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

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

Contents Francesco Lecce-Chong Welcome...... 7 Welcome from the Association Chair ...... 9 Welcome from the President & CEO...... 9 Board of Directors and Staff...... 10 Francesco Lecce-Chong Biography...... 12 HELPING Orchestra Roster ...... 13 Ways to Watch...... 14 Program Notes Begin...... 16 Subscriber Benefits...... 33 Heritage Society...... 34-35 Encore Society...... 36 Business, Corporate, Foundation & Government Donors...... 37 sonomalandtrust.org Annual Campaign Major Donors...... 38-40 Tributes, Memorials, In-Kind Gifts & Volunteer Support ...... 41 2020-2021 Season Schedule ...... 42-43 League Supporters...... 44 Family Law Offices of Symphony League President ...... 45 Carol A. Gorenberg Youth Ensembles Concert Schedule...... 47 www.cagfamilylaw.com Institute for Music Education...... 50-53 For Your Information...... 54 Orchestrating your Index of Advertisers...... 57 family law matter with compassion Visit us at srsymphony .org for the most up-to-date UU experience information on all of our concerts and programs . UU integrity respect Also find and engage with us on Facebook, Instagram UU UU creative solutions and Twitter . UU Program 2544 Cleveland Avenue, Suite 202 Editor: Sara Obuchowski-Mitchell Santa Rosa, CA 95403 Design: Performance Printing Center Advertising: Ann Hutchinson tel. 707.523.1810 Program Notes: Elizabeth Schwartz [email protected] Printing: Performance Printing Center divorce | child custody | adoptions Cover Design: Dennis Bolt Cover Photos: Susan and Neil Silverman Photography

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

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

Thank you so much for joining the Santa Rosa Symphony this fall as we come together to celebrate the power of music to connect us—bringing joy, hope and comfort to our lives . We may not be in the Green Music Center in person, but imagine that across our community, we will all be gathering for a performance—in living rooms and backyards, on phones and TVs, with family or maybe some neighbors . In the face of the difficulties behind us and the struggles ahead, we will share the same uplifting musical experience together as we have always needed during past crises from 9/11 to the Tubbs fire . This is truly a historic moment in our Symphony's long history and we are so glad you will be a part of our first concerts, specifically programmed, directed and filmed for you to enjoy in your homes . If you are a long-time subscriber, this will be your chance to see our musicians up close on stage, from many different angles, and featured in unique formations . And if you are new, you will be immersed SUSAN AND NEIL SILVERMAN PHOTOGRAPHY in our story, as you will get to know our musicians and learn about the many ways the Santa Rosa Symphony is a centerpiece of our community . This entire undertaking is a love letter to our community, while also being a statement to the world about what can be achieved through goodwill, trust and a commitment to building a brighter future together . So, let’s take this delightful journey through a vast, diverse array of works from our more than three-hundred-year-old repertoire . From 16th-century brass chorales to Peruvian dances, from an Italian concerto for six instruments to ragtime, these are programs that will surprise and delight you at every turn . Anchoring our fall programs will be a journey through Beethoven’s first three symphonies, which tell the story of how one composer forever changed our artform—and a perfect way to celebrate Beethoven’s 250th birthday this December! I would like to finish with a personal note of gratitude . None of this would have been possible without an unwavering commitment to keeping our music alive, even under the most difficult of circumstances, from all our stakeholders—musicians, staff, board, donors, volunteers, ticket holders, the Green Music Center, Sonoma State University and many public officials . From the bottom of my heart – THANK YOU!

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

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

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

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

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

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

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

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

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

2020 – 2021 Season 13 Ways to Watch With a little advance preparation, you can watch • Once the app opens, navigate to the search box the virtual concerts on your TV, instead of the and use the virtual keyboard to type Santa Rosa smaller screens of your laptops, phones and iPads . Symphony to find the channel . Watch a video to Below are guides for many ways to watch . We test it . highly recommend doing all the prep work at least On Comcast Xfinity X1 a few days in advance of the event or concert . That • Using your Xfinity remote, press the Xfinity way, the day of, you'll be ready to watch . button and navigate to Apps > YouTube . You can also watch on desktop computers, lap- • Type Santa Rosa Symphony into the search box . tops, tablets, iPads, smartphones (i e. . iPhone & • Using the voice remote, you can also open the Android), Amazon Fire . All you need is an Internet app by saying "YouTube," or search for "Santa connection and the YouTube app installed on your Rosa Symphony on YouTube ". device . To download the YouTube app, please visit the App store on your device . On Dish Network • On your Hopper, press Home and select Apps . ON OUR WEBSITE • Click on the YouTube tile and search for Santa The YouTube videos will be on the SRS @ Home Rosa Symphony . pages for the premiere . You can find it there, and • You can also navigate to Channel 371 in the expand it to full screen . If you would like to join the guide to launch the app . conversation and add comments, click "YouTube" in the bottom right which will take you to the con- ON OLD-STYLE TVS cert on the Symphony's channel on YouTube . If you have an old-style TV, you will have to use an external device to make a connection between your ON YOUTUBE device, which has the YouTube app installed, and Open YouTube and type Santa Rosa Symphony in your TV . A device could be a smartphone, tablet, the search box . You'll see a photo of Francesco . iPad, or laptop . You will need to have Internet access . Click on Santa Rosa Symphony to the right of the photo to link directly to the Symphony's channel . You may be able to link your TV to your computer Watch a video to test it out . On concert day, you with an HDMI cable, or link wirelessly by purchas- will find the video there, at the top of the list . ing a Chromecast dongle . You can also link your phone via firewire cable . The TV will need an HDMI If you have a Google account (Gmail), you can log in connection found at the back of the TV . If you do to your YouTube account, allowing for more conve- not have an HDMI connection, watching on your nient access each time you watch . We recommend TV may not be possible . subscribing to the Symphony's channel and setting up notifications, then you won't miss a thing . On the Symphony's Ways to Watch page, you can choose the video that most closely matches your ON YOUR SMART TV circumstances and equipment . There are a couple of easy ways to watch YouTube on Visit srsymphony org/Plan-Your-Visit/Ways-to-. your Smart TV . The first is through your pre-installed Watch for these instructional videos . apps, directly on the Smart TV . The second is through your Internet provider, such as Comcast Xfinity X1 or • Watch the concert with older TVs using lap- DISH Network . Please note, not all internet providers tops, Roku and gaming consoles offer access to YouTube . If you have questions about • Screen mirroring with Google Chromecast this, please check with your provider . Dongle Directly on your Smart TV • 3 Ways to connect your Android phone to TV • Using your Smart TV remote, search for your | HDMI cable | Google Chromecast | Casting YouTube app . from Phone • How to connect your iPhone to TV + screen mirroring

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

Sunday, October 11, 2020 3 pm Enhanced concert experience streamed on YouTube Recorded at the Green Music Center on Monday October 5, 2020 Francesco Lecce-Chong, conductor

GEORGE WALKER Lyric for Strings

GIOVANNI GABRIELI Canzon Septimi et Octavi Toni a 12, Ch . 182 [Bruce Chrisp, arranger] Canzon Noni Toni a 12, Ch . 183 [Bruce Chrisp, arranger]

GABRIELA LENA FRANK Escaramuza for Strings, Percussion, Harp and Piano

RICHARD STRAUSS Serenade in E-flat major for Thirteen Wind Instruments, Opus 7

LUDWIG VAN BEETHOVEN Symphony No . 1 in C major, Opus 21 Adagio molto – Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio – Allegro molto e vivace

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Anderman Family Foundation SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard Concert Sponsor: Marcia Wagner, in memory of Hap Wagner Francesco Lecce-Chong underwritten by The Alan and Susan Seidenfeld Charitable Trust Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat

See page 14 for Ways to Watch

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

GEORGE WALKER Lyric for Strings COMPOSER: b . June 22, 1922, Washington, D C. . – d . August 23, 2018, Montclair, NJ WORK COMPOSED: 1946 . Dedicated “to my grandmother ”. WORLD PREMIERE: 1946 . Seymour Lipkin led a student orchestra from the Curtis Institute of Music in a radio concert . INSTRUMENTATION: String Chamber Orchestra (1 each, first and second violin, viola, cello and contrabass) ESTIMATED DURATION: 6 minutes George Theophilus Walker pursued three suc- Last in the Dooryard Bloom’d ”. In 2000, Walker cessful careers in performance, composition, and was elected to the American Classical Music Hall teaching . After graduating from Oberlin Conservatory, of Fame, the first living composer so honored . Walker attended the Curtis Institute, becoming the Like Samuel Barber’s Adagio for Strings, first African-American student to earn an Artist’s Walker’s Lyric for Strings, initially titled Lament for Diploma in piano and composition . At Curtis, Walker Strings, began as a movement for string quartet . studied piano with Rudolf Serkin and composition Walker wrote his String Quartet No . 1 in 1946 as a with Gian Carlo Menotti . Walker continued his edu- graduate student at the Curtis Institute . He dedicat- cation at the Eastman School of Music, where he ed the Lament to his grandmother, who had died the earned a D M. A. . in composition, the first African- previous year . The quartet premiered on a live radio American to do so . In the 1950s, Walker traveled performance of Curtis’ student orchestra in 1946, to Paris to study composition with Nadia Boulanger . and the following year received its concert premiere Walker’s life list of accomplishments includes at the National Gallery of Art in Washington, D C. . many more “firsts": he was the first black instru- Walker gave the second movement a new title, mentalist to play a recital in New York’s Town Lyric for Strings . As a stand-alone piece, it quickly Hall; the first black soloist to perform with the became one of the most regularly programmed Philadelphia Orchestra under Eugene Ormandy; works by a living composer . Melodies interweave and the first black instrumentalist to obtain major among the instruments, and the pensive atmo- concert management, with National Concert sphere captures both the composer’s anguish at the Artists . In 1996, Walker became the first African- passing of his beloved grandmother, as well as the American composer to win the Pulitzer Prize in joy her memory evokes . The romantic melodies and Music for his Lilacs for Voice and Orchestra, a lush harmonic underpinnings create an expressive setting of Walt Whitman’s poem, “When Lilacs but never mawkish atmosphere of love and loss .

GIOVANNI GABRIELI Canzon Septimi et Octavi Toni a 12, Ch. 182 from Sacrae symphoniae Canzon Noni Toni a 12, Ch. 183 from Sacrae symphoniae COMPOSER: b . circa 1554-57, Venice – d . August 12, 1612, Venice WORK(S) COMPOSED: The Sacrae symphoniae were published in 1597 . WORLD PREMIERE: undocumented INSTRUMENTATION: 4 horns, 4 trumpets and 4 trombones ESTIMATED DURATION: 6 minutes The music of Renaissance composer Giovanni soaring ceilings and facing balconies that sit high Gabrieli is so intimately connected with the atop gold mosaic-covered columns . For Gabrieli, architecture of St . Mark’s Basilica, in Venice, that the balconies in particular shaped his musical one could argue convincingly for the building as conception, particularly his use of cori spezzati a co-composer . St . Mark’s Basilica, which fronts – split choirs of voices or instruments – each sit- St . Mark’s Square, in the heart of Venice, is built uated in a physically distinct space from the other . in the shape of a Greek cross . Its interior features Whether facing one another in the balconies, or

16 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER placed front and rear, the distinctive antiphonal Gabrieli had access to some of the best musicians sound of two groups dialoging in space and time in Italy, and he composed music designed to show- became Gabrieli’s compositional signature, one case their virtuoso talents . In particular, Gabrieli’s that must be experienced in live performance to writing for brasses demonstrates the caliber of be fully appreciated . the players he worked with, especially when you The details of Gabrieli’s life are scant, including consider that 16th century brasses had no valves, the exact year of his birth . He may have been raised and changes of pitch were made entirely with the by his uncle Andrea Gabrieli, who preceded Giovanni embouchure (mouth position) . Most of Gabrieli’s as the principal composer at St . Mark’s; Giovanni brass works were given the title Canzon or Canzona described his relationship to Andrea as “little less (Italian for “song”), along with an indication of which than a son .” After Andrea’s death in 1585, Giovanni, mode he had chosen for them . Modes, or church who had been St . Mark’s organist, assumed his modes, are scales that predate modern tonality . uncle’s role as primary composer as well . It was Thus, the Canzon septimi toni indicates a work during this time that he composed his finest works written in the Mixolydian mode, the seventh note of of sacred vocal and instrumental music . a scale beginning on the note A .

GABRIELA LENA FRANK Escaramuza for Strings, Percussion, Harp and Piano COMPOSER: born September 26, 1972, Berkeley, CA WORK COMPOSED: Commissioned by the Huntsville Symphony Orchestra Guild in 2010 WORLD PREMIERE: September 2010, under the direction of Carlos Miguel Prieto INSTRUMENTATION: percussion, harp, piano and strings ESTIMATED DURATION: 9 minutes Cultural identity has always been at the center “Escaramuza, which means ‘skirmish’ in the of Gabriela Lena Frank’s music . Her mother’s for- Spanish language, is inspired by the kachampa bears are Peruvian and Chinese, while her father music of Andean Peru,” Frank writes . “Celebrating is of Lithuanian/Jewish descent . Through this the pre-Hispanic Inca warrior, the kachampa dance multicultural lens, Frank explores the rich legacies is executed by athletic men who convey a trium- of her ancestry through her music . Like Béla Bartók phant, even joyful, spirit . Inspired by the kachampa and Alberto Ginastera, both of whom Frank counts dances done with fast-snapping ropes that I’ve as significant inspirations, she is also a musical witnessed in Peru, especially in Paucartambo anthropologist, traveling throughout South America during the Virgen de la Carmen Festival, I’ve cre- to absorb folklore, poetry, mythology and indige- ated a brightly chiseled romp in an asymmetrical nous musical styles, all of which are reflected and 7/8 rhythm that is launched after an extended refracted through her work . In 2017, the Washington bass drum solo . Through most of Escaramuza, no Post included Frank on its list of the 35 most signifi- section of the ensemble is allowed to rest for long, cant women composers in [recorded music] history . maintaining the high energy typical of kachampas .”

RICHARD STRAUSS Serenade in E-flat major for Thirteen Wind Instruments, Opus 7 COMPOSER: b . June 11, 1864, Munich – d . Garmisch-Partenkirchen, September 8, 1949 WORK COMPOSED: 1881 or 1882, while Strauss pursued studies at the University of Munich WORLD PREMIERE: November 27, 1882, conducted by Franz Wüllner at the Hotel zu den drei Raben in Dresden INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon and 4 horns ESTIMATED DURATION: 10 minutes Fans of Richard Strauss’ music might be sur- and a distinctly Romantic sensibility combined prised when they hear this youthful serenade, with a masterful display of orchestral skill . Op . 7 written when Strauss was just 17 . Strauss’ reflects Strauss’ undeniable talent, but its musical mature works feature bold, innovative writing language draws from the well-ordered, serene

2020 – 2021 Season 17 style of the Classical era beloved by Strauss’ and refinement of Mozart’s Serenade in B-flat father Franz, who served as principal horn with for Winds, K . 361, made famous in the 1984 film the Bavarian Court Opera in Munich for almost Amadeus . Strauss’ graceful, elegant melodies 50 years . showcase the four horns, in homage to Franz . The As a boy, young Strauss was deeply influenced brief development features woodwinds, particularly by Franz’ musical tastes, which tended toward the oboes . When the opening music returns, the the conservative . According to Richard, “His horns intone the first theme with a brass chorale . musical trinity was Mozart (above all), Haydn Op . 7 served as a calling card for the renowned and Beethoven ”. Franz loathed the innovations conductor Hans von Bülow, who found Strauss’ of his contemporaries Wagner and Liszt, and Serenade worthy of programming with his own young Richard’s music dutifully reflects his ensemble . Von Bülow became Strauss’ advocate father’s preferences . and helped the young composer launch his illus- The E-flat Serenade recalls the exquisite beauty trious career .

LUDWIG VAN BEETHOVEN Symphony No. 1 in C major, Opus 21 COMPOSER: b . December 16, 1770, Bonn – d . March 26, 1827, Vienna WORK COMPOSED: 1799-1800 . Dedicated to Baron Gottfried van Swieten . WORLD PREMIERE: Beethoven conducted the first performance on April 2, 1800 at Vienna’s Hofburgtheater . INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings ESTIMATED DURATION: 25 minutes Ludwig van Beethoven’s first symphony is a The audience at the premiere of Beethoven’s musical snapshot of the composer at age 29: a First Symphony heard a typical symphony of the self-confident young man, comfortable working Classical period: four movements scored for a within the established musical and societal parame- standard Classical orchestra of strings, timpani, ters of his day . At this point in his life, Beethoven had trumpets and pairs of woodwinds . The structure not yet assumed the persona for which he is best of each movement also conforms to those of a known: the iconoclastic deaf genius, possessed of Mozart or Haydn symphony: a fast first movement a fiery temper and an irascible personality . in traditional sonata-allegro form; a slower, freer In 1800, as Beethoven worked on his first second; a so-called “minuet” (although even in symphony, he was also establishing himself in the this early symphony we can hear hints of a true high-pressure world of musical Vienna . Although Beethovenian scherzo lurking beneath) and an Beethoven was financially sound, thanks to his exuberant, up-tempo finale . However, Beethoven patron of the time, Prince Lichnowsky, Beethoven’s upends all expectations in the symphony’s open- reputation in 1800 was primarily that of an excellent ing measures, by featuring a strange three-chord pianist who played for the most select aristocratic introduction that resolves to the “wrong” key (F audiences . His skill as a performer also brought major), instead of the C major indicated in the score . him many pupils, and his connections among the Beethoven was roundly criticized for this aristocracy and other important leaders in Vienna shocking introduction, but responded in what assured him entry into the most desirable strata of became typical fashion by beginning his very next society . Although Beethoven had begun publishing work, the overture to the ballet The Creatures of his own music five years earlier, at this point in time Prometheus, the very same way . Aside from the he had yet to make an indelible name for himself unusual opening, however, critical reception was as a composer . In 1800, Beethoven’s catalogue of generally favorable, and the Allgemeine musika- works included ten piano sonatas, two sonatas for lische Zeitung praised the symphony’s “consider- cello and three for violin, five string trios and six able art, novelty and . . wealth of ideas ”. string quartets . For his first symphony, Beethoven turned to the musical language he had learned from © 2020 Elizabeth Schwartz (see page 26 for bio and terms of use) Joseph Haydn, with whom he had briefly studied .

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

Sunday, November 15, 2020 3 pm Enhanced concert experience streamed on YouTube Recorded at the Green Music Center on Saturday November 7, 2020 Francesco Lecce-Chong, conductor Adelle-Akiko Kearns, cello Jay Zhong, violin Michelle Maruyama, violin

GABRIELA LENA FRANK SCOTT JOPLIN “Coqueteos” from Leyendas: An Andean Maple Leaf Rag [Gunther Schuller, editor] Walkabout MAX BRUCH CHEN YI Canzone in B-flat major for Cello and Romance and Dance for Two Violins and Orchestra, Opus 55 String Orchestra LUDWIG VAN BEETHOVEN Romance of Hsiao and Ch’in Symphony No . 2 in D major, Opus 36 Dance Adagio molto – Allegro con brio SCOTT JOPLIN Larghetto The Entertainer [Gunther Schuller, editor] Scherzo: Allegro Allegro molto

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Anderman Family Foundation SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard Concert Sponsor: Peggy Anne Covington Fund Francesco Lecce-Chong underwritten by David and Corinne Byrd Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat

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

GABRIELA LENA FRANK “Coqueteos” from Leyendas: An Andean Walkabout COMPOSER: born September 26, 1972, Berkeley, CA WORK COMPOSED: commissioned by the Chiara String Quartet in 2001; arranged by Frank for string orchestra in 2003 . WORLD PREMIERE: The Chiara String Quartet gave the first performance in South Hadley, MA, in 2001 . INSTRUMENTATION: string orchestra ESTIMATED DURATION: 3 minutes Cultural identity is central to Gabriela Lena as envisioned by Peruvian writer José María Frank’s music . Her mother’s forbears are Peruvian Arguedas, where cultures can coexist without and Chinese, while her father is of Lithuanian/Jewish the subjugation of one by the other . As such, this descent . Like Béla Bartók and Alberto Ginastera, piece mixes elements from western classical and both of whom Frank counts as a significant inspira- Andean folk music traditions … ‘Coqueteos’ is a tions, she is also a musical anthropologist, traveling flirtatious love song sung by gallant men known throughout South America to absorb folklore, poetry, as romanceros . As such, it is direct in its harmonic mythology, and indigenous musical styles, which are expression, bold and festive . The romanceros sing reflected and refracted through her work . in harmony with one another against a backdrop of In her program notes, Frank writes, “Leyendas guitars, which I think of as a vendaval de guitarras … draws inspiration from the idea of mestizaje (storm of guitars) .

CHEN YI Romance and Dance for Two Violins and String Orchestra COMPOSER: born April 4, 1953, Guangzhou, China WORK COMPOSED: Romance was written in 1995 as a gift for Yehudi Menuhin’s 80th birthday . Dance, adapted from the third movement of Chen’s 1997 string quintet Fiddle Suite, was originally commissioned by the Fromm Music Foundation at Harvard University for the Kronos Quartet and Chinese fiddles (huqin) . WORLD PREMIERE: Yehudi Menuhin led the Orchestra of St . Luke’s with violinists Shlomo Mintz and Elmar Oliveira at Avery Fisher Hall in New York City on August 11, 1996 in the premiere of Romance. Dance, adapted from the third movement of Chen’s 1997 string quintet Fiddle Suite, was originally commissioned by the Fromm Music Foundation at Harvard University for the Kronos Quartet and Chinese fiddles (huqin) . The complete Romance and Dance were first premiered by the Stuttgart Chamber Orchestra, led by Dennis Russell Davies, on December 12, 1998 . INSTRUMENTATION: 2 solo violins and string orchestra ESTIMATED DURATION: 9 minutes Chen Yi’s music blends Chinese and Western of Chinese music and literature . In performance, the traditions, transcending cultural and musical ch’in produces various articulations by … plucking boundaries, and her music has achieved interna- and vibratos played with both hands . These two tional renown . instruments are often played together, [creating] a Chen writes, “Romance and Dance consists good balance between sonority and timbre . of two movements, which are two independent “In the Romance of Hsiao and Ch’in, the two pieces written for two violins and string orchestra . violin solo parts … express the composer’s love … Romance, originally entitled Romance of Hsiao for humanity, while the string orchestra part and Ch’in, is dedicated to Maestro Yehudi Menuhin sounds like an enlarged ch’in symbolizing nature . and Edna Michell . . It’s written for Western instru- In Dance, the leading violin solo part plays fast ments, which reproduce the sound and style of the moving lines, while the string orchestra plays the Chinese traditional instruments hsiao and ch’in . supporting dissonant harmonic progressions . The The Hsiao, a vertical bamboo flute, carries lyrical images come from the dancing ink on paper in melodies through delicate lines, grace notes and Chinese calligraphy and the fiery moving gestures silence . The ch’in is a 2000-year-old Chinese sev- of ancient Chinese women dancers . The pitch en-string zither, with a rich repertoire in the history material is drawn from Beijing Opera tunes ”.

20 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER SCOTT JOPLIN The Entertainer (arr. Schuller) Maple Leaf Rag (arr. Schuller) COMPOSER: b . circa 1867-68, Texarkana, TX – d . April 1, 1917, New York City WORK(S) COMPOSED: The Entertainer was published in 1902, and the Maple Leaf Rag in 1899 . WORLD PREMIERE: undocumented INSTRUMENTATION: piccolo, flute, clarinet, 2 trumpets, trombone, tuba, bass drum, snare drum and piano ESTIMATED DURATION: 5 and 3 minutes, respectively Scott Joplin, known as “The King of Ragtime,” In 1902, Joplin published The Entertainer . transformed a popular American style of dance Through the Oscar-winning film The Sting (1973), music into a timeless celebration of high-spirited which featured The Entertainer in its score, this energy . rag has achieved even greater recognition than In 1899, Joplin published his first piano rag, the Maple Leaf . In 1903, a reviewer wrote, “prob- Original Rags, and soon followed with the Maple ably the best and most euphonious of [Joplin’s] Leaf Rag, the most famous and most imitated rag of latter-day compositions is ‘The Entertainer’ … It all time . Joplin cannily arranged favorable terms for … sets the foot in spontaneous action and leaves royalty payments and made a comfortable income an indelible imprint upon the tympanum .” An ad for from the Maple Leaf Rag, whose continued sales the sheet music declared, “All that we have ever supported him for the rest of his life . The advertising said of ‘Maple Leaf Rag’ is true of ‘The Entertainer’ copy for Maple Leaf Rag boasted, “One million cop- … Hear ‘The Entertainer’ well played, and if the ies have been sold and no abatement of demand . harp of your affections don’t [sic] sound an aeolian There will be a temporary stop to its sale when chord, then we don’t want to know you ”. every family in the civilized world has a copy ”.

MAX BRUCH Canzone in B-flat major for Cello and Orchestra, Opus 55 COMPOSER: b . January 6, 1838, Cologne – d . October 2, 1920, Friedenau, Berlin WORK COMPOSED: July 1890 . Dedicated to cellist Robert Hausmann . WORLD PREMIERE: undocumented INSTRUMENTATION: solo cello and string orchestra ESTIMATED DURATION: 9 minutes Max Bruch, a compositional prodigy, began cello and orchestra . In 1880, Bruch composed writing music at age 11 and completed his first Kol Nidrei, the first of three works he eventually symphony at 14 . Bruch was both successful and wrote for and dedicated to Hausmann . Nine years prolific during his lifetime, but today he is known later, while on summer holiday in the woods of primarily, if not exclusively, as the author of the G Bergisch Gladbach, near Cologne, Bruch adapted minor violin concerto . an earlier unfinished vocal piece for Hausmann . Acclaimed cellist Robert Hausmann both The Canzone for Cello and Orchestra features lyr- admired and envied Bruch’s Violin Concerto ical, singing melodies that reveal its vocal origins, and desired a work of similar lyricism and vir- and the simple one-movement format showcases tuosity for his own instrument . Accordingly, he the cello’s expressiveness . approached Bruch, asking for a piece for solo

2020 – 2021 Season 21 LUDWIG VAN BEETHOVEN Symphony No. 2 in D major, Opus 36 COMPOSER: b . December 16, 1770, Bonn, Germany – d . March 26, 1827, Vienna WORK COMPOSED: 1802 WORLD PREMIERE: Beethoven conducted the premiere during Holy Week, on April 5, 1803, in Vienna . INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings . ESTIMATED DURATION: 34 minutes Lovers of Ludwig van Beethoven’s music Beethoven never sent the letter, which was associate the word “heroic” with his Third undiscovered until after his death in 1827 . Symphony, nicknamed “Eroica ”. But Beethoven’s The massive slow introduction to the first lesser-known Second Symphony displays another movement transitions in an instant to an intensely kind of heroism: the strength and determination vibrant and almost aggressively cheerful Allegro, as of its composer . Beethoven brought this exuberant if Beethoven were determined to shake off his dark symphony to life while battling depression and state of mind . In the Larghetto, Beethoven treats thoughts of suicide . the audience to a series of expressive melodies . Upon the advice of his doctor, Beethoven The serenity in this music captures the beauty of spent six months in the summer and fall of the Viennese countryside and Beethoven’s abiding 1802 in Heiligenstadt, a village outside Vienna . love of nature . The offbeat rhythms, fragmented Beethoven’s doctor believed the quiet life of the melodies, surprises and humor of the Scherzo and village and surrounding countryside would spare its accompanying trio might have scandalized the Beethoven’s hearing, which was rapidly deteriorat- Viennese audiences of Beethoven’s time, while ing . Unfortunately, this enforced isolation plunged today’s listeners know them as some of Beethoven’s Beethoven into even greater despair, as he realized most characteristic musical signatures . The sassy his hearing might never improve . On October 6, opening gesture of the Allegro molto, which serves 1802, unable to contain his anguish any longer, as the thematic basis for the whole movement, Beethoven wrote a letter, known as the Heiligenstadt is almost shockingly insolent . Perhaps this motif Testament, to his brothers Carl and Johann: reflects Beethoven’s rebellion against his deafness . The surge of energy generated by this movement “… For six years now I have been hopelessly suggests a defiant reaffirmation of will, a deter- afflicted, made worse by senseless physicians, from mination to “produce all that I felt was within me . . year to year deceived with hopes of improvement, © 2020 Elizabeth Schwartz finally compelled to face the prospect of a lasting (see bio and terms of use on page 26) malady (whose cure will take years or, perhaps, be impossible) … If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, ‘Speak louder, shout, for I am deaf.’ Ah, how could I possibly admit an infirmity in the one sense that ought to be more perfect in me than in others? … If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed … Such incidents drove me almost to despair; a little more of that and I would have ended my life — it was only my art that held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me.”

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

Sunday, December 13, 2020 3 pm Enhanced concert experience streamed on YouTube Recorded at the Green Music Center on Saturday December 5, 2020 Dedicated to the memory of Maureen Green, longtime advocate and supporter of classical music. Francesco Lecce-Chong, conductor Karen Shinozaki Sor, violin Laura Reynolds, oboe Jesse Barrett, oboe Meredith Brown, horn Alex Camphouse, horn

JESSIE MONTGOMERY RALPH VAUGHAN WILLIAMS Source Code for String Orchestra Fantasia on Greensleeves for Flutes, Harp and String Orchestra ANTONIO VIVALDI Concerto Grosso in F major for Violin, LUDWIG VAN BEETHOVEN Two Oboes, Two Horns and Continuo, Symphony No . 3 in E-flat major, Opus RV 574 55, Eroica Allegro Allegro con brio Grave Marcia funebre: Adagio assai Allegro Scherzo: Allegro vivace Finale: Allegro molto

Classical Concert Series underwritten by Sara and Edward Kozel, in memory of Laura Tietz SRS @ Home Lead Sponsor: Anderman Family Foundation SRS @ Home Supporting Sponsor: The Stare Foundation and David Stare of Dry Creek Vineyard Concert Sponsor: Donald Green, in memory of his beloved wife, Maureen Green Concert Supporting Sponsor: Linda & David Hanes Francesco Lecce-Chong underwritten by David and Corinne Byrd Pre-concert Talks Sponsor: Jamei Haswell and Richard Grundy Media Sponsor: The Press Democrat

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

JESSIE MONTGOMERY Source Code for String Orchestra COMPOSER: born December 8, 1981, New York City WORK COMPOSED: 2013 . Commissioned by the Isaiah Fund for New Initiatives in partnership with Symphony Space . WORLD PREMIERE: The Cassatt Quartet gave the premiere at Symphony Space in New York City in November 2013 . INSTRUMENTATION: string orchestra (originally for string quartet) ESTIMATED DURATION: 8 minutes “Music is my connection to the world. It guides assist in the development of her debut album, me to understand my place in relation to others Strum: Music for Strings (Azica Records) . and challenges me to make clear the things I do “The first sketches of Source Code began as not understand. I imagine that music is a meeting transcriptions of various sources from African place at which all people can converse about their American artists prominent during the peak of the unique differences and common stories.” – Jessie Montgomery Civil Rights era in the United States,” Montgomery writes . “I experimented by re-interpreting gestures, Acclaimed composer, violinist and educator Jessie sentences, and musical syntax (the bare bones of Montgomery interweaves classical music with ele- rhythm and inflection) by choreographer Alvin ments of vernacular music, improvisation, language, Ailey, poets Langston Hughes and Rita Dove, and and social justice, placing her squarely as one of the the great jazz songstress Ella Fitzgerald into musi- most relevant interpreters of 21st-century American cal sentences and tone paintings . Ultimately, this sound and experience . Montgomery’s works have exercise of listening, re-imagining, and transcribing been described as “turbulent, wildly colorful, and led me back to the black spiritual as a common exploding with life” by The Washington Post . musical source across all three genres . The spiritual Since 1999, Montgomery has been affiliated is a significant part of the DNA of black folk music, with The Sphinx Organization, which supports and subsequently most (arguably all) American pop young African-American and Latinx string players . music forms that have developed to the present day . She currently serves as composer-in-residence This one-movement work is a kind of dirge, which for the Sphinx Virtuosi, the Organization’s flagship centers on a [newly composed] melody based on professional touring ensemble . She was a two- syntax derived from black spirituals . The melody is time laureate of the annual Sphinx Competition continuous and cycles through like a gene strand and was awarded a generous MPower grant to with which all other textures play ”. .

ANTONIO VIVALDI Concerto Grosso in F major for Violin, Two Oboes, Two Horns and Continuo, RV 574 COMPOSER: b . March 4, 1678, Venice – d . July 27/28, 1741, Vienna WORK COMPOSED: undocumented; this concerto was published in 1711 in Amsterdam as part of Vivaldi’s two-volume “L’estro armonico ”. WORLD PREMIERE: undocumented INSTRUMENTATION: solo violin, 2 oboes, 2 horns, continuo (harpsichord and bass) and strings . ESTIMATED DURATION: 11 minutes When it comes to concertos, nobody composed Ospedale della Pietà in Venice, where he taught more than Antonio Vivaldi . Igor Stravinsky once violin and other instruments, and wrote music for famously quipped that Vivaldi hadn’t actually writ- the impoverished and/or orphaned girls who lived ten more than 500 solo concertos; he’d merely there . Vivaldi began his tenure at the Ospedale written the same concerto 500 times . as violin master; in 1716, he took on the post Why so many concertos? Beginning in 1703, of maestro di concerti (music director) . Under Vivaldi worked in various capacities for the Pio Vivaldi’s guidance, the Ospedale’s orchestra and

24 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER choir developed into first-rate ensembles whose soloist(s) and ensemble, but he standardized the concerts and sacred services attracted the atten- form; all of his contemporaries, including J . S . tion and financial support of the Venetian nobility . Bach and Georg Philipp Telemann, quickly adopted As music director, Vivaldi had to provide either a Vivaldi’s format into their own music . concerto or a sacred work for the Church’s many “L’estro armonico” includes five concertos for feast day celebrations . After 1718, Vivaldi stepped solo violin, oboes, horns, and strings . RV 574 in F away from his regular teaching duties, but he con- major begins with a rousing horn fanfare whose tinued to write music for the Ospedale’s orchestra . jaunty dotted rhythm recurs throughout the open- Orphanage records document more than 140 ing Allegro . In the manner of a jazz combo, the concertos written by Vivaldi between 1723-29 . soloists take turns in the spotlight (the two horns In 1711, Vivaldi published a collection of 12 duet together), and their solos are interspersed concertos titled “L’estro armonico” (The Harmonic among “comments” from the orchestra . The Inspiration) . The impact these concertos had on all oboes display their plaintive expressiveness in the the composers working in Europe at the time cannot central Grave section, in counterpoint with the solo be overstated . Vivaldi may not have “invented” the violin . All soloists vie for attention in the closing Baroque concerto, with its alternation of fast and Allegro, which reprises the joyous buoyancy of the slow movements and the back-and-forth between first movement .

RALPH VAUGHAN WILLIAMS Fantasia on Greensleeves (arr. Greaves) COMPOSER: b . October 12, 1872, Down Ampney, England – d . August 26, 1958, London WORK COMPOSED: 1934 WORLD PREMIERE: Vaughan Williams conducted the premiere on September 27, 1934, in the Queen's Hall in London . INSTRUMENTATION: 2 flutes, harp, and string orchestra ESTIMATED DURATION: 4 minutes “The art of music above all arts is the expression of canon . Ralph Vaughan Williams incorporated the soul of the nation.” – Ralph Vaughan-Williams Greensleeves’ haunting melody when he composed music for Shakespeare’s play, The Merry One can hardly imagine a more quintessen- Wives of Windsor, and did so again in his 1929 tially English song than “Greensleeves ”. Legend opera, Sir John In Love, based on the plot of The has it that King Henry VIII, a great lover of music, Merry Wives of Windsor . composed this famous tune, although its first In 1934, another Ralph – Ralph Greaves – with documented mention dates to 1580, more than Vaughan Williams’ permission, paired Vaughan 30 years after Henry’s death . Williams’ version of “Greensleeves” with “Lovely Whatever its origins, Greensleeves has Joan,” another tune from Sir John in Love, to woven itself into the aural fabric of the English create the Fantasia on “Greensleeves ”.

LUDWIG VAN BEETHOVEN Symphony No. 3 in E-flat major, Opus 55, Eroica COMPOSER: b . December 16, 1770, Bonn – d . March 26, 1827, Vienna WORK COMPOSED: 1802-04 . Dedicated to Beethoven’s patron, Prince Franz Joseph Maximilian Lobkowitz . WORLD PREMIERE: Beethoven conducted the premiere on April 7, 1805 in Vienna’s Theater an der Wien . INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani and strings . ESTIMATED DURATION: 47 minutes Ludwig van Beethoven was an early admirer of Beethoven’s intention to dedicate his third symphony Napoleon Bonaparte, whose early exploits as First to Napoleon, but when Beethoven heard that Napoleon Consul of France reaffirmed the motto of the French had declared himself Emperor in May 1804, he was Revolution, “Liberty, Equality, Fraternity ”. It had been outraged . So vehement was Beethoven’s desire to

2020 – 2021 Season 25 rid his third symphony of any association with the shocking to audiences accustomed to the more pre- French general that he erased the words “intitulata dictable pace of Mozart and Haydn . Of particular Bonaparte” from the title page with a knife, which left note is the notoriously “early” entrance of the horn a hole in the paper . When the score was first printed in towards the end of the first movement . Beethoven’s 1806, the title page read only, “A heroic symphony … student and biographer Ferdinand Ries recalled, “At composed to celebrate the memory of a great man ”. the first rehearsal of the Symphony, which was ter- Today, the Eroica is considered one of the ground- rible – but at which the horn player made his entry breaking musical events of the 19th century, but in correctly – I stood beside Beethoven and, thinking Beethoven’s time it received a great deal of criticism . that a blunder had been made I said: ‘Can’t the Its length alone challenged the audience (depending damned hornist count? – it sounds horribly false!’ on the conductor’s tempos and observations of I think I came pretty close to getting a box on the marked repetitions in the score, the Eroica runs 45 – ear . Beethoven did not forgive that little slip for a 60 minutes) . Beethoven acknowledged this, noting in long time .” the 1806 edition of the score, “This symphony being The solemn, majestic Marcia funebre (funeral purposely written much longer than is usual, should march) can be heard as Beethoven mourning his be performed nearer the beginning rather than at the disappointment in Napoleon, and his vanished end of a concert … if it is heard too late it will lose for dreams of heroism . the listener, already tired by previous performances, The buoyant Scherzo and trio leaves the intensity its own proposed effect …” of the previous two movements behind . We hear One critic complained, “In this composition Beethoven’s mocking sense of humor, particularly [there is] too much that is glaring and bizarre, hin- when the strings return with their signature theme dering greatly one’s grasp of the whole ”. Another and stomp all over their previously playful rhythm . reviewer, using words that today we would consider The insistent pulse of the strings and the incessant praiseworthy, criticized Beethoven’s “undesirable bounce of this movement continue the Eroica’s originality ”. The critic went on to say, “Genius enormous reserves of energy; the music is like a proclaims itself not in the unusual and fantastic puppy chasing its own tail . but in the beautiful and sublime” and further, that The final movement, a set of themes and the symphony as a whole was “unendurable to the variations, uses music from the Beethoven’s own mere music-lover ”. From our vantage point at the Overture to The Creatures of Prometheus from beginning of the 21st century, we can recognize 1801 and an 1802 solo piano work, known today Eroica’s importance . Just as Stravinsky’s Rite of as the Eroica Variations . A virtuoso blast from the Spring left its mark on 20th century music, the horn section signals the symphony’s conclusion, a influence of the Eroica reverberated in all the sym- glorious reaffirmation of Beethoven’s heroic ideals . phonic music of the century that followed it . © 2020 Elizabeth Schwartz Beginning with the one-two punch of the opening chords of the Eroica, Beethoven obliterated the con- Elizabeth Schwartz is a writer and music historian based in the Portland area. She has been a program annotator for more than 20 cept of the Classical-style symphony and earned years, and works with music festivals and ensembles around the for himself the adjective “revolutionary .” Everything country. Ms. Schwartz has also contributed to NPR’s “Performance about this lengthy first movement confounds expec- Today,” (now heard on American Public Media). tation: its unexpected and continuous development NOTE: These program notes are for Santa Rosa Symphony patrons of melodic fragments, its “wrong key” tonalities, and other interested readers. Any other use is forbidden without specific permission from the author, who may be contacted at and Beethoven’s idiosyncratic use of rhythm, which classicalmusicprogramnotes.com. at times verges on the eccentric . Certainly this was

26 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER 2020 – 2021 Season 27 SANTA ROSA SYMPHONY INSTITUTE FOR MUSIC EDUCATION Youth Ensemble Concerts 2020-2021 Season SUSAN AND NEIL SILVERMAN PHOTOGRAPHY SILVERMAN NEIL AND SUSAN

Fall Virtual Concert Schedule

Santa Rosa Symphony Youth Orchestra TUESDAY, OCTOBER 20 at 7pm

Santa Rosa Symphony Youth Orchestra TUESDAY, NOVEMBER 24 at 7pm

Santa Rosa Symphony Youth Orchestra TUESDAY, DECEMBER 22 at 7pm

See website for viewing details. All SRSYO Fall Virtual concerts are free, though donations are appreciated.

(707) 542-8742 srsymphony.org

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

CMY

WE CONGRATULATE THE SYMPHONY FOR THEIR COMMITMENT TO MUSIC EDUCATION

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

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

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

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

32 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER EXCLUSIVE SUBSCRIBER-ONLY BENEFITS FOR SRS @ HOME The Symphony values its patrons and has created new benefits to suit these extraordinary times . In addition, subscribers, even though they may not be using them this fall, still keep their seats for next year (assuming live concerts are permitted) and into the next season, when they renew again .

Extended access to watch the Oct. 11, Nov. 15 and Dec 13 virtual concerts, up to 30 days.

Exclusive access to guest artist recitals with concert conversations. Sunday, October 18 at 3 PM: Solo recital by Van Cliburn gold medal pianist Olga Kern Sunday, November 22 at 3 PM: Solo recital by renowned violinist Elina Vähälä Sunday, December 27 at 3 PM: Solo recital by SRS principal violist Elizabeth Prior Exclusive access link to view the 2012 historic Orchestral Opening concert of Weill Hall on the Symphony’s YouTube Channel. This celebratory extravaganza featured Bruno Ferrandis and Corrick Brown conducting, plus Jeffrey Kahane performing on piano . Not a subscriber, but want the benefits? Contact the Patron Services office at (707) 546-8742 for more information on how you can receive subscriber benefits during SRS @ Home, or become a true subscriber, with your seat waiting for you when we may all return to the Hall . Just say “Hey,Culligan Man! ® ”

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Just say “Hey,Culligan Man!® ® ” Just say “Hey,Culligan Man! ” James Fisher & Son, Inc. 707.545.1330 culligansantarosa.com

Cheers for Quenching Cheers forSonoma Quenching County’s MusicalSonoma Thirst County’s Since 1928. Musical Thirst Since 1928.

James Fisher & Son, Inc. 2020 – 2021 Season 33 James Fisher707.545.1330 & Son, Inc. 707.545.1330culligansantarosa.com culligansantarosa.com 34 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Heritage Society members have identified the Santa Rosa Symphony as the best partner in the creation of a personal legacy . They share the Symphony’s philosophy that everyone in our community, no matter what their age or income level, deserves to have music in their lives .

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

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

We share our heartfelt thanks for our Encore Society Members:

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

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

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

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

With great appreciation, the Santa Rosa Symphony recognizes the generous organizations that support our 2020-2021 concert season . This list includes gifts received through December 2, 2020 .

2020 – 2021 Season 37 Annual Campaign Major Donors

The Santa Rosa Symphony recognizes with warm appreciation our many generous donors . This list includes gifts and pledges to the Annual Campaign received through December 2, 2020 .

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

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

2020 – 2021 Season 39 Annual Canpaign Major Donors, continued from previuos page Friend (Gifts of less than $499 received between October 26 and December 2)

Anonymous (27) * Beverly H . & Richard M . Chong * Carolyn Greene * Thomas A . Haeuser & Antoinette J . Kuhry * Patricia & Ronald Taylor * Dianne Brinson & Mark Radcliffe * Stephen Daleas * Edith & Richard Engelhard * Lora Estabrook * Jeff Fleisher * Laila Storch Friedmann * Carole K . Gerst * David Harrison * Bob & Carol Hasenick * Robert Hauge & Patricia Wilkinson * Paul & Jean Johnson * Cheryl Maynard * Sheila & Mike McQuillen * Howard Neckel * Andrzej Przyjazny * Mark Feigal & Lori Ross * Wayne Adkins * Elizabeth & Tom Aiken * Ben Akutagawa * Nick & Marcia Anton * Valorie Bader * Bellinger Family * Tim & Corey Benjamin * Marilyn Beswick * Geoffrey Bingham * Carolyn Frances Bippart * Andrea Bond * Gerald & Janet Boyd * Kathryn J Boyd * Kelleen Boyer * Constance Brennan * Lynne Brett * Roger Brindle * Paul & Peggy Buzanski * Theresa Maruyama * Gail Cafferata * David Chipkin * Karen Cilman * Natalie Clarkson * Patricia Coe * Michiko Conklin * Barbara Corbin * Margaret Bregger Coston * Thelma Jean Craig * Laura & Dennis Dahlstedt * Margaret & Bryan Daleas * Jill Dawson * Dave Dixon * Pat Donegan * Arthur Douglas * Patricia Driedger * Lois Look * Kevin Eisenberg * Daniel Ellecap * Ellestad Family * Brian & Ruth Erickson * Sanders Feldhorn * Rebecca Fernandez * Heidi & Tom Fiedler * Alice Fielder * John & Jennifer Foley * Anna Harriette Foshee * Cheryl Franklin, Cheryl Teach Music * Deborah Garber * Kathleen Garrison * Jeanne Gavrin * Jerald R . Gerst * Angela Glover * Edward Godfrey * Josie Goldsmith * Bernard & Arlene Goodhead * Gordon & Nora Guthrie * Nancy Hair * The Halim Family * Dorothy Hartley * Nancy & Robert Higham * Carroll W . Hirsch * Linda Ann Honeysett * Barbara Hopp * The Howe Family * Laura Hugel * Susan Hulsey * Sue Ittner * Kristi Iverson * Richard Iverson * Patricia Jackson * John N . Johnson * Toby & Pat Jordan * Susan B . Kanaan * Myrna Kappler * Christine M Kearney * Anna Maria (Ellen) Ketelsen * Alison Margaret Keyes * Brookie & David King * Mike Knott * Stacey Kofman * Greg & Cynthia Kohles * Roman Komunytsky * Debbie & John Koos * Janet Larkin * Sarah Larkin * Evelyn Larsen * Cheryl Lasalle * Mary Lill Lee * Charles Luckhardt * Mrs . Janet MacDonald * Marcia Macomber * Francine Maffei * Linda K Malone * Eileen Maloy * Jason & Bette Mavrovitis * Natalie May * Martha McAllister * Doug McCorkle * Paul McKay * Janet Moore * Jeanne & Edward Morgan * Kathryn Moskowitz * Giselle Mottiez * Jim & Gwen Neary * Elizabeth Nelms * Jennifer Nichols * Diane Noel * Derek & Maureen Noonburg * Jesper C . Nordquist * Stanley Nussbaum * Jennie M . Orvino * William & Elizabeth Park * Jim Passage * Marilyn Pipkin * Patrick Pisenti * Sarah Pisenti * Maria J . Praetzellis * John Pyeha * Sean & Leila * Lynn & Riamei Ruebush * Carol Sagawa * Elizabeth & Robert Sanville * Linda & Steven Saulsbury * Paula J . Schaefer * Jeannette Scharich * Bernice Patricia Schmitt * Kathryn Schneider * Alixandria O . Schreffler * Val & Mike – Lakeport * Ethel & Stuart Schy * Bob Scott & Tim McDonald * John & Sandra Sebastian * Miriam & Wayne Seden * Michel Sellors * Robert L . Shedd * Gerhard Simmel * Brian Sinigiani * Katie Sloan * David Spinney * Susan Standish * Linda & Randy * William Stephenson * Mary Sullivan * Shannon Swartz * Nancy Sweet * Diane Tapogna * Bruce & Judy Taylor * Nora Thompson * Trish Nugent & Maureen Tighe * Arlene Ulmer * Renee G . Valentino * Paul Wayne * Dave Weidlich * Pamela Westfall Bochte * M . J . Wickham * Michael Wieland * D . Wikse * Gerald Williams * Connie Wonham * Margaret Wu & Ciara Cox

40 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Tributes & Memorials includes gifts received through December 3, 2020

Tributes: In honor of Francesco & Chloe’s Wedding In honor of Garth Bixler Susan & Bruce Dzieza Sue Conley Memorials: In memory of Lorna Myers Steven & Angela Gelber Helen & David Nagusky Dr. & Mrs. Jerold Shaprio Polly Fisher Ms. Elanor Hamburger Mr. & Mrs. James B. Mrs. Joyce Coyle Mr. & Dr. Gabrielle The Diskin Family Hinton Hope Manning Cramer Mike Melton Lillian Price Peggy & Lloyd Culp Eileen Steele Joan Mohr Samuels Jacqueline & Alan Fogel Joyce Kennedy Suzanne Abrams Mr. & Mrs. Steven Robert Mr. & Mrs. Daniel Gordon Virgina Lovejoy Marge Limbert Walker MiMi Sikora Anne & Don Palmer In memory of Maureen Green In memory of Louis Sloss Pat Clothier Alan Siegle & Shelley Brown Sean & Joanna Butler In memory of Lucy Poindexter Santa Rosa Symphony League Santa Rosa Symphony League

Volunteer Support through December 3, 2020 Jeffrey Alcarez Simply Strings Parent Club Ron Bartholomew The Parents of the Santa Rosa Symphony Youth Bob Eldredge Ensembles Tom Spittler

In-Kind Gifts includes gifts received through December 3, 2020

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

2020 – 2021 Season 41 Santa Rosa Symphony 2020–2021 Season Resident Orchestra at the Green Music Center Francesco Lecce-Chong, Music Director

CLASSICAL CONCERT SERIES Klezmer & Scheherazade January 9, 10 & 11, 2021 SRS @ Home Program 1 Francesco Lecce-Chong, conductor October 11, 2020 David Krakauer, clarinet Francesco Lecce-Chong, conductor Traditional Klezmer: Selections TBD GEORGE WALKER: Lyric for Strings DAVID KRAKAUER/KATHLEEN TAGG: The Fretless GABRIELI: Canzoni for Brass Clarinet Concerto [World Premiere] GABRIELA LENA FRANK: Escaramuza RIMSKY-KORSAKOV: Scheherazade R. STRAUSS: Serenade for Winds BEETHOVEN: Symphony No . 1 American Rhapsody February 13, 14 & 15, 2021 SRS @ Home Program 2 Aram Demirjian, guest conductor November 15, 2020 Michelle Cann, piano Francesco Lecce-Chong, conductor WILLIAM GRANT STILL: Darker America Adelle-Akiko Kearns, cello GERSHWIN: Rhapsody in Blue Jay Zhong, violin GERSHWIN: Second Rhapsody Michelle Maruyama, violin COPLAND: Appalachian Spring GABRIELA LENA FRANK: Coqueteos from Leyendas CHEN YI: Romance and Dance Hemingway & Boléro JOPLIN: The Entertainer March 20, 21 & 22, 2021 JOPLIN: Maple Leaf Rag Francesco Lecce-Chong, conductor MAX BRUCH: Canzone for Cello and Orchestra Zuill Bailey, cello BEETHOVEN: Symphony No . 2 ERNESTO LECUONA: Malagueña from Andalucía Suite MICHAEL DAUGHERTY: Tales of Hemingway SRS @ Home Program 3 RAVEL: Mother Goose Suite December 13, 2020 RAVEL: Boléro Francesco Lecce-Chong, conductor JESSIE MONTGOMERY: Source Code VIVALDI: Concerto Grosso in F major BEETHOVEN: Symphony No . 3, Eroica VAUGHAN WILLIAMS: Fantasia on Greensleeves

42 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER Showcasing Contemporary Women FAMILY CONCERT SERIES (rescheduled from Season 2019-2020) April 10, 11 & 12, 2021 Lost in Space Sunday, January 24, 2021 - 3 pm Francesco Lecce-Chong, conductor Jennifer Frautschi, violin Bobby Rogers, conductor SRJC Planetarium KATHERINE BALCH: like a broken clock SAINT-SAËNS: Violin Concerto No . 3 Gershwin’s Magic Key BEETHOVEN: Symphony No . 6, Pastorale Sunday, March 7, 2021 - 3 pm Bobby Rogers, conductor Classic Elegance Classical Kids Live! May 1, 2 & 3, 2021 Francesco Lecce-Chong, conductor Beethoven Lives Upstairs Julian Rhee, violin (rescheduled from Season 2019-2020) SHAW: Entr’acte for String Orchestra Sunday, March 28, 2021 - 3 pm MOZART: Violin Concerto No . 5, Turkish Bobby Rogers, conductor RACHMANINOFF: Symphony No . 2 Francesco at Bat Visions of Hope Sunday, June 6, 2021 - 3 pm (rescheduled from Season 2019-2020) Francesco Lecce-Chong, conductor June 12, 13 & 14, 2021 Mariachi Champaña Nevín Rafael Negrete, baritone Perry Chacón Jr., tenor Giselle Vallejo, contralto Visit page 14 for ways to watch SRS @ Home Mónica Ábrego, soprano virtual concerts . MÁRQUEZ: Danzón No . 2 ENRICO CHAPELA BARBA: Braceros, Cantata for Note: The Carlton Senior Living Symphony Mariachi and Orchestra [World Premiere] Pops Series has been postponed to next RESPIGHI: The Fountains of Rome season . RESPIGHI: The Pines of Rome 54-MUSIC (707) 546-8742 srsymphony.org

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

2019 – 2021 Season 43 Supporters & Contributors to Symphony League Events Sing-Along Messiah Dinner is Served Barbara Lane John Bippart Barndiva Healdsburg Glenda Ross Dan Earl Bistro 29 Santa Rosa Charlie Schlangen Elizabeth Henry Ca’ Bianca Santa Rosa Joanne Utter Healdsburg Kiwanis Grapevine Wines Donna Wallrich Kringles Tree Farm K & L Bistro Sebastopol Ellen Wear Bill and Nancy Morgan Madrona Manor Healdsburg Angels [Performers] Santa Rosa Chamber Orchestra Paul Hobbs Wines Norma & Corrick Brown Santa Rosa Symphonic Chorus Piacere Cloverdale Scattered Winds Stanroy Music Center Salt & Stone Kenwood Roy Zajak Denny Stead Sazón Santa Rosa Paul Troppy Tisza Windsor *In kind contribution Nick Xenelis Trattore Farms

Festival of Parties Friends of the League Performers / Hosts Maestro [$1000 or more] Hallie Beacham/Paul Downey Ky Boyd, Rialto Cinemas, Sebastopol Allen Biggs Deerfield Ranch Winery* Norma and Corrick Brown Dry Creek Winery* Deerfield Ranch Winery Sandra Jordan* Del Sol Band Ken and Susan Piters* Joe Edelberg & Stacey Pelinka Alan and Susan Seidenfeld Sara Kozel Concertmaster [$500-$999] Sandra Jordan Gordon Blumenfeld Valerie Marshall Sheila Einhorn Ken and Susan Piters Laura Holms & Michael Martin Dave Stare & Dry Creek Vineyard Terry & Jon Stark Jennifer Webley Jennifer & John Webley Roy Zajac Orchestra [$250-$499] Other Supporters Sharon Beckman Marilyn Chiotti Garth Bixler Fountaingrove Lodge James & Karen Ely Oakmont Market Janet Gavagan George McKinney Laurie Hall Prickett's Nursery Jackie & Michael Reinhardt Rialto Cinemas Quarryhill Gardens Audience [$100-$249] Sebastopol Center for the Arts Elizabeth Bippart Leona Biddle Nancy Diez Betty & George Ferris Diana Forney Noelle Dangremond Nancy Doyle Blanche Mansoor Persis G . McCarley Barbara Olsen

44 Santa Rosa Symphony RESIDENT ORCHESTRA | WEILL HALL, THE GREEN MUSIC CENTER League Board of Liz Bippart, League President Directors 2020-2021 Liz Bippart President I have never been more excited for December to arrive! Julia Wilkinson We are anxiously awaiting the final touches on our 40th President Elect year celebration of the Sing-Along Messiah . We will enjoy Laurie Hall a historical presentation debuting on YouTube December Treasurer 20th at 3 PM . Liz Martin Recording Secretary & Everyone can enjoy the highlights from past years and VP Membership the Zoom choir finale of the Hallelujah Chorus directed by Development Dan Earl, our beloved Sing-Along Messiah director . You Lisa Hauge can find this event on our new YouTube channel, Santa Rosa Symphony League . VP Membership Communication Our thanks to Karen Ely, chair of the event, to Elizabeth Kern for her expansive Elizabeth Kern VP Public Relations publicity campaign, and to Beth Henry for her website, graphic design and social Karen Ely media expertise . VP Major Events Jackie Reinhardt / Julia The tradition of the longest running Sing-Along Messiah continues… . Wilkinson VPs Ongoing Fundraising Kay Oppenheimer VP Music Education Beth Holden / Terry Stark VPs Support Services Marilyn Chiotti Corresponding Secretary Irene Sohm / Barbara Gasparini Dues Barbara Olsen / Barbara Erickson Hospitality Emily Roeder Baton Editor Liz Shatto Mailings Beth Henry Web Mistress Sheila McQuillen / Sandy Throne Friends of the League Wendy LaLanne Parliamentarian Linda Varrow Historian Meetings: first Thursdays

2020 – 2021 Season 45 “Music gives a soul to the universe, Wings to the mind, flight to the imagination and life to everything.” - Plato

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

Alan & Susan Seidenfeld Brian, Katie, Justin & Dena

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

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

Santa Rosa Symphony Youth Orchestra TUESDAY, OCTOBER 20 at 7pm | Virtual – See website for details Santa Rosa Symphony Youth Orchestra TUESDAY, NOVEMBER 24 at 7pm | Virtual – See website for details Santa Rosa Symphony Youth Orchestra TUESDAY, DECEMBER 22 at 7pm | Virtual – See website for details Debut Youth Orchestra & Aspirante Youth Orchestra JANUARY (date TBA) | Virtual – See website for details Concerto Showcase Recital FRIDAY, JANUARY 15 at 7:00 pm | Sebastopol Center for the Arts Young People's Chamber Orchestra SUNDAY, FEBRUARY 28 at 7:00 pm | Phoenix Theater, Petaluma Santa Rosa Symphony Youth Orchestra SATURDAY, MARCH 6 at 3:00 pm | Weill Hall, Green Music Center Santa Rosa Symphony Debut Youth Orchestra and Aspirante Youth Orchestra SATURDAY, APRIL 24 at 3:00 pm | Jackson Theater, Santa Rosa Santa Rosa Symphony Youth Orchestra SATURDAY, MAY 8 at 3:00 pm | Weill Hall, Green Music Center

General admission tickets for in-person performances Advance: $15 adults; $5 youth; $10 group At the door: $20 adults; $10 youth (707) 546-8742 All dates, times, venues subject to change. srsymphony.org 2020 – 2021 Season 47 PETALUMA COFFEE NOW AVAILABLE IN SINGLE-SERVE PACKS 212 2ND STREET PETALUMACOFFEE.COM

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

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

PHOTOS PAGES 62-64: SUSAN AND NEIL SILVERMAN PHOTOGRAPHY

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

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

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

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

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

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

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

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

2020 – 2021 Season 53 For Your Information

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

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2020 – 2021 Season 57 Invest in a Healthy Future

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

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

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

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

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

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