Peter Evans, Lover’s War Igor Stravinsky, L’Histoire du Soldat

February 17, 2017 Herbst Theatre

on STAGE Series San Francisco Contemporary Music Players

The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble of highly skilled musicians, performs innovative contemporary classical music based out of the San Francisco Bay Area.

SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings.

Tonight’s event is part of SFCMP’s On Stage Series, which brings to the stage some of the most influential national and international contemporary classical composers of the 20th and 21st centuries..

The Exit Diagram is located on pages 32-33. Upcoming SFCMP Events

“Sound and Wine” Celebration

Sat, Mar 25, 2017

Venue: SCHROEDER’S 240 Front St. San Francisco 94111

Spend time with the Players for a season-end celebration. Re-live your favorite works from the season or hear them for the first time.

Enjoy a few hours of conversation with Bay Area’s finest musicians, live music, great food, and of course, some of our region’s finest wine (and beer). SFCMP Ensemble Presenters: Kyle Bruckmann, Jeff Anderle, Bill Kalinkos. #sfsoundandwine

San Francisco Contemporary Music Players • 3 Upcoming SFCMP Events

Lou Harrison: A Centenary Celebration Fri and Sat, Apr 21-22, 2017, Z Space

Works by Lou Harrison, Jimmy Lopez, Natacha Diels, Gity Rizaz, Annie Gosfield and three SF Search Winners

Eavesdrop on conversations between Lou Harrison, much loved California composer whose 100th birthday we celebrate in 2017, and two younger generations who share his lifelong interests of exploration and inclusivity.

We’ll hear Harrison’s music alongside that of Natacha Diels, Photo by Eva Soltes whose work, like Harrison’s, is steeped in a sense of ritual; Gity Razaz who fearlessly combines technologies and cultures; the prolific and eloquent Jimmy Lopez; and the playfully absurd Annie Gosfield. You’ll listen to composer talks and we’ll perform and record music by the newest generation of composers influenced by Harrison’s work through our SF Search Program: the San Francisco Contemporary Music Players program in support of emerging contemporary classical composers.

4 • San Francisco Contemporary Music Players Upcoming SFCMP Events

On the 2-Day Lou Harrison Centenary Celebration Program

Festivities in the Lou Harrison Centenary Celebration will include:

• a Friday night film screening • 3 Saturday concerts • A composer talk, “How Music is Made” with composers Jimmy Lopez and Natacha Diels

More Info: #louharrison100 #sfcmp

The Lou Harrison Centenary Celebration concert is part of SFCMP’s At the Crossroads Series, bringing to you the music of iconic contemporary classical composers performed alongside cutting-edge emerging composers from California and beyond.

San Francisco Contemporary Music Players • 5 SFCMP Artistic Director Steven Schick

Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming family. For forty years he has championed contemporary music by commissioning or premiering more than one hundred- fifty new works. He was the founding percussionist of the Bang on a Can All- Stars (1992-2002) and served as Artistic Director of the Centre International de Percussion de Genève (2000-2005). Schick is founder and Artistic Director of the percussion group, “red fish blue fish.” Currently he is Music Director of the La Jolla Symphony and Chorus and Artistic Director of the San Francisco Contemporary Music Players. Scottish Symphony Orchestra, the In 2012 he became the first Artist- Saint Paul Chamber Orchestra, the in-Residence with the International Nova Chamber Ensemble and the Contemporary Ensemble (ICE). Schick Asko/Schönberg Ensemble. Among founded and is currently Artistic his acclaimed publications are a book, Director of “Roots and Rhizomes,” “The Percussionist’s Art: Same Bed, a summer course on contemporary Different Dreams,” and numerous percussion music held at the Banff recordings of contemporary percussion Centre for the Arts. He maintains a music. Steven Schick is Distinguished lively schedule of guest conducting Professor of Music at the University of including appearances with the BBC California, San Diego.

6 • San Francisco Contemporary Music Players Message from Steven Schick

Every story we tell falls into one of two types: You go on a voyage. A stranger comes to town.

With Igor Stravinsky’s L’Hisoire du Soldat, you get both at the same time. In Charles Ferdinand Ramuz’s well- known text, summarized in programs notes here, Joseph, a Russian soldier, trades his violin to a stranger for the promise of wealth. In the voyage that ensues, Joseph’s fate spirals downward and out of control. The stranger, of course, is the devil, whom we come to realize is less of a stranger in our midst than we would like. And the end for Joseph is dire—suffice it to say that the final movement of the work is entitled “The Triumphal March of the Devil”— There are two reasons for with a percussion solo, rare for its time, reconsidering L’Histoire. For many as Satan’s last word. people, the lightness of the Ramuz text and the concurrent lightness of Now approaching its centennial, much of Stravinsky’s music simply does L’Histoire du Soldat is iconic, well- not make sense as an expression, in known and well-loved, and seemingly 1918 just after the end of World War I, little in need of revision. So why are of the horrors of war and the travails we changing it so radically for tonight’s of a soldier’s life. Stravinsky would performance? certainly have claimed that not every San Francisco Contemporary Music Players • 7 work about a soldier made in wartime this contemporary American’s point needs to be an expression of horror. of view—is that we might want to But the inveterate sunniness of the reconsider questions of cultural music seems more an expression of appropriation in light of recent events Stravinsky’s wartime exile in peaceful in our country. Music is far more than Switzerland than it does of the big sound. And African-American music, questions of good and evil that the originally an expression of resistance text proposes. In the most important to slavery, should remain a musical revision of the text, Kurt Vonnegut, manifestation of solidarity with the whose war came a generation later, powerless of our society. creates a new story, recasting the hopelessly lost soldier as Eddie Slovik, So, let’s experiment tonight. the lone American solider to be executed for desertion since the Civil We have invited the great trumpet War. The devil is an American General. player, Peter Evans, whose piece Lover’s War will be performed in interstices of The second impulse for reconsideration L’Histoire du Soldat by a group of the comes directly from Stravinsky’s Bay Area’s finest improvisers. Evans musical language itself. As one of replaces the well-worn Ramuz text the first and most important pieces with the images of another kind of indebted to jazz, the African-American war through excerpted quotations idiom of the day, Stravinsky made from James Baldwin’s essay, “The liberal use of instrumental and textural Creative Process.” We’ve lost the mannerisms he gleaned from the Faust-lite story of neutral Switzerland genre. Stravinsky was certainly not and instead offer compelling and the first to borrow from and capitalize personal musical responses that will, on a musical language not his own. we hope, be more attuned to the Artists from Beethoven to Moby have sharper edges and greater risks of this done the same. But a contemporary time and place. Peter writes powerfully American point of view—at least of his motivations for this project in

8 • San Francisco Contemporary Music Players a description quoted in our program The SFCMP Players note, so I won’t comment further here. Hrabba Altadottir, violin But the big question remains: Will Jeff Anderle, clarinet it work? Will intense juxtapositions of such different musical and textual Tod Brody, flute forces tell the story of both the Kyle Bruckmann, oboe journey and the stranger? Will an Kate Campbell, piano ancient tale become sharper and more Susan Freier, violin present? And will our efforts create, Chris Froh, percussion as Mary Oliver writes, that rare artistic Karen Gottlieb, harp experience of something “inexplicable made plain.” Stephen Harrison, cello Graeme Jennings, violin As always, we hope, and expect, that Peter Josheff, clarinet you will tell us. Bill Kalinkos, clarinet Adam Luftman, trumpet ~ Steven Schick Loren Mach, percussion Roy Malan, violin Sarah Rathke, oboe Nanci Severance, viola David Tanenbaum, guitar Peter Wahrhaftig, tuba William Winant, percussion Nick Woodbury, percussion Richard Worn, contrabass

San Francisco Contemporary Music Players • 9 Tonight’s Program February 17, 2017

Venue: San Francisco Conservatory of Music Concert Hall 4:00 - 4:30 pm Open Dress Rehearsal 4:30 - 5:20 pm Composer Talk, “How Music Is Made,” with Peter Evans 6:45 pm Pre-concert discussion with Steven Schick and the Players 7:30 pm CONCERT

Please join us for our post-concert reception

Stravinsky Interpolations

Peter Evans Lover’s War Text from “The Creative Process” by James Baldwin

Peter Evans, trumpet (soloist); Kyle Bruckmann, oboe; Ritwik Banerji, saxophone; William Winant, percussion; Nava Dunkelman, percussion; Steven Schick, percussion; India Cooke, violin

Igor Stravinsky L’Histoire du Soldat (The Soldier’s Tale)

Jeff Anderle, clarinet; Dana Jessen, bassoon; Brad Hogarth, trumpet; Brendan Lai-Tong, trombone; Christopher Froh, percussion; Hrabba Atladottir, violin; Richard Worn, bass

10 • San Francisco Contemporary Music Players Tonight’s Program (continued)

Peter Evans Solo: For Eddie Slovik Igor Stravinsky The Soldier’s March Peter Evans Trio: For Lewis Mumford Igor Stravinsky Music to Scene I Igor Stravinsky Music to Scene II Peter Evans Quartet: For Michelle Alexander Igor Stravinsky Music to Scene III Igor Stravinsky The Soldier’s March Peter Evans Duo: For Sarah Kendzior Igor Stravinsky The Royal March Igor Stravinsky Little Concert Igor Stravinsky Three Dances: Tango, Waltz, Ragtime Peter Evans Solos: For Cecil Taylor Igor Stravinsky The Devil’s Dance Igor Stravinsky The Great Choral Peter Evans Septet: For James Baldwin Igor Stravinsky Triumphal March of the Devil Peter Evans Septet: For James Baldwin, part 2

San Francisco Contemporary Music Players • 11 About Tonight’s Program

A Note from Peter Evans

From the very beginning the fact that this piece of mine was supposed to be paired with Stravinsky’s Soldier’s Tale made me think that whatever I cooked up should involve text or narration. The more I thought about what to do, the more I felt it was a good opportunity not to really respond to the Stravinsky, more to contrast with it. Solider’s Tale is a classic piece but it’s strangely light considering the subject of the folk tale and what was going on in the world when it was written. Turns out Kurt Vonnegut had the same reaction, and he eventually wrote a new text for the piece about the execution of Eddie Slovik, a draftee in WWII who was shot for desertion.

I wanted to involve text in my own portion, something that responded to the times and the circumstances we find ourselves in, however obliquely. I settled on this very beautiful, humanistic essay by James Baldwin called “The Creative Process.” Despite the dry title, the language is very open, evocative, and poetic. Except for the opening piece, I took passages from this essay and dedicated some of them to people who in their own work, relate to and expand on the ideas contained therein. They will be read by Steve Schick, and each movement will feature a different combination of these fantastic creative musicians.

~ Peter Evans

12 • San Francisco Contemporary Music Players Program Notes by Robert Kirzinger

This bold experiment in styles Central Europe. Although the music of juxtaposes and intermixes Igor L’Histoire is fully notated, the playing Stravinsky’s already hybrid classic styles, particularly of the percussion L’Histoire du Soldat with a new and violin, are linked to improvising work, Lover’s War, by trumpeter and traditions, stylized by the composer. composer Peter Evans, who has Stravinsky’s later comparisons of his assembled a group of improvising ensemble to jazz groups—of which he master musicians in a kind of had, to that point, no experience—are generations-removed doppelganger abstractly apt, but only in the sense of L’Histoire’s unique instrumentation. that improvising nightclub bands are In these performances, the voice similar to the Gypsy bands that plied narration of the story is largely their trade in Brahms’s Vienna, or to supplanted by the music and text of the proto-Klezmer village wedding and Peter Evans’s Lover’s War, a radical celebration bands of Russia and the sublimation of the original. Ukraine.

Stravinsky and the Swiss novelist Beyond the popular roots of Charles-Ferdinand Ramuz conceived Stravinsky’s instrumentation lay Arnold L’Histoire du Soldat in 1918 as a small Schoenberg’s Pierrot Lunaire, which touring show that could fill in the gaps the Russian composer had heard in (monetary and otherwise) created November 1912 as he was completing for them when World War I and the The Rite of Spring. Pierrot gave Russian Revolution devastated the Stravinsky, in a sense, permission to Eurasian economy. Its models included explore the smaller, flexible groups of pan-Slavic festival performances of Renard, Les Noces, and L’Histoire. These the kind Stravinsky had already drawn were the main products of Stravinsky’s on in Petrushka and Renard and the years in Switzerland (1914-1918), where verbunkos military recruiting bands of he and his family were exiled during

San Francisco Contemporary Music Players • 13 the years of World War I. He met the it won’t play, so he casts it away and Swiss novelist C. F. Ramuz (1878- tears up his magic book in despair. 1947) in 1915 and began working with him on French versions of the Sometime later, penniless again, the composer’s Russian-language works. Soldier travels to a distant city in hopes L’Histoire du Soldat, however, was a of curing a king’s daughter (whom the ground-up collaboration; Ramuz likely Devil had promised to torment). The conceived the idea of the narrated text princess’s hand is the reward for her interleaved with descriptive music. The cure. Meeting the Devil, the Soldier story itself was one from Alexander suggests a card game. He loses, but Afanasyev’s collection of folktales, the gets the Devil drunk in the process, same source as many of Stravinsky’s recovering his fiddle (again) when Russian texts. the latter passes out. Fiddle in hand he plays the princess back to health In brief, the tale involves a Soldier who (Tango/Valse/Ragtime); the Devil tries meets the Devil. The Devil offers the unsuccessfully to intervene. The Soldier Soldier a book that tells the future in and princess marry, and she suggests exchange for his fiddle—a stand-in for they travel back to his hometown— the Soldier’s soul. Having had what but as soon as the Soldier crosses the he thought was a brief sojourn chez border, he’s back in the Devil’s power Devil, the Soldier discovers that three for good. years have passed, and his sweetheart is married to and has children by The set-pieces of L’Histoire are someone else. Rejected by his own modified archetypes, such as the mother, the Soldier takes the Devil’s introductory March, seemingly advice and uses the magic book to straightforward but spiky with little become a successful merchant. Just as virtuosic solo passages: slipping he tires of this life, the Devil reappears briefly into meters other than in the guise of an old lady, trying to sell the expected one-two, one-two: the fiddle back to him. He buys it, but harmonically acerbic. The fiddle music

14 • San Francisco Contemporary Music Players (representative of the Soldier’s own ensemble, an itinerate band, without playing) at the start of Scene 1 (“Music a village of their own, without a clear by a Stream”) is pure fake-folk; and future, with less expectation of a fully note, too, the clarinet’s Rite of Spring- shared musical and cultural milieu. like descant. This music, reprised The musicians performing in Lover’s several times, is a tune-up for the War are versed in styles including “Little Concert” with which the Soldier straightforward Classical music, later cures the Princess. “The Royal Latin fusion, a wide swath of jazz, March,” through which the Soldier electroacoustic improv, anthropology, meets that King, features the trombone punk, gamelan, Japanese drumming, and an especially active cornet. Upon avant-garde concert music, trance, her cure, the Princess dances a Tango avant-garde rock, minimalism, pan- (the great European Tango craze Asian music, and so on, you get having swept Paris beginning in 1912), the picture.... Evans himself, as a a light, quirky Valse, and a syncopated trumpeter, pushes his sound and Ragtime, a style Stravinsky only knew technique into realms the cornetist via sheet music. The most “familiar” in Stravinsky’s band would blanch music in the piece is ultimately the at, veering into territories partly strangest: the Lutheran chorales occupied by voice, violin, electric reharmonized for the Little Chorale guitar, organ, didgeridoo, and and Great Chorale following the Devil’s beyond. As a composer he produces apparent defeat. These foreshadow refined, intricate rhythmic and pitch the famous Canonic Variations on “Von structures that thrive on his performing Himmel hoch” the composer made in ensemble’s individuality and freedom. 1956, some forty years and many styles His groups are frequently augmented later. by live electronics, adding a further contemporary sonic dimension. Peter Evans’s collection of improvising virtuosi is in a sense even less stable If a little more circumspect than than the prototypes for Stravinsky’s Stravinsky/Ramuz’s glib fable, the

San Francisco Contemporary Music Players • 15 present tower of Babel gathering can Submit Your Survey, show just how readily these varieties of Get a Gift! “language” form the basis of broader We genuinely want to communication, in an amplification of hear from you. Please Stravinsky’s many efforts to straddle stop by the red table stylistic worlds. Evans’s selection of in the lobby, drop off your survey and James Baldwin’s optimistic fragments pick up a red SFCMP tote bag, pen, or is deliberately incongruous with other nifty item with our logo on it. Ramuz’s French version of Alexander Afanasyev’s collected Russian folkstory, Want to sponsor a concert? but on closer inspection we might Gifts of $2,500 or more can be used to discover in the Soldier’s persecution sponsor the performance of a specific parallels with Baldwin’s experience as piece. To discuss upcoming programs a gay, black, intellectual artist at a time or to make a commemorative gift, when living such identities was even please contact Executive Director Lisa more fraught than it is now; with the Oman at (415) 278-9566 or lisa@ difficulties of being an individual in a sfcmp.org. seemingly dispassionate, sometimes hostile society; and the creator’s Want to volunteer? own unceasing internal struggle for Behind every successful nonprofit Lover’s War integrity and beauty. —in its organization is a team of dedicated surface musical details unknown and volunteers. If you would like to join unknowable—relies on the composer’s our team of volunteers, please give faith in his collaborators and an us a ring at (415) 278-95566 or email acceptance of unplanned magic: [email protected] to discuss a Utopian vision in sharp contrast your interests and our available to Stravinsky’s soldier’s inevitable, opportunities. knowable end.

~ Robert Kirzinger

16 • San Francisco Contemporary Music Players Composer Biography - Igor Stravinsky

IGOR STRAVINSKY was one of music’s truly epochal innovators; no other composer of the 20th century exerted such a pervasive influence in the way that Stravinsky did during his seven- decade musical career. reputation than any of his other works. Stravinsky entered law school but also privately studied composition and After the deaths of his daughter, his orchestration with Nicolai Rimsky- wife, and his mother within a period of Korsakov. By 1909, the orchestral works less than a year, Stravinsky emigrated Scherzo fantastique and Fireworks had to America, settling in California with impressed Sergei Diaghilev enough for his second wife in 1940. His works him to ask Stravinsky to orchestrate, between then and 1950 show a mixture and subsequently compose, ballets for of styles but still seem centered on his company. Stravinsky’s triad of early Russian or French traditions. Despite ballets -- The Firebird (1909-1910), declining health in his last years, Petrushka (1910-1911), and most Stravinsky continued to compose until importantly, The Rite of Spring (1911- just before his death in April 1971. 1913) -- did more to establish his San Francisco Contemporary Music Players • 17 Composer Biography - Peter Evans

and composers in the creation of new music. Evans’ primary groups as a leader are the Peter Evans Septet and the Zebulon trio.

In addition, Evans has been performing and recording solo trumpet music since 2002 and is widely recognized as a leading voice in that field, having released several recordings over the past decade. He has released his music on his own label PETER EVANS is a trumpet player More is More Records since 2011. and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Evans is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians

18 • San Francisco Contemporary Music Players Special Guest Ritwik Banerji

RITWIK BANERJI is a saxophonist, digital media artist, and anthropologist of music. As an artist and researcher, his work centers on the creation of virtual performers of free improvisation and extensive experimentation with these systems with improvisers in a variety of contexts.

Ritwik is currently completing a dissertation in ethnomusicology at the University of California, Berkeley, where his research examines the ethics of social and musical interaction in scenes of free improvisation. He has just returned from two years of fieldwork in Berlin, where his research was supported by the Fulbright U.S. Young Journalist Program and the Berlin Program for Advanced German and European Studies. player’s control of timbre, a project he developed through an artist residency In addition to the design of virtual free at the Agosto Foundation in the Czech improvisers, Banerji’s artistic research Republic in 2014. interests have recently shifted focus to the creation of virtual musical environments navigable through a

San Francisco Contemporary Music Players • 19 Special Guest - India Cooke

INDIA COOKE violinist, composer, educator, and recording artist, plays a wide range of music from jazz to avant- garde, classical, Latin fusion, new age, pop and gospel. In addition to improvisational and jazz performances, she has performed in the San Francisco Bay Area symphony and opera orchestras, chamber ensembles, and Broadway shows, including the historic five-year run of Andrew Lloyd Webbers’ Phantom of the Opera.

As one of California’s most respected contract artists, Cooke has performed as featured soloist with Joe Williams and the Louie Bellson Orchestra. She has played with Tony Bennett, K. D. Lang, Ray Charles, Sarah Vaughn, Frank Sinatra, Johnny Mathis, Stevie Wonder, Barry White, Diana Ross, Dionne Warwick, Patti La Belle, Gladys Knight, and many others. Cooke performs nationally and internationally in a variety of settings, from California Jazz Festivals to Europe’s Free Music.

Cooke holds a Master’s in Music from the University of Michigan, and a Bachelor’s in Music from the North Carolina School of the Arts. She currently teaches and lectures at Mills College, the San Francisco Community Music Center, and her private studio.

20 • San Francisco Contemporary Music Players Special Guest - Nava Dunkelman

NAVA DUNKELMAN is a Bay Area-based percussionist and improviser. Born in Tokyo, Japan and raised in a multi-cultural environment by an American father and Indonesian mother, her musical interests span the globe from Japanese taiko to Indonesian gamelan to American marching band, and from classical to contemporary to the avant-garde.

Since graduating with a degree in music performance in 2013, she has performed and collaborated with William Winant, Fred Frith, John Zorn, Ikue Mori, George Lewis and others. She has performed classical and contemporary pieces with the William Winant Percussion Group, inkBoat, The Luna Ensemble, San Francisco Girls Chorus, among others. She formed the improvisational trio Dapplegray, the electro- percussion experimental noise duo IMA, and the improvisational duo DunkelpeK.

Nava enjoys discovering her own musical language by exploring experimental approaches to communication, progression and space. www.navadunkelman.com

San Francisco Contemporary Music Players • 21 Tonight’s SFCMP Players through its annual marathon and Jeff Anderle (clarinet) is a pioneer concert series. Jeff teaches clarinet, in the world of low reeds, helping to bass clarinet, chamber music, and popularize the role of the modern entrepreneurship at the San Francisco clarinet and bass clarinet through his Conservatory of Music, and has given innovative and diverse performances, masterclasses across the country ensembles, and commissions. He is on these topics. He has been on a founding member of both Splinter the faculty at U.C. Berkeley and as a Reeds, the Bay Area’s first reed quintet, member of REDSHIFT holds a guest and REDSHIFT contemporary music artist residency at California State ensemble, as well as a member of University East Bay. the San Francisco Contemporary Music Players and the Paul Dresher Icelandic violinist Hrabba Atladottir Electro/Acoustic Band. He is half of studied in Berlin, Germany with the bass clarinet duo Sqwonk, which professor Axel Gerhardt and professor has commissioned and premiered a Tomasz Tomaszewski. After finishing significant body of work that infuses her studies, Hrabba worked as a aspects of classical, folk and popular freelance violinist in Berlin for five music into its own distinct style. As a years, regularly playing with the member of the virtuosic, heavy metal Berlin Philharmonic Orchestra, bass clarinet quartet Edmund Welles, Deutsche Oper, and Deutsche he has been featured nationally at Symphonieorchester. In 2004, Hrabba festivals and masterclasses. moved to New York, playing on a regular basis with the Metropolitan Jeff is a founding co-director of Opera, New York City Opera, Orchestra Switchboard Music, a presenting of St. Luke’s and New Jersey Symphony organization which has featured Orchestra among other orchestras. hundreds of innovative musicians She also played with the Either/Or

22 • San Francisco Contemporary Music Players ensemble in NY in close collaboration Before relocating to the Bay Area in with Helmut Lachenmann. 2003, Kyle was a fixture in Chicago’s experimental music underground, Since August 2008, Hrabba has collaborating regularly with been based in Berkeley, California, electroacoustic duo EKG, the ”noise- where she has been performing as a rock monstrosity” Lozenge, and the soloist and with various ensembles Creative Music quintet Wrack (recipient such as the Left Coast Chamber of a 2012 Chamber Music America New Ensemble, The Empyrean Ensemble, Jazz Works grant). Bruckmann earned the ECO ensemble, the San Francisco undergraduate degrees in music and Contemporary Music Players, and New psychology at Rice University, studying Century Chamber Orchestra. Hrabba oboe with Robert Atherholt, serving is currently a Violin Lecturer at UC as music director of campus radio Berkeley and at Mills College. station KTRU, and achieving academic . distinction as a member of Phi Beta Oboist Kyle Bruckmann’s work as a Kappa. He completed his Masters composer and performer spans from degree in 1996 at the University of the Western classical tradition into Michigan, Ann Arbor, where he studied the frontiers of free jazz, electronic oboe performance with Harry Sargous music and post-punk. With more and contemporary improvisation with than 60 recordings and a striking Ed Sarath. Kyle joined SFCMP in 2012. array of performance affiliations to his credit (Quinteto Latino, the Percussionist Christopher Froh Stockton Symphony, sfSound, Eco specializes in promoting and Ensemble, Ensemble Parallèle,the San influencing the creation of new Francisco Symphony, and others) he music through critically acclaimed has been acclaimed as “a modern day performances and dynamic lectures. renaissance musician,” and “a seasoned Also a member of Empyrean Ensemble, improviser with impressive extended Rootstock Percussion, and San technique and peculiar artistic flair.” Francisco Chamber Orchestra, Froh

San Francisco Contemporary Music Players • 23 has premiered over 100 chamber and Francisco Opera and Symphony. solo works by composers from 15 Currently, he serves as Assistant countries. His rich and diverse career Principal Bass of the Marin Symphony also includes performances with the and Principal Bass of the Sanse San Francisco Symphony at Carnegie Chamber Orchestra as well as with Hall, Gamelan Sekar Jaya at the Stern the Berkeley Contemporary Chamber Grove Festival, and session recording Players, ECO Ensemble, Other Minds at Skywalker Ranch for a video game sfSound, Empyrean Ensemble, Earplay, about monkeys and pirates. Chris and Composer’s Inc. Richard is also has recorded with the San Francisco former Principal Bass of the New Symphony on SFS Media; as a soloist Century Chamber Orchestra. With his on Albany, Innova, and Equilibrium Worn Chamber Ensemble, founded labels; and as a chamber musician on in 1996, has performed works for Bridge Records and Music@Menlo both solo bass and ensemble by LIVE. As a soloist, he has appeared such composers as Andreissen, at festivals and recitals across Japan, Cage, Harrison, Henze, Reveultas, China, Turkey, Europe, and the United Scelsi, Varese, and Xenakis. Richard States including featured performances holds degrees in double bass from at the Beijing Modern Festival, Nuovi California State University, Northridge Spazi Musicali, and Music@Menlo. He and the New England Conservatory. studied at the University of Michigan, Her currently teaches and provides Eastman School of Music, and Toho orchestral coaching at UC Berkeley. Gakuen Conservatory, where he was a student of marimba pioneer Keiko Grammy-nominated percussion- Abe. He teaches percussion and ist William Winant is internationally chamber music at UC Davis and CSU regarded as a leading performer of Sacramento. avant-garde music. Over the course of his career, Willie has collaborated with Double bassist Richard Worn has legends of 20th and 21st century mu- performed extensively with the San sic, from Iannis Xenakis to Steve Reich

24 • San Francisco Contemporary Music Players and Yo-Yo Ma, and from Merce Cun- Tonight’s Guest SFCMP ningham to Kronos Quartet and Sonic Musicians Youth. Composers who have written for Willie include john Cage, Lou Harrison, Please join us in applauding the John Zorn, Peter Garland, Larry Polan- following guest musicians on sky, Gordon Mumma, Alvin Lucier, Terry tonight’s performance: Riley, Fred Frith, Somei Satoh, and Wa- dada Leo Smith. He is the percussionist Dana Jessen, bassoon. Jessen is with the avant-rock band Mr. Bungle, co-founder of Splinter Reeds, a San and performs locally with his own en- Francisco-based reed quintet, and is semble, the William Winant Percussion currently the Director of Professional Group. A member of the instrumental Development at the Oberlin faculty at the University of California Conservatory of Music. at Berkeley and Mills College, and a Visiting Lecturer at University of Cali- Brad Hogarth, trumpet. Hogarth is fornia, Santa Cruz,. Winant has made Assistant Professor of Wind Ensemble over two hundred recordings covering and Conducting at San Francisco State a wide variety of music, including the University as well as the music director revered recording of Lou Harrison’s and conductor of the Contra Costa La Koro Sutro and the 2013 release of Wind Symphony. Five American Percussion Pieces. Willie joined SFCMP in 1998. Brendan Lai-Tong, trombone. Trombonist and music educator Brendan Lai-Tong has performed with the San Francisco Opera, San Francisco Ballet, Opera San Jose, and the Paul Dresher Ensemble, among others. He is a graduate of the San Francisco Conservatory of Music.

San Francisco Contemporary Music Players • 25 Friends of SFCMP San Francisco Contemporary Music Players gratefully acknowledges the following supporters who have made one or more donations between December 31, 2014 to the present, resulting in gift totals within the following categories. These generous gifts help the ensemble to reach new heights in presenting outstanding, adventurous concerts at affordable prices; educating young musicians, commissioning new works, and breaking down the barriers to understanding new music through our How Music is Made program.

We apologize for any errors or omissions; for corrections please contact director@ sfcmp.org.

Artistic Director’s Circle ($10,000 + ) Producers’ Circle ($2,500-$4,999) George H. Bosworth Mark and Sharon Gottlieb C. Michael Richards Richard and Patricia Taylor Lee Erik Neuenschwander and Sonya Anne and Robert Baldwin Chang Steven and Brenda Schick Dianne Ellsworth Karen Gottlieb Susan and Harry Hartzell Margaret Dorfman Jerome and Linda Elkind Margot Golding and Michael Powers Founders’ Circle ($1,000-$2,499) Holly Hartley and Oscar Anderson Players’ Circle ($5,000-$9,999) Claire and Kendall Allphin Karen Gottlieb Mark Applebaum and Joan Friedman Eunice Childs in Memory of Dr. Alfred Lorraine Honig W. Childs Michael McGinley Melanie Johnson James C. Hormel Donald Blais Lubert and Andrea Stryer Timothy L. Bridge

26 • San Francisco Contemporary Music Players Gene Nakajima and Howard Rubin Robert Shumaker and Janet Garvin Karl Pribram and Sweta Arora David Parker Mary Lorey Olly and Elouise Wilson Patti Noel Deuter Tim Savinar and Patricia Unterman

Guest Artists’ Circle ($500-$999) Supporter ($100-$199) Jill Hunter Matichak John Gilbert Kit Sharma and Wei Tsai Edward Oberholtzer and Karen Wolf Adam Frey Seth Meisler Stephen Harrison and Susan Freier Barbara Imbrie Bud and Fran Johns Gerald Klein Robert Warnock Herbert and Claire Lindenberger Jean and George Dowdall James Simmons JoAnn and Jack Bertges Thomas Koster Lawrence Daressa Zachariah and Susan Spellman Paul Asplund Dexter and Jean Dawes Steven Horowitz and Keesje Fischer Diana Goldstein Lisa Oman Sponsor ($200-$499) Maureen Knoll Lee Sevey Nancy Gilbert Thomas and Nancy Fiene Donald and Ethel Worn Paul R. Griffin Gretchen B. Guard Charles Boone and Josefa Vaughan Herbert Bielawa and Sandra Soderlund David and Christine Spring John and Mary Caris Katherine Saux and Paul Brandes Larry Ragent Toby and Jerry Levine Laurie San Martin and Sam Nichols Jim Newman Leslie Morelli Jonathan Ballard Patricia Skillman Robert Kirzinger Ruth A. Felt Suzanne Pfeffer Susan York

San Francisco Contemporary Music Players • 27 Tod Brody In addition to the many generous in- Tonia and Kenneth Baker dividual contributors, ticket-buyers and season subscribers, our season Patron ($59-$99) concerts and events were made Paul and Celia Concus possible in part by recent grants Caroline Pincus and Esther Landau from the following foundations and Charles Amirkhanian and Carol Law agencies: James Bovee John Richardson American Music Project John W. Hillyer Ann and Gordon Getty Foundation Kenneth Bruckmeier Clarence E. Heller Foundation Patrick Woodbury James Irvine Foundation National Endowment for the Arts Friend ($1-$49) Phyllis C. Wattis Foundation Lauren Hallinan San Francisco Grants for the Arts David Tanenbaum The Aaron Copland Fund for Music, Inc. Jonathan Russell The Alice M. Ditson Fund of Columbia Michael Petrelis University Elsa Cheng The Amphion Foundation Laura Simpson The Bernard Osher Foundation The Ross McKee Foundation Major In-kind Supporters William and Flora Hewlett Foundation Cooper White Cooper, LLP Wells Fargo Foundation Hung Liu Zellerbach Family Foundation Donald Blais Terry McKelvey Susan and Harry Hartzell Jerry and Linda Elkind Ridge Winery

28 • San Francisco Contemporary Music Players Legacy Circle

THE HAROLD WOLLACK LEGACY CIRCLE

A former subscriber, Harold Wollack, left the first bequest to help underwrite the ensemble’s concerts and programs. More recently, the ensemble has received a generous bequest from the estate of C. Michael Richards and George Bosworth.

Your bequest to the San Francisco Contemporary Music Players Legacy Circle will ensure the future of our music for lifetimes ahead. We thank the following indi- viduals, who have arranged bequests to help support the ensemble’s future work:

Anne Baldwin Roy C. (Bud) Johns Donald Blais Renate Kay* George Bosworth* Jane LeRoux Priscilla Brown Jean-Louis LeRoux* Eunice Childs, in memory of Dr. Terry McKelvey Alfred W.Childs A.Robin Orden Adam L. Frey C. Michael Richards* Margot Golding Victor and Esta Wolfram Paul R. Griffin Harold Wollack* Dr. Claire Harrison* Susan & Harry Hartzell *deceased Jacqueline Hoefer* Ruth Caron Jacobs*

To leave your own legacy gift to the ensemble, please contact Lisa Oman, Executive Director (415) 278-9566 or [email protected]

San Francisco Contemporary Music Players • 29 Monthly Giving Join our Monthly Giving Circle

By providing a small recurring donation each month, you give us the confidence to plan our next large-scale work and commit to innovative projects that bring the best of contemporary classical music to the Bay Area. Monthly donations start at $5 per month.

Monthly Giving Circle Member Benefits

- VIP invitations to SFCMP donor and community events - Eligible for Monthly Giving Circle discount on annual season subscriptions - Satisfaction of knowing that you are responsible for putting on some of the best contemporary classical music in the Bay Area - Your contributions are tax deductible

How to Join

Visit us online at SFCMP.org. Click the Monthly Giving Button.

30 • San Francisco Contemporary Music Players Leadership and Staff Board of Directors Pamela Rosenberg Susan Munn (1988-1991) Donald Blais, President Donald Runnicles Marcella DeCray (1974-1988) Kit Sharma, Vice President Helgi Tomasson Melanie Johnson, Ph.D., Trea- Current Team surer Advisory Council Steven Schick, Artistic Director Dianne Ellsworth, Secretary Anne Baldwin Lisa Oman, Executive Director Margot Golding Timothy Bridge Cheryl Steets, Marketing and Karen Gottlieb Tod Brody Communications Director Stephen Harrison Caroline Crawford Amadeus Regucera, Artistic Susan Hartzell Didier de Fontaine Production Director Ken Ueno Paul Griffin John Jaworski, Production As- Erik Neuenschwander Roy C. (Bud) Johns sistant Kate Campbell Richard Diebold Lee Kassidy Koyama, Intern Steve Horowitz Jane Roos LeRoux T. William Melis Business Partners Board Presidents Olly Wilson Robert Kirzinger, Writer Richard Diebold Lee (2009- William Wohlmacher Gary Preiser, Inc., Accounting 2013) Robert Schumaker, Audio Susan Hartzell (2005-2009) Past Artistic Directors Engineer Anne Baldwin (2002-2005) David Milnes (2002-2009) David Donnenfield, Video Roy C. (Bud) Johns (2000- Jean-Louis LeRoux (2001- 2001) 2002) Volunteers T. William Melis (1996-2000) Donald Palma (1998-2000) Artistic Planning Committee Paul R. Griffin (1986-1996) Stephen L. Mosko (1988- Members Jane Roos (1978-1986) 1997) Aaron Gervais Jean-Louis LeRoux (1974- Russ Irwin Founding Directors 1988) Gene Nakajima Charles Boone Charles Boone (1971-1973) Marcella DeCray Investment Officer Jean-Louis LeRoux Past Executive Directors Terry McKelvey Rozella Kennedy (2012-2015) Honorary Committee Carrie Blanding (2010-2012) John Adams Christopher Honett (2009- Ruth Felt 2010) Patricia Lee Adam Frey (1991-2009)

San Francisco Contemporary Music Players • 31 32 • San Francisco Contemporary Music Players San Francisco Contemporary Music Players • 33 SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER

HERBST THEATRE

Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco

The Honorable Edwin M. Lee, Mayor

TRUSTEES Thomas E. Horn, President Nancy H. Bechtle, Vice-President Belva Davis Lt. Col. Wallace I. Levin CSMR (Ret.) Gorretti Lo Lui Mrs. George R. Moscone MajGen J. Michael Myatt, USMC (Ret.) Paul F. Pelosi Charlotte Mailliard Shultz Vaughn R. Walker Diane B. Wilsey

Elizabeth Murray, Managing Director Jennifer E. Norris, Assistant Managing Director

34 • San Francisco Contemporary Music Players Hung Liu Dirge, 2010

Archival pigment prints, 18×18, in silkscreened folio

Limited Edition series of 45 prints $1,400 plus tax

SF Contemporary Music Payers is dedicated to performing innovative new music of exceptional interest and to nourishing the creation and dissemination of new work through commissioning, recording and outreach.

Proceeds from this sale benefit the San Francisco Contemporary Music Players.

Contact us to purchase (415) 278-9566

San Francisco Contemporary Music Players • 35 36 • San Francisco Contemporary Music Players