contributors O G DESGI N ANGELS / $1,000 and more Mildred Allen Kathryn Stenberg ARTISTIC DIRECTOR Tim Allen Richard Caplin Francoise Stone Anna Presler Martin and Kathleen Cohn Marie Bertillion Collins Mary Wildavsky jEA N ETTE YU: L Philanthropic Fund Christopher and Diane Mark Winges ARTISTIC ADVISOR Thomas and Judith Davies Martha Wise Kurt Rohde Dunworth Margaret Dorfman Gerald and Nancy Wright Point/ with Christine Brandes Judith Flynn Ben Janken and Paul Hein Michael and Suzanne PRESIDENT John and Paula Gambs Audrey Kamrin Ziegler Martin Cohn Louis and Faye Hinze Robert and Anne Kamrin Anonymous Katherine and Aron Sally Landis VICE PRESIDENT Forlorne Hope Fancy (1563-1626) 4 min Knickerbocker Sam Nichols and Laurie San ORGANIZATIONS Jeanette Yu Michael Goldberg guitar Aaron Copland Fund for Thomas Laqueur and Martin SECRETARY Carla Hesse Anna Presler and Leighton Music Ann & Gordon Getty Lena Zentall Therissa McKelvey and Fong Albert Roussel Deux Poèmes de Ronsard, Opus 26 (1924) 7 min Heli Roiha Bill and Carol Rohde Foundation TREASURER Christine Brandes soprano • Stacey Pelinka flute Anonymous Frances Singer Atlanta Chamber Players Susan Shalit John Steinfirst and Sharon The Bernard Osher BENEFACTORS / $500–$999 Collins Foundation BOARD John Dowland Sorrow, stay (1600) and In darkness let me dwell (1612) 8 min Clarence E. Heller Richard Fabian Millicent Tomkins Tim Allen Michael Goldberg guitar • Christine Brandes soprano Denise Filakosky and Michele and Kwei Ü Charitable Foundation Tom Dunworth Richard Bergmann Abby Wasserman and Grants for the Arts; City Judith Flynn Catherine McGuire Potter Wickware and County of San Kate Gambs Knickerbocker Erik Ulman this until (2009) 11 min Parker Monroe and Teresa Francisco Anonymous Andrea Plesnarski Stacey Pelinka flute Darragh Meet the Composer/ Marilyn Zivian Tom Nugent and Andrea FRIENDS / up to $124 New Music USA Plesnarski Alberto and Eva Bertoli Oakland Fund for the Arts PUBLICITY 5 min Henry and Judith Presler Alan and Kerry Bostrom Phyllis C. Wattis Genevieve Antaky John Dowland Farewell (1563-1626) Karen Rosenak Patricia Brison Foundation OPERATIONS Michael Goldberg guitar Potter Wickware John F. Brown San Francisco Friends of Phyllis Kamrin Luke and Ya Mei Yu John and Mary Caris Chamber Music PROGRAM NOTES Lena Zentall Jennifer Easton and Victor Schwab Charitable Fund Stacey Pelinka INTERMISSION Anonymous (2) Lagrassia Zellerbach Family SOCIAL MEDIA Mary C. Falvey Foundation Jeanette Yu J. S. Bach Sich üben im Lieben from Cantata BWV 202 3 min SUPPORTING PARTNERS / Jo Floyd Lena Zentall PHOTOGRAPHY Christine Brandes soprano • Andrea Plesnarski oboe $250–$499 Elizabeth Fracchia Recent contributions Ross Armstrong Judith Harding may not yet be reflected. Jeanette Yu • Leighton Fong cello • Katherine Heater harpsichord MARKETING & WEBSITE Jeffrey and Katherine H. Barr Irwin and Agatha Hoff Ross Bauer Martha and Vaughan Jones Lena Zentall Yu-Hui Chang and Bill Beck Joan Kahr Elliott Carter Sonata for Flute, Oboe, Cello, and Harpsichord (1952) 16 min Andrew Clason and Sherrod Michael Kamrin and Katie See fall gala event Stacey Pelinka flute • Andrea Plesnarski oboe Blankner Karl and Margaret Kohn Sarah Knutson • Leighton Fong cello • Katherine Heater harpsichord Peter Krag October 23 6:30 - 9 PM Olivia Neel and Stephen Mary Logger Hartzog Katherine Lonergan Left Coast plays Schumann Piano Trio at the historic J. S. Bach Bete aber auch dabei from Cantata BWV 115 (1724) 7 min Paige Rogers and Rob Swedenborgian Church, a Maybeck building with gorgeous Susan Moon Christine Brandes Stacey Pelinka Leighton Fong Melrose Joan Murray acoustics. Last year’s gala sold out. Early ticket purchase advised. soprano • flute • cello Janet Pelinka Natalie G. Neilson $150. Contact Martin Cohn at [email protected]. • Elisabeth Reed violoncello piccolo • Katherine Heater harpsichord Linda and Will Schieber Emily Onderdonk Louise Shalit Wayne Peterson Susan Shalit Ann and Bill Putnam Robert Richter next concert PARTNERS / $125–$249 Michael Sack Stan Adler and Lynn Marilyn San Martin thank you to our concert sponsors! Jacobs Carl Schimmel Left Coast String Bands Jean Ahn and Ryan Kim June Schneider Music of Meyer, Ligeti, Brahms, Rohde Sunday, September 15, 2013 7:00 P.M. Monday, September 16, 2013 8:00 P.M. Share your thoughts on music and more with the Mill Valley: 142 Throckmorton Theatre 142 Throckmorton Theatre, Mill Valley SF Conservatory of Music, San Francisco AFTER The Left Coast musicians at our after-concert gathering! Concert generously sponsored by Concert generously sponsored by Judith Flynn. cert SUN 12/8/13 • 7PM Con Following tonight’s concert in SF, meet us for food and drinks at Martin & Kathleen Cohn. SAUCE, located just down the street at 131 Gough, between SF: Dennis Gallagher Arts Pavillion Oak and Page. See you there! MON 12/9/13 • 8PM Left Coast thanks Whole Foods SOMA for donating refreshments for our concerts. guest artist biographies notes

SOPRANO Noted for her radiant, crystalline voice and John Dowland (1563-1626): Works for Guitar and Johann Sebastian Bach (1685-1750): Arias Elliott Carter (1908-2012): Sonata for Flute, Oboe, superb musicianship, soprano Christine Brandes Voice Cello, and Harpsichord (1952) brings her committed artistry to repertoire ranging ne aspect of Bach’s work as cantor in Leipzig ohn Dowland (1563-1626) was one of England’s from the 17th century to newly composed works was to perform a cantata each Sunday based lliott Carter is an original voice in American music, greatest composers and lutenists, as well as a O and enjoys an active career in North America and abroad, J on the readings of the Lutheran service for that particularly remarkable for his innovations in ground-breaking innovator who effectively created E performing at many of the world’s most distinguished festi- particular day. Bach composed the cantata Mache meter and harmony, and for his long, prolific life. the English -. Known throughout Europe as vals and concert series. She has performed with the Wash- dich, mein Geist, bereit (BWV 115) in his second year He wrote fourteen compositions following his 100th “the English Orpheus” for his artistry and skill, he ington National Opera, and the Arizona, Portland, Seattle in Leipzig for the 22nd Sunday after Trinity. That birthday in 2008, and died last year at the age of held a variety of court positions--notably an eight- Opera Companies, as well as the Chicago and Tokyo Sym- year, Bach composed a cycle of chorale cantatas, begun on the first 104, only a few months after finishing his last work. phony Orchestras, the Los Angeles Philharmonic, the Cleve- year stint as lutenist at the Danish court. Dowland is famous for the Sunday after Trinity of 1724. The cantata is based on a hymn in land Orchestra, Tafelmusik and Philharmonia Baroque. Ms. passionate and almost obsessive melancholy which permeates his ten stanzas by Johann Burchard Freystein (1695), which expands a According to Elliott Carter, the Sonata was “written during a time Brandes’ interest in a wide range of music is evidenced by music. Although clearly an affectation of the time, it was one which single theme related to the Gospel: be prepared by awareness and (1945-55) when I was preoccupied with the time-memory patterns her repertoire, from John Adams’ El Niño, and Honegger’s drew an acutely personal response from Dowland, whose personal prayer for the arrival of the Lord. of music, with rethinking the rhythmic means of what had begun to Jeanne d’Arc, to St. John Passion, Mahler’s Symphony No. 2, motto was “Semper Dowland, semper dolens.” Die Zauberflöte, and L’Incoronazione di Poppea. seem a very limited routine used in most contemporary and older Bete aber auch dabei Pray nevertheless also Western music…The result was a way of evolving rhythms and To an Elizabethan, a “Fantasy” or “Fancye” was a purely Mitten in dem Wachen! during your vigil! rhythmic continuities, sometimes called ‘metric modulation,’ worked HARPSICHORD Katherine Heater frequently plays instrumental work in which the composer could literally follow his own Bitte bei der großen Schuld Beseech, for your great guilt, deinen Richter um Geduld, mercy from your Judge, out during the composition of the Cello Sonata (1948) and further with early music groups such as Magnificat and Fancy and make an expressive and varied piece of music without Soll er dich von Sünden frei that He make you free from sin developed in the harpsichord sonata. Voices of Music. She has performed throughout the any restrictions of form. The chromaticism of Forlorne Hope Fancy is Und gereinigt machen! and purify you! United States, including with Catacoustic Consort daring and very innovative for the time, reminiscent of the “The music starts, Risoluto, with a splashing dramatic gesture whose in Ohio, at the Sun Valley Summer Symphony in Idaho, and of Italian composer Gesualdo. The fantasy begins in deep subsiding ripples form the rest of the movement. The Lento is an at the Berkeley Early Music Festival, Bloomington Early melancholy and moves toward a florid, rapid finish. Forlorne Hope The history of the Wedding Cantata is more obscure. From various expressive dialogue between the harpsichord and the others with Music Festival, and the Tropical Baroque Festival of Miami. Fancy is built on a descending chromatic bass, whereas the bass of clues, including the poetic style attributed to Salomo Franck and an undercurrent of fast music that bursts out briefly near the end. Ms. Heater’s interest in contemporary music dates back to Farewell is an ascending chromatic line. Thomas Weelkes borrowed college when she performed with Berkeley Contemporary Bach’s method of notation, Joshua Rifkin surmises that the cantata The Allegro, with its gondolier’s dance fading into other dance part of the final section for his Cease sorrows now, setting it Chamber Players; she has performed works by Britten, Dan was written during Bach’s period at the ducal court in Weimar, movements, is cross-cut like a movie -- at times it superimposes one to the text, “I’ll sing my faint farewell.” Becker, Henri Dutilleux, and John Thow on harpsichord and 1708-13. Also, due to the lack of reference to a patron, it seems dance on another.” organ, and has recorded Jorge Liderman’s Ut re me fa so that the cantata was written for friends. The aria Weichet nur, Dowland’s expressive are a continuous web of polyphony, la for Albany Records. Also an active teacher, she teaches betrübte Schatten musically reflects the imagery of Franck’s poetry. Erik Ulman: this until (2009) harpsichord privately and at the University of California, unwinding in long lines drawn out by suspensions and prolonged by avoidance of direct cadences, superbly subtle in harmonic and Berkeley. rik Ulman is a Lecturer in Music at Stanford Uni- rhythmic nuance. In Sorrow, stay, Dowland’s celebrated misery is Give way now, dismal Weichet nur, betrübte Schatten, versity. He studied composition at UCSD, working VIOLONCELLO PICCOLO Elisabeth Reed teaches Baroque highlighted by a sustained vocal line that gives way to declamation Frost und Winde, geht zur Ruh! shadows, E and chords at the words ‘pity, pity, pity’ and ‘no hope, no help.’ Florens Lust Frost and wind, go to rest! principally with Brian Ferneyhough, and with Helmut cello and viola da gamba at the SF Conserva- Will der Brust Flora’s delight Lachenmann at the Stuttgart Musikhochschule on tory of Music, where she is co-director of the Nichts als frohes Glück will grant our hearts a DAAD grant. His music has been performed in Baroque Orchestra. A member of the American Sorrow stay, lend true repentant tears, verstatten, nothing but joyful fortune, Bach Soloists, Voices of Music, and Wildcat , she has To a woeful wretched wight, Denn sie träget Blumen zu. for she comes bearing flowers. concerts and festivals internationally by performers Hence, despair with thy tormenting fears: including the Arditti Quartet, Séverine Ballon, Ensemble Plus-Minus, also appeared with the Seattle, Portland, and Philharmonia O do not my poor heart affright. Baroque Orchestras, and at the Boston Early Music Festi- Pity, pity, pity, help now or never, the New York New Music Ensemble, the sfSoundGroup, and SO- Mark me not to endless pain, NOR. In 2006 Ulman was awarded a commission from the Fromm val, the Berkeley Early Music Festival, the Ojai Festival, the Albert Roussel (1869-1937): Deux Poèmes de Ronsard, Whidbey Island Music Festival, and the San Luis Obispo Alas I am condemned ever, Foundation at Harvard; he has also received support from Subito No hope, no help, there doth remain, Opus 26 (1924) and Meet the Composer. Ulman has published essays on music, film, Mozart Festival. A graduate of the North Carolina School But down, down, down, down I fall, of the Arts, the Oberlin Conservatory, the Eastman School And arise I never shall. 924 marked the 400th anniversary of the birth of and literature, recently co-editing with Mark Applebaum an issue of of Music, and Indiana University’s Early Music Institute, she 1poet Pierre de Ronsard, the French Renaissance Contemporary Music Review on compositional pedagogy; he is also can be heard on the Virgin Classics, Focus, and Magna- In darkness let me dwell has a restless counterpoint in its poet who, as the foremost member of the group La a violinist with the sfSoundGroup. Since 2004 Ulman and Marcia tune recording labels. She also teaches baroque cello and accompaniment beneath long sustained vocal phrases. The song Pléiade, launched a movement to rejuvenate French Scott have organized ten Poto Festivals, a forum for artists in diverse viola da gamba at the University of California at Berkeley. builds in emotional intensity which bursts out uncontrollably at the poetry by infusing the French language with the spirit media. Highlights of the current season include performances of climax. The final cadence, being Phrygian, gives no promise of rest of classical Greek and Latin poetry. Ronsard was Haydn trios with Ian Swensen and Ken Slowik at the Smith- or ease. The song typifies Dowland at his best: brooding melancholy a contemporary of Dowland. To celebrate his 400th birthday, the About this until, Erik writes: “The words this until occur in a poem by sonian Institution in Washington D.C.; 17th century Ger- and technique pushed as far as it will go to achieve an intensity of French journal La Revue musicale published a commemorative issue Heather Gordon, whose work has often served me as a guide and man chamber music with Monica Huggett in Portland, OR; expression unequalled in England until Purcell. with a supplement containing new settings of Ronsard’s poems by point of reference: ‘Time as having // force.’ The piece is dedicat- French Baroque chamber with Byron Schenkman and Ingrid composers including Ravel, Honegger, Dukas, and Roussel. Roussel ed affectionately to Stacey Pelinka and was written in the summer Matthews, and the St. John Passion with Steven Stubbs and In darkness let me dwell; the ground shall sorrow be, wrote Rossignol, mon mignon for the supplement, and followed it a of 2009.” Pacific Musicworks in Seattle, WA. She is a Guild-certified The roof despair, to bar all cheerful light from me; Ciel, aer, et vens, practitioner of the Feldenkrais Method of Awareness The walls of marble black, that moist’ned still shall weep; few days later with a setting of another Ronsard Through Movement, with a focus on working with musicians My music, hellish jarring sounds, to banish friendly sleep. poem. Roussel’s style is deeply informed by Debussy and Ravel, and performers. Thus, wedded to my woes, and bedded in my tomb, but with a more classical, formal aspect, well suited to the old poetic O let me dying live, till death doth come, till death doth come. forms of Ronsard. (See insert for text of poems.) Program notes: Stacey Pelinka In darkness let me dwell.

20132014 season 21, program 1 - september 2013