2020 SEASON 2021 RESIDENT ORCHESTRA GREEN MUSIC CENTER

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FRANCESCO LECCE-CHONG Music Director srsymphony.org 54-MUSIC (707) 546-8742 MODERNIZING MISSISSIPPI EXPLOR ATION

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4 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER santa kids know that... rosa sYMPHONY FRANCESCO LECCE-CHONG MUSIC DIRECTOR

Contents Francesco Lecce-Chong Welcome...... 7 Welcome from the Association Chair ...... 9 Welcome from the President & CEO...... 9 Board of Directors and Staff...... 10 Francesco Lecce-Chong Biography...... 12 HELPING Orchestra Roster ...... 13 Ellen Taaffe Zwilich ...... 14 Program Notes Begin...... 16 Ways to Watch...... 27 Heritage Society...... 34-35 Encore Society...... 36 Business, Corporate, Foundation & Government Donors...... 37 Annual Campaign Major Donors...... 38-39 sonomalandtrust.org Tributes, Memorials, In-Kind Gifts & Volunteer Support ...... 40 Subscriber Benefits...... 41 2020-2021 Season Schedule ...... 42-43 Family Law Offices of League Supporters...... 44 Symphony League President ...... 45 Carol A. Gorenberg Youth Ensembles Concert Schedule...... 47 www.cagfamilylaw.com Institute for Music Education...... 50-53 Orchestrating your For Your Information...... 54 family law matter with Index of Advertisers...... 57 compassion experience Visit us at srsymphony .org for the most up-to-date UU integrity information on all of our concerts and programs . UU UU respect Also find and engage with us on Facebook, Instagram UU creative solutions and Twitter . UU Program 2544 Cleveland Avenue, Suite 202 Editor: Sara Obuchowski-Mitchell Santa Rosa, CA 95403 Design: Performance Printing Center tel. 707.523.1810 Advertising: Ann Hutchinson [email protected] Program Notes: Elizabeth Schwartz Printing: Performance Printing Center divorce | child custody | adoptions Cover Design: Dennis Bolt Cover Photos: Susan and Neil Silverman Photography

2020 – 2021 Season 5 To learn how you can benefit the next generation of musicians, consult with your professional advisors and call the Santa Rosa Symphony Development Director at 707 546-7097 x 214.

Securities offered through Securities America, Inc. Member FINRA/SIPC. Advisory service offered through Securities America Advisors Inc. 6 RubinsSanta Financial Rosa Symphony Strategies andRESIDENT Securities ORCHESTRA America are unaffiliated.| WEILL HALL, THE GREEN MUSIC CENTER Francesco Lecce-Chong, Music Director & Conductor

Thank you so much for joining the Santa Rosa Symphony in a new year as we come together to celebrate the power of music to connect us—bringing joy, hope and comfort to our lives . We may not be in the Green Music Center in person, but imagine that across our community, we will all be gathering for a performance—in living rooms and backyards, on phones and TVs, with family or maybe some neighbors . In the face of the difficulties behind us and the struggles ahead, we will share the same uplifting musical experience together as we have always needed during past crises from 9/11 to the Tubbs fire . This is truly an historic moment in our Symphony's long history and we are so glad you will be a part of our first concerts, specifically programmed, directed and filmed for you to enjoy in your homes . If you are a long-time subscriber, this will be your chance to see our musicians up close on stage, from many different angles, and fea- tured in unique formations . And if you are new, you will be immersed SUSAN AND NEIL SILVERMAN PHOTOGRAPHY in our story, as you will get to know our musicians and learn about the many ways the Santa Rosa Symphony is a centerpiece of our community . This entire undertaking is a love letter to our community, while also being a statement to the world about what can be achieved through goodwill, trust and a commitment to building a brighter future together . In this new series of five concerts, we welcome Pulitzer Prize-winning composer Ellen Taaffe Zwilich as our first ever “Artistic Partner ”. Through presentations, interviews and online interactions with our viewers, Ellen will be giving us an incredible inside look at her artistic process as we travel through five of her works written across four decades . I have long been inspired by Ellen’s work and it is such a thrill to collaborate with her so closely . We will also move on from Beethoven to several 19th-century masterworks by Dvorak, Wagner, Brahms and Tchaikovsky . And, finally, several of our works will utilize our beautiful concert hall by using unique set-ups and letting our film crew get creative! I would like to finish with a personal note of gratitude . None of this would have been possible without an unwavering commitment to keeping our music alive, even under the most difficult of circumstances, from all our stakeholders—musicians, staff, board, donors, volunteers, ticket holders, the Green Music Center, Sonoma State University and many public officials . From the bottom of my heart – THANK YOU!

Sincerely, To learn how you can benefit the next generation of musicians, consult with your professional advisors and call the Santa Rosa Symphony Development Director at 707 546-7097 x 214. Francesco Lecce-Chong

Securities offered through Securities America, Inc. Member FINRA/SIPC. Advisory service offered through Securities America Advisors Inc. Rubins Financial Strategies and Securities America are unaffiliated. 2020 – 2021 Season 7 8 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Alan Silow, President & CEO Al Seidenfeld, Chairman of the Board

This is my 19th year of As we begin our 93rd writing a season welcome symphony season, we column to all of you as remain steadfastly com- the administrative leader mitted to bringing music of this beloved symphony of the highest caliber to orchestra . Yet it is my first, our community . We have knowing it will be read as been presented unprec- part of our brave, new, edented pandemic-re- virtual world, to modify lated adjustments this a phrase from Aldous past year: cancelled and Huxley . That is the least of the changes that have re-scheduled concerts, re-imagined repertoire, befallen us since mid-March 2020 . and re-formatted music education experiences No matter what our particular challenges, and for our children and youth . Yet, none of this has there have been many, with the advent of the dissuaded us from our primary goal of making and COVID-19 pandemic, heat waves and wildfires, we sharing beautiful music . all find ourselves in a unique space between "the The Santa Rosa Symphony is one of the finest, no longer" and "the not yet ". In this space of crisis, best-managed orchestras in the U .S . While many the Santa Rosa Symphony has found opportunity . other symphonies have gone dark, we are a shin- The opportunity to reimagine our performance ing example of perseverance . We have an engaged model, while staying focused on the big picture Board of Directors, a competent and caring staff, of enriching your connection to our music . a dynamic music director, who delivers spirited And yes, of course, given this pandemic, it con- concert performances in tandem with gifted tinues to be virtual, not in person, for the second musicians, and distinguished guest artists . Our half of our season . But virtual hasn’t meant worse . Symphony is, simply stated, a gem . Sheltered in the safety of your home, our virtual From humble beginnings, the Santa Rosa performances to date gave every patron a more inti- Symphony has grown to become a cultural force mate concert experience, with closeups of our fine in our community . Besides being the acclaimed musicians and our charismatic conductor Francesco Resident Orchestra of the renowned Weill Hall Lecce-Chong, plus commentary and more, all cap- of the Green Music Center, we have community tured by a professional video production team . The outreach programs for students of all ages . Our results have been impressive and validating – we Institute for Music Education reaches approxi- had more viewing patrons, a younger demographic mately 30,000 students per year . And, no matter and more first-time donors than ever before . whether we are in the concert hall live or offering "Plan and adjust" has been our mantra built professionally-produced streaming, we will con- upon a foundation of artistic and educational tinue to bring you the finest in musical enjoyment . excellence, fiscal ingenuity and community We are immensely grateful for you, our devoted engagement . Yes, we have no doubt that substan- audience, for your continuing support as patrons tial challenges remain to be faced as we continue and donors . Your contributions help us create our ambitious and creative artistic plan . Yet for memorable musical experiences, educate our now, we are delighted that with your participation community's next generation and navigate what- we can continue a season like no other . ever challenges lie ahead . Your loyalty, and the Let us never forget the one thing that is abso- dedication of board members, staff, volunteers lutely clear: Our music has been and always will and the artistry of our musicians allow for great be an essential antidote to the trauma of our times . things to happen .

Alone/Together Again With gratitude, Alan Silow, President & CEO Alan Seidenfeld, Chairman of the Board

2020 – 2021 Season 9 Board of Directors, Emeritus Board and Staff 2020-2021 Officers Henry Hersch Artistic Staff Al Seidenfeld James Hinton Francesco Lecce-Chong Chairman of the Board Judith Howard Music Director Corinne Byrd Sandra Jordan Bruno Ferrandis Vice Chairman Carol Libarle Conductor Laureate Sean Pryden David Marsten Jeffrey Kahane Treasurer Art Matney Conductor Emeritus Garth Bixler Grant Miller Corrick Brown Secretary Doug Morton Conductor Emeritus Jamei Haswell Sonne Pedersen Jenny Bent Immediate Past Chairman Martha Prouty Choral Director Sharon Robison Michael Berkowitz Directors Eric Rossin Principal Pops Conductor Susan Adams Judge Laurence Sawyer Bobby Rogers Cory Antipa Charles Schlangen Youth Orchestra Conductor Hallie Beacham Diane Schoenrock Jennifer Huang Marty Behr Dennis Verity Aspirante Youth Orchestra Conductor Liz Bippart Ellen Wear Luis Zuniga Keven Brown Creighton White Debut Youth Orchestra Conductor Pam Chanter Sara Woodfield Aaron Westman Mark Dierkhising Timothy Zainer Young People’s Chamber Orchestra Director Nancy Doyle Jack Dupre Past Chairmen Administrative Staff Susan Dzieza Jamei Haswell 2017-2019 Alan Silow Betty Ferris Sara Woodfield: 2015-2017 President & CEO Judith Gappa James Hinton: 2013-2015 Timothy L . Beswick John How Charlie Schlangen: 2012-2013 Artistic Operations Director Mark Jacobson Eric Rossin: 2010-2012 Wendy Cilman Education Director Sara Kozel Charles J . Abbe: 2008-2010 Betha MacClain Sam Brown: 2006-2008 Kathleen Gebhardt Finance and Administration Director Valerie Marshall Anne Benedetti: 2004-2006 P . Kirk McAfee Pam Chanter: 2002-2004 Sara Mitchell Marketing and Communications Director Bob Melder Marne Olson: 2000-2002 Ben Taylor Shelby Milanez Creighton White: 1998-2000 Development Director Carol Spindler O’Hara Diane Schoenrock: 1997-1998 Lynn Bollinger John Reed Phyllis Apfel: 1995-1997 Patron Services Associate Harry Rubins Dennis Kuba: 1993-1995 Harrison Comstock: 1991-1993 Nathan Duckworth Jacques Schlumberger Development Associate Barry Silberg Yale Abrams: 1987-1991 Brenda Fox Irene Sohm Nancy Berto: 1985-1987 Patron Services Manager Barb Spangler Al Mansoor: 1983-1985 Jack Dupre: 1981-1983 Ann Hutchinson David Stare Marketing Associate Mark Wardlaw James Benefield: 1979-1981 Kate Matwychuk Jerry Wunderlich Carol Ziegler: 1977-1979 Robert Nicholson: 1976-1977 Simply Strings Manager Emeritus Board Ambrose Nichols: 1974-1976 Matt Payne Youth Ensembles Manager Charles J . Abbe W . Donald Walker: 1972-1974 Gary Bayless John van Dyk: 1970-1972 Enid Rickley-Myres Executive Assistant/Donor Liaison Anne Benedetti Leland Levinger: 1968-1970 Nancy Berto Evert Person: 1966-1968 Jane Shelly Education Outreach Coordinator/Youth Gordon Blumenfeld Mrs . Elzo McClusky: 1946-1966 Orchestra Manager Corrick Brown George Cadan: 1943-1946 Pat Clothier Jerome Cross: 1942-1943 Jack Dupre Harold Bostock: 1940-1942 Jane Dwight J .A . Tedford: 1937-1940 Peggy Elliott Mrs . Joseph Grace: 1935-1937 John Friedemann Ernest L . Finley: 1933-1935 Robert Hayden Larry Zuur: 1929-1933 James Sweet: 1927-1929

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COMPLIMENTARYCOMPLIMENTARY PARKING PARKING HIGHWAY HIGHWAY 12 12 AT AT FARMERS FARMERS LANE LANE2020 IN IN –SANTA 2021SANTA Season ROSA ROSA 11 COMPLIMENTARY PARKING HIGHWAY 12 AT FARMERS LANE IN SANTA ROSA MONMON - SAT- SAT 10AM 10AM - 6PM- 6PM • •SUN SUN 11AM 11AM - 5PM- 5PM • •WWW.MVSHOPS.COM WWW.MVSHOPS.COM MON - SAT 10AM - 6PM • SUN 11AM - 5PM • WWW.MVSHOPS.COM Francesco Lecce-Chong, Music Director & Conductor

Conductor Francesco with interviews with musicians . The programs Lecce-Chong is the will include music by living composers Jessie Music Director of the Montgomery, Gabriella Lena Frank and Chen Yi . Santa Rosa Symphony The Santa Rosa Symphony will also celebrate and the Eugene Beethoven’s 250th with performances of his first Symphony in Oregon . three symphonies . The press has described Following the paths of renowned music direc- him as a “fast rising tal- tors of the Eugene and the Santa Rosa sympho- ent in the music world” nies, including Marin Alsop, Giancarlo Guerrero with “the real gift” and and Jeffrey Kahane, Lecce Chong has made his SUSAN AND NEIL SILVERMAN PHOTOGRAPHY SILVERMAN NEIL AND SUSAN recognized his dynamic mark with the two orchestras, introducing a series performances, fresh programming, deep com- of new music and community initiatives . In 2019, mitment to commissioning and performing new the orchestras announced Lecce-Chong’s “First music, as well as to community outreach . Lecce- Symphony Project,” commissioning four major Chong has appeared with orchestras around the orchestral works by young composers – Matt world, including the San Francisco Symphony, Browne, Gabriella Smith, Angélica Negrón and New York Philharmonic, National Symphony, Michael Djupstrom - to be performed over sev- Atlanta Symphony, Pittsburgh Symphony, Toronto eral seasons, accompanied by multiple composer Symphony, St . Louis Symphony, and Hong Kong residencies and community events . In Eugene, he Philharmonic and collaborated with top soloists has reinitiated family concerts and presented a including Renée Fleming and Itzhak Perlman . number of innovative projects such as an original In spring 2019, Lecce-Chong debuted in multimedia performance of Scriabin’s composi- subscription concerts with the San Francisco tions, engaging light and color . Symphony . The San Francisco Chronicle called During his successful tenures as Associate his conducting “first rate” praising the “vitality Conductor with the Milwaukee Symphony under and brilliance of the music-making he drew from Edo de Waart and the Pittsburgh Symphony under members of the San Francisco Symphony ”. Other Manfred Honeck, Lecce-Chong also dedicated his recent subscription debuts included the Colorado time to opera, building his credentials as staff con- Symphony, Louisville Orchestra, Louisiana ductor with the Santa Fe Opera, and conducted Philharmonic and Xi’An Symphony Orchestra . Madama Butterfly at the Florentine Opera with the Lecce Chong also returned to conduct the Civic Milwaukee Symphony . Orchestra of Chicago, Milwaukee Symphony Lecce-Chong is the recipient of several distinc- Orchestra and San Diego Symphony . The 2019- tions, including the prestigious Solti Foundation 2020 season marked his debut with the New Award . Trained also as a pianist and composer, York Philharmonic as part of the legendary Young he completed his studies at the Curtis Institute of People’s Concert Series . Music with Otto-Werner Mueller, after attending In the 2020-2021 season, an unprecedented the Mannes College of Music and Accademia one for live orchestral music, Lecce-Chong will Musicale Chigiana in Italy . He has had the privilege conduct virtual concerts with both the Santa of being mentored and supported by celebrated Rosa and the Eugene symphonies, specifically conductors including Bernard Haitink, David created for online audiences . The performances Zinman, Edo de Waart, Manfred Honeck, Donald will be streamed worldwide and will take a unique Runnicles and Michael Tilson Thomas . form of a cohesive musical journey, complete

12 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Santa Rosa Symphony Francesco Lecce-Chong, Music Director & Conductor Bruno Ferrandis, Conductor Laureate Jeffrey Kahane, Conductor Emeritus Corrick Brown, Conductor Emeritus Michael Berkowitz, Principal Pops Conductor

First Violin Viola Flute Trombone Joseph Edelberg, Elizabeth Prior, Principal Kathleen Lane Reynolds, Bruce Chrisp, Principal Concertmaster Dr. Gary Soren Smith and Principal Amy Bowers David Charles Johnston Chair Barbara Faye Smith Chair Alice Coleman Chair Kurt Patzner, Jay Zhong, Meg Titchener, Stacey Pelinka, PICCOLO BASS TROMBONE Assistant Principal Associate Concertmaster Carmen Lemoine Robert B. Leard, PhD. Chair Heather J . Powell, Tuba Assistant Concertmaster Meg Eldridge Oboe Scott Choate, Principal Kathryn Marshall Alexander Volonts Laura Reynolds, Principal Jane and Nelson Weller Chair Timpani Marcia Lotter Darcy Rindt Jesse Barrett, Andrew Lewis, Principal Mark Neyshloss Tiantian Lan ENGLISH HORN Eugenia Wie Percussion Cello Bennie Cottone Darren Sagawa Adelle-Akiko Kearns, Allen Biggs, Principal Emanuela Nikiforova Principal Clarinet Susan Jette Tamara Voyles Evert B. Person Memorial Chair Roy M . Zajac, Principal Stan Muncy Thomas Yee Robin Bonnell, Mark Wardlaw Harp Barbara Schaefer Assistant Principal Mark Shannon, Dan Levitan, Principal Natasha Makhijani Wanda Warkentin BASS CLARINET Corinne Antipa Aromi Park Bassoon Piano/Celesta Kelley Maulbetsch Kymry Esainko, Principal Second Violin Carla Wilson, Principal Vanessa Ruotolo Karen Shinozaki Sor, Karla Ekholm Orchestra Librarian Rebecca Roudman Principal Shawn Jones, Karen Zimmerman Elizabeth Vandervennet Henry Trione Memorial Chair CONTRABASSOON Dieter Wulfhorst Michelle Maruyama, Stage Manager Horn David Badella Assistant Principal Contrabass Meredith Brown, Principal Edmond Fong Andy Butler, Sound Engineer Alex Camphouse Jeanette Isenberg Acting Principal Krieg Wunderlich Suzanne Chasalow Zinovy Zelichenok Andrew McCorkle Henry Viets Recording Engineer Calvin E . Lewis, Jr . Karen Zimmerman Caitlyn Smith Franklin Mark Lemaire Laurie Moore Raymond Vargas Claudia Fichera Jon Keigwin Trumpet Piano Technician William R . Williams Kale Cumings, Larry Lobel Claire-Jeanne Martin Acting Principal Artist Liaisons Stephanie Bibbo Scott Macomber David Hanes Roy Payment * Leave of Absence Michelle Sikora + Acting Member

Santa Rosa Symphony Musicians are members of the American Federation of Musicians, represented by Local 6.

2020 – 2021 Season 13 Meet the Symphony’s Artistic Partner 2020 SEASON Ellen Taaffe Zwilich! 2021

The Symphony welcomes Pulitzer Prize-winning composer Ellen Taaffe Zwilich as its SRS @ Home Artistic Partner. One of her works will be included in each SRS @ Home concert. She will also engage with SRS @ Home audiences and the community throughout the 2020-2021 season. A prolific composer in virtually all media, Ellen Taaffe Zwilich’s works have been performed by most of the leading American orchestras and by major ensembles abroad. Her works include five symphonies and a string of concertos commissioned and performed over the past two decades by the nation’s top orchestras. Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von Dohnányi Citation, an Academy Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, four Grammy nominations, the Alfred I. Dupont Award, Miami Performing Arts Center Award, the Medaglia d’oro in the G.B. Viotti Competition, and the NPR and WNYC Gotham Award for her contributions to the musical life of New York City. Among other distinctions, Zwilich has been elected to the American Classical Music Hall of Fame, the Florida Artists Hall of Fame, the American Academy of Arts and Sciences, and the American Academy of Arts and Letters. In 1995, she was named to the first Composer’s Chair in the history of Carnegie Hall, and she was designated Musical America’s Composer of the Year for 1999. Zwilich, who holds a doctorate from The Juilliard School, currently holds the Krafft Distinguished Professorship at Florida State University.

Watch this introductory video on the Symphony’s YouTube channel.

14 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Santa Rosa Symphony Francesco Lecce-Chong, Music Director & Conductor Bruno Ferrandis, Conductor Laureate Jeffrey Kahane, Conductor Emeritus Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on Sunday, January 24, 2021 3 pm Music Recorded at the Green Music Center expressly for this concert Francesco Lecce-Chong, conductor

JOHANN SEBASTIAN BACH / MARIANNA MARTÍNES ANTON WEBERN, arr. Sinfonia in C major Ricercare à 6 from Das Musikalische Allegro con spirito Opfer [The Musical Offering] Andante ma non troppo ELLEN TAAFFE ZWILICH Allegro spiritoso Concerto Grosso 1985 for Chamber Orchestra [after Handel] WOLFGANG AMADEUS MOZART Symphony No . 39 in E-flat major, K . 543 Maestoso Adagio – Allegro Presto Andante con moto Largo Menuetto (Allegretto) e Trio Presto Finale: Allegro Maestoso

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors Concert Sponsor: Willow Creek Management Francesco Lecce-Chong underwritten by David and Corinne Byrd Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat

See page 27 for Ways to Watch

2020 – 2021 Season 15 January 2021 Program Notes by Elizabeth Schwartz

JOHANN SEBASTIAN BACH / Anton Webern, arranger Ricercare à 6 from Das Musikalische Opfer [The Musical Offering] COMPOSER: J . S . Bach was born on March 21, 1685 in Eisenach, and died on July 28, 1750 in Leipzig . Anton Webern was born on December 3, 1883 in Vienna, and died on September 15, 1945 in Mittersill, Austria . WORK COMPOSED: Bach began The Musical Offering in May 1747 and finished it two months later . It is dedicated to Frederick the Great, who provided the original theme . Webern orchestrated it in 1934-1935, on a commission from Universal Edition, and dedicated it to BBC music producer Edward Clark . WORLD PREMIERE: Webern conducted the first performance on a live broadcast of the BBC on April 25, 1935, in London . INSTRUMENTATION: flute, oboe, English horn, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, timpani and strings ESTIMATED DURATION: 8 minutes In 1747, Johann Sebastian Bach traveled to No one would ever mistake a work of Bach’s Potsdam to visit his son Carl Philipp Emanuel, for that of Webern, or vice versa, but despite their who was employed as a musician in the court of dissimilar styles, the two composers had much Frederick the Great . When they met, Frederick in common . Both loved musical puzzles and had presented the elder Bach with a rather long and a penchant for manipulating pitches – Bach with complex theme (Thema Regium), and by way of palindromes or number symbology, and Webern a challenge, asked Bach to improvise a three- with the 12-tone rows he constructed, reversed voiced fugue on the spot, using one of his new and inverted . When Webern set himself the task “pianofortes” – a precursor to the modern piano . of orchestrating Bach’s six-voiced ricercare, he Bach complied, whereupon Frederick demanded a wanted to showcase both the Thema Regium and six-voiced fugue . Bach assented, using a theme of the distinctive timbres of the orchestra’s different his own, but after he returned home to Leipzig, he instruments . He wrote, “The theme throughout composed another 6-voiced fugue with the Thema must not appear disintegrated . My orchestration Regium . Two months later, Bach completed a col- tries (here I am speaking of the whole work) merely lection of 13 keyboard canons, fugues and a trio to reveal the motivic coherence ”. sonata, all based on the Thema Regium, and sent Webern highlights Bach’s pitches by use of an it to Frederick as “a musical offering ”. orchestration technique he learned from his teacher In a 1999 essay in the New York Times, the late Arnold Schoenberg, known as Klangfarbenmelodie pianist and musicologist Charles Rosen described (tone-color melody) . A muted solo trombone intones the 6-voiced fugue, or ricercare, as “among the the opening notes, followed by trumpet, then horn . greatest achievements of Western European civ- As the theme repeats, different instruments, from ilization ”. Like many of Bach’s masterpieces, it flute to oboe to strings, play brief fragments before transcends the time, place and instrumentation passing the melody along . In this manner, the for which it was originally conceived . Several com- interlocking structure of the music and the unique posers have arranged it for orchestra, but Anton colors of each instrument gradually emerge until Webern’s 1935 version stands head and shoulders the Offering is completely revealed . above the rest .

16 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER ELLEN TAAFFE ZWILICH Concerto Grosso 1985 for Chamber Orchestra [after Handel] COMPOSER: Born April 30, 1939, Miami, FL WORK COMPOSED: 1985 . Commissioned by the Washington Friends of Handel to mark the 300th anniversary of George Frideric Handel's birth . WORLD PREMIERE: Stephen Simon led the Handel Festival Orchestra (now the Washington Chamber Symphony) at the Kennedy Center in Washington, D . C . on May 9, 1986 . INSTRUMENTATION: flute, 2 oboes (1 doubling English horn), 2 horns, harpsichord and strings ESTIMATED DURATION: 15 minutes In our January through May concerts, the Santa both inspired by Handel’s sonata and, I hope, imbued Rosa Symphony is showcasing music of Ellen Taaffe with his spirit ”. Zwilich, an acclaimed American composer whose The Concerto Grosso features a five-movement work has earned her numerous prizes and honors . arch structure . The first and final movements The first female composer to win the Pulitzer Prize include direct quotes from Handel’s violin sonata, in 1983 for her Symphony No . 1, Zwilich has also interspersed with Zwilich’s contemporary style . To received the Elizabeth Sprague Coolidge Chamber highlight the sectional quality of the music, Zwilich Music Prize; the Arturo Toscanini Music Critics Award; indicates in the score that the “Handelian” and the Ernst von Dohnányi Citation; a Guggenheim “Zwilichian” contrasts be emphasized as much as Fellowship; and four Grammy nominations . In 1995, possible . The second and fourth movements, marked Zwilich was named to the first Composer’s Chair in Presto, are free-flowing and slightly agitated; they the history of Carnegie Hall; Musical America named serve as frames for the central third movement . her Composer of the Year for 1999 . Zwilich describes this keystone section, marked In 1984, the Washington Friends of Handel asked Largo, as “the emotional peak, the most personal Zwilich to write a commemorative work in honor of movement of the concerto . It, too, is a free fantasy, George Frideric Handel’s 300th birthday . Zwilich inspired by Handel’s theme, but without the direct immediately thought of Handel’s D major violin quotations I used in movements one and five . sonata . “I performed the work many years ago,” Throughout the work, I found myself using compo- she said, “and I especially love the opening theme sitional techniques typical of the Baroque period, of the first movement – the striking head motive and including terraced dynamics, repeated melodic the beauty of the generative tension between the phrases, and suspension-like constructions . These theme and the elegant bass line ”. Zwilich describes are techniques I would not normally use, but I felt her Concerto Grosso as a “20th-century response to inspired to do so because of the fact that this piece the spirt of George Frideric Handel . My concerto is was based on Handel ”.

MARIANNA MARTÍNES (MARIANNE VON MARTINEZ) Sinfonia in C major COMPOSER: Born May 4, 1744, Vienna; died December 13, 1812, Vienna WORK COMPOSED: 1770 WORLD PREMIERE: Undocumented INSTRUMENTATION: 2 flutes, 2 oboes, 2 horns, 2 trumpets, timpani, harpsichord and strings ESTIMATED DURATION: 12 .5 minutes Vienna in the latter half of the 18th century Marianna Martínes was a product of Vienna’s overflowed with music, musicians, composers, musical ferment . Before relocating to Vienna, aficionados, poets and patrons . All the best of Martínes’ father Nicolo lived in Italy, where he Europe came to Vienna – either to stay or at least became lifelong friends with a poet named Pietro to visit – which made the city a focal point for Trapassi, better known as Metastasio . As an opera creativity, just as the Italian city of Florence had librettist, Metastasio achieved great fame . In emerged as the center of Renaissance art, music, 1730, he relocated to Vienna, where he lived with literature and science some 350 years earlier . Nicolo and his six children for the rest of his life .

2020 – 2021 Season 17 The Martínes family lived in a multistoried building by her beloved mentor Metastasio, which she also that still stands on the Michaelerplatz, an elegant performed . A polished, highly intelligent woman, city square near Vienna’s historical city center . Other Martínes spoke multiple languages: German, residents of the building included a young and largely French, Italian and English . unknown composer named Joseph Haydn; the dow- As an adult, Martínes managed to do something ager princess of the aristocratic Esterházy family; even Mozart could not achieve: build a successful and the renowned Italian composer and singing career teaching music lessons and composing her teacher, Nicola Porpora . All of these neighbors, along own works without benefit of a royal patron . She with Metastasio, became acquainted and also influ- and her sister cared for Metastasio until the old enced the musical development of young Marianna . man died; in gratitude and love for the woman In a letter from 1773, Martínes wrote, “I was Metastasio considered his adopted daughter, the born in the year 1744 on the 4th day of May . In poet left his considerable estate to Marianna . This my seventh year they began to introduce me to gave her economic security and independence, a the study of music, for which they believed me rarity for women in those times . inclined by nature . Its rudiments were taught me by Martínes never married, and music remained Signor Giuseppe Haydn, now Maestro di Cappella the central focus of her life . She hosted regular to Prince Esterházy … But in all my studies, the evenings of music in her home, which were chief planner and director was always, and still is, attended by Vienna’s finest musicians, including Signor Metastasio, who, with the paternal care he Mozart and Haydn (Martínes was also one of takes of me and all of my numerous family, renders Mozart’s favorite duet partners) . Sometime during an exemplary return for the incorruptible friendship her 50s, Martínes opened a singing school, where and tireless support which my good father lent him she taught many of Vienna’s best musicians . up until the very last days of his life ”. Martínes’ Sinfonia in C Major (also known as Martínes more than fulfilled her youthful the Overture in C major) from 1770 is the only potential . She became a skilled composer in many known classical symphony composed by a wom- genres, including sacred oratorios and masses; an . Written when Martínes was 26, the music choral and solo vocal pieces; and instrumental exudes a fresh elegance, featuring singable mel- music for orchestra . She regularly set texts written odies and lively dance rhythms .

WOLFGANG AMADEUS MOZART Symphony No. 39 in E-flat major, K. 543 COMPOSER: Born January 27, 1756, Salzburg, Austria; died December 5, 1791, Vienna WORK COMPOSED: Summer 1788 WORLD PREMIERE: Undocumented INSTRUMENTATION: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings ESTIMATED DURATION: 29 minutes When 25-year-old Wolfgang Amadeus Mozart success both in Vienna and abroad, the income arrived in Vienna in 1781, he astonished every- they generated did not offset the enormous costs one with his dazzling skill as a pianist . He quickly of production . Furthermore, Mozart was notori- became the most sought-after performer in town ously incapable of managing money . and people flocked to his concerts . In the beginning of the summer of 1788, Mozart By 1787, however, Mozart’s fortunes had found himself in dire financial circumstances . He shifted . His numerous attempts to secure a royal wrote a series of anguished letters to friend and court appointment, which would have provided a fellow Freemason Michael Puchberg, pleading for steady living, had proved unsuccessful . Mozart loans . Mozart also pawned several valuables, tried also stopped writing and performing piano con- to get advances from his publisher, and attempted certos for his subscription concerts in order to to sell his manuscripts; these humiliating efforts concentrate on the greater creative rewards of to raise funds yielded little . opera . Although Mozart’s operas met with some Continued on page 28

18 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Santa Rosa Symphony Francesco Lecce-Chong, Music Director & Conductor Bruno Ferrandis, Conductor Laureate Jeffrey Kahane, Conductor Emeritus Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on Sunday, February 28, 2021 3 pm Music Recorded at the Green Music Center expressly for this concert Francesco Lecce-Chong, conductor

WILLIAM GRANT STILL ANTONÍN DVORˇ ÁK Serenade for Small Orchestra Czech Suite in D major for Small Orchestra, Opus 39 RICHARD WAGNER Preludium (Pastorale): Allegro moderato Siegfried Idyll for Small Orchestra Polka: Allegretto grazioso ELLEN TAAFFE ZWILICH Sousedská (Minuetto): Allegro giusto Prologue and Variations for String Romance: Andante con moto Orchestra Finale (Furiant): Presto Prologue – Andante misterioso Variations Allegro Lento Presto Tempo Primo – Andante misterioso

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors Concert Sponsor: Joseph A. and Judith M. Gappa Concert Supporting Sponsor: Exchange Bank Francesco Lecce-Chong underwritten by David and Corinne Byrd Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat See page 27 for Ways to Watch

2020 – 2021 Season 19 February 2021 Program Notes by Elizabeth Schwartz

WILLIAM GRANT STILL Serenade for Small Orchestra COMPOSER: Born May 11, 1895, Woodville, MS; died December 3, 1978, Los Angeles, CA WORK COMPOSED: 1957, for the Great Falls High School Orchestra in Great Falls, MT WORLD PREMIERE: Paul Schull led the Great Falls High School Orchestra on May 7, 1958 INSTRUMENTATION: flute, clarinet, harp and strings ESTIMATED DURATION: 7 .5 minutes Known as “the dean of African American Communist affiliations made him an ongoing target composers,” William Grant Still composed music for vindictive anti-Communist and racist attacks . in a wide variety of genres: symphonies, opera, Still, who had been battling the white-dominated chamber music, choral works, solo songs, and cultural establishment for years in his efforts to get concertos . As a young man, he made his living his music performed, had now alienated himself playing commercial music on violin, oboe, and from the black community, as well as from liberal banjo . Over the span of his six-decade career, whites who had formerly championed Still’s work . Still worked as a performer, arranger, orchestrator, As Leon Botstein explains, “In the 1950s, during conductor, and composer . the nascent years of the civil rights movement, the A black man who took pride in his race and also effective alliance was between liberal and progres- refused to be limited by it, Still’s career is peppered sive white America that had severe doubts about the with Afro-American “firsts:” first to have a sympho- saber rattling and arms race of the Cold War, and ny performed by a major orchestra; also the first to the [political and cultural] leadership of the black conduct a major symphony orchestra when Still led community . Still, in what was considered to be an the Los Angeles Philharmonic Orchestra in a concert appalling betrayal of Black American progressivism of his own compositions at the Hollywood Bowl in at the time, sided with the enemy by embracing 1936; first to have one of his operas produced by the traditions of a rigid, suspicious, and somewhat a major company, when New York City Opera pre- intolerant anti-Communism ”. As a result, Still’s sented Troubled Island in 1949; and the first to see music was effectively if unofficially blacklisted by one of his operas televised on a national network . record companies, orchestras, opera companies, In the early 1950s, Still’s professional life the media, and the black community from the early derailed . He was a staunch anti-Communist who 1950s until the late 1980s . offered to name Communists and Communist sym- The Serenade was originally conceived as part pathizers for Joe McCarthy’s House Un-American of a cello concerto undertaken at the suggestion of Activities Committee in 1951 . Two years later, Still cellist Gregor Piatigorsky . Written for young amateur publicly denounced prominent Communists, includ- players, the music is both technically approachable ing the acclaimed singer Paul Robeson, whose and full of expressive melodies and lush textures .

RICHARD WAGNER Siegfried Idyll for Small Orchestra COMPOSER: Born May 22, 1813, Leipzig; died Feb . 13, 1883, Venice WORK COMPOSED: 1870 WORLD PREMIERE: Wagner led a small ensemble of 13 musicians in the premiere on his wife Cosima’s birthday, December 25, 1870 . The ensemble performed on the stairs outside Cosima’s bedroom in Tribschen, the Wagners’ home in Switzerland . INSTRUMENTATION: flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet and strings ESTIMATED DURATION: 17 minutes Unlike Richard Wagner’s heroic, larger-than-life Written as a combined Christmas and birthday gift music dramas, the Siegfried Idyll has a tender for his wife Cosima, Wagner’s original title was intimacy not commonly found in Wagner’s music . “Tribschener Idyll, with Fidi’s Birdsong and Orange

20 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Sunrise, as a Symphonic Birthday Greeting from it had died away, R. came into my room with the five Richard to Cosima ”. (Tribschen was the Wagners’ children and gave me the score of his ‘Symphonic home on Lake Lucerne in Switzerland; Fidi was Birthday Greeting’ - I was in tears, so was everybody the nickname of their 18-month-old son Siegfried .) in the house. R. had placed his orchestra on the Wagner surprised Cosima with the Idyll, going to staircase, and thus our Tribschen is consecrated for all time.” great lengths to keep his rehearsals secret . At dawn on Christmas Day 1870, Cosima was awakened by Scholar and critic Ernest Newman describes the a small ensemble of 13 musicians arranged on the Idyll as “a series of domestic confidences ”. Most stairs and landing outside her bedroom . of its themes are found in the opera Siegfried; The Idyll, a musical love poem, is full of private the opening melody comes from Act III, but it references known only to Wagner and Cosima . actually originated in a string quartet Wagner Cosima’s reaction to her husband’s gift was so wrote for Cosima six years earlier . Similarly, the profound she could not find words to describe her German folk lullaby “Schlaf’, Kindchen, schlafe,” feelings . In her diary, Cosima wrote: played by solo oboe, was assumed to refer to baby Siegfried; however, Newman discovered it “I can tell you nothing about this day, my children, nothing about my feelings, nothing about my mood, was actually linked to the Wagners’ older daughter nothing, nothing. I shall merely inform you, plainly Eva . These and other musical references, whose and simply, of what took place. A sound awoke me meaning remained hidden for many years, reveal which grew ever stronger; I knew I was no longer the Idyll’s levels of personal significance for both dreaming, there was music, and what music! When Wagner and Cosima .

ELLEN TAAFFE ZWILICH Prologue and Variations for String Orchestra COMPOSER: Born April 30, 1939, Miami, FL WORK COMPOSED: Work commissioned by the Chattanooga Symphony Orchestra in 1983 . WORLD PREMIERE: Richard Cormier led the Chattanooga Symphony on April 10, 1984 . INSTRUMENTATION: String orchestra ESTIMATED DURATION: 13 minutes The Pulitzer Prize for Music was first awarded in This subtle change indicates Zwilich’s expansive 1943, to William Schuman . Exactly 40 years later, approach to what constitutes a variation . Typical the Pulitzer committee chose Ellen Taaffe Zwilich’s theme-and-variations begin with a theme, usually Symphony No . 1 for the top honor . Zwilich, the first a straightforward melody, often well known – think woman to receive the prize, also became the first of Mozart’s famous variations on “Twinkle Twinkle woman to earn a doctorate in composition from Little Star” – and continue with a series of increas- the Juilliard School of Music . The Pulitzer brought ingly florid elaborations on that theme . Zwilich’s music to national attention, establishing Zwilich’s Prologue is a series of musical ideas her as a significant American composer . and contrasting tempos . Most prominent among In a 1985 New York Times interview, Zwilich these is Dmitri Shostakovich’s famous musical told critic Tim Page, “It is not enough to manip- signature D . SCH, which corresponds to the notes ulate abstract forms and ideas . A composer must D-E-flat-C-B in German notation (Zwilich helpfully also provide color, thrust, and purpose, allowing places these four notes at the very beginning of the a work to unfold gradually over a length of time . Prologue, and follows them with a brief pause; the As such, composition is both a written and a per- D . SCH theme recurs throughout) . forming art – it must sound ”. This compositional The four variations all use material from the credo perfectly describes Zwilich’s Prologue and Prologue, but, as Zwilich explains in her comments Variations for Orchestra, one of the first works in the published score, “these are not ‘variations’ in she composed post-Pulitzer . Note the use of the the traditional sense … In using the word ‘Prologue,’ word “Prologue” rather than “Theme” in the title . I meant to suggest a dramatic analogy, because, in

2020 – 2021 Season 21 a way, the function of the Prologue in this work that the drama unfolds . Another important aspect is to introduce ‘characters’ (musical ideas), some of Prologue and Variations is that it celebrates the of which are drawn rather fully, while others are special sonorities, character, and expressiveness only suggested . It is in the ensuing … ‘Variations’ of the string orchestra ”.

ANTONÍN DVORˇ ÁK Czech Suite in D major for Small Orchestra, Opus 39 COMPOSER: Born September 8, 1841, Nelahozeves, near Kralupy (now the Czech Republic); died May 1, 1904, Prague WORK COMPOSED: April 1879 WORLD PREMIERE: Adolph Cˇech led the Provisional Theatre Orchestra in Prague on May 16, 1879 . INSTRUMENTATION: 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings ESTIMATED DURATION: 23 minutes An artist has his country, in which he must have firm of one’s native soil, without prideful defiance . faith and an ardent heart.” – Antonín Dvorˇák The five movements of the Czech Suite incor- porate dance rhythms primarily from Bohemia and Music publisher Friedrich August Simrock, Moravia . These rhythms would be recognizable to known as Fritz, had a keen sense of what music anyone who lived or spent time in these regions . his customers would buy . When Johannes Dvorˇák uses these rhythms in a series of original Brahms’ Hungarian Dances became a bestseller melodies that sound like folk tunes, even though for Simrock in 1869, the publisher realized region- they are the composer’s invention . The opening al and ethnic music were obvious gold mines . Prelude welcomes the listener with a gentle Antonín Dvorˇák first came to Simrock’s introductory melody . The Polka, a dance that attention via Brahms, who had introduced the originated in the Czech region before evolving into two men by correspondence . In an 1877 letter its better-known Polish version, has little oom- to Simrock, Brahms mentioned Dvorˇák’s talent pah; instead it features two contrasting sections: and versatility, and took particular note of “a vol- one with a graceful theme in the strings, the other ume of duets for two sopranos with pianoforte, emphasizing a lively forward-rushing tempo . The which seem to me all too pretty, and practical central Sousedska, a slower dance in ¾ time, for publication … The value of the duets will be features a distinctive 2-note rhythm that sounds obvious to you, and they might become a ‘good like a bird chirping . This little motive punctuates commodity’ … please know … that I don’t make the melody throughout, as it meanders through a recommendations hastily ”. series of harmonies and is traded back and forth Simrock shrewdly gambled on the young and among the instruments . In the Romanza, flute and largely unknown Bohemian composer, and pub- oboe take turns with a lilting tune, while the strings lished Dvorˇák’s Moravian Duets, which became pulse gently beneath . The closing Furiant, a fiery an instant hit, followed by the first set of Slavonic dance with a tempo to match, picks up energy and Dances, Op . 46 . Once published, Op . 46 made motion as it progresses, before concluding with a Dvorˇák an international composer-celebrity . shout from trumpets and timpani . Musical nationalism – the widespread 19th cen- Interestingly, although Simrock was Dvorˇák’s tury practice of incorporating specific regional or primary publisher – he had right of first refusal national melodies and rhythms to evoke a particu- for all of Dvorˇák’s music initially – he passed on lar place – can result in statements of grandiosity, the Czech Suite . Schlesinger, a firm in Berlin, punctuated by military marches and other sorts of published Op . 39 in 1881 . musical chest-thumping . Dvorˇák was a devoted © 2021 Elizabeth Schwartz Czech patriot who championed use of the Czech (see bio and terms of use on page 28) language despite the oppressive policies of the Austro-Hungarian Empire, which ruled Bohemia during his lifetime . Dvorˇák’s musical nationalism, however, expresses itself as a deeply rooted love

22 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Santa Rosa Symphony Francesco Lecce-Chong, Music Director & Conductor Bruno Ferrandis, Conductor Laureate Jeffrey Kahane, Conductor Emeritus Corrick Brown, Conductor Emeritus

Enhanced concert experience streamed on Sunday, March 28, 2021 3 pm Music Recorded at the Green Music Center expressly for this concert Francesco Lecce-Chong, conductor Zuill Bailey, cello

JESSIE MONTGOMERY CHARLES IVES Starburst for String Orchestra The Unanswered Question for Chamber Orchestra, S . 50 SAMUEL BARBER Adagio for Strings, Opus 11 JOHANNES BRAHMS Serenade No . 2 in A major ELLEN TAAFFE ZWILICH for Orchestra, Opus 16 Concerto for Cello and Orchestra Allegro moderato I. Scherzo: Vivace II. Adagio non troppo III. Quasi menuetto Rondo: Allegro

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Charles M Schulz Museum, dedicated to the Peanuts Creator SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard SRS @ Home Supporting Sponsor: County of Sonoma – Board of Supervisors Concert Sponsor: Jim Lamb Francesco Lecce-Chong underwritten by David and Corinne Byrd Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat

See page 27 for Ways to Watch

2020 – 2021 Season 23 March 2021 Program Notes by Elizabeth Schwartz

JESSIE MONTGOMERY Starburst for String Orchestra COMPOSER: Born December 8, 1981, New York City WORK COMPOSED: 2012 for the Sphinx Virtuosi WORLD PREMIERE: September 2012 by the Sphinx Virtuosi at the New World Center in Miami, FL INSTRUMENTATION: string orchestra (originally for string quartet) ESTIMATED DURATION: 3 minutes In December 2020, the Santa Rosa Symphony time laureate of the annual Sphinx Competition presented acclaimed composer Jessie and was awarded a generous MPower grant Montgomery’s Source Code (2013), an homage to assist in the development of her 2016 debut to the work of African American artists during album, Strum: Music for Strings (Azica) . In 2019, the Civil Rights era . On this concert, we continue the New York Philharmonic selected Montgomery showcasing Montgomery’s innovative voice . as one of the featured composers for its Project Her work combines classical language with 19, which marks the centennial of the ratification elements of vernacular music, improvisation, of the 19th Amendment granting American women language and social justice . The resulting music the right to vote . has earned Montgomery rave reviews for her “This brief one-movement work for string “vibrantly inventive original works for strings” orchestra is a play on imagery of rapidly changing (ClassicsToday.com) and numerous awards, musical colors,” Montgomery writes of Starburst . including the ASCAP Foundation’s Leonard “Exploding gestures are juxtaposed with gentle, Bernstein Award . Montgomery’s works are per- fleeting melodies in an attempt to create a multidi- formed frequently around the world by leading mensional soundscape . A common definition of a musicians and ensembles . starburst— ‘the rapid formation of large numbers Since 1999, Montgomery has been affiliated of new stars in a galaxy at a rate high enough to with The Sphinx Organization, which supports alter the structure of the galaxy significantly’— young African-American and Latinx string players . lends itself almost literally to the nature of the She currently serves as composer-in-residence performing ensemble who premiered the work, for the Sphinx Virtuosi, the Organization’s flagship the Sphinx Virtuosi, and I wrote the piece with professional touring ensemble . She was a two- their dynamic in mind ”.

SAMUEL BARBER Adagio for Strings, Opus 11 COMPOSER: Born March 9, 1910, West Chester, PA; died January 23, 1981, New York City WORK COMPOSED: The Adagio for Strings was originally the second movement of Barber’s String Quartet in B minor, which he composed in Europe in 1936 . It was first performed on December 14 of that year in Rome . Two years later, Barber arranged it for string orchestra . WORLD PREMIERE: Arturo Toscanini led the NBC Symphony in the orchestral version of the Adagio on November 5, 1938 . INSTRUMENTATION: string orchestra ESTIMATED DURATION: 7 minutes Plato’s Republic, which concerns itself with the Certainly Samuel Barber’s Adagio for Strings, disposition of a “just society” and the education perhaps the most recognizable work written by an of its citizens, has a lot to say about music . Plato, American classical composer, would be included speaking through Socrates, even goes so far as to in Plato’s list of objectionable music . Its ability to suggest banning certain modes (scales) because evoke profound sadness makes it what one broad- their melancholy qualities trigger feelings of weak- caster has called our “national funeral music ”. ness in the listener . Americans associate the Adagio with the deaths

24 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER of Franklin D . Roosevelt and John F . Kennedy, launch him onto the national stage . Biographer the bombing of the federal building in Oklahoma Barbara Heyman writes, “Toscanini’s broadcasts City in 1995, and the attacks on 9/11 . Many also were generally regarded with almost religious connect it with the Vietnam War, thanks to Oliver reverence, but the ten o’clock broadcast on the Stone’s 1986 film, Platoon, which featured the evening of November 5, 1938, held additional sig- Adagio in its score . Plato, with his emphasis on nificance, for it marked recognition by the Italian reason over emotion, perhaps did not appreciate conductor that there was enough merit in works the cathartic role such music plays in assuaging by an American composer to bring them to the grief, but there is little doubt Barber’s Adagio has attention of a national audience ”. both moved and comforted many in mourning . In his later life, Barber regretted that so much The Adagio began as the second movement of his musical reputation rested on the Adagio . of Barber’s String Quartet in B minor . Two years According to scholar Thomas Lawson, in his later, Barber arranged it for string orchestra and book The Saddest Music Ever Written, “After the gave the score to Arturo Toscanini, in hopes lament took musical wing in 1936, it became an that the conductor would perform it on the radio emotional albatross from which he was never with the NBC Symphony . Twenty-eight-year- free … Barber even forbade the Adagio from old Barber was a rising star, whose music had being played at his funeral, so that at least in already attracted favorable notice, but he knew death he would be free of it ”. that Toscanini’s endorsement of his work would

ELLEN TAAFFE ZWILICH Concerto for Cello and Orchestra COMPOSER: Born April 30, 1939, Miami, FL WORK COMPOSED: Commissioned by the South Florida Symphony Orchestra . Dedicated to its music director, Sebrina María Alfonso, and cellist Zuill Bailey in 2019-2020 . WORLD PREMIERE: Alfonso led the South Florida Symphony Orchestra, with soloist Zuill Bailey, on March 5, 2020 . INSTRUMENTATION: solo cello, string orchestra ESTIMATED DURATION: 15 minutes At a time when the musical offerings of the the human voice – from the lowest male voice to world are more varied than ever before, few com- the highest soprano (I particularly like its mezzo posers have emerged with the unique personality soprano) . But I sometimes refer to string instru- of Ellen Taaffe Zwilich . Her music is widely known ments as ‘singers on steroids’ because of the because it is performed, recorded, broadcast, and power they give to a composer to explore virtuosity – above all – listened to and enjoyed by all sorts as well as expressivity . of audiences the world over . “My Cello Concerto engages both the lyrical, Zwilich’s works include five symphonies and singing nature of the instrument and its technical a string of concertos commissioned and per- possibilities . Throughout the piece, the orchestra formed by the nation’s top orchestras . In 1983, plays a significant role with many interactions, her Symphony No . 1 earned her the Pulitzer Prize, including some unusual dialogues (e g. . between making Zwilich the first woman so honored . the cello and a trumpet) ”. Among her many honors are membership in the The concerto was commissioned by the South American Academy of Arts and Sciences and the Florida Symphony Orchestra, and Zwilich notes that American Academy of Arts and Letters . it is "dedicated to conductor Sebrina María Alfonso “One of the things I love about the cello,” says and cellist Zuill Bailey, and written in memory of Zwilich, “is that it has virtually the entire range of [cellists] Leonard Rose and Mstislav Rostropovich .”

2020 – 2021 Season 25 CHARLES IVES The Unanswered Question for Chamber Orchestra, S. 50 COMPOSER: Born Oct . 20, 1874, Danbury, Conn .; died May 19, 1954, New York WORK COMPOSED: 1906, rev . c . 1930-5 WORLD PREMIERE: Theodore Bloomfield conducted a chamber orchestra of graduate students from The Juilliard School on May 11, 1946, in New York City . INSTRUMENTATION: 4 flutes, trumpet and strings ESTIMATED DURATION: 6 minutes Charles Ives wrote this existential music, sub- realize a futility, and begin to mock ‘The Question.’ titled “A Cosmic Landscape,” as a counterpart to After they disappear, ‘The Question’ is asked for another short instrumental work . Ives paired them the last time, and ‘The Silences’ are heard beyond as “1. A Contemplation of a Serious Matter” or in ‘Undisturbed Solitude.’” “The Unanswered Perennial Question” and 2 . “A Contemplation of Nothing Serious” or “Central Park The strings provide the harmonic underpinning in the Dark in ‘The Good Old Summer Time.’” by floating a series of slow-moving shimmering Ives first sketched The Unanswered Question in chords revealed rather than created . There is no 1906 . When he returned to it in the 1930s, he revised traditional harmonic motion; in a manner that antic- the wind parts, changed the final note of the trumpet’s ipates the minimalism of the 1970s and 1980s, the question and added an explanation to the score: chords simply evolve seamlessly, with no linear directionality . Over the strings, a solo offstage “The strings play ppp throughout with no change trumpet intones a five-note question, haunting in in tempo. They are to represent ‘The Silences of both its simplicity and ambiguity . This question is the Druids – Who Know, See, and Hear Nothing.’ repeated seven times; six of the “questions” trigger The trumpet intones ‘The Perennial Question of responses from a quartet of flutes . These responses Existence,’ and states it in the same tone of voice range from a tentative restatement of the question each time … the hunt for ‘The Invisible Answer,’ to angry chatters and outbursts that seem to refute undertaken by the flutes and other human beings, it . The final question receives no response; it simply becomes gradually more active … as the time goes floats in the air over the strings until all sound fades on, [the flutes], after a ‘secret conference,’ seem to away into a cosmic silence .

JOHANNES BRAHMS Serenade No. 2 in A major for Orchestra, Opus 16 COMPOSER: Born May 7, 1833, Hamburg; died April 3, 1897, Vienna WORK COMPOSED: 1858-9 WORLD PREMIERE: Brahms conducted the first performance with the Hamburg Philharmonic Society on February 10, 1860 INSTRUMENTATION: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, violas, cellos, and basses (no violins) ESTIMATED DURATION: 32 minutes In 1857, a 23-year-old Johannes Brahms accept- article in the Neue Zeitschrift für Musik about an ed an invitation to the tiny court of Lippe-Detmold . unknown young genius from Hamburg who would His duties included giving piano lessons to Princess take up where Beethoven left off . Schumann Frederike, accompanying Prince Leopold II, lead- meant well, but Brahms felt this crushing weight ing the court choir, and giving concerts . From of expectation all too keenly . “I shall never write a 1857-1860, Brahms spent each October through symphony!” Brahms declared . “You have no idea December at Detmold, where his relatively light how it feels to hear behind you the tramp of a giant work schedule and access to the court’s musicians like Beethoven ”. gave him much-needed experience writing for a During his time at Detmold, Brahms sidestepped full orchestra . the daunting prospect of a symphony with an inge- Four years earlier, Robert Schumann “intro- nious alternative: orchestral serenades . Serenades, duced” Brahms to the musical world via an Continued on page 28

26 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Ways to Watch With a little advance preparation, you can watch • Once the app opens, navigate to the search box the virtual concerts on your TV, instead of the and use the virtual keyboard to type Santa Rosa smaller screens of your laptops, phones and iPads . Symphony to find the channel . Watch a video to Below are guides for many ways to watch . We test it . highly recommend doing all the prep work at least On Comcast Xfinity X1 a few days in advance of the event or concert . That • Using your Xfinity remote, press the Xfinity way, the day of, you'll be ready to watch . button and navigate to Apps > YouTube . You can also watch on desktop computers, lap- • Type Santa Rosa Symphony into the search box . tops, tablets, iPads, smartphones (i e. . iPhone & • Using the voice remote, you can also open the Android), Amazon Fire . All you need is an Internet app by saying "YouTube," or search for "Santa connection and the YouTube app installed on your Rosa Symphony on YouTube ". device . To download the YouTube app, please visit the App store on your device . On Dish Network • On your Hopper, press Home and select Apps . ON OUR WEBSITE • Click on the YouTube tile and search for Santa The YouTube videos will be on the SRS @ Home Rosa Symphony . pages for the premiere . You can find it there, and • You can also navigate to Channel 371 in the expand it to full screen . If you would like to join the guide to launch the app . conversation and add comments, click "YouTube" in the bottom right which will take you to the con- ON OLD-STYLE TVS cert on the Symphony's channel on YouTube . If you have an old-style TV, you will have to use an external device to make a connection between your ON YOUTUBE device, which has the YouTube app installed, and Open YouTube and type Santa Rosa Symphony in your TV . A device could be a smartphone, tablet, the search box . You'll see a photo of Francesco . iPad, or laptop . You will need to have Internet access . Click on Santa Rosa Symphony to the right of the photo to link directly to the Symphony's channel . You may be able to link your TV to your computer Watch a video to test it out . On concert day, you with an HDMI cable, or link wirelessly by purchas- will find the video there, at the top of the list . ing a Chromecast dongle . You can also link your phone via firewire cable . The TV will need an HDMI If you have a Google account (Gmail), you can log in connection found at the back of the TV . If you do to your YouTube account, allowing for more conve- not have an HDMI connection, watching on your nient access each time you watch . We recommend TV may not be possible . subscribing to the Symphony's channel and setting up notifications, then you won't miss a thing . On the Symphony's Ways to Watch page, you can choose the video that most closely matches your ON YOUR SMART TV circumstances and equipment . There are a couple of easy ways to watch YouTube on Visit srsymphony org/Plan-Your-Visit/Ways-to-. your Smart TV . The first is through your pre-installed Watch for these instructional videos . apps, directly on the Smart TV . The second is through your Internet provider, such as Comcast Xfinity X1 or • Watch the concert with older TVs using lap- DISH Network . Please note, not all internet providers tops, Roku and gaming consoles offer access to YouTube . If you have questions about • Screen mirroring with Google Chromecast this, please check with your provider . Dongle Directly on your Smart TV • 3 Ways to connect your Android phone to TV • Using your Smart TV remote, search for your | HDMI cable | Google Chromecast | Casting YouTube app . from Phone • How to connect your iPhone to TV + screen mirroring

2020 – 2021 Season 27 Continued from page 18

Mozart’s final three symphonies, Nos . 39, 40 The Adagio-Allegro’s stately introduction and 41, were composed in nine weeks during the hints at grandeur and opulence . The main summer of 1788 . Even for Mozart this rate of out- movement begins with a gentle, questioning put is remarkable, especially given the high quality theme in the strings, answered by a vigorous of all three works . The elegant lightheartedness rhythmic counter-melody for trumpets and of the Symphony No . 39 contrasts starkly with timpani . Mozart uses the primary melody of Mozart’s worrisome financial situation . A contem- the Andante con moto to transport the listener porary critic labeled this joyful work “Mozart’s into a realm of quiet agitation, exploring dark splendid symphony ”. minor keys that hint at his own inner turmoil . Nothing is definitively known about the circum- By contrast, the lilting charm of the Menuetto: stances surrounding the composition of these three Allegretto celebrates the simple joys of a minuet symphonies, but it is likely Mozart wrote them for with a bouncy rhythm . In the trio, a solo clarinet a series of concerts he had planned to present sings the graceful melody of an Austrian country in Vienna in the summer of 1788, or for a trip to ländler . For the spirited Finale: Allegro, Mozart London (which he never made), or perhaps both . unleashes his imagination and impish sense of There are no surviving records to prove the Vienna humor, with off-beat syncopations, unexpected concerts in fact took place, but the amazing speed silences, breakneck speed, and sudden juxta- with which Mozart composed these symphonies positions of soft and loud dynamics . suggests an urgent need for new music that would © 2021 Elizabeth Schwartz entice audiences back to the concert hall .

Continued from page 26 with their bucolic nature, multiple movements, and but oddly duple metered minuet (Minuets, prede- emphasis on lyrical, lighthearted melodies, provided cessors of the waltz, are usually written in ¾ time) . an excellent opportunity to explore the sonic pos- These two dances bracket the central movement, sibilities of a full orchestra without all the weighty a lovely Adagio whose main theme Brahms sets compositional expectations attached to the writing to a series of gentle, almost poignant, variations . of a symphony . The concluding Rondo: Allegro rouses with the Brahms’ first orchestra serenade, in D major, piercing sound of the piccolo . The music romps was well received . For his second, Brahms made freely like an off-leash puppy; the late Michael the interesting choice to omit violins from the string Steinberg described this ebullient finale as “a section . This decision places the winds in the fore- happy cheerleader ”. front, while the strings take on a collaborative role . The resulting sound links the A major serenade © 2021 Elizabeth Schwartz directly with earlier chamber music serenades by Mendelssohn, Mozart, and others . Elizabeth Schwartz is a writer and music historian based in the Portland area. She has been a program annotator for more than 20 The Allegro moderato features clarinets and years, and works with music festivals and ensembles around the bassoons in graceful interplay . Brahms punctuates country. Ms. Schwartz has also contributed to NPR’s “Performance the liquid quality of his free-flowing melodies with Today” (now heard on American Public Media). a characteristic rhythmic gesture: triplets dueling NOTE: These program notes are for Santa Rosa Symphony patrons with 2/4 meter . and other interested readers. Any other use is forbidden without specific permission from the author, who may be contacted at The two dance movements offer interesting classicalmusicprogramnotes.com. contrasts: a short, exuberant scherzo and a refined

28 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER ACST_SRSad1.pdf 1 8/20/19 4:21 PM

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WE CONGRATULATE THE SYMPHONY FOR THEIR COMMITMENT TO MUSIC EDUCATION

2020 – 2021 Season 29 Friends. Neighbors. Communities. For 130 years, the professionals at Stifel have predicated their success on the success of our clients and the communities in which we live and work. Simply, we believe that as individuals, businesses, and public entities come together, we reach common goals.

Left to Right: Lawrence Stater, First Vice President/Investments; Judy Enochs, Registered Client Service Associate; Kelly Stromgren, Financial Advisor; Todd Frediani, AWMA®, First Vice President/Investments, Branch Manager; Donielle Davis, Cashier/Wire Operator; Samuel Slayden, Vice President/Investments; Cindy Buckman, Assistant Branch Manager; Eric Abbott, CRPC®, Financial Advisor

(707) 542-3521 | (866) 498-6794 toll-free 3554 Round Barn Blvd., Suite 200 | Santa Rosa, California 95403 30 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Stifel, Nicolaus & Company, Incorporated | Member SIPC & NYSE | www.stifel.com Friends. Neighbors. Communities. For 130 years, the professionals at Stifel have predicated their success on the success of our clients and the communities in which we live and work. Simply, we believe that as individuals, businesses, and public entities come together, we reach common goals.

Left to Right: Lawrence Stater, First Vice President/Investments; Judy Enochs, Registered Client Service Associate; Kelly Stromgren, Financial Advisor; Todd Frediani, AWMA®, First Vice President/Investments, Branch Manager; Donielle Davis, Cashier/Wire Operator; Samuel Slayden, Vice President/Investments; Cindy Buckman, Assistant Branch Manager; Eric Abbott, CRPC®, Financial Advisor

(707) 542-3521 | (866) 498-6794 toll-free 3554 Round Barn Blvd., Suite 200 | Santa Rosa, California 95403 2020 – 2021 Season 31 Stifel, Nicolaus & Company, Incorporated | Member SIPC & NYSE | www.stifel.com Proud supporter of the Santa Rosa Symphony

32 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER SUSAN AND NEIL SILVERMAN PHOTOGRAPHY SILVERMAN NEIL AND SUSAN

Making an Impact

Ticket sales cover less than half the cost of making the music you love .

It is the philanthropic support of community members like you—through gifts of all sizes—that keeps the Symphony resilient . Every gift matters!

Ways You Can Support the Santa Rosa Symphony

The Symphony Giving Societies represent diversified and meaningful giving opportunities .

Immediate Impact A Lasting Legacy Yearly support from the Stradivarius Leave a legacy of music to future Society comes in many forms that help us generations: every day: Planned Gifts Gifts of Celebration Gifts to our Endowment Memorial Gifts Endowing a Chair in the Orchestra Gifts of Tribute Annual Operating Gifts Gifts Dedicated to Music Education Underwriting Guest Artists, Concerts and more

If you place a value on living in an arts-filled community for all ages and future generations, we ask you to make a contribution today.

For more information, contact the Santa Rosa Symphony Development Department at (707) 546-7097 x 214

2020 – 2021 Season 33 34 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Heritage Society members have identified the Santa Rosa Symphony as the best partner in the creation of a personal legacy . They share the Symphony’s philosophy that everyone in our community, no matter what their age or income level, deserves to have music in their lives .

We extend our deepest gratitude to our Heritage Society Members: Mr . & Mrs . Robert Ball Vickie & Alan Horowitz Gardner Rust Sharon & David Beckman Sandra Jordan Mr . Charles N . W . Schlangen Nancy & David Berto Janet Kirschen Barbara & Jacques John Bippart Bette Koehler Schlumberger Gordon Blumenfeld Sara & Edward Kozel Diane Schoenrock Dixon & Sara Browder Rose & Bruce Lamanna Alan & Susan Seidenfeld Linda Castiglioni Maria Lucidi Charitable Trust Marilyn & Dave Chiotti Joanne Foote-Lynch Ralph D . Sikes Patricia Clothier Eugenia Lea-McKenzie Faye Smith Nancy Doyle William & Julie Middleton Irene Sohm Susan & Bruce Dzieza Lin Nelson Linda Temple Pauline Fisher Nancy & Robert Novak Lissa Vecchio Ava & Sam Guerrera Norma Person Ellen & Chuck Wear Marty Hamilton Betty Riess Jane & Nelson Weller Jamei Haswell & Richard Sharon & Jerry Robison Creighton White Grundy Harry Rubins Gary L . & Linda Yates Judith Howard

2020 – 2021 Season 35 Encore Society Encore Society members have made an outright gift of $5,000 or more to the Endowment Fund over and above their Annual Donation . We rely on the Endowment to provide the ongoing and long-term resources required to remain artistically adventurous, financially strong and organizationally vibrant .

We share our heartfelt thanks for our Encore Society Members:

Charles J . & Kären Abbe Stephen & Barbara Laruccia Joe Apfel Mr . & Mrs . Daniel Libarle Hallie Beacham, M .D . & Paul Downey Fred & Marjory Lourence John Bippart Cathy & David Marsten Gordon Blumenfeld Alan Mason & Timothy Rodrigues Corrick & Norma Brown Art & Lynda Matney David & Corinne Byrd Robert J . & Diane Melder Jack & Marsha Dupre Lin Nelson Jane & Herb Dwight Norma Person Deborah Eid Betty Riess Ernest L . & Ruth W . Finley Foundation Harry Rubins Pauline Fisher Mr . Charles N . W . Schlangen Donald & Maureen Green Barbara & Jacques Schlumberger Ava & Sam Guerrera Diane Schoenrock Amanda & Ray Haas Jean Schulz Jamei Haswell & Richard Grundy Alan & Susan Seidenfeld Charitable Trust Jim & Carolyn Hinton Ellen & Chuck Wear Janet Kirschen Jane & Nelson Weller Kevin & Michelle Konicek Sara & Peter Woodfield Edward & Sara Kozel

The Endowment Fund provides an ongoing source of income for operations and programs . We encourage you to review this opportunity with your professional financial and tax advisors . SUSAN AND NEIL SILVERMAN PHOTOGRAPHY SILVERMAN NEIL AND SUSAN

36 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER SUSAN AND NEIL SILVERMAN PHOTOGRAPHY SILVERMAN NEIL AND SUSAN Enjoy the benefits of corporate sponsorship We invite you to consider a sponsorship with the Santa Rosa Symphony . We offer sponsorship benefits in the areas of marketing, tickets and hospitality that have great impact and provide a highly visible opportunity for your business . For more information, please contact the Development Office at (707) 546-7097 x 214 . Business, Corporate, Foundation & Government Donors $50,000+ County of Sonoma & Creative $3,000 – $4,999 William and Flora Hewlett Sonoma 50SRA Partners LP Foundation The E . Nakamichi Foundation Clover Sonoma Ernest L . & Ruth W . Finley The Kimball Foundation Exchange Bank Foundation Miranda Lux Kiwanis Club of Santa Rosa $20,000 – $49,999 National Endowment for the Arts Safeway Foundation Anonymous (1) Prosource of Santa Rosa Umpqua Bank Charitable Bethlehem Foundation Sequoia Trust Foundation California Arts Council Sonoma County Vintners $2,000 – $2,999 Foundation Clarence E . Heller Charitable D'Addario Foundation Foundation Vadez Family Foundation Macy’s Santa Rosa Symphony League Willow Creek Wealth Management $500– $1,999 The Stare Foundation and David World of Carpet One Stare of Dry Creek Vineyard Flooring FX $5,000 – $9,999 Viking Cruises Hendrickson Law Group PC BPM Keysight $10,000 – $19,999 Exchange Bank La Tortilla Factory Codding Foundation Hansen Family Foundation The Lenore & Howard Klien Community Foundation Sonoma Rubins Financial Strategies Foundation County Pacific Gas and Electric Company Valley of the Moon Rotary County of Sonoma - Board of The Press Democrat Supervisors Wells Fargo

The Santa Rosa Symphony wishes to express its appreciation for the legal services rendered by Spaulding McCullough & Tansil LLP .

With great appreciation, the Santa Rosa Symphony recognizes the generous organizations that support our 2020-2021 concert season . This list includes gifts received through January 8, 2021 .

2020 – 2021 Season 37 Annual Campaign Major Donors

The Santa Rosa Symphony recognizes with warm appreciation our many generous donors . This list includes gifts and pledges to the Annual Campaign received through January 8, 2021 .

Maestro’s Society Joan R . Palmer Lynn & Stephen Olsen $50,000 + Norma Person, in memory of Evert Ron & Kathy Perotti Anonymous (1) Person Ken & Marty Prouty Anderman Family Foundation Jacques & Barbara Schlumberger Gertrude Reynaud & Phil Trowbridge Sigmund Anderman, in memory of Faye Smith Michael & Angele Rice Susan Anderman Irene Sohm Marlene Russell & Mike Center Sara & Edward Kozel, in memory of Jon & Teresita Stark Dr . Barry N . Silberg Laura Tietz Jane & Nelson Weller Creighton White Alan & Susan Seidenfeld Charitable Jerry & Susie Wunderlich Trust Private Reserve Circle Concertmaster Circle $2,000 - $2,999 Virtuoso Society 5,000 – $9,999 Anonymous (1) $20,000 – $49,999 Anonymous (2) Donavon & Jennifer Ammons Anonymous (1) Susan & Ed Adams Joe Apfel Charles J . & Karen Abbe Dan & Anne Benedetti Jeri & Keven Brown David & Corinne Byrd Gordon Blumenfeld Patricia Clothier Peggy Anne Covington Fund Norm Claus & Leona Biddle Sue Conley, in memory of Garth Herb & Jane Dwight Corrick & Norma Brown Bixler Joseph & Judith Gappa Jack Dupre & Marsha Vas Dupre Gordon Danielson Donald & Maureen Green Dr . Richard & Barbara Ferrington Steven Deas & Jane Rosenburg Jamei Haswell & Richard Grundy Pauline Fisher Jane & Richard Drever Sara & Edward Kozel Raymond & Amanda Haas David & Sally Ewald Jim Lamb Carolyn & James Hinton Mark Feichtmeir Eric J Rossin & Beth A Weisburn Dr . & Mrs . Mark Jacobson Tom & Cappie Garrett Vic & Karen Trione, in memory of Valerie Marshall & Mark Matthews Frank Haeg Henry Trione Kirk & Debbie McAfee Marna & Rick Hill Marcia Wagner, in memory of Hap George & Marie McKinney Savannah Hill Music Scholarship Wagner Robert J & Diane Melder Fund Symphony Society Nancy & Robert Novak John & Geraldine Holt $10,000 – $19,999 Susan & John Reed Richard & Sue Kavinoky Hallie Beacham, MD & Paul Downey Barbara & Jim Spangler Maria Lucidi & Martin C . Hamilton Garth Bixler Gregory Sprehn Eugenia Lea-McKenzie Larry Broderick Temple Family Trust Gaye LeBaron Sara & Dixon Browder George & Nancy Luke Ensemble Circle Gayle & Arnie Carston Dr . & Mrs . Larry Marianella $3,000 – $4,999 Linda Castiglioni Gerald & Lynn McIntyre Kimiko & Ivan Barta Pam & Tim Chanter Laurie Plant John Bippart George L . Smith Jr . M .D . & Nancy Riley & Pamela Rankin Cathy Lecce-Chong & Curtis Chong Doyle M .D . Fund of Community Jonathon Riley Karen Brodsky & Mark Dierkhising Foundation Sonoma County Sharon & Jerry Robison Sandy & Ron Dodge Susan & Bruce Dzieza Emily Roeder Betty Jean & George Ferris John How, In memory of Wendrea Woods How Mr . Charles N . W . Schlangen Ava & Sam Guerrera Suzanne Knecht Dorothy & Warren Schneider Linda & David Hanes Mr . & Mrs . Daniel Libarle Joe Smith Sandra Velasco Jordan Betha MacClain Vi & Dick Strain Amy & Joel Levine, in loving Marvin & Pat Mai Mary G . Tuscher memory of Leonard and Pauline Ellen & Chuck Wear Miller Gene & Carole Michel

38 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Connie & Philip Woodward Jan & Jerry Slaby Cathy & David Marsten Douglas Woodard & Terry Felicity & Pano Stephens Dr . William H . Mason Pennebaker Vrenae Sutphin & David Gray Roger Jungerman & Stephanie McAllister Overture Circle Jim Wallace $1,000 - $1,999 Lynne & Rod Wallace James McClure Anonymous (4) Valerie Williams & Gregory Reisinger William L . & Julie Middleton Mr . & Mrs . Gary Bayless, in memory Walter Zimmerman The Morgan Family Barbara Moulton of Randolph Newman Supporter Nadenia Newkirk Mary & Philip Beard $500 - $999 William & Cynthia Noonan Rick & Margaret Belding Anonymous (3) Jim & Carol O’Hara Marilyn & Gene Benedetti Yale & Terry Abrams The Parikh Charitable Trust Christine Berardo & Robert Karen & Ken Adelson Jim Passage Markowitz Bonnie & Brian Alexander, in Cynthia & Frederick Brinkmann memory of Diane Comstock Richard Pratt & Katie Murphy Jim Bullock & Ralph Elder Kayleen Asbo Sean & Rachelle Pryden Marilyn & Dave Chiotti Mr . William Barnier Chuck & Kati Quibell Beatrice N . Coxhead & Gerald Steve & Terry Beck Josey & Matt Richter S .Anderson Sharon & David Beckman Loria Rolander Lyle Cromer Marty & Ginny Behr Roger Rose & Margaret Flynn Dr . James Cross & Mr . Charles Sara Bixler & Andrew Kay Glenda Ross Antonen Peggy & Kurt Dunphy Paul Rowan Christine & Vic Cucina The Hellman Brown Family Russell Sawyer Melvin Decker Tom & Elinor Burnside Larry & Madalynn Schmidt Darlene Donaldson & Family Jeffrey & Alice Chan David Powers & Beverly Schor Parker Duncan & Paola Diaz Maelin Chein Julie & Scott Schoepp Joanne & Edward Enemark Laura Chenel Lucia & Ji Schultz Yvette M Fallandy Dr . & Mrs . F . Scott Chilcott Ian Seddon Mary & Scott Farrar Mike & Jean Chirhart Theresa & Alan Silow Karen & Bob Field William & Sara Clegg Vernon & Lida Simmons Lynne & Claude Ganz, in honor of Constance Crawford Theresa Skala Norma & Corrick Brown Jayne DeLawter & Ken Koppelman Ned Spina Mr . & Mrs . Thomas M . Glenn Ron & Kris Dick Gail Stern John & Jean Hackenburg Fernando Dizon & Grace Harris Mr . & Mrs . Hans (Lefty) Stern Arthur & Janet B . Hayssen G C. . Estrada Nancy Stewart David Lincoln King & Timothy Mike Faust Pat & Tom Swaney Stevenson Fay Gallus & Richard Sweet Mr . & Mrs . Eric Swanson Jeff & Janet Libarle Cindy Gillespie Frank Tansey & Nancy Watson Chantal Vogel & Darrell Luperini Drs . Michaela & James R . Glenn Jr . Janet Thorp & Donald Naples Frank & Kathleen Mayhew Kurt & Camilla Gray-Nelson Paul Tietz Pat Martin Karen Gottlieb Eunice Valentine Shelby & Andrew Milanez Patricia Grimmer Captain & Mrs . Gerald van Norden Drs . Elliot & Marlene Morrison GC Micro Mr . & Mrs . James van Noy Mike & Kathy Mouat Kendall & Kevin Hamann Lloyd & Alice von der Mehden Denny & Katie Murphy Barbara Moulton & Tom Helm Brenda Walker, in memory of Mr . & Mrs . Warren Musser Graciela Walker Laura Holms & Michael Martin Renata Breth & Steve Osborn Ron Welch & Ellen Watson Carolyn Corrick Volk Horne Nina & Paul Pedersen Mr . & Mrs . David White Vickie & Alan Horowitz Truman Reynolds & Patrizia Heather Young Susan & Harry Jergesen McCarthy Pam & Tim Zainer Robert & Arline Jones Denise Scaglione Drs . Richard & Loretta Zweig Michelle Sikora, in honor of Norma Jeffrey & Martha Kahane & Corrick Brown Francesco Lecce-Chong & Chloe Tula

2020 – 2021 Season 39 Tributes & Memorials includes gifts received through January 8, 2021

Tributes: In honor of Francesco & Chloe’s Wedding In honor of Garth Bixler Susan & Bruce Dzieza Sue Conley In honor of Brad Bollinger Redwood Credit Union

Memorials: In memory of Lorna Myers Steven & Angela Gelber Helen & David Nagusky Mrs. Joyce Coyle Polly Fisher Ms. Elanor Hamburger Mr. & Mrs. James B. Hope Manning Mr. & Dr. Gabrielle The Diskin Family Hinton Peggy & Lloyd Culp Cramer Mike Melton Lillian Price Joyce Kennedy Eileen Steele Joan Mohr Samuels Jacqueline & Alan Fogel Virgina Lovejoy Suzanne Abrams Mr. & Mrs. Steven Robert Mr. & Mrs. Daniel Gordon Anne & Don Palmer Mrs. & Mrs. Kenneth Walker MiMi Sikora Ms. Emily Maltz Prouty Marge Limbert Dr. & Mrs. Jerold Shaprio In memory of Maureen Green In memory of Lucy Poindexter Pat Clothier Santa Rosa Symphony League Sean & Joanna Butler In memory of Jane Cole Waldorf Santa Rosa Symphony League Michael Woldorf In memory of Louis Sloss Alan Siegle & Shelley Brown

Volunteer Support through January 8, 2021 Jeffrey Alcarez Simply Strings Parent Club Ron Bartholomew The Parents of the Santa Rosa Symphony Youth Bob Eldredge Ensembles Tom Spittler

In-Kind Gifts includes gifts received through January 8, 2021

Individuals: Jordan & Associates Retirement Services Maria Aguirre Loveland Violin Shop Duncan Dreschel Planeteria Media Gail McGovern The Press Democrat: Media Sponsor Ted & Carol Murphy Roseland School District Mateo Prusky Santa Rosa Symphony League Sheppard Accelerated Elementary School Businesses and Corporations: Sonoma Academy AcCounting on Computers Spaulding, McCullough & Tansil LLP Barracuda Networks Stanroy Music Center Best Collateral Studio M Pilates & Gyrotonic Children’s Museum of Sonoma County Summerfield Waldorf School & Farm Covered Comrades Susan & Neil Silverman Photography Farmhouse Inn Visual Story Media Friedman's Home Improvement

40 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Double your concerts AND Extend your enjoyment! Become an AT HOME Subscriber At Home Subscribers enjoy all of these benefits: • 30-day extended access to the five new SRS @ Home virtual concerts • Five Guest Artist Recitals and Conversations with Music Director Francesco Lecce-Chong • Exclusive access to the thrilling 2012 orchestral opening concert at Weill Hall Five Concerts for $250 to share with your household! SRS @ Home Virtual Series Concerts on YouTube at 3 pm Jan 24 * Feb 28 * Mar 28 * April 25 * May 16 Guest Artist Recitals and Conversations with Music Director Francesco Lecce-Chong JANUARY 17: David Krakauer, clarinet FEBRUARY 21: Michelle Cann, piano APRIL 5: Zuill Bailey, cello APRIL 18: Jennifer Frautschi, violin MAY 9: Julian Rhee, violin Call Patron Services Monday - Friday (707) 546-8742

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James Fisher & Son, Inc. 2020 – 2021 Season 41 James Fisher707.545.1330 & Son, Inc. 707.545.1330culligansantarosa.com culligansantarosa.com Santa Rosa Symphony 2020–2021 Season Resident Orchestra at the Green Music Center Francesco Lecce-Chong, Music Director

CLASSICAL CONCERT SERIES SRS @ Home Program 4 January 24, 2021 SRS @ Home Program 1 Francesco Lecce-Chong, conductor October 11, 2020 J. S. BACH: Ricercare à 6 from Das Musikalische Francesco Lecce-Chong, conductor Opfer [The Musical Offering] GEORGE WALKER: Lyric for Strings Anton Webern, arr. GABRIELI: Canzoni for Brass ELLEN TAAFFE ZWILICH: Concerto Grosso 1985 for GABRIELA LENA FRANK: Escaramuza Chamber Orchestra [after Handel] R. STRAUSS: Serenade for Winds MARIANNA MARTÍNES: Sinfonia in C major BEETHOVEN: Symphony No . 1 W. A. MOZART: Symphony No . 39

SRS @ Home Program 2 SRS @ Home Program 5 November 15, 2020 February 28, 2021 Francesco Lecce-Chong, conductor Francesco Lecce-Chong, conductor Adelle-Akiko Kearns, cello WILLIAM GRANT STILL: Serenade for Small Orchestra Jay Zhong, violin RICHARD WAGNER: Siegfried Idyll for Small Orchestra Michelle Maruyama, violin ELLEN TAAFFE ZWILICH: Prologue and Variations for GABRIELA LENA FRANK: Coqueteos from Leyendas String Orchestra CHEN YI: Romance and Dance ANTONÍN DVORˇ ÁK: Czech Suite JOPLIN: The Entertainer JOPLIN: Maple Leaf Rag SRS @ Home Program 6 MAX BRUCH: Canzone for Cello and Orchestra March 28, 2021 BEETHOVEN: Symphony No . 2 Francesco Lecce-Chong, conductor Zuill Bailey, cello SRS @ Home Program 3 JESSIE MONTGOMERY: Starburst for String Orchestra December 13, 2020 BARBER: Adagio for Strings Francesco Lecce-Chong, conductor ELLEN TAAFFE ZWILICH: Concerto for Cello and JESSIE MONTGOMERY: Source Code Orchestra VIVALDI: Concerto Grosso in F major CHARLES IVES: The Unanswered Question VAUGHAN WILLIAMS: Fantasia on Greensleeves BRAHMS: Serenade No . 2 BEETHOVEN: Symphony No . 3, Eroica

42 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER SRS @ Home Program 7 FOR SUBSCRIBERS ONLY April 25, 2021 Guest Artist Recitals and Francesco Lecce-Chong, conductor Joseph Edelberg, violin In Conversation with Music Director Francesco Lecce-Chong CAROLINE SHAW: Entr'acte for String Orchestra ELLEN TAAFFE ZWILICH: Romance for Violin and Chamber Orchestra January 17, 2021 ARTURO MÁRQUEZ: Danzón No . 4 for Chamber David Krakauer, clarinet Orchestra TCHAIKOVSKY: Serenade in C major for String February 21, 2021 Orchestra Michelle Cann, piano

SRS @ Home Program 8 April 5, 2021 May 16, 2021 Zuill Bailey, cello Francesco Lecce-Chong, conductor Elizabeth Dorman, piano April 18, 2021 ROSSINI: Overture to Il signor Bruschino Jennifer Frautschi, violin MICHAEL DAUGHERTY: Asclepius, Fanfare for Brass and Percussion May 9, 2021 ELLEN TAAFFE ZWILICH: Peanuts® Gallery for Piano Julian Rhee, violin and Orchestra PAUL DOOLEY: Sonoma Strong 54-MUSIC (707) 546-8742 F. J. HAYDN: Symphony No . 45, Farewell srsymphony.org

Visit page 27 for ways to watch SRS @ Home virtual concerts .

Programs, artists and prices are subject to change . All patrons regardless of age must have a ticket .

2020 – 2021 Season 43 Supporters & Contributors to Symphony League Events

Sing-Along Messiah, 2020 Friends of the League, 2020-2021 Barbara Gasparini Very Special Thanks Maestro [$1000 or more] Noelle Dangremond Barbara Riley Dan Earl Marilyn Chiotti Alan Silow Ryan Brady Terry and John Stark Pat Clothier Underwriters Peter Taines Barbara Shepherd Concertmaster [$500-$999] John Bippart Sheila McQuillen Healdsburg Kiwanis Joanne Enemark Persis McCarley Maestro [$1000 or more] Sharon Beckman Blanche Mansoor Sara Kozel Concertmaster [$500-$999] Betty Riess Liz Bippart Susan Schrakoff Ryan Brady Jackie Reinhardt Music Lovers (up to $99) Orchestra [$250-$499] Karen and James Ely Caroline Sloan Audience [$100-$249] Irene Sohm Alan Karbousky Sandy Throne Kei Blesch Sheila Einhorn Amy and Joel Levine Jody Benecke Thomas Chesterman Orchestra [$250-$499] Jacob Ely Donna Walrich Liz Bippart Sigrid Thomason Katherine Phillips Carole Menke Laurie Hall Emily Roeder Fran Swanson Alan Silow Garth Bixler Elizabeth Kern Eugenia McKenzie Teresa Meikle Paul and Judy Archambeau Susan Witt-Butler Elizabeth Kern Music Lovers (up to $99) Barbara Erickson Linda Varrow Barbara Zook Julia Wilkinson Katherine Donlon Michelle Zyromski Richard Randolf Teresa de Riba Audience [$100-$249] Laurie Johnson Consulting William Bryan Carole Hester Nancy Doyle James Neary Jan Gavagan Jim Wolfe Barbara St . Louis Marlene Cullen Diana Forney John Dupre Liz Martin Diane Tomczak Suzanne Stewart Edward Myers Lucille Hynes Carolyn Bippart Jean-Marie Jones Patricia D . Drieger Fay Gallus Sheila Einhorn Ellen Wear Mary Fricker Carolyn Bippart Betty Ferris Gwen and James Neary Leona Biddle Ellen Stillman

44 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER League Board of Liz Bippart, League President Directors 2020-2021 Liz Bippart President Looking Back . . . Looking Forward . . . Julia Wilkinson Our mission to support the SRS Institute for Music President Elect Education is inspiring work . In the afterglow of our Laurie Hall virtual Sing-Along Messiah that debuted on YouTube Treasurer in December, I would like to thank and recognize the Liz Martin tremendous collaboration of Ryan Brady and Dan Earl . Recording Secretary & VP Membership The League has been fortunate to present the live version Development of Sing-Along Messiah for over 10 years now, but Dan has Lisa Hauge been there as conductor for 40 years . We often use the word icon to describe VP Membership Communication Dan . But Dan is also, in the truest sense of a popular word these days . . . an influencer . During his long tenure as Choir Director at Santa Rosa High School, Elizabeth Kern VP Public Relations he touched the lives of countless young people . Though retired, Dan’s connection Karen Ely with his former students is exemplified by the 168 who prepared their individual VP Major Events recordings of The Lord Bless You and Keep You (Lutkin) shortly after the shelter- Jackie Reinhardt / Julia in-place in March began . A beautiful Zoom choral production was the result . Wilkinson VPs Ongoing Fundraising Ryan Brady, one of Dan’s former students, was the creator of this beautiful Kay Oppenheimer choral hymn that can be found on YouTube . It was offered as loving support to VP Music Education all those affected by the pandemic . Ryan, who now lives in Boston, was quick Beth Holden / Terry Stark to offer his expertise (and countless hours) to the League in producing a virtual VPs Support Services Sing-Along Messiah so that we could continue this wonderful holiday tradition . Marilyn Chiotti Corresponding Secretary What will 2021 bring? Stay tuned . Irene Sohm / Barbara Gasparini Dues Liz Bippart Santa Rosa Symphony League, President Barbara Olsen / Barbara Erickson Hospitality Emily Roeder Baton Editor Liz Shatto Mailings Beth Henry SANTA ROSA Web Mistress Sheila McQuillen / Sandy Throne Friends of the League Wendy LaLanne ymphony Parliamentarian Linda Varrow Historian Meetings: eague first Thursdays S L 2020 – 2021 Season 45 “Music gives a soul to the universe, Wings to the mind, flight to the imagination and life to everything.” - Plato

We salute the Santa Rosa Symphony for their resilience and imagination in these difficult times of pandemic and uncertainness. The Board, Staff and Musicians are to be commended. BLACK OAKS BLACK OAKS

Alan & Susan Seidenfeld Brian, Katie, Justin & Dena

Madison, Amelia, Lila, Benjamin & Reagan 46 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER SUSAN AND NEIL SILVERMAN PHOTOGRAPHY

SANTA ROSA SYMPHONY INSTITUTE FOR MUSIC EDUCATION Youth Ensemble Concerts 2020-2021 Season

Enjoy the talent of the Institute's young musicians in these Virtual Concerts on YouTube. Debut Youth Orchestra & Aspirante Youth Orchestra Saturday, Jan. 30, 2021 at 3 pm Santa Rosa Symphony Youth Orchestra AT THE MOVIES Tuesday, March 9, 2021 at 7 pm Debut Youth Orchestra and Aspirante Youth Orchestra Saturday, April 24, 2021 at 3 pm Santa Rosa Symphony Youth Orchestra WANDERLUST Tuesday, May 11, 2021 at 7 pm Young People's Chamber Orchestra Date to be announced

Please visit the Institute's YouTube Channel "SRS Education" and click on "subscribe" and then the bell icon to get notifications of upcoming concerts

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48 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER 2020 – 2021 Season 49 Santa Rosa Symphony Institute for Music Education The Santa Rosa Symphony is recognized as Young People’s Chamber Orchestra having one of the most comprehensive music A conductor-less string orchestra focused on education programs in California, serving nearly teaching advanced ensemble and leadership skills . 30,000 youth and adult students annually . The Symphony has a profound commitment to train Santa Rosa Symphony Youth Orchestra musicians of the future and to foster a lifetime love An advanced full orchestra performing standard of music through school outreach and community repertoire from unabridged scores . This orchestra engagement . presents four concerts each year and has per- formed in Carnegie Hall and Davies Symphony Training Young Musicians Hall . SRSYO has toured China and Central Europe . The Santa Rosa Symphony offers a full complement of youth ensembles, including: Summer Music Academy A fun, three-week program of daily group String Orchestra Workshop instruction for beginning to advanced students A first ensemble experience open to children and on all orchestral instruments, choir, rhythm and adults without audition, in preparation for playing fundamentals, culminating in open houses and a in a full orchestra . final concert by the Performance Academy that is open to the public . Debut Youth Orchestra A full orchestra experience, building a solid foun- Simply Strings dation for beginning orchestral students . Inspired by El Sistema, Venezuela’s acclaimed social action music network, Simply Strings Aspirante Youth Orchestra is based at Sheppard Accelerated Elementary A full orchestra for intermediate to advanced School in Roseland . Beginning in second grade, young musicians . the program provides children with daily intensive

50 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER ensemble instruction that develops musical In-School Performances excellence and positive social skills . These Chamber ensembles of SRS musicians perform promising young musicians will perform alongside informative and entertaining concerts in local the Aspirante Youth Orchestra in Weill Hall at the elementary schools . February Free Concerts For Youth for an audience of their peers . This program is fully supported by IGNITE! the Symphony and is free to its students . The final Free Concerts For Youth of each season offers the possibility for children in the audience to Music for Our Schools prepare a piece on recorder and play it from their Free Concerts for Youth seats accompanied by the orchestra on stage . Each year, as many as 7,200 elementary school students attend one of six concerts, experiencing It’s Elementary the excitement of a live symphony orchestra per- Six elementary schools in Sonoma County receive formance in the spectacular Weill Hall . a customized, full range of music education activities for two years . Elementary School Listening Program The Brummitt-Taylor Listening Program—a Primarily Classical daily listening program enthusiastically received Primarily Classical sends small groups of SRS by students, teachers and administrators in the musicians into every public elementary school in U .S . and Canada—is offered to area K-6th grade Sonoma County . This is the fourth and final year classrooms . of a project that will reach every one of the 115 schools in the county . Youth Discovery Cards Schools may request these cards, which admit one child and one adult free of charge to the Discovery Rehearsal Series and the Youth Ensemble Concerts .

PHOTOS PAGES 62-64: SUSAN AND NEIL SILVERMAN PHOTOGRAPHY

2020 – 2021 Season 51 Community Engagement The Santa Rosa Symphony brings together the We are proud that our dynamic approach has residents of our region with inspiring musical gained the Santa Rosa Symphony national recog- performances and comprehensive educational nition for excellence in community engagement . programs . Our music education programs enrich lives and nurture music appreciation . We provide support for classroom teachers, instrumental instruction for children and adults, public concerts by youth ensembles, and pre-concert lectures . Our ensembles participate in civic events in parks, churches, libraries and senior residences .

52 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Santa Rosa Symphony Institute for Music Education 2020-2021 Season Update Adjusting with Innovation and Imagination

The Santa Rosa Symphony Institute for Music Education, with innovation and imagination, has made a way forward, through this unusual time, to continue to provide vital programs for young, local musicians . The Debut Youth Orchestra, Aspirante Youth Orchestra and the Santa Rosa Symphony Youth Orchestra have shifted to virtual rehearsals and virtual concerts for the fall .

The String Orchestra Workshop, an entry level group for beginning string players which is also open to adults, holds in-person, outdoor, socially-distanced rehearsals, thanks to a partnership with the Children's Museum of Sonoma County .

The Young People's Chamber Orchestra, the advanced, conductor-less ensemble, is also rehearsing, safely, in person and plans a fall recording, which will be distributed through digital music outlets . In the spring, they will have, as their guest artist, Francesco Lecce-Chong! They are also working on an exciting project with local violin maker Andrew Carruthers .

The Music for Our Schools program supplied recorders and booklets to all It's Elementary program schools, which are being used by students at home, in conjunction with instructional videos provided by the program for students and teachers .

Simply Strings has shifted, due to schools being virtual through this calendar year . The Simply Strings Integrated Roseland Program fills a crucial need for youth who are studying at home, offering music appreciation classes to all third grade students in the Roseland School district . An in-person, after-school option may also be added .

For more information on these programs, If you would like to support these programs, contact the Education Department at contact the Development Department at (707) 546-7097 ext . 225 . (707) 546-7097 ext . 214 .

2020 – 2021 Season 53 For Your Information

If you have a question about subscriber benefits, how to access the virtual concerts, how to get a student involved in our youth programs, how to underwrite or sponsor an event, or any other Symphony-related question, we want to hear from you! Staff are working from home during the pandemic, but are still very busy creating and supporting artistic programs that leave lasting impressions, train young musicians and benefit the community . PLEASE NOTE: At this time, the Symphony offices are closed . However, Symphony staff are working from home and continue to respond to emails and voicemails and mailed items on a regular basis . Santa Rosa Symphony Patron Services contact information Phone: 54-MUSIC (707) 546-8742 Fax: (707) 546-0460 Email: tickets@srsymphony org. Administrative Office contact information Phone: (707) 546-7097 Fax: (707) 546-0460 Department emails: Corporate sponsorships, endowments, grants: Ben Taylor at btaylor@srsymphony org. Donations: Enid Ricklely-Myres at erickley@srsymphony org. Education: Wendy Cilman at wcilman@srsymphony org. Marketing and Public Relations: Sara Mitchell at smitchell@srsymphony org. Web: srsymphony org. Mailing address: 50 Santa Rosa Ave . Suite 410, Santa Rosa, CA 95404 Like and Follow the Symphony on Social Media Facebook: facebook com/srsymphony. Instagram: srsymphony Twitter: @SR_Symphony YouTube: (search for) Santa Rosa Symphony Stay Connected Spotify: Enjoy Francesco Lecce-Chong's ever-growing playlists Watch parties: With Francisco, every Thursday, on Facebook YouTube Channel: between virtual concerts, find new content from SRS musicians, Francesco and the SRS Institute ENotes: Sign up for monthly newsletters and other emails about important news and events (Enter your email in the top navigation bar at srsymphony org).

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2020 – 2021 Season 57 Invest in a Healthy Future

We are the largest healthcare system in Sonoma County and our region's trauma center. Our physicians and specialists save lives—every single day. When you make a legacy gift to Santa Rosa Memorial Hospital Foundation, you strengthen and sustain unparalleled care for future generations. Here are a few ways that you can make a lasting impact: • Include Memorial in your trust or estate plans through bequest of cash or securities in a fixed amount or a percentage of your estate • Give a gift from your IRA or other retirement plans • Name Memorial as the beneficiary of a life insurance policy • Gift your home or other property

Or, you can make your generosity work for you by establishing a Charitable Gift Annuity. This gift offers a sizable tax deduction and provides guaranteed income for life, with a significant part of this income coming to you tax-free. This is a win for you, and a win for the health of our community.

Please call (707) 547-4680 or email [email protected] to discuss how you can partner with us to make a difference. Or visit GivetoMemorial.org to learn more.

58 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER BPM Proudly Supports the Santa Rosa Symphony

We believe art organizations have the power to change lives for the better. That’s why we are committed to enriching the community in every way we can.

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TAX | ASSURANCE | ADVISORY bpmcpa.com 2020 – 2021 Season 59 Like a well orchestrated First We symphony, a smart financial plan needs to hit the right notes. Listen, then That’s why we listen to you and craft solutions to match. We Advise [707] 829 - 1146 “Music can change the world.” -Beethoven Tell us about your goals and we’ll help find the right path for you.

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