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Point/Counterpoint with Christine Brandes

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contributors N DESGI O G O ANGELS / $1,000 and more Mildred Allen Kathryn Stenberg ARTISTIC DIRECTOR ETTE YU: L Tim Allen Richard Caplin Francoise Stone Anna Presler N Martin and Kathleen Cohn Marie Bertillion Collins Mary Wildavsky jEA 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/Counterpoint 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 John Dowland 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 Richard Fabian Clarence E. Heller 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 Anonymous Francisco Andrea Plesnarski Stacey Pelinka flute Darragh Meet the Composer/ Marilyn Zivian Tom Nugent and Andrea FRIENDS / up to $124 New Music USA Alberto and Eva Bertoli Oakland Fund for the Arts PUBLICITY Plesnarski 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 lute-song. 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 madrigals “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 madrigal 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.
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