presented, in part, by chevron Haydn & from Mads Samuel Barber Symphony No. 1, Op. 9

Friday, February 20, 8:00 pm Bryan Nies, conductor Paramount Theatre, Oakland Mads Tolling Begejstring (Excitement) (World Premiere; New Visions/New Vistas Commissioning Project, supported by a grant from The James Irvine Foundation and The National Endowment for the Arts) I. “Muligheder” (Possibilities) II. “Forståelse” (Understanding) III. “Jubel” (Jubilation)

Mads Tolling, violin

INTERMISSION Franz Josef Haydn Mass in C major, Hob. XXII:9 (Missa in tempore belli: Mass in Time of War) I. Kyrie: Largo--Allegro moderato II. Gloria Gloria in excelsis Deo: Vivace Qui tollis peccata mundi: Adagio Quoniam tu solus sanctus: Allegro Change III. Credo Credo in unum Deum: Allegro Et incarnatus est: Adagio Et resurrexit: Adagio her life. IV. Sanctus: Adagio--Allegro con spirito V. Benedictus: Andante VI. Agnus Dei Agnus Dei, qui tollis peccata mundi: Adagio Music education teaches Dona nobis pacem: Allegro con spirito--Più presto confidence, teamwork, and Soloists from Center’s Adler Fellowship Program: focus, which will help her Julie Adams, soprano overcome any challenge. Zanda Švede, mezzo-soprano Chong Wang, tenor Invest in Oakland East Mads Tolling Anthony Michael Read, bass Bay Symphony's music Oakland Symphony Chorus (Lynne Morrow, Chorus Director) education programs. Pacific Boychoir Academy (Kevin Fox, Artistic Director) Fundraising Season Media Sponsors: Oakland Magazine, KDFC, East Bay Express Season Guest Artist Accommodations provided by: Oakland Marriott City Center The 2014-2015 season is supported by grants from The William and Flora Hewlett Night is Foundation, The James Irvine Foundation, the National Endowment for the Arts, and the City of Oakland’s Cultural Funding Program. February 20. Michael Morgan, Conductor

VIII oakland east bay symphony oakland east bay symphony IX Oakland East Bay Symphony Orchestra Oakland Symphony Chorus Michael Morgan, Music Director & Conductor DR. Lynne Morrow, Chorus Director Bryan Nies, Assistant Conductor AltoS Patricia Ravarra Deborah Lewis Jerry Reynolds FIRST VIOLIN VIOLA OBOE BASS TROMBONE Eva Arce Annie Shun Linda Manzeck Elizabeth Sargent Dawn Harms, Margaret Titchener, Andrea Plesnarski, Ryan Black Judith Berlowitz Mary Simon Alice McCain Steven Schultz Concertmaster Principal Principal Ginny Blumberg Monique Stevenson Laura Miller Jim Stenson Vivian Warkentin, Darcy Rindt, Robin May TUBA Becky Bob-Waksberg Loni Williams Jewelz Moyer Daniella Urban Asst. Concertmaster Asst. Principal Scott Choate, Rena David Linda Mrnak Ted Vorster Jeremy Preston, Janice Negherbon ENGLISH HORN Principal Robin Dolan Soprano Donna Oliver Assoc. Concertmaster Betsy London Denis Harper Yvonne Donnelley Bobbie Altman Helen Pappas Bass Kristina Anderson David Gilbert HARP Niki Elenbaas Natalie Balfour Erica Peck Charlie Crane Patrice May Patricia Whaley CLARINET Natalie Cox, Margery Eriksson Barbara Berry Suzanne Reinfranck Sheldon Greene Carla Picchi Stephanie Railsback Diane Maltester, Principal Nava Geula Veronica Burke Marlene Rogers Don Howe Ellen Gronningen Principal Anna Ghezzi Maxine Butler Nanci Schneidinger Marty Landsdorf Deborah Spangler CELLO Ginger Kroft PIANO Margaret Hegg Mayotis Cephas Katheryn Singh Bill Leong Emanuela Nikiforova Daniel Reiter, Jeff LaDeur, Linda Hirschhorn Susan Chan Chung Taylor Shakir Mackey Natasha Mikhijani Principal BASS CLARINET Principal Natasha Hull-Richter Jooeun Choi Cynthia Webb-Beckford Karl Malamud-Roam Hee-guen Song Joseph Hébert Jeff Anderle Karen Ivy Nancy Cotteral Gia White John Manzeck Stephanie Bibbo Michelle Kwon ORGAN Diana Kay Elspeth De Shaw Marianne Wolf Michael Nathanson Rebecca Roudman BASSOON Katherine Heater, Amy Kessler Joanne Drumm Jacky Young Jim Nelson SECOND VIOLIN Elizabeth Vandervennet Deborah Kramer, Principal Jeanne Korn Christine Dukey Joe Orr David Cheng, Michael Graham Principal Victoria LeBruno Jane English Tenor Ken Saltzstine Principal Jeff Parish David Granger TIMPANI Shirley Lindley Charmaine Ferrera David Berlant Mark Slagle Sharon Calonico, Paul Rhodes Fred Morgan, Linda Lipner Dolores Gilchrist Lavora Copley John Tuttle Asst. Principal CONTRA BASSOON Principal Theresa Lo Ellen Hahn Jim Hasler Calvin Wall Candace Sanderson STRING BASS Carolyn Lockhart Nancy Lowenthal Carol Henri Bertie Jackson Baker Peeples Patrick McCarthy, PERCUSSION Katie Moore Susan Hernandez Bernie Juat *Section Leaders Sergi Goldman-Hull Principal HORN Ward Spangler, Leah Murphy Barbara Howard-Johnson Curtis Lawler +Coach Cecilia Huang Carl Stanley, Meredith Brown, Principal Mary Oram Carol Hudson Arnold Lee Robert Donehew Asst. Principal Principal Sylvia Parker Judy Iverson Barbara Miller Alison Miller Randall Keith Eric Achen DRUM SET Tamra Perrione Susan Lambert Chris Poston Jory Fankuchen Andy Butler Stuart Gronningen Eric Garland David Arend Ross Gershenson Abraham Gumroyan PERSONNEL MANAGER TRUMPET Carl Stanley Pacific Boychoir Academy FLUTE William Harvey, Alice Lenaghan, Principal LIBRARIAN Principal Leonard Ott Paul Rhodes Sopranos and Altos Kayman Jeffley Cap Sharon Atom Lai Costa Leslie Chin Chris Barnes Moses Abrahamson Avi Kabir Bryan Tierney Matthew Lee TECHNICAL DIRECTOR James Applegate Emmet Keady Elliot Vaughan Elijah Levy PICCOLO TROMBONE Seth Ducey Noah Boonin Owen Liquori Jameson Wang Evan Losito Emma Moon Bruce Chrisp, Soren Boucher Nick Main Ryan Wang William Lundquist Principal RECORDING ENGINEER Jeroen Breneman Draven McGill Gregory Martin Thomas Hornig Tom Johnson, Léo Corzo-Clark Ocean Milan Tenors and Basses William Mitchell Johnson Digital Maxim Culbeaux Milo Mohr Henry Abrahamson Cameron Miya Neil Evans Thomas Mosley Calvin Achorn Julian Nesbitt Sivan Ali Talwalker Noah Patton Ike Alexander Ian Pitman Faruqui Louis Pecceu Adam Arega Zachary Presberg Quinn Freidenburg Daniel Pliskin Liam Cochrane Zachary Salsburg-Frank Theo Frey Josiah Raffel-Smith Daniel DeBare Abraham Sanchez Spencer Fulweiler Andrew Reinfranck Andrew Dogaru Nathan Savant Eric Getreuer Max Ruiz Julian Gandhi Sam Siegel Nathan Ho Aaron Sanchez George Goodhead Brendan Singer Jacob Itsekson David Schneidinger

X oakland east bay symphony oakland east bay symphony XI Guest Artists soloists from the san francisco opera center's adleR fellowship program

In 2007, Mads Tolling started his own trio and immediately recorded the album “Speed of Light.” The following year the trio expanded to a quartet, including top Bay Area musicians Mike Abraham on guitar, George Ban-Weiss on bass, and Eric Garland on drums.

Mads Tolling Quartet has performed all over the U.S., including Yoshi’s San Francisco & Oakland, Herbst Theatre, Russian River Jazz Festival, Yerba Buena Gardens, Grass Valley Performance Arts, Blues Alley in , DC, and the Monterey Jazz Festival. MTQ toured nationally and internationally in ’13-’14.

Mads grew up in Copenhagen, Denmark, and moved to the U.S. at the age of 20 to pursue jazz studies. He studied under violinist , and he graduated summa cum laude in 2003 from in Boston. While still attending Berklee, the renowned jazz violinist Jean-Luc Ponty recommended Mads to join ’s band. Since then, Mads has performed more than one hundred concerts with Mads Tolling, violin Clarke worldwide, including the Newport Jazz Festival Julie Adams, soprano Zanda Šve¯de, mezzo-soprano and the Hollywood Bowl, and appears on Clarke’s (Burbank, ) (Valmiera, ) ads Tolling, internationally renowned violinist and album: “Toys of Men.” Mcomposer, a former member of both Turtle Island winner of the 2014 National atvian mezzo-soprano Zanda Šve¯de is a second-year Quartet and bassist Stanley Clarke’s band, has spent most Besides his activities as a performer, Mads Tolling A Council Auditions, soprano Julie Adams is a LAdler Fellow and an alumna of the 2013 Merola of his professional life touring internationally. Since is an accomplished composer. In addition to his first-year San Francisco Opera Adler Fellow and an Opera Program. She made her San Francisco Opera 2007, Mads has led his own group, Mads Tolling Quartet. original writing on his two most recent albums, Mads alumna of the 2014 Merola Opera Program, where she debut as Flora Bervoix in last summer’s La Traviata, and “The Playmaker,” released in the fall of 2009, features arranged one of his compositions for saxophonist performed the role of Blanche DuBois in A Streetcar will return as Thisbe in Rossini’s La Cenerentola this Stanley Clarke and jazz greats Russell Ferrante and and string orchestra. Of his three prior Named Desire. During her studies with César Ulloa at fall. Roles in her repertoire include María (Piazzolla’s Stefon Harris. A brand new MTQ album, “Celebrating recordings of original material, one features the the San Francisco Conservatory of Music, where she María de Buenos Aires), Endimione (Cavalli’s La Jean-Luc Ponty – Live at Yoshi’s,” was released in May, legendary pianist . Mads has recorded completed bachelor’s and master’s degrees, she performed Calisto), and the title role in Massenet’s Cléopâtre. 2012. Mads has been featured on NPR’s Morning with vibraphonist , and appears on R&B the roles of Blanche in Les Dialogues des Carmélites, Mimi On the concert stage she has performed solo roles in Edition, and his recordings have received rave reviews in singer Teena Marie’s recording “La Dona” and on jazz in La Bohème, Fiordiligi in Così fan tutte, and Lauretta Pergolesi’s Stabat Mater, Vivaldi’s Gloria, and Liszt’s Downbeat Magazine, Strings Magazine, the Washington vocalist Ann Hampton Callaway’s “At Last.” He has in Gianni Schicchi. Other credits include Lia (Debussy’s Missa Coronationalis. Šve¯de has studied at the Latvian Post & the San Francisco Chronicle. He has performed additionally contributed numerous arrangements and L’Enfant Prodigue) at the International Vocal Arts Institute Academy of Music in Riga, the Manhattan Summer with , , & compositions to ’s repertoire. in Tel Aviv; Pamina (Die Zauberflöte) at the Music Voice Festival in New York, Scuola Italia in Italy, and Paquito D’Rivera. Academy of the West in Santa Barbara; and Magnolia the Tyrolean Opera Program in Austria. Mads has been a thriving force in the educational aspects Hawks (Show Boat) and Rose (Street Scene) with the In 2006 and 2008, during his nine years as part of of jazz and improvisation. He has been active as a Oakland East Bay Symphony. Adams is a former studio Turtle Island Quartet, Mads won two Grammy awards Yamaha clinician and has been involved in workshops, artist with Opera Santa Barbara. for Best Classical Crossover album with the recordings coachings and master classes throughout Canada and “4+Four” and “A Love Supreme – The Legacy of John the U.S. Since 2010, Mads has been on faculty at Coltrane.” Mads has received Denmark’s Sankt Annae’s Berkeley’s Jazzschool Institute, mainly focusing on Award for Musical Excellence as well as grants from spreading the knowledge of jazz and groove oriented Queen Margaret, Sonning Foundation and the Berklee styles to string players of all ages. Elvin Jones Award. In his spare time, Mads enjoys tennis, golfing and hiking. In 1999, together with his father, he climbed Mt. Kilimanjaro in Tanzania.

XII oakland east bay symphony oakland east bay symphony XIII soloists from the san francisco opera center's adleR fellowship program Pre-concert Lobby Performer MUSE Orchestra

he after-school MUSE Orchestra is one component Tof Oakland East Bay Symphony’s MUSic for Excellence (MUSE) program. Aimed at 4th-6th graders, the MUSE Orchestra is open to students served by our 19 in-school mentoring program sites as well as non-MUSE school sites, ensuring that all Oakland students have the opportunity to participate in this all- city orchestra. This weekly program is designed to serve as a first training ground for the orchestral experience while building the confidence and self-esteem of our young performers. The program is tuition-free to all participants because it is fully sponsored by the Symphony and hosted by Franklin Elementary School and the Oakland Unified School District.

During the 2014-15 season, participating students unite from the following 11 Oakland schools to form the MUSE Orchestra: Chabot, Cleveland, Franklin, Glenview, Manzanita, and Sequoia Elementary Schools, Chong Wang, tenor Anthony Michael Reed, bass and United for Success Academy, Bret Harte, Edna (Shijiazhuang, China) (Alexandria, Minnesota) Brewer, Montera, and Westlake Middle Schools.

n alumnus of the 2014 Merola Opera Program, tenor ass Anthony Reed is a first-year San Francisco Opera AChong Wang is a first-year San Francisco Opera BAdler Fellow and an alumnus of the 2014 Merola Pacific Boychoir Academy Adler Fellow. He performed with the Merola Opera Opera Program. Roles in his repertory include Sarastro Program excerpts as Goro (Madama Butterfly), Don (Die Zauberflöte), Truffaldin (Ariadne auf Naxos), Don José (Carmen), and the Duke of Mantua (). Basilio (Il Barbiere di Siviglia), Dulcamara (L’Elisir acific Boychoir Academy (PBA) was founded as an He has performed a number of roles at ’s d’Amore), Don Magnifico (La Cenerentola), and the Pafter school program in 1998 with six boys, and National Centre for the Performing Arts, including the Four Villains (Les Contes d’Hoffmann), among others. today comprises over 170 young men, ages 4-18. The Steersman (Der Fliegende Holländer), the Messenger Reed received a 2011 Metropolitan Opera National music staff is selected for their expertise with boys’ voices (Aida), Dr. Caius (Falstaff ), Ruiz (Il Trovatore), and Council Auditions Regional Encouragement Award and their passion for instilling a desire for achievement Rodolfo (Guglielmo Tell ). He is a graduate of the and has been a young artist at the Wolf Trap Opera and a love of music in the choristers. Over the past Conservatory of the People’s Liberation Army in China. Studio and the Seagle Music Colony, in addition to 15 years, PBA has become known for its rich sound, his studies at the Curtis Institute of Music and the musicianship, phrasing, and talented soloists. University of Wisconsin. In addition to the extensive after-school training program, the Pacific Boychoir Academy is a full-time day school for grades four through eight, the only choir school in the Western USA.

oaKLand symphony chorus PBA has appeared frequently with the , performing under the direction of Michael Dr. Lynne Morrow, Tilson Thomas, , Robert Spano, David Robertson, , Charles Dutoit, Herbert Chorus Director Blomstedt, Donato Cabrera, Don Davis, and . Along with the San Francisco Girls Chorus, he Oakland Symphony Chorus enriches our PBA recorded Mahler’s Third Symphony with the SFS, Chamber Orchestra, the Marcus Shelby Jazz Orchestra, Tcommunity through high quality musical performances which was awarded the Grammy for Best Classical the Lithuanian State Orchestra, the Omaha Symphony, and educational workshops that raise appreciation Album in February, 2004. In January 2010, the SFS the Drakensberg Boys Choir, and the choirs and and understanding of choral music, while providing recording of Mahler’s Eighth Symphony, featuring the orchestras of UC Berkeley and UC Davis. opportunities for people who love to sing. Established SF Symphony Chorus, the San Francisco Girls Chorus, in 1958, the 120-member Oakland Symphony Chorus and PBA, was awarded Grammys for Best Choral A regular touring schedule has taken the Pacific has been recognized as one of the East Bay’s finest choirs Performance and Best Classical Album. Boychoir throughout the USA and to countries and a premier resource for continuing education in on six continents. PBA has several self-produced the choral arts. The Chorus performs regularly with PBA has also sung with many other groups, including concerts annually, has performed at community its partners, the Oakland East Bay Symphony and the Oakland East Bay Symphony, the Simón Bolívar events such as the 2013 Bay Bridge Opening and the Oakland Symphony Youth Orchestra, as well as with a Symphony Orchestra, the San Francisco Opera, the Oakland A’s playoffs, and has offered dozens of free variety of other Bay Area orchestras. National Symphony Orchestra of Brasil, the Moscow performances for local schools every year.

XIV oakland east bay symphony oakland east bay symphony XV program notes program notes

Movement I, “Muligheder” (Possibilities) The possibilities are endless in music: where to go, how long to stay, what to say…. and we, the musicians, decide.

This movement highlights different instrument groups of the symphony and juxtaposes groove-based ostinatos in the heavy brass with chamber music-like fugues of the string quartet. It reaches its climax with a challenge between violin and trumpet, gradually ascending towards the end.

Movement II, “Forståelse” (Understanding) Understanding why we play music, what it is we have to say, and who we are as musicians and artists: these questions can only be answered over a lifetime. I would like to thank my mentors, who have helped me find my way to a deeper understanding of music, Barber Tolling and of myself. Thanks to Stanley Clarke, Jean-Luc Haydn Ponty, members of the Turtle Island Quartet, and my Mom and Dad, who first introduced me to jazz short passacaglia based on the first theme (introduced Symphony No. 1, Op. 9 listening to a cassette tape of Miles Davis. Austria at the time was mobilizing for war with France, by the cellos and double basses), over which, together having suffered humiliating defeats in Italy and with figures from other themes, the closing theme Samuel Barber (1910-1981) The second movement highlights the simplicity of a southern Germany. Indeed, Napoleon’s armies were is woven, thus serving as a recapitulation for the beautiful melody and its unhurried, intimate message threatening to invade Vienna. The Mass was first ive me a place to live in the country and a peaceful entire symphony.” of calm, serenity, and allure. The intro’s moaning blues performed in the Piarist Church of Maria Treu in room with a piano in which to work, and I ask for “G lines in clarinet and violin plant the seed for things Vienna on December 26, 1796. nothing more,” said Barber after graduating from the "Begejstring" to come. Curtis Institute. The Institute’s founder, Mary Louise In his liner notes to the Richard Hickox recording, Curtis Bok, promptly invited him to spend the summer New Work for Jazz, Violin Movement III, “ ” (Jubilation) David Wyn Jones writes: “‘In tempore belli’ first suggests of 1935 at her estate near Rockport, Maine, and there Jubel and Orchestra Sometimes as a musician, we reach a level of joy when itself, very subtly, in the Benedictus. Traditionally, the he began his First Symphony. While there he also playing that words cannot describe. Those are rare text of this movement was set indulgently, with an learned that he had won the American Prix de Rome, Mads Tolling (B. 1980) moments to come by, to be cherished even more because expansive, lyrical style and an atmosphere that was which meant $2500 and free living quarters in Rome. of their fleeting occurrences. gently ecstatic. Here, however, the opening orchestral He sailed for Italy in August, taking his unfinished egejstring” is a Danish word which when translated introduction in C minor, with its short phrases leading score with him. “Bto English means excitement, enthusiasm, gusto, to a powerful climax, suggests an entirely different and passion. I have entitled my composition Begejstring The third movement is a bit of a fiddle hoedown that crosses into a boogie-woogie blues. All men on deck, mood; when the four solo voices enter it is not with By November of 1936, Barber had completed the because it encompasses who I am, what I am, and where senses heightened, watch out! expansive melodies but with a comparatively short Symphony. It was introduced by Bernardino Molinari I am in this moment, with my music and my evolving motif, nervously shared between all four voices. Later, and the Augusteo Orchestra on December 13, 1936. growth as an artist. Having grown up in Copenhagen, “ ” is dedicated to all those who have made the music turns to C major, yet the memory of the The following year Artur Rodzinski conducted the my Danish heritage and background is inherent to my Begejstring me feel that fervor, zeal, and excitement when sharing unsettling C minor remains. American premiere with the Cleveland Orchestra and perspective as a musician and a composer, and provides music on this odyssey I have been on ever since I started later performed the work at the . In me with the foundation from which I continue to playing the violin at six years old. “In the following Agnus Dei the menace is more 1942 Barber revised the Symphony and this version expand my landscape and horizons. The excitement explicit; the three traditional statements of the prayer was first played by Bruno Walter and the New York I felt when I wrote my first piece in high school for are undermined by ominous drumbeats and insistent Philharmonic on February 18, 1944. my band was pivotal. The expression of something Mass in C major, Hob. XXII:9) fanfares on wind instruments.” Haydn said the so personal, the connection with friends and band (Missa in tempore belli: Mass in drumbeats should sound “as if one heard the enemy The Symphony is in one large movement, but with mates, and ultimately the audience, was an emotional approaching in the distance.” four distinct sections. Barber provided his own epiphany. Since that time, I have had extraordinary Time of War) analysis: “The form is a synthetic treatment of the opportunities to continue that sharing process while Franz Josef Haydn (1732-1809) Jones continues: “The opening movements of the four-movement classical symphony. It is based on three challenging myself along the way by writing for string mass—Kyrie, Gloria, Credo and Sanctus—provide quartets, various chamber music groups, jazz combos themes of the initial section, which retain throughout he Missa in tempore belli (Mass in Time of War) a more conventional background to the ‘tempore and even Big Band. Composing for symphony is the work their fundamental character. It opens with the is sometimes called the Paukenmesse (Kettledrum belli,’ but one that is informed with the full range of yet another challenge, which I have embraced with T usual exposition of a main theme, a more lyrical second Mass) because of the timpani in the scoring. It was techniques and emotions typical of Haydn’s six late Begejstring. Integrating groove-based music with jazz, theme, and a closing theme. After a brief development Haydn himself who wrote “Missa in tempore belli ” masses: easy integration of soloists and chorus, simple fiddle styles, and improvisation, fusing it with sixty- of the three themes, instead of the customary at the head of the score in August, 1796. melodies as well as intricate fugues, and great vitality recapitulation, the first theme, in diminution, forms the seven other musicians, and communicating it all to an alongside sections of exquisite beauty.” basis of the scherzo section. The second theme (oboe audience is a fresh adventure for me. I am appreciative over muted strings) then appears in augmentation…. of everyone who is taking this journey with me, and look ~Program Notes by Charley Samson, copyright 2015. An intense crescendo introduces the finale, which is a forward to the discovery of a new destination.

XVI oakland east bay symphony oakland east bay symphony XVII