January 17, 2020 Caroline H

San Francisco Contemporary Music Players on STAGE series

Kinetic Transformations

CAGE CUNNINGHAM COWELL CLYNE COLL JUSTEN HUNTER

January 17, 2020 Caroline H. Hume Concert Hall SF Conservatory of Music San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS

Dear Friend of SFCMP, Tod Brody, flute San Francisco Contemporary Music Contemporary music is where you get to have adventures and hear things you’ve Kyle Bruckmann, oboe Players is the West Coast’s most never heard before. Hopefully, you’ll go home tonight with the palpable sense that Sarah Rathke, oboe longstanding and largest new music ensemble, comprised of 22 highly skilled anything is possible. Jeff Anderle, clarinet musicians. For 49 years, the Players Tonight’s concert is part of our in the Laboratory series where we explore works Peter Josheff, clarinet have created innovative and artistically that take a stand, change the formula of what came before, and open new doors. Adam Luftman, trumpet excellent music and are one of the Charles Boone, our first artistic director has this advice for you tonight: Peter Wahrhaftig, tuba most active ensembles in the United “Audiences should bring a sense of expectancy. Which is to say they should hope Chris Froh, percussion States dedicated to contemporary that something great will happen. And, if they do, there is a likelihood that it might.” Loren Mach, percussion music. Holding an important role in the — Charles Boone William Winant, percussion regional and national cultural landscape, the Players are a 2018 awardee of the We’re turning 50 next year and it is my wish that you will bring a friend to our Nick Woodbury, percussion esteemed Fromm Foundation Ensemble concerts. Please share your love of adventure and contemporary music. Our next Kate Campbell, piano Prize, and a ten-time winner of the event is on March 27 and March 28 featuring the work of Louis Andriessen, David David Tanenbaum, guitar CMA/ASCAP Award for Adventurous Chisholm, Missy Mazzoli, Angelica Negrón, and more. Hrabba Atladottir, violin Programming. The Players have See you–and your friends—soon! I’d love to meet them at the reception. Susan Freier, violin performed more than 1,200 works by Sincerely, Roy Malan, violin over 600 composers; over 300 of these performances have been premieres, Meena Bhasin, viola and the organization has commissioned Nanci Severance, viola Lisa Oman, Executive Director over 80 major works including pieces Hannah Addario-Berry, cello P.S. I’d like to thank the San Francisco Conservatory of Music for hosting us from John Adams, John Cage, Earle tonight. This is our seventh side-by-side project together, and we’re grateful to Stephen Harrison, cello Brown, Olly Wilson, Michael Gordon, Du share this music with you in this beautiful space. Richard Worn, contrabass Yun, Myra Melford, and Julia Wolfe.

2 • San Francisco Contemporary Music Players SFCMP.org • 3 A MESSAGE FROM THE ARTISTIC DIRECTOR, ERIC DUDLEY

Dear friends of Contemporary Music, relationship between dance and music in a decent amount of willful humor and relationship by presenting some of the ways that continue to shape the dialogue non sequitur underlies the scenarios work of students in SFCM’s Technology Thank you for being with us tonight for between the art forms to this day, and he imagined for the dance frames. and Applied Composition program in our in the LABORATORY series concert left us with a legacy of works that still With Contemporary Players pianist concert, alongside our focus on the in our 49th season! The evening’s provoke, surprise, question, and astonish. Kate Campbell interpreting the solo music of Louis Andriessen in our at the program is an exploration of gesture part, alongside the auditory and visual CROSSROADS series! through the vehicle of physical bodies, Tonight, we explore the realm of the kinetics of a multimedia piece by Anna be they human or man-made, and is kinetic, and in so doing, bring to the Clyne, and with the voices of California Once again, thank you for joining us inspired in large part by the widespread stage one of the Bay Area’s most and Bay Area composers Gloria Justen, tonight, thank you for your support of celebrations this season in honor prominent and engaging creators in the David Coll, and Henry Cowell amplifying contemporary music, and please continue of one of the greatest contributors dance community, Antoine Hunter. Mr. the theme, the evening’s forays into to be with us for the exciting offerings we to the language of gesture, Merce Hunter partners with us in developing the fluidity of form and expression will have ahead in our 49th season! Cunningham. With 2019 now behind us, a new solo choreography in the spirit dance across various articulations of the the hundredth anniversary of his birth of Cunningham’s original partner concepts that fired the imagination of a With deep gratitude and warmest regard, year, we have the opportunity of joining piece for Cage’s Concert for Piano figure like Cunningham so regularly. Eric Dudley, Artistic Director with the enthusiasts of a sister art form and Orchestra, aptly titled Antic Meet, in recalling what an indelible impact his and as the name suggests, there is a We are always grateful for our continued work had on the vocabulary of modern tradition of caprice and playfulness that partnership with the San Francisco dance, and by extension through his follows the evolution of both works. In Conservatory of Music, and very pleased own multivalent talents, on the world of the case of the Cage, the whimsy–or to have students from SFCM joining us contemporary music also. Cunningham more accurately, informed freedom– in performance tonight as a part of our and his circle of collaborators, including lies in the choices given to each of the ongoing education and professional the equally impactful presence of John performers on the exact manner of development programs. Looking ahead Cage, rethought and redefined the playing their parts, and for Cunningham, to our next concert, we will continue that

4 • San Francisco Contemporary Music Players SFCMP.org • 5 SCHEDULE PROGRAM

5:30pm Doors open, enjoy dinner and drinks at Café Crème (downstairs SFCM, Gloria Justen, Flowing-Turning Dance from Sonaquifer Suite (2015) [5’] Cafe Level) Hannah Addario-Berry, solo cello

6:30pm - 7:20pm How Music is Made program: Composer talk and music David Coll, Caldera (2016) [8’] demonstrations with special guests Antoine Hunter, dancer and composers Gloria (West Coast Premiere) Jeff Anderle, bass clarinet; Haruka Fujii, marimba Justen and David Coll facilitated by Eric Dudley. Henry Cowell, Mosaic Quartet (String Quartet No. 3) (1935) [c. 16’] 8:00pm Concert Roy Malan, violin; Susan Freier, violin; Meena Bhasin, viola; Stephen Harrison, cello

Post-concert Party (2nd floor Atrium) Intermission Anna Clyne, Steelworks (2006) [15’] Tod Brody, flute/piccolo; Jeff Anderle, bass clarinet; Haruka Fujii, percussion

John Cage, Concert for Piano and Orchestra (1958) [c. 20-25’] Antoine Hunter, dancer; Kate Campbell, solo piano; Tod Brody, piccolo/flute/alto flute; Liam Jeremy Chua**, flute; Peter Josheff, clarinet; Ivan Ferguson**, clarinet; Shawn Jones, bassoon; Shelby Capozzoli**, bassoon; Brad Hogarth, trumpet; Hrabba Atladottir, violin; Roy Malan, violin; Meena Bhasin, viola; Hannah Addario- Berry, cello; Abigail Monroe**, cello; Richard Worn, double bass Learn more at SFCMP.org **SFCM students

6 • San Francisco Contemporary Music Players SFCMP.org • 7 NOTES ON THE PROGRAM by Artistic Director, Eric Dudley , and we feature a number of works that exist in a kind of musical Collective Sebastian Bach, whose music for Guest Composers inhabit the connection points between Unconscious or ‘memory bank.’ I have solo stringed instruments serves as a the musical and the kinetic, through reached into this archetypal sonic model. The piece is reminiscent of a The relationship between Merce various means of making physical spring and pulled out phrases, chords, Baroque suite in its form: alternating Cunningham and John Cage was one changes to the materials of music, to rhythms, and patterns.” As a part of her slow, meditative movements with of those uniquely prolific and deeply the bodies of instruments, and through 2015 Scordatura Project, cellist Hanna faster, dance-like movements. The soul-affecting unions, on both an the interactivity of multimedia, including Addario-Berry commissioned some Flowing-Turning Dance also has artistic and personal level, as we find a piece from the legacy of Cunningham of the music that would eventually elements of Eastern European folk in special instances throughout the and Cage cast in a new light. become Sonaquifer Suite, for which music, such as uneven meters and whole of musical and artistic history. Flowing-Turning Dance is now the playing a melody line against a drone In the hundredth anniversary season In Flowing-Turning Dance from fourth movement. That project was string.” of Cunningham’s birth, it is only fitting Sonaquifer Suite for solo cello, a in celebration of another hundredth to pay tribute to the ways in which physical shift occurs on the instrument anniversary, namely the composition David Coll’s Caldera encompasses his work in particular, through his itself through the act of loosening of Zoltán Kodály’s Sonata for Solo greater physical actions upon the creative partnership with Cage and and de-tuning the lowest strings to Cello, a piece that calls for the alternate instruments involved, including bits other key avant-garde composers, create alternate pitch options. The tuning (scordatura) of shifting the of tinfoil stuffed in the bell of a bass effectively helped to change the course fluidity and motion of water is also lowest two strings of the cello down clarinet and placed underneath the bars of dance, music and interdisciplinary suggested by the title, as composer one-half step. Hannah recorded in the lowest octave of the marimba. practice. Merce Cunningham’s ideas Gloria Justen explains: “Sonaquifer is Flowing-Turning Dance as part of her As the title might suggest, the piece had a profound effect on the musical a word I invented by combining sonus 2016 album Scordatura, and it uses the also has much to do with what lies world and led numerous composers (Latin for sound) with aqui-fer (Latin for same alternate tuning as the Kodály underneath, in terms of levels of in new directions, and the pathways water-carrying) to represent a reservoir Sonata. Says Justen: “in addition to activity and movement around and of inspiration and influence ran in the of sonic ideas. This Son-aquifer holds the influence of Mr. Kodály, I am also within the sonic sphere. Technically reverse as well. On this concert, then, ideas from all times and places; they indebted for inspiration to Johann speaking, a caldera is a collapsed

8 • San Francisco Contemporary Music Players SFCMP.org • 9 volcano, much like the ones that Coll continues that “largely, the work but the concept behind the structure overall high level of activity. Like any form the principal area of the basin in focuses not on the eruptive but on the of the work itself, designed as a series interpretation of the work, tonight’s Yellowstone National Park. Below the fragility in the metaphor. [It] begins of movable parts. The score instructs version remains a fluid act of decision- surface of Yellowstone is constant with a funny little textural combo the performers to play four of its five making until the frame of performance movement, as magma continues to between ‘weaker’ slap-tongue gestures brief movements in any order they itself fixes it in time, in a particular churn up through the weak spot in the combined with pitch-less planks of like, repeating each as they see fit and ordering and number of iterations of Earth’s mantle that defines the park’s wood. It’s evocative of walking in the arranging them like puzzle pieces in a each movement unique to our players’ geological characteristics. Says Coll, park, atop a thin eggshell. Any moment larger construct. The character of each process. “the work’s material suggests layers it could just crack.” movement is sufficiently different so in several ways, and there’s much as to imbue them with a discernibly Anna Clyne’s Steelworks is a piece that beneath the surface–rhythmically in the A West Coast experimentalist from individual profile: from the chorale- blends several modes of movement polyrhythms, and also with the tin foil an earlier era, Henry Cowell was like first movement, to the second into its overarching work concept, below the marimba bars, and later with continually seeking ways to reimagine movement’s blend of ghostly upper from wide-ranging, virtuosic parts the mallets scraping the resonators [of his approach to rhythm, harmony and harmonics with running pizzicato on the instruments themselves, to the marimba] further below.” Around sound. As Virgil Thompson wrote in lines underneath, the lyric cello solo the shifting sound and imagery of that same point in the piece, the bass the 1950s, “no other composer of our that dominates the third, and the a pre-recorded tape part and film clarinet gets to its low[est] D on the time has produced a body of works so folk dance-like aspects of the fourth, component, and an extension of the instrument, and leading up to that radical and so normal, so penetrating which all together in juxtaposition and work’s sphere of performance into spends significant time pulling out and so comprehensive,” such that the re-combination create a dramatically the dance world. Commissioned by multi-phonics (sound complexes of young John Cage himself hitchhiked different narrative from performance TACTUS, the Manhattan School of several pitches at once) that draw forth across the country just to study with to performance. The fifth movement, Music’s contemporary ensemble, tones lying ‘underneath’ or embedded him. In the Mosaic Quartet, it is not so to be played only once and at the very Steelworks was premiered in 2006 at within the harmonic series of a given much the essential sonic materials that end, serves to close out the set with Greenfield Hall in New York City, and fundamental pitch or set of fingerings. read as radical to contemporary ears, a bit of contrapuntal interaction and its tape part utilizes recordings of

10 • San Francisco Contemporary Music Players SFCMP.org • 11 interviews with workers at Flame Cut jump forward in time slightly; quiet of each other in the same work, are highly unconventional, even from Steelworks, the last steelworks factory in moments cause the film to slow down. and the Concert and its associated our standpoint several decades hence; Brooklyn, which relocated from its home As a result, the four panes of the movie Cunningham dance piece Antic Meet there is no full score, and the piece in the Williamsburg area of the borough. stay more-or-less in sync, but shimmer are perhaps principal exemplars of consists of 14 intricately detailed According to Clyne, “these recordings according to the sound behind them. that ideal. At its instrumental premiere instrumental parts that can each be became the kernel for the music.” New I then colorized and blurred the film in 1958 at New York’s Town Hall, included, doubled, or omitted at will. York-based visual artist Luke DuBois based on the timbre of the sounds I was with Cunningham conducting and The parts themselves are written created a film for the work based on a listening to at that moment in the piece.” key Cage collaborator David Tudor as a complex series of flexible and 1936 industrial film steel: a symphony More recently, Steelworks had been as soloist, the audience was tangibly re-arrangeable musical ideas, each of industry that was sponsored by the choreographed by Matthew Neenan and restless, and by Cage’s own account notated through graphic or other non- American iron and steel institute, and is premiered with his company, BalletX, at “some of [the musicians]—not all— standard means, and each musical now in the public domain. DuBois writes: Wilma Theater, Philadelphia, connecting introduced in the actual performance ‘cell’ is given a letter designation that “The black-and-white film is laid out in the inherent kinetic qualities of the piece sounds of a nature not found in my refers back to a key in the front of a 2x2 grid on the screen, and played at to the structured movement of the notations, characterized for the most the part to explain how they are to be more-or-less normal speed, though I did human form. part by their intentions which had independently executed. The piano a bit of editing to remove the titles and become foolish and unprofessional.” part, for example, contains 84 of these a few other sequences in the film that In the case of John Cage’s Concert These intrusions included, among discrete musical cells, each with their didn’t focus directly on steel production. for Piano and Orchestra, it was also other things, exaggerated corny own directions as to the manner of The trick is that the film is ‘scrubbed’ in a piece not originally tied to dance– blues riffs, prolonged and sarcastic execution, and any combination thereof reaction to the tape part of Anna’s music, at least not at the outset. One of applause, and a tuba ostinato from may be performed in any order. with the four panes being controlled the main tenets to emerge from the Stravinsky’s Le Sacre du Printemps by the high and low frequencies in the collaboration of Cage and Cunningham (as cited by New Music Box). Part of With that degree of flexibility and left and right channels of Anna’s tape was that music and dance might the reason may have been that the imagination required of the performers part. Loud sounds cause the film to co-exist as elements independent performance materials for the piece by design, it is not hard to see why

12 • San Francisco Contemporary Music Players SFCMP.org • 13 the nature of a certain performance clown-like figure “who falls in love with whose choreographic imagining of this might be determined in large part by a society whose rules he doesn’t know” enigmatic work will be entirely fresh the commitment and ingenuity of the (as cited by the Merce Cunningham and wedded to a deep admiration for musicians, and in some cases, their Trust). In this way, the most tangible the work of Cage and Cunningham. level of professionalism. Cage’s music, relation between Cage’s piece and Overall, we endeavor to present the especially when involving such freedom Cunningham’s partner choreography piece in a way that on some level holds and allowance for chance, has always is their respective assembly from a set true to one of those characteristic had an implicit requirement: it becomes of discrete and seemingly unrelated and purposefully amusing aphorisms the task of the performer to buy into musical and kinetic episodes. Any for which Cage became famous: the aesthetic fully, and to make it work version of either work has the potential “permission granted, but not to do what convincingly. For David Tudor’s part to be drastically different from you want.” as a chief early creator of the work, it performance to performance, even by involved originating his own realization the same musicians or dancers, and the E. Dudley of the part which then became the structural cohesion—however agreed framework for the accompaniment to upon or not—will always be a product Cunningham’s partnered dance piece, of the decision-making processes of Antic Meet. Itself conceived as a sort of the performers at hand at least equally vaudeville act with a set of overlapping to those of the composer. For tonight’s scenes, Cunningham described it as performance, we are thrilled to bring “a series of absurd situations that you a version of the work that pairs the have nothing to do with each other;” solo artistry of our own Kate Campbell Photo: Matt Haber the curtains opened with Cunningham on piano with the inventiveness and moving among the other dancers as a talent of solo dancer Antoine Hunter,

14 • San Francisco Contemporary Music Players SFCMP.org • 15 JOHN CAGE, COMPOSER MERCE CUNNINGHAM, CHOREOGRAPHER

John Cage (born Sept 5, 1912 died Aug the activities that make up music must Merce Cunningham, (born Apr 16, 1919, his early works were Root of an Unfocus 12, 1992) was an American avant-garde be seen as part of a single natural died July 26, 2009), was an American (1944) and Mysterious Adventure composer whose inventive compositions process. He came to regard all kinds modern dancer and choreographer who (1945). Increasingly involved in a and unorthodox ideas profoundly of sounds as potentially musical, and developed new forms of abstract dance relationship with the composer John influenced mid-20th-century music. he encouraged audiences to take note movement. Cage, Cunningham started collaborating of all sonic phenomena, rather than with him, and in 1944 he presented his Cage’s early compositions were written only those elements selected by a Cunningham began to study dance at first solo concert, with music by Cage. in the 12-tone method of his teacher composer. To this end he cultivated the 12 years of age. After high school he Schoenberg, but by 1939 he had principle of indeterminism in his music. attended the Cornish School of Fine Like Cage, Cunningham was intrigued begun to experiment with increasingly He used a number of devices to ensure and Applied Arts in Seattle, Washington, by the potential of random phenomena unorthodox instruments such as the randomness and thus eliminate any for two years. He subsequently studied as determinants of structure. Inspired “prepared piano” (a piano modified element of personal taste on the part of at Mills College (1938) with dancer and also by the pursuit of pure movement by objects placed between its strings the performer: unspecified instruments choreographer Lester Horton and at as devoid as possible of emotional in order to produce percussive and and numbers of performers, freedom Bennington College (1939), where he implications, Cunningham developed otherworldly sound effects). Cage also of duration of sounds and entire pieces, was invited by Martha Graham to join “choreography by chance,” a technique experimented with tape recorders, inexact notation, and sequences of her group. in which selected isolated movements record players, and radios in his events determined by random means are assigned sequence by such effort to step outside the bounds of such as by consultation with the Encouraged by Graham, Cunningham random methods as tossing a coin. conventional Western music and its Chinese Yijing (I Ching). began to choreograph in 1943. Among Cunningham’s abstract dances vary concepts of meaningful sound. greatly in mood but are frequently characterized by abrupt changes and In the following years, Cage turned contrasts in movement. Many of his to Zen Buddhism and other Eastern John Cage (1991) works have been associated with Dadaist, Photographer: ©Henning Lohner philosophies and concluded that all Courtesy of the John Cage Trust Surrealist, and Existentialist motifs.

16 • San Francisco Contemporary Music Players SFCMP.org • 17 HENRY COWELL, COMPOSER ANNA CLYNE, COMPOSER

Henry Cowell was a true American of the pitches of the overtone series London-born Anna Clyne was of her mandolin concerto for Avi Avital, original, and one of the most important with rhythmic proportions, thereby nominated for the 2015 Grammy Three Sisters, performed with the figures in American music of the anticipating similar concepts and Award for Best Contemporary Classical Kremerata Baltica; Masquerade for the twentieth century. Born in Menlo procedures used by Conlon Nancarrow, Composition for her double violin BBC Symphony Orchestra and Marin Park, California in 1897 to a family Elliot Carter, Karlheinz Stockhausen and concerto, Prince of Clouds. She is also Alsop at the Last Night of the Proms; of philosophical anarchists, he was many others. the recipient of several prestigious This Lunar Beauty for the Britten recognized early as an uncommonly awards including the 2016 Hindemith Sinfonia and soprano Julia Doyle; RIFT, gifted child. Prize; a Charles Ives Fellowship a symphonic ballet in collaboration from the American Academy of Arts with choreographer Kitty McNamee for One of Cowell’s most famous early and Letters; awards from Meet the Marin Alsop and the Cabrillo Festival compositional innovations was the Composer, the American Music Center, Orchestra; Pocket Book VIII for Roomful tone cluster (thick chords made up the Foundation for Contemporary of Teeth; and her violin concerto, The of major and minor seconds) which Arts, and the Jerome Foundation; and Seamstress, performed by Jennifer Koh he played all over the piano with his prizes from ASCAP and SEAMUS. She with the Chicago Symphony Orchestra. forearms and fists. Bartok later wrote was nominated for the 2014 Times to ask Cowell’s permission to compose Breakthrough Award (UK) and is the Her music is published exclusively by with them. Cowell invented a variety recipient of a grant from Opera America Boosey & Hawkes. boosey.com/clyne of other groundbreaking techniques to develop a new opera, Eva. Photo: Javier Otto for stroking, strumming and plucking inside the piano, directly on the strings, During the 2017–2018 season, the which he dubbed the string piano. BBC Scottish Symphony Orchestra and He also developed a complex pitch- Thomas Dausgaard perform the world rhythm system (detailed in his book) premiere of Clyne’s Beltane in Glasgow. that correlated the mathematical ratios Recent highlights include the premiere

18 • San Francisco Contemporary Music Players SFCMP.org • 19 DAVID COLL, COMPOSER GLORIA JUSTEN, COMPOSER

David Coll (b.1980) is a composer of University (Seoul, Korea) and this Gloria Justen is a composer, violinist, her first original album, Four-Stringed concert music, installation art, and year is a lecturer at the University of and violist known for dynamic, Voice: music for solo violin, in 2008; interdisciplinary projects that engage California, Berkeley and San Francisco emotionally-charged performances. and her album Sonaquifer: music for physical presence with technology to Conservatory of Music. He holds a Justen attended the Curtis Institute solo viola was just released in early create works of dramatic, introspective, Ph.D. from the University of California, of Music in Philadelphia, where she January 2018. She currently works and often playful effect. Berkeley, with further education at studied violin with Szymon Goldberg full-time as an independent composer, IRCAM (Cursus and Cursus 2), the and David Cerone and viola with performer, recording artist and David’s music has been featured at Orpheus Institute, and the University of Karen Tuttle. Her compositions, publisher of her own scores. festivals including MATA, Gaudeamus Illinois. drawing upon influences from Bach (2005 & 2009), MusicAcoustica to contemporary electronic music, (Beijing), World Music Days, Voix have been performed by soloists, Nouvelles, Tzlil Meudcan, and the New small groups and chamber orchestras. Music Gathering. His music has been Gloria has performed and toured Photo: Greg Habiby performed at venues including the internationally with the Philadelphia Centre Georges Pompidou, the Éspace Orchestra and the San Francisco de Projection, the Piccolo Teatro, Symphony, toured with the Philip Glass Roulette, the Mondavi Center, the Ensemble, and played many works by Krannert Center, and the Muziekgebouw contemporary composers. She served aan ’t IJ. as Concertmaster of the Chamber Orchestra of Philadelphia from 2006- As an educator, David has lectured at 2011. She has also collaborated with institutions including MIT, Columbia modern dancers, video artists and College, and Washington University. He electronic musicians. A resident of San was a Visiting Professor at Hanyang Francisco since 2007, she released

20 • San Francisco Contemporary Music Players SFCMP.org • 21 GUEST ARTIST - ANTOINE HUNTER SFCMP CREATIVE ADVISORS

A Bay Area native, Mr. Antoine Hunter the Performing Arts, Shawl-Anderson, is an award-winning African-American Youth in Arts and Dance-A-Vision. He Deaf producer, choreographer, film/ is the founder of Iron Tri-Angel Urban theater actor, dancer, dance instructor, Ballet in Richmond, was an instructor model, poet, speaker, mentor and and rehearsal director for the Ross Photo: Kait Moreno Photo: John Rogers Deaf advocate. Mr Hunter received his Dance Company, dance captain for Caroline Shaw Tyshawn Sorey Edward Simon Pamela Z training in dance and acting training Expedia.com commercials and was vocalist, violinist, multi-instrumentalist, pianist, composer, composer, performer composer, producer composer educator at Skyline High School Oakland, Ca, head Choreographer director for an California Institute of the Arts(CalArts), Philippines’s Musical Amerikana-The and Paul Taylor Dance School in NYC. Musical. The founder and artistic director of Urban Jazz Dance, Hunter has performed with Savage Jazz Dance Company, Nuba Dance Theater, Alayo Dance Company, Robert Moses’ KIN, Man Dance, Sins Invalid, Amara Tabor-Smith, Kim Epifano, Push Dance Company, Fly Away Productions, Joanna Haigood, OET theater, and the Lorraine Hansberry Theater. He has performed throughout the Bay Area and the world including Cuba, Rome, Hawaii, Peru and London. Hunter is a Photo: Richard Dowing Photo: Stephen B. Hahn faculty member at East Bay Center for

22 • San Francisco Contemporary Music Players SFCMP.org • 23 SFCMP ARTISTIC DIRECTOR ERIC DUDLEY

the Grammy Award-winning ensemble. the Princeton Symphony Orchestra As a pianist and chamber musician, He moved to the Bay Area in 2016 to under Rossen Milanov for several he has performed with members of oversee the orchestra program at the seasons, and some of his recent guest Novus New York and the Cincinnati and San Francisco Conservatory of Music, engagements include the Ojai Festival in Princeton symphony orchestras. His becoming the next Artistic Director for California, International Contemporary own music has been premiered and the San Francisco Contemporary Music Ensemble (ICE) in New York and recorded by the Hartford Symphony Players in 2017. Eric also serves as Finland, Adelaide Symphony Orchestra Orchestra, Quey Percussion Duo, and by one of the principal conductors for the in Australia, and the National Symphony Roomful of Teeth. Bendigo Festival of Exploratory Music Orchestra at the Kennedy Center. in Australia, and recently led Roomful Eric holds a bachelor’s degree in of Teeth and Ensemble L’Instant Donné A passionate educator, Eric was on the composition from the Eastman School in a production with Peter Sellars at the faculty of Mannes College of Music of Music, and master’s and doctorate Paris Festival d’Automne. at the The New School in New York, degrees in orchestral conducting from Born in Toronto and raised in where he directed the Mannes Prep Yale, where he was the recipient of the Connecticut, Eric Dudley leads a While living in New York City, Eric Philharmonic and The New School Dean’s Prize. He lives in Walnut Creek, multi-faceted career as a conductor, conducted and performed with Chorus, as well as leading the orchestra California with his wife Melanie and composer, vocalist and pianist deeply organizations as diverse as Ekmeles in concert and teaching the graduate their son Ethan. engaged in the performance and and TENET vocal ensembles, the Choir conducting students at the San creation of contemporary music. of Trinity Wall Street, Talea Ensemble, Francisco Conservatory of Music for Since its founding in 2009, Eric has American Symphony Orchestra, the past three years. He has recently been a member of the genre-defying Ensemble Signal and the New York been appointed to an ongoing Artist-in- vocal octet Roomful of Teeth, touring Philharmonic. He was an assistant Residence position at the Conservatory worldwide and recording a wide array conductor for the Cincinnati Symphony of Music at the University of the Pacific of newly commissioned works with Orchestra under Paavo Järvi and in Stockton.

24 • San Francisco Contemporary Music Players SFCMP.org • 25 SFCMP PLAYERS

Adam Luftman is the Principal Trumpet Rootstock Percussion, and San him by composers such as Hans Violinist Hrabba Atladottir studied of both the San Francisco Opera and Francisco Chamber Orchestra. He has Werner Henze, Terry Riley, Aaron Jay in Berlin, Germany with professor San Francisco Ballet Orchestras. Adam premiered over 100 chamber and solo Kernis and Lou Harrison. Tanenbaum Axel Gerhardt and professor Tomasz has been a featured soloist with a works by composers from 15 countries. has toured extensively with Steve Tomaszewski. After finishing her number of orchestras and is member of His rich and diverse career includes Reich and Musicians, in Japan with studies, Hrabba worked as a freelancing the National Brass Ensemble and The performances with the San Francisco Toru Takemitsu, and has had a long violinist in Berlin for five years, regularly Bay Brass. He has recorded with the Symphony at Carnegie Hall, Gamelan association with Ensemble Modern. playing with the Berlin Philharmonic Philadelphia Orchestra, San Francisco Sekar Jaya at the Stern Grove Festival, He is Chair of the San Francisco Orchestra, Deutsche Oper, and Deutsche Symphony, Baltimore Symphony, the and session recordings at Skywalker Conservatory’s Guitar Department. Symphonieorchester. Hrabba also National Brass Ensemble, for ESPN Ranch. As a soloist, he has appeared participated in a world tour with the Sunday Night Football, and on many at festivals and recitals across Japan, Cellist Hannah Addario-Berry Icelandic pop artist Björk, and a Germany movie and video game soundtracks. China, Turkey, Europe, and the United specializes in chamber music and tour with violinist Nigel Kennedy. Joshua Luftman is currently on the faculties States including featured performances solo repertoire and is passionately Kosman, music critic of San Francisco of the San Francisco Conservatory, at the Beijing Modern Festival, Nuovi committed to performing music by Chronicle, praised her performance of UC Berkeley, and San Francisco Spazi Musicali, and Music@Menlo. He living composers. In 2015, Hannah Vivaldi’s Spring, and called her violin State University. He has presented teaches percussion and chamber music created Scordatura, an innovative playing “delicate but fervent.” masterclasses all over the country at UC Davis and CSU Sacramento. project combining Zoltán Kodály’s including The Curtis Institute of monumental Sonata for Solo Cello Music, New England Conservatory, David Tanenbaum has performed as with a series of newly commissioned Cleveland Institute of Music, New World a solo guitarist throughout the US, works, which all share a unique altered Symphony, and Tanglewood. Canada, Mexico, Europe, Asia, and tuning of the cello. An avid and versatile Australia. He has worked tirelessly to chamber musician, Hannah joined Percussionist Christopher Froh is expand the guitar repertoire, resulting SFCMP in 2017. Addarioberry.com a member of Empyrean Ensemble, in dozens of works composed for

26 • San Francisco Contemporary Music Players SFCMP.org • 27 SFCMP PLAYERS

Jeff Anderle (clarinet) is a pioneer residency at CSUEB, and will begin and sound artists can be heard on more Biennale with eco ensemble, including in the world of low reeds, helping to an interdisciplinary residency at Paul than 80 recordings of various genres. a special performance of Nagoya popularize the role of the modern Dresher Studios in Oakland. She was The most significant projects he has Marimbas for Golden Lion lifetime clarinet and bass clarinet through his recently honored as a distinguished led or collaboratively founded include achievement honoree, Steve Reich. innovative and diverse performances, fellow at Hambidge Center for the Degradient, EKG, Lozenge, and Wrack. ensembles, and commissions. He is Creative Arts. Her recorded work can He currently teaches at UC Santa Cruz, Meena Bhasin (viola) is co-founder a member of Splinter Reeds, the bass be heard on New Amsterdam Records, Davis and Berkeley. Kylebruckmann.com of Decoda—the affiliate ensemble of clarinet duo Sqwonk, and REDSHIFT, Pinna Records, and New Focus Carnegie Hall—which combines great and a former member of Edmund Recordings. Kate serves on the faculty Loren Mach (percussionist) is a artistry with civic engagement. She Welles and the Paul Dresher Electro/ of Mills College. graduate of the Oberlin and Cincinnati has led Decoda around the globe from Acoustic Band. Jeff is a founding Conservatories, he has premiered Mexico to India and Abu Dhabi. Meena co-director of Switchboard Music, Oboist Kyle Bruckmann’s widely countless solo, chamber, and orchestral was invited to perform at the Obama and serves on the faculty of the San ranging work as a composer/performer, works. He teaches at the University White House, highlighting Decoda’s Francisco Conservatory of Music where educator, classical freelancer and of California, Berkeley and is principal work in criminal justice reform. She he teaches clarinet, chamber music and new music specialist extends from percussionist of eco ensemble, has toured the US as a soloist with professional development, and is the conservatory-trained foundations principal timpanist of San Francisco legendary rock band Jethro Tull and chair of the woodwind department. into gray areas encompassing free Chamber Orchestra, and co-founder performed Persian music as a soloist jazz, post-punk rock, and the noise of Rootstock Percussion. Mach often with the New York Philharmonic. Kate Campbell has been described as a underground. Beyond SFCMP, his performs with the San Francisco Meena is the founder of Reveler and “brilliant pianist” (Financial Times) and ensemble affiliations include Splinter Symphony and other local orchestras. the Co-Artistic Director of Noe Valley “powerful player” (Santa Cruz Sentinel). Reeds, sfSound, Eco Ensemble, the In 2011, he was awarded the Investing Chamber Music. She holds degrees In addition to SFCMP, she is the pianist Stockton Symphony, and Quinteto in Artists grant from the Center for from New England Conservatory and for the Eco Ensemble in Berkeley. This Latino. His creative work within an Cultural Innovation. He appeared in two Tufts University. year she will continue a guest artist international community of improvisers full-length concerts at the 2014 Venice

28 • San Francisco Contemporary Music Players SFCMP.org • 29 SFCMP PLAYERS

Nanci Severance (viola) is a member the Bang on a Can All-Stars, with the Davis), the Eco Ensemble (UC Berkeley), and in recordings, including those of the San Francisco Symphony and Ensemble Modern Akademie, and Eco and the San Francisco Chamber of Alvin Curran, Christian Wolff, and has performed with many Bay area Ensemble. His work with contemporary Orchestra. He performs frequently with electro-acoustic composer Chris ensembles, including Chamber Music music includes premiering new works Opera Parallele and has worked with Brown. In addition to his performance West, the Midsummer Mozart Chamber by George Crumb, John Luther Adams, many other groups including Other career, Wahrhaftig has performed on Players, and the Parlante Chamber Michael Gordon, and many others. Minds, West Edge Opera, Melody of the soundtracks of numerous movie Orchestra, with whom she was principal Woodbury has appeared at the Brooklyn China, the Ives Collective, Mills College and video games. He can be heard violist. She is also a member of the Academy of Music, Apple Store at Contemporary Performance Ensemble, on Alvin Curran’s eclectic CD Animal Donatello String Quartet, and a regular Lincoln Center, Kresge Auditorium the Paul Dresher Ensemble, and Sounds, and he now teaches at the San guest artist with the Ives Quartet. Over at MIT, New Music New College, Composers, Inc. He has appeared on Francisco Conservatory of Music, U.C. the course of her career, Nanci has Symphony Space in Manhattan, numerous recordings on the Albany, Berkeley, and privately in the Bay Area. performed with the Toledo Symphony, Carlsbad New Music Festival and Bridge, Centaur, Innova, Arabesque, the Cleveland Opera orchestra, the many more internationally-acclaimed CRI, Rastascan, Tazdik, and Electra Double bassist Richard Worn has Cleveland Ballet, as Assistant Principal performing arts centers. record labels. performed extensively with the San violist of the Aspen Chamber Orchestra Francisco Opera and Symphony. and rotating Principal of the Spoleto Peter Josheff, clarinetist and Peter Wahrhaftig is Principal Tubist Currently, he serves as Assistant Festival Orchestra. composer, has been on the front lines of the San Francisco Ballet Orchestra, Principal Bass of the Marin Symphony of the northern California new music the Sun Valley Summer Symphony, and Principal Bass of the Sanse SFCMP percussionist Nick Woodbury scene for more than thirty years as and is a founding member of the Chamber Orchestra as well as with also performs with and co-directs Mantra a composer and clarinetist. He is a Grammy-nominated Bay Brass. He the Berkeley Contemporary Chamber Percussion– a group dedicated to large- founding member of Earplay and of appears frequently with the San Players, ECO Ensemble, Other Minds scale projects that redefine the traditional Sonic Harvest, and is a core member of Francisco Opera, the Oakland-East sfSound, Empyrean Ensemble, Earplay, classical music concert format. the San Francisco Contemporary Music Bay Symphony and numerous other and Composer’s Inc. Richard is also Woodbury has appeared alongside Players, the Empyrean Ensemble (UC local organizations, both in concert former Principal Bass of the New

30 • San Francisco Contemporary Music Players SFCMP.org • 31 SFCMP PLAYERS

Century Chamber Orchestra. With his locally with a string quartet, piano trio, known as the Ives and Stanford String is currently co-Artistic Director of the Worn Chamber Ensemble, founded and music festival engagements. Quartets) and a member of the faculty Ives Collective, principal violist at the in 1996, has performed works for at Stanford University. Formerly Mendocino Music Festival, a coach at both solo bass and ensemble by such Oboist Sarah Rathke maintains a busy principal cellist of the Chamber the SoCal Chamber Music Workshop composers as Andriessen, Cage, and enthusiastic performance presence Symphony of San Francisco, the Opera and performs at the Telluride Chamber Harrison, Henze, Revueltas, Scelsi, in Northern California and beyond, Company of Boston, and the New Music Festival. Her recordings are on Varese, and Xenakis. He currently as a member of the Sacramento England Chamber Orchestra, Harrison the Newport Classics, Stolat, Pantheon, teaches and provides orchestral Philharmonic and Chamber Orchestras has performed on National Public Laurel, Music and Arts, and CRI labels. coaching at UC Berkeley. and a regular performer with the Radio, the BBC, and on both German symphonies of Marin, Fremont, Santa State Radio and the Netherlands Tod Brody is principal flutist with Roy Malan serves as solo violinist Rosa, Vallejo, California, Berkeley, State Radio. Stephen has toured SFCMP, as well as local new music with the California Symphony and Monterey and Santa Cruz. She was a internationally and recorded on the groups Earplay, Eco Ensemble, and the Opera Parallèle and was the longtime member of the Avenue Winds, a Bay Delos, CRI, New Albion, and Newport Empyrean Ensemble, with an extensive concertmaster and solo violinist for Area woodwind quintet committed to Classics labels. career that has included performances the San Francisco Ballet. The founding new music, and has also has performed of numerous world premieres and director of the Telluride Chamber Music with various orchestras including the Susan Freier (violin) After earning many recordings. He is also principal Festival, he has an extensive career of San Francisco Symphony and the San degrees in Music and Biology at flutist of the San Francisco Chamber performance domestically as well as Francisco Ballet. Rathke is a Professor Stanford, Susan co-founded the widely- Orchestra, the Sacramento Opera, in Canada, Mexico, Europe, Australia, of Oboe at UC Berkeley. Sarah joined acclaimed Chester String Quartet at and the California Musical Theater, and Africa to his credit. He is widely SFCMP in 2012. the Eastman School of Music. She and makes frequent appearances recorded on the Genesis, Orion, and has been a participant at the Aspen, with the San Francisco Opera and San several other labels. Roy currently A very active cellist in the Bay Area and Grand Teton and Newport Music Francisco Ballet orchestras, and in serves on the faculty of the University beyond, Stephen Harrison is co-Artistic Festivals, and has performed on NPR, other chamber and orchestral settings of California, Santa Cruz, and plays Director of the Ives Collective (formerly the BBC, and German State Radio. She throughout the region. In addition to

32 • San Francisco Contemporary Music Players SFCMP.org • 33 SFCMP PLAYERS TONIGHT’S GUEST MUSICIANS performing and teaching, Tod is an collaborated with legends of 20th Please join us in applauding the In addition, the following students at the active arts administrator, currently and 21st century music, from Iannis following guest musicians on tonight’s San Francisco Conservatory of Music serving as Executive Director of the Xenakis to Steve Reich and Yo-Yo Ma, performance: joined SFCMP on tonight’s performance, Marin Symphony. and from Merce Cunningham to Kronos as part of SFCMP’s Side-by-Side Program: Quartet and Sonic Youth. Composers Shawn Jones, bassoon Grammy-nominated percussionist who have written for Winant include Liam Jeremy Chua, Flute William Winant is internationally John Cage, Lou Harrison, John Zorn, Haruka Fujii, percussion regarded as a leading performer Peter Garland, Larry Polansky and many Shelby Capozzoli, Bassoon of avant-garde music. In 2014, he more. In 2016, Winant was awarded a Brad Hogarth, trumpet received a Grammy nomination for his prestigious grant from the Foundation Ivan Ferguson, Clarinet recording of John Cage’s historic solo of Contemporary Arts in recognition work, 27’ 10.554” for a percussionist, for his groundbreaking work as a Abigail Monroe, Cello on MicroFest Records. Winant has contemporary percussionist.

34 • San Francisco Contemporary Music Players SFCMP.org • 35 VICTOR SALVO MUSIC COMPOSITION SCHOLARSHIP FRIENDS OF SFCMP FOR HIGH SCHOOL STUDENTS Apply by April 1, 2020 SCHOLARSHIP OUTLINE San Francisco Contemporary Music Players gratefully acknowledge the following San Francisco Contemporary Music Students can apply by submitting a supporters who have made one or more donations within the last 12 months, Players is pleased to announce our video (2-min max) and a copy of a resulting in gift totals within the following categories. These generous gifts help 2020 Victor Salvo Music Composition score that is in progress written for the ensemble to reach new heights in presenting outstanding, adventurous Scholarship for high school students. string trio. The video will describe the concerts at affordable prices educating young musicians, commissioning new One San Francisco Bay Area high motivation behind the music as well as works, and breaking down the barriers to understanding new music through our school music student will receive five provide an idea for where the music is How Music is Made program. hours of mentoring sessions with an going and why the student would like to advising composer, Gloria Justen, a take part in this educational program. We apologize for any errors or omissions; for corrections please contact [email protected]. private score reading by San Francisco Through five mentoring sessions, the Director’s Circle ($10,000 + ) Founders’ Circle ($1,000-$2,499) Contemporary Music Players of the draft score will be developed into an Anonymous Anne and Robert Baldwin student’s work, feedback from the excerpt, a section, or a full piece that Claire and Kendall Allphin professional musicians, and a video is ready for a reading session with Players’ Circle ($5,000-$9,999) Holly Hartley and Oscar Anderson Margot Golding and Michael Powers James C. Hormel recording of the reading session. a professional ensemble. Advising Dianne Ellsworth Karl Pribram and Sweta Arora composer, Gloria Justen, will assist the Kit Sharma and Wei Tsai Producers’ Circle ($2,500-$4,999) student with the development of the Lawrence Daressa Donald Blais Mark Applebaum and Joan Friedman piece, notation, and print preparation. Eunice Childs in memory of Dr. Alfred W. MaryClare Brzytwa The scholarship panel is looking for a Childs, a former board member Michael Gilbertson Karen Gottlieb Michael McGinley student with a passion to compose and Melanie Johnson, Ph.D. Susan York a desire to learn. Peter and Robin Witte Tod Brody Richard Festinger Susan and Harry Hartzell Learn more at sfcmp.org/victor-salvo-music-composition-hs-scholarship/

36 • San Francisco Contemporary Music Players SFCMP.org • 37 FRIENDS OF SFCMP

Guest Artists’ Circle ($500-$999) Dr. John and Nancy Gilbert Friend ($1-$49) The Alice M. Ditson Fund of Columbia Anonymous Fran Johns in memory of Bud Johns Barbara Heroux University Evelyn Nussenbaum and Fred Vogelstein Jean and George Dowdall Eugenia Conte The Amphion Foundation James Robinson Joseph Gratz Georgia Finnigan The Bernard Osher Foundation Jerome and Linda Elkind Lawrence Ragent Joshua Hohn The Ross McKee Foundation Kyle Bruckmann Margaret Spaulding in honor of Bud Johns Keith Rozendal William and Flora Hewlett Foundation Rachel Elson and Eric Waltari Robert Archambault Patricia Deuter Richard and Patricia Taylor Lee Robert Kirzinger Peter Geraghty The Orchard Hotels of San Francisco is the Ronald Kay Sharon Silva Steven Hrycelak preferred lodging partner of SFCMP. Terry McKelvey and Heli Roiha Toby and Jerry Levine Use our SFCMP preferred rate links below to Timothy L. Bridge Major Inkind Supporters secure 15% off lodging any time of year! Patron ($50-$99) Google Foundation Thanks for being a SFCMP patron. Sponsor ($200-$499) Andrew Dodd Microsoft Andrea and Lubert Stryer Boris and Dorothy Ragent Salesforce Foundation Elouise Wilson Benjamin Streim SF Conservatory of Music Facebook-Network for Good Anonymous David Gladstein JoAnn and Jack Bertges Emily Moline In addition to the many generous Kate Campbell Harmon Burstyn individual contributors, ticket-buyers Kenneth Bruckmeier Harvey Ingham and season subscribers, our season Orchard Hotel Lisa Oman Joel Levine 665 Bush Street San Francisco 94108 concerts and events were made Paul R. Griffin Lauren Chandler possible in part by recent grants Orchard Hotel SFCMP Preferred Rates Link: Stephen Harrison and Susan Freier Luke Hayes bit.ly/2BUNBqO Steve Horowitz and Keesje Fischer Margaret Brickner from the following foundations and Susan York in honor of Bud Johns Matthew Wilson agencies: Orchard Garden Hotel Thomas and Nancy Fiene Pamela Z 466 Bush Street San Francisco 94108 Tony Politopoulos Patricia Bourne American Music Project Vicki Darrow and Jim McQuade Paul and Celia Concus Ann and Gordon Getty Foundation Orchard Garden Hotel SFCMP Preferred Ricci Adams Clarence E. Heller Foundation Rates Link: bit.ly/2NqdrHZ Supporter ($100-$199) Robert Ripps Fromm Music Foundation Alan and Deborah Cohen Stephen Grenholm National Endowment for the Arts Caius Vannouhuys Tim Hamilton San Francisco Grants for the Arts Charles Boone and Josefa Vaughan Wealth Architects Charitable Fund The Aaron Copland Fund for Music, Inc. Diana Goldstein Will Leben

38 • San Francisco Contemporary Music Players SFCMP.org • 39 LEGACY CIRCLE BOARD, ADVISORS, STAFF, AND BUSINESS PARTNERS

THE HAROLD WOLLACK LEGACY CIRCLE Board of Directors Founding Directors Past Executive Directors Donald Blais Charles Boone Rozella Kennedy (2012-2015) President Jean-Louis LeRoux Carrie Blanding (2010-2012) A former subscriber, Harold Wollack, left the first bequest to help underwrite the Kit Sharma Marcella DeCray Christopher Honett (2009-2010) ensemble’s concerts and programs. Recently, the ensemble received generous Vice President Adam Frey (1991-2009) Emeritus Advisors bequests from the estates of Jane Roos and Victor and Esta Wolfram. All Melanie Johnson, Ph.D., Susan Munn (1988-1991) Treasurer Anne Baldwin Marcella DeCray (1974-1988) bequests help to ensure that our organization will remain vibrant and that future Dianne Ellsworth Paul Griffin Current Team Richard Lee generations will enjoy the music of the San Francisco Contemporary Music Secretary Lisa Oman Steven Schick Kyle Bruckmann Executive Director Players. We thank the following individuals who have arranged a legacy gift in Susan York MaryClare Brzytwa Eric Dudley support of our future: Michael Gilbertson Artistic Director Peter Witte Creative Advisors Richard Festinger Caroline Shaw Amadeus Regucera A.Robin Orden Jane Roos and Jean-Louis LeRoux * Artistic Production Director Adam Frey Margot Golding Steve Horowitz Edward Simon Eunice Childs Paul Griffin Tod Brody Pamela Z Tyshawn Sorey Business Partners in memory of Dr. Alfred W. Childs Priscilla Brown Debby Kajiyama, ASL interpreter Anne Baldwin Renate Kay * Board Presidents Organizational Advisors Gary Preiser, Inc., Roy (Bud) and Fran Johns Ruth Caron Jacobs * Richard D. Lee (2009-2013) Susan Hartzell (2005-2009) Gene Nakajima James Knox, Photographer C. Michael Richards * Susan and Harry Hartzell McCall Staffing, Box Office Dr. Claire Harrison Terry McKelvey Anne Baldwin (2002-2005) Karen Gottlieb Roy C. (Bud) Johns (2000-2001) Margot Golding Steinway & Sons Dianne J. Ellsworth Victor and Esta Wolfram * Stephanie Chao, ASL interpreter Donald Blais T. William Melis (1996-2000) Susan Harzell Terry McKelvey Terry McKelvey, Investment Officer George Bosworth * Paul R. Griffin (1986-1996) Timothy Bridge Tony Kay Design Harold Wollack * *realized Jane Roos (1978-1986) Jean-Louis LeRoux (1974-1978) Trey Houston, Videographer Holly Hartley Past Artistic Directors Jacqueline S. Hoefer * Steven Schick (2009-2018) David Milnes (2002-2009) To leave your own legacy gift to the ensemble, please contact Jean-Louis LeRoux (2001-2002) Lisa Oman, Executive Director (415) 633-8802 or [email protected] Donald Palma (1998-2000) Stephen L. Mosko (1988-1997) Jean-Louis LeRoux (1974-1988) Charles Boone (1971-1973) 40 • San Francisco Contemporary Music Players SFCMP.org • 41 UPCOMING EVENTS FROM OUR ARTS PARTNER

SAVE THE DATES! Urban Jazz Dance Company Presents in San Francisco: • Bay Area International Deaf Dance Festival – August 14-16, 2020 • Deaf Refugees in USA – November 5-8, 2020 realurbanjazzdance.com

42 • San Francisco Contemporary Music Players SFCMP.org • 43 UPCOMING EVENTS at the CROSSROADS series – Prismatic Reflections Fri, March 27: SFCM Sol Joseph Recital Hall, 50 Oak St, San Francisco Sat, March 28, 2020: Flight Deck, 1540 Broadway, Oakland 6:30pm How Music is Made | 8:00pm Concert | Post-concert Party in the COMMUNITY series – Season Launch Party: Sound and Wine Sat, April 25, 2020 @ 1:30pm

NOW’S THE TIME TO BECOME A SFCMP MEMBER! We invite you to become a member of San Francisco Contemporary Music Players and join a close-knit, Bay Area community of contemporary music enthusiasts, musicians, and composers. Your season membership helps us put on world-class performances of large-ensemble works that are rarely, if ever, heard on the West Coast. Lisa Oman Executive Director Members Receive: • Tickets to 2 events of your choice each season • 20% discount on additional single tickets Become a • Exclusive invitation to our annual Season Launch party member today • Free music download 2x per year at SFCMP.org • Tax deduction: Memberships are 100% tax deductible