Edition 2 | 2018-2019

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-- In November, we are excited to present a conductor-less program for the first time. Concertmaster Ruth Lenz leads Vivaldi’s four Seasons in an intimate style which reflects early chamber ensembles of that era. -- Martin Chalifour, perennially popular concertmaster of the L.A. Philharmonic, will act as Artistic Director for the 15th annual Nevada Chamber Music Festival in December. He brings together a collection of some of the finest performers from around the world for an inspiring week of concerts around our area.

In August, we said goodbye to Chris Morrison, who departed from the Executive Director position after years of service to the RCO in a variety of roles. On behalf of our board, staff ear RCO Friends, and musicians, I would like to thank him for his D two decades of passion and commitment to the orchestra. Welcome to the second concert of the 2018-19 Season. We are pleased to welcome a familiar face Last month we announced our new administrative back to Reno: Donato Cabrera. He has grown leader, Thom Mayes, who joins us from the Seattle into a distinguished conductor after beginning area where he serves as CEO for the Northwest his musical career on our stage, and currently Sinfonietta. His education and experience as serves as Music Director of the California both a classical musician and arts administrator Symphony and Las Vegas Philharmonic. Our make him ideal to lead the organization through 2017 College Concerto Competition winner, the transition and artistic searches ahead. I hope Elizabeth Phillips, is also featured on this you take a moment to meet him in the lobby and weekend’s program. The result is a program which welcome him to the RCO family. spotlights the variety of talent coming from right here in Northern Nevada. Enjoy this wonderful concert and the rest of our season of music ahead. This summer and fall have been busy for the RCO, and I would like to share some of the highlights from our board and musicians: Mark MacDonald -- The RCO is welcoming four renowned President guest conductors for the current season, while our Music Director search committee identifies finalists for the position from over 185 applicants from around the world. These finalists will be joining us in the 2019/2020 season. We will announce our next musical leader for the orchestra at the end of that season.

II RENO CHAMBER ORCHESTRA BOARD OF DIRECTORS AND STAFF

BOARD OF DIRECTORS Amy Booth STAFF Mark MacDonald Holly Walton-Buchanan Thom Mayes, President Kay Dean Executive Director Cleta Dillard Jennifer Smith William Douglass Bryan Wildman, First Vice President Paul Lenz Marketing and Office Manager Gail McAllister John Tozzi Lloyd Rogers Kati Wentink, Operations Second Vice President Judith Simpson Manager and Librarian Tony Stoik Tasha Reisz Karen Stout-Gardner Dustin Budish, Treasurer Personnel Manager

Fred Jakolat Korona Phelps, Accountant Secretary Alisen Olsen, Office Assistant

Sara Fujii, Stage Manager

Sophie Ralston, Digital Marketing

Reno Chamber Orchestra This project is funded, in part, by a grant from 925 Riverside Drive, Suite 5 Reno, NV 89503 Phone (775) 348-9413 the Nevada Arts Council, Fax (775) 348-0643 a state agency, and www.RenoChamberOrchestra.org the National Endowment for the Arts, a federal agency. Member of the

These concerts have been made possible, in part, by the support of

The City of Reno Arts and Culture Commission.

The mission of the Reno Chamber Orchestra is to create intimate, inspirational musical experiences by engaging the community through vibrant music making by the Chamber Orchestra and chamber ensembles. Superb Music. Shared Experience. Enriched Lives.

RENO CHAMBER ORCHESTRA III IV RENO CHAMBER ORCHESTRA

PROGRAM SATURDAY, OCTOBER 13, 2018, 7:30 P.M. SUNDAY, OCTOBER 14, 2018, 2:00 P.M. MICHAEL TORKE (1961 - ) Ash NIGHTINGALE CONCERT HALL SCRIABIN (1872- 1915) Piano Concerto in F-sharp minor, Op. 20 Allegro Andante Allegro Moderato Elizabeth Phillips, piano

INTERMISSION

JEAN SIBELIUS (1864 – 1957) Symphony No. 5 in E-flat major, Op. 82 Tempo Molto Moderato - Allegro Moderato Andante Mosso, Quasi Allegretto Allegro Molto - Misterioso

DONATO CABRERA, Please disable all noise-making devices – cell phones, watches, etc. – during the guest conductor performance. Audio or video recording of RCO concerts is strictly prohibited. The mission of the Reno Chamber Orchestra is to create intimate, inspirational ELIZABETH PHILLIPS, musical experiences by engaging the community through vibrant music making by piano, and winner of the RCO’s the Chamber Orchestra and chamber ensembles. annual College Concerto Competition Superb Music. Shared Experience. Enriched Lives.

RENO CHAMBER ORCHESTRA V CONDUCTOR BIOGRAPHY

programming music by women and people of color. With a recently extended contract through the 2022-23 season, Cabrera continues to advise and oversee the Symphony’s music education programs and community engagement activities. Cabrera has also greatly changed the Las Vegas Philharmonic’s concert experience by expanding the scope and breadth of its orchestral concerts. Cabrera has also reenergized the Youth Concert Series by creating an engaging and interactive curriculum-based concert experience.

In recent seasons, Cabrera has made impressive debuts with the National Symphony’s KC Jukebox at the Kennedy Center, Louisville Orchestra, Hartford Symphony, Orquesta Filarmónica de Jalisco, New West Symphony, Kalamazoo Symphony, and the Reno Philharmonic. In 2016, he led the Chicago Symphony Orchestra DONATO CABRERA in performances with Grammy Award-winning singer Lila Downs. Cabrera made his Carnegie onato Cabrera is the Music Director of the Hall debut leading the world premiere of DCalifornia Symphony and the Las Vegas Mark Grey’s Ătash Sorushan with soprano, Philharmonic, and served as the Resident Jessica Rivera. Conductor of the San Francisco Symphony and the Wattis Foundation Music Director of the Awards and fellowships include a Herbert San Francisco Symphony Youth Orchestra from von Karajan Conducting Fellowship at the 2009-2016. Salzburg Festival and conducting the Nashville Symphony in the League of American Orchestra’s Since Cabrera’s appointment as Music Director prestigious Bruno Walter National Conductor of the California Symphony in 2013, the Preview. Donato Cabrera was recognized by the organization has reached new artistic heights Consulate-General of Mexico in San Francisco as by implementing innovative programming that a Luminary of the Friends of Mexico Honorary emphasizes welcoming newcomers and loyalists Committee, for his contributions to promoting alike, building on its reputation for championing and developing the presence of the Mexican music by living composers, and committing to community in the Bay Area.

VI RENO CHAMBER ORCHESTRA GUEST ARTIST BIOGRAPHY

after her family moved to Nevada, Elizabeth began studying with Dr. James Winn and practicing with discipline. By the end of one year she was accepted into Oberlin as a National Merit Scholar, but she ultimately signed a full-ride scholarship to the University of Nevada, Reno.

At the age of 20, Elizabeth graduated as a summa cum laude Honors student in both Piano Performance and Neuroscience. In her undergraduate career, she reached the semifinals of the International Keyboard Odyssiad and Festival, won the Reno Chamber Orchestra Concerto Competition, performed in multiple masterclasses, published several interdisciplinary research articles (including a 90-page senior thesis), presented at the Western Regional Honors Conference, and co-contributed to electroacoustic symposiums in Toronto and ELIZABETH PHILLIPS Germany. She is currently taking a year off of school to organize benefit recitals for charities, n life, Elizabeth is charismatic, yet as a pianist, though she plans to attend UC Berkeley as Ishe prefers obscure pieces that require curiosity, a Biophysics graduate student next fall. She sensitivity, and a pastel touch. She began playing hopes to continue performing, volunteering, piano at age four, but could not receive serious and engaging in interdisciplinary scholarship training in her rural Coloradan hometown. Her about music. Her favorite hobbies include fitness debut performance in a “big city” was at the age and outdoor recreation, creative writing and of 14 in Farmington, New Mexico, as one of the composing, and turning pages for other pianists. winners of a Young Artist Competition. Shortly

RENO CHAMBER ORCHESTRA VII

RENO CHAMBER ORCHESTRA IX

ORCHESTRA MEMBERS OCTOBER 13 AND 14, 2018

Phillip Ruder, Concertmaster Emeritus Andrea Lenz, Oboist Emerita Marilyn Sevilla, Violinist Emerita

VIOLINS CELLOS BASSOONS Franklyn D’Antonio Peter Lenz* (Principal) Eric Fassbender (Principal) (Concertmaster) The Cecilia Lee Chair Jimmie’s Chair Sponsored by a Friend of Eileen Brownell Ben Benson Ruth Lenz and the RCO Karen Stout-Gardner* Hui Lim* Barbara McMeen* HORNS (Assoc. Concertmaster) John Lenz* (Principal) The Walter L. Dillard BASSES Remembering Jim Whipp Memorial Chair Scott Faulkner* (Principal) Christine Geiger Olga Archdekin* The Gail and Peter Adlish* The Kris and Patrick Jack McAllister Chair The Jennifer Smith and Ellingsworth Chair Lani Oelerich* John Thayer Chair Bruce McBeth* The Lillian and Bruce Kanzelmeyer Lucia Conrad Steve Frank Chair Ivanka Dill* Nancy Hoffman* TRUMPETS Ellen Flanagan Sponsored by a Friend Dwayne Hollenbach Vanessa Porter of the RCO (Principal) The Gaia Brown and Carol Laube* (Principal) FLUTES Lloyd Rogers Chair Caryn Neidhold* Mary Miller* (Principal) Jef Derderian Alison Harvey The Kris and Patrick Larry Machado Claire Tatman Ellingsworth Chair Rose Sciaroni Mary Ann Lazzari* TROMBONES Virginia Bowman Jim Albrecht Elizabeth Lenz OBOES Paul Fleming David Haskins Rong-Huey Liu* (Principal) Andy Williams The Marsha and VIOLAS Les Cohen Chair TIMPANI Dustin Budish* (Principal) Jesse Barrett* Robert Lightfoot (Principal) The Penelope Kirk and The Lise Lenz Drake Chair The Penelope Kirk and Knute Knudson Chair Knute Knudson Chair Kati Wentink CLARINETS McKayla Talasek Jeannie Psomas (Principal) KEYBOARD Catherine Matovich The Mary and James Winn (Principal) John Tozzi Chair Joshua Anderson

* Contract Musician If you are interested in sponsoring a musician, please contact the RCO at (775) 348-9413 or [email protected]

RENO CHAMBER ORCHESTRA XI PROGRAM NOTES

Program Notes by Chris Morrison Vladimir Nabokov wrote about synesthesia in several of his novels. Vincent van Gogh, Wassily “Black A, white E, red I, green U, blue O – vowels, Kandinsky, and David Hockney are among the Some day I will open your silent pregnancies...” visual artists who were synesthetes. Among – Arthur Rimbaud, Vowels musicians, Franz Liszt, Nikolai Rimsky-Korsakov, Leonard Bernstein, Olivier Messiaen, Duke Synesthesia is a phenomenon in which stimulation Ellington, Billy Joel, Itzhak Perlman, and Pharrell of one sensory or cognitive pathway leads to Williams (one of whose albums with N.E.R.D automatic experiences in another. Oliver Sachs, in is titled Seeing Sounds) have all identified Musicophilia: Tales of Music and the Brain, defines themselves as synesthetes. it as “an immediate, physiological coupling of two sorts of sensation.” Although he is among the most famous of synesthete musicians, Alexander Scriabin may There are over sixty varieties of synesthesia. or may not have actually had the condition, as In grapheme-color synesthesia, one of the his color-tone system seems to have been derived most common forms, letters or numbers are from Isaac Newton’s Opticks and Goethe’s perceived with an associated color. In number- Color Theory. In a way, however, the ultimate form synesthesia, numbers, months, or days synesthete, Scriabin, in his unfinished multi- appear as physical presences. In misophonia, media work Mysterium, explored the idea of negative emotions like anger and fright are performance as mystery, seeking to redeem triggered by specific sounds. There’s lexical- humanity through a combination of sound, light, gustatory synesthesia, where words have tastes, color, and scents which would bring the listener and ordinal-linguistic synesthesia, where letters to a state of ecstasy. have personalities. And, of course, music-color synesthesia or chromesthesia, in which sounds or Jean Sibelius felt slightly ashamed about his musical notes are associated with colors. condition and tried to hide it. As Karl Ekman recounts, “For him there existed a strange, No one really knows how synesthesia develops. mysterious connection between sound and color, It may happen as young children are engaging between the most secret perceptions of the eye and with abstract concepts for the first time. Or it ear. Everything he saw produced a corresponding might be genetic; women and left-handed people impression on his ear – every impression of sound are apparently more likely to be synesthetes. was transferred and fixed as color on the retina of Or it might be physiological: adjacent brain his eye and thence to his memory.” However, “he regions may accidentally grow too many neural only spoke of this in the strictest confidence and connections between one another – hence the under a pledge of silence. ‘For otherwise they will common grapheme-color synesthesia, as the areas make fun of me!’” of the brain responsible for processing language and colors are right next to each other. Michael Torke feels his synesthesia is not only unremarkable, but not that relevant to his music. While many synesthetes share reactions – for “I experience color when I hear music. I hear it instance, grapheme-color synesthetes tend to in keys and pitches … Whether it is a hyper- associate the letter A with red – there are also association I developed at age four or five when I wide variations. Some who experience synesthesia first started listening to music or whether it truly don’t perceive their condition as unusual until is a physiological phenomenon of truly mixing they find out otherwise. Some want to keep it up the senses, I don’t know … Sometimes in a secret. Neither does anyone know for certain my interviews, I put down the whole notion of how common synesthesia is, although one synesthesia because how it informed my music study suggests that about 4% of the population is very different from what the scientific and experiences one of the nine most common musical community who want to talk about versions of the condition. synesthesia think … if D major is blue, and I want to write a piece in blue that never modulates, then what you’re doing is you’re celebrating the non- modulation, so you can call it Bright Blue Music as a way to say something about the form … the actual physiology of it is of no interest at all.”

XII RENO CHAMBER ORCHESTRA PROGRAM NOTES MICHAEL TORKE Born: September 22, 1961, Milwaukee, Wisconsin

ailed as a “vitally inventive composer” H(Financial Times) and “a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation” (New York Times), Michael Torke has created a substantial body of works in a style that might be described as post- minimalist, combining the repetitive structures of the minimalism of the 1960s and 1970s with sounds and techniques from the classical and pop traditions. Torke pursued musical studies at the Eastman School of Music and Yale. His career highlights include Color Music, a series of orchestral pieces that each explore a single color; Javelin, a “sonic olympiad” commissioned by the Atlanta Committee for the Olympics in celebration of the Atlanta Symphony’s 50th anniversary season; Four Seasons, an oratorio commissioned by the Walt Disney Company to celebrate the millennium; and Strawberry Fields, whose Great Performances broadcast was nominated for an Emmy Award. Ash Composed: 1988 Duration: 15 minutes Instrumentation: flute, 2 oboes, clarinet, 2 bassoons, 3 horns, trumpet, timpani, synthesizer, strings TORKE hile Torke was at Yale, he started on a series Wof compositions that would, in his words, Torke writes, “In trying to find a clear and “celebrate without modulation a single color.” recognizable language to write this piece, I have The works in Color Music – Ecstatic Orange chosen some of the most basic, functionally (1985), Bright Blue Music (1985), Green (1986), tonal means: tonics and dominants in F minor, Purple (1987), and Ash (1988) – were all conceived a modulation to the relative major (A-flat), and separately and don’t have an established order. a three-part form which, through a retransition, Ash was first performed on February 3, 1989 by recapitulates back to F minor. What I offer is not the St. Paul Chamber Orchestra conducted by invention of new ‘words’ or a new language but John Adams. The Los Angeles Times described a new way to make sentences and paragraphs in Ash as “...an ingenious homage to Beethoven, a common, much-used existing language.” The a quarter hour of trickily juxtaposed shards entire work is based on a single melody, heard, of melody, rhythm and (mostly) two-chord fast and propulsive, in F minor at the beginning fragments, a gallop in search of a bolero.” of the piece. That tune is tossed about the orchestra, both single instruments and ensembles, over an insistent rhythm. In the middle section, calm descends as the melody moves into A-flat major. But soon the momentum builds again, and with a switch back to the minor, the mood of the opening section returns.

RENO CHAMBER ORCHESTRA XIII PROGRAM NOTES Piano Concerto in F-sharp minor, Op. 20 Composed: 1896-97 Duration: 28 minutes Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings

n graduating from the Moscow Conservatory, OScriabin embarked on a busy concert schedule that started in Russia, but soon extended throughout Europe as well as Great Britain and the United States. Many of his performances were solo recitals, but he also wanted to have something to perform with orchestras. In the fall of 1896 he started work on the Piano Concerto; SCRIABIN the initial sketches were done quickly, but the orchestration took him until May of 1897 ALEXANDER SCRIABIN to complete. Born: January 6, 1872, Moscow, Russia Odessa was the site of the Concerto’s first Died: April 27, 1915, Moscow, Russia performance, on October 23, 1897, with Scriabin as soloist and Vasily Safonov conducting. criabin’s early career parallels that of Sergei Reaction to the Concerto was mixed in Russia, SRachmaninov – they both had piano lessons but the work was embraced elsewhere as Scriabin with the famous teacher Nikolai Zverov, and both toured with it. One British critic wrote in attended the Moscow Conservatory. Scriabin The Musical Times after a successful performance won the Conservatory’s Little Gold Medal in at Queen’s Hall in 1914, “Here there are no piano performance, and he soon became an harmonic problems to embarrass the uninitiated. internationally-known virtuoso. His early Much of the music makes its immediate appeal compositions were heavily influenced by Chopin. to anyone sensitive to beauty.” In 1898 Scriabin became a professor at the Moscow Conservatory, but in 1903 he abandoned The first movement starts unassumingly but his professorship and wife and embarked on a builds quickly, with big Romantic gestures six-year tour of Europe. With visionary works from both the soloist and orchestra. Minus like the Poem of Ecstasy, Scriabin came to believe the big tunes, one might mistake this music that his music could have a cosmic impact. This for an unknown concerto by Rachmaninov. was especially true of Mysterium, left unfinished The orchestra takes on great prominence, and at Scriabin’s death (caused by septicemia from occasionally the piano becomes an accompanist an infected boil on his lip), which proposed to for orchestral soloists. The second movement is fuse all the arts in a seven-day performance that a set of five variations on a gentle, wistful theme “would herald the birth of a new world.” As presented first by muted strings. The synesthete Donald Garvelmann has written of Scriabin’s Scriabin associated this movement’s F-sharp music, “Its large range of expression–anger, fear, major with “bright blue” (years later Scriabin heroism, darkness, mystery, evil, light, fire, flight, conceived of the “clavier à lumières” or “light intoxication, languor, love, six, ecstasy–is the very keyboard,” which would emit colored lights connective tissue of his life and thought.” based on the notes played). Variation 1 gives the theme to the clarinet, the piano providing lovely decorations. After a fast-paced second, the third variation takes the theme to the pianist’s left hand, echoed by strings. Variation 4 turns the theme upside down, and after a short piano cadenza, in the final variation the theme is heard over an

XIV RENO CHAMBER ORCHESTRA PROGRAM NOTES anchoring bass note and delicate embroidery from the piano. Combining sonata-allegro and rondo forms, the Finale is based on two themes– the first with an ascending arpeggio that climbs to the highest part of the piano, the second lyrical. Violent outbursts, particularly from the brass instruments, occasionally interrupt the relaxed flow of the music, and an extended coda brings the work to an exciting finish. JEAN SIBELIUS Born: December 8, 1865, Hämeenlinna, Finland Died: September 20, 1957, Järvenpää, Finland

ean Sibelius was the first Finnish composer to Jattract international attention, and became a SIBELIUS major figure in the establishment of his country’s artistic identity. He showed early talent on the first version of the work, with Sibelius himself the violin – he once auditioned for the Vienna conducting the Helsinki Philharmonic. They Philharmonic and thought for a time of pursuing also gave the first performance of the Symphony’s a career as a violin soloist. But composition final revision, the version most commonly heard always attracted him, and he created a sensation today, on November 24, 1919. in Finland with the premiere of his Kullervo Symphony in 1893. Supported by a lifetime Sibelius completed his first draft of the work pension from the Finnish government, Sibelius in 1915, then revised the score in 1916, and quickly became famous, his works – many again in 1919. His diary of that time was filled inspired by the literature and landscape of his with pessimism and depression over the loss homeland – performed across the globe. After of life in World War I, his inability to travel, completing his Symphony No. 7 and a few other and, more pragmatically, lack of access to his works in the mid 1920s, Sibelius retired into German music publisher. He kept solvent by what has been dubbed the “silence from writing short trifles for Finnish music houses. Järvenpää.” For the remaining three decades of All the while he was struggling with what his life he composed practically nothing, although eventually became his Symphony No. 5. At one reports of an Eighth Symphony (apparently point Sibelius wrote of the work, “It is as if God destroyed) became legendary. In 1955 his Almighty had thrown down pieces of a mosaic for ninetieth birthday was celebrated worldwide. heaven’s floor and asked me to find out what was the original pattern.”

Symphony No. 5 in E-flat major, The poor reviews that greeted Sibelius’s austere, Op. 82 darkly-colored Symphony No. 4 in 1911 had precipitated a bit of a crisis for him. The first Composed: 1915–19 version of the Fifth Symphony had some of the Duration: 32 minutes angularity and dissonance of the Fourth. But Instrumentation: 2 flutes, 2 oboes, 2 clarinets, Sibelius softened some of the work’s edges in 2 bassoons, 4 horns, 3 trumpets, 3 trombones, his revisions. As he put it, “I wished to give my timpani, strings symphony another–more human–form. More down-to-earth, more vivid.” ibelius was commissioned to write the SSymphony No. 5 by the Finnish government, The first movement was originally thought to in recognition of his fiftieth birthday. That be intended as two separate movements, but birthday, December 8, 1915, which had also been Sibelius eventually chose to link them. Opening declared a national holiday, saw the premiere of with a soft call from the horns that provides

RENO CHAMBER ORCHESTRA XV PROGRAM NOTES much of the basis of the rest of the movement, A rushing melody played tremolando by the overall the movement is somewhat ambiguous violins and violas opens the third movement. in form, a Sibelius trademark. There seem to After focusing on this melody for a time, another be two expositions of the main themes, with very important motif appears in the horns. This different key relationships and accompaniments. bell-like theme in a swaying triple-meter was After this, the melodies are developed further, said to have been inspired by the calls of swans. with the bassoon exploring some very unsettled “Today at ten to eleven I saw 16 swans,” wrote territory. At this point, the Scherzo section Sibelius. One of my greatest experiences! Lord begins, as chirping woodwinds take over and God, what beauty! They circled over me for a the tempo accelerates to Allegro moderato. long time. Disappeared into the solar haze like Later, variations of the previous themes are heard a gleaming silver ribbon … Nature mysticism as the tempo builds to a breathless conclusion. and life’s angst! The Fifth Symphony’s finale- theme: legato in the trumpets!” Donald Francis The relaxed second movement is a set of variations Tovey, on the other hand, likened this theme on a theme that is first played by the flute and to Thor swinging his hammer. Along with this pizzicato (plucked) strings. Strings take over for idea, Sibelius superimposes another distinctive the first two variations, although the boundaries melody in the winds and cellos. After these are between the variations are, again, ambiguous. examined further, the horn theme eventually An oboe dominates one section, and another in returns majestically, leading to Sibelius’s final the strings takes the music in a more romantic gesture–separated by different lengths of silence, direction. Eventually, the movement comes to a six powerful concluding chords. restrained end.

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THANKS TO OUR CONTRIBUTORS

• Reflects contributions received from March 15, 2017 to August 23, 2018. • Includes contributions to RCO general fund, RCO Endowment, and in-kind contributions.

GRAND PATRON $20,000+ SILVER BATON $3,500+ BENEFACTOR $750+ Anonymous (2) Yvonne and Allen Brady Big Horn Olive Oil Carol Franc Buck Foundation Mimi Ellis Hogan Monica Houghton Chatburn Estate Judith Strasser Marsha and Mark Richter E.L. Cord Foundation Ursula and Richard Tracy Robert and Carole Wentink The Thelma B. and Thomas P. Hart Foundation CONDUCTOR’S CIRCLE $2,000+ SPONSOR $500+ Pat and Mark Mac Donald Anonymous (1) Apex Concerts Gail and Jack McAllister Brenda and Robert Brown Absolute Music Nevada Arts Council Judith Cole Daryl Drake Arthur and Mae Orvis Foundation Kay and Randall Dean Holly Gallup Nell J. Redfield Foundation Kathy and Fred Jakolat Judy and Frank Hartigan Heidemarie Rochlin Phyllis and Stephen Lerman Victor Henney Jr. Chris and Parky May Betty and James Hulse PLATINUM BATON $10,000+ Marshall and Patricia Postman Katherine and Stephen Jenkins Atlantis Casino Resort Elsi and Richard Reinhardt Ella and Edgar Kleiner Bretzlaff Foundation Reno Philharmonic Orchestra Jane Lacey Holly and Kel Buchanan Gaia Brown and Lloyd Rogers Alan Liebman Les Cohen in Memory of Nancy Simkin and John Marini Jacob Margolis Marsha Cohen George Simmons Doug Brewer and Viki Matica Community Foundation of Charles H. Stout Foundation National Championship Air Races Western Nevada Cathy and Rick Trachok Jean and Richard Park Marilyn and Darrell Craig Lois and Joe Parks Lillian and Stephen Frank CONCERTMASTER’S CIRCLE $1,500+ Reno Little Theater Cecilia Lee Linda Cavanagh Janice Shave Stephen Myerson Peter Lenz Judith and Larry Simcoe Nancy Rose in Memory of Chris Morrison Janet Vreeland Jack Rose Jane and Jim Nichols Bridget and Jeff Webster Rosemann Family Foundation Karen Penner-Johnson and Linda Wycoff Jennifer Smith and John Thayer Marc Johnson Tanglewood Productions PARTNER $250+ Jill Winter PATRON $1,000+ Loretta Amaral Yann Ling-Barnes and Scott Barnes BJs Restaurant GOLD BATON $5,000+ Loretta and Cliff Baughman Susan Boskoff and Brad Van Woert Madeline Ackley Lynn Bremer Jean K. Browne Susan and Joseph Cadena Carol Buck Janice and Robert Carusi City of Reno Arts and Classical Tahoe Terry Cox and Beth Dailey Culture Commission Julie Cole Clay Durr Marilyn and Darrell Craig Dermody Properties Foundation Andrea Lenz and Scott Faulkner Cleta Dillard Frederick Dirienzo Barbara and William Feltner William Douglass Lise L. Drake Focused Computing, LLC Kris and Patrick Ellingsworth Eileen and John Edgcomb GE Matching Grant Barbara and Robert Fox Roberta and Neal Ferguson Chef Bill and Trisha Gilbert Robert Z. Hawkins Foundation Carroll and Jack Gardner Barbara and Hal Goss Mary Ann and Jim Kidder Margaret Lewicki and Lynne Gray KNCJ-FM Ernie Grossman Marcia and Chuck Growdon KNPB-TV Marilyn Hadley Harrah’s/ Harvey’s Lake Tahoe Penelope Kirk and Knute Knudson Charles Hatch Nancy Hudson KUEZ (Easy 104.1FM) Jeane Jones Boyd Jeffery KUNR-FM James Mitchell Hannah Kuchar Trudy Larson and Ron Luschar Nevada Humanities Michelle Miller Philip Manwell Carol Parkhurst Kenneth Raabe Renaissance Reno Hotel Sandra Raffealli Arlene and George Summerhill McGowan Charitable Trust Angela and Bill Sell Katherine Bates and Paul Ward George and Ingrid Ryst Shell Oil Company Sheldon Werber Mary and John Tozzi Sierra Music Society Kathy Wishart University of Nevada, Reno Mignonne and Calvin Tinkham Jan and Norm Ziomek Wells Fargo Foundation Judith K. Topol Robbi Whipp Karen Traynor E.L. Wiegand Foundation Dieter and Sue vonHennig Christine and John Worthington

XX RENO CHAMBER ORCHESTRA THANKS TO OUR CONTRIBUTORS

FRIEND $150+ Jan Brandt Ginny McBride 4th Street Bistro Judith Brierly Barbara McMeen Claire Ashkin Brüka Theatre Anne and Don Meier Crafted Palette Cinemark Theaters Mildred Mitchell Nate Barrett Kathleen Conaboy Elizabeth Morse Beaujolais Bistro Pat Crane Elaine Moser Thelma and Richard Beye The Daily Bagel Napa Sonoma South Patricia and Brent Boynton Carol Edmund and Valerie and Stephen Nelson Brüka Theatre Robert Beveridge Linda Newberg Irmin and Tom Clark Carole Fineberg Linda Nicoll Lois Crocker Fuzion Salon Nancy Northrup Catherine and Eric Cronkhite Karen Gedney Nothing Bundt Cakes Doug and Theresa Damon Robert Gillett Nothing To It Kati Dayner David Gordon Melissa and Mark Pingle Susan Dunklau Grassroots Books Betty Presley William Glaser Mary Beth Greig Jane and Bill Raley Cynthia and Thomas Hall Jerry Hall Marilyn Rappaport Marilyn and Robert Herschbach Patricia and Johnathan Hanbury Recycled Records Stephanie and Paul Lamboley High Sierra Coffee Charles Reider Norm Lamont The Holt Family Sylvia and Fred Reiff Judy Lockwood Homage Bakery Pat and Karl Remick Jan and Jim Loverin Hot August Nights Reno Jazz Orchestra Stuart Murtland Ruanne Gentry Round About Grill Peppermill Resort Spa Casino Lynne Gray Rum Sugar Lime Jane Randall and Ronald Wolfson C.J. Hadley Salon Glow Tasha Reisz Catherine Hancock San Francisco Symphony Reno Aces and 1868 FC Harrah’s National Joyce and DeArmond Sharp Neila Schumaker Automobile Museum The Shelly Family Anne and Don Simone Donna and Joseph Harvey Jim Sibley Hon. Bob Seale and Carol Mousel and Larry Hyde Silver Peak Brewery and Restaurant Judith F. Simpson India Kabab Wayne Smith Sharon and Gerald Smith Eloy Ituarte Southcreek Pizza Terry and Robert Smith Jane Johnson Squeeze In Madeline Soo Marilyn Johnson Gisela Steiner Morgan Stanley Alan Jordan Stone House Café Unbound Chamber Music Festival Junkee Clothing Exchange Trader Joe’s Helen Wallace Kimmie Candy Twisted Fork Mirta and Brien Walters Mary and Mark Knobel Christine Veach Ann Wood LaVecchia Van Vinikow Joyce Yano Lake Tahoe Shakespeare Festival Faye and J.K. Wheeler Harvey Lambert Wild Island Adventure Park INDIVIDUAL $50+ Maureen Laubacher Wolfdale’s Cuisine Deborah Bailey Denise and David Leitner Unique Restaurant Kathy Bates and Paul Ward Elizabeth Lenz Violetta and Illa Yamboliev Beer NV Los Compadres Catherine and Anton Zoch Amy and Douglas Booth Mexican Restaurant Zozo’s Ristorante Jeanne and Fred Boyden Vicki LoSasso

RENO CHAMBER ORCHESTRA XXI THANKS TO OUR CONTRIBUTORS

In honor of John Farahi’s In memory of Marilyn Drendel In memory of Vahe Khochayan Honorary Ph.D. from UNR William Douglass Valerie and Stephen Nelson Sharon Chabrow and Barbara and William Feltner Stephen Myerson Mary and Mark Knobel In memory of Jon Madsen Elizabeth Lenz Marilyn Hadley In memory of Pearl Jane and Bill Raley (Rusty) Adlish Hon. Bob Seale and In memory of George Ryst Marilyn Hadley Judith F. Simpson Marilyn Hadley Robbi Whipp Lois and Joe Parks In memory of Susan Cadena Jill Winter Virginia and Ron Legg In memory of Nilsine Hansen Valerie and Stephen Nelson Skip Hansen In memory of Douglas Whipp Charles Reider Marilyn Hadley Bill and Angela Sell In memory of Leonard Neidhold Jill Winter Robbi Whipp Hon. Bob Seale and Judith F. Simpson In memory of Marsha Cohen Jill Winter To contribute to the RCO: mail a Jane Grossman check to RCO, 925 Riverside Dr. Lois and Joe Parks In memory of Jeane Jones Ste. 5, Reno, NV 89503; call Marilyn Rappaport Lynn Bremer (775) 348-9413; or visit Jill Winter www.renochamberorchestra.org.

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ACKNOWLEDGEMENTS

his program is yours with our compliments, thanks to the businesses whose advertisements are included and whose services to the RCO are cited throughout the program. Please give Tour business supporters an opportunity to serve you when you next need their products or services, and be sure to tell them you saw them mentioned in the RCO program! WE ARE GRATEFUL TO OUR LIFE MEMBERS: THE RCO ALSO EXTENDS ITS THANKS TO: Yvonne and Allen Brady All of the RCO’s great volunteers. Lynn Bremer Susan Cadena* Tanglewood Productions for making Marsha* and Les Cohen our archival recordings. Cleta and Walter* Dillard RCO photographer Stuart Murtland. Trudy Larson Joe Ross and OCG Creative for website Elizabeth and Gilbert* Lenz and digital marketing help. Barbara Long* Nancy and Jack* Rose David Lan and Focused Computing for Vera Stern maintaining our office computers. Toni Tennille and Daryl Dragon The Reno Philharmonic, for sharing Sue and Dieter von Hennig its music stands and other equipment Robbi and Jim* Whipp for RCO rehearsals. Jill M. Winter *In memoriam

PRE-CONCERT TALKS The RCO invites you to attend pre-concert talks prior to each of this season’s programs. These informative and entertaining presentations start 45 minutes before each of our performances – Saturday at 6:45 p.m. and Sunday at 1:15 p.m. – and take place inside Nightingale Concert Hall. The pre-concert talks provide an excellent introduction to the music you’ll hear played by the RCO. This program is made possible in part by a grant from Nevada Humanities, a state program of the National Endowment for the Humanities.

PLANNED GIVING

HELP ENSURE THE RCO’S FINANCIAL HEALTH There are other possibilities as well. Always Your investment in the Reno Chamber Orchestra consult your attorney or tax advisor to discuss will help ensure continuing funding for our any effects your gift will have on your personal concerts and programs in future years. Including tax or estate situation. the RCO in your financial and estate planning may also provide tax advantages and/or a regular If you have already made arrangements income stream. concerning the RCO, we would ask you to let us know. Your information will be held in Your gift can take many forms: strictest confidence. • Securities • Charitable Remainder Annuity Trust For more information, call the RCO • Bequest through a will, estate plan, or at (775) 348-9413. family trust • Life Insurance • IRA or retirement plan assets

XXIV RENO CHAMBER ORCHESTRA RENO CHAMBER ORCHESTRA 3 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

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