Welcome

Tonight Earplay is delighted to present the first concert of our 35th season in historic Herbst Theatre. Expect surprises and introspections! The program presents three Earplay-commissioned works (including two hot- off-the-presses world premieres), the winner of the 2019 Earplay Donald Aird Composers Competition, and a work by this season's luminous focus composer Kaija Saariaho.

Tonight’s concert begins with two world premieres, a sparkling clarinet, violin, and viola trio by Addie Camsuzou and a hushed viola/harp duet by Bruce Bennett, followed by a reprise of Laurie San Martin's vibrant string trio commissioned and premiered by Earplay in 2017. After intermission, you will hear the Aird prize winner, Gilad Cohen's slowly unfolding duet Late Shadow, followed by an energetic quintet by Kaija Saariaho.

Please join us for a pre-concert conversation with composers Bennett, Camsuzou, Cohen, and San Martin, and please linger after the concert to chat with composers, Earplayers, and Earplay board members over refreshments in the performer’s lounge.

Please join us again on March 30th and May 4th at Taube Atrium Theater (4th floor of the War Memorial Building), and please bring your friends! We look forward to seeing you then for more music you won’t hear anywhere else. Thanks for your support!

— 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 Andrew Conklin David Ogilvy, sound recordist Richard Festinger Ellen Ruth Rose, artistic coordinator May Luke, chair Stephen Ness, secretary/treasurer Advisory Board Ellen Ruth Rose Chen Yi Richard Felciano William Kraft Kent Nagano Cover photo: Stephen Ness Wayne Peterson

2 Monday, February 10, 2020 at 7:30 p.m. Herbst Theatre

Earplay Season 35: Light and Matter

Concert 1: Sky Dances

Earplayers

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

Guest Artists

Meredith Clark, harp Jim Kassis, percussion Daniela Mineva, piano

Pre-concert conversation at 6:45 PM: Bruce Christian Bennett, composer and moderator with composers Addie Camsuzou, Gilad Cohen, and Laurie San Martin

Please power down your cellphone before the performance. 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 Ann and Gordon Getty Foundation, the William and Flora Hewlett Foundation, the Yoshiko Kakudo Fund, Grants for the Arts, the Zellerbach Family Foundation, and generous donors like you. 3 Program

Addie Camsuzou Twilit (2020) World premiere; Earplay commission Peter Josheff Terrie Baune Ellen Ruth Rose

Bruce Christian the art of disappearing (2020) Bennett World premiere; Earplay commission Ellen Ruth Rose Meredith Clark

Laurie San Martin Fray (2016-2020) Earplay commission Terrie Baune Ellen Ruth Rose Thalia Moore

INTERMISSION

Gilad Cohen Late Shadow (2017) 2019 Earplay Donald Aird Composers Competition winner Terrie Baune Daniela Mineva

Kaija Saariaho Terrestre (2002) Tod Brody Terrie Baune Thalia Moore Meredith Clark Jim Kassis Mary Chun 4

Program Notes

Twilit (2020) by Addie Camsuzou for clarinet, violin, and viola World premiere; Earplay commission

Twilit was inspired by an early morning walk through a softly-lit field. The sunlight shone through the mist in such a way that patches of newly-green grass and delicate spiderwebs appeared to glow in the distance. This piece is dedicated to the talented musicians of Earplay, and is written in honor of my father, who loved beautiful walks more than anyone I know.

— A. C.

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Addie Camsuzou is a composer and violinist from the central coast of . She graduated magna cum laude from Sacramento State University with a Bachelor of Music degree in Music Theory/Composition; while there, she studied music composition with Stephen Blumberg and violin with Ian Swensen and Anna Presler. She is currently pursuing a Ph.D. in music composition at University of California, Davis. Her music has been featured at events such as the Pacific Rim and the Festival of New American Music. Additionally, she was a winner of the Festival of New American Music Student Composers Competition and a finalist in the 2018 ASCAP Young Composer Awards.

Her website is addiecamsuzou.com.

¨ the art of disappearing (2020) by Bruce Christian Bennett for viola and harp World premiere; Earplay commission

Walk around feeling like a leaf. Know you could tumble any second. Then decide what to do with your time. — Naomi Shihab Nye

5 Have you ever sought anonymity in the crowded streets of the city? Tried to blend in with the wallpaper at a party? Thought about going out, but couldn't bear the thought of being seen? There is an art to remaining in the shadows, to fading from view, to disappearing completely.

This piece was composed for and is dedicated to Ellen Ruth Rose (viola) and Meredith Clark (harp). It is a very quiet piece. Throughout the piece, each instrument tries to hide behind the other. They take turns fading in and out of the texture. Occasionally, they blend into one another. The starting note takes on different shades and textures, before dissipating into trills and losing its focus. A little more than half way through the piece, a short, simple, sentimental passage is exposed, like a tender memory. The simple counterpoint of this passage actually underpins much of the piece as a whole, even though one is unlikely to hear it. While it does its best to hide itself throughout, in this moment it is starkly exposed. One might consider this an authentic moment that has done its utmost to elude exposure — not unlike how we shield our own authentic, most vulnerable selves from public perception in preliminary social engagements.

The piece trails off with a series of slow harp arpeggios and with the viola sustaining long single notes. It fades and eventually evaporates, leaving the first note of the piece lingering as a harmonic played by the viola.

— B. C. B.

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Bruce Christian Bennett (b. 1968) is a native of Seattle, currently residing in San Francisco. He is an active performer of improvised music. His works as a composer have been played throughout the United States and abroad by the Arditti String Quartet, the Avenue Winds, the Berkeley Symphony, CityWinds, the Del Sol String Quartet, Earplay, Ensemble InterContemporain, the Kairos Quartet, the New Orleans New Music Ensemble, the Oregon , the Paragon Brass Quintet, and Sirius, and by performers including Brian Connelly, Tom Dambly, Helen Gillet, Matt Ingalls, Jerry Kuderna, Alexandra Kocheva, Hugh Livingston, Gary Scavone, and Michael Zbyszynski. His electroacoustic music has been presented at curated events including the Electric Rainbow Coalition Festival at Dartmouth, Natural Disasters exhibit in New Orleans, the Pulse Field exhibition in Atlanta, the Electronic Music Midwest Festival, Sonic Circuits II, Cultural Labyrinth in San Francisco, EX-STATIC and Sonic Residues in Melbourne, Australia, and at ICMA, SEAMUS, and SCI conferences. 6 ¨

Fray (2016-2020) by Laurie San Martin for violin, viola, and cello Earplay commission

In spring 2016, while listening to Terrie, Ellen and Thalia read through undergraduate compositions, I felt a pang of nostalgia. I had worked closely with these three musicians while co-directing the Empyrean Ensemble from 2001-2009. So when Ellen approached me a few weeks later about writing a piece for Earplay, I was delighted for the opportunity. I even had old sketches that I had created in years past for a playful piece that would juxtapose three distinct personalities. These past few months turned out to be a challenging time for getting any kind of work done, including writing music. I stole some time away from my internet browser, however, and gradually pieced together this project. It turned into something much darker and more amorphous than what I had intended. Fray is in three brief movements. Without giving too much away, I would say that that this piece is about exploring disparate moments, sounds, and ideas, and investigating what direction these fragmentary shreds of music might take. Many of the loose ends from the first two movements come together in the last movement. However, not everything is resolved. There is a sense of the stitching being left loose at the end of the piece.

— L. S. M.

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Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, intricate, intense and rumbly. She writes concert music for chamber ensembles and but has also written for theater, dance and video. Her music has been performed across the United States, Europe and Asia. Most recently she has enjoyed writing for virtuoso soloists including violinists Hrafnhildur Atladottir and Gabriela Díaz, percussionists Chris Froh and Mayumi Hama, Haleh Abghari (soprano), Yi Ji-Young (Korean gayageum) and David Russell (cello).

Laurie has worked with numerous ensembles including the San Francisco Contemporary Music Players, Berlin PianoPercussion, Left Coast Chamber Ensemble, eighth blackbird, SF Chamber Orchestra, the Lydian Quartet, Magnetic South Ensemble, Washington Square Contemporary Chamber 7 Players, and others. Recipient of the 2016 Guggenheim Fellowship, she has also received awards from the Fromm Foundation, the American Academy of Arts and Letters, League of Composers-ISCM, the International Alliance for Women in Music, and the ASCAP Morton Gould Young Composer’s Awards. As a composition fellow, she has attended the MacDowell Colony, the Montalvo Artist Residency, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Festival, and the Composers Conference at Wellesley College.

Laurie holds a Ph.D. from Brandeis University in Theory and Composition. She has taught at Clark University and is currently Professor of Music at the University of California, Davis. Her music can be found on the Left Coast Chamber Ensemble’s San Francisco Premieres CD, released in 2005 and a recent Ravello CD Tangos for Piano performed by Amy Briggs.

Laurie's website is lauriesanmartin.com.

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Late Shadow (2017) by Gilad Cohen for violin and piano 2019 Earplay Donald Aird Composers Competition winner

The seed for Late Shadow was a melody that came to my mind while I was waiting to be seen at a doctor's office (thank God for late doctors!). While developing this melody, I decided to experiment with two ideas that have long fascinated me. The first was to write an entire piece as a canon. Save for an introduction that foreshadows themes and textures to come, the piece is structured as a large-scale canon, in which every 8- or 4-bar phrase that is played by the violin is then imitated by the piano, like an object whose shadow mysteriously follows it too slowly. This slow echo, coupled with the piece's overall dark tone, resembles shadows in the evening, which get longer and longer as the sun sets. The second idea was to use a symmetric form. After the introduction, the violin introduces a slow, mournful chromatic phrase. Gradually the music gets more and more dense, fast, and loud until it reaches a dramatic peak. Then, the piece starts going backwards: the same phrases are introduced again, but now in reverse order, as the music sinks back in intensity, folds into itself, and ends with the same initial phrase, this time played on the lowest end of the piano. The piece was commissioned by the Barlow Endowment for Music Composition at Brigham Young University.

— G. C.

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Gilad Cohen is an active composer, performer, and theorist in various genres including concert music, rock and music for theater. His music adapts features from a wide range of musical realms and explores possible interactions among them, bringing to his creative table the persistent textures of rock; the painstaking orchestration of impressionism; the gloomy harmonies of grunge and metal; the elegant forms of the Classical era; the jubilant rhythms of klezmer; the intricate imitation techniques of Baroque; the motionless landscapes of ambience; the agile melodies and scales of Arabic music; and the striking dissonances of 20th-century avant- garde. Recent engagements include commissions by Barlow Endowment for Music Composition, Concert Artists Guild, Parlance Chamber Concerts, and Tre Voci (Kim Kashkashian, Marina Piccinini and Sivan Magen); performances by violist Paul Neubauer, pianists Anne-Marie McDermott and Spencer Myer, Lysander Piano Trio (Itamar Zorman, Liza Stepanova and Michael Katz), Israeli Chamber Project, and principal players of the Metropolitan Orchestra and Budapest Festival Orchestra; and releases on Albany, Naxos/Delos, and Navona Records. Cohen's notable awards include the Barlow Prize, the Israeli Prime Minister Award for Composers, and top prizes in international competitions in the US, Europe, Asia and the Middle-East. He performs regularly with various ensembles, playing piano, bass guitar and guitar. An Associate Professor of Music at Ramapo College of New Jersey, Cohen holds a Ph.D. in composition from Princeton University. His research about the music of Pink Floyd has resulted in publications in academic journals, lectures in the US and Israel, and the first-ever academic conference devoted to the band that he produced in 2014 at Princeton University together with composer Dave Molk.

Cohen's website is giladcohen.com.

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Terreste (2002) by Kaija Saariaho for flute, harp, percussion, violin, and cello West Coast premiere

Terrestre is a reworking of the second movement of the two-movement flute concerto Aile du songe (Wing of Dream), dedicated to Camilla Hoitenga. The titles of the two works derive from the collection of poems Oiseaux (Birds) by Saint-John Perse, which already served as a 9 source of inspiration in the solo flute piece Laconisme de l'aile. The poet speaks of the birds' flight and uses the rich metaphor of the bird to describe life's mysteries through an abstract and multidimensional language. Unlike Olivier Messiaen, Saariaho is more interested in the idea of the bird than in its singing. Terrestre falls into two parts. The first, Oiseau dansant (Dancing Bird), refers to an aboriginal tale in which a virtuosic dancing bird teaches a whole village how to dance. The second section, L'Oiseau, un satellite infime, is a synthesis of the previous parts of the concerto. In the poet's words, the bird is a small satellite in a universal orbit. That poetic image brings to mind words that Saariaho wrote at the beginning of her career: "My wish is to go further, and deeper."

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Kaija Saariaho (b. 1952) is not only among the most important Finnish composers of her time, but must be ranked as one of the leading composers of the late twentieth and early twenty first centuries.

In 1976, she began composition studies at the Sibelius Academy with Paavo Heininen. She obtained a degree in composition from the academy in 1980, but continued studies there for another year. Afterward, she enrolled at the Musikhochschule in Freiburg, Germany, to study with British composer Brian Ferneyhough and Germany’s Klaus Huber.

In the mid-1980s, Saariaho’s works began garnering much attention and she received many prestigious awards, such as the Kranichsteiner Prize in 1986, the Prix Italia in 1988, and the following year the Ars Electronica for her works Stilleben (1987-1988) and Io (1986-1987). She also attracted several impressive commissions, including one from the Lincoln Center, which resulted in the chamber work Nymphea (1987), which was premiered by the . By the early 1990s, her music was beginning to appear with greater frequency on the concert stage and with some regularity on record labels. Saariaho had become one of the few composers to write in a modern, though not particularly dissonant, style who has achieved a good measure of popularity.

[excerpted from bio by Robert Cummings]

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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 been Earplay's flutist since 1996. He serves in a similar capacity with Northern California new music groups Eco Ensemble, San Francisco Contemporary Music Players, and Empyrean Ensemble, and has enjoyed an extensive career that has included performances of numerous world premieres and many recordings. He is also principal flutist of the San Francisco Chamber Orchestra, the Sacramento Opera, and the California Musical Theater, and makes frequent appearances with the San Francisco Opera and San Francisco Ballet , and in other chamber and orchestral settings throughout the Bay Area.

In addition to his career as a performer, Tod has, for many years, served in leadership positions with music organizations. He has served as Executive Director of the San Francisco Bay Area Chapter of the American Composers Forum, and as the first Executive Director of the contemporary opera company Opera Parallèle. Since 2016, he has been Executive Director of the Marin Symphony. ¨

11 “… 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 a number of 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.

Mary is the Resident Music Director of Cinnabar Theater and the Music Director for SEVENAGES Investment Company, a Beijing/Shanghai-based production company that produces blockbuster Broadway musicals in Mandarin translation. Mary’s work as Music Director can be heard in Rodgers and Hammerstein's Cinderella that continues to tour cities across China. This season, Mary is slated to music direct world premiere performances of new by Carla Lucero and Kui Dong.

Closer to home, she has worked with West Edge Opera, where she conducted Thomas Ades' controversial opera Powder Her Face 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 the Hawaii Opera Theater, Lyric Opera of Cleveland, Opera Idaho, Texas Shakespeare Festival, Ballet San Joaquin, West Bay Opera, Pacific Repertory Opera, and the Mendocino Music Festival.

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12 Peter Josheff has been on the front lines of the northern California new music scene for more than thirty years as a composer and clarinetist. He is a founding member of Earplay and of Sonic Harvest, and is a core member of the San Francisco Contemporary Music Players, the Empyrean Ensemble (UC Davis), and the Eco Ensemble (UC Berkeley). He performs frequently with Opera Parallèle and the San Francisco Chamber Orchestra, and has worked with many other groups including Other Minds, West Edge Opera, Melody of China, the Ives Collective, Mills College Contemporary Performance Ensemble, the Paul Dresher Ensemble, and Composers, Inc. He has appeared on numerous recordings on the Albany, Bridge, Centaur, Innova, Arabesque, CRI, Rastascan, Tazdik, and Electra record labels.

He has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. His music has been performed by the San Francisco Chamber Orchestra, the Farallon Quintet, the Laurel Ensemble, the Bernal Hill Players, Earplay, Sonic Harvest, the Empyrean Ensemble, Melody of China, Goat Hall Productions, and many individual performers. His recent works include: Images from the Past (2018) for spoken voice and piano; September (2017) for solo violin; Dream Spaces & Recurring Nightmares (2017) for piano and spoken voice, written for and premiered by pianist Kate Campbell; and The Dream Mechanic(2016), for woman’s spoken voice, tenor, and chamber orchestra, commissioned by and premiered by the San Francisco Chamber Orchestra.

In his spare time, Peter is an amateur guitarist/singer/songwriter.

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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

13 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. In addition to her work as violist and Artistic Coordinator of Earplay, she is a member of Empyrean Ensemble, the flagship new music ensemble in residence at UC Davis and Eco Ensemble, the professional new music ensemble at UC Berkeley, and also performs often in other projects around the Bay Area and beyond. She has performed as soloist with the West German Radio Chorus, the San Francisco Contemporary Music Players, Santa Cruz New Music Works, the Diablo Symphony, the symphony orchestras of UC Davis and Berkeley, the UC Davis Chorus, at the San Francisco Other Minds and Ojai Music festivals, and at Monday Evening Concerts in Los Angeles. In the 1990s, she worked extensively throughout Europe with Frankfurt’s Ensemble Modern and the Cologne experimental ensembles Musik Fabrik and Thürmchen Ensemble, appearing at the Cologne Triennial, Berlin Biennial, Salzburg Zeitfluß, Brussels Ars Nova, Venice Biennial, Budapest Autumn and Kuhmo (Finland) festivals.

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. She is on the instrumental faculty at UC Berkeley and UC Davis and has taught at the University of the Pacific, the Humboldt Chamber Music Workshop and the Sequoia Chamber Music Workshop. Her own viola teachers have included Heidi Castleman, Nobuko Imai, Marcus Thompson, and Karen Tuttle.

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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 14 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. ¨

Jim Kassis (percussion) moved to the Bay Area from Boise, Idaho in 1986 to study percussion at San Jose State University. He has performed with the symphonies of Oakland, Berkeley, San Jose, Santa Rosa, Santa Cruz, and Monterey, and with Opera San Jose, Broadway San Jose, and the Cabrillo Festival in Santa Cruz. Jim has taught drums and percussion at the Community School of Music and Arts in Mountain View since 1993.

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Hailed by critics as a "vibrant and expressive performer who could steal the show in every concert" (New York Times) and "an energetic and lively pianist who displays power and delicacy in nuanced sensitivity along with virtuoso technique" (The Baltimore Sun), Daniela Mineva's unique approach to standard repertory, combined with the performance and dedication of works by living composers, has taken her career throughout Europe, Asia, North and South America.

Daniela has been the winner and finalist in numerous international and national competitions. She maintains an active performing career. She has appeared as orchestral soloist, chamber music collaborator and solo artist at some of the most prestigious venues in Bulgaria, USA, China, Italy, France, Greece, Russia, Germany, Thailand and Costa Rica. A strong proponent of new music, Ms. Mineva has collaborated with many young and established composers, as well as collaborating with new music ensembles.

Ms. Mineva has collaborated with many young and well-established composers like William Bolcom, Lucas Foss, Kaija Saariaho, Libby Larsen, Chen Yi, Bright Sheng, Frederic Rzewski, Julia Wolf, Krassimir Taskov, Vera Ivanova, and Carlos Sanchez-Gutierrez. Her first CD Volume One presents 15 Daniela's passion for the music of our time and its connection to the past masters. As an accomplished and versatile chamber musician, Ms. Mineva has participated in many music festivals and summer programs. Highlights of the season 2018-19 include concert tours in Asia and Europe with a program by Claude Debussy, Olivier Messiaen and Jonathan Harvey.

A devoted teacher herself, Dr. Mineva has given master classes and workshops throughout the USA, Europe, Asia and South America. Currently, she is Professor of Music and Director of Keyboard Studies at Humboldt State University, where in 2012 she won the "McCrone promising faculty award."

Born in Bulgaria, Daniela began piano lessons at the age of five with her mother as her first teacher. She graduated from Sofia Music Academy with the Bachelor of Music degree in Piano Performance and the Master of Music degree in Choral Conducting. Dr. Mineva also holds the Master of Music degree in Piano Performance and the Outstanding Graduate Diploma from the University of North Texas as well as Artist Certificate from Northwestern University and Doctor of Music Arts degree, and the Performer's Certificate from the Eastman School of Music.

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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. 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. During her tenure, the company expanded its season, developed an administrative infrastructure, experienced substantial audience growth, and successfully began fundraising. She co-founded the company's Oakland Metro venue 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 16 the Arts Council of Silicon Valley, and has been involved in several arts initiatives, including ArtVote, Spokes of a Hub, and the Illuminated Corridor.

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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.

$10,000 + Adam Frey William & Flora Hewlett Foundation Margot N. Golding The Yoshiko Kakudo Fund Melanie Kwock Gong San Francisco Grants for the Arts Violet and Douglas Gong Karen Gottlieb $5,000 + Ellinor Hagedorn California Arts Council Joy & Stephen Kent Barbara Imbrie Sung Chan Kim The Ann and Gordon Getty Foundation Charlene Kiesselbach Antoinette Kuhry & Thomas Haeuser $1,000 + Susan Kwock The Aaron Copland Fund for Music Thalia Moore Richard Festinger Michael O’Malley May Luke Pablo Ortiz Bari & Stephen Ness David Pereira Lawrence Russo William G. Schottstaedt The Harold L. Wyman Foundation Aislinn Scofield Sonic Harvest $500 + Anne Steele Brooke Aird Martha & Robert Warnock Samela Aird Beasom & Mark Beasom Mark Winges Norman Bookstein & Gillian Kuehner Erling Wold Mary Chun Raymond & Mary Chun Other generous donors: Andrew Conklin Amazon Smile Sally & Phil Kipper Bruce Bennett Rosalie Lowe Seth Brenzel & Malcolm Gaines Ellen R. Rose & Mark Haiman Katherine Brody Joan & Dr. Arthur Rose Ann Callaway & Richard Mix Karen Rosenak Christopher Concolino Laura Rosenberg Lori Dobbins The Karl & Alice Ruppenthal Foundation D’anna Fortunato Thomas J. White Sabine Gysens Ross Halper $100 + Ellen Harrison Lary N. Abramson Ira Kahn Mark Applebaum Eric Moe Mel Bachmeier Patricia Moy Tod Brody Sam Nichols Deborah Brusco Wendy Niles Chen Yi & Zhao Long Deborah Rokeach Donna DiAngelo Eric Sawyer & Cheryl Zoll Bonnie Fortune

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Special Thanks

Bruce Christian Bennett Dave Praz Meredith Clark Ellen Ruth Rose Richard Festinger Jing Wang Lexi Gerbino Naomi Wang Carla Lucero Yibo Zhu Mark Mueller

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Support Earplay

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.

If you start your Amazon shopping at smile.amazon.com and select Earplay as your designated charity, Amazon will make a donation to Earplay!

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Aird Competition

Earplay’s annual Donald Aird Composers Competition prize, first awarded in 2001, is open to composers of any nationality and any age. The competition honors the late composer / conductor / Earplay board member Donald Aird, an ardent supporter of the creation and performance of new music. Earplay performs the prizewinning piece and presents a cash prize of $1,000 to the winning composer. The 2019 competition drew entries from 25 countries and 30 states. The 2020 competition closes on March 31, 2020.

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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 35-year history, including over 150 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: Terrie Baune, violin; Tod Brody, flute and piccolo; Peter Josheff, clarinet and bass clarinet; Thalia Moore, cello; Ellen Ruth Rose, viola; 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 2020 Season in San Francisco: Light and Matter

Concert 1: Sky Dances Monday, February 10, 2020 at 7:30 p.m. at Herbst Theatre War Memorial Veterans Building (main floor) 401 Van Ness Avenue, San Francisco Bruce Christian Bennett: the art of disappearing *† Addie Camsuzou: Twilit *† Gilad Cohen: Late Shadow †† Kaija Saariaho: Terrestre *** Laurie San Martin: Fray †

Concert 2: Earthly Luminosities Monday, March 30, 2020 at 7:30 p.m. at Taube Atrium Theater / Wilsey Center (4th floor) 401 Van Ness Avenue, San Francisco Brian R. Banks: A Bonsai Garden, Set VII ** Josiah Catalan: new work *† Haris Kittos: Dyades ** Kaija Saariaho: Light and Matter : Perimeters

Concert 3: Life Circles Monday, May 4, 2020 at 7:30.p.m. at Taube Atrium Theater / Wilsey Center (4th floor) 401 Van Ness Avenue, San Francisco Richard Aldag: Songs of Majnun Leyla * Hyo-shin Na: new work *† Kaija Saariaho: Je sens un deuxième coeur Jen Wang: new work *†

* World premiere Earplay ** US premiere 560 29th Street *** West Coast premiere San Francisco, CA 94131 † Earplay commission Email: [email protected] †† 2019 Aird prize Web: earplay.org