San Francisco Contemporary Music Players on STAGE Series Carter and Beyond: Invention and Inspiration

CARTER CHODOS SCHROEDER

OCT 20, 2018 Taube Atrium Theater San Francisco, CA

This event is San Francisco Contemporary Music Players

Adam Luftman, trumpet Chris Froh, percussion David Tanenbaum, guitar Hannah Addario-Berry, cello Hrabba Atladottir, violin Jeff Anderle, clarinet Karen Gottlieb, harp Kate Campbell, piano Kyle Bruckmann, oboe The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble Loren Mach, percussion of highly skilled musicians, performs innovative contemporary classical music Meena Bhasin, viola based out of the San Francisco Bay Area. Nanci Severance, viola Nick Woodbury, percussion SFCMP aims to nourish the creation and dissemination of new works through Peter Josheff, clarinet high-quality musical performances, commissions, education and community Peter Wahrhaftig, tuba outreach. SFCMP promotes the music of composers from across cultures Richard Worn, contrabass and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as Roy Malan, violin possible, both in and outside of traditional concert settings. Sarah Rathke, oboe Stephen Harrison, cello SFCMP evolved out of Bring Your Own Pillow concerts started in 1971 by Susan Freier, violin Charles Boone. Three years later, it was incorporated by Jean-Louis LeRoux and Tod Brody, flute Marcella DeCray who became its directors. Across its history, SFCMP has been led William Winant, percussion by eight Artistic Directors and seven Executive Directors with continuous support and oversight by an active Board of Directors.

2 • San Francisco Contemporary Music Players SFCMP.org • 3 SFCMP Artistic Director Eric Dudley Born in Toronto and raised in the Cincinnati Symphony Orchestra recorded by the Hartford Symphony overflowing with exciting projects Connecticut, Eric Dudley leads a under Paavo Järvi and the Princeton Orchestra, Quey Percussion Duo, and that focus our listening on diverse multi-faceted career as a conductor, Symphony Orchestra under Rossen by Roomful of Teeth. Eric lives in Walnut and powerful musical voices, from Los composer, vocalist and pianist deeply Milanov for several seasons, and some Creek with his wife Melanie and their Angeles-based composer/performer engaged in the performance and of his recent guest engagements infant son Ethan. Ted Hearne in January, to American creation of contemporary music. include the Ojai Festival in California, expat Sidney Corbett and Bay Area jazz Since its founding in 2009, Eric has International Contemporary Ensemble Message from Eric Dudley virtuosa Myra Melford in the spring, been a member of the genre-defying (ICE) in New York and Finland, Adelaide along with a celebration of the maverick vocal octet Roomful of Teeth, touring Symphony Orchestra in Australia, and experimentalism of Julius Eastman, worldwide and recording a wide array the National Symphony Orchestra at a fascinating figure in the history of American music who’s justifiably of newly commissioned works with the the Kennedy Center. He served on the looming larger in recent years. We begin Grammy Award-winning ensemble. In faculty of The New School and Mannes these journeys with an homage to one the 2018-2019 season, he returns to College of Music in New York, where he of our country’s most defining and Australia as principal conductor for the directed the Mannes Prep Philharmonic enduring voices–that of Elliott Carter–in Bendigo Festival of Exploratory Music, and The New School Chorus. He juxtaposition with works by two young where he has also appeared on the currently teaches conducting at North American composers that respond Melbourne Festival, and leads Roomful the San Francisco Conservatory of and react on various and subtle levels of Teeth and Ensemble L’Instant Donné Music, having directed the orchestra to the sonic explorations that define in a production with Peter Sellars at program there for two seasons, and Carter’s legacy. the Paris Festival d’Automne. While he was recently appointed to a year- Dear friends of SFCMP, living in New York, he conducted long Artist-in-Residence position at In his preface to the score of Penthode, and performed with organizations as the Conservatory of Music at The As we embark upon our 2018-2019 Carter writes that the piece is principally diverse as Ekmeles and Tenet vocal University of the Pacific in Stockton. season, I’d like to share my warmest concerned with “experiences of ensembles, the Choir of Trinity Wall As a pianist and chamber musician, he greetings and most sincere enthusiasm connectedness and isolation.” The Street, Talea Ensemble, American has performed with members of Novus for the musical journeys ahead of us. musical translation of these ideas is Symphony Orchestra, Ensemble Signal New York and the Cincinnati and The first full season that I have the apparent from the outset, with a lyrical and the New York Philharmonic. Princeton symphony orchestras, and pleasure and privilege of leading with and complex solo line that holds sway He was an assistant conductor for his own music has been premiered and the Contemporary Music Players is for the opening frame of the piece,

4 • San Francisco Contemporary Music Players SFCMP.org • 5 punctuated by interjections from the flown a comparison) that our forms of Sabrina Schroeder’s Bone Games/Shy each of Carter’s five quartets to examine rest of the ensemble organized in government and societal organization Garden might suggest a darker-hued these topics further in musical terms, small groupings of instrumental colors. ebb and flow between more pluralistic canvas by Rothko or a James Turrell providing a different spin on various Gradually, and by sonic sleight of or more hierarchical constructs. light exhibition at twilight, wherein the notions of individuality, sonically and hand, this through-line transforms in Composer Tobin Chodos makes a gradations of colors are perceived within otherwise. Additionally, we have the its passing from one player to another, compelling argument when he says that a narrower range and a simultaneously great joy of featuring two of our brilliant casting each instrument in the ensemble Carter’s “infinitely subtle filigree stands broader bandwidth. Unlike Carter’s Players in a pair of epigrammatic solo into relief at different moments, while in for an idealized version of democracy” music, there are barely any standardized works by Carter, rounding out the the energy of the rest of the texture –one in which each separate voice is pitches in the melodic and harmonic homage with an even more diverse swirls and interacts around it in a build- heard in turn, interacting with others sense, and instead, an investigation of offering. up of activity. Eventually, the particulate primarily through the individuality of its the sub-layers of sound–aided in some is consumed in the whole, and unified expression. cases by electronic refractions and I invite you to enjoy our exploration of gestures of rhythm and sound start to manipulations of the same–exposes these thoroughly individual works, and overtake the field as a new through-line It’s certainly possible to construe Carter’s another kind of drama in the physicality to join us for the rest of the journey emerges, articulated by large groupings music as an outgrowth of a culture of creation and in individualized throughout this exciting season of rather than by individuals. with individualistic aims, while from components from within the sonic realm. innovative and compelling music! a purely musical standpoint, another What Carter exploits here is perhaps focus of a work like Penthode is simply Tobin Chodos remarks further in the broadest concept in music, and the kaleidoscopic interplay of colors the foreword to his score that “our ~ Eric Dudley that which unites the activity of music– that results from its very design. By democracy is a big show,” and that making to anything else accomplished comparison to the work of visual artists his piece “attempts to reckon with the as a community–quite simply, are we like Jackson Pollock, the method of version we live with everyday,” wherein acting together, or not? The whole creation leaves one with the experience “voices are corralled, their choices are history of music might be seen as of viewing individual strands as they proscribed,” and “dissent is attenuated “SFCMP performances bring a an interchange between ideas about begin and end, weaving across the and abortive.” Having also written a youthfulness and freshness to a single line as the chief voice to a canvas in unpredictable paths to create partner piece to Carter’s Penthode with the San Francisco music scene.” multiplicity of lines sharing equal color fields that condense from a wider the exact same instrumental forces, independence, almost in the same perspective. If such a visual equivalency Chodos creates with Big Show an – SFCMP Subscriber way (and I don’t think this is too high- has meaning for the work of Carter, then extraction of solitary voices from within

6 • San Francisco Contemporary Music Players SFCMP.org • 7 SCHEDULE PRE-CONCERT EVENT Asher Tobin Chodos CELEBRATING KAREN GOTTLIEB SUBMIT YOUR SURVEY, GET A GIFT! Big Show (15’) World Premiere How Music is Made: Flute: Tod Brody Please join us for We genuinely want to hear from you. 4:00 – 5:15 pm Open dress rehearsal of Big Oboe: Sarah Rathke a post-concert Please stop by the red table in the Clarinet: Peter Josheff Show by Asher Tobin Chodos followed by farewell during lobby, drop off your survey and pick Bassoon: Shawn Jones composer talk hosted by Eric Dudley the 9pm reception up a SFCMP pen, sticky notes, or other Pre-concert discussion with Players Horn: Alicia Telford 6:45 pm to celebrate the nifty item with our logo on it. 7:30 pm Concert with intermission 9:00 pm Reception ~Intermission~ retirement of harpist Karen Want to sponsor a concert? CONCERT PROGRAM Elliott Carter Gottlieb. Karen Gifts of $2500 or more can be used to Penthode (1985) (25’) started with SFCMP sponsor the performance of a specific Flute (also, piccolo, alto flute): Tod Brody Elliott Carter in 1990, and has been an invaluable piece. To discuss upcoming programs Oboe (also, english horn): Sarah Rathke A 6 Letter Letter (1996) (5’) member of the SFCMP family serving or to make a commemorative gift, Clarinet (also, eb-clarinet): Peter Josheff English Horn: Kyle Bruckmann on the board of directors, advisory please contact Executive Director Lisa Bass Clarinet (also contrabass clarinet): Jeff Anderle Bassoon: Shawn Jones council, and harpist. This evening is Oman at (415) 633-8802 or director@ Sabrina Schroeder Horn: Alicia Telford Karen’s final concert with SFCMP. sfcmp.org. Bone Games/Shy Garden (2016) (15’) Trumpet 1: Brad Hogarth Bass flute: Tod Brody Trumpet 2: Joseph Brown Bass clarinet: Jeff Anderle Trombone: Brendan Lai-Tong Bassoon: Shawn Jones Tuba: Tiffany Bayly Horn: Alicia Telford Percussion 1: Megan Shieh-Cruz Percussion/Transducers: Nick Woodbury This concert is made possible Percussion 2: William Winant Piano/Transducers: Kate Campbell Percussion 3: Nick Woodbury through the generous support Violin 1: - Hrabba Atladottir Piano: Kate Campbell of The Amphion Foundation Violin 2: - Roy Malan Harp: Karen Gottlieb Viola: Clio Tilton Special Projects Violin 1: Roy Malan Cello: Stephen Harrison Violin 2: Hrabba Atladottir Viola: Clio Tilton Elliott Carter Cello: Stephen Harrison Changes (1983) (7’) Double Bass: Richard Worn Guitar: David Tanenbaum

8 • San Francisco Contemporary Music Players SFCMP.org • 9 Program Notes by Nicholas Betson as “a music of mercurial contrasts of by which enthusiasts work out hours- The concept of the musical cryptogram The opening six notes of the piece character and mood,” and in another, long sequences that express every is an old one: for centuries, composers present this musical cipher as easily it refers to a compositional method possible permutation of pitches have used the letter names and discernible through the small intervals he identified as borrowed from within a set of church bells. The piece multi-lingual solfege syllables that bind it together. The following Stravinsky, which begins by writing out essentially becomes a back and forth traditionally assigned to the pitches of six, while more deliberate, scatter small passages of music on separate between these two different modes of the Western scale to create melodic it across a wider register and, in so sheets. In this case, these fragments conveyance: one immediately native to fragments as a kind of signature in doing, take leave of the English horn’s originated through extensive dialogue the guitar, and the other more distant music. Some of the greatest composers characteristic plaintive tone in order and revision with the guitarist David and calculated. The piece ends with the have been gifted from birth with to imitate the plucking of a lyre. Starobin, and the title also pays latter–as if the guitar becomes another names that automatically lend Limited to partial reconfigurations of homage to those interventions. These instrument–and given the occasion, themselves to thrilling sonic results: these six pitches, the piece pursues individualized, idiomatic ‘licks’ – it makes perfect sense: Carter was both J.S. Bach [B (B flat)-A-C-H (B the various overlaps of these two flamenco-style strumming here, long celebrating his own birthday by ringing natural)] and Dmitri Shostakovich [D-S characters, caught up in flights of expressive lines threading the entire out bells for himself. (Es=E flat)-C-H] immediately come to fancy and ruminating over snatches of range of the guitar there – are then mind. In celebration of Paul Sacher’s alte Weisen that drift in and out. For laid around the studio and rearranged One aspect that radically separated 90th birthday, Elliott Carter wrote A 6 a while, the divergent solo line seems in the order that seems to flow best. Carter from successive generations Letter Letter in 1996 as a kind of to abandon the idea that the musical The scaffolding upon which they are was his standoffish attitude toward musical present for the Swiss ‘letter’ has a current-day addressee; placed, however, was worked out by a electronic music. As striking as it is to conductor and new-music champion, as that memory returns, and Sacher’s different method: inChanges , Carter hear a composer like Carter speak of to be played as a surprise encore after name is musically uttered for a third calculated a web of slow pulses that anything as sounding ‘difficult,’ he said a performance of Carter’s Oboe Concert and final time, the letter finds its would phase in and out with one that he had “great difficulty, personally, by soloist Heinz Holliger on the English destination and comes to rest. another over the course of the large- in appreciating music without the horn. The title makes a playful allusion scale form, and these structural pulses human presence of someone who to both the A6 paper size of standard Carter composed Changes for solo are audible as otherworldly harmonics, is transmitting it,” and that “frankly, greeting cards and the six letters of the guitar on the occasion of his own or rather, as bell-like sounds. By electronic music doesn’t seem to dedicatee’s last name, translated as a 75th-birthday concert in 1983, and the evoking such a quality, Carter signals produce such interesting acoustics.” pitch sequence: title has at least a double meaning. the similarity of his method to change- In light of Carter’s sentiments, Sabrina In one sense, it signifies the work’s ringing–one of the oldest traditions Schroeder’s Bone Games/Shy Garden inherent variety, which he described of combining music and set theory, (2016) tackles such issues head on. As a

10 • San Francisco Contemporary Music Players SFCMP.org • 11 duo of outliers in a group of otherwise Asher Tobin Chodos’s Big Show environment is. This may sound cynical “the ironies and contradictions in acoustic instruments, the pianist and (2018) is to be heard in tandem with or bitter but I mean it in the least this cartoon are so sedimented and percussionist manipulate pre-recorded Carter’s Penthode. If Carter’s work controversial, most plain and obvious painful that they are hard to put into noise with handheld resonators on rearranges twenty players drawn from sense.” words,” while beyond a doubt “it is a a “spectrum that runs from deep four instrument families (5 strings, quintessentially American creation.” rumbling to sheer air-like washes” (in 5 woodwinds, 5 brass, 3 percussion The piece organizes in three Drawing on his background in jazz, the composer’s words). To engage with + piano/harp) into five somewhat movements, the names of each imbued Chodos inflects this movement with a the qualities of these sounds, the rest artificial quartets, then Chodos restores with a distinctly American resonance. blues sensibility and a higher degree of the musicians take up extended a more traditional genre by writing The first movement, ‘Accord in the of complex polyphony than the others. techniques; the string players loosen for woodwind quintet. In Chodos’s Corral,’ shares its title with a prior The third movement, ‘The Cows Come their lowest strings “to the point where words, “one of the most interesting work of Chodos’s that responds to Home,’ returns to the unison style of bowing them produces a responsive things about Elliott Carter’s music Penthode by using the exact same the first, although the composer notes flapping (like a soft helicopter sound),” is its polyphony. He has a thousand instrumentation. In the composer’s that “the unisons have been softened and the wind players blow pitchless different ways of construing musical words, “it evokes an image of the somewhat, and the accord is more air through the instruments and make character, and an unbelievable talent American West,” and “refers to the sober, thoughtful and forgiving.” consonant attacks and fluttering for getting diverse musical characters process of being corralled into accord sounds on the mouthpiece. The overall to sound together as a coherent whole. (political and musical), rather than Carter’s Penthode was originally itself soundworld, as in other pieces from ...My feeling is that Carter sonified a arriving at it via the clash of dissenting a companion piece, as it was written her Bone Games series, results from highly idealized, and highly comforting, voices we might expect in Carter.” for Ensemble Intercontemporain to the experimentation with transducers, version of American democracy– Passages of strict unison writing are play alongside Répons, the recent pedals, and custom-built mechanisms. one in which a beautiful complexity a major feature of the atmosphere, masterpiece of its conductor, Pierre As she explains, the net effect comes from authentic dissent. In with departures from it standing in Boulez. His point of departure was “builds around malleable qualities of this piece I am interested in what it high relief. The second movement, “the idea of a continuously unfolding fibrillation and pulsation, using these as would mean to sonify the version of ‘Mellerdrammer,’ takes its moniker line passed from one player to a kind of live connective tissue within a democracy that we actually live with, from the culturally problematic 1933 another,” suggested by the North body of instruments. ...Playing through with its manufactured consent, its Mickey Mouse cartoon of the same Indian Dhrupad music he had heard these layers is my way of digging into balkanization, its grating unisons, its name, in which Mickey and other performed by the Dagar Brothers in these very physical aspects of sound falsehoods and disinformation. To original Disney characters apply Berlin in 1964. This concept informs that have a permeating intensity in live sonify, in other words, a Big Show, blackface for a minstrel performance the large-scale structure as well, as performance.” which is really what our political of Uncle Tom’s Cabin. Says Chodos, Dhrupad music typically consists

12 • San Francisco Contemporary Music Players SFCMP.org • 13 of four distinct phases. The first Nicholas Betson lives in New York City. UPCOMING EVENT gives space to the melody: the viola He holds degrees in music theory from begins the piece seemingly alone, no Yale University. San Francisco Contemporary Music Players more a part of any one group than another, and an extended passage for in the COMMUNITY Series contrabass, horn, and flute makes us Sonic Meditations aware that the quartets are arranged to allow for continuous arabesques that • • reach from the lowest to the highest SUN, DEC 16, 2018 3-4:30pm The Women’s Building San Francisco, CA registers through gradual changes of in the COMMUNITY tone color. In the second phase, a slow Join us for our December event featuring beat – of the same structural function Cornelius Cardew’s The Great Learning, Paragraph 7, a group as the bell-like harmonics of Changes– performance experience in which the audience has the opportunity sets in. Here Carter creates a dialectic to add their voices in the musical recitation of an ancient Confucian of contrast: the artificial quartets on text. The mood and spirit for the evening will be set through a stage try to hold their own against the Sonic Meditation traditional string, woodwind, and brass by the great Pauline Oliveros. quintets from which they are drawn. In the third phase, the beat accelerates Cornelius CARDEW, and the vaulting arabesques return – The Great Learning, Paragraph 7 now more elaborately threading the textures accumulated in the second phase. The fourth and final phase of Pauline OLIVEROS, Dhrupad music adds drumming to Sonic Meditation III complete the frenzy of accumulation; Carter matches this with a joyful Free and open to the public, RSVP recommended. commotion that all but obliterates the original quartet premise upon which the piece began. Loren Mach photo by Stephen B. Hahn ~ Nicholas Betson RSVP at SFCMP.ORG

14 • San Francisco Contemporary Music Players SFCMP.org • 15 Composer Biographies

Elliott Carter inducted into the American Classical Concerto (2008), What are Years (2009), Sabrina Concertino (1908 - 2012) is Music Hall of Fame. He was recognized for Bass Clarinet and Schroeder (1979) The internationally twice by the Government of France: Chamber Orchestra (2009), and Sabrina Schroeder American Sublime recognized as being named Commander of the (2011). Carter’s last writes music for Instances one of the most “Ordre des Arts et des Lettres,” and completed orchestral work, acoustic ensembles, influential American receiving the insignia of Commander (2012), was premiered by the Seattle homemade voices in classical of the Legion of Honor in September Symphony in February 2013. His final instruments, Epigrams music, and a 2012. work, (2012) for piano trio, electronic sound, leading figure of modernism in the was premiered at the Aldeburgh and extended performance or 20th and 21st centuries. He was hailed Born in New York City, Elliott Carter Festival in June 2013. installation settings. Playing through as “America’s great musical poet” by was encouraged towards a career tactile sound, her work finds much of Andrew Porter and noted as “one of in classical music by his friend and Asher Tobin its underlying impulse in the grain of America’s most distinguished creative mentor Charles Ives. He studied Chodos (1986) is everyday events, taking pleasure in artists in any field” by his friend Aaron under composers Walter Piston and a composer, pianist frictions and synergies, both intimate Copland. Carter’s prolific career Gustav Holst while attending Harvard and musicologist. and oppositional. spanned over 75 years, with more than University, and later traveled to Paris, He has been Schroeder completed her PhD 150 pieces, ranging from chamber studying with Nadia Boulanger. named a fellow of at Harvard University with Chaya music to orchestral works to opera, Following his studies in France, he the Dave Brubeck Czernowin and Hans Tutschku, where often marked with a sense of wit and returned to New York and devoted Institute, the Asian she was also the Director of the humor. He received numerous honors his time to composing and teaching, Cultural Council (for his research into Harvard Group for New Music (HGNM). and accolades, including the Pulitzer holding posts over the years at China’s jazz scene), and the Ucross Her earlier Masters was with Anthony Prize on two occasions: in 1960 for St. John’s College, the Peabody Foundation. He holds a degree in Braxton and Alvin Lucier at Wesleyan his String Quartet No. 2 and in 1973 Conservatory, Yale University, Cornell Classical languages from Columbia University. for his String Quartet No. 3. Other University, and The Juilliard School, University and is a doctoral candidate awards include Germany’s Ernst Von among others. in music at the University of California, Schroeder currently lives in Siemens Music Prize and the Prince San Diego. His dissertation is a Manchester, UK, where she teaches at Pierre Foundation Music Award. Carter In his final years, Carter continued quantitative critique of automated the Royal Northern College of Music. was the first composer to receive the to complete works with astounding music recommendation. He is currently Interventions United States National Medal of Arts, frequency, including a Ph. D. candidate in Music at Flute and is one of a handful of composers for piano and orchestra (2007), UC San Diego. 16 • San Francisco Contemporary Music Players SFCMP.org • 17 NOW’S THE TIME TO BECOME A SFCMP SUBSCRIBER! Tonight’s SFCMP Players It’s not too late to experience the rest of our stimulating and adventurous Hannah Addario-Berry (cello) called her violin playing “delicate but 2018-19 season as a SFCMP Subscriber. Subscription sales officially ended Cellist Hannah Addario-Berry fervent.” October 15, however, for a limited time you can still join us this season and specializes in chamber music and solo repertoire and is passionately we’ll add a credit for tonight’s concert! Jeff Anderle (clarinet) is a pioneer committed to performing music by in the world of low reeds, helping to living composers. In 2015, Hannah popularize the role of the modern Now’s the time to join! Experience all of our upcoming 2018-19 events, enjoy created Scordatura, an innovative clarinet and bass clarinet through his the convenience of a guaranteed seat in the preferred seating section, and – new project combining Zoltán Kodály’s innovative and diverse performances, monumental Sonata for Solo Cello with this year – two music downloads, an additional 20% off on any additional single ensembles, and commissions. He is tickets, plus a special lapel pin acknowledging you as a SFCMP subscriber. a series of newly commissioned works, which all share a unique altered tuning a founding member of both Splinter That’s a $179 value for only $136. of the cello. An avid and versatile Reeds, the Bay Area’s rst reed quintet, chamber musician, Hannah joined and REDSHIFT contemporary music Subscribe today at SFCMP.org SFCMP in 2017. Addarioberry.com ensemble, as well as a member of the Paul Dresher Electro/Acoustic Band. Use offer codeLASTCALL18 for discount. Offer ends November 5, 2018. Violinist Hrabba Atladottir studied Jeff also is a founding co-director in Berlin, Germany with professor of Switchboard Music. Jeff teaches Axel Gerhardt and professor Tomasz clarinet, bass clarinet,chamber music, Tomaszewski. After finishing her and entrepreneurship at the San studies, Hrabba worked as a freelancing Francisco Conservatory of Music. violinist in Berlin for five years, regularly jeffanderle.com playing with the Berlin Philharmonic Orchestra, Deutsche Oper, and Meena Bhasin (viola) Deutsche Symphonieorchester. Hrabba Meena Bhasin is a captivating violist also participated in a world tour with and entrepreneur whose identity has the Icelandic pop artist Björk, and never fit neatly into a box. Born in a Germany tour with violinist Nigel New York to an Iranian Jewish mother Kennedy. Joshua Kosman, music critic and a Punjabi Sikh father, her early life of San Francisco Chronicle, praised her was filled with an insatiable passion performance of Vivaldi’s Spring, and

18 • San Francisco Contemporary Music Players SFCMP.org • 19 for cross-cultural dialogue and an Kyle Bruckmann’s (oboe) work as a piano music with new dance. They Percussionist Christopher Froh is itch for interdisciplinary learning. She composer and performer spans from have been featured at NYSoundCircuit, a member of Empyrean Ensemble, started honing her musical skills at the Western classical tradition into Dance Conversations Festival at the Rootstock Percussion, and San the age of four. Through experiences the frontiers of free jazz, electronic Flea Theater in New York, and Omaha Francisco Chamber Orchestra. He has as an adolescent performing and music and post-punk. With more than Under the Radar. In the contemporary premiered over 100 chamber and solo collaborating in places like Japan, 60 recordings and a striking array of ensemble REDSHIFT, she continues works by composers from 15 countries. Israel, China, and at the United performance affiliations to his credit he her guest artist residency at Cal State His rich and diverse career includes Nations, she realized what a powerful has been acclaimed as “a modern day University East Bay, premiering works performances with the San Francisco connecting global force music could renaissance musician,” and “a seasoned by faculty and student composers. Symphony at Carnegie Hall, Gamelan be. This realization has affected every improviser with impressive extended katecampbellpiano.com Sekar Jaya at the Stern Grove Festival, artistic choice she has made since technique and peculiar artistic air.” and session recordings at Skywalker Before relocating to the Bay Area in Susan Freier (violin) After earning Ranch. As a soloist, he has appeared Tod Brody (flute) is principal flutist 2003, Kyle was axture in Chicago’s a degree in Music and Biology at at festivals and recitals across Japan, with SFCMP, as well as local new music experimental music underground, Stanford, Susan co-founded the China, Turkey, Europe, and the United groups Earplay, Eco Ensemble, and the collaborating regularly with electro widely-acclaimed Chester String States including featured performances Empyrean Ensemble, with an extensive acoustic duo EKG, the ”noise-rock Quartet at the Eastman School of at the Beijing Modern Festival, Nuovi career that has included performances monstrosity” Lozenge, and the Creative Music. She has been a participant at Spazi Musicali, and Music@Menlo. He of numerous world premieres and Music quintet Wrack (recipient of a the Aspen, Grand Teton and Newport teaches percussion and chamber music many recordings. He is also principal 2012 Chamber Music America New Music Festivals, and has performed on at UC Davis and CSU Sacramento. flutist of the San Francisco Chamber Jazz Works grant). Kylebruckmann.com NPR, the BBC, and German State Radio. Orchestra, the Sacramento Opera, and She is currently on the artist faculty of Karen Gottlieb (harp) has performed the California Musical Theater, and Hailed as a “brilliant pianist” (Financial the Schlern International Music Festival with the San Francisco Symphony makes frequent appearances with the Times), Kate Campbell performs in Italy and the San Diego Chamber as second harpist for more than 25 San Francisco Opera and San Francisco frequently as a soloist and chamber Music Workshop and a member of the years. She performed extensively with Ballet orchestras, and in other chamber musician specializing in 20th and 21st Ives Quartet (formerly the Stanford them on their USA, European and and orchestral settings throughout century music. She is at home with String Quartet). Her recordings are on Asian tours as well as on their many the region. In addition to performing styles ranging from thorny modernism, the Newport Classics, Stolat, Pantheon, Grammy award winning recordings and teaching, Tod is an active arts to “sleek and spirited” minimalism, to Laurel, Music and Arts, and CRI labels. and DVDs. For 20 years she served as administrator, currently serving indie classical. Kate is the co-founder principal harpist with the California as Executive Director of the Marin and pianist of the interdisciplinary duo Symphony and also as a member of Symphony. KATES, which intertwines new solo 20 • San Francisco Contemporary Music Players SFCMP.org • 21 the SF Symphony-‘AIM’ ensembles Sonic Harvest and of Earplay. He is masterclasses all over the country Rosa, Vallejo, California, Berkeley, including 4 Sounds, Strings & Things, also a member of the San Francisco including The Curtis Institute of Music, Monterey and Santa Cruz. She was a THAT! Group and Silver & Gold, Plus. Contemporary Music Players, the New England Conservatory, Cleveland member of the Avenue Winds, a Bay She has recorded multiple major lm, Empyrean Ensemble and the Eco Institute of Music, New World Area woodwind quintet committed to TV and video game soundtracks with Ensemble. He performs frequently Symphony, and Tanglewood. new music, and has also has performed the Skywalker Recording Symphony with Opera Parallele, the San Francisco with various orchestras including the orchestra and subbed with both San Chamber Orchestra, and Melody of Roy Malan serves as solo violinist San Francisco Symphony and the San Francisco Opera & Ballet orchestras. China, and has worked with many with the California Symphony and Francisco Ballet. Rathke is a Professor kgharp.com. other groups including West Edge Opera Parallèle and was the longtime of Oboe at UC Berkeley. Sarah joined Opera, the Ives Collective, the Paul concertmaster and solo violinist for SFCMP in 2012. A very active cellist in the Bay Area Dresher Ensemble, Composers Inc., and the San Francisco Ballet. The founding and beyond, Stephen Harrison is a SF Sound. director of the Telluride Chamber Nanci Severance (viola) is a member founding member of the Ives Quartet Music Festival, he has an extensive of the San Francisco Symphony and (formerly known as Stanford String Adam Luftman (trumpet) career of performance domestically has performed with many Bay area Quartet) and a member of the faculty is the Principal Trumpet of both the as well as in Canada, Mexico, Europe, ensembles, including Chamber Music at Stanford University. Formerly San Francisco Opera and San Francisco Australia, and Africa to his credit. He is West, the Midsummer Mozart Chamber principal cellist of the Chamber Ballet Orchestras. Adam has been widely recorded on the Genesis, Orion, Players, and the Parlante Chamber Symphony of San Francisco, the Opera a featured soloist with a number and several other labels. Roy currently Orchestra, with whom she was principal Company of Boston, and the New of orchestras and is member of the serves on the faculty of the University violist. She is also a member of the England Chamber Orchestra, Harrison National Brass Ensemble and The of California, Santa Cruz, and plays Donatello String Quartet, and a regular has performed on National Public Bay Brass. He has recorded with the locally with a string quartet, piano trio, guest artist with the Ives Quartet. Over Radio, the BBC, and on both German Philadelphia Orchestra, San Francisco and music festival engagements. the course of her career, Nanci has State Radio and the Netherlands Symphony, Baltimore Symphony, the performed with the Toledo Symphony, State Radio. Stephen has toured National Brass Ensemble, for ESPN Oboist Sarah Rathke maintains a busy the Cleveland Opera orchestra, the internationally and recorded on the Sunday Night Football, and on many and enthusiastic performance presence Cleveland Ballet, as Assistant Principal Delos, CRI, New Albion, and Newport movie and video game soundtracks. in Northern California and beyond, violist of the Aspen Chamber Orchestra Classics labels. Luftman is currently on the faculties as a member of the Sacramento and rotating Principal of the Spoleto of the San Francisco Conservatory, Philharmonic and Chamber Orchestras Festival Orchestra. Peter Josheff, clarinetist and UC Berkeley, and San Francisco and a regular performer with the composer, is a founding member of State University. He has presented symphonies of Marin, Fremont, Santa

22 • San Francisco Contemporary Music Players SFCMP.org • 23 ​David Tanenbaum (guitar) has local organizations, both in concert prestigious grant from the Foundation Currently, he serves as Assistant performed as a solo guitarist and in recordings, including those of Contemporary Arts in recognition Principal Bass of the Marin Symphony throughout the US, Canada, Mexico, of Alvin Curran, Christian Wolff, and for his groundbreaking work as a and Principal Bass of the Sanse Europe, Asia, and Australia. Solo electro-acoustic composer Chris contemporary percussionist. Chamber Orchestra as well as with performances over the course of his Brown. In addition to his performance the Berkeley Contemporary Chamber career have included the Los Angeles career, Wahrhaftig has performed on In addition to his work with the SFCMP Players, ECO Ensemble, Other Minds Philharmonic, San Francisco Symphony, the soundtracks of numerous movie percussionist Nick Woodbury also sfSound, Empyrean Ensemble, Earplay, Minnesota Orchestra, London and video games. He can be heard performs with and co-directs Mantra and Composer’s Inc. Richard is also Sinfonietta, Vienna’s ORF orchestra, on Alvin Curran’s eclectic CD Animal Percussion– a group dedicated to former Principal Bass of the New and elsewhere, under the baton of Sounds, and he now teaches at the San large-scale projects that redefine the Century Chamber Orchestra. With his such eminent conductors as Esa-Pekka Francisco Conservatory of Music, U.C. traditional classical music concert Worn Chamber Ensemble, founded Salonen, Kent Nagano and John Adams. Berkeley, and privately in the Bay Area. format. Woodbury has appeared in 1996, has performed works for Tanenbaum has toured extensively alongside the Bang on a Can All- both solo bass and ensemble by with Steve Reich and Musicians, in Grammy-nominated percussionist Stars, with the Ensemble Modern such composers as Andriessen, Cage, Japan with Toru Takemitsu, and has William Winant is internationally Akademie, and Eco Ensemble. His work Harrison, Henze, Revueltas, Scelsi, had a long association with Ensemble regarded as a leading performer with contemporary music includes Varese, and Xenakis. He currently Modern. He is currently recording of avant-garde music. In 2014, he premiering new works by George teaches and provides orchestral the complete guitar works of So a received a Grammy nomination for his Crumb, John Luther Adams, Michael coaching at UC Berkeley. Gubaidulina forNaxos. Chair of the recording of John Cage’s historic solo Gordon, and many others. Woodbury San Francisco Conservatory’s Guitar work, 27’ 10.554” for a percussionist, has appeared at the Brooklyn Academy GUEST MUSICIANS Department. on MicroFest Records. Winant has of Music, Apple Store at Lincoln collaborated with legends of 20th and Center, Kresge Auditorium at MIT, New Bassoon: Shawn Jones Peter Wahrhaftig is Principal Tubist 21st century music, from Iannis Xenakis Music New College, Symphony Space Horn: Alicia Telford of the San Francisco Ballet Orchestra, to Steve Reich and Yo-Yo Ma, and in Manhattan, Carlsbad New Music Trombone: Brendan Lai-Tong the Sun Valley Summer Symphony, from Merce Cunningham to Kronos Festival and many more internationally- Tuba: Tiffany Bayly and is a founding member of the Quartet and Sonic Youth. Composers acclaimed performing arts centers. Percussion: Megan Shieh-Cruz Grammy-nominated Bay Brass. He who have written for Winant include Trumpet 1: Brad Hogarth appears frequently with the San John Cage, Lou Harrison, John Zorn, Double bassist Richard Worn has Trumpet 2: Joseph Brown Francisco Opera, the Oakland-East Peter Garland, Larry Polansky and many performed extensively with the San Trumpet: Brad Hogarth Bay Symphony and numerous other more. In 2016, Winant was awarded a Francisco Opera and Symphony. Viola: Clio Tilton

24 • San Francisco Contemporary Music Players SFCMP.org • 25 Friends of SFCMP SFCMP has been successful in contributing a longstanding role in the musical Guest Artists’ Circle ($500-$999) Dr. John and Nancy Gilbert culture of the San Francisco region because of the enthusiastic involvement Adam Frey James Robinson of audience members and supporters like you. Karl Pribram and Sweta Arora James Simmons Kate Campbell Lisa Oman We gratefully acknowledge the following financial supporters who have made Ken Ueno Robert Shumaker and Janet Garvin one or more donations between December 31, 2016 to the present, resulting Michael Tilson Thomas & Joshua Robison Robert Warnock in gift totals in the following categories. Peter and Robin Witte Russ Irwin Richard and Patricia Taylor Lee Stephen Grenholm Stephen Harrison and Susan Freier Thomas Koster These gifts are used to produce concerts, host community programs, and mentor Steve Horowitz the next generation of performers through our education programs. Thank you Susan York Patron ($50-$99) from all of us at San Francisco Contemporary Music Players for supporting the Anonymous work that we do. Sponsor ($200-$499) Heidi Benson Anonymous Joel Levine We apologize for any errors or omissions; for corrections please contact Charles Boone and Josefa Vaughan John W. Hillyer [email protected]. David and Christiane Parker MaryClare Brzytwa Artistic Director’s Circle ($10,000 + ) David Parker Pamela Z Diana Goldstein Paul and Celia Concus Anonymous C Elouise Wilson Wendy Reid Dianne Ellsworth Founders’ Circle ($1,000-$2,499) Hannah Addario-Berry and William Will Leben Erik Neuenschwander & Sonya Chang Andrea and Lubert Stryer Addario-Turner Jane Schaefer Roos LeRoux Anne and Robert Baldwin JoAnn and Jack Bertges in honor of Friend ($1-$49) Margot Golding and Michael Powers Claire and Kendall Allphin Margot Golding, board member Zach Alexander Susan and Harry Hartzell Holly Hartley and Oscar Anderson Paul R. Griffin Victor and Esta Wolfram James C. Hormel Robert Kirzinger Major In-kind Supporters Jerome and Linda Elkind Suzanne Pfeffer Cooper White Cooper, LLP Player’s Circle ($5,000 - $9,999) Kit Sharma and Wei Tsai Thomas and Nancy Fiene Hung Liu Donald Blais Lawrence Daressa Donald Blais Eunice Childs in memory of Lorraine Honig Supporter ($100-$199) Terry McKelvey Dr. Alfred W. Childs Mark Applebaum and Joan Friedman Boris and Dorothy Ragent Susan and Harry Hartzell Karen Gottlieb Michael Gilbertson Cheryl Steets Jerry and Linda Elkind Margaret “Peggy” Dorfman Michael McGinley Claire Oldani Ridge Winery Melanie Johnson, Ph.D. Terry McKelvey and Heli Roiha Donald and Ethel Worn Timothy L. Bridge 26 • San Francisco Contemporary Music Players SFCMP.org • 27 In addition to the many generous Legacy Circle individual contributors, ticket- buyers, and season subscribers, our season concerts and events were THE HAROLD WOLLACK LEGACY CIRCLE made possible in part through recent support from the following A former subscriber, Harold Wollack, left the first bequest to help underwrite the organizations: ensemble’s concerts and programs. More recently, the ensemble has received a generous bequest from the estate of Jane Roos and Victor and Esta Wolfram. Major Inkind Supporters Cooper White Cooper Your bequest to the San Francisco Contemporary Music Players Legacy Circle will Microsoft ensure the future of our music for lifetimes ahead. We thank the following individuals, Google Foundation who have arranged bequests to help support the ensemble’s future work: Salesforce Foundation

Foundations A.Robin Orden Jacqueline S. Hoefer * American Music Project Adam Frey Jane Roos and Jean-Louis LeRoux * Ann and Gordon Getty Foundation Eunice Childs in memory of Margot Golding Clarence E. Heller Foundation Fromm Music Foundation Dr. Alfred W. Childs * Paul Griffin James Irvine Foundation Anne Baldwin Priscilla Brown National Endowment for the Arts Roy C. (Bud) Johns Renate Kay * Phyllis C. Wattis Foundation C. Michael Richards * Ruth Caron Jacobs * San Francisco Grants for the Arts Dr. Claire Harrison Susan and Harry Hartzell The Aaron Copland Fund for Music, Inc. Dianne J. Ellsworth Terry McKelvey The Alice M. Ditson Fund of Columbia Donald Blais Victor and Esta Wolfram * University George Bosworth * The Amphion Foundation Harold Wollack * *deceased The Bernard Osher Foundation Holly Hartley The Ross McKee Foundation William and Flora Hewlett Foundation Meena Bhasin To leave your own legacy gift to the ensemble, please contact Wells Fargo Foundation photo by Stephen B. Hahn Zellerbach Family Foundation Lisa Oman, Executive Director (415) 633-8802 or [email protected]

28 • San Francisco Contemporary Music Players SFCMP.org • 29 Leadership and Administration Board of Directors Honorary Committee Past Executive Directors In Memoriam... Donald Blais Donald Runnicles Rozella Kennedy (2012-2015) President Helgi Tomasson Carrie Blanding (2010-2012) John Adams Christopher Honett (2009-2010) It is with gratitude that Kit Sharma Vice President Patricia Taylor Lee Adam Frey (1991-2009) we acknowledge board Pamela Rosenberg Susan Munn (1988-1991) member, composer and Melanie Johnson, Ph.D. Ruth Felt Marcella DeCray (1974-1988) visionary, Olly Wilson Treasurer Steven Schick in remembrance of his Dianne Ellsworth Current Team Secretary Advisory Council Lisa Oman music and generous Anne Baldwin Executive Director support of San Francisco Kate Campbell Caroline Crawford Kyle Bruckmann Eric Dudley Contemporary Music Didier de Fontaine Artistic Director Players. Margot Golding Gene Nakajima MaryClare Brzytwa Karen Gottlieb Amadeus Regucera Michael Gilbertson Paul R. Griffin Artistic Production Director Peter Witte Richard D. Lee John Jaworski Richard Festinger Roy C. (Bud) Johns Production Associate Steve Horowitz Susan Hartzell Tod Brody Susan York Mika Nakamura Terry McKelvey Production Assistant Board Presidents Timothy Bridge Sheryl Lynn Thomas Richard D. Lee (2009-2013) T. William Melis Marketing Director Susan Hartzell (2005-2009) William Wohlmacher Anne Baldwin (2002-2005) Kelly Quinlan Roy C. (Bud) Johns (2000-2001) Past Artistic Directors Communications and T. William Melis (1996-2000) Steven Schick (2009-2018) Box Office Manager Paul R. Griffin (1986-1996) David Milnes (2002-2009) Jane Roos (1978-1986) Jean-Louis LeRoux (2001-2002) Business Partners Jean-Louis LeRoux (1974-1978) Donald Palma (1998-2000) Gary Preiser, Inc., Accounting Stephen L. Mosko (1988-1997) Terry McKelvey, Founding Directors Jean-Louis LeRoux (1974-1988) Investment Officer Charles Boone Charles Boone (1971-1973) Steinway & Sons Olly Willson, 1937-2018 Jean-Louis LeRoux Tony Kay Marcella DeCray Tony Kay Design

30 • San Francisco Contemporary Music Players SFCMP.org • 31 San Francisco Contemporary Music Players announces Tonight’s piano is provided by SF SEARCH a SFCMP education program

The San Francisco Contemporary Music Players (SFCMP) and Eric Dudley, Artistic Director, are pleased to invite applications for our annual SF Search Education Program. Composers under 30 in the San Francisco Bay Area and, for the first time, nationwide, are invited to submit a piece for inclusion on our ‘at the CROSSROADS’ series concert at SFJAZZ in May 2019, on a program featuring the music of Julius Eastman and Bay Area composer, improviser, and pianist Myra Melford. As part of this education program, three composers will receive a private score reading and feedback session, a public performance on a subscription-series concert, and an archival recording. In addition the winning composers will receive a $500 stipend. In this year’s search, composers are invited and encouraged to consider the life and legacy of Julius Eastman as inspiration behind the submitted work.

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32 • San Francisco Contemporary Music Players SFCMP.org • 33 SFCMP ARTS PARTNER

SAN FRANCISCO CLASSICAL VOICE San Francisco Classical Voice is the go-to place for comprehensive coverage of music in the SF Bay Area and Hung Liu beyond. Dirge, 2010 Search our calendar of Archival pigment prints, 18×18, in silkscreened folio events for concerts that are free, family-friendly, Limited Edition series of 45 prints or good for first-timers. $1,400 plus tax

Proceeds from this sale benefit the sfcv.org San Francisco Contemporary Music Players. Contact us to purchase (415) 633-8802

34 • San Francisco Contemporary Music Players SFCMP.org • 35 2018-19 SEASON Eric Dudley, Artistic Di rector SAT, OCT 20, 2018 SFCMP Performances on STAGE Series Carter and Beyond: Invention and Inspiration

SUN, DEC 16, 2018 DUDLEY CARTER SFCMP in the COMMUNITY Series Sonic Meditations

FRI, JAN 18, 2019 SFCMP Performances HEARNE in the LABORATORY Series Auto-Tuning Ives

THURS, FEB 21, 2019 SFCMP Contemporary Music Master Class Clinician: Kyle Bruckmann, oboe EASTMAN MELFORD SAT, APR 27, 2019 SFCMP in the COMMUNITY Series Season Launch Party: Sound & Wine

FRI, MAY 10 & SAT, MAY 11, 2019 CORBETT SFCMP Performances at the CROSSROADS Series Guerrilla Sounds: Julius Eastman’s Legacy

CHODOS SUBSCRIBE TODAY! Use Promo code LASTCALL18 Join us for our 48th Season to have the first concert waived. Experience Something NEW See pg 18 for more details.