Earplay Season Concerts 2011 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 p.m.

Earplay 26: Sound Science Monday, February 7, 2011

Jonathan BergerGeorge Crumb  Jonathan Harvey  Betsy Jolas

Earplay 26: Sound Tangents Monday, March 28, 2011  Jonathan Harvey Earplay 26: Sound Science Mei-Fang Lin Michelle Lou February 7, 2011 Earplay 26: Sound Lines Wednesday, June 1, 2011 as part of the San Francisco International Arts Festival Edmund Campion  Jonathan Harvey  Olga Neuwirth Hector Parra  Adam RobertsMauricio Rodriguez

Earplay commission/world premiere Earplay commission U.S. Premiere West-Coast Premiere 2010 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 26th San Francisco season. Our mission is to nurture new — to W expand its reach to inspire each one of us through new compositions and performances. The 2011 San Francisco series highlights the innovation from composers at Stanford University. Each concert features the renowned members of the Earplay performing as soloists and ensemble artists and outstanding guest artists. We are thrilled that composers Betsy Jolas and Jonathan Berger are here tonight for premieres of their works. Earplay 2011 This season Earplay also performed around the Bay in Sonoma Donald Aird and Sacramento in partnership with the Sonoma City and the Festival of New American Music. Earplay continues to be at Memorial the forefront of bringing new works to the concert hall. We look Composers Competition forward to seeing you at each of our concerts and appreciate your support! Downloadable application at: Stephen Ness www.earplay.org/competitions President, Board of Directors Deadline: March 31, 2011

Special Thanks To: Earplay Earplay Staff Board of Directors Bruce Bennett Advisory Board Aislinn Scofield Jonathan Berger Stephen Ness, president executive director Betsy Jolas May Luke, secretary Richard Felciano Scott Koué Christopher Jones Bruce Bennett, treasurer technical director/stage manager Peter Josheff William Kraft Terrie Baune Scott Koué , musician representative scheduling coordinator Terrie Baune Peter Moore Wayne Peterson Mary Chun Thalia Moore Diane Hie Chen Yi Christopher Wendell Jones accountant Stephen Ness Ellen Ruth Rose Karen Rosenak Earplay, P.O. Box 192125, San Francisco, CA 94119-2125 David Waldorf SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER HERBST THEATRE Monday Evening, February 7, 2011 at 7:30 p.m. The Herbst Theatre Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable Edwin M. Lee, Mayor EARPLAY 26: TRUSTEES Charlotte Mailliard Shultz, President Sound Science MajGen J. Michael Myatt, USMC (Ret.), Vice President Wilkes Bashford Nancy H. Bechtle Belva Davis Thomas E. Horn Mary Chun, conductor Claude M. Jarman, Jr. Mrs. George R. Moscone Tod Brody, flutes Terrie Baune, violin Paul F. Pelosi Peter Josheff, clarinets Ellen Ruth Rose, viola James W. Stafford Karen Rosenak, piano Thalia Moore, cello Diane B. Wilsey

Elizabeth Murray, Managing Director Guest Artists Jennifer E. Norris, Assistant Managing Director Dan Reiter, cello Chris Jones, piano

Pre-concert talk 6:45 p.m. Bruce Bennett, moderator with Jonathan Berger and Betsy Jolas

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Earplay’s season is made possible with funding from the Ann and Gordon Getty Foundation, the Bernard Osher Foundation, The Ross McKee Foundation, the San Francisco Foundation Fund for Artists, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, the Community Arts Committee of the Zellerbach Family Fund and Generous Donors.

Program Donors (since February 2010) We thank our donors for their generosity and continued belief in the importance of the creation and performance of new and intriguing music. Jonathan Harvey String Trio (2004) Terrie Baune, Ellen Ruth Rose, $100 + Pablo Ortiz $10,000 + Leonard and Sandra Rosenberg The San Francisco Grants For the Yen Bachmeier Daniel Reiter Donald and Phyllis Sutherland Arts Jonathan Berger Ava Victoria The William and Flora Hewlett Katherine Blume Mark Winges Foundation Tod Brody George Crumb Celestial Mechanics (1979) William Beck & Yu-Hui Chang Karen Rosenak, $5,000 + James & April Carlson John & Mary Caris Ann and Gordon Getty Foundation and more friends Christopher Wendell Jones Chen Yi and Zhou Long Frances L. Bennion Chris Concolino Katherine Brody Alena Cowan Kenneth Bruchmeier $3,000 + Richard Felciano Anne Callaway I. Alpha Centauri The Bernard Osher Foundation Pablo Furman Eleanor Cohen The San Francisco Foundation Fund Patti Glasow Ernestine S. Cohn II. Beta Cygni for Artists Douglas Gong Alice Berg Cronin The Community Arts Committee Margot Golding Barbara and Sanford Dornbusch III. Gamma Draconis of the The Zellerbach Family Martha Callison Horst Robert Fisher Foundation IV. Delta Orionis Leo Kadehjian Donald & Stephanie Friedman Joy Kent Gary Friedman $1,000 + Ruth Knier Guillermo Galindo William Kraft Louise Haiman Alice M. Ditson Fund of Columbia Antoinette Kuhry & Rollin and Phyliss Harding intermission University Thomas A. Haeuser Stephen Harrison Ross McKee Foundation Susan Kwock Louis Karchin Terrie Baune Richard & Patricia Taylor Lee Mazdak Khamda Mary Chun Amy Miller Levine Teija Kuosku Betsy Jolas Ah! Haydn (2007) May Luke Alfred Lerdahl Nana Kurosawa Bari & Stephen Ness Nora Norden Eva Langfedit U.S. Premiere Aislinn Scofield Elizabeth O’Malley Jan Lustig Terrie Baune, Thalia Moore and Dan Scharlin Ralph & Elizabeth Morrison $300 + Arthur Rose Norman Reid Karen Rosenak Margaret Dorfman William Schottstaedt Allen Shearer & Claudia Stevens Yoshiko Kakudo Mike Sharp Regina Sneed Rosalie Lowe Donald & Jill Spuehler Bill Specht Sam Nichols & Laurie San Martin Olly & Louise Wilson Kristin Zoernig Karen Rosenak Jonathan Berger Yaqira (2011) Larry Russo $50 + Earplay Commission/World Premiere William Beckerman $200 + Emma Bethencourt Mark Applebaum Herbert W. Bielawa I. Freely, inquisitive Jane Bernstein and Robert Ellis James & April Carlson Raymond and Mary Chun Jim Carr II. Serene Wayne & Winnie Chun John Chowning III. Con forza Margaret Dorfman Lori Dobbins IV. Filigree Patti Noel Dueter Janet Elliott Gary Eskelson Michele Fromson & Cordell Ho Ellinor Hagedorn Paolo Geminiani Melanie Kwock Gong Arnold Go Mary Chun, Tod Brody, Peter Moore Karen Gottlieb Nora Norden John and Lee Hause Peter Josheff, Terrie Baune, Wayne Peterson Joy Kent Thomas White Richard Mellott Daniel Reiter and Karen Rosenak Patricia Moy Wendy Niles Earplay Composers: Twenty-Six Years Notes on the Program

Eliane Aberdam Richard Felciano Mario Lavista Marc Satterwhite Sarah Aderholdt John Felder Anne LeBaron Eric Sawyer String Trio (2004) tempi and style. In particular, there are Thomas Adès Morton Feldman Yinam Leef Donald Aird Richard Festinger viiolin, viola, cello two main (and contrasting) types of Eleanor Alberga Peter Scott Lewis Salvatore Sciarrino Richard Aldag Michael Finnissy Jorge Liderman David Schiff by music-the rustic and the sacred. The Alexis Alrich Tom Flaherty David Schober Jonathan Harvey Allen Anderson Andrew Frank György Ligeti rustic is folkloristic, and the sacred Philippe Schoeller Mark Applebaum David Froom Liza Lim Arnold Schoenberg is derived from my liturgical drama Robert Basart Pablo Furman Mei-Fang Lin Ross Bauer Beat Fürrer Scott Lindroth Having now written four string Allen Shearer “Passion and Resurrection”- the music Bruce Christian Bennett Guillermo Galindo David Liptak quartets, writing a string trio has felt Michael Gandolfi Zhou Long Seymour Shifrin associated with the discovery of the Jonathan Berger Guy Garnett Michelle Lou Sheila Silver rather an exposing medium. There Stacy Garrop Jing Jing Luo Reynold Simpson empty tomb on Easter Sunday. Christophe Bertrand John Gibson Witold Lutoslawski Paul Siskind is even less possibility of ‘ensemble’ Jan Bilk James Giroudonv Drake Mabry Ronald Bruce Smith Herb Bielawa Glenn Glasow John MacDonald David Soley texture than in a quartet, every note Susan Blaustein Daniel Godfrey Harvey Sollberger and sound is an individual assertion, The collision of these two moods is Stephen Blumberg Alexander Goehr Katherine Malyi Linda Bouchard Perry Goldstein Ursula Mamlock Jeff Stadelman strongly expressive almost in the the energizing spark of this fifteen- Michelle Green Kurt Stallman David Meckstroth minute work, written at the request Mark Grey Dorrance Stalvey way that a is. On the other Carolyn Bremer Stephen Michael Gryc Marjorie Merryman Eitan Steinberg of Harry Vogt for the Witten Festival Susan Harding hand, that can be quite a liberating Frank Stemper Christopher Burns Donal Michalsky Mark Stickman situation: it is no longer so necessary to be played by Ensemble Recherche. Ann Callaway Ellen Ruth Harrison Ronald Caltabiano Stephen Hartke Eric Moe to think vertically. The three players – J.H. Edmund Campion Hugh Hartwell Chris Treubue Moore Kotoka Suzuki James Carr Jonathan Harvey Paul Moravec Toru Takemitsu can pull apart and meet up at certain Elliott Carter Gustavo Moretto Bruce Taub John Thow places. We can leave the current Chris Chafe Martin Herman Murail Jonathan Yu-Hui Chang Jennifer Higdon Thea Musgrave Leilei Tian paradigm of the recording-studio Eric Chasalow Alexander Hills Hyo-Shin Na Ushio Torikai Harvey (b.1939, Yi Chen Vincent Chee-yung Ho William Neil Joan Tower performances we find everywhere, in Miguel Chuagui Sunji Hong Olga Neuwirth Christopher Trapani England) was a Timothy Vincent Clark Martha Callison Horst Sam Nichols which the excitement of horizontal, Bertram Turetzky major music scholar Steven Clark Toshio Hosokawa Roger Nixon Nicolas Tzortzis Joao Pedro Oliveira soloistic freedom is jettisoned for Joan Huang Jason Uech at St John’s College, Lee Hyla Henry Onderdonk Eleanor Cory Galina Ustvol’skaya i the convenience of splices which Cindy Cox Igor Iachimciuc Pablo Ortiz David Vayo Cambridge. He gained doctorates Victor Ialeggio Gabriela Ortiz Curt Veeneman must always be of similar little takes, George Crumb Shintaro Imai Jose Antonio Orts from the universities of Glasgow and Claude Vivier Beth Custer Andrew Imbrie Hèctor Para together in the same way each time. Caspar Johannes Walter Marc-Andre Dalbavie Cambridge and also studied privately Greg D’Alessio Edward Jacobs Jeffrey Perry Xi-Lin Wang In composing we suffer from the same Anton von Webern (on the advice of Benjamin Britten) Stephen Jaffe Wayne Peterson vertical thinking if we use computer- James Dashow David Jaffe Alexander Post Judith Weir with Erwin Stein and Hans Keller. He Mario Davidovsky Ping Jin Laurie Radford Daniel Weymouth scoring, where two simultaneous and Peter Maxwell Davies Betsy Jolas David Rakowski Scott Wheeler was a Harkness Fellow at Princeton Adriana Verdié de Vas Christopher Wendell Jones Shulamit Ran Barbara White different time-worlds can scarcely be Romero Peter Josheff Bernard Rands (1969-70). In the 1980’s he was invited Frances White comprehended by the proscriptive Tamar Diesendruck Louis Karchin Maurice Ravel Beth Wiemann to work at IRCAM in Paris and led to Lori Dobbins Arthur Keiger Belinda Reynolds Olly Wilson program, which thereby imposes Hi-Kyung Kim Steve Ricks Mark Winges his interest in electronic music where Kui Dong Earl Kim Andrew Rindfleisch Walter Winslow vertical strait-jackets. Jérome Dorival Jerome Kitzke Adam Roberts he composed eight major works. Stefan Wolpe Jacob Druckman Barbara Kolb Jody Rockmaker Edwin Dugger Anthony Korf Mauricio Rodriguez Harvey has also composed for most Joel Durand Paul Kozel Kurt Rohde Tolga Yayalar other genres: orchestra, chamber, as David Dzubay William Kraft Mathew Rosenblum So, writing my score in pencil, I Pagh-Paan Younghi Jason Eckardt Meyer Kupferman Morris Rosenzweig sometimes exploit soloistic playing well as works for solo instruments. He George Edwards Gyorgy Kurtag Chris Roze Aaron Einbond Bun-ching Lam Kaija Saariaho Eric Zivian modes of simultaneously different has produced a large output of Mirtru Escalona-Mijares Virginia Samuel Ricardo Zohn-Muldoon Leo Eylar Massimo Lauricella Laurie San Martin Ellen Taafe Zwilich Fredrik Fahlman Richard Lavenda Carlos Sanchez-Gutiérrez works, including the large with free and spontaneous kind of music electronics Mothers shall not Cry -- one thinks of the many collections (2000). His music has been extensively of dances of various types and of played and toured by Ensemble the predilection for the “fantasy” Modern, Ensemble Intercontemporain, genre. The present work, therefore, and Ictus Ensemble of Brussels. About comprising a suite of “cosmic” dances 50 recordings are available on CD and composed in a rather “fantastic” style, is regularly performed at all the major falls squarely within the tradition. international contemporary music festivals. My sole departure from tradition occurs at two points in the score where I have enlarged the medium play nurtures new chamber music linking audiences, Celestial Mechanics (1979) to six-hands; and so, in the whimsical performers, and composers through concerts, commis- 4-hand piano manner of Ives, the page turner must sions, and recordings of the finest music of our time. by contribute more substantively to the George Crumb performance than is his wont. Founded in 1985 by a consortium of composers and musicians, Celestial Mechanics, completed in Earplay is dedicated to the performance of new chamber music April 1979, is the fourth in a series The title Celestial Mechanics offering audiences a unique opportunity to hear eloquent, vivid of works entitled (or subtitled) was borrowed from the French performances of some of today’s finest chamber music. Earplay Makrokosmos. The first two works mathematician Laplace. The titles concerts feature the Earplayers, seven artists who, as a group, have were scored for solo piano and the for the four movements (added after developed a lyrical and ferocious style. Earplay has performed over third (Music for a Summer Evening) the music was completed!) are the 425 works in its 26-year history including 110 world premieres for two pianos and percussion. beautiful names of stars of the first and over 50 new works commissioned by the ensemble. The 2011 through the fourth magnitude. The season reinforces Earplay’s unwavering track record of presenting majestic movement of the stars does exceptional music in the 21st century. I had long been tempted to try my indeed suggest the image of a “cosmic hand at the four-hand medium, choreography” and, in fact, I briefly perhaps because I myself have been considered opting for an alternate title a passionate four-hand player over (proposed by my brother, punster that the years. The best of the original he is) -- The Celestial Ballroom. – G.C. four-hand music -- which includes, of course, those many superb works Hear Earplay in 2012 by Mozart, Schubert, and Brahms earplay 27: 2011-12 Season -- occupies a very special niche in February 6, March 19, May 10, 2012 the literature of music. The idiom, a strange hybrid of the pianistic and the orchestral, lends itself readily to a very Other major works from this University. Scott’s formal training includes George Crumb period include: Black Angels(1970), Theatrical Design at U.C. Davis. (b. 1929) studied at the Mason for electric string quartet; Vox College of Music Balaenae (1971), for electric flute, in Charleston and electric cello and amplified piano; A i s l i n n S c o f i e l d (executive Earplay Recorded received the Bachelor’s degree Makrokosmos, Volumes 1 and director) has extensive experience with in 1950. Thereafter he studied 2 (1972, 73) for amplified piano; a wide range of Asian performing arts Cindy Cox for the Master’s degree at the Music for a Summer Evening and has received numerous awards for University of Illinois, Champaign- (1974) for two amplified pianos her work. Formal studies include theater, Geode (1996) Earplay commission Urbana under Eugene Weigel. He and percussion; and Crumb’s studio art and interdisciplinary art. continued his studies under Boris largest score–Star-Child (1977), Axis Mundi (2004) Blacher at the Hochschule für for soprano, solo trombone, Earplay/Fromm Music Foundation antiphonal children’s , male commission Musik, Berlin from 1954-1955. He received the D.M.A. in 1959 from speaking choir, bell ringers and the University of Michigan, Ann large orchestra. George Crumb’s Libby Larsen Arbor, after studying with Ross most recent works include Eine Every Man Jack (2006) Lee Finney. Kleine Mitternachtmusik for solo piano (2001), Otherworldly Jorge Liderman Resonances for two pianos � George Crumb’s early Swirling Streams (2004) (2002) and a four-part song cycle, compositions include Three Earplay commission American Songbook (The River Early Songs (1947), for voice and of Life, A Journey Beyond Time, piano; (1955) for solo Unto the Hills, The Winds of violoncello; and Variazioni (1959) Destiny) (2001-2004). William Kraft for orchestra–the composer’s Vintage Renaissance and doctoral thesis. In the 1960s and Beyond (2005) 1970s, George Crumb produced (Earplay/Koussevitzky Music a series of highly influential pieces Ah! Haydn (2002) Foundation commission) that were immediately taken up by violin, cello, piano Individual donations are vital to Earplay’s soloists and ensembles throughout by success and we appreciate your generosity. the world. Many of these were B e t s y J o l a s

If your company has a matching policy, we vocal works based on the poetry would be most grateful. Call us, see our My passionate attraction to Haydn’s of Federico Garcia Lorca, including website to make an electronic donation: music originated in childhood with the www.earplay.org or take a pre- Ancient Voices of Children (1970); piano I was then able to sight addressed envelope tonight. Thank you! Madrigals, Books 1-4 (1965,69); read. Much later came the revelation Night of the Four Moons (1969); of the quartets,(Op 20,76,77…) the Earplay, P.O. Box 192125, San Francisco, and Songs, Drones and Refrains of (the extraordinary Chaos from CA 94119-2125 Death (1968). the Creation !...) the Masses (Nelson, Betsy Jolas Izzy Award for is composition Raga Christopher currently resides in San In Tempore Belli...) the symphonies… (b.1926, Paris) is Bach B Minor featuring dancer Robert Francisco, and has taught composition Yes there was much Haydn on my mind the daughter of Moses. He has had the privilege of and music theory at Stanford, when I set to work on my trio. I Knew translator Maria working with India’s master musician San Francisco State and San José the choice was going to be difficult. Jolas and poet Ali Akbar Khan and has recorded two State Universities. He completed and journalist CDs (Garden of Dreams and Legacy) his doctorate in composition at Eugène Jolas, with Khansahib. In addition, Dan Stanford, where he studied with After much hesitation I decided to founder of the well known literary produced Cello and Harp, a CD of his and Jonathan write a single movement trio on the magazine “transition”, in which the compositions for cello and harp with Harvey, and also earned degrees in theme of the last movement of the “Finnegans Wake” of James Joyce his wife, Natalie Cox. composition from the University of “London” Symphony; one that had was published under the heading Calgary, studying with Allan Gordon haunted me for years for its outspoken “work in progress”. She came to the Bell, and piano performance from simplicity, its strange setting over the Christopher U.S. in 1940, completed her general Indiana University and the New sole pedal D, and which today seemed Jones is a composer schooling, then started studying England Conservatory, studying with even richer with pitch and rhythm of intricately designed composition with Paul Boepple, piano Evelyne Brancart and Patricia Zander. potentialities. music that explores with Helen Schnabel and organ with issues of identity, Carl Weinrich. After graduating narrative and form I thus immediately singled out its key from Bennington College, Betsy Jolas in distinctive, unconventional notes A G D E as a kind of cantus returned to Paris in 1946 to continue Scott Koué (technical director/ ways. Among his honors are a firmus. The opening prelude is a her studies with Darius Milhaud, stage manager) is a sound recordist, commission from the Koussevitzky reverie on those four pitches which Simone Plé-Caussade and Olivier editor and designer with years of Foundation, recently premiered will then be heard again and again in Messiaen at the Conservatoire National experience in film, advertising and by sfSoundGroup where he is a various guises throughout the piece. Supérieur de Musique of Paris. Betsy the theater. His work can be heard in co-director, and commissions from The following fast section focuses on Jolas replaced Olivier Messiaen at his over thirty films including The Legend the American Composers Forum for the rather obsessive rhythmic motives course at the Conservatoire National of Drunken Master (starring Jackie Chan) three chamber works in conjunction of this theme and by stressing this Supérieur de Musique of Paris and and the award-winning Titanic. His with a Composer-in-the-Schools aspect more and more reaches a point was appointed to the faculty in 1975. credits on these and other projects residency at Lowell High School in where, so to speak, pitch surrenders She has also taught at Tanglewood, include sound supervisor, sound editor, San Francisco. to rhythm. But this is only temporary. Yale, Harvard, Mills College (Darius creator of specialized sound effects and Both components soon recover their Milhaud chair), Berkeley, USC and Foley recordist. Industry awards include just place and the theme is evoked San Diego University, to name a An active pianist and conductor, the SILVER HUGO, New York Festival, again several times before being left few.Her works, written for a great Christopher has a strong affinity for the London International Advertising floating away .... as swallowed back in variety of combinations, have been experimental and avant-garde music. Award and Golden Reel (Titanic, memory. widely performed throughout the He has given numerous premieres and Best Sound). He also collaborated world by first class artists such as has worked individually with composers with photographer David Waldorf in Ah Haydn! -- B.J. Elisabeth Chojnacka, Kent Nagano, such as John Cage, , Experience & Exchange: Documentary William Christie, Claude Helffer, Julio Estrada and Stefano Scodanibbio. as the Art of Collaboration, Kent State Kim Kashkashian... and by leading Ellen Ruth Rose and she currently performs with groups: The Symphony Jonathan (viola) relocated to those groups. She studied modern Chamber Players, the Concord Berger (b.1954) has the Bay Area in 1998 piano with Carlo Bussotti and Nathan Quartet, the , the composed for a wide after having spent Schwartz, and credits Margaret Percussions de Strasbourg, the Lincoln range of instrumental several years in Fabrizio with introducing her to the Center Chamber Music Society, the ensembles, numerous , Germany, fortepiano during her graduate work , the Ensemble vocal works, and in early music at Stanford University. Intercontemporain, the Philharmonia, electro-acoustic and inter-media pieces. where she first became immersed in She has found the balance between old etc. Twelve of her works have been contemporary music. As a member and new music, and between old and recorded for EMI, Adès, CRI, Erato, of the experimental ensembles Musik Berger was the 2010 Composer in new pianos, to be an ongoing, most Barclay, several of which have been the Fabrik and Thürmchen Ensemble, and Residence at the Spoleto USA Festival, satisfying pursuit. Since 1990, she has recipients of grand prize gramophone as a frequent guest with Frankfurt’s which commissioned a chamber been on the faculty at UC Berkeley, awards. , she toured work for soprano Dawn Upshaw and where she teaches musicianship and throughout Europe, premiering and . Major commissions contemporary chamber music. recording countless works. She has and fellowships include the National Yaqira (2011) performed as soloist with the West flute, clarinet, violin, cello and piano Endowment for the Arts (a work for German Radio Chorus and appeared string quartet, voice and computer by Jonathan Berger at the Cologne Triennial, Berlin in 1984, soloist collaborations for Biennial, Zeitfluss, Brussels Guest Artists Yaqira, for flute, clarinet, violin, ‘cello piano 1994, and for ‘cello, 1996 and Ars Nova, Venice Biennial, and and piano is in four movements, each a composer’s fellowship for a piano Budapest Autumn festivals. Ms. Rose elaborating a seven note phrase from in 1997), The Rockefeller holds degrees in viola performance D a n R e i te r an Aramaic supplication ending on the Foundation (work for computer- from The Juilliard School and the (cello) is principal word ‘Yaqira’ (which means ‘precious’). tracked dancer, live electronics and Northwest German Music Academy; cellist with the The piece was inspired by an idea my chamber ensemble), The Morse and and a degree in English and American Oakland East Bay daughter had of musically representing Mellon Foundations (symphonic history and literature from Harvard Symphony (OEBS), the disorienting sense of kinetosis. and chamber music). Berger University. Festival Opera received Bourges Prizes for electro- Orchestra, Diablo Orchestra acoustic music (1984 and 1991) and I. Freely, inquisitive and Fremont Symphony. His solo commissions from WDR, the Banff work has included ’s II. Serene Centre for the Arts, Chamber Music Karen Rosenak Three Meditations (OEBS, 2000) and III. Con forza America, Chamber Music , the (piano) is an “almost Robert Schumann’s IV. Filigree Hudson Valley Chamber Circle, The native” of the Bay Area. (Fremont Symphony, 2002). Dan is Connecticut Commission on the Arts, She was a founding also a former Earplay member (1989- The Jerusalem Foundation and others. member/pianist of Bay 90). Yaqira was written jointly for premieres by the San Francisco based ensemble, Earplay, and for Area new-music groups As a composer, Dan has written varied the PluralEnsemble, based in Madrid. – J.B. Berger’s most recent recording of Earplay and the Empyrean Ensemble, chamber works. In 1999 he won an music for strings, Miracles and Mud, was released by Naxos on their Performers University of , Davis, and P ete r J o s h e f f American Masters series in 2008. directs the San Francisco Bay Area (clarinet) has been a His recent commissions include The Chapter of the American Composers clarinetist, composer Bridal Canopy for string quartet Forum. and advocate of Terrie Baune (Chamber Music Denver), a piano contemporary music (violin), in addition trio (Chamber Music Toronto in the Bay Area to being a member and Stanford Lively Arts), a work for over twenty of Earplay, she is Co- for singer and chamber ensemble years. He is a founding member of Concertmaster of (The Spertus Institute), a work for M a r y C h u n Earplay, the San Francisco-based new the Oakland-East interactive electronics, and a violin (conductor) has pre- music ensemble, as well as a member Bay Symphony and Concertmaster of concerto (The Banff Centre for the miered the works of the Paul Dresher Ensemble, the the North State Symphony and a former Arts). In Spring 2009 he had two of many composers, Empyrean Ensemble, and the Berkeley member of the Empyrean Ensemble. Her interactive sound installations on including Contemporary Chamber Players. professional credits include concertmaster display at the Pasadena Museum of earthquake romance He performs frequently with the San positions with the Women’s Philharmonic, California Art. Francisco Contemporary Music Players, Fresno Philharmonic, Santa Cruz County I Was Looking at the Ceiling and Then Melody of China, and Composers Inc. Symphony, and Rohnert Park Symphony. I Saw the Sky, which she conducted in Paris, Hamburg, and Montreal. In He has performed as a clarinetist on In addition to composing, Berger is A member of the National Symphony demand as a collaborator for new lyric many commercial recordings. Peter’s involved in multidisciplinary research Orchestra for four years, she also spent work and traditionl operatic repertoire, recent works include Caught Between including studies in music cognition, two years as a member of the Auckland she has worked with opera companies Two Worlds, Three Poems by Dorothy recognition and transformation Philharmonia Orchestra of New Zealand, in Europe and the U.S. such as Opera Cary (2009) and Inferno (2008). of musical patterns, and the use where she toured and recorded for Radio de Lyon, La Monnaie, Kosice State of music and sound to represent New Zealand with the Gabrielli Trio Opera, Opera Theater, Opera complex information for diagnostic and performed with the New Zealand Theater of Saint Louis, Opera Idaho, the and analytical purposes. Before Symphony Orchestra. Shakespeare Festival, Cleveland Thalia Moore returning to Stanford he taught at Lyric Opera, Pacific Repertory Opera, (cello), attended the Yale where he was the founding T o d B r o d y the Los Angeles Music Center Opera Juilliard School of director of ’s Center (flute) has been in and San Francisco Opera. In Fall Music as a scholarship for Studies in Music Technology. the fore-front of 2006 she premiered Every Man Jack, student of Lynn Berger is the author of over 50 contemporary music a new based on the Harrell, journal articles and book chapters. activity in northern life of writer Jack London, written by and received her bachelor’s and California through composer Libby Larsen and librettist master’s degrees in 1979 and 1980. Berger is Professor of Music, and hisperformances Philip Littell, and commissioned by the Since 1982, Ms. Moore has been Co-director of the Stanford Institute and recordings with the San Francisco Sonoma City Opera. Associate Principal Cellist of the San for Creativity and the Arts (SICA) Contemporary Music Players, Earplay, and Francisco Opera Orchestra, and in and the University’s Arts Initiative. the Empyrean nsemble. He maintains an 1989 joined the cello section of the active freelance career, teaches at the San Francisco Ballet Orchestra.