Welcome

We are delighted to welcome you to ODC Theater for Wind, the second concert of Earplay’s 32nd season. This season we honor the remarkable musical legacy of composer Toru Takemitsu, and tonight we have the unusual good fortune to present two exquisite Takemitsu pieces that include harp. You’ll also hear intriguing new music by Linda Bouchard and Heidi Jacob, both wonderful composers with strong ties to the Bay Area.

Earplay has proudly sponsored the Earplay Donald Aird Composers Competition since 2001, honoring composer and former Earplay board member Donald Aird. The Aird Competition draws entries from a world- wide international field and tonight Earplay performs the West Coast premiere of Stephen Yip’s Insight II, the winner of the 2016 Aird Prize.

We hope you will join us for a pre-concert conversation with composers Linda Bouchard, Heidi Jacob, and Stephen Yip. We also invite you to linger after the concert to chat with composers, Earplayers, and Earplay board members over refreshments and a cup of sake.

Earplay is very grateful to the Japan Foundation of Los Angeles for their generous support of this concert. Thanks to them, to our other funders, and to you for your enthusiastic support, Earplay will continue to commission exciting new works and to present passionate performances of vibrant, bold new music. And spread the word: don’t miss Earplay’s next concert on May 15, 2017 at ODC Theater, and please don't forget to bring a friend!

— Earplay Board of Directors

Board of Directors Staff

Terrie Baune, musician representative Lori Zook, executive director Bruce Bennett Terrie Baune, scheduler Mary Chun, conductor Renona Brown, accountant Richard Festinger David Ogilvy, sound recordist Larissa Koehler Ellen Ruth Rose, artistic coordinator May Luke, co-chair Stephen Ness, secretary/treasurer Advisory Board Ellen Ruth Rose Laura Rosenberg, co-chair Chen Yi Richard Felciano William Kraft Kent Nagano Wayne Peterson 2 Monday, March 20, 2017 at 7:30 p.m. ODC Theater

Earplay Season 32: Air, Wind, Water

Concert 2: Wind

Earplayers

Terrie Baune, violin Tod Brody, flutes Mary Chun, conductor Peter Josheff, clarinets Thalia Moore, cello Ellen Ruth Rose, viola Brenda Tom, piano

Guest Artists

Meredith Clark, harp Keisuke Nakagoshi, piano

Pre-concert conversation at 6:45 PM: Bruce Christian Bennett, moderator with composers Linda Bouchard, Heidi Jacob, and Stephen Yip

Please power down your cellphone before the performance (do not just silence it!). No photography, videography, or sound recording is permitted. Programs are subject to change without notice.

Earplay’s season is made possible through generous funding from the Aaron Copland Fund for Music, the Alice M. Ditson Fund of Columbia University, the Ann and Gordon Getty Foundation, the William and Flora Hewlett Foundation, the Japan Foundation Los Angeles, the Ross McKee Foundation, Grants for the Arts, the Zellerbach Family Foundation, and generous donors like you. 3 Program

Heidi Jacob Metamorphosis I (2012) Thalia Moore Brenda Tom

Toru Takemitsu Toward the Sea III (1989) I. The Night II. Moby-Dick III. Cape Cod Tod Brody Meredith Clark

Stephen Yip Insight II (2015) 2016 Earplay Donald Aird Composers Competition winner; West Coast premiere Tod Brody Peter Josheff Terrie Baune Thalia Moore Keisuke Nakagoshi Mary Chun

INTERMISSION

Toru Takemitsu And then I knew ‘twas Wind (1992) Tod Brody Ellen Ruth Rose Meredith Clark

Linda Bouchard Second Survival (2009, rev. 2016) Earplay commission World premiere (of revised version) Tod Brody Peter Josheff Terrie Baune Ellen Ruth Rose Thalia Moore Brenda Tom Mary Chun 4 Program Notes

Metamorphosis I (2012) by Heidi Jacob for cello and piano

Metamorphosis I upends several premises, beginning with the cello's subservient role in the opening introduction. Pairing techniques from minimalism and, broadly speaking, serialism, the work juxtaposes these two contrary compositional impulses from the 20th and 21st century. The opening piano gradually introduces the 12-note row that appears again in double stops by the cello. The row is loosely used throughout the work, most prominently in the dissonant middle portion that uses repeated and evolving minimalist rhythmic and melodic cells. The row's original, retrograde and retrograde inversion forms are presented in a lyrical fashion to conclude the work over quasi-tonal, minimalist triadic textures.

— H. J.

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The music of Heidi Jacob has been described by BBC Magazine as "compositions ... of complex mesmerizing beauty," by David Patrick Stearns of The Philadelphia Inquirer as "a musical adventurer," and by Gramophone Magazine as music with " ... forthright expressiveness [that] exposes a multitude of stylistic associations." Composer, cellist, and conductor, she is a Professor of Music at Haverford College and a graduate of both the Curtis Institute of Music and The Juilliard School, with a D.M.A. in composition from Temple University. She has performed as a cellist throughout the United States and Europe and has recorded as a cellist and conductor for Capstone Records, Albany Records and Navona records. The CD of her compositions, Beneath Winter Light, produced by Parma Records, was released in January 2015. Her composition untouched by morning and untouched by night is included on the CD Intersections, recorded in Cuba with Cuban musicians and released October 2016 on Ansonia Records. Her cycle of songs Beginning Again can be heard on L'Ensemble’s CD Poetry into Song.

Ms. Jacob's solo and chamber music works have been performed at Tania León's 2014 Composers Now Festival, the Kimmel Center in Philadelphia, the Philadelphia Chamber Music Society, the Rutgers University installation Complex Weave: Women and Identity in Contemporary Art, Amphibian, New Music and Video HI Art Gallery, and The Stone in New York City, and by The Argento Ensemble, the Opus One: Berks Chamber Choir, Temple 5 University's Contemporary Music Ensemble, the Momenta String Quartet, and the Hildegard Chamber Players.

Ms. Jacob's Winter Light for violin and string orchestra was performed in spring 2016 by I Solisti Veneti, conducted by Claudio Scimone. Her Many in One, for string orchestra work was commissioned by First Editions Chamber Orchestra and was premiered in spring 2016 in Philadelphia. A native Californian, Ms. Jacob grew up in Orinda, .

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Toward the Sea III (1989) by Toru Takemitsu for alto flute and harp

I. The Night II. Moby-Dick III. Cape Cod

Toward the Sea was commissioned by Greenpeace for the Save the Whales campaign. It exists in three separate versions, each lasting around 11 minutes:

the first (composed in 1981), for alto flute and guitar, the second (also 1981), for alto flute, harp and string orchestra, and the third (1989), for alto flute and harp without orchestra.

The work is divided into three sections: The Night, Moby-Dick, and Cape Cod. The section titles reference Melville's novel Moby-Dick. The composer wished to emphasize the spiritual dimension of the book, quoting the passage, "meditation and water are wedded together". He also said, "The music is a homage to the sea which creates all things and a sketch for the sea of tonality".

Toward the Sea was written at a time when Takemitsu was increasingly returning to tonality after a period of experimental composition. Most of the work is written in free time, with no bar lines (except in the second version, to facilitate conducting). In each version, the flute has the primary melodic line, based in part on a motif spelling "sea" in German musical notation (Eb– E–A). This S-E-A motif appears in the work in various forms and reappears in several of Takemitsu's later works. — Wikipedia

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6 Toru Takemitsu was born in Tokyo on October 8th, 1930. His musical language is born out of a synthesis of varied styles and influences ranging from traditional Japanese music to Western classical and avant-garde music. He came to international attention when Igor Stravinsky hailed his Requiem for Strings (1957) as a masterpiece. His success abroad was consolidated over the following decade with such scores as November Steps (1967), a commission from the New York Philharmonic that broke new ground by including indigenous Japanese instruments within a Western symphony orchestra.

Takemitsu began composing as a teenager after serving as a conscript in the Japanese military at the end of World War II. Later in his life he recalled, "I began [writing] music attracted to music itself as one human being. Being in music I found my raison d'être as a man. After the war, music was the only thing. Choosing to be in music clarified my identity."

During the American post-war occupation of Japan, Takemitsu was employed by the U.S. Armed Forces, but then became ill. Hospitalized and bed-ridden, he took the opportunity to listen to as much Western music as he could on the U.S. Armed Forces Network. French music held a special attraction, especially the work of Debussy and Messiaen, whose influence can be detected right from his earliest scores. While deeply affected by his study of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later that for him, Japanese traditional music "recalled the bitter memories of war."

One might also hear the influence of Webern in Takemitsu's use of silence, and hints of Cage's musical philosophy, though his overall style is always uniquely his own. Takemitsu believed in music as a means of ordering or contextualizing everyday sound in order to make it meaningful or comprehensible. His philosophy of "sound as life" inspired the incorporation of natural sounds in his music, as well as his desire to both juxtapose and attempt to reconcile opposing elements, such as Orient and Occident, sound and silence, and tradition and innovation.

With the formation of the Jikken Kobo (Experimental Workshop) to promote and perform mixed-media art works, Takemitsu's career really began to take off. At the forefront of musical experimentation during the 1960s and early 1970s, he explored the use of improvisation, graphic notation, unusual combinations of instruments, and even recorded sounds in his composition. He subsequently composed in a more approachable but hardly less individual idiom that fuses an essentially Japanese ethos with 7 Western technique. Although he wrote the scores for almost a hundred films (such as Kurosawa’s acclaimed Ran) and published twenty books, his reputation rests largely on his extensive catalog of orchestral and chamber music. He passed away in Tokyo on February 20th, 1996.

— B. B.

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Insight II (2015) by Stephen Yip for flute, bass clarinet, violin, cello, and piano 2016 Earplay Donald Aird Composers Competition winner

This piece was inspired by three major Buddhist ideas: Non-objectivity, Idea-lessness, and Non-attachment as basis. Although many urban cities are hustle and bustle, there are many different perceptive insights to see, to touch, or to listen to all things around us in order to reach another dimension inside.

Concept and idea: • "to see" instead of "to watch", "to listen" instead of "to hear", or "to think" instead of "to follow" • Finding simplicity in complexity • Finding peace and quiet in a noisy space • Finding color in the ashes — S. Y.

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The music of Stephen Yip has been described as post-modernist in style, with Asian roots, giving the inner colors of an advanced spatial sense. Yip was born in Hong Kong and now lives in the U.S. He received his D.M.A. from Rice University and his B.F.A. from the Hong Kong Academy for Performing Arts. He has studied with Law Wing-fai, Clarence Mak, and Arthur Gottschalk.

Yip has attended major music festivals, including the Aspen Music Festival, Asian Composers’ League, ISCM World Music Days, Chinese Composers’ Festival, IMPULS Ensemble Akademie (Luxembourg), the International Summer Course for New Music (Darmstadt, Germany), and the Wellesley Composers Conference. His residencies include the Atlantic Centre for the Arts, Yaddo Colony, and MacDowell Colony.

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Yip’s works have been performed in Asia, Europe and America. He has received several composition prizes, including the Salvatore Martirano Memorial Composition Award, the Taiwan Music Center International Composition Prize, the Robert Avalon International Prize, the Singapore International Composition Competition for Chinese Orchestra, the ALEA III composition Competition, the 2010 Alvarez Chamber Orchestra Freestyle Composition Competition, and the 2016 Earplay Donald Aird Composers Competition. His works are recorded on the ERM-Media, PARMA, Capstone, North South recording, Ablaze records, ATMA Classique, and Beauport Classical labels.

Yip is a member of the SCI, NACUSA, and ASCAP. Currently, he is on the music faculty at Houston Community College and works as a freelance composer. His website is stephen-yip.com.

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And then I knew ‘twas Wind (1992) by Toru Takemitsu for flute, viola, and harp

The title of And then I knew 'twas Wind is from a poem by Emily Dickinson:

Like Rain it sounded till it curved And then I knew 'twas Wind It walked as wet as any Wave But swept as dry as sand.

Takemitsu wrote that the work "has as its subject the signs of the wind in the natural world and of the soul, or unconscious mind (or we could even call it 'dream'), which continues to blow, like the wind, invisibly, through human consciousness."

One can hear that And then I knew 'twas Wind pays homage to Debussy, for not only does Takemitsu use the same instrumentation as Debussy’s Sonata No. 2 for flute, viola, and harp, he quotes it in a rising figure that is first presented in the viola. The composition features a continuous stream of interconnected episodes, with a smooth, rhythmically varying flow that incorporates both sound and silence. The work uses modal melodies and subtle changes in tone color; and while it features complex harmonies, it is mostly calm and meditative. Takemitsu's exquisite musicality and his exceptional sense of instrumental technique and color are on full display.

— B. B.

◆ 9 The biography of Toru Takemitsu appears above.

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Second Survival (2009-2016) by Linda Bouchard for flute, clarinet, violin, viola, cello, and prepared piano Earplay/Fromm commission

Second Survival is a revised version of Systematic Survival, composed in 2009. The composer felt inclined to give the piece a modified title because she made enough revisions to the work that it will be perceived as a different piece, although still intimately related to the original version. This piece is about the wonder I feel at our ability to endure and to persevere in the face of challenges — and to create unlikely systems to sustain ourselves through the journey. Second Survival is also about transformation.

As usual, I am concerned with texture and rhythmic interplay. In an obvious way, I have the woodwinds in one group and the strings in another. The piano straddles the strings and inhabits a textural world of its own by being prepared with small mutes, becoming in this way a "ghost" percussion player. I am always interested in defining the timbral colors of my instrumental groups and finding points of juncture between these worlds.

— L. B.

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Born in Val d’Or (Québec), Linda Bouchard has been active as a composer, conductor and producer for the last thirty years. Her works are heard regularly on both sides of the Atlantic and are recorded by the CBC, Analekta, Marquis Classics and CMC in Canada, ECM in Germany, and CRI in the US. In 1977, Linda came to the USA to study with Henry Brant. In 1979, she moved to New York City, where she lived until 1991. She went back to Montreal for the world premiere of Elan with the Orchestre Métropolitain. From 1992 to 1995, she was composer-in-residence with the National Arts Center Orchestra in Ottawa, Canada.

In 1997, she left Montréal, Québec and moved to San Francisco, where she currently resides with her husband and her son. In 1999, she received a first Prize as Composer of the Year from the Conseil Québecois de la Culture and the Joseph-S-Stauffer Prize from the Canada Council for the Arts. Her 10 honors in the US include first prizes in the Princeton Composition Contest, the Indiana State Competition, the National Association of Composers USA Contest, and a Fromm Foundation Award from Harvard University. In 2005, Linda founded New Experimental Music, Art and Production (NEXMAP), a nonprofit arts organization that explores the intersection of traditional artistic practices and new technologies. She served as artistic director until December 2015. That year she received a Fleck Fellowship Award at the Banff Center and was also invited as a Master Instructor. Linda was a Visiting Professor at UC Berkeley during the Spring 2016. Her multimedia work All Caps No Space will be performed with Addleds at the San Francisco International Arts Festival on June 2nd, 2017. Her website is lindabouchard.com.

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Earplayers

In addition to being a member of Earplay, Terrie Baune (violin) is co-concertmaster of the Oakland- East Bay Symphony, concertmaster of the North State Symphony, and a former member of the Empyrean Ensemble. Her professional credits include concertmaster positions with the Women’s Philharmonic, Fresno Philharmonic, Santa Cruz County Symphony, and Rohnert Park Symphony. A member of the National Symphony Orchestra for four years, she also spent two years as a member of the Auckland Philharmonia Orchestra of New Zealand, where she toured and recorded for Radio New Zealand with the Gabrielli Trio and performed with the New Zealand Symphony Orchestra.

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Tod Brody (flutes) has enjoyed a long career as a musician, teacher, and administrator. As a flutist, Brody is well known to California audiences as a chamber musician and orchestra player, with a focus on contemporary music. As flutist with Earplay, Empyrean Ensemble, Eco Ensemble, and the San Francisco Contemporary Music Players, he has performed many world premieres, and has been extensively recorded. He is on the music faculty at the University of California, Davis, where he teaches flute and chamber music. Tod was recently named Executive Director of the Marin Symphony.

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“… One cannot resist the charm, energy and allégresse that was displayed on the podium by Mary Chun.” — Le Figaro, Paris

A fierce advocate of new work, Mary Chun (conductor) has worked with many composers such as John Adams, Olivier Messiaen, Libby Larsen, William Kraft, and Tan Dun, to name a few. At the invitation of composer John Adams, she conducted the Finnish chamber orchestra Avanti! in the Paris, Hamburg and Montreal premiere performances of his chamber opera Ceiling/Sky to critical acclaim. Passionate about new lyric collaborations, she has music-directed several world premieres, including Libby Larsen’s opera, Every Man Jack; Mexican- American composer Guillermo Galindo’s Decreation: Fight Cherries, a multi- media experimental portrait of the brief life of the brilliant French philosopher Simone Weil; Carla Lucero’s Wuornos, the tragic true tale of the notorious female serial killer; and Joseph Graves’ and Mort Garson’s Revoco.

In 2014 Mary became the first American music director to be invited to China to premiere Mandarin language versions of Broadway hits such as Avenue Q, How to Succeed in Business Without Really Trying, and most recently Man of La Mancha in Beijing and Shanghai. Closer to home, she most recently conducted Thomas Ades' controversial opera Powder Her Face with the West Edge Opera to international critical acclaim.

Other conducting engagements include opera tours with the Kosice Opera throughout Germany, Switzerland and Austria in addition to concerts in Belgium and the Czech Republic. She has also been invited to conduct at the Hawaii Opera Theater, the Lyric Opera of Cleveland, Opera Idaho, the Texas Shakespeare Festival, Ballet San Joaquin, West Bay Opera, Pacific Repertory Opera, and the Mendocino Music Festival. Mary was recently nominated for Best Music Director by the Bay Area Theater Critics Circle for her work on Frank Loesser’s Most Happy Fella at Cinnabar Theater, where she is Resident Music Director. ◆

Peter Josheff, clarinetist and composer, is a founding member of Sonic Harvest and of Earplay. He is also a member of the San Francisco Contemporary Music Players, the Empyrean Ensemble, and the Eco Ensemble. He performs frequently with Opera Parallèle, the San Francisco Chamber Orchestra, and Melody of China, and has worked with many other groups including West Edge Opera, the Ives Collective, the Paul Dresher Ensemble, Composers Inc., and sf Sound.

12 Peter has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. Crazed Loner, his singer/songwriter project, had its public debut in October 2016. His latest work, The Dream Mechanic, Four Poems by Carol Vanderveer Hamilton, commissioned by the San Francisco Chamber Orchestra, was premiered in February 2017.

Peter's recent compositions include Big Brother (2014) for solo piccolo, premiered by Tod Brody with Earplay; Ground Hog Day (2014) for clarinet and string quartet, premiered by the Farallon Quintet; Europa and The Bull (2014), a chamber oratorio commissioned and premiered by the Mary Holmes Festival at UC Santa Cruz; The Cauldron (2013), commissioned and premiered by tenor Brian Thorsett; Waiting (2012), commissioned and premiered by Earplay; Nautical Man Nautical Man (2011), an album of pop songs; Sutro Tower in the Fog (2011), commissioned, premiered and recorded by the Bernal Hill Players; Sextet (2010), premiered by Sonic Harvest; and Inferno (2008), a chamber opera produced by San Francisco Cabaret Opera in 2009. ◆

A native of Washington D.C., Thalia Moore (cello) began her cello studies with Robert Hofmekler, and after only 5 years of study appeared as soloist with the National Symphony Orchestra of Washington at the Kennedy Center Concert Hall. She attended the Juilliard School of Music as a student of Lynn Harrell. Ms. Moore has been Associate Principal Cellist of the San Francisco Opera Orchestra since 1982 and a member of the San Francisco Ballet Orchestra since 1989. Moore has been a member of the Empyrean ensemble since 1999 and has made recordings with the group of works by Davidovsky, Niederberger, Bauer, and Rakowski. As a member of Earplay, she has participated in numerous recordings and premieres, including the American premiere of Shintaro Imai’s La Lutte Bleue for cello and electronics. ◆

Ellen Ruth Rose (viola) enjoys a varied career as a soloist, ensemble musician and teacher with a strong interest in the music of our times. She is a member of Eco Ensemble, Empyrean Ensemble, and Earplay. She has worked extensively throughout Europe and has 13 performed as soloist with many ensembles and at many festivals. She has appeared on numerous recordings, including a CD of the chamber music of German composer Caspar Johannes Walter — featuring several pieces written for her — which won the 1998 German Recording Critics new music prize.

Over the past several years she has collaborated with and premiered works by numerous Northern California composers, including Kurt Rohde, Edmund Campion, Aaron Einbond, Mark Winges, John MacCallum, Mauricio Rodriguez, Cindy Cox, Mei-Fang Lin, Robert Coburn, and Linda Bouchard. In 2003 she created, organized and directed Violafest!, a four-concert festival at UC Davis celebrating the viola in solos and chamber music new and old, including premieres of pieces by Yu-Hui Chang and Laurie San Martin.

Rose holds an M.Mus. in viola performance from the Juilliard School, an artist diploma from the Northwest German Music Academy in Detmold, Germany and a B.A. with honors in English and American history and literature from Harvard University. Her viola teachers have included Heidi Castleman, Nobuko Imai, Marcus Thompson, and Karen Tuttle. She is on the instrumental faculty at UC Davis and UC Berkeley and has taught at the University of the Pacific, the Humboldt Chamber Music Workshop, and the Sequoia Chamber Music Workshop.

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Brenda Tom (piano) has performed as a soloist with the SF Chamber Orchestra, the California Symphony, the Pittsburgh Ballet Orchestra, I Solisti di Oakland, the Sacramento Symphony, the Fort Collins Symphony, the Diablo Symphony, the Sacramento Ballet Orchestra, and the San Francisco Ballet Orchestra. She has recorded with PianoDisc, China Recording Company, Klavier Records, V’tae Records, and IMG Media. She has served as principal pianist with the Sacramento Symphony, Symphony Silicon Valley, San Jose Chamber Orchestra, Monterey Symphony, and Santa Cruz Symphony, and has performed with the Sacramento Chamber Music Association, MusicNow, Chamber Music/West, the Cabrillo Festival, the Festival of New American Music, Music in the Mountains, Music From Bear Valley, and the Hidden Valley Music Festival. Ms. Tom graduated from the San Francisco Conservatory of Music, where she studied with Beatrice Beauregard and Mack McCray. ◆

14 Guest Artists

Meredith Clark is a versatile harpist, whose varied interests have taken her all over the world to perform as a soloist, chamber musician and orchestra member. From her international solo debut playing the Ginastera Harp Concerto at the famed Gewandhaus in Leipzig, Germany, to playing as a member of an orchestra in Japan, and premiering contemporary chamber music across the United States, Meredith loves sharing her passion for music with others. Meredith is enjoying a busy season playing with many orchestras across the Bay Area, including the , Oakland and Modesto Symphonies. She will perform as a featured chamber musician for the Other Minds Festival, as well as a short residency at the Harrison House in Joshua Tree, and this summer as part of Festival Mozaic. Meredith received degrees in Harp Performance from The Oberlin Conservatory of Music and The Cleveland Institute of Music, both while studying under Yolanda Kondonassis. ◆

Keisuke Nakagoshi began his piano studies at the age of ten, arriving in the United States from Japan at the age of 18. Mr. Nakagoshi earned his Bachelors degree in Composition and Masters degree in Chamber Music from the San Francisco Conservatory of Music, where he studied composition with David Conte and piano with Paul Hersh. Graduating as the recipient of multiple top awards, Keisuke was selected to represent the SFCM for the Kennedy Center's Conservatory Project, a program featuring the most promising young musicians from major conservatories across the United States.

Mr. Nakagoshi has performed to acclaim on prestigious concert stages across the United States, including the Kennedy Center, Carnegie Hall, the Hollywood Bowl, and Davies Symphony Hall in San Francisco. He has received training from some of the most celebrated musicians of our time — Emanuel Ax, Gilbert Kalish, Menahem Pressler, Robert Mann, Paul Hersh, David Zinman — and enjoys collaborating with other accomplished musicians such as Lucy Shelton, Ian Swensen, Jodi Levitz, Robin Sutherland, Lev Polyakin, Axel Strauss, Mark Kosower, Gary Schocker and also conductors such as Alasdair Neale, George Daugherty, Nicole Paiement, Michael Tilson Thomas and Herbert Blomstedt. In 2014, he made a solo debut with San Francisco Symphony on Ingvar Lidholm's Poesis with Herbert Blomstedt conducting. 15

In 2009, Keisuke and Swiss pianist Eva-Maria Zimmermann formed ZOFO, a piano duet team commissioning and performing music for piano four hands and their first CD was nominated for Grammy award for best chamber music/small ensemble in 2013. Mr. Nakagoshi is currently Pianist-in- Residence at the San Francisco Conservatory of Music, and he serves as pianist in the production team for Opera Parallèle.

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Staff

With nearly 30 years of administration experience, Lori Zook (Executive Director) has worked with non-profit arts organizations since 1991, and has held management level positions – with an emphasis on fundraising – since 1998. Most recently, she was a Development Manager at Quinn Associates, a firm serving small to mid-sized non-profit organizations throughout the Bay Area, where she assisted multiple clients with grant writing, grants management, prospect research, and strategic planning. While there, she raised millions of dollars for her clients, which included presenters, music ensembles, dance companies, arts education providers, and complex public-private partnership organizations. She served as the executive director of Oakland Opera Theater from 1998-2005, and during her tenure, the company expanded its season, developed an administrative infrastructure, experienced substantial audience growth, and successfully began fundraising. She also co-founded the company's venue, the Oakland Metro in 2001. Lori served on the City of Oakland’s Cultural Affairs Commission and was Acting Chair of that body. Under her leadership, the commission became participants in the Oakland Partnership and the East Bay Cultural Corridor project, the latter involving a four-city partnership to develop marketing strategies. She has served on arts funding panels for the City of Oakland and the Arts Council of Silicon Valley, and has been involved in several arts initiatives, including ArtVote, Spokes of a Hub, and the Illuminated Corridor. ◆

Special Thanks

Bruce Christian Bennett Mark Shigenaga Philip Kipper Les Thaler Carla Lucero Brenda Tom Ellen Ruth Rose Jun Yamada, Consul General Karen Rosenak Michael Yano Lawrence Russo

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16 Donors

Earplay sincerely thanks its donors for their generosity and for their continued belief in the importance of the creation and performance of intriguing new music. Please join us by giving whatever you can, we can’t do it without you!

$10,000 + William & Flora Hewlett Foundation $100 + San Francisco Grants for the Arts Lary Abramson Mark Applebaum $5,000 + Chen Yi & Long Zhou The Ann and Gordon Getty Foundation Winnie & Wayne Chun Barbara Imbrie Patti Noel Deuter Lawrence Russo Adam Frey Violet and Douglas Gong $1,000 + Karen Gottlieb Mary Chun Ellinor Hagedorn The Aaron Copland Fund for Music Joan Huang & William Kraft The Alice M. Ditson Fund of Columbia Jean Iams University Antoinette Kuhry & Thomas Haeuser Richard Festinger Ellen B. Lichenstein & Daniel DiGallo Patricia Glasow R. Wood Massi Japan Foundation / Los Angeles Ralph & Elizabeth Morrison May Luke Daniel P. Scharlin Bari & Stephen Ness William Schottstaedt Joan & Arthur Rose Aislinn Scofield Laura Rosenberg Anne Steele Thomas J. White Olly Wilson The Zellerbach Family Foundation Lori Zook

$500 + Other generous donors: Brooke Aird Katherine Brody Samela Aird Beasom & Mark Beasom Lori Dobbins Jane Bernstein & Robert Ellis Ellen Harrison Raymond & Mary Chun Marilyn Mercur Sally & Philip Kipper Wendy Niles Rosalie & Ronald Lowe Sandra and Leonard Rosenberg Ellen R. Rose & Mark Haiman Michael Sharp Ann M. Squires Jeffrey & Jean Stadelman

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Join us

Send email to [email protected] to join our mailing list. And please consider supporting the cause of new music with a generous donation! Mail your tax-deductible check to: Earplay 560 29th Street San Francisco, CA 94131-2239 or click on the Donate tab at earplay.org to donate via PayPal. Earplay is a 501(c)(3) nonprofit organization. 17 ODC Theater

ODC Artistic Director/Founder Brenda Way ODC Executive Director Victor Gotesman ODC Deputy Director for Advancement Christy Bolingbroke

ODC Production Manager Tony Shayne Programming & Operations Manager Mica Lynn Pirie ODC Technical Director Jason Dinneen Marketing Team Oxana Ermolova, Neal Spinler, Jerri Zhang Development Team Petrice Gaskin ODC Theater Publicist John B. Hill ODC Writer-in-Residence Marie Tollon House Technicians Jack Beuttler, Keagan Chipp, Eric Iverson, Delayne Medoff, David Robertson, Seth Tuthall, Maximillian Urruzmendi Front of House Staff Diana Broker, Rebecca Chun, Leah Gardner, Katelyn Hanes, Karla Quintero, Elizabeth Racely, Romina Rodriguez-Crosta, Jamie Russell, Diane Yoshida Client Relations Associates Claire Augustine, Katelyn Hanes, Zachary Kopciak, Angela Labate

ODC/Dance Co-Artistic Director KT Nelson ODC School Director Kimi Okada

Mission and impact: ODC Theater exists to empower and develop innovative artists. It participates in the creation of new works through commissioning, presenting, mentorship and space access; it develops informed, engaged and committed audiences; and advocates for the performing arts as an essential component to the economic and cultural development of our community. The Theater is the site of over 150 performances a year involving nearly 1,000 local, regional, national and international artists.

Since 1976, ODC Theater has been the mobilizing force behind countless San Francisco artists and the foothold for national and international touring artists seeking debut in the Bay Area. Our Theater, founded by Brenda Way and currently under the direction of Christy Bolingbroke, has earned its place as a cultural incubator by dedicating itself to creative change-makers, those leaders who give our region its unmistakable definition and flare. Nationally known artists Spaulding Gray, Diamanda Galas, Molissa Fenley, Bill T. Jones, Eiko & Koma, Ronald K. Brown/EVIDENCE, Ban Rarra and Karole Armitage are among those whose first San Francisco appearance occurred at ODC Theater.

ODC Theater is part of a two-building campus dedicated to supporting every stage of the artistic lifecycle - conceptualization, creation, and performance. This includes our flagship company, ODC Dance, and our School, in partnership with Rhythm and Motion Dance Workout down the street at 351 Shotwell. Over 250 classes are offered weekly and your first adult class is $5. For more information on ODC Theater and all its programs, please visit www.odctheater.org.

Support: ODC Theater is supported in part by the following foundations and agencies: Creative Work Fund, The Wallace Alexander Gerbode Foundation, Grants for the Arts/San Francisco Hotel Tax Fund, James Irvine Foundation, LEF Foundation, National Dance Project, National Endowment for the Arts, San Francisco Foundation, San Francisco Arts Commission, Walter & Elise Haas Fund, William & Flora Hewlett Foundation, the Zellerbach Family Foundation and The Fleishhacker Foundation. ODC Theater is a proud member of Association of Performing Arts Presenters, Chamber Music America, Dance USA, Dancer’s Group, and Theater Bay Area.

18 About Earplay

Mission statement:

nurtures new chamber music, linking audiences, performers, and composers through concerts, commissions, and recordings of the finest music of our time.

Founded in 1985 by a consortium of composers and musicians, Earplay is dedicated to the performance of new chamber music. Earplay offers audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music.

Earplay has performed over 500 works by more than 300 composers in its 32-year history, including over 140 world premieres and more than 80 new works commissioned by the ensemble. This season will reinforce Earplay’s unwavering track record of presenting exceptional music in the 21st century.

Concerts feature the Earplayers, a group of artists who have developed a lyrical and ferocious style. Mary Chun conducts the Earplayers, all outstanding Bay Area musicians: Tod Brody, flute and piccolo; Peter Josheff, clarinet and bass clarinet; Terrie Baune, violin; Ellen Ruth Rose, viola; Thalia Moore, cello; and Brenda Tom, piano.

Individual donations are vital to Earplay’s success, and we greatly appreciate your generosity! Visit our website earplay.org to make a tax-deductible donation, or make a donation tonight. Together we can keep the music coming!

Earplay 560 29th Street San Francisco, CA 94131-2239

Email: [email protected] Web: earplay.org

Earplay New Chamber Music

@EarplayNewMusic

19 Earplay’s 2017 Season in San Francisco: Air, Wind, Water

Concerts at 7:30 p.m. Pre-concert talks at 6:45 p.m.

Concert 1: Air Monday, January 30, 2017 at Herbst Theatre 401 Van Ness Avenue (at McAllister), San Francisco Peter Josheff: Sextet Tonia Ko: Plush Earth in Four Pieces ** Elena Ruehr: Blackberries Laurie San Martin: Fray * † Toru Takemitsu: Air Toru Takemitsu: Romance

Concert 2: Wind Monday, March 20, 2017 at ODC Theater 3153 17th Street (at Shotwell), San Francisco Linda Bouchard: Second Survival * † Heidi Jacob: Metamorphosis I Toru Takemitsu: And then I knew ‘twas Wind Toru Takemitsu: Toward the Sea III Stephen Yip: Insight II ** ††

Concert 3: Water Monday, May 15, 2017 at ODC Theater 3153 17th Street (at Shotwell), San Francisco Kyle Bruckmann: new work * Cindy Cox: Lift-up-over sounding * John Liberatore: while I sleep ** Eric Moe: Tough Songs about Death * † Toru Takemitsu: Between Tides

Earplay * World premiere 560 29th Street ** West Coast premiere San Francisco, CA 94131 † Earplay commission †† 2016 Aird prize Email: [email protected] Web: earplay.org