barbican, the Ostrava Days Festival in Jacqueline Hoefer Chair, since Czech Republic, Mendocino Music Festival, and in the 1999. Born in New York to a Lyric Opera Chorus. Ms. Jensen made her solo debut musical family, he began at Carnegie Hall singing J.S. Bach’s Saint Matthew studies at the Juilliard School at age eight and made Passion and later appeared there in Messiah. his solo debut at age twelve. He has been principal cello of the Mostly Mozart Festival Orchestra and associate principal cello of the Opera

26 The SAN FRANCISCO SYMPHONY CHORUS was established in 1973 at the request of , then Production Crew the Symphony’s Music Director; the San Francisco Symphony Chorus, numbering thirty-two professional and more than 120 volunteer members, performs more than twenty-six concerts each season. Louis Magor served as the Chorus’s director during its first Steven Condiotti, Director & Director of Photography decade. In 1982 , assumed the Taylor Joshua Rankin, Editor ensemble’s leadership, and the following year Vance Jason O’Connell & Matt Carr, Audio Producers George was named Chorus Director, serving through Jon Johannsen, Audio Engineer 2005–06. Ragnar Bohlin assumed the position of Luke Kritzeck, Director of Lighting Chorus Director in March 2007. The Chorus can be Adam Larsen, Projection & Graphic Designer heard on many acclaimed San Francisco Symphony Ben Casias & Paul Peralta, Camera Operators recordings and has received Grammy awards for Best Christa Pedersen & Vincent Huergas, Assistant Camera Performance of a Choral Work (for ’s , Johannes Brahms’s German Christopher Wood, Stage Manager Requiem, and ’s Symphony No. 8) and Michael ‘Barney’ Barnard, Stage Technician Best Classical Album (for a collection of works by Igor Denise Woodward, Stage Audio Lead Stravinsky and for Mahler’s Symphony No. 3 and Nick Abreu & Mary Alafetich, Stage Audio Symphony No. 8). Ragnar Bohlin studied conducting Tim Wilson, John Lacy & Rolf Lee, Electricians with Eric Ericson and Jorma Panula, piano with Peter Will Brodhead, Board Operator Feuchtwanger in London, and singing with Nicolai Kim Rooker, Projection Gedda. Founding Artistic Director of the professional Billy Schmidt, WatchOut Operator chamber chorus Cappella SF, Mr. Bohlin currently teaches at the San Francisco Conservatory of Music. Munich Production Crew His guest conducting engagements have included appearances with the BBC Singers, Swedish Radio BAVARIA MUSIKSTUDIOS Choir, São Paulo Symphony in Brazil, Malmö Symphony Matthias Boch, Director of Photography, B.V.K. in , Stavanger Symphony in Norway, and the Daniel Stupar, Assistant Camera Edmonton Symphony in Canada. He received Chorus Ephraim Hahn, Vocal Recording Producer America’s Michael Founders Award. Michael Hinreiner, Vocal Recording Engineer

MEMBERS OF THE SAN FRANCISCO SYMPHONY CHORUS Sopranos Natalia Salemmo, Daphne Touchais, Cindy Wyvill Filmed at Davies Symphony Hall, a venue of the San Francisco Altos Terry Alvord, Silvie Jensen, Karen Carle War Memorial and Performing Arts Center, City and County of Tenors Elliott James Encarnación, Kevin Gibbs, Jimmy Kansau San Francisco, November 11–13 and 16–17, 2020; and Bavaria Bass Michael Taylor, Matthew Peterson, Adam Cole Musikstudios, Munich, , January 10–11, 2021.

Members of the American Guild of Musical Artists

27 Accelerator Fund Founders

The San Francisco Symphony is grateful for the generosity of its Accelerator Fund Founders who have made gifts of $100,000 or more in support of its digital strategy, which includes critical investments in technology, equipment, and programming. To learn more about the digital strategy and the Accelerator Fund’s impact please contact Dan Coleman, Senior Director, Development, 415.503.5445 or [email protected].

Matt & Pia Cohler Sakurako & William Fisher Priscilla & Keith Geeslin The Hearst Foundations Anonymous (2)

28 Emmy Award-winning TAYLOR JOSHUA RANKIN is cinematographer and director an award-winning filmmaker STEVEN CONDIOTTI’s vast and composer of new music, and varied body of work based in the San Francisco Bay includes commercial, narrative, Area. His music has been documentary, and visual effects performed by ensembles across credits. In the past year, his the United States such as Third focus has been on filming online digital content for Coast Percussion, San Francisco Contemporary Music performing arts organizations, including the San Players, Friction Quartet, NYU Marimba Ensemble, Francisco Symphony’s CURRENTS and SoundBox and at institutions including Eastman School of Music series, Throughline: San Francisco Symphony—From and the University of Michigan. He is a member of the Hall to Home, and the Deck the Hall Virtual Oakland-based film production company Bone & Celebration; the Sun Valley Music Festival summer Gold where he serves as in-house composer and broadcast season; and an upcoming production with creative collaborator. As a filmmaker, he has San Francisco Ballet. collaborated with many Bay Area artists and Narrative and documentary films he has ensembles and was the video editor for Nico Muhly’s photographed have appeared at film festivals Throughline with the San Francisco Symphony. Mr. including Sundance, Mill Valley, and the San Francisco Rankin has a master’s degree in music composition International Film Festival. His visual effects from the San Francisco Conservatory of Music where cinematography credits include media projection he studied with composer . material for the San Francisco Opera’s staged production of Heart of a Soldier. He has travelled worldwide filming content for Google, Salesforce, and Splunk, as well as commercials for the Golden State Warriors, San Francisco Giants, and San Francisco Forty-Niners. Prior to becoming a cinematographer, Mr. Condiotti worked as chief lighting technician on major feature films and television series on such films as Blue Jasmine, Milk, Hemingway & Gellhorn, and The Matrix Reloaded and The Matrix Revolutions. His photographic works have been included in exhibits in New York City, Los Angeles, and San Francisco.

29 LUKE KRITZECK has worked ADAM LARSEN is a with artists from diverse documentary filmmaker and disciplines and backgrounds in projection designer. Designs theater, dance, music, circus, include Hal ’s LoveMusik and opera, on stages around on Broadway; Esperanza the world as a lighting and Spalding’s 12 Little Spells production designer. He is national tour; Missy Mazzoli’s currently the resident lighting designer and technical Breaking the Waves at Opera Philadelphia and the advisor for the San Francisco Symphony and has been Prototype Festival; Lee Breuer’s The Gospel at a member of the creative team for numerous Colonus at the Athens, Edinburgh, and Spoleto multimedia Symphony production in past seasons. festivals; Watermill at the BAM Next Wave Festival; Mr. Kritzeck served as the director of lighting at the Haruki Murakami’s The Wind-Up Bird Chronicle at New World Symphony for seven years. With Cirque the Singapore and Edinburgh festivals; Leonard du Soleil, he worked on the touring production Bernstein’s A Quiet Place at Tanglewood; Leoš , in Macau, China on its resident show ZAiA, Janáček’s From the House of the Dead at Canadian and he also served as the lighting director for featured Opera; ’s Turn of the Screw at Seattle performances at the Venetian Macau. Selected design Opera; Bernstein’s Mass at the Los Angeles credits include Chautauqua Opera Company, Philharmonic and Mostly Mozart Festival; and Cincinnati Ballet, Cincinnati Symphony, Cedar Fair numerous credits for the San Francisco Symphony, Entertainment, Opera Theatre and Music Festival of including Britten’s Peter Grimes and the SoundBox Lucca, Lafayette Ballet Theatre, and the Saint Louis series. Mr. Larsen’s documentary Neurotypical, about Symphony. autism from the perspective of autistics, aired on the PBS series POV.

Photos: Christine Alicino, Minna Hatinen, Kim Huynh, Terrence McCarthy, Allison Michael Orenstein, Brandon Patoc, Daniel Stupar, Andres Vargas

30 san francisco symphony

The San Francisco Symphony is widely considered to Esa-Pekka Salonen and the San Francisco Symphony be among the most artistically adventurous and introduce a groundbreaking artistic leadership model innovative arts institutions in the United States, anchored by eight Collaborative Partners from a celebrated for its artistic excellence, creative variety of cultural disciplines: Nicholas Britell, Julia performance concepts, active touring, award-winning Bullock, Claire Chase, Bryce Dessner, Pekka Kuusisto, recordings, and standard-setting education programs. Nico Muhly, Carol Reiley, and Esperanza Spalding. In the 2020–21 season, the San Francisco Symphony This group of visionary artists, thinkers, and doers welcomes conductor and composer Esa-Pekka joins with Salonen and the San Francisco Symphony Salonen as its twelfth Music Director and embarks on to chart a new course of experimentation by a new vision for the present and future of the collaborating on new ideas, breaking conventional orchestral landscape. This exciting artistic future rules, and creating unique and powerful experiences. builds on the remarkable 25-year tenure of Michael February 2021 saw the launch of SFSymphony+, the Tilson Thomas as the San Francisco Symphony’s San Francisco Symphony’s on-demand video Music Director. Tilson Thomas continues his rich streaming service. For more information on the San relationship with the Symphony as its first Music Francisco Symphony, visit sfsymphony.org. Director Laureate. In their inaugural season together,

31 Administration

Esa-Pekka Salonen, Music Director FINANCE ORCHESTRA PERSONNEL & EDUCATION PLANNING Liz Pesch, Chief Financial Officer Rebecca Blum, Senior Director Priscilla B. Geeslin, President Finance & Accounting Education Programs/Youth Orchestra EXECUTIVE Gwendolyn Hasse, Director, Financial Planning & Analysis Ronald Gallman, Director Mark C. Hanson, Chief Executive Officer Christina Magee, Executive Assistant Anastasia Herold, Education Program Manager Kate Bassett, Special Assistant to the Judi Sanderlin, Controller Erin Kelly, Education Programs Associate CEO & Executive Office Salah Sibai, Financial Analyst Joseph Matthews, Education Coordinator Elizabeth Shribman, Chief of Staff Jason Pyszkowski, Associate Director, Information Technology Youth Orchestra Program ARTISTIC Aaron Bennett, Chief Information Officer Matthew Spivey, Chief Programming Officer David Berta, Applications Support Engineer Orchestra Personnel Shivani Chamakura, Manager, Data Engineering Andrew Tremblay, Orchestra Personnel Manager Artistic Planning & Analytics Daniel Zimardi, Assistant Orchestra Personnel Phillippa Cole, Director Aaron Levin, Technical Project Manager & Developer Manager Gregory Hix, Coordinator, Artist Services Shoko Kashiyama, Executive Assistant Human Resources COMMUNICATIONS to the Music Director Steve Leibman, Interim Director Robin Freeman, Senior Director Joseph Woodward, Coordinator Catherine Carter, Business Partner Lisa Zadek, Senior Manager Alexandria Daley, Benefits & Compensation Analyst Archives & Record Management Adrienne Storey, Associate Director Digital Innovation OPERATIONS Kristin Lipska, Digital & Media Archivist Oliver Theil, Head of Digital Innovation Andrew Dubowski, Senior Director Margaret Benedict, SFS Media Label Manager Michele Arnold, Production Manager Editorial Elizabeth Dreeson, Project Manager Tim Carless, Production Manager Steven Ziegler, Director Kim Huynh, Senior Video Producer Casey Daliyo, Production & Tours Coordinator Gayle Ginsburg, Project Manager Zach Schimpf, Associate Producer William Lewis, Parking Attendant Lauren MacNeil, Copywriter Jeanette Yu, Director of Curation Emma Logan, Manager Melodie Myers, Media Asset Manager Public Relations Joyce Cron Wessling, Director Tatyana Filatova, Communications Manager Russell Young, Head Parking Attendant

32 COMMUNITY ENGAGEMENT & Development Operations & Services Marketing & Sales VOLUNTEER SERVICES Chandra Asken, Director Evan Chapman, Digital Marketing Manager Marni Cook, Senior Director Mike Ehrenkranz, Data Integrity Coordinator Hillary Fowler, Marketing Coordinator Laura Bergmann, Associate Director, Advocacy & Kunwoo Hong, Reporting & Data Analytics Specialist Jason Koo, Senior Revenue Manager Community Engagement Maura Timmerman, Associate Director, Development Charles Pickford, Marketing Specialist Laura Knerler, Associate Director, Volunteer Services Operations & Services Jack Wong, Gift Administration Specialist Patron Services DEVELOPMENT Terry Breedlove, Director Dan Coleman, Senior Director Stewardship & Events Meredith Clark, Patron Services Representative Jason Tong, Administrative Assistant to the Irma Ramirez, Director Christina Coughlin, Assistant Box Office Manager Senior Director Megan Anderson, Donor Recognition Coordinator Lorri Ferguson, Patron Services Representative Sherga Kong, Associate Director, Stewardship Danielle Gold, Patron Services Representative Individual Giving Audra Loveland, Associate Director, Events Ruth Goldfine-Ney, Patron Services Representative Rachel Kirley, Director Martina Siniscalco, Events Manager Eddie Gonzalez, Patron Services Representative Julie Ambrose, Senior Major Gift Officer May Stearman, Events Specialist Austin Graziano, Patron Services Representative Liz Gerber, Annual Fund Program Officer Erika Wilson, Development Communications Officer Hilda Kissane, Box Office Manager Pamela Pretlow, Senior Major Gift Officer Sam Koritz, Community & Internal Ticket Coordinator Leslie Razana, Associate MARKETING & SALES Sam Kohl, Patron Services Representative Alexandra Llamas, Senior Director Bryan Martin, Patron Services Representative Institutional Giving Joy Smith, Executive Assistant to Marketing & Michael Matthew, Patron Services Representative Bryan Pangilinan, Director Communications Donald Patterson, Patron Services Representative Ashley Burdge, Coordinator Laurie Peck, Patron Services Representative Rosie Fraser, Associate Director, Corporate Creative Services Carol Sebelius, Benefactor Ticket Coordinator Giving & Sponsorships Larry Williams, Creative Director Philip Toscano, Group Sales Specialist Michele Fromson, Associate Director, Lisa Bogle, Senior Project Manager Nick Utterback, Patron Services Representative Foundation & Government Relations Chelsea Dowling, Digital Web Producer Tunisha Williams, Patron Services Representative Jack Morrow, Senior Graphic Designer Ian Stewart, Patron Services Representative Campaign Megan Guzman, Director, Planned Giving Front of House Chris Shields, Manager, Prospect Research & Jeff Coyne, House Manager Management Robert Johnston, Jr., Senior Store Manager Toby Kahn, Assistant Store Manager Jennifer Mar, Senior Assistant Store Manager

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