PROGRAM NOTES because it conveyed my thought – that is to say, a violin solo soaring above the rigid form of an old LOVE & LOSS symphony – and then because the title was less banal than those which were proposed to me. The cries and criticisms have died or will die down; the title MICHAEL MORGAN will remain.” MUSIC DIRECTOR JONAH M. GALLAGHER Vocare (Generously supported by the Patrick and Shirley Campbell Foundation) I. Tenacious Endeavors I. An Honest Prayer III. Echoes of Dance WOLFGANG AMADEUS MOZART Symphony No. 40 in G minor, K. 550 I. Molto allegro II. Andante BRAHMS III. Minuet: Allegretto IV. Allegro assai Academic Festival Overture, Op. 80 JOHANNES BRAHMS (1833-1897) INTERMISSION DVORˇÁK n March of 1879, the University of Breslau awarded IBrahms the honorary degree of Doctor of Philosophy. Brahms was going to send his thanks on a postcard, GIOACHINO ROSSINI Slavonic Dance No. 7 in C minor, but a friend reminded him that the University expected his gratitude to take some musical form. Stabat Mater Op. 46 I. Stabat Mater dolorosa – Chorus and soloists Slavonic Dance No. 8 in Brahms responded with the Academic Festival II. Cujus animam – Tenor A-flat major, Op. 72 Overture, which he called “a rollicking potpourri III. Quis est homo – Soprano and mezzo-soprano Slavonic Dance No. 8 in G minor, of student songs à la Suppé.” Indeed, the work is IV. Pro peccatis – Bass based on four traditional German student songs: Wir V. Eja, Mater – Bass recitative and chorus Op. 46 hatten gebauet ein stattliches Haus (We had built a VI. Sancta Mater – Soloists ANTONIN DVORˇÁK stately house), Der Landesvater (Father of the land), VII. Fac ut portem – Mezzo-soprano (1841-1904) Was kommt dort von der Höh (What comes from afar) VIII. Inflammatus – Soprano and chorus and Gaudeamus igitur (Therefore let us rejoice). IX. Quando corpus morietur – Chorus and soloists e is decidedly a talented person and, besides that, The Overture was first performed at the University X. In sempiterna saecula. Amen – Chorus a poor man!” Brahms said of Dvoˇrák. Brahms “H of Breslau on January 4, 1881, with the new Doctor with Shawnette Sulker, soprano recommended that his publisher, Fritz Simrock, issue himself conducting. Biographer Karl Geiringer Dvoˇrák’s Moravian Duets. He did, and when they Betany Coffland,mezzo -soprano describes the music as “the lively, ‘occasional’ Thomas Glenn, tenor sold extremely well, Simrock encouraged Dvoˇrák to composition of a genius. To take it too seriously write a collection of nationalistic dances, as Brahms would not be fair to Brahms…. The hand of the Aaron Sorensen, bass had done with his Hungarian Dances in 1869. master is revealed in the way the Overture grows Oakland Symphony Chorus from the mysteriously soft, almost somber opening, to Lynne Morrow, Chorus Director Dvoˇrák agreed, and in less than two months composed the pealing jubilation of the concluding Gaudeamus the first set of eightSlavonic Dances. He wrote the igitur, played by the full orchestra. The composer Season Media Sponsors: East Bay Express, 7x7. first dance on March 18, 1878. Originally for piano succeeded in investing each of the songs with a duet, Dvoˇrák finished orchestrating them by August. The 2017/18 season of Oakland Symphony is generously funded in part by the East Bay specially effective instrumental garb.” Community Foundation; Clarence E. Heller Charitable Foundation; Women’s Philharmonic Simrock paid him 300 marks for the set and made a Advocacy; William and Flora Hewlett Foundation; the Rea Charitable Trust; bundle from their sales. When Dvoˇrák wrote the ~ Notes by Charley Samson, copyright 2017 the National Endowment for the Arts, a federal agency; and the Oakland City Council second set of dances in 1886, the fee was 3000 marks. and the City of Oakland’s Cultural Funding Program. Dvoˇrák promised these dances “will bring the house Major support generously provided by The Wallace Foundation. down. They sound like the very Devil!”

FRIDAY, NOV 17 8PM PARAMOUNT THEATRE OAKLAND 14 OAKLAND SYMPHONY OAKLAND SYMPHONY 15 OAKLAND SYMPHONY ORCHESTRA OAKLAND SYMPHONY CHORUS ROSTER

Michael Morgan, Music Director & Conductor SOPRANO Abbie Rockwell Theresa Lo Barbara Miller Bryan Nies, Associate Conductor Jenny Adler Nanci Schneidinger* Nancy Lowenthal Jerry Reynolds Roberta Altman Jasmine Strange Susanna Miller Steven Schultz FIRST VIOLIN VIOLA OBOE TROMBONE Paula Aparicio Danielle Tatarian Mary Orin Jim Stenson * Terrie Baune, Margaret Titchener, Andrea Plesnarski, Tom Hornig, Barbara Berry Lynda Tesillo Sharon Paisner Dat Tran Concertmaster Principal Principal Principal Lisa Braver Moss Elizabeth Weingarten Sylvia Parker Daniella Urban* Vivian Warkentin, Betsy London, Robin May Steve Trapani Mayotis Cephas Gia White Wendy Pei Ted Vorster Jennifer Wilde Asst. Concertmaster Asst. Principal Susan Chan Sumire Rabb Isa Chu Marianne Wolf Dhira Ramakrishnan BASS Natasha Makhijani, Patricia Whaley CLARINET TIMPANI Nancy Cotteral Melanie Reeves Charles Crane* Assoc. Concertmaster Stephanie Railsback Diane Maltester, Tyler Mack, Rachel Devitt ALTO Annie Shun Sheldon Greene Kristina Anderson Principal Principal Melanie Enciso Eva Arce # Monique Stevenson Karl Malamud-Roam Patrice May CELLO Ginger Kroft Jane English Rebekah Bob-Waksberg Cynthia Webb- John Manzeck # Carla Picchi Daniel Reiter, PERCUSSION Julia Gorgone Karenlynne Bradley Beckford Mark Michaud Ellen Gronningen Principal BASSOON Ward Spangler, Carol Henri Helane Carpenter Loni Williams* Dane Moore Deborah Spangler Joseph Hébert, Deborah Kramer, Principal Susan Hernandez Megan Columbus Siqing Yi Michael Nathanson* Asst. Principal Principal Carol Hudson Rena David Joseph Orr SECOND VIOLIN Michelle Kwon PERSONNEL MANAGER Mary-Jo Knight # Antonia David TENOR Kenneth Saltzstine Susan Lambert Virginia Frederick LaVora Copley Leo Scurry Liana Bérubé, Rebecca Roudman HORN Craig McAmis Jessen Langley Lisa Friedman Kevin Cousins Mark Slagle Principal Meredith Brown, Sacha Maniar Hannah Ginsborg Swen Ervin Calvin Wall David Cheng, BASS Principal LIBRARIAN Linda Manzeck # Susanna Halliday James Hasler Robert Wehrman Asst. Principal Patrick McCarthy, Alicia Telford Paul Rhodes Alice McCain # Margaret Hegg Bertie Jackson Candace Sanderson Principal Alex Camphouse Laura Miller Natasha Hull-Richter Bernie Juat # Sharon Calonico Andy Butler, RECORDING ENGINEER Linda Mrnak Karen Ivy Bryan Knauber * Section Leader Baker Peeples Asst. Principal TRUMPET Tom Johnson, Donna Oliver Ann-Marie Jensen Curtis Lawler # Chorus Advisory Adrienne Duckworth Carl Stanley William Harvey, Johnson Digital Erica Peck Alexandra Josefski Arnold Lee Committee Member Sergi Goldman-Hull Principal Zoe Reiniger Shirley Lindley Shakir Mackey Elizabeth Robertson* Linda Lipner Robert McCree Robert Donehew FLUTE Leonard Ott Alice Lenaghan, Principal COMPOSER Stacey Pelinka onah M. Gallagher (b. 1993) is a composition JMaster's degree student at the San Francisco Conservatory of Music, born and raised in the suburbs of Chicago, Illinois. His accomplishments began when he won second place in the Illinois Music Education Association composition contest OAKLAND SYMPHONY CHORUS for his Music for Hinged Door. He has also been selected as a finalist for the Biola University (where he Oakland Symphony Chorus enriches our he earned his Bachelor's degree) composition Tcommunity through high quality musical contest for the past four years, and won first prize performances and educational workshops that in 2016 for his Symphony No. 1 and third place raise appreciation and understanding of choral in 2015 for his Five Poems of Beautiful Things. music, while providing opportunities for people Additionally, he won the Biola Professional who love to sing. Established in 1958, Oakland Ensemble Recording Competition in 2014 and Symphony Chorus is one of the East Bay’s finest 2015. He was also one of the featured composers choirs, and a premier resource for continuing in the CFAMC Conference at Biola in 2014, where Paul Barnes performed his Ad Infinitum. Most education in the choral arts. In June 2015, the nd chorus travelled to Budapest, Györ, Vienna, recently, he was awarded 2 place in the Frank Robert Abell Young Composer Competition for and Prague, for its first international tour. Anna Kietzman Photo: his string quartet, Wandering Companionless: Pale The Chorus performs regularly with its partners, for Weariness. His music is a fusion of minimalism Oakland Symphony and Oakland Symphony and thematic development with programmatic Lynne Morrow, Chorus Director Youth Orchestra, as well as with a variety of other background to create stories in new and exciting Bay Area orchestras. The Chorus will embark on ways. He hopes to continue composing for concert its second tour in June 2018, giving three concerts music in addition to his hobbies of woodworking in Italy. and carpentry.

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Symphonies, and Orff’s Carmina Burana Coffland was a Resident Artist with Opera San with Sacramento Choral Society & Orchestra. José from 2008-2012, where she sang the roles Internationally, Sulker has sung Adele of Carmen (Carmen), Siebel (Faust), Idamante throughout the Netherlands and Belgium in a (Idomeneo), Rosina, (Il barbiere di Siviglia), tour of Die Fledermaus, a recital at Red Door Angelina (La Cenerentola), Cherubino (Le nozze Studios in Amsterdam, and an orchestra di Figaro), Dorabella (Così fan tutte), Olga concert featuring Porgy and Bess highlights (Eugene Onegin), and Elle (La Voix Humaine). and Mendelssohn’s Psalm 42 in Leipzig’s Gewandhaus and Prague’s Smetana Hall. She has sung as a soloist with the Juneau Symphony, the Sacramento Philharmonic, Sulker has sung with the San Francisco the San Francisco Choral Society, Symphony Opera, Mark Morris Dance Group, American Silicon Valley, the Pacific Chamber Symphony, Bach Soloists, Hawaii Opera Theatre, and Diablo Symphony Orchestra, and often Eugene Symphony, Union Avenue Opera, performs with the acclaimed chamber group Opera Naples, Pacific Opera Project, West Ensemble SF. Edge Opera, and the Natchez Opera Festival, to name a few. Her roles include Zerbinetta Engagement highlights for last season (Ariadne auf Naxos), Cunegonde (Candide), include Coffland singing Respighi's chamber Constanze (Abduction from the Seraglio), Musetta masterpiece, Il Tramonto, and performing the SHAWNETTE SULKER, SOPRANO (La Bohème), Susanna (Le nozze di Figaro) and BETANY COFFLAND, MEZZO-SOPRANO role of Sprechstimme in Schoenberg's Pierrot Lauretta ( ). Some works on with the chamber orchestra . cclaimed for her “heartbreaking poignancy” Gianni Schicchi Lunaire Espressivo Sulker’s concert repertoire list include Mozart's etany Coffland, mezzo-soprano, has had She performed as the alto and soprano II soloists and “beautifully tuned soprano” by the San A , Bach’s her performances hailed by Opera News as in Bach's with the Mendocino Francisco Chronicle and for her “enchanting Grand Mass in C minor Jauchzet Gott in B B Minor Mass allen Landen, Mozart’s Exsultate, Jubilate, and “extremely fine,” and San Francisco Classical Music Festival, and as the alto soloist in Handel’s vocal splendor” by the Leipziger Volkszeitung, Scarlatti’s . Upcoming Voice describes her voice as “plush” and “beautiful.” with the Pacific Chamber Orchestra. soprano Shawnette Sulker is a sought after artist Su le sponde del Tebro Messiah engagements will feature her singing as the A graduate of the Juilliard School and New Future performances include Coffland singing in the United States and abroad. A consummate Soprano I soloist for Bach’s England Conservatory, she also attended the the alto soloist in the Mozart Requiem with the performer, her recent operatic roles include Mass in B minor with California Bach Society, performing Lucy Aspen School of Music. Camellia Symphony Orchestra in Sacramento, singing The Queen of the Night (The Magic in The Telephone with Opera Memphis, singing and the alto soloist in Beethoven’s Mass in C Flute) with Opera Fairbanks and Hamster in the the soprano solos in Handel’s Messiah with with the Diablo Symphony. contemporary opera Animal Tales (Brazelton) Pacific Chamber Symphony, and a Holiday with the Garden State Philharmonic in New Recital as part of the renowned Noontime Jersey. Recent concert performances include Concerts at Old St. Mary’s in San Francisco. singing as a soloist for Fremont Symphony’s Valentine’s Day Concert, Beethoven’s Symphony No. 9 with the Santa Rosa and Peninsula

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Glenn has performed at major opera companies for Comedy on the Bridge and Alexandre bis; including San Francisco Opera, The Metropolitan debuted with Huntsville Symphony as Judge Opera, The Lyric Opera of Chicago, Netherlands Barnett/Officer Jimmy in the world premiere Opera, the Canadian Opera Company, and of Gregory Vajda’s Georgia Bottoms: A Comic The English National Opera, among others. Opera of the Modern South, based on the best-selling novel by Mark Childress; and He has also performed with major orchestras debuted with Nashville Opera as the Sergeant including the Atlanta Symphony, The Cleveland of Police in Pirates of Penzance. This season, Orchestra, the National Arts Centre Orchestra Sorensen performs as Sparafucile in Rigoletto with of Canada, China National Symphony, San Ash Lawn Opera, sings Rossini’s Stabat Mater Francisco Symphony, Seattle Symphony, in a concert entitled Love & Loss with Oakland Colorado Symphony, Berkeley Symphony and Symphony, and returns to Brava! Opera as Oakland Symphony. Osmin in Die Entführung aus dem Serail.

East Bay audiences have heard Glenn most Last season, Sorensen performed the role of recently at Hertz hall in Berkeley as the Sarastro in Die Zauberflöte with Fargo Moorhead Shepherd in Stravinsky’s Oedipus Rex with the Opera; the title role in Don Pasquale with Philharmonia Orchestra of London under the Brava! Opera; Sparafucile in Rigoletto with baton of Esa-Pekka Salonen. Mississippi Opera and Ash Lawn Opera; and THOMAS GLENN, TENOR AARON SORENSEN, BASS Leporello in Don Giovanni with Kalamazoo This year, Glenn sings the role of Charles Symphony. Previously, Sorensen debuted with fter singing the title role in Leonard Bernstein’s aron Sorensen is known not only for his Mair in the opera Louis Riel, by Harry Somers, Fort Worth Opera as Benoit/Alcindoro in Candide with Oakland Symphony in 2015, powerful and rich sound, but also his A in three productions–with Canadian Opera A and returned as the French General Grammy Award-winning tenor Thomas Glenn commanding stage presence. In recent seasons, La bohème Company, the National Arts Center of Canada, in Kevin Puts’ ; made a debut with is once again thrilled to return this season to Sorensen appeared at Huntsville Symphony Silent Night and Festival d’opéra de Québec. He will also Gotham Chamber Opera for productions of Oakland Symphony to perform as tenor soloist in Orchestra as Osmin in Die Entführung aus sing the role of Nemorino in L’elisir d’amore Die Prinzessin auf der Erbse, Weill’s Mahagonny G. Rossini’s Stabat Mater. dem Serail, which he also performed with with Opera Idaho and the tenor soloist in , Hindemith’s , and Peabody Opera Theatre and Houston Symphony Songspiel Hin und Zurück Beethoven’s with the Victoria Milhaud’s ; and performed Missa Solemnis Orchestra; returned to Gotham Chamber Opera L’enlèvement d’Europe Choral Society in Victoria, BC. the role of Angelotti in Tosca with Austin Lyric Opera.

20 OAKLAND SYMPHONY OAKLAND SYMPHONY 21 PRE-CONCERT PERFORMERS: OAKLAND YOUTH CHORUS PROGRAM NOTES

While creating harmony, OYC instills the skills and values that prepare and empower youth to lead social change in our community. Focused on excellence in TK-12 music education and community performance, OYC programs build multicultural understanding and respect, intentionally bringing together over 1000 East Bay children and youth from different neighborhoods and cultural backgrounds.

Our advanced ensemble, Chamber Singers, has represented Oakland at the White House, Jamaica, Japan, and seven states on ounded in 1974, the Oakland Youth Chorus tour. Goapele, La Toya London, Grammy F(OYC) is the longest-running youth chorus winner Brad Wells, Roosevelt Credit of the in the East Bay. Through empowering children Tony-winning cast of Porgy and Bess, and and youth by creating safe, joyful opportunities Grammy nominee and Stevie Wonder and to express themselves and connect through Béyonce keyboardist Victoria Theodore are GALLAGHER MOZART the arts, Oakland Youth Chorus changes the among those alumni who began their musical lives that will transform our communities and journeys with OYC. Vocare Symphony No. 40 in G minor, our world. JONAH M. GALLAGHER K. 550 (b. 1993) WOLFGANG AMADEUS MOZART (1756-1791) rom primal rhythms to soulful harmonies, Vocare Fexplores the beauty and extremes of the string orchestra. String instruments are often considered he G minor Symphony was the second of three OAKLAND YOUTH CHORUS ROSTER to have a more refined sound palette than the Tsymphonies that Mozart wrote in the space of just more colorful woodwinds or brass, but in fact they two months during the summer of 1788. It was Adrienne Burg Emma Gilbert Ajiona Jenkins Karina Nicks possess a world of astonishing sonorities. finished on July 25. Ashanti Ferris Vanessa Gray Clara McGilly Nia Rhoads The first movement, Tenacious Endeavors, uses We have only speculation about why Mozart Terrin Flores Josie Hall Serena McIntosh Eleanor Wikstrom all manner of percussive sounds to form organic, wrote these works and whether any of them were Caitlyn Freeman Joi Haywood Olivia Montiel visceral rhythms that build in a primal and possessed performed during Mozart’s lifetime. They may have manner. In stark contrast, the second movement, appeared on programs in Leipzig in May, 1789, or An Honest Prayer, uses more sustained lyrical at a pair of concerts at the court theatre in Vienna textures to explore the tune from the hymn I Need conducted by Antonio Salieri in April, 1791. On Thee Every Hour. Echoes of Dance closes the the latter occasion, the brothers Anton and Johann piece with echoes and fragments of imagined Stadler played solo clarinets, a fact which leads ancient dances. some to infer that the G minor Symphony was the “Grand Symphony” on the program, since Mozart The Latin word vocare, “to call,” is the root of many did revise the score to include two clarinets. words such as evoke, provoke, and vocation–and the piece seeks to use a wide variety of sounds to A great deal has been written about the G minor impact the listener. Vocare came about after a dear Symphony, much of it nonsense, some of it useful. friend and mentor of mine finally lost his battle with A French critic in 1828 called it “one of the very cancer. He never gave up on me and was willing to finest productions of the human mind.” About have hard conversations about the important things twenty years later, a Russian commentator wrote: in life. This piece is for him. “I doubt if there exists in all music anything more deeply incisive, more cruelly anguished, more ~Program Notes by Jonah M. Gallagher violently distracted, more agonizingly passionate than the second half of the finale.”

Most of the Romantics seem to miss the point. Berlioz called the work “that model of delicacy and naïveté.” Schumann found in it “Grecian lightness and grace.”

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In his book The Classical Style, Charles Rosen The text dates from the 13th century and is attributed wrote in 1972: “The limit of dramatic complexity in to Jacopone da Todi. It has twelve sections. Rossini a classical finale is reached with Mozart’s G minor set six of them before a severe attack of lumbago symphony: despairing and impassioned, it is also forced him to bring in his friend Giovanni Tadolini rhythmically one of the simplest and squarest pieces to finish the work. The Rossini-Tadolini Stabat that Mozart ever wrote.” Mater was duly introduced in Madrid in 1833.

When Varela died in 1837, the score fell into the hands of the publisher Antoine Aulagnier, who wrote to Rossini regarding possible publication. Rossini replied that “if my Stabat Mater should be published without my authorization, whether in France or abroad, my very firm intention is to pursue the publisher to death.” Rossini contracted with Eugene Troupenas to publish the Stabat Mater. There were lawsuits and counter-lawsuits. In the end, Rossini won.

Meanwhile, he set to work finishing the remainder of the Stabat Mater, contracting Tadolini’s six sections into four. “I am searching for motives, and all that comes into my mind is pastries, truffles, and such MICHAEL MORGAN, LYNNE MORROW, things,” he complained. MUSIC DIRECTOR & CONDUCTOR CHORUS DIRECTOR The first performance of the all-Rossini Stabat Mater OAKLAND SYMPHONY OAKLAND SYMPHONY CHORUS took place in Paris on January 7, 1842. “Rossini’s ROSSINI name was shouted out amid the applause,” said one ichael Morgan was born in Washington, DC, ynne Morrow became Director of the Oakland account, “the entire work transported the audience; Mwhere he attended public schools and began LSymphony Chorus in 2005. During her tenure, Stabat Mater the triumph was complete…. The audience left conducting at the age of 12. While a student the scope of the Chorus has expanded to include the theater moved and seized by an admiration that at Oberlin College Conservatory of Music, he contemporary, international, and neglected works, GIOACHINO ROSSINI quickly won all Paris.” spent a summer at the Berkshire Music Center along with traditional choral repertoire. She (1792-1868) at Tanglewood, studying with Gunther Schuller conducts the Chorus’ workshop performances The Italian premiere was entrusted to Gaetano and Seiji Ozawa. He first worked with Leonard of major works; hosts summer choral outreach After the production of William Tell in 1829, Rossini Donizetti, “the only maestro in Italy who knows Bernstein during that same summer. Stabat “Sing-ins;” and prepares the Chorus for work wrote no more operas. During a visit to Spain two how to conduct my as I wish it,” according to Rossini. There were three concerts in Bologna with Oakland Symphony as well as regional years later, he reluctantly accepted a commission to His operatic debut was in 1982 at the Vienna State community and youth orchestras with which it write a Stabat Mater for the archdeacon of Madrid, in March, 1842. After the last, said a friend of the composer, “Rossini was able to respond to the Opera, conducting Mozart’s The Abduction from collaborates, such as Oakland Symphony Youth Don Manuel Fernandez Varela. Rossini feared the Seraglio. In 1986, Sir Georg Solti chose him to Orchestra, Young People’s Symphony Orchestra, and comparisons with Pergolesi’s Stabat Mater, and summons of those applauding, enter the hall, and go out onto the platform, where he embraced and become the Assistant Conductor of the Chicago California Symphony. stipulated that Varela retain sole possession of the Symphony Orchestra, a position he held for seven score and never allow publication. kissed Donizetti, to whom, if he could, he meant to attribute a large part of the good success of the years under both Solti and Daniel Barenboim. In Lynne Morrow received a Grammy nomination Stabat. In the meantime, the people in the piazza 1986, he was invited by Leonard Bernstein to make for her work with the Pacific Mozart Ensemble were shouting for Rossini.” his debut with the New York Philharmonic. As (now Pacific Edge Voices), with whom she has guest conductor, Morgan has appeared with most also recorded two CDs of Dave Brubeck’s choral Program Notes by Charley Samson, copyright 2017 of America’s major orchestras, as well as the music. Since 2001, she has directed the Voice New York City Opera, St. Louis Opera Theater and and Opera/Music Theatre Programs at Sonoma Washington National Opera. State University. Dr. Morrow presents workshops on African American Spirituals, including a In addition to his duties with the Symphony since workshop on a cruise to Alaska from San Francisco. 1991, Maestro Morgan serves as Artistic Director Dr. Morrow has just received The Heritage Keepers of the Oakland Symphony Youth Orchestra, Music Award from The Friends of Negro Spirituals. She Director at Bear Valley Music Festival, and Music has also given lectures on music for major Bay Director of Gateways Music Festival. He is Music Area organizations including Oakland Symphony. Director Emeritus of the Sacramento Philharmonic Dr. Morrow strives for a visceral connection to and Opera, and is on the boards of Oaktown Jazz music, presenting works from every corner of the Workshops, the Purple Silk Music Education musical arts in fresh ways, to reach the widest Foundation, and the Mathematical Sciences possible audiences. Research Institute. He makes many appearances in the nation’s schools each year.

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