Credit: Harald Hoffmann

New Horizons September 21-24, 2017

UPCOMING CONCERTS

2019–20 SEASON

JANUARY 23–25, 2020 Beethoven in the Presidio Daniel Hope, concertmaster Lynn Harrell, cello Simone Dinnerstein, piano New Century joins the global celebrations of Beethoven’s 250th Message from the birthday showcasing selected orchestral and chamber masterworks in Board President | 3 two unique programs. Music Director Daniel Hope shares the stage with Artist in Residence, pianist Simone Dinnerstein and cellist Message from the Lynn Harrell for Beethoven’s Triple Concerto Op. 56 with Executive Director | 3 all three artists presenting an evening of chamber music that includes Beethoven in the Presidio | 4 Piano Trio Op. 1 No. 1 and Sonatas. The | 6 MAY 13–17, 2020 Program Notes | 7 Music of the Spheres Music Director | 11 Daniel Hope, concertmaster History | 12 The San Francisco Girls Chorus, guest artists Guest Artists | 13 Music Director Daniel Hope takes audiences on an exploration of time and space with selected works from his best-selling album Program Announcement | 15 Spheres. GRAMMY Award-winning San Francisco Girls Chorus Members of New Century | 18 return in a program that features the music of Prokofiev, Glass, Recordings | 20 Holst and more. Notes of Gratitude | 22 Stradivarius Circle | 24 Stuart Canin Fund | 24 New Century Club | 25 Tributes | 25 Special Events | 26 New Century Board of Directors and Staff | 27 Ticket Information | 28

Our concerts are made possible, in part, by Gordon P. and Ann G. Getty, and:

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This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. NEW CENTURY CHAMBER ORCHESTRA 2 MESSAGE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR

onight, we join the n June of 2019, New global celebrations of Century Chamber ’s Orchestra’s Music Director T250th birthday with New IDaniel Hope was named the Century Chamber Orchestra’s President of the Beethoven- two-day event: “Beethoven in Haus Bonn Association, a the Presidio” (with a special post that was previously held preview performance at the by renowned violist and First Congregational Church pedagogue Tabea Zimmermann of Berkeley, CA.) We are thrilled to be joined by the and conductor Kurt Masur. This news came as New legendary cellist Lynn Harrell, and our 2019–2020 Century was on its debut tour of Europe last summer, Artist-in-Residence pianist Simone Dinnerstein for the and on the precipice of the massive global celebrations of largest-scale performance in New Century’s history. Ludwig van Beethoven’s 250th birthday. With planning Music Director Daniel Hope is pushing the boundaries already completed for New Century’s “Beethoven in the of our commitment to conductorless performances as Presidio,” our two-day event became more momentous we present performances of Beethoven’s Symphony due to Daniel’s new role as the leader of the most No. 1 in C Major, Opus 21, and his beloved Triple important organization promoting the research and Concerto in C Major, Opus 56. We are proud to be preservation of Beethoven’s legacy. We are proud to the debut classical music festival in the beautifully present these two Beethoven programs in a way that can renovated Presidio Theatre, and to present these only be experienced with New Century—self-conducted monumental works with a superstar roster of soloists orchestral performances featuring world-renowned in such an intimate setting. soloists in an intimate setting.

On the first evening of “Beethoven in the Presidio,” We are particularly excited to offer our two-day Music Director Daniel Hope will be joined by “Beethoven in the Presidio” event at the recently Lynn Harrell and Simone Dinnerstein for an exclusive renovated Presidio Theatre, which is a new jewel in the evening of Beethoven’s solo and chamber works, Bay Area’s long list of performance venues. This intimate including his “Kreutzer” Violin Sonata in A Major, setting was chosen to provide the most visceral musical Opus 47. Lynn Harrell will play Beethoven’s Cello experience for our audiences, as Daniel Hope leads Sonata in D Major, Opus 102, No. 2, and Dinnerstein, two days of Beethoven’s most beloved repertoire for Hope and Harrell will join forces for his Piano Trio in orchestra, soloists and chamber ensembles. We hope to E-Flat Major, Opus 1, No. 1. Daniel has programmed see you for both programs of “Beethoven in the Presidio,” these two evenings to illustrate the impressive scope of which will provide a unique perspective into Beethoven’s Beethoven’s vision presented in a space that provides vast musical creativity. Program I features our acclaimed an immediate and intimate experience for the listener. international soloists, a selection of solo works, and the stunning Piano Trio in E-Flat Major, Opus 1, No. 1. I look forward to seeing you at both dates in the beautiful new Presidio Theatre, and hope to see Thank you for joining us on our artistic journey as you in May when Daniel Hope returns to close Music Director Daniel Hope continues his second season New Century’s 2019–2020 season with “Music of with New Century. His vision has already taken us to the Spheres” with the Grammy Award-winning San many new destinations, both musically and physically Francisco Girls Chorus. Thank you for everything as we completed our largest and most ambitious season you do to support the continuing expansion of last June having given 25 concerts in 13 cities both at New Century’s artistic footprint in the Bay Area. home and abroad. Your continued support has made it possible for New Century to continue presenting Most sincerely, intimate and immediate experiences to Bay Area audiences. It is an honor to have you as a member of the New Century family!

All my best, Mark Salkind President

Philip Wilder Executive Director

NEW CENTURY CHAMBER ORCHESTRA 3 THURSDAY JANUARY 23, 2020, 7:30PM FIRST CONGREGATIONAL CHURCH, BERKELEY SATURDAY JANUARY 25, 2020, 7:30PM BEETHOVEN IN PRESIDIO THEATRE, SAN FRANCISCO THE PRESIDIO

Daniel Hope, Violin Lynn Harrell, Cello Simone Dinnerstein, Piano

LUDWIG VAN BEETHOVEN Triple Concerto in C Major, Op. 56 (1770-1827) I. Allegro II. Largo (attacca) III. Rondo alla polacca

INTERMISSION

BEETHOVEN Symphony No. 1 in C Major, Op. 21 I. Adagio molto – Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Adagio – Allegro molto e vivace

Lynn Harrell and Simone Dinnerstein’s appearances are made possible by a generous gift from Alan Benaroya.

New Century’s 2019–20 Season is made possible by the generous ongoing support of Gordon P. and Ann G. Getty.

NEW CENTURY CHAMBER ORCHESTRA 4 FRIDAY JANUARY 24, 2020, 7:30PM PRESIDIO THEATRE, SAN FRANCISCO

Daniel Hope, Violin Lynn Harrell, Cello Simone Dinnerstein, Piano

LUDWIG VAN BEETHOVEN Cello Sonata No. 5 in D Major, Op. 102 No. 2 (1770-1827) I. Allegro con brio II. Adagio con molto sentimento d’affetto (attacca) III. Allegro – Allegro fugato

BEETHOVEN Violin Sonata No. 9 in A Major, Op. 47 “Kreutzer” I. Adagio sostenuto – Presto II. Andante con variazioni III. Presto

INTERMISSION

BEETHOVEN Piano Trio in E-flat Major, Op. 1 No. 1 I. Allegro II. Adagio cantabile III. Scherzo: Allegro assai IV. Finale: Presto

Lynn Harrell and Simone Dinnerstein’s appearances are made possible by a generous gift from Alan Benaroya.

New Century’s 2019–20 Season is made possible by the generous ongoing support of Gordon P. and Ann G. Getty.

NEW CENTURY CHAMBER ORCHESTRA 5 THE ORCHESTRA

VIOLIN I VIOLA OBOE Daniel Hope, Anna Kruger, principal Adrienne Malley music director & Elizabeth Prior Ryan Zwahlen concertmaster Cassandra Lynne Richburg Dawn Harms, Carla-Maria Rodrigues CLARINET associate concertmaster Emily Onderdonk Sarah Bonomo Karen Shinozaki Sor Jonathan Szin Deborah Tien Price CELLO BASSOON Iris Stone Robin Bonnell, Hrabba Atladottir principal Dan MacNeill Michelle Maruyama Michelle Djokic Amy Duxbury Zhou Yi HORN VIOLIN II Eric Gaenslen Candace Guirao, principal Stephanie Stroud Michael Yokas BASS Patrick Jankowski Anthony Manzo, Robin Mayforth TRUMPET Stephanie Bibbo principal Ian Cochran Jory Fankuchen Bill Everett Brad Hogarth Kayo Miki FLUTE TIMPANI Christy Kim Sasha Launer Divesh Karamchandani

NEW CENTURY CHAMBER ORCHESTRA 6 PROGRAM NOTES

TRIPLE CONCERTO IN C MAJOR, The concerto actually has many unusual features, OP. 56 (1803-04) starting with the unaccompanied cello-and-bass melody at the very beginning. The first solo LUDWIG VAN BEETHOVEN instrument to enter after the brief orchestral (Born, 1770 – Vienna, 1827) introduction is the cello, followed by the violin and, lastly, by the piano. The cello part, written Musicologists have searched far and wide for the prominent virtuoso Anton Kraft, remains and have not found another concerto with predominant most of the time. It often moves piano, violin, and cello. How fortunate for in a high register, so it is never overshadowed us that the only composer to have tried this by the other soloists or the orchestra. (This also particular combination was none other than causes the solo violin to move in its extreme high Ludwig van Beethoven! Concertos for multiple register, to keep the two timbres separate.) In Sinfonia solo instruments, such as Mozart’s concertos for multiple instruments, each theme concertante for violin and viola, or Haydn’s for is often played by each soloist in turn, which violin, cello, oboe and bassoon, usually feature results in frequent repeats and in a musical form winds and string instruments. The keyboard, with that seems less goal-oriented and more stationary its all-encompassing harmonic possibilities, and than what we see in most middle-period works its range covering all the registers from the highest of Beethoven. Mozart and Haydn had written to the lowest, seemed in most cases to be self- “collective cadenzas” in their symphonies sufficient and to demand undivided attention. concertantes; Beethoven did not do so, but double (The 14-year-old Mendelssohn did write a instead provided plenty of virtuoso opportunities concerto for violin and piano with orchestra.) for his players throughout the movement.

Was it that the Archduke Rudolph, Beethoven’s The cello, once more, begins the second- talented pianist pupil, was not quite ready to take movement “Largo.” The key is A-flat major, on a solo concerto? The youngest son of Emperor rather distant from the main key of C major, but Leopold II, Rudolph was for many years one of Beethoven provides a subtle link by emphasizing Beethoven’s most ardent supporters; he received the note C, which, as the third of the chord, plays the dedication of more works by the master than an important part in A-flat major as well. As in anyone else. It has long been thought that the the C-major piano sonata Op. 53 (“Waldstein”), Triple Concerto was written with his participation written around the same time, the slow movement in mind, even though in the end, he did not play is relatively short and functions mainly as a in the first performance. (The technical demands transition to the finale, here a dazzling “Rondo of the piano part are considerably lighter than alla Polacca.” The rhythm of the Polacca (or those of Beethoven’s solo piano concertos.) Polonaise) dance dominates the entire movement, ensuring its light-hearted nature. Before the end, Written just after the “Eroica” symphony, the meter unexpectedly changes to 2/4, and the the Triple Concerto stylistically belongs to “Polacca” melody briefly takes on the character of Beethoven’s “middle” period, yet it doesn’t a wild chase between the three instruments. The conform to the image of Beethoven the heaven- stately Polacca is restored, however, to conclude storming hero that was so dear to critics from the piece. the Romantic era down to the present day. The unusual instrumentation and the deceptively “unproblematic” nature of the music have caused some critics to regard the Triple Concerto, quite unfairly, as a lesser work, while in fact it is only a work of a more peaceful and lyrical character.

NEW CENTURY CHAMBER ORCHESTRA 7 PROGRAM NOTES

SYMPHONY NO. 1 IN C MAJOR, The third movement is called “Menuetto,” but its OP. 21 (1800) character is more that of a Scherzo; in other words, it is not a dance but one of those witty, humorous fast movements that originated with Haydn but In his First Symphony, Beethoven took over had acquired a special significance for Beethoven where Haydn and Mozart had left off, yet he since his earliest Viennese works. Beethoven’s spoke the musical language of his elders in such scherzos are full of surprises, sudden key changes, an individual way that no contemporary could offbeat accents, and other unexpected events. This fail to notice the arrival of a major new voice on delightful movement is no exception. Scherzos the scene. also have contrasting middle sections called Trios Right at the beginning, the indomitable young (as do minuets). The Trio of Beethoven’s First man made a gesture that has been cited ever since Symphony is distinguished by its almost total lack as a sign of artistic independence. Instead of of harmonic movement; this stasis contrasts with establishing the home key as one would expect, the hectic pace of the main section. the very first chord of the slow introduction The last movement starts with another delicious immediately destabilizes it and leads away Beethovenian joke. The theme of the movement, from it. Otherwise, the first movement is fairly which starts with a fast upward scale, is born Classical and utterly cheerful, except for the gradually before our eyes (or ears), as the notes passage where the cellos and basses suddenly of the scale are piled up, one by one, in a solemn begin to play in a dark minor key and the first Adagio tempo. Once the top note of the scale is oboe has a wistful short solo. This turns out to reached, the tempo becomes “Allegro molto e be just a digression, however, and the music soon vivace,” and there is never a moment of rest until resumes its happy course. the end. The second movement uses melodic imitation and other contrapuntal techniques to build up its texture from unaccompanied violins to tutti. The pianissimo notes of the trumpets and timpani add an element of mystery to the movement.

NEW CENTURY CHAMBER ORCHESTRA 8 PROGRAM NOTES

SONATA NO. 5 IN D MAJOR present sonata, the cello plays one part of the FOR CELLO AND PIANO, OP. 102, fugue and the piano the other three. Entries of the theme follow one another at short intervals, NO. 2 (1815) and special techniques, known from the works of Bach, are also used (for instance, inversion, where Beethoven composed the last two of his five cello the theme is played “upside down”). About two- sonatas during a relatively fallow period in his thirds into the movement, a second fugue theme creative life. The composer was going through is introduced and combined with the first theme, a personal and artistic crisis, from which he but the conclusion of the sonata is based on the eventually emerged with his extraordinary late first theme alone. As in many Beethoven works style. The Op. 102 sonatas are harbingers of that (especially of the last period), an extended trill style; as Steven Isserlis put it in a 2007 article in lends extra weight to the final moments. The Guardian, “they...exude the atmosphere of other-worldliness, of transcendent spirituality, SONATA NO. 9 IN A MAJOR that characterise [Beethoven’s] last utterances.” They were written for Joseph Linke, the cellist of FOR VIOLIN AND PIANO, OP. 47 the Schuppanzigh String Quartet that frequenty (“KREUTZER,” 1803) performed Beethoven’s chamber music; the published score was dedicated to Countess The French writer and philosopher Bernard de Maria Erdődy. Fontenelle (1657-1757) gave one of his essays a provocative title that became a favorite watchword Outwardly, the D-major sonata is the most for many years. With the title “Sonate, que me traditional of Beethoven’s cello sonatas: it is the veux-tu?” (“Sonata, what do you want of me?”), only one to adhere the usual three-movement, the author dismissed sonatas as a rather superficial fast-slow-fast scheme. But Beethoven filled out way of musical entertainment devoid of any real this conventional patterns with content that passion, and extolled the dramatic expressive breaks the mold at practically every turn. The powers of opera. opening theme proceeds by fits and starts, and finds a continuous musical flow only gradually. If Fontenelle was unduly harsh even with the Beethoven weaves an elaborate motivic network instrumental music of his own day, Beethoven out of a few simple elements; the development dealt his theory a fatal blow. Nobody could section in particular explores some rather unusual possibly say “Sonata, what do you want of musical horizons. me?” to the “Kreutzer” Sonata, a work whose every measure reaches out to listeners and In his previous cello sonatas, Beethoven had envelops them with an insistent force totally eschewed a full-fledged slow movement, unprecedented in the history of music. (That pursuing other formal designs instead. Here in force was not lost on Leo Tolstoy, in whose short the last sonata, he more than made up for that novel Kreutzer Sonata listening to it can incite omission: he composed an Adagio con molto a person to murder. Granted, in this case the sentimento d’affettowhich, to quote Isserlis sonata is performed by the protagonist’s wife once again, is “a prayer that must surely be the and her lover, but what they are playing is not most beautiful movement ever written for cello coincidental. Tolstoy perceived the music’s impact and piano.” This movement, which begins as a on the human psyche as truly extreme even if, chorale and moves into an expansive lyrical song, pessimistically, he saw that impact as an entirely is followed by an extended fugue (there is no negative one.) break between the two movements). Beethoven had written fugues before, but in his late period The “Kreutzer” was written, according to he developed an unprecedented interest in this Beethoven, “in a very concertante style.” It is strict form of contrapuntal writing, using it in certainly the most technically challenging of several of the late sonatas and quartets. In the his ten violin sonatas. The work dates from the

NEW CENTURY CHAMBER ORCHESTRA 9 PROGRAM NOTES spring of 1803, when Beethoven gave a concert Dedicated to one of Beethoven’s aristocratic with English violinist George Bridgetower (1779- patrons, Prince Lichnowsky, the three piano 1860). Upon publication, the work was dedicated trios proclaim, loud and clear, that a major new to the French violinist and composer Rodolphe voice had appeared on the scene. The piano Kreutzer (1766-1831), whom Beethoven admired trios of Haydn and Mozart were always in but who probably never played the sonata. three movements. Beethoven added one more movement that he already called a “scherzo” in The “Kreutzer” is in three movements, of which two of the three trios—as opposed to the minuet the first opens with a slow introduction—the that had long been customary in string quartets. only one of Beethoven’s ten violin sonatas to start this way. After the ensuing passionate The very first phrase of the first trio brings Presto, the second-movement “Andante con a surprise: a note foreign to the main tonality variazioni” brings much-needed relief. The theme (D-flat) is heard as early as the third measure. is supremely beautiful in its simplicity, and the This unusual move sets the stage for a movement variations, four in number, combine virtuosic where the traditional conventions, although brilliance with a depth of expression that only observed, are stretched in all sorts of interesting Beethoven could attain. ways. In the heartfelt Adagio cantabile, the second movement, the returns of the lyrical The last movement was originally written for an main melody are graced with elaborate written- earlier sonata (No. 6 in A major, Op. 30, No. 1), out embellishments, giving us an idea of how but there is no question that it fits the “Kreutzer” Beethoven might have improvised at the piano. better. It is another Presto, matching the first The third-movement Scherzo is the first of many one in dynamic energy. The first-movement’s Beethovenian examples of tonal ambiguity: agitated minor-key music is replaced here by the the key of E-flat major is not confirmed until sunnier key of A major; the rhythm of the Italian measure 16. After a delicately scored middle tarantella dance provides additional momentum. section (“trio”) and a return of the scherzo, Beethoven, in another unusual move, adds a few PIANO TRIO IN E-FLAT MAJOR, OP. 1, extra measures in which the strong closure of the NO. 1 (1795) scherzo is effectively demolished in favor of a hushed and mysterious ending. The three trios known as “Op. 1” were not the first set of compositions by Beethoven to appear The word “scherzo” means joke, but Beethoven’s in print: after all, he had written three piano finale is possibly even funnier than his third sonatas at the age of twelve that were published movement. The playful skips of its primary theme with a dedication to the Elector of Cologne. Yet introduce a sparkling sonata form filled with by calling a group of mature works explicitly surprises, such as distant modulations, dynamic “Op. 1,” the 24-year-old Beethoven was sending contrasts, and more. In spite of the undeniable the world a message that he was embarking on influence of Haydn and Mozart on young a career as a professional composer. With twelve Beethoven, we would never find a movement like years of experience and a newly-won fame as a this among the works of those masters. piano virtuoso in Vienna, the city that mattered Peter Laki the most in the world of music, Beethoven was — definitely ready.

NEW CENTURY CHAMBER ORCHESTRA 10 MUSIC DIRECTOR

by the Times. His recording of Alban Berg’s Concerto was voted Gramophone Magazine’s “top choice of all available recordings.” And his recording of Max Richter’s Vivaldi Recomposed, which reached No. 1 in over 22 countries is, with 130,000 copies sold, one of the most successful classical recordings of recent times. In February 2016 Deutsche Grammophon released Hope’s 10th album for the Yellow Label: My Tribute to Yehudi Menuhin. It is a deeply personal tribute to Hope’s mentor, who would have celebrated his centenary on April 22, 2016 and with whom Hope performed over 60 times, including in Menuhin’s final appearance on March 7, 1999.

DANIEL HOPE Hope was raised in London and studied the MUSIC DIRECTOR violin with Zakhar Bron. The youngest ever member of the Beaux Arts Trio during its New Century Chamber Orchestra is proud to final six seasons, today Hope performs at all welcome back British violinist Daniel Hope the world’s greatest halls and festivals: from for his second season as Music Director. Hope to the Concertgebouw Amsterdam, has toured the world as a virtuoso soloist for from Salzburg to Schleswig-Holstein, from Aspen more than 25 years and is celebrated for his to the BBC Proms and Tanglewood. He has musical versatility as well as his dedication worked with conductors including Kurt Masur, to humanitarian causes. Winner of the 2015 Kent Nagano and Christian Thielemann, as well European Cultural Prize for Music, whose as with the world’s greatest symphony previous recipients include Daniel Barenboim, including Boston, Chicago, Paris, London, Los Plácido Domingo and the Berlin Philharmonic Angeles and Tokyo. Devoted to contemporary Orchestra, Hope appears as soloist with the music, Hope has commissioned over thirty world’s major orchestras and conductors, also works, enjoying close contact with composers directing many ensembles from the violin. Hope such as Alfred Schnittke, Toru Takemitsu, also serves as Music Director of the Harrison Birtwistle, Sofia Gubaidulina, Chamber Orchestra, Artistic Director of the György Kurtág, Peter Maxwell-Davies and Frauenkirche Dresden, and has been named the Mark-Anthony Turnage. next President of the Beethoven-Haus Bonn starting in 2020. Daniel Hope has penned four best-selling books published in Germany; he contributes regularly Hope is one of the world’s most prolific classical to the Wall Street Journal and has written scripts recording artists, with more than 25 albums to for collaborative performances with the actors his name and has been an exclusive Deutsche Klaus Maria Brandauer and Mia Farrow. In Grammophon artist since 2007. His recordings Germany he presents a weekly radio show for the have won the Deutsche Schallplattenpreis, the WDR3 Channel. Diapason d’Or of the Year, the Edison Classical Award, the Prix Caecilia, six ECHO-Klassik He plays the 1742 “ex-Lipi´nski” Guarneri del Awards and numerous Grammy nominations. Gesù, placed generously at his disposal by an His album of Mendelssohn’s Violin Concerto anonymous family from Germany. He lives with and Octet with the Chamber Orchestra of his family in Berlin. Europe was named one of the best of the year

NEW CENTURY CHAMBER ORCHESTRA 11 HISTORY Photo Credit: Matthew Washburn Matthew Credit: Photo NEW CENTURY CHAMBER ORCHESTRA organization’s history. In addition to touring efforts, New Century’s national footprint has The New Century Chamber Orchestra, one of also continued to grow with a rapidly increasing only a handful of conductorless ensembles in the national radio presence. The ensemble has been world, was founded in 1992. The 19-member broadcast over 30 times on American Public string ensemble includes San Francisco Bay Area Media’s Performance Today, with each broadcast musicians and those who travel from across the heard on 260 radio stations across the country. U.S. and Europe to perform together. Musical The orchestra has released seven compact discs. decisions are made collaboratively, resulting st in an enhanced level of commitment from the The most recent, From A to Z: 21 Century musicians to concerts of remarkable precision, Concertos, is a compilation of four of New passion, and power. In the 2017–2018 season, Century’s live world premiere performances of its British violinist Daniel Hope took the role newly commissioned works by William Bolcom, of Artistic Partner and concertmaster for the Ellen Taaffe Zwilich, Clarice Assad and ensemble, while the organization underwent Michael Daugherty. The recording was released an extensive music director search process. In in May 2014 on the NSS Music label. the 2018–2019 season, Hope assumed the role of Music Director, bringing new vibrancy and Two additional albums were released on the leadership to the orchestra. NSS Music label, LIVE: Barber, Strauss, Mahler, released in November 2010, and Together, In addition to performing classic pieces of released in August 2009. The Orchestra’s first chamber orchestra repertoire, New Century concert DVD, On Our Way, was released in May commissions important new works, breathes 2012, and weaves together documentary footage new life into rarely heard jewels of the past, and and a live tour concert from a February 2011 performs world premieres. Through the Featured performance at the Broad Stage in Santa Monica. Composer program, the orchestra commissions The DVD was filmed by Paola di Florio, director composers to write new works, with the goals of the 1999 Academy Award-nominated film of expanding chamber orchestra repertoire and Speaking in Strings. providing audiences with a deeper understanding of today’s living composers. The orchestra Other recordings include a 1996 collaborative provides insight into the breadth of the Featured project with Kent Nagano and Berkeley Symphony Orchestra featuring the work of Composer’s work by performing a variety of th pieces by the composer throughout the season. 20 century Swiss composer Frank Martin, and Written With the Heart’s Blood, a 1997 Grammy Beyond regular season concerts in the San Award finalist, both on the New Albion label. Francisco Bay Area, New Century has toured In 1998 the orchestra recorded and released nationally, with 2011 performances in the works of Argentine composers Alberto Williams Midwest, East Coast, and Southern California and Alberto Ginastera on the d’Note label, and, garnered record-breaking audiences and national in 2004, the orchestra recorded and released critical acclaim. In January and February Oculus, a CD of Kurt Rohde’s compositions 2013, New Century followed with a highly on the Mondovibe label. All of the recordings successful eight-state national tour, the largest have been distributed both in the United States and most ambitious artistic undertaking in the and internationally. GUEST ARTISTS

the National Symphony. In Europe he partners with the orchestras of London, Munich, Leipzig, Berlin, Dresden, Leipzig, Zürich, and Tel Aviv. He has also performed extensively in Australia, New Zealand, Japan, Korea, Malaysia, Singapore, Taiwan and Hong Kong. Among others, some esteemed conductor-collaborators throughout Mr. Harrell’s career include James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

Lynn Harrell will open the 2019–20 season 2010 © Chad Batka performing with Anne-Sophie Mutter and Yefim LYNN HARRELL Bronfman at Carnegie Hall’s Opening Night CELLO Gala. This season he will also perform with the Duluth Superior Symphony Orchestra, Louisiana Lynn Harrell’s presence is felt throughout the Philharmonic Orchestra, Zurich Chamber musical world. A consummate soloist, chamber Orchestra, New Century Chamber Orchestra, musician, recitalist, conductor and teacher, his Guangzhou Symphony Orchestra, China work throughout the Americas, Europe and Asia Philharmonic Orchestra, and Los Angeles Jewish has placed him in the highest echelon of today’s Symphony. In addition, he will be performing performing artists. recitals at the Amelia Island Chamber Music Festival, the Matinee Musicale concert series, the Mr. Harrell’s half-century career has brought him Mesa Arts Center, and El Paso ProMusica. to many leading orchestras including Boston, Chicago, New York, , San Francisco, Mr. Harrell plays a 2008 Dungey cello. He makes Los Angeles, Detroit, Ottawa, Pittsburgh, and his home in Santa Monica, CA.

NEW CENTURY CHAMBER ORCHESTRA 13 GUEST ARTISTS

Worcester, encompassing performances, school outreach, master classes, and lectures. Dinnerstein also spent 2018 touring Piano Concerto No. 3, a piece that Philip Glass wrote for her as a co- commission by twelve orchestras. Circles, her world premiere recording of the concerto with Grammy-nominated string orchestra A Far Cry, topped the Classical Billboard charts. She has since performed the piece in France, Germany, Italy, and Canada, including a tour with the Baltic Sea Philharmonic and Kristjan Jarvi. This summer, Simone participated in the premiere of Andre Previn and Tom Stoppard’s Penelope with Renée Fleming and the Emerson String Quartet at Tanglewood, Ravinia and Aspen Music Festivals, where they were joined by actors Uma Thurman, SIMONE DINNERSTEIN Jennifer Ehle and Victoria Clark. PIANO In 2017 Dinnerstein released Mozart in Havana, American pianist Simone Dinnerstein is recorded in Cuba with the Havana Lyceum known for her “majestic originality of vision” Orchestra. She went on to bring the orchestra (The Independent) and her “lean, knowing and to the United States for its first-ever American unpretentious elegance” (The New Yorker). 2018 tour, which was featured in specials for PBS and was a banner year for Dinnerstein, including a NPR. That same year, she collaborated with highly lauded recital at the Kennedy Center, her choreographer Pam Tanowitz to create New Work debut with the London Symphony Orchestra, a live for Goldberg Variations, which was on the year- recital for BBC’s Radio Three, and an ambitious end top-ten lists of critics at season as the first artist-in-residence for Music and the Boston Globe.

NEW CENTURY CHAMBER ORCHESTRA 14 PROGRAM ANNOUNCEMENT

SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER

HERBST THEATRE

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

The Honorable London N. Breed, Mayor

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

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

NEW CENTURY CHAMBER ORCHESTRA 15

MEMBERS OF NEW CENTURY

Candace Guirao Dawn Harms Robin Mayforth Principal Second Violin Violin Violin San Francisco, CA San Francisco, CA Pacifica, CA Joined NCCO in 1993 Joined NCCO in 1999 Joined NCCO in 2001

Karen Shinozaki Sor Iris Stone Deborah Tien Price Violin Violin Violin Richmond, CA San Francisco, CA Mill Valley, CA Joined NCCO in 1992 Joined NCCO in 1995 Joined NCCO in 1999

Michael Yokas Violin Berlin, Germany Joined NCCO in 2000

NEW CENTURY CHAMBER ORCHESTRA 18 MEMBERS OF NEW CENTURY

Anna Kruger Jenny Douglass Elizabeth Prior Principal Viola Viola Viola Oakland, CA Mill Valley, CA San Rafael, CA Joined NCCO in 2007 Joined NCCO in 2009 Joined NCCO in 2015

Cassandra Lynne Richburg Robin Bonnell Michelle Djokic Viola Cello Cello Sacramento, CA Berkeley, CA Palo Alto, CA Joined NCCO in 1992 Joined NCCO in 1999 Joined NCCO in 2007

Isaac Melamed Anthony Manzo Cello Principal Bass Warm Springs, VA Chevy Chase, MD Joined NCCO in 2012 Joined NCCO in 2006

NEW CENTURY CHAMBER ORCHESTRA 19 RECORDINGS

From A to Z: 21st Century Concertos On Our Way DVD NSS Music, 2014 NSS Music & Counterpoint Films, 2012 With Nadja Salerno-Sonnenberg With Nadja Salerno-Sonnenberg Works by Lera Auerbach, Works by Wolf, Piazzolla, Tchaikovsky, William Bolcolm, Michael Daugherty Schnittke, and Gershwin and Ellen Taaffe Zwilich

Journey To Mozart For Seasons February, 2018 March, 2017 Studio album by Daniel Hope and Album by Daniel Hope and Zurich Chamber Orchestra Zurich Chamber Orchestra

NEW CENTURY CHAMBER ORCHESTRA 20 RECORDINGS

Written with the Heart’s Blood Echoes of Argentina New Albion Records D’Note Records 1997 Grammy Award Nomination Works by Alberto Ginastera and Works by Alberto Williams

NSS Music Recordings:

Together NSS Music 2009 New Century Chamber Orchestra & Nadja Salerno-Sonnenberg

NEW CENTURY CHAMBER ORCHESTRA 21 NOTES OF GRATITUDE

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous individuals, corporations, foundations, and government agencies listed here, who have made gifts during the past 12 months.

CORPORATE, FOUNDATION, AND CREMONA CIRCLE René Mandel GOVERNMENT SUPPORT ($10,000 – $24,999) Britt-Marie Ljung and Ackerman’s Servicing Volvos, Inc. Julie Allecta Warren Miller Benevity Owsley Brown, III Susan and Harry Neuwirth The Bernard Osher Foundation Trine Sorensen and Sue and Warden Noble Clarence E. Heller Michael Jacobson Stephanie Oana and Joseph Osha Charitable Foundation Lucinda Lee Katz Cathleen O’Brien EMIKA Fund Susan and Robert Larson Ann and Michael Parker First Republic Bank Alexander Leff Lisa Hane and Hugh Rienhoff GE Foundation Pamala and Robert Pedrazzini Warren Schneider Google Carolyn and Stephen Spitz Donald Share SF Grants for the Arts Alex Takaoka Hamburg Family Fund GUARNERIUS CIRCLE Amelia Kaymen and Eric Yopes at The Chicago ($5,000 – $9,999) Community Foundation Mari Kawawa and Patrick Beaudan SUSTAINERS Korbel Winery Marcia and James Beck ($500 – $999) Larson Family Fund Michèle and Laurence Corash Carlos Hoyos Alonso McRoskey Mattress Company Carol Davison Danan Barnett Netflix Ginnie and Peter E. Haas, Jr. Robert and Irene Belknap The North Ridge Foundation Mary L. Harden Linda and Tom Biesheuvel Northern Trust Susan Blake and Joel Kaufmann Evelyn Clair The Pedrazzini Family Shira Lee Katz and Brandon Miller Dr. William Clusin Charitable Trust Teresa Darragh and Suzanne and Steve Cowan Pedro Point Brewing Parker E. Monroe Karen DeMello Renaissance Charitable Fund Jean Fordis and Jerry Voight Cathy and Chris Halberstadt The Richard and Emily Levin Dennis and Gayle Hannigan Foundation STRADIVARIUS CIRCLE Janet and Damon Kerby Sakana Foundation ($2,500 – $4,999) Jason Kim Salesforce Patricia and Steven Anderson Martha Kropf Sigma Alpha Iota Robert Carrigan Alec and Susan Lee Sonoma-Cutrer Vineyards William Ginchereau Martha Mangold Stellar Solutions Elizabeth and John Harkins Barbara and Kim Marienthal Thomas H. and Donna M. Stone Joan and Jim Kirsner Ann and David Melamed Foundation Denise Wang-Kline and John Meyer VMWare Foundation Robert Kline David G. Mount The William and Flora Hewlett Kate and Jonas Rabbe Carl Page Foundation Rebekah and Nathan Rabiroff Bonnie Pitman William and Tracy George and Dimitra Politi Gretchen Kimball Fund Christiaan Schaeffer Marta Rey-Barbarro WIZARD487 Fund C. Gerron and Judith Vartan Dr. Niall Roche The Zalec Familian and Lilian Gerald and Lynda Vurek-Martyn Julie and Mike Sarton Levinson Foundation Philip Wilder Pat and Steve Scheid Barbara A. Wolfe Thomas Schneider MESSIAH STRADIVARIUS CIRCLE Linda and Edward Selden ($100,000+) LEADERS LaVerne and Alan Silverman Paula and John Gambs ($1,000 – $2,499) Iris and Tom Stone Gordon P. and Ann G. Getty Kris and Eric Brewer Riva Tez Jane A. Cook Gladys Thacher DEL GESU CIRCLE Daniel Engstfeld Ruth Donig-White and ($50,000 – $99,999) Debbie Thal and Len Gensburg Robert White Alan Benaroya Elsie I. George Anita and Ronald Wornick Caroline Wood Brian Gibbs Kathryn and Philip Zimmerman Ruth and Alfred Heller GUADAGNINI CIRCLE Cynthia Hersey SUPPORTERS ($25,000 – $49,999) Edna Hom ($250 – $499) Jefferson Han and Jennifer Banzaca Kate Akos and Harry Jacobs Michael Barrett Jerome and Thao Dodson Patricia and Philip Jelley Bonnie Bernhardt Mr. and Mrs. William Fisher Gretchen Kimball Carolyn Chris Margaret and Edmond Kavounas Martin Krasney Michael Garland and Gigi Coe Miranda Heller and Mark Salkind Fred Levin and Nancy Livinston Jeannette and Roland Dare Katherine Heller and Rolf Lygren Stephen and Jo Davenport

NEW CENTURY CHAMBER ORCHESTRA 22 NOTES OF GRATITUDE

Patricia De Luca Michael Condie Merti Walker Kathleen G. Henschel and Ellen Courtien Ingrid and Robert Wander John W. Dewes Margo Crabtree Robert Weston Kewchang Lee, M.D. and Jennifer and James Crotty Michael Ray Wilder Kevin DeYager Judy and Mark Eckart Helen Chen Wong Jenny Douglass Peg Linde and Robert Edwards Katherine Young Maria Erdi Erik Eklund Carmen and Fernando Ferreyros Robert Feyer FRIENDS Bettina Glenning Marcia Flannery ($1 – $99) Mary Griffin Laura Frost Polly Adams Stacey Poland Hamburg and Tia Miyamoto and Bryce Goeking Stewart Applin Edward Hamburg Sandra and Norman Gordon Debra and Chris Armstrong Nancy and Nick Haritatos Leocadia Korzun and Laura Boxer Peggy Heineman Geoffrey Gosling Wayne Colyer Coreen Hester Mark Granger Antoinette Conrad Meridee Moore and Kevin King Gretchen Grant Jeannie Cuan Lucinda Lee, Esq. Maryann and Don Graulich Marilyn Davis Naomi and Marc Levenson Herb Grench Victoire de Margerie Lynn Luckow Anita Hagopian Linda Dondero Alan S. Markle Elsa and Raymond Heald Amy Duxbury Valerie Marshall Edward Hogan Ashley Eden Karen Smith-McCune and Ann Homan Art Rothstein and Julia Erickson Mike McCune Leslie and Peter Horn Norma Feldman James and Angela Mongillo Michèle Stone and Harry Howe Melissa Garcia Richard Monson Carol and Donald Javete John S. Gravell Elaine and Chester Moore Alice and Dale Johnson Jean-Bernard Guerree Anne Murphy Kathleen and Robert Kaiser Kirsten Hill Rosemary Pfeiffer Josie and Bill Kamin John Hillyer Liz Prior Dorothy Kaplan John D. Howard Ann and Bill Regan Anna Kruger Joan Huff Audrey Ryan Aleathea Langone Robert Jensen Angela and Samuel Schillace Helen Lechner William Kamin Suzanne Shea David Lilien Ruth Karlen Gayle Sheppard Richard and Marilyn Lonergan Anna Keim Karen Shinozaki Sor Martha and Arthur Luehrmann Akemi Koda Robert Ripps and Steven Spector Barry Lynch and Dennis Blanchard Art and Bobby Kushner Mayo Tsuzuki Harvey Lynch Ricky Lacina Dr. Billie Lee Violette Marjorie and George Mader Karen Lassen Susan Wheeler Janet Maestre Florence and David Livingston Anthony Manzo James J. Ludwig SPONSORS / NEW CENTURY CLUB Leila Marcus Marlana Malerich ($100 – $249) Ranko Yamada and Lisa Martin Marjorie Ackerman Robert Matsueda Thom Mayes David and Marcy Albert Avery McGinn Marilyn McKenna Anthony Alvernaz A. Kirk McKenzie Donald Millhauser Kathleen Marie Balfe Geraldine and Gary Morrison Ganesh Nunnagoppula Joan Balter Susan and Thomas Munn Pat and John O’Neil Gianine Figliozzi and Mr. and Mrs. Chip Nielsen Tyson Read Steve Banville Lorraine and Reggie Niles Barbara Riley Brian Berg Thomas Noyes Pamela Ritchey Mr. and Mrs. David Biegelsen Herb Ochitill Deborah Rose Dorian and George Bikle JaMel and Thomas Perkins Jay Sato David Birnbaum Cathy Frantz and Mike Potel Carole Seligman Margo Crabtree and Tracy Powell Madeleine Stovel Clinton Blount Cassandra Lynne Richburg Nancy Sur Kathie Hillier and Bob Boen Bill and Erica Roberts Stephanie Wei Laurel Brobst Suzanne and Will Schutte Ernest White, II Shelagh Brodersen Beni Shinohara June Wiley Roberta Brokaw Michael Siani-Rose Gloria Wong Helen Harper and Mary Campbell Dr. Cherrill Spencer George Wright Jeri Echeverria and Sandra Carr Annie Stenzel Taun Miller Wright Natasha Jade Chandler Bonnie Stiles Karen Zelmar Terry Coddington Rita Sussman Nancy Cohrs Randy Vogel

NEW CENTURY CHAMBER ORCHESTRA 23 STRADIVARIUS CIRCLE

New Century extends its gratitude to the members of the Stradivarius Circle, which recognizes the generosity and leadership of our friends and patrons who have made gifts of $2,500 or more in the past 12 months.

Julie Allecta Ginnie and Peter E. Haas, Jr. Shira Lee Katz and Brandon Miller Patricia and Steve Anderson Mary L. Harden Teresa Darragh and Jefferson Han and Jennifer Banzaca Elizabeth and John Harkins Parker E. Monroe Mari Kawawa and Patrick Beaudan Trine Sorensen and Pamala and Robert Pedrazzini Marcia and James Beck Michael Jacobson Rebekah and Nathan Rabiroff Alan Benaroya Lucinda Lee Katz Miranda Heller and Mark Salkind Kris and Eric Brewer Susan Blake and Joel Kaufmann Tracy George and Owsley Brown III Margaret and Edmond Kavounas Christiaan Schaeffer Robert Carrigan Gretchen Kimball Carolyn and Stephen Spitz Carol Davison Joan and Jim Kirsner C. Gerron and Judith Vartan Michèle and Laurence Corash Denise Wang-Kline and Jean Fordis and Jerry Voight Jerome and Thao Dodson Robert Kline Gerald and Lynda Vurek-Martyn Mr. and Mrs. William Fisher Kate G. Knickerbocker Philip Wilder Paula and John Gambs Susan and Robert Larson Caroline Wood Priscilla and Keith Geeslin Alexander Leff William Ginchereau Katherine Heller and Rolf Lygren

STUART CANIN FUND

New Century Chamber Orchestra is deeply grateful to the following individuals and organizations who have generously contributed to the Stuart Canin Fund. The Fund supports the orchestra’s outreach and education initiatives and the contributions made in its third year honor the 2018 Stuart Canin Award recipients Jake Heggie and .

Julie Allecta Mary L. Harden JaMel and Thomas Perkins Francesca Applegarth Ruth and Alfred Heller Paula Pretlow Carolyn Ingram and David Beach Kathleen Henschel Ann and Bill Regan Nancy and Joachim Bechtle Cecilia and Jim Herbert Don Roth Alan Benaroya I’lee and Tony Hooker Salient Susan Blake and Joel Kaufmann Laura and George Irvin Pat and Steve Scheid Mary Commanday Susan Israel Margaret and Lloyd Smith Michèle Corash Judi and Buz Kanter Karen Smith-McCune Ellen Courtien Lucinda Lee Katz Carolyn and Stephen Spitz Gail Covington Gretchen Kimball Gladys Thacher Joseph Cutcliffe Joan and Jim Kirsner Judy and C. Gerron Vartan Teresa Darragh and Parker Monroe Kate Knickerbocker Tina Vindum and Mary Falvey Martin Krasney John Philip Coghlan Sakurako and William Fisher Sue and Robert Larson Shirley and Art Weiss Paula and John Gambs Susanne and Ted Lyons Jamie Whittington and Elsie George Brenda and Don MacLean Peter Pastreich William Ginchereau René Mandel Caroline Wood John and Marcia Goldman Connie and Haig Mardikian Kristina Woolsey Dawn and Andrew Gross Marina and Ben Nelson Kathryn and Philip Zimmerman Anne Halsted and Whitney Wells Pamala and Robert Pedrazzini

NEW CENTURY CHAMBER ORCHESTRA 24 NEW CENTURY CLUB

This 2019-20 season, join New Century’s new membership program while supporting your favorite Bay Area orchestra.

Join for only $150 (per household), to unlock these special New Century Club benefits:

• Discount code of 50% for up to two concerts tickets at the venue of your choice in the 2019-20 season • Receive our e-newsletter with special announcements, reminders, and offers • Invitations to exclusive events • New Century coffee mug

To become a club member, call 415.357.1111, ext. 306. Your membership to the New Century Club directly supports our musicians, featured composers, guest artists, and community outreach efforts. Your contribution is fully tax-deductible.

TRIBUTES

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous individuals listed below who have made tribute gifts during the past 12 months.

IN HONOR IN MEMORIAM In honor of Judy J. Dupont In memory of David Ackerman Sue and Warden Noble Marjorie Ackerman In honor of John and Paula Gambs In memory of Michael S. Donovan Polly Adams, Fred Levin and Nancy Livingston, Patricia and Philip Jelley Barbara A. Wolfe, Ronald and Anita Wornick In memory of Pauline Ginchereau In honor of Dawn Harms William Ginchereau Amy Duxbury In memory of Norm Katz In honor of Mark Salkind and Miranda Heller Evelyn Clair, Roland and Jeannette Dare, Alexander Leff Stacey Poland Hamburg and Edward Hamburg, In honor of Daniel Hope Leslie and Peter Horn, Shira Lee Katz and Robert Ripps and Steven Spector, Susan Wheeler Brandon Miller, Bill and Erica Roberts In honor of Lucinda Lee Katz Rita Sussman In honor of Lucinda Lee Katz and Shira Lee Katz Denise Wang-Kline and Rob Kline In honor of the wonderful staff and musicians of New Century Caroline Wood For the children Carol Davison

To give a contribution in someone’s name, visit ncco.org, call 415.357.1111, ext. 306, or mail a check to: New Century Chamber Orchestra 1668 Bush Street San Francisco, CA 94109

NEW CENTURY CHAMBER ORCHESTRA 25 SPECIAL EVENTS

Post-Concert Receptions The following post-concert receptions are open to subscribers and Supporters (donors who make annual gifts of $250 or more). These festive, informal events are wonderful ways to meet and connect with our musicians immediately following our performances.

Palo Alto: Friday, May 13, 2020 San Rafael: Sunday, May 17, 2020

Leaders’ Luncheon With Daniel Hope This informal lunch is open to Leaders (donors who make annual gifts of $1,000 or more) and immediately follows our popular Open Rehearsal. RSVP requested.

President’s Lounge Stradivarius Circle members (donors who make annual gifts of $2,500 or more) are invited to attend pre-concert receptions before each of our San Francisco performances. Sponsored by Korbel Champagne, the President’s Lounge offers guests a glass of champagne or sparkling water and snacks.

May 16, 2020

More details are available online at ncco.org/specialevents For more information, please call 415.357.1111, ext. 306

NEW CENTURY CHAMBER ORCHESTRA 26 NEW CENTURY BOARD OF DIRECTORS AND STAFF

BOARD OF DIRECTORS EMERITUS BOARD Mark Salkind, President Parker Monroe, Co-chair Lucinda Lee Katz, Vice President Tere Darragh, Co-chair Carolyn Spitz, Treasurer Kate Akos Joel Kaufmann, Secretary Patricia Anderson Bettina Glenning John Gambs Tracy George Paula Gambs Peggy and Ed Kavounas Jefferson Han Jim Kirsner Mary Harden Alexander Leff Mari Kawawa René Mandel Shira Lee Katz Stephanie Oana Sue Larson Jerry Voight Caroline Wood ADMINISTRATIVE & PRODUCTION STAFF ORCHESTRA REPRESENTATIVES Philip Wilder, Executive Director Candace Guirao David Taylor, Director of Artistic Planning Anna Kruger Rebekah H. Rabiroff, Director Isaac Melamed of Development Elizabeth Prior Blake Hallanan, Director of Patron Services Karen Shinozaki Sor Jenny Chisholm, Director of Finance Jan Brown, Stage Manager Leah Froyd, Administrative Intern

CONSULTING STAFF Beth Beauchamp, Web Development and Design David v. R. Bowles, Recording Engineer Brenden Guy, Marketing and Public Relations Karen Ver Steeg, Graphic Design

New Century Chamber Orchestra 1668 Bush Street, San Francisco, CA 94109 Phone 415.357.1111 Fax 415.252.7941

Want to see your ad in our program book? Contact New Century’s administrative staff at 415.357.1111 or [email protected]

NEW CENTURY CHAMBER ORCHESTRA 27 TICKET INFORMATION

SINGLE TICKETS Tickets can be exchanged four ways. Always $67.50 A | $55 B | $30 C include your name and the new performance date: 1) Mail: Send the tickets to 1668 Bush Street, There are three ways to purchase: San Francisco, CA 94109 at least three 1) Phone: Call City Box Office at 415.392.4400 business days prior to the performance. (Mon–Fri 9am–5pm, Sat Noon–4pm) 2) Fax: Send a copy of the ripped tickets to 2) Online: Visit ncco.org 415.252.7941 at least two business days prior 3) At the Door: Based on availability, beginning to the performance. 45 minutes prior to each concert 3) Scan/Email: Send a copy of the ripped tickets to [email protected] by noon at least two Allow 1–2 weeks for delivery. For orders received less business days prior to the performance. than one week prior to the concert, tickets will be 4) Return the tickets to Will Call up to 30 held at Will Call. minutes prior to the original performance in person. STUDENT RUSH TICKETS Student rush tickets can be purchased at the door If you cannot use or exchange your tickets, for $10 for all students with valid photo student please pass them on to friends or return them ID, as well as all persons aged 18 and under as a tax-deductible donation. To donate tickets, with valid photo ID. Please arrive early on the please call 415.357.1111 x 303, up to noon one evening of the performance, as tickets are based business day prior to the performance. A receipt on availability. will be mailed to you within two to three weeks acknowledging the value of the tickets. GROUP DISCOUNT Groups of 10 or more may be eligible for WILL CALL discounted tickets. Please call 415.357.1111, Will Call opens 45 minutes prior to each ext. 303 or email [email protected] to arrange performance. Please arrive early to avoid long lines. tickets for large groups.

CAN’T ATTEND A CONCERT? Ticket exchanges are welcome, but must take place prior to the original concert. Ticket exchanges are offered free of charge to all subscribers. All other patrons will be assessed a $2.75 service charge per ticket exchanged.

NEW CENTURY CHAMBER ORCHESTRA 28 2019–2020 VENUES

NEW CENTURY CHAMBER ORCHESTRA 39