SFCMPSFCMP Performances Performances inin thethe LABORATORY LABORATORY Series Series

Richard FESTINGER Careless Love* World premiere Featuring Daniel Cilli, baritone * SFCMP commissioned work January 20, 2017 Michael PISARO ricefall

San Francisco Kate SOPER Door Conservatory of Music Concert Hall György LIGETI Chamber Concerto San Francisco Contemporary Music Players

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

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

Tonight’s event is part of SFCMP’s In the Laboratory series, which brings to the stage large-scale contemporary classical works that push the boundaries of the concert experience through experimentation and exploration. Message from Artistic Director Steven Schick

One of the perplexities of creating put politics a concert program is the nearly aside in impossible task of knowing the mood favor of of a given audience on a given night. considering One could present a provocative what role concert about climate change and music can water shortages, as we did in our play to light “Xeriscape” program last year, only to the way in find that a downpour on the day of the dark times. concert utterly undercut the point. Somewhere But writing these words in early between the December, I believe I know how we ascension and our listeners will be feeling on the of science in concert night. Today, January 20, is not the late Renaissance (where facts came an ordinary day. Today is Inauguration to mean everything) and the political Day, and though much of what will be landscape of the early 21st century inaugurated is yet unclear, that which (where they seem to mean nearly has been made clear frightens many nothing) we’ve lost track of the role of us. of music as the means of uncovering truth. Yet at critical times—many of I will spare you a cross-examination of which are within our lifetimes—music the politics of this moment. If you’re has played just this role. like me—but having lived with six more weeks of CNN and Huffington Post— Think of the importance of European you’ve had enough of the bilious, modernism after World War II, in which the supercilious, and the downright the cool logic of serial composition mendacious to last a lifetime. So let’s San Francisco Contemporary Music Players • 3 was a balm to the unhinged All of these artists show us music as the excesses of the Third Reich. For language of resistance, as the vessel me, early Stockhausen is not the of loss, of hope, of rage. This is music unlistenable sound of the European at its richest and most complex. And avant-garde, but a wounded music perhaps here, in the resistance born of deep sadness. Or think of the of complexity, we musicians can find a founding in the mid-1960s of the role that is more than symbolic. Association for the Advancement As contemporary musicians, we have of Creative Musicians and what it often apologized for the complexity meant for those extraordinary African- of our art and tried to bend it towards American musicians whose voices had greater accessibility. Of course we been suppressed in the mainstream. applaud openness. But when public This “power stronger than itself,” discourse is only ever expressed as to use the title of George Lewis’s oppositional and intractable points remarkable book on the AACM, still of view, cut into bite-sized clips and lights the way. Pauline Oliveros’s spoon-fed via never-ending news Deep Listening Institute embraced cycles, perhaps we can find higher silence and patience and helped make purpose in an art that thrives on an increasingly chaotic and impatient nuance. When every online experience world more bearable. (God, how losing is reducible to the snap judgments of Pauline at the end of November was “thumbs up or down” or “swipe left the final punch in the guts of just an or right,” how deliciously refreshing awful month!) Finally, in what for me and profoundly healing is poetic and was the greatest musical moment of complex music. When 140 characters the recent past, my president fought count as a complete thought, perhaps back tears and sang a mournful the occasional thorniness of a longer Amazing Grace to the memories of musical essay might reassure us nine slain members of a Charleston that important things cannot be church. abbreviated.

4 • San Francisco Contemporary Music Players So, tonight we do not offer a special live with respect and openness in the concert in response to the elevation world. of Donald Trump to the presidency. Instead we’ll try to do what we always Please indulge me a personal memory try to do: simply, our best to make of another turbulent moment. In June fearless pieces of new and complex of 1988, I was on a concert tour of music. Eastern Europe, having just arrived in Poland from Moscow (where I saw We’ll inaugurate a new work with Reagan and Gorbachev together on Richard Festinger’s Careless Love. In Red Square). I found myself sitting our world, a première is the greatest down with the American composer sign of optimism we can offer since it Kenneth Gaburo to a post-concert necessarily envisions future audiences midnight meal in the small Warsaw and artists. In Michael Pisaro’s ricefall, apartment of Józef Patkowski. we’ll turn away from the deafening Patkowski had been president of the drumbeat of xenophobia and Polish Composers’ Union through the disrespect with the liminal, probing darkest days of the Soviet occupation patterns of gently falling rice. We’ll of his country and, more than any celebrate new communities and new single individual, was responsible for voices in Kate Soper’s Door, and we’ll his country’s lively contemporary music even revisit the balm of abstraction scene, in spite of repeated attempts by in György Ligeti’s masterful Chamber the government to thwart it. Concerto. The enormous storm clouds of political And then we’ll do it again, and again, upheaval that were just beginning to and again. In one concert after gather on horizons all over Eastern another, we’ll pursue our lifelong goal Europe that summer were ominously to sharpen the musical language of mirrored by flashes of real lightning resistance and, by reaching out to clearly visible through Patkowski’s new musics and new communities, to window. I sat quietly as Jósef and

San Francisco Contemporary Music Players • 5 Kenneth talked about contemporary music in Poland and how an The SFCMP Players uncompromising Polish avant-garde gave Poles a real voice even when all other freedoms of expression had Hrabba Altadottir, violin been strangled. I was stunned, and Jeff Anderle, clarinet still am when I think about it, by the Tod Brody, flute way music—yes, thorny and complex Kyle Bruckmann, oboe contemporary music—was being used Kate Campbell, piano in Poland to promote freedom and to Susan Freier, violin argue for the common good. Chris Froh, percussion Karen Gottlieb, harp There was a pause in the conversation Stephen Harrison, cello as the storm approached and the thunder rolled. I began to wonder Graeme Jennings, violin toward what quality of the common Peter Josheff, clarinet good I was using the music that I Bill Kalinkos, clarinet played. Patkowski suddenly slapped Adam Luftman, trumpet his hand on the table. The food was Loren Mach, percussion ready he said. Let’s talk about life Roy Malan, violin now, not art! Then he threw his head Sarah Rathke, oboe back and laughed as though such Nanci Severance, viola distinctions were absurd. And the rains David Tanenbaum, guitar came. Peter Wahrhaftig, tuba Steven Schick William Winant, percussion Nick Woodbury, percussion Richard Worn, contrabass

6 • San Francisco Contemporary Music Players San Francisco Contemporary Music Players • 7 Upcoming SFCMP Events

Works by Igor Stravinsky and Peter Evans Fri, Feb 17, 2017, Herbst Theatre

Trumpet virtuoso supreme Peter Evans will lead an extraordinary group of Bay Area improvisers, includ- ing special guests Ritwik Banerji, Nava Dunkelman, and India Cooke in an Evans/Stravinsky mash-up.

“Sound and Wine” Celebration Sat, Mar 25, 2017

Spend time with the Players for a season-end cel- ebration. Enjoy a few hours of live music, conversa- tion with Bay Area’s finest musicians, and of course, some of our region’s finest wine. SFCMP Ensemble Presenters: Kyle Bruckmann, Jeff Anderle, Bill Kalinkos

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

Works by Lou Harrison, Jimmy Lopez, Natacha Diels, Gity Rizaz, Annie Gosfield and 3 SF Search Winners. Festivities include a Friday night film screening, 3 Saturday concerts and composer talk, “How Music is Made” with composers Lopez and Diels.

8 • San Francisco Contemporary Music Players SFCMP Master Classes

SFCMP Master Classes provide opportunities for talented students to learn about contemporary classical music through guidance and critiquing in front of a live audience. The classes are led by the SFCMP Artistic Director and Players. These classes are challenging, intense and inspiring.

New Music and Percussion Master Class with Steven Schick, Percussionist and Artistic Director of San Francisco Contemporary Music Players

February 16, 2017, 7:30 pm San Francisco Conservatory of Music 50 Oak St, San Francisco, CA 94102

Besides chops, it takes knowledge and savvy to reach the world’s major stages. SFCM’s Master Class series invites renowned performers and conductors to share insights with Conservatory students about technique, style and the business – sprinkled with backstage tales – all before a live audience. We invite you to observe SFCMP Artistic Director and percussionist, Steven Schick in a new music and percussion master class.

Tickets Free and Open to the public. Limited seating available. VIP seating for the first 25 to RSVP. RSVP at www.sfcmp.org.

San Francisco Contemporary Music Players • 9 Tonight’s Program January 20, 2017

Venue: San Francisco Conservatory of Music Concert Hall

SCHEDULE: 4:00 - 4:30 pm Open Dress Rehearsal, “Careless Love” by Richard Festinger 4:30 - 5:20 pm Composer Talk, “How Music Is Made,” with Richard Festinger and Kate Soper 6:45 pm Pre-concert discussion with Steven Schick and the Players 7:30 pm CONCERT

SFCMP is proud to feature Conservatory of Music students on tonight’s program (indicated with single asterisks). SFCMP helps to develop emerging performers and audiences for contemporary classical music in the San Francisco Bay Area. In our Side by Side program, pre- professional musicians rehearse and perform in a professional concert with the our ensemble.

Richard Festinger Careless Love* (2016) *SFCMP Commission ~ 18 minutes Daniel Cilli, baritone; Peter Josheff, clarinet; Alex Camphouse, horn; Kate Campbell, piano; Roy Malan, violin; Susan Freier, viola; Stephen Harrison, cello

10 • San Francisco Contemporary Music Players Michael Pisaro ricefall (2010) ~ 18 minutes

Tod Brody; Kyle Bruckmann; Kate Campbell; Alex Camphouse; Susan Freier; Stephen Harrison; Peter Josheff; Roy Malan; Steven Schick; David Tanenbaum; Clio Tilton; Richard Worn; Andrew Friedman*; Trevor van de Velde**; Albert Yan*; Zhoushu Ziporyn** *SFCM students **UC Berkeley students

Kate Soper Door (2007) ~ 11 minutes

Amy Foote, soprano; Tod Brody, flute; Kevin Stewart, tenor sax; Karen Hutchinson, accordion; David Tanenbaum, electric guitar

György Ligeti Chamber Concerto (1969) ~ 21 minutes

Tod Brody, flute; Kyle Bruckmann, oboe; Peter Josheff, clarinet; Andrew Friedman*; bass clarinet; Alex Camphouse, horn; James Encarnación*, trombone; Kate Campbell, piano/celeste; Allegra Chapman, harpsichord/ Hammond B-3; Roy Malan, violin; Albert Yan, violin*; Clio Tilton, viola; Helen Newby, cello; Richard Worn, double bass *SFCM students

San Francisco Contemporary Music Players • 11 Program Notes by Robert Kirzinger

This concert brings a modern classic Massachusetts, but grew up in the in Ligeti’s Chamber Concerto as well as Bay Area, where he has been based a world première work for ensemble for most of his career. He attended and voice from San Francisco mainstay the Berklee College of Music as a jazz Richard Festinger. These are balanced guitarist and began his career in that by Michael Pisaro’s percussive-pure realm. He earned a bachelor’s degree ricefall and Kate Soper’s voice-and- from San Francisco State University and ensemble Door in a widely varied went on to study composition at the program suggesting any number of University of California, Berkeley, where surprising mirrorings, contrasts, and he worked with Andrew Imbrie. His conversations among these pieces and music often exhibits the gestural punch composers. and physical virtuosity of jazz (that energy probably both a cause and an Richard Festinger’s Careless Love, an effect of his compositional personality), SFCMP commission, is his first piece but he also has a fascination for for solo male voice. Having decided traditional techniques of counterpoint. on a vocal work, the composer felt Both sides of the conversation meld in the baritone voice was the best fit for Careless Love. setting these A.E. Stalling texts, and his somewhat unusual ensemble— Since 1990, Festinger has served on clarinet/bass clarinet, horn, piano, and the faculty of San Francisco State string trio—follows the voice into that University, where he also directs the generally lower register. The collection Morrison Artists Series. He was a of timbres is just different enough co-founder of the Earplay new music from the standard “Pierrot” group group in the mid-1980s. He has (featuring flute but no horn) to suggest received commissions from the Fromm, intriguingly different possibilities. Jerome, and Barlow foundations, the Festinger (b.1948) was born in Newton, American Academy of Arts and Letters,

12 • San Francisco Contemporary Music Players and many others; in 2014 he received Stallings’s “Accident” as well as the old a Koussevitzky Foundation commission familiar blues song (though there’s for his substantial String Quartet No. no musical allusion to the song here). 3, composed for the Afiara Quartet. The baritone setting is natural in its Other recent works include The Moon prosody, while the ensemble writing, Is Hiding, an E.E. Cummings setting for frequently highlighting individual soprano and cello to be premiered next instruments in soloistic fashion. Note, month by Noe Valley Chamber Music, too, that the ensemble as a whole and Cummings Settings, commissioned establishes a substantial presence by Lucy Shelton and the Resonant above and beyond the immediate Bodies Festival. His music is featured in context of the poetry setting. three portrait recordings, on the CRI, Bridge, and Naxos labels. Upcoming Of his Careless Love, the composer projects include a piece for the Dutch writes: “A year or so ago, for a period reed quintet Calefax and a work for of a few weeks, I read an enormous the San Francisco-based ClimateMusic amount of poetry, looking for texts I Project. Festinger has written one might want to set to music, reading previous piece for SFCMP: Smokin’ with which gradually coalesced around Cocuswood for oboe, string quartet, themes having to do with the darker and piano, premiered in 1993. side of love, from the melancholy to the disastrous. As one might imagine, Richard Festinger was drawn toward there are a great many poems on such these poems of Alicia Stallings (b.1968) themes—themes we all know from for their wit and humanity as well as personal experience, a subject matter for their use of formalist techniques, as as universally human as any that exists. he details below. The piece is in three As I sifted through poems, I had to movements, with the first two (“Fibs” eliminate many that I would have loved and “Olives”) of the four poems set to set, by poets as diverse as Robert together. The charming title Careless Herrick, W.B. Yeats, and Jill Essbaum. Love is the composer’s, suggested by But when I first read A.E. Stallings

San Francisco Contemporary Music Players • 13 “Another Lullaby for Insomniacs” and structure with interjections focused on “Accident Waiting to Happen” I knew the different colors of the instrumental immediately that I had to set them, ensemble. The setting of “Accident so the cycle Careless Love came to Waiting to Happen” takes its musical focus on her poetry, so remarkable inspiration from the 5th line of the for its intelligence, humor, irony and poem—”I’m bright and unstable”—and elegance. simply strives to capture the breathless and ever-tightening tumultuous rush The music flows from the poems: of the poem. —RF from their emotional climate and from the prosody of the language. A member of the Wandelweiser In the first movement, the “Fib” is a Composers Ensemble and an inheritor neo-formalism in which the number of interests and traditions of John Cage of syllables in each successive line of and Christian Wolff, Michael Pisaro poetry is taken from successive terms (b.1961) is the founder and curator of in the Fibonacci series, an arithmetic the Gravity Wave recordings and media expression of the Golden Mean; so label. Since 2000 he has been on the the music needed to be structured faculty of the California Institute of the along similar lines, in its phrase lengths Arts, where he teaches composition and proportions. “Another Lullaby for and experimental performance Insomniacs” is a Pantoum, a poetic practice. From 1986 until he joined form where the 2nd and 4th lines of the CalArts faculty he taught at each stanza become the 1st and 2nd Northwestern University. Like Richard lines of the next, finally turning back Festinger, as a young man Pisaro on itself at the end. To duplicate this also played guitar, though mostly structure musically would have been classical and rock, and he had a strong too much—the repetitions in the text knowledge of the classical tradition. suffice—so another musical form is While still a student, he encountered superimposed, a binary form that an outdoor performance by John also articulates the poem’s stanzaic Cage at Lincoln Center, which led to

14 • San Francisco Contemporary Music Players his investigations into new musical Wandelweiser, and there are numerous philosophies. He began composing recordings of his work. more with long silences and was encouraged by his discovery of Kunsu The original version of ricefall, for Shim’s work. It was Kunsu Shim who sixteen or multiples of sixteen players, introduced Pisaro’s music to Antoine dates from 2004; there have been Beuger, one of the original members other versions of the piece, including of the loose Wandelweiser collective, a version in which the individual parts which formed in 1992. Pisaro was are recorded on multiple tracks, and invited to join the collective following a version that layers instrumental and year. sine-tone sounds on top of the rice/ object sounds. Pisaro arrived at his Wandelweiser’s radical stance aims to materials through experimentation. The reposition compositional rhetoric via players are deployed in a 4 X 4 grid, music that insists on the ascendency which the composer sees as a kind of silence, taking Cage’s 4’33” as a of landscape, and each of the sixteen touchstone. Wandelweiser music is squares of the grid contains a medium often slow and contemplative, causing on which the rice will fall. There are the listener to focus intently on what eight different types of material: metal, are often tiny, subtle, or short-lived wood, stone, paper, hard plastic, rice, sounds, although ultimately there is dry leaves, and ceramic or glass; each great range of affect from work to appears twice within the grid but the work even within these constraints. two instances should be sonically Also characteristic of this approach different (e.g. two types of metal). are severe limitations or constraints in There are also eight different levels musical materials and/or processes. of performance intensity, ranging Pisaro’s work is performed worldwide from single grains dropping every and he remains active as a performer. few seconds to continuous sound, a His music, composed for a wide variety rainfall-like stream of rice. of media, is published by Edition Opening and closing with a minute of

San Francisco Contemporary Music Players • 15 silence, ricefall is in sixteen one-minute meaning and expression; between sections, with each player working sound and music. Although most of through a different ordered series of her works involve language and the intensities that visits all eight levels voice, she is an incredibly deft and twice. Each section has a different imaginative composer for instruments average aggregate intensity. I mention as well, as Door will attest. these details to suggest one way of listening to the piece—one might focus Among Soper’s major works is I Was visually on a single performer to see Here I Was I, a ninety-minute piece how these intensities play out, which with text and stage direction by Nigel also helps to focus the hearing. Or one Maister and composed for Alarm Will might “zoom out” to get the effect Sound, which was premiered at the of the whole. In addition to its sonic Metropolitan Museum of Art in June dimensions, the piece is a communal, 2014. Her Ipsa Dixit, an evening-length, even ceremonial action, heightened by modular series of works for voice, flute, the possibility of its being presented violin, and percussion, was composed by non-professional performers. As an over several years, premiered audience member, one might feel a movement by movement, and given sense of group participation, of shared its first full performance this past fall at experience with the onstage players. Smith College by Soper and Wet Ink, of which she is co-director. (Soper is Virtuoso vocalist, writer, and composer the Iva Dee Hiatt Assistant Professor Kate Soper (b.1981) has become known of Music at Smith.) Her opera Here Be for theatrical and quasi-theatrical Sirens was premiered in January 2014 works pushing the limits of vocal and with the composer as one of the three instrumental possibility. Her work vocalists. explores the interstices and continuities among sound, words, written and In her subject matter Soper is often spoken language, and varies forms of drawn to mythological and legendary communication; between semantic subject matter, and especially

16 • San Francisco Contemporary Music Players narratives examining the role of female the Tanglewood Music Center, and protagonists. A devotee of language Columbia University, where she earned for its own sake, she has a fascination her doctorate working with Mario for writers with pithy, intensely Davidovsky, Fred Lerdahl, and Fabien poetic voices, such as the Canadian Lévy. She has also worked at IRCAM Christian Bök, from whose Eunoia she and attended the Aspen and June took the text of her Helen Enfettered. in Buffalo festivals. She has been a Her now is forever 1: Orpheus and Radcliffe Institute Fellow as well as a Eurydice, with text by Jorie Graham, recipient of a Guggenheim fellowship, was commissioned by the American among other honors. She studied voice Composers Orchestra. Recently with with Lucy Shelton and Pamela Dellal, the Los Angeles Philharmonic, who and also trained in the Indian Carnatic commissioned the work, she premiered tradition. The Ultimate Poem is Abstract, on a text combining the composer’s Soper wrote Door in 2007, immediately words, quotes by other writers, and after joining Wet Ink, and its Wallace Stevens’s titular poem. Soper performers led to her choice of is currently at work on an opera based flute, saxophone, electric guitar, and on the medieval Romance of the accordion, the latter due to pianist Rose, projected for spring 2018. Her Eric Wubbels’s temporary fascination Voices from the Killing Jar for voice with that instrument. Door was the first and ensemble with electronics was piece of concert music she wrote for recorded by the Wet Ink Ensemble for herself to perform. Always attentive CD, and the Mivos Quartet released an to the possibilities of texts, Soper album including Nadja for soprano and come across Martha Collins’s suite string quartet. Her music is published “Door” in an issue of the Paris Review. by Schott/PSNY. “What drew me in was the sparseness and delicacy—it just seemed very Having studied piano as a child, musical to me, lightly orchestrated Soper studied at Rice University, and contemplative. I was particularly

San Francisco Contemporary Music Players • 17 captivated by the icy beauty of the in the fifth poem are the set’s clear third poem, which basically just has climax; the ensuing song “(I love you)” three words in it: ‘shell,’ ‘my hand,’ distills the work’s essence to its purest. ‘pearl’—I felt powerfully how deep connections emerged between these From our present vantage point, words in my mind just from her simple it’s hardly possible to overstate the (but expert) act of selecting them and impact György Ligeti (1923-2006) had placing them in proximity, which is a on music in the past fifty years, but common compositional procedure (if much of that impact was the result you replace ‘words’ with ‘sounds’).” of his recontextualizing influences via his own imagination and tendencies. As an explorer of language herself, His experiences with electronic music Soper isn’t entirely content to let led him to new instrumental textures; Collins’s simplicity stand alone: she encounters with John Cage’s thinking elongates, breaks apart, and spotlights resulted in ideas about theatricality different sonic fragments within words, in concert works, and somewhat later melding the singer’s voice with the American minimalism in the music of purely instrumental roles, for example Steve Reich and Terry Riley combined at the start of the first song with the with explorations of African drum- word “Sounds.” The prevailing delicacy ming and the piano etudes of Con- of sound in the instrumental writing lon Nancarrow in launching the long parallels the aerated language of last phase of Ligeti’s musical style in these poems. A rare exception is the the early 1980s. Even through clear instrumental writing of “(outside my changes and evolutions in his style, office window),” which is the one song Ligeti maintained certain predilections of the six in which voice and ensemble and identifiable approaches from his seem to have different opinions. (The earliest works—the Musica ricercata expressive marking here is great: for piano and the String Quartet No. “mechanical; slightly idiotic.”) The free- 1, for example—through the works of jazz-like cadenzas at the word “door” the end of his life. The Violin Concerto

18 • San Francisco Contemporary Music Players (1990/93), as if to underline this conti- (as dense, sustained harmonies or as nuity, explicitly quotes Musica ricercata. rapid, overlapping figures). Throughout his career, he frequently used one work as a springboard for Ligeti wrote the Chamber Concerto for the next, deepening and re-examining 13 instruments while living in Berlin in ideas both specific and general. the late 1960s, composing it for the Vienna-based ensemble “die reihe” and Ligeti famously cited a number of composer-conductor Friedrich Cerha, childhood experiences in explaining who premiered the first three move- the origins of his musical world, which ments in May 1970. The complete four- we can state most directly as “clocks” movement work was given October 1 and “clouds” (and in fact Clocks and of that year at the Berlin Festival. The Clouds is the title of one of his pieces, ensemble for the Chamber Concerto a 1973 work for twelve women’s voices is a mixture of the expected and the and orchestra). The “clocks” idea, heard unusual: flute, clarinet (doubling bass most clearly in the Chamber Con- clarinet), horn, trombone, harpsichord certo’s third movement, derives from (doubling Hammond organ), piano the composer’s memory of a Gyula (doubling celesta), and solo strings, and Krúdy story of a house full of clocks. the requirement of independent virtu- Its “cloud” counterpart was Ligeti’s osity makes the work’s title especially childhood dream in which he couldn’t apt. In his pieces leading up to the return to bed because the room was Chamber Concerto, Ligeti had become full of densely packed spider webs. The interested in using audible melodic idea of a highly complex network made lines, which here emerge from dense, up of single strands (i.e., melodic lines constrained contrapuntal networks in or sustained pitches) recurs again and definite, clear passages, an effect the again in Ligeti’s work, beginning with composer would continue to refine the groundbreaking orchestral work in the Double Concerto and ensuing Atmosphères and also found, variously works. articulated, in the Chamber Concerto

San Francisco Contemporary Music Players • 19 The opening of the Chamber Concerto echoes the beginnings of both the Cello Submit Your Survey, Concerto (1966) and the Ten Pieces for Get a Gift! Woodwind Quintet (1968): atonal coun- We genuinely want to terpoint leading to a dramatic unison. hear from you. Please Textures become light and frenetic, and stop by the red table a broad atonal unison melody appears in the lobby, drop off near the end of the movement. The your survey and pick up a red SFCMP second movement is timbrally quite dif- tote bag, pen, or other nifty item with ferent, its harmonic world more trans- our logo on it. parent, short, lyrical melodic passages defining the first part, and an intense Want to sponsor a concert? “thick line” melody high in the treble in Gifts of $2,500 or more can be used the second half. The third movement’s to sponsor the performance of a “Movimento preciso e meccanico” mark- specific piece. To discuss upcoming ing echoes the Second String Quartet’s programs or to make a commemo- “Come un meccanismo di precisione,” rative gift, please contact Executive both harking back to the Fluxus-influ- Director Lisa Oman at (415) 278-9566 enced 100-metronome experiment of or [email protected]. Poème symphonique (1962) and forward to the multi-tempo aural illusions of Want to volunteer? the Horn Trio, Piano Études, and other Behind every successful nonprofit works. The final Presto features difficult, organization is a team of dedicated fast melodic lines in conversation, each volunteers. If you would like to join instrument briefly establishing its own our team of volunteers, please give character. Following a long, static tritone us a ring at (415) 278-95566 or email dyad, the concerto ends with a few brief [email protected] to discuss your flurries. interests and our available opportuni- ties. ~ Robert Kirzinger

20 • San Francisco Contemporary Music Players Composer Biography - Richard Festinger

Composer RICHARD FESTINGER has garnered international recognition for his extensive catalogue of vocal and instrumental compositions. Writing for the 2011 Tanglewood Festival of Contemprary Music, Frank J. Oteri describes Festinger’s music as “notable for its combination of propulsive energy with an impeccable sense of poise and balance,” and WQXR Radio in New York has dubbed him “an American master.” Since 1990 Festinger has been a professor of composition at San Francisco State University where he is also Artistic Director of the Morrison Artists Series of chamber music concerts. Harvard University, the Koussevitzky Before turning to composing Foundation in the Library of Congress, Festinger led his own groups as a the National Endowment for the Arts, jazz performer. He received M.A. and the Aaron Copland Fund for Music, the Ph.D. degrees in composition from Pew Charitable Trust, and the American the University of California, Berkeley, Music Center, among many others. and in the mid 1980’s co-founded He is a recipient of the Gerorge Ladd the acclaimed San Francisco based Grand Prix de Paris and has received modern music ensemble Earplay. both the Walter Hinrichsen Award and Festinger has received major awards an Academy Recording Award from the and commissions from the Jerome American Academy of Arts and Letters. Foundation, the Fromm Foundation at San Francisco Contemporary Music Players • 21 Composer Biography - Michael Pisaro

elsewhere. He has held extended composer residencies in Germany, England, Austria, Spain, Switzerland, France, Australia, Poland, Israel, Greece, and the USA.

Recordings of his work have been released by Edition Wandelweiser Records, erstwhile records, New World Records, another timbre, slubmusic, Cathnor, Senufo Editions, winds measure, HEM Berlin and on Pisaro’s own imprint, Gravity Wave.

Before joining the composition faculty at the California Institute of the Composer and guitarist MICHAEL Arts, where he is presently located, PISARO (born in 1961 in Buffalo, New he taught music composition at York) is a member of the Wandelweiser Northwestern University from 1986 collective. Recent portrait concerts to 2000. In 2005/6 he was awarded of his music have been given in a grant from the Foundation for London, Paris, New York, Santiago, St. Contemporary Arts. Petersburg, Tokyo, Glasgow, Moscow, Chicago, Wrocłow, Munich, Buenos Pisaro was Fromm Foundation Visiting Aires, Madrid, Brussels, Montpelier, Professor of Music Composition at in Caracas, Boston, Berlin, Houston, the Department of Music at Harvard in Bologna, Trondheim, Amsterdam, the Fall of 2014. Nantes, Mexico City, Seattle and

22 • San Francisco Contemporary Music Players Composer Biography - Kate Soper

KATE SOPER is a composer, performer, and writer who has been praised by the New Yorker for her “limpid, exacting vocalism, impetuous theatricality, and... mastery of modernist style.”

Soper has received awards from the Guggenheim Foundation, the American Academy of Arts and Letters, the Kous- sevitzky Foundation, Chamber Music America, the Lili Boulanger Memorial Fund, and the Music Theory Society of New York State.

Her work has been commissioned by several ensembles including the Ameri- can Composers Orchestra, Carnegie Hall, the Tanglewood Music Center, love from the Middle Ages to the pres- Yarn/Wire, and Ogni Suono. ent day.

Upcoming projects include the re- Kate is a co-director and performing lease of Nadja for string quartet member of Wet Ink. She is Assistant and soprano, recorded by the Mivos Professor of Music at Smith College. quartet; the full premiere of Ipsa Dixit, an evening-length cycle of duos and For more information, visit: quartets for voice and instruments; and www.katesoper.com The Romance of the Rose, an operatic investigation of allegory and courtly

San Francisco Contemporary Music Players • 23 Composer Biography - György Ligeti

associated with centres of new music in Cologne, Darmstadt, Germany, Stockholm and Vienna.

Most of Ligeti’s music after the late 1950s involved radically new ap- proaches to music composition. Specific musical intervals, rhythms, and harmonies are often not distinguish- able but act together in a multiplic- ity of sound events to create music that communicates both serenity and dynamic anguished motion. Examples of these effects occur inAtmosphères GYÖRGY SÁNDOR LIGETI (born May (1961); Requiem (1963–65); and Lux Ae- 28, 1923, Transylvania, Romania—died terna (1966), three works later featured June 12, 2006, Vienna, Austria), was in Stanley Kubrick’s film 2001: A Space a leading composer of the branch Odyssey (1968), which brought Ligeti a of avant-garde music concerned wider audience. principally with shifting masses of sound and tone colors. Ligeti was the recipient of many honours, including the Grand Austrian Born the great-nephew of violinist State Prize for music (1990), the Japan Leopold Auer, Ligeti studied and Art Association’s Praemium Imperiale taught music in Hungary until the prize for music (1991), and the The- Hungarian Revolution in 1956. Fleeing odor W. Adorno Prize from the city of to Vienna (he later became an Austrian Frankfurt for outstanding achievement citizen), he subsequently became in music (2003).

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

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

San Francisco Contemporary Music Players • 25 Special Guest Daniel Cilli, Baritone Daniel Cilli made a lively debut with San Francisco Opera this summer as Le Dancairo in Ca- lixto Bieito’s charged and cin- ematic production of Carmen. Daniel maintains an energetic schedule by performing in pre- mieres and standard repertoire like the Thames Captain in the American premiere of Heart of Darkness by Tarik O’Regan at Opera Parallèle, Drugz Bunny in Oakland Opera’s collabora- tion with HOODSLAM! of Wei- ll’s Mahagonny, Harlekin in Ariadne auf Naxos with Festival Opera, the role of The Cellist in world premiere performances of Death with Interruptions by Kurt Rhode with Left Coast Chamber Ensemble, Le Directeur in Les mamelles de Tirésias also with Opera Parallèle, and Inspector Javert in Les Miserables at Utah Festival.

Mr. Cilli’s other recent operatic appearances include the title role in Don Giovanni at West Bay Opera, Bobby in Mahagonny Songspiel and Harlekin in Ariadne auf Naxos with West Edge Opera, and Papageno in a semi-staged production of Die Zauberflötewith the Baltimore Symphony under Marin Alsop. Some of Dan- iel Cilli’s other concert appearances have been with Utah Symphony, San Juan Symphony, Aspen Music Festival, and Tanglewood Music Festival. He holds vocal performance degrees from the New England Conservatory of Music and Stetson University. He has also studied Lieder at the Franz Schubert Institute of Baden bei Wien, Austria. From www.danielcilli.com

26 • San Francisco Contemporary Music Players Tonight’s SFCMP Players Tod Brody (flute) is principal flutist music and post-punk. With more with SFCMP, as well as local new music than 60 recordings and a striking groups Earplay, Eco Ensemble, and the array of performance affiliations Empyrean Ensemble, with an extensive to his credit (Quinteto Latino, the career that has included performances Stockton Symphony, sfSound, Eco of numerous world premieres and Ensemble, Ensemble Parallèle,the San many recordings. He is also principal Francisco Symphony, and others) he flutist of the San Francisco Chamber has been acclaimed as “a modern day Orchestra, the Sacramento Opera, and renaissance musician,” and “a seasoned the California Musical Theater, and improviser with impressive extended makes frequent appearances with the technique and peculiar artistic flair.” San Francisco Opera and San Francisco Before relocating to the Bay Area in Ballet orchestras, and in other chamber 2003, Kyle was a fixture in Chicago’s and orchestral settings throughout experimental music underground, the region. Active as an instructor, Tod collaborating regularly with teaches flute and chamber music at electroacoustic duo EKG, the ”noise- the University of California, Davis. In rock monstrosity” Lozenge, and the addition to performing and teaching, Creative Music quintet Wrack (recipient Tod is an active arts administrator, of a 2012 Chamber Music America New currently serving as Executive Director Jazz Works grant). Bruckmann earned of the Marin Symphony. He has been a undergraduate degrees in music and member of SFCMP since 2001. psychology at Rice University, studying oboe with Robert Atherholt, serving as music director of campus radio Oboist Kyle Bruckmann’s work as a station KTRU, and achieving academic composer and performer spans from distinction as a member of Phi Beta the Western classical tradition into Kappa. He completed his Masters the frontiers of free jazz, electronic degree in 1996 at the University of

San Francisco Contemporary Music Players • 27 Michigan, Ann Arbor, where he studied performances with New Keys, Hot Air, oboe performance with Harry Sargous the Garrett+Moulton Dance Company, and contemporary improvisation with and Switchboard Music Festival. She Ed Sarath. Kyle joined SFCMP in 2012. is also proud to be on the team of organizers for Omaha Under the Radar Festival, featuring new music, dance, Kate Campbell (piano) Hailed as a and theater in her hometown. She can “brilliant pianist” (Financial Times), be heard on New Amsterdam Records. Kate Campbell performs frequently www.katecampbellpiano.com as a soloist and chamber musician specializing in 20th and 21st century music, and is at home with styles Susan Freier (violin) is known in the ranging from thorny modernism, to Bay Area beyond her SFCMP affiliation “sleek and spirited” minimalism, to as a member of the passionate and indie classical. In addition to her work provocative Ives Quartet (formerly with SFCMP, Kate is the co-founder the Stanford String Quartet), of which and pianist of the interdisciplinary duo her husband SFCMP cellist Stephen KATES, which intertwines new solo Harrison is also a member. After piano music with new dance. The duo earning a degree in Music and Biology has been featured at NYSoundCircuit, at Stanford, Susan entered the Eastman Dance Conversations Festival at the School of Music where she co-founded Flea Theater in New York, and Omaha the widely acclaimed Chester String Under the Radar. As the pianist in the Quartet. She has been a participant at contemporary ensemble REDSHIFT, the Aspen, Grand Teton and Newport this year she will continue a guest Music Festivals, and has performed on artist residency at California State NPR, the BBC and German State Radio. University East Bay, premiering works Formerly an artist-faculty member at by faculty and student composers. the Pacific Music Festival, Music in the Having recently relocated to the Bay Mountains at Steamboat Springs and Area, current freelance projects include the Rocky Ridge Music Center, Susan

28 • San Francisco Contemporary Music Players is currently on the artist faculty of the as principal cellist of the Mendocino Schlern International Music Festival in Music Festival, coached at the San Italy and the San Diego Chamber Music Diego Chamber Music Workshop Workshop. Her recordings are on the and performed at the Telluride Newport Classics, Stolat, Pantheon, Chamber Music Festival. He earned Laurel, Music and Arts, and CRI labels. his degrees at Oberlin College and She joined SFCMP in 1993. Boston University, where he received the Award for Distinction in Graduate Performance. He joined SFCMP in 1984. A very active cellist in the Bay Area and beyond, Stephen Harrison (cello) is a founding member (with his wife, Susan Peter Josheff, clarinetist and Freier) of the Ives Quartet (formerly composer, is a founding member of known as Stanford String Quartet) and Sonic Harvest and of Earplay. He is a member of the faculty at Stanford also a member of the San Francisco University. Formerly principal cellist Contemporary Music Players, the of the Chamber Symphony of San Empyrean Ensemble and the Eco Francisco, the Opera Company of Ensemble. He performs frequently Boston, and the New England Chamber with Opera Parallele, the San Francisco Orchestra, Harrison has performed on Chamber Orchestra, and Melody of National Public Radio, the BBC, and China, and has worked with many on both German State Radio and the other groups including West Edge Netherlands State Radio. Stephen has Opera, the Ives Collective, the Paul toured internationally and recorded Dresher Ensemble, Composers Inc., on the Delos, CRI, New Albion and and sf Sound. Peter has composed Newport Classics labels. Harrison has instrumental and vocal music, opera been on the faculty of the Pacific Music and pop songs, as well as music for Festival and is currently an artist/faculty dance and theater. Crazed Loner, his member of the Rocky Ridge Music singer/songwriter project, had its Center. Most recently he has served public debut in October 2016. His

San Francisco Contemporary Music Players • 29 latest work, The Dream Mechanic, long-time concertmaster and solo Four Poems by Carol Vanderveer violinist for the San Francisco Ballet. Hamilton, commissioned by the San The founding director of the Telluride Francisco Chamber Orchestra, will be Chamber Music Festival, he has an premiered in February 2017. His recent extensive career of performance compositions include Big Brother domestically as well as in Canada, (2014) for solo piccolo, premiered Mexico, Europe, Australia, and Africa by Tod Brody with Earplay; Ground to his credit. He is also widely recorded Hog Day (2014) for clarinet and string on the Genesis, Orion, and other quartet, premiered by the Farallon labels, Roy was formerly a member Quintet; Europa and The Bull (2014), of Porter Quartet, Stanford String a chamber oratorio commissioned for Quartet, Ives Quartet, and the San and premiered at the Mary Holmes Francisco Piano Trio, among others. Festival at UC Santa Cruz; The Cauldron Educated at London’s Royal Academy (2013), commissioned and premiered of Music under Yehudi Menuhin, he by tenor Brian Thorsett; Waiting (2012), also attended Juilliard and the Curtis commissioned and premiered by Institute, where he was a student of Earplay; Nautical Man Nautical Man Ivan Galamian and Efrem Zimbalist (2011), an album of pop songs; Sutro (he authored the latter’s biography). Tower in the Fog (2011), commissioned, Roy currently serves on the faculty premiered and recorded by the Bernal of the University of California, Santa Hill Players; Sextet (2010), premiered Cruz, plays locally with a string by Sonic Harvest; and Inferno (2008), quartet, piano trio, and music festival a chamber opera produced by San engagements. He has been a member Francisco Cabaret Opera in 2009. of SFCMP since 1976.

Roy Malan (violin) serves solo violinist David Tanenbaum has performed as with the California Symphony and a solo guitarist throughout the US, as and Opera Parallèle, and was the Canada, Mexico, Europe, Asia, and

30 • San Francisco Contemporary Music Players Australia. Solo performances over the Currently, he serves as Assistant course of his career have included Principal Bass of the Marin Symphony the Los Angeles Philharmonic, San and Principal Bass of the Sanse Francisco Symphony, Minnesota Chamber Orchestra as well as with Orchestra, London Sinfonietta, Vienna’s the Berkeley Contemporary Chamber ORF orchestra, and elsewhere, under Players, ECO Ensemble, Other Minds the baton of such eminent conductors sfSound, Empyrean Ensemble, Earplay, as Esa-Pekka Salonen, Kent Nagano and Composer’s Inc. Richard is also and John Adams. Many of our former Principal Bass of the New most distinguished and interesting Century Chamber Orchestra. With his composers have written solos for Worn Chamber Ensemble, founded David, including Hans Werner Henze’s in 1996, has performed works for guitar concerto An Eine Äolsharfe, Terry both solo bass and ensemble by Riley’s first guitar piece Ascención, four such composers as Andreissen, works by Aaron Jay Kernis, and the Cage, Harrison, Henze, Reveultas, last completed work by Lou Harrison. Scelsi, Varese, and Xenakis. Richard Tanenbaum has toured extensively with holds degrees in double bass from Steve Reich and Musicians, in Japan California State University, Northridge withToru Takemitsu, and has had a long and the New England Conservatory. association with Ensemble Modern. Her currently teaches and provides He is currently recording the complete orchestral coaching at UC Berkeley. guitar works of Sofia Gubaidulina for Naxos. Chair of the San Francisco Conservatory’s Guitar department, David joined SFCMP in 2008.

Double bassist Richard Worn has performed extensively with the San Francisco Opera and Symphony.

San Francisco Contemporary Music Players • 31 Tonight’s Guest Musicians Join us in applauding the following The following San Francisco guest musicians on tonight’s Conservatory of Music students are performance: performing this evening:

Allegra Chapman, harpsichord/B3 Albert Yan, violin organ Andrew Friedman, bass clarinet Alex Camphouse, horn Amy Foote, soprano Kevin Stewart, tenor sax The following UC Berkeley students Karen Hutchinson, accordion are performing this evening: James Encarnación, tenor trombone; Clio Tilton, viola Zhoushu Ziporyn Helen Newby, cello Trevor van de Velde

Upcoming Events from our Arts Partner, West Edge Opera

32 • San Francisco Contemporary Music Players Friends of SFCMP San Francisco Contemporary Music Players gratefully acknowledges the following supporters who have made one or more donations between December 1, 2014 to the present, resulting in gift totals within the following categories. These generous gifts help the ensemble to reach new heights in presenting outstanding, adventurous concerts at affordable prices; educating young musicians, commissioning new works, and breaking down the barriers to understanding new music through our How Music is Made program.

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

Artistic Director’s Circle ($10,000 + ) Richard and Patricia Taylor Lee George H. Bosworth Anne and Robert Baldwin C. Michael Richards Steven and Brenda Schick Erik Neuenschwander and Sonya Holly Hartley and Oscar Anderson Chang Claire and Kendall Allphin Dianne Ellsworth Lorraine Honig Susan and Harry Hartzell Eunice Childs Margot Golding and Michael Powers Mark Applebaum and Joan Friedman Jerome and Linda Elkind Founders’ Circle ($1,000-$2,499) Players’ Circle ($5,000-$9,999) Michael McGinley Karen Gottlieb James C. Hormel Melanie Johnson, Ph. D. Jill Hunter Matichak Donald Blais Lubert and Andrea Stryer Adam Frey Producers’ Circle ($2,500-$4,999) Gene Nakajima and Howard Rubin Mark and Sharon Gottlieb Karl Pribram and Sweta Arora

San Francisco Contemporary Music Players • 33 Mary Lorey Robert Shumaker and Janet Garvin Patti Noel Deuter Tim Savinar and Patricia Unterman

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

34 • San Francisco Contemporary Music Players Patron ($50-$99) In addition to the many generous in- Tonia and Kenneth Baker dividual contributors, ticket-buyers Paul and Celia Concus and season subscribers, our season Caroline Pincus and Esther Landau concerts and events were made Charles Amirkhanian and Carol Law possible in part by recent grants James Bovee from the following foundations and John Richardson agencies: John W. Hillyer Kenneth Bruckmeier American Music Project Nancy Gilbert Ann and Gordon Getty Foundation Patrick Woodbury Clarence E. Heller Foundation Lauren Hallinan James Irvine Foundation David Tanenbaum National Endowment for the Arts Jonathan Russell Phyllis C. Wattis Foundation Michael Petrelis San Francisco Grants for the Arts Elsa Cheng The Aaron Copland Fund for Music, Inc. Laura Simpson The Alice M. Ditson Fund of Columbia University Major Inkind Supporters The Amphion Foundation Cooper White Cooper, LLP The Bernard Osher Foundation Hung Liu The Ross McKee Foundation Donald Blais William and Flora Hewlett Foundation Terry McKelvey Wells Fargo Foundation Susan and Harry Hartzell Zellerbach Family Foundation Jerry and Linda Elkind Ridge Winery

San Francisco Contemporary Music Players • 35 Legacy Circle

THE HAROLD WOLLACK LEGACY CIRCLE

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

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

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

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

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

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

Monthly Giving Circle Member Benefits

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

How to Join

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

San Francisco Contemporary Music Players • 37 Leadership and Staff Board of Directors Pamela Rosenberg Susan Munn (1988-1991) Donald Blais, President Donald Runnicles Marcella DeCray (1974-1988) Kit Sharma, Vice President Helgi Tomasson Melanie Johnson, Ph.D., Trea- Current Team surer Advisory Council Steven Schick, Artistic Director Dianne Ellsworth, Secretary Anne Baldwin Lisa Oman, Executive Director Margot Golding Timothy Bridge Cheryl Steets, Marketing and Karen Gottlieb Tod Brody Communications Director Stephen Harrison Caroline Crawford Amadeus Regucera, Artistic Susan Hartzell Didier de Fontaine Production Director Ken Ueno Paul Griffin John Jaworski, Production As- Erik Neuenschwander Roy C. (Bud) Johns sistant Kate Campbell Richard Diebold Lee Kassidy Koyama, Intern Steve Horowitz Jane Roos LeRoux T. William Melis Business Partners Board Presidents Olly Wilson Trey Wyatt, CA Percussion Richard Diebold Lee (2009- William Wohlmacher Golden Gate Piano Movers 2013) Kathy Roberts Perl, Harpsichord Susan Hartzell (2005-2009) Past Artistic Directors Tuning Anne Baldwin (2002-2005) David Milnes (2002-2009) Robert Kirzinger, Writer Roy C. (Bud) Johns (2000- Jean-Louis LeRoux (2001- Gary Preiser, Inc., Accounting 2001) 2002) T. William Melis (1996-2000) Donald Palma (1998-2000) Volunteers Paul R. Griffin (1986-1996) Stephen L. Mosko (1988- Artistic Planning Committee Jane Roos (1978-1986) 1997) Members Jean-Louis LeRoux (1974- Aaron Gervais Founding Directors 1988) Russ Irwin Charles Boone Charles Boone (1971-1973) Gene Nakajima Marcella DeCray Jean-Louis LeRoux Past Executive Directors Investment Officer Rozella Kennedy (2012-2015) Terry McKelvey Honorary Committee Carrie Blanding (2010-2012) John Adams Christopher Honett (2009- Event Staff Volunteers Ruth Felt 2010) Laura Simpson Patricia Lee Adam Frey (1991-2009) Yang Yang

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

Archival pigment prints, 18×18, in silkscreened folio

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

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

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

Contact us to purchase (415) 278-9566

San Francisco Contemporary Music Players • 39 40 • San Francisco Contemporary Music Players