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Home , Du Yun, Julius Eastman, Sofia Gubaidulina

San Francisco Contemporary Music Players at the CROSSROADS Series

Guerrilla Sounds: Julius Eastman’s Legacy Julius EASTMAN Sidney CORBETT Myra MELFORD Fernanda Aoki NAVARRO LJ WHITE Adam STRAWBRIDGE Wyatt CANNON

MAY 10 - 11, 2019 SFJAZZ San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS

Tod Brody, flute Kyle Bruckmann, oboe Sarah Rathke, oboe Jeff Anderle, clarinet Peter Josheff, clarinet Adam Luftman, trumpet San Francisco Contemporary Music Players is the West Coast’s most long-standing Peter Wahrhaftig, tuba and largest new music ensemble comprised of highly skilled musicians performing innovative contemporary music. The Contemporary Music Players nourish the creation Chris Froh, percussion and dissemination of new works through world-class performances, commissions, and Loren Mach, percussion community and education programs. The Players perform the music of William Winant, percussion from across cultures and stylistic traditions who are creating a vast and vital 21st- Nick Woodbury, percussion century musical language featuring the work of iconic and emerging composers while Kate Campbell, piano shining a spotlight on large-ensemble pieces and California artists. The Players seek to share these experiences with as many people as possible, both in and outside of David Tanenbaum, guitar traditional concert settings. Hrabba Atladottir, violin Susan Freier, violin The San Francisco Contemporary Music Players is one of the most active ensembles Roy Malan, violin in the United States dedicated to contemporary music and play an important role in Meena Bhasin, the regional and national cultural landscape. The Contemporary Music Players are Nanci Severance, viola a 2018 awardee of the esteemed Fromm Foundation Ensemble Prize, and a ten- time winner of the CMA/ASCAP Award for Adventurous Programming. The Players Hannah Addario-Berry, cello have performed more than 1,200 works by over 600 composers; Over 300 of these Stephen Harrison, cello performances have been premieres, and the organization has commissioned over 80 Richard Worn, contrabass major works including pieces from composers such as , , Earle Brown, Olly Wilson, Michael Gordon, Du Yun, Myra Melford, and . The Contemporary Players have been presented by leading cultural festivals and concert series including San Francisco Performances, Los Angeles Monday Evening Concerts, Cal Performances, the Stern Grove Festival, the Festival of New American Music at CSU Sacramento, the Ojai Festival, and France’s prestigious MANCA Festival.

2 • San Francisco Contemporary Music Players SFCMP.org • 3 SFCMP ARTISTIC DIRECTOR ERIC DUDLEY Join Us for oUr 49th season! 2019-20 season Born in Toronto and raised in Connecticut, under Rossen Milanov for several Eric Dudley leads a multi-faceted seasons, and some of his recent guest

Eric dudley, Artistic director career as a conductor, , engagements include the Ojai Festival in Tod Brody, flute vocalist and pianist deeply engaged California, International Contemporary Kyle Bruckmann, oboe Sarah Rathke, oboe in the performance and creation of Ensemble (ICE) in and Finland, Jeff Anderle, clarinet contemporary music. Since its founding Adelaide in Australia, Peter Josheff, clarinet Adam Luftman, trumpet in 2009, Eric has been a member of the and the National Symphony Orchestra Peter Wahrhaftig, tuba genre-defying vocal octet Roomful of at the Kennedy Center. He served on the Chris Froh, percussion Loren Mach, percussion dUdLEY Teeth, touring worldwide and recording faculty of The New School and Mannes

sPLinTEr rEEds a wide array of newly commissioned College of Music in New York, where he works with the Grammy Award-winning directed the Mannes Prep Philharmonic ensemble. In the 2018-2019 season, he and The New School Chorus. He currently William Winant, percussion returns to Australia as principal conductor teaches conducting at the San Francisco Nick Woodbury, percussion Gordon Kate Campbell, piano for the Bendigo Festival of Exploratory Conservatory of Music, having directed David Tanenbaum, guitar Music, where he has also appeared on the the orchestra program there for two Hrabba Atladottir, violin CAGE Susan Freier, violin Melbourne Festival, and leads Roomful of seasons, and he was recently appointed to Roy Malan, violin AndriEssEn Teeth and Ensemble L’Instant Donné in a a year-long Artist-in-Residence position Meena Bhasin, viola Nanci Severance, viola production with at the Paris at the Conservatory of Music at The Hannah Addario-Berry, cello Festival d’Automne. While living in New Stephen Harrison, cello rooMFUL oF TEETh University of the Pacific in Stockton. As Richard Worn, contrabass hUnTEr York, he conducted and performed with a pianist and chamber musician, he has discover something nEW! organizations as diverse as Ekmeles and performed with members of Novus New ChishoLM Tenet vocal ensembles, the Choir of Trinity York and the Cincinnati and Princeton Wall Street, Talea Ensemble, American symphony , and his own music Symphony Orchestra, Ensemble Signal has been premiered and recorded by CAMPBELL LEArn MorE and the . He was the Hartford Symphony Orchestra, Quey And sUBsCriBE an assistant conductor for the Cincinnati Percussion Duo, and by Roomful of Teeth. TodAY AT Eric lives in Walnut Creek with his wife sFCMP.orG Symphony Orchestra under Paavo Järvi SFCMP.org and the Princeton Symphony Orchestra Melanie and their infant son Ethan.

4 • San Francisco Contemporary Music Players SFCMP.org • 5 MESSAGE FROM ERIC DUDLEY and landmark recording as vocal soloist eight months after he died. Regardless Scores; through the dialogue amongst in ’ Eight Songs of his life circumstances, there can these diverse compositional voices, this for a Mad King. That experience was be no doubt of the impact he had as weekend’s programs both highlight life-changing on several levels; for one, a musical innovator at a key time for and re-contextualize the work of Julius to encounter a piece that pushed the American music, and thankfully, through Eastman in a manner that we hope limits of expressivity and intensity of the the efforts in preservation and advocacy sheds light on the import and urgency human voice to such extremes, and for of his work by some of those closest of his message as a composer–both another, to hear the recorded efforts of to him and most inspired by his music, during his lifetime, and now. a performer who clearly had such wild that impact is being felt and recognized virtuosity–not only to execute, but to more and more in recent years. We welcome you to this final concert embody that manner of expression. series of the year, thank you for your At least in some way, all of the support, and invite you to continue your Eastman was a polymath composer composers and works we encounter relationship with SFCMP in the coming Dearest friends of SFCMP, and musical mind whose own life story on this weekend’s concert series seasons! had its share of dramatic extremes; are connected to the efforts and As we arrive at the end of our 48th a graduate of the Curtis Institute, he explorations of Eastman – if not directly, In highest regard, season, our previous explorations of had early-career successes as a gifted then at least spiritually. From Sidney Elliott Carter’s legacy, and, obliquely, performer and founding member of Corbett’s jazz- and philosophy-informed Eric Dudley, Artistic Director that of and the current- S.E.M. Ensemble, living and creating at premiere and Myra Melford’s new piece day repercussions of his work, lead us the nexus of the avant-garde scene in for herself as improvising soloist with around to another American figure of New York during the final decades of members of the ensemble, to LJ White’s powerful and persuasive scope: that of the 20th Century. By the end of his life, and Fernanda Aoki Navarro’s musical Julius Eastman. his own experience had transformed essays that navigate, through means so much that he was evicted from his subtle or more overt, the deep waters Personally speaking, my own first apartment, struggling with addiction, concerning issues of racial identity, encounter with the voice of Eastman and removed from his previous circles and finally in the contributions of two was while listening–albeit, in the library to the point that the only formal young composers selected for their as a student at the (George) Eastman announcement of his passing was by attention to the influence of Eastman’s School of Music–to his brain-bending ’s obituary in The Village Voice music through this year’s SF Search for

6 • San Francisco Contemporary Music Players SFCMP.org • 7 GUERRILLA SOUNDS: JULIUS EASTMAN’S LEGACY MAY 10-11, 2019

Friday, May 10, 2019 Saturday, May 11, 2019 SCHEDULE HONORING ROY C. (BUD) JOHNS LJ White, fly, into the light *Adam Strawbridge, 5:30pm Doors open, food and beverage Our weekend’s concerts are dedicated (2013)(5’)(WCP) Theory and Practice and Praxis Owen Dalby, violin (2018) (WP)(6’) service, floor 2 to the memory of Roy C. (Bud) Johns 6:30pm–7:20pm How Music is Made with who served on the board for twenty- Tod Brody, flute; Stan Muncy, vibraphone; Sidney Corbett, Aporia Hannah Addario-Berry, cello Sidney Corbett (Fri) two years from 1981 to 2003. Mr. (2019) (30’) (WP)(C) and Myra Melford (Sat) Johns passed away on February 15, *Wyatt Cannon, Quicksilver 8:00pm Concert 2019. Peter Josheff, bass clarinet; Brad Hogarth, trumpet; Tiffany Bayly, tuba; (2018) (WP) (6’) 9:30pm Post-concert party, floor 2 David Tanenbaum, electric guitar; Tod Brody, flute; Stan Muncy, vibraphone; As Board President in 2000-2001, Stan Muncy, percussion; Meredith Clark, Hannah Addario-Berry, cello Bud was deeply involved in creating harp; Kevin Rogers, Susan Freier, violin; Adam Strawbridge and Wyatt Cannon the SFCMP Harold Wollack Legacy Meena Bhasin, viola; Stephen Harrison, Julius Eastman, Gay Guerrilla are the winners of our 2019 SF Search for Circle which has provided a vehicle for cello (1979) (30’) Scores program; Their pieces were inspired organization-changing contributions. Kate Campbell, Allegra Chapman, piano by the life and legacy of Julius Eastman. intermission 15 min Visit SFCMP.org for more intermission 15 min information about SFCMP’s Fernanda Aoki Navarro, Impermanence These concerts are made possible in Legacy Circle. (2019) (c. 15’) (WP) Myra Melford, Homogenous Infiltration part through the generous support of Tod Brody, flute; Peter Josheff, clarinet; (2019) (30’) (WP)(C) Ann and Gordon Getty Foundation, San Stan Muncy, percussion; Kate Campbell, Myra Melford, piano soloist; Francisco Grants for the Arts, The Aaron piano; Benjamin Kreith, violin; Tod Brody, flute/piccolo/alto flute; Peter Copland Fund for Music, The Alice M. Stephen Harrison, cello Josheff, clarinet/bass clarinet; Ditson Fund of Columbia University, The Kyle Bruckmann, oboe/english horn; Amphion Foundation, The Bernard Osher Julius Eastman, Stay on It (1973) (c. 25’) Brendan Lai Tong, trombone; Foundation, The Ross McKee Foundation, Kyle Bruckmann, oboe; Peter Josheff, William Winant, percussion; Meredith and the William and Flora Hewlett clarinet; William Winant, percussion; Clark, harp; Kevin Rogers, violin; Meena Foundation. Stan Muncy, percussion; Kate Campbell, Bhasin, viola; Hannah Addario-Berry, cello; piano; Benjamin Kreith, violin; Richard Worn, Hannah Addario-Berry, cello Bud Johns Key: *SF Search for Scores Winner, (C) SFCMP Commission, World Premiere (WP), US Premiere (USP), West Coast Premiere (WCP)

8 • San Francisco Contemporary Music Players SFCMP.org • 9 JULIUS EASTMAN – PHOTOGRAPHS BY CHRISTINE RUSINIAK “While coordinating the S.E.M. Ensemble of which Julius Eastman was a founding member, I had many opportunities to photograph the group in rehearsals and at performances. Intuitively, I had been aware of Eastman’s enormous talent - his sensitivity, humor, versatility, musicality, and leadership. He was an experimenter and risk taker. Julius could perform as an innocent, as the Mad King, as a dancer, painter, composer, singer, pianist. He reached deeply into himself, drew up archetypes, could be a tragic or comedic figure. The images before you, both posters and projections, add a visual aspect and dimension to the musical performances celebrating the legacy of Julius Eastman. Sometimes the word ethereal even comes to my mind when I think of Julius Eastman © Chris Rusiniak because he embodied elegance, grace and beauty.” – Christine “Chris” Rusiniak

Chris Rusiniak is an American photographer and event organizer who worked in Buffalo, New York, in the1970s. In 1974, Chris co-organized the month-long events in © Chris Rusiniak © Chris Rusiniak “Experiments in Art and Technology Exhibit 11011011 Broadcast 887574” at the University of Buffalo. As coordinator of the S.E.M. Ensemble, of which Julius Eastman was a founding member, she developed an interest in documenting musical performances. In the mid 1970s, Chris took up residence at 30 Essex Street in a converted ice factory/warehouse. While there, she participated in the beginnings of Hallwalls, a new venue for avant-garde artists, which is flourishing today. In recent years, since the re-discovery of Julius Eastman and world-wide events honoring his genius, writers, researchers, and curators have sought Rusiniak’s images of Eastman. Her images have appeared in books and articles and have been exhibited in Buffalo, , © Chris Rusiniak © Chris Rusiniak , London, and Berlin. [email protected]

10 • San Francisco Contemporary Music Players SFCMP.org • 11 PROGRAM NOTES CONCERT #1 possibilities over the established fixed Notes on the remaining works takes on an air of meditation and Friday, March 10 . When the piano loses its by Eric Dudley, Artistic Director exploration within delicate shadings of exploratory impetus, a crossfade with expressivity and nuance, rather than Notes on Julius Eastman’s work the tambourine brings the piece to a Composer LJ White’s own espousal of virtuosic exercise. A drone note–one by , composer and close. compositional ideals of “direct, focused octave higher than the open D string Eastman scholar. and socially relevant expression” could on the instrument–is first sounded A poem by the composer was not help but resonate with many of by the live soloist and re-articulated Taken together, Stay on it (1973) and reproduced in the program notes the aesthetic leanings present in the by the recorded tracks, setting up Gay Guerrilla (1979) respectively created for the 1973 performances music of Julius Eastman, as well as with an axis around which the rest of the represent Julius Eastman’s way into of the piece: “[...] With your movin’ a whole generation of composers living gestural sphere unfolds. An ornamental and his way out; both also and grooving on it / making me feel in the current moment. In the same figure from the live soloist sparks a give a good measure of Eastman’s own fine as wine / I don’t have to find the way that Eastman used more tonally- delicate flame, from which the rest of compositional development in the brief MEANING / because you will have filled based and ‘popular’ musical resources the material expands and contracts span of six years. in his most invisible and / intangible to establish a backdrop for more in echoes and variations. Through Majesty’s place; / But only if you stay adventurous or subversive elements, electronic means, we hear what begins Stay on it is typically credited as being on it. You Dig [...]” Its referencing White’s fly, into the light…(2013) creates to sound like an entire section of one of the first minimalist works to African-American and Queer jiving a surface level of apparent simplicity violinists all playing as soloists, within show the influence of popular music. further corroborates the thesis that and clarity, embedded with subtle a texture that exploits the perfect The opening, Caribbean-infused riff Stay on it was the first installment gestural content and fleeting departure intervals of the open strings and their displays the precision of a clockwork in a series of musical essays on from expectation. Inspired in part by octave equivalents to achieve an open that is intermittently interrupted, and race Eastman produced throughout the Beatle’s song ‘Blackbird’ (which and luminous harmonic field–against so moves in and out of Mingus-like the ‘70s, culminating with the itself was a response to the death of which the live performer delivers free bursts. After several episodes monumental Crazy Nigger (1979). children in Alabama’s 1963 race riots), a narrative both integrated and of back-and-forth the original riff it also contains a muted reference to independent. With momentary twinges vanishes for good, and a ghostly While Gay Guerrilla’s score survives the kind of social consciousness that of notes and gestures that sit ‘outside’ memory of it appears as a substitute. in a manuscript form, the score for Eastman shouted forth in much of his the texture, the soloist’s line traces a The second riff is uninterrupted, and Stay on it does not, and so the piece music. placid but assertive discourse before instead, a crescendo ensues–after is nowadays performed by aid of a fading back onto reflections of itself. which performers begin to abandon ‘skeleton’ score created by composer- For solo violin and pre-recorded tracks the field as a lonely piano ‘stays on performer Paul Pinto in 2009. of layered violin sound, the piece it’ for a while, exploring harmonic 12 • San Francisco Contemporary Music Players SFCMP.org • 13 From his youthful roots as a jazz-fusion conflicting divisions of the beat within layers of meaning can be discerned.” upon her own personal context for guitarist and a stylistic omnivore, each tempo frame, with instrument Like a Vermeer painting “in which one issues of race and identity. The first of Sidney Corbett’s compositional groups banding together in different can see the outline of a clandestine its three movements, for piano solo, language is self-avowedly broad, and ever-shifting configurations to intrigue,” or in the written passages bears the title Mestiça (a Brazilian drawing on a range of sources both articulate carved triplet while of Twombly that form a “complex racial term translating as ‘mixed’), and musical and otherwise: philosophy, others play in strong, contrary duple and often opaque midrasch on the one particular childhood experience literature, theology and visual art, syncopations. The shifts of pulse subject of the painting,” Corbett hints based on her half-Brazilian, half- in addition to musical influences as that occur within each movement that Aporia contains “musical ghosts– Japanese heritage figures prominently diverse as Islamic chant, Ligeti and are governed by direct relationship minor triads in string harmonics, lines in the background for the movement. Coltrane. For his new work Aporia through a series of metric modulations, obscured by rhythmic insistences Around the same time as she endured (2019), the title’s roots are in Greek and the general pulse feel at the outset elsewhere which occasionally surface,” an all-too-typical taunting from a philosophy (a-poria: literally ‘not of each movement ratchets up by and “hidden messages of varying schoolmate because of the shape of porous,’ and translated as that which degrees from slowest to fastest. Within scope which form an interwoven mesh her eyes, she also “first learned a piece is ‘impenetrable’), while an underlying that framework of juxtaposition and beneath...” Extra-musical resources, that used only the black keys of the thematic inspiration stems from the conflict, the instrumentation itself– like ‘contoured noise’ and snippets piano (‘The Rickshaw Man,’ a rather writing of Jacques Derrida, whose book slanted toward the bass end with the of text by Derrida whispered and stereotypical ‘oriental’ pentatonic of the same title (Aporias) is to Corbett presence of bass clarinet, tuba, electric spoken into the tuba, find their way piece for children, composed by a most captivating in its discussion guitar and low-register writing for the into the environment through layered white man who probably didn’t see the of “what might be behind factual harp–invokes darkened timbral hues intrusions on the texture. In creating borderline racist nature of his work). existence, ‘this passage beyond truth,’ playing against high solo lines for the such a sonic interplay of ideas, Mestiça combines simple fingering and accordingly…how to wrestle with violins and trumpet, together defining Corbett’s hope for the listener is to patterns used in children’s piano music, the insoluble.” a set of outer boundaries within which “hear and thus feel the resistance, the interlaced with the difference, clash a bandwidth of sonic spaciousness impenetrability which is the target of and mutual assimilation of the ‘black The piece’s four movements, offset by often exists. these musical thoughts,” and, perhaps, keys’ and the ‘white keys’ of the piano.” distinct tempo markings and treatment to “glean clues as to how to move of rhythmic activity, are interconnected Another source of influence, this time forward” from that inquisitive point of The main inspiration for the second through their materials–as the from the realm of visual art, are certain departure. movement, Uprooted, is the sense composer says, “each an individual works by Johannes Vermeer and Cy of “not belonging to the place of reflection of the same musical Twombly, wherein for the composer For her new piece Impermanence departure (a home country, for face.” That face includes variant and “many sub-plots and subcutaneous (2019), Fernanda Aoki Navarro calls example), and not fully belonging

14 • San Francisco Contemporary Music Players SFCMP.org • 15 to the place of arrival either.” dichotomy between alienation and most powerful tribute to the modern Gay Liberation Front-inspired language Improvisatory in nature, the cellist acceptance. Reflecting on the friends fight for gay rights and one of his is all over the composition. Reading joins the pianist onstage and activates she has made here in a country that most memorable works. This piece is Luther’s words in the context of strings inside the instrument with bureaucratically dubs her a ‘resident the finest example of what Eastman Eastman’s own description of ‘guerrilla’ an e-bow, while the pianist strikes alien,’ her thoughts are of the most called organic music: a large-scale as the action of “someone who is… or silently depresses and releases positivistic bent within the wide additive process of accumulation sacrificing his life for a point of view” keys to affect the sonority. The other array of sentiments surrounding of harmonic materials growing in allows us to understand the climax of musicians enter on the heels of the first the experiences of belonging and curves of decreasing and increasing the piece as a proclamation of Pride. movement, at first playing handheld ‘otherness:’ “we learned about harmonic density and rhythm, making Once the climax is reached, the piece, percussion instruments like rainsticks, idiosyncrasies regarding our cultural compositions breathe as if they were like a parade, slowly dissolves. slide flutes, bird whistles and the backgrounds, we learned how to living organisms. Brazilian roi-roi, and their translocation overwrite harmful stereotypes; Notes on the remaining works within the performance space and we learned about similarities and Gay Guerrilla is a penetrating essay by Eric Dudley, Artistic Director eventual motion toward the stage differences between our countries, and with a clear dramatic trajectory. The underscores the topic of migration. In we learned how the idea of ‘other’ was repetition of pitches in similar metrical For this year’s SF Search for Scores, the composer’s words, all is intended more of a construct than a reality.” arrangements that makes up most of composers were invited to submit to sound “adrift, uprooted, as if lost the piece’s fabric is at times lamenting, pieces for instrumental trio of flute, in oceanic waves, sometimes calm, at times alienating, and eventually vibraphone and cello that in some sometimes violent.” CONCERT #2 trumpeting/marching in an evocation way involve a response to the work Saturday, March 11 of military fanfares and drumming. This and legacy of Julius Eastman. For In the final movement,Permanent sets the stage for the emotional climax Adam Strawbridge, a graduate Alien (and native friends), the ensemble Notes on Julius Eastman’s work of the composition: the presentation, student in composition at UC Davis, convenes onstage to retake their by Luciano Chessa, composer and in various octaves, of ’s he describes Theory and Practice standard instruments with some less Eastman scholar. chorale Ein feste Burg ist unser Gott (A and Praxis (2018) as an experiment conventional means (violin played Mighty Fortress is Our God). From the “in the sort of highly iterative and with a guitar pick, and a detuning Composed a year before AIDS was incipit of the chorale Luther conjures often diatonic work of Eastman, and of the lowest string of the cello, first clinically observed in the United up images of warfare, while the a continuation of the exploration I for example). Fully notated and States, on the tenth anniversary of remainder of the lyrics are an explicit read from his works of how our theory rhythmically seething, the movement the Stonewall riots, Gay Guerrilla call for fortitude and strength to (in music, and in social and political puts an energetic spin on the (1979) constitutes at once Eastman’s overcome oppression. The rhetoric of a realms) is often at odds with our lived

16 • San Francisco Contemporary Music Players SFCMP.org • 17 practice.” Built on a concise three-note a phasing pattern between all three Melford spent time meeting with the As the performers assemble onstage motive, the “iterative and ultimately instruments, from which the voices players to explore each individual’s and live sound starts to take shape, we frenetic” material builds by accretion, gradually diverge and individualize fluidity and comfort zones within fully embark on the path through a series through conflicting syncopations to create a richer harmonic language. or partially improvised means, and of more or less specified gestures and and polyrhythms that drive toward a Increasing density of texture spills back created an engraved score and part sonic explorations. Some of these are point where the tension finally snaps, out into moments of strong unison set (with the assistance of our own set down in the score with Melford’s “allowing the melodic and resonant alignment, and a reverse presentation Artistic Production Director Amadeus own suggestive nomenclature as to lyrical quality underlying the machine- of a portion of the opening material Regucera) that reflects a combination the sound worlds they evoke–‘little like procedure to sing fully.” Reinitiated gives a sense of return at the close. of notated and ‘scripted’ materials creatures,’ ‘brush sticks,’ and ‘magnet by the cello, the mechanical process Cannon’s aim is “to have achieved with looser gestural information, towers’ to name a few. Each are overtakes the closing frame of the something that is related to Eastman, along with suggestions for figuration discernible gestural fields with distinct piece, reflecting, as Strawbridge says, but pushes the boundaries of post- and timing-based passages that sonic profiles; short, evanescent the “tensions between theory and minimalist style.” leave room for extemporaneity. In pizzicati with slides and rotating oboe practice in my lived experience both Melford’s words, the resultant piece multi-phonics, tongue stops and key within and outside musical culture.” Thanks in part to the groundwork “consists of several sections–or musical clicks on wind and brass instruments laid by earlier experimentalists environments–which are sonically against tremolo/pizzicato combinations In the case of Wyatt Cannon, a and adventurers like Eastman, the evocative of techniques the composer in the strings, and group articulations composition student at University of sometimes-perceived walls between has developed over the years through of pitch and noise structures that the Pacific in Stockton, inspiration came fully composed and fully improvised experimentation and performance”–a start with forceful unison attacks and through his admiration of Eastman’s music forms have been crumbling form guided and delineated by decay into dissipating echoes. All “ability to create daedal, interesting down more and more in successive the transitions and overlaps of one of these fields contain independent music while only utilizing the bare generations. The Bay Area’s own mode of improvisation with another, development and exploration of minimum of motivic content. Shifts in Myra Melford is a composer- in combination with more formally the sound environment at hand, harmony and rhythmic phasing give performer whose work exists in planned events and intersections along sometimes for just a few players and Eastman’s music a deep complexity: a many zones along that spectrum, the way. sometimes for the full ensemble, and complexity defined by the interaction and the piece she has created for from around the midpoint of the piece, of many parts, as opposed to overly SFCMP, with herself as improvising We enter into the environment of the a rough trajectory begins toward verbose uses of non-harmonic material soloist, is an amalgam of the personal piece before the ‘formal’ performance greater degrees of fully-scripted or incomprehensible rhythms.” interactions that helped to shape even starts, through an audio track that organization–which after a brief Quicksilver (2018) initiates through it. Over the course of the season, begins during the close of intermission. interruption by piano and percussion

18 • San Francisco Contemporary Music Players SFCMP.org • 19 JOIN US IN WELCOMING OUR NEW CREATIVE ADVISORS duo, culminates in a full ensemble tutti with strongly aligned, complex rhythmic materials.

For her own solo part, Melford employs certain notated passages in relation to how they interact with other instruments in the ensemble, and in other cases, extended passages are left purely to creation in the moment. Overall, very little of the solo part is fully notated, except for Edward Simon the piano ‘interruptions’ in the first vocalist, violinist, pianist, composer, phases of the piece that later become composer, producer educator the basis for the full tutti section. In fact, every musician’s part is a combination to a greater or lesser degree of improvisatory passages and partially or fully notated materials, and Melford has achieved a thoroughly fluid application of those variables within a tailor-made construct: a piece crafted with and around the individual Tod Brody photo by Stephen B. Hahn proclivities and zones of fluency for both herself and the members of SFCMP. Tyshawn Sorey Pamela Z

multi-instrumentalist, composer, performer composer

20 • San Francisco Contemporary Music Players SFCMP.org • 21 COMPOSER BIOGRAPHIES Pianist, composer, Fernanda Aoki Navarro Julius Eastman (1940 - 1990) Sidney Corbett bandleader and is a musician born was an American was born in educator Myra in Sao Paulo, composer, pianist, Chicago in 1960, Melford has Brazil, based in San vocalist, and dancer studied music spent the last three Diego, California. whose work fell and philosophy decades making She graduated in under minimalism. at the University brilliant original music composition He was among the of California, music that is equally challenging and at University of Sao first musicians to San Diego, and engaging. Culling inspiration from a Paulo, moved to combine minimalist continued his study wide range of sources including Cecil the United States in 2011, where she did processes with elements of , of composition at Yale University, Taylor, the blues and boogie-woogie of her Masters at UC Santa Cruz. She’s a as well as, within his music, present where he earned his doctorate in 1989, her native Chicago, the poetry of Rumi, Ph.D. candidate at UC San Diego. dramatic and suspenseful tendencies. and at the Academy of the the AACM and yoga, she’s explored She works with acoustic and Arts with György Ligeti. Corbett has an array of formats, among them , performance art His long-form piano pieces highlight been active primarily in Europe since ruminative solo-piano recitals, deeply and sound installation. his intent to dramatically explore 1985. His output includes works for interactive combos and ambitious She doesn’t believe in the idea that a bio his black and gay identity through the stage, orchestral compositions, multidisciplinary programs. Melford makes music more interesting. motifs that, in tone and repetition, instrumental chamber music and has a unique creative language—a Fernanda doesn’t like to be reduced to represent heightening conflict. More a large amount of vocal music. His seamless, shifting blend of composition a gender, doesn’t know how to dance particularly, Eastman described his works have earned him numerous and improvisation, and a probing of samba, procrastinates to write program own style of minimalism as ‘organic national and international awards and the space shared between dynamic notes, doesn’t know how to react when music; a style of ‘gradual accrual prizes and have been performed and small-group jazz and contemporary someone makes a compliment or a and accumulation, often followed by broadcast worldwide. chamber music. Since debuting on critique, goes to the cinema every week, gradual disintegration, where he would record as a bandleader in 1990, she’s drinks coffee every day. gradually and sometimes abruptly alter Sidney Corbett is the guitarist of the built a discography of more than 20 repeated phrases to create the basis band “Vierte Heimat” and also plays in albums as a leader or co-leader. for his works. a number of improvisation ensembles, with among others Mazen Kerbaj and Richie Beirach.

22 • San Francisco Contemporary Music Players SFCMP.org • 23 LJ White’s Adam Strawbridge Wyatt Cannon Tonight’s Guest Musicians music serves is a composer is a composer and ideals of direct, from New England, pianist from San Please join us in applauding the focused and socially currently a PhD Jose, California who following guest musicians on relevant expression, candidate at UC is currently studying tonight’s performance: assimilating an Davis. His music music composition unrestricted array of explores the at the University influences through expression of of the Pacific. He Brad Hogarth, trumpet unpredictable- motif in , has written music for a variety of yet-contagious rhythms, strange and harmony, and rhythm, as well as a ensembles, including solo piano, string Brendan Lai Tong, trombone evocative sonorities, self-evident tactile approach to texture and color , percussion ensemble and full gestures, and apposite forms. He through gesture and form. He received orchestra. In 2017, he won the Victor Tiffany Bayly, tuba has worked with some of the most a B.A. in Music and Political Theory Salvo Music Composition Scholarship exciting players in contemporary music, from Williams College and a M.M. in for his piece entitled Polarity, a two Stan Muncy, percussion including Alarm Will Sound, Ensemble Composition from the Conservatory movement string quartet. He has SIGNAL, Ensemble Dal Niente, the JACK of Music and Dance at the University studied piano for over thirteen years, Meredith Clark, harp Quartet, the Spektral Quartet, Third of Missouri – Kansas City. His principal and attained his Advanced Level Coast Percussion, Volti, and members teachers have been Mika Pelo, Chen Certificate of Merit from the Music Allegra Chapman, piano of the International Contemporary Yi, , and Reynold Simpson. Teachers’ Association of California in Ensemble, Roomful of Teeth, the Talea He won first prize from the 2017 Music 2018. Kevin Rogers, violin Ensemble, and the Bang on a Can All- From International Composition Stars. Competition, and was a finalist for Cannon’s compositions are greatly Benjamin Kreith, violin the 2018 ASCAP Morton Gould Young influenced by Minimalist and Post- Composer Award. His music has Minimalist composers such as Steve Owen Dalby, violin been performed by ensembles such Reich and Belinda Reynolds. However, as Music From China, Wild Rumpus, he still incorporates a variety of counter)induction, Beo Quartet, and different styles into his music. The others. lyrical sensibilities of late romantic composers such as Grieg and Dvorak are clearly present in his work.

24 • San Francisco Contemporary Music Players SFCMP.org • 25 SFCMP PLAYERS violinist in Berlin for five years, regu- as Executive Director of the Marin larly playing with the Berlin Philhar- Symphony. Meena Bhasin (viola) is co-founder which all share a unique altered tuning monic Orchestra, Deutsche Oper, and of Decoda— the affiliate ensemble of of the cello. An avid and versatile Deutsche Symphonieorchester. Hrabba Oboist Kyle Bruckmann’s work as a Carnegie Hall—which combines great chamber musician, Hannah joined also participated in a world tour with composer and performer spans from artistry with civic engagement. She has SFCMP in 2017. Addarioberry.com the Icelandic pop artist Björk, and a the Western classical tradition into led Decoda around the globe from Germany tour with violinist Nigel Ken- the frontiers of free jazz, electronic Mexico to India and Abu Dhabi. Meena Jeff Anderle (clarinet) is a pioneer nedy. Joshua Kosman, music critic of music and post-punk. With more than was invited to perform at the Obama in the world of low reeds, helping to San Francisco Chronicle, praised her 80 recordings and a striking array of White House, highlighting Decoda’s popularize the role of the modern performance of Vivaldi’s Spring, and performance affiliations to his credit he work in criminal justice reform. She clarinet and bass clarinet through his called her violin playing “delicate but has been acclaimed as “a modern day has toured the U.S. as a soloist with innovative and diverse performances, fervent.” renaissance musician,” and “a seasoned legendary rock band Jethro Tull and ensembles, and commissions. He is a improviser with impressive extended performed Persian music as a soloist member of Splinter Reeds, the bass Tod Brody is principal flutist with technique and peculiar artistic air.” Be- with the New York Philharmonic. clarinet duo Sqwonk, and REDSHIFT, SFCMP, as well as local new music fore relocating to the Bay Area in 2003, Meena is the founder of Reveler and and a former member of Edmund groups Earplay, Eco Ensemble, and the Kyle was axture in Chicago’s experi- the Co-Artistic Director of Noe Valley Welles and the Paul Dresher Electro/ Empyrean Ensemble, with an extensive mental music underground, collabo- Chamber Music. She holds degrees Acoustic Band. Jeff is a founding career that has included performances rating regularly with electro acoustic from New England Conservatory and co-director of Switchboard Music, of numerous world premieres and duo EKG, the ”noise-rock monstrosity” Tufts University. and serves on the faculty of the San many recordings. He is also principal Lozenge, and the Creative Music quin- Francisco Conservatory of Music where flutist of the San Francisco Chamber tet Wrack. Cellist Hannah Addario-Berry he teaches clarinet, chamber music and Orchestra, the Sacramento , and Kylebruckmann.com specializes in chamber music and professional development, and is the the California Musical Theater, and solo repertoire and is passionately chair of the woodwind department. makes frequent appearances with the Hailed as a “brilliant pianist” (Financial committed to performing music by San Francisco Opera and San Francisco Times), Kate Campbell performs living composers. In 2015, Hannah Violinist Hrabba Atladottir studied in Ballet orchestras, and in other chamber frequently as a soloist and chamber created Scordatura, an innovative Berlin, Germany with professor Axel and orchestral settings throughout musician specializing in 20th and 21st project combining Zoltán Kodály’s Gerhardt and professor Tomasz To- the region. In addition to performing century music. She is at home with monumental for Solo Cello with maszewski. After finishing her stud- and teaching, Tod is an active arts styles ranging from thorny modernism, a series of newly commissioned works, ies, Hrabba worked as a freelancing administrator, currently serving to “sleek and spirited” minimalism, to

26 • San Francisco Contemporary Music Players SFCMP.org • 27 indie classical. Kate is the co-founder Laurel, Music and Arts, and CRI labels. Orchestra, Harrison has performed on Opera and San Francisco Ballet and pianist of the interdisciplinary duo Percussionist Christopher Froh is National Public Radio, the BBC, and Orchestras. Adam has been a featured KATES, which intertwines new solo a member of Empyrean Ensemble, on both German State Radio and the soloist with a number of orchestras piano music with new dance. They Rootstock Percussion, and San Fran- Netherlands State Radio. Stephen has and is member of the National Brass have been featured at NYSoundCircuit, cisco Chamber Orchestra. He has toured internationally and recorded on Ensemble and The Bay Brass. He Dance Conversations Festival at the premiered over 100 chamber and solo the Delos, CRI, New Albion, and New- has recorded with the Philadelphia Flea Theater in New York, and Omaha works by composers from 15 countries. port Classics labels. Orchestra, San Francisco Symphony, Under the Radar. In the contemporary His rich and diverse career includes Baltimore Symphony, the National ensemble REDSHIFT, she continues performances with the San Francisco Peter Josheff, clarinetist and Brass Ensemble, for ESPN Sunday her guest artist residency at Cal State Symphony at Carnegie Hall, Gamelan composer, has been on the front lines Night Football, and on many movie University East Bay, premiering works Sekar Jaya at the Stern Grove Festival, of the northern California new music and video game soundtracks. Luftman by faculty and student composers. and session recordings at Skywalker scene for more than thirty years as is currently on the faculties of the San katecampbellpiano.com Ranch. As a soloist, he has appeared a composer and clarinetist. He is a Francisco Conservatory, UC Berkeley, at festivals and recitals across Japan, founding member of Earplay and of and San Francisco State University. Susan Freier (violin) After earning China, Turkey, Europe, and the United Sonic Harvest, and is a core member He has presented masterclasses all a degree in Music and Biology at States including featured performances of the San Francisco Contemporary over the country including The Curtis Stanford, Susan co-founded the at the Beijing Modern Festival, Nuovi Music Players, the Empyrean Ensemble Institute of Music, New England widely-acclaimed Chester String Spazi Musicali, and Music@Menlo. He (UC Davis), and the Eco Ensemble (UC Conservatory, Cleveland Institute of Quartet at the Eastman School of teaches percussion and chamber music Berkeley). He performs frequently Music, New World Symphony, and Music. She has been a participant at at UC Davis and CSU Sacramento. with Opera Parallele and the San Tanglewood. the Aspen, Grand Teton and Newport Francisco Chamber Orchestra, and Music Festivals, and has performed on A very active cellist in the Bay Area has worked with many other groups Roy Malan serves as solo violinist NPR, the BBC, and German State Radio. and beyond, Stephen Harrison is a including Other Minds, West Edge with the California Symphony and She is currently on the artist faculty of founding member of the Ives Quartet Opera, Melody of China, the Ives Opera Parallèle and was the longtime the Schlern International Music Festival (formerly known as Stanford String Collective, Mills College Contemporary concertmaster and solo violinist for in Italy and the San Diego Chamber Quartet) and a member of the faculty Performance Ensemble, the Paul the San Francisco Ballet. The founding Music Workshop and a member of the at Stanford University. Formerly princi- Dresher Ensemble, and Composers, Inc. director of the Telluride Chamber Ives Quartet (formerly the Stanford pal cellist of the Chamber Symphony of Music Festival, he has an extensive String Quartet). Her recordings are on San Francisco, the Opera Company of Adam Luftman is the Principal career of performance domestically the Newport Classics, Stolat, Pantheon, , and the New England Chamber Trumpet of both the San Francisco as well as in Canada, Mexico, Europe,

28 • San Francisco Contemporary Music Players SFCMP.org • 29 Australia, and Africa to his credit. He is Oboist Sarah Rathke maintains a busy the Cleveland Opera orchestra, the and is a founding member of the widely recorded on the Genesis, Orion, and enthusiastic performance presence Cleveland Ballet, as Assistant Principal Grammy-nominated Bay Brass. He and several other labels. Roy currently in Northern California and beyond, violist of the Aspen Chamber Orchestra appears frequently with the San serves on the faculty of the University as a member of the Sacramento and rotating Principal of the Spoleto Francisco Opera, the Oakland-East of California, Santa Cruz, and plays Philharmonic and Chamber Orchestras Festival Orchestra. Bay Symphony and numerous other locally with a string quartet, piano trio, and a regular performer with the local organizations, both in concert and music festival engagements. of Marin, Fremont, Santa David Tanenbaum has performed as and in recordings, including those Rosa, Vallejo, California, Berkeley, a solo guitarist throughout the US, of Alvin Curran, Christian Wolff, and Loren Mach (percussionist) is a Monterey and Santa Cruz. She was a Canada, Mexico, Europe, Asia, and electro-acoustic composer Chris graduate of the Oberlin and Cincinnati member of the Avenue Winds, a Bay Australia. Solo performances over the Brown. In addition to his performance Conservatories, he has premiered Area woodwind quintet committed to course of his career have included career, Wahrhaftig has performed on countless solo, chamber, and orchestral new music, and has also has performed the , San the soundtracks of numerous movie works. He teaches at the University with various orchestras including the Francisco Symphony, Minnesota and video games. He can be heard of California, Berkeley and is principal San Francisco Symphony and the San Orchestra, London Sinfonietta, Vienna’s on Alvin Curran’s eclectic CD Animal percussionist of eco ensemble, Francisco Ballet. Rathke is a Professor ORF orchestra, and elsewhere, under Sounds, and he now teaches at the San principal timpanist of San Francisco of Oboe at UC Berkeley. Sarah joined the baton of such eminent conductors Francisco Conservatory of Music, U.C. Chamber Orchestra, and co-founder SFCMP in 2012. as Esa-Pekka Salonen, Kent Nagano Berkeley, and privately in the Bay Area. of Rootstock Percussion. Mach often and John Adams. Tanenbaum has performs with the San Francisco Nanci Severance (viola) is a member toured extensively with Grammy-nominated percussionist Symphony and other local orchestras. of the San Francisco Symphony and and Musicians, in Japan with Toru William Winant is internationally In 2011, he was awarded the Investing has performed with many Bay area Takemitsu, and has had a long regarded as a leading performer in Artists grant from the Center for ensembles, including Chamber Music association with Ensemble Modern. of avant-garde music. In 2014, he Cultural Innovation. He appeared in West, the Midsummer Mozart Chamber He is currently recording the complete received a Grammy nomination for his two full-length concerts at the 2014 Players, and the Parlante Chamber guitar works of Sofia Gubaidulina recording of John Cage’s historic solo Venice Biennale with eco ensemble, Orchestra, with whom she was principal for Naxos. Chair of the San Francisco work, 27’ 10.554” for a percussionist, including a special performance of violist. She is also a member of the Conservatory’s Guitar Department. on MicroFest Records. Winant has Nagoya Marimbas for Golden Lion Donatello String Quartet, and a regular collaborated with legends of 20th and lifetime achievement honoree, Steve guest artist with the Ives Quartet. Over Peter Wahrhaftig is Principal Tubist 21st century music, from Reich. the course of her career, Nanci has of the San Francisco Ballet Orchestra, to Steve Reich and Yo-Yo Ma, and performed with the Toledo Symphony, the Sun Valley Summer Symphony, from Merce Cunningham to Kronos

30 • San Francisco Contemporary Music Players SFCMP.org • 31 Quartet and Sonic Youth. Composers SFCMP percussionist Nick Woodbury FRIENDS OF SFCMP who have written for Winant include also performs with and co-directs San Francisco Contemporary Music Players gratefully acknowledge the following John Cage, Lou Harrison, John Zorn, Mantra Percussion– a group dedicated supporters who have made one or more donations within the last 12 months, Peter Garland, Larry Polansky and many to large-scale projects that redefine resulting in gift totals within the following categories. These generous gifts help more. In 2016, Winant was awarded a the traditional concert the ensemble to reach new heights in presenting outstanding, adventurous prestigious grant from the Foundation format. Woodbury has appeared of Contemporary Arts in recognition alongside the Bang on a Can All- concerts at affordable prices educating young musicians, commissioning new works, and breaking down the barriers to understanding new music through our for his groundbreaking work as a Stars, with the Ensemble Modern How Music is Made program. contemporary percussionist. Akademie, and Eco Ensemble. His work with contemporary music includes We apologize for any errors or omissions; for corrections please contact [email protected]. Double bassist Richard Worn has premiering new works by George performed extensively with the San Crumb, , Michael Director’s Circle ($10,000 + ) Michael McGinley Francisco Opera and Symphony. Gordon, and many others. Woodbury Anonymous Lawrence Daressa Currently, he serves as Assistant has appeared at the Brooklyn Academy Victor and Esta Wolfram Kit Sharma and Wei Tsai Principal Bass of the Marin Symphony of Music, Apple Store at Lincoln Holly Hartley and Oscar Anderson and Principal Bass of the Sanse Center, Kresge Auditorium at MIT, New Players’ Circle ($5,000-$9,999) Karen Gottlieb Chamber Orchestra as well as with Music New College, Symphony Space Margot Golding and Michael Powers Michael Gilbertson the Berkeley Contemporary Chamber in Manhattan, Carlsbad New Music Susan and Harry Hartzell Claire and Kendall Allphin Players, ECO Ensemble, Other Minds Festival and many more internationally- Dianne Ellsworth sfSound, Empyrean Ensemble, Earplay, acclaimed performing arts centers. Guest Artists’ Circle ($500-$999) and Composer’s Inc. Richard is also Producers’ Circle ($2,500-$4,999) Chevron Matching Employee Funds former Principal Bass of the New Eunice Childs, in memory of Dr. Alfred Ken Ueno Century Chamber Orchestra. With his W. Childs, a former board member Evelyn Nussenbaum and Fred Worn Chamber Ensemble, founded Donald Blais Vogelstein in 1996, has performed works for Melanie Johnson, Ph.D. Mark Applebaum and Joan Friedman both solo bass and ensemble by Paul R. Griffin such composers as Andriessen, Cage, Founders’ Circle ($1,000-$2,499) Peter and Robin Witte Harrison, Henze, Revueltas, Scelsi, Anne and Robert Baldwin Richard and Patricia Taylor Lee in honor Varese, and Xenakis. He currently Gene Nakajima and Howard Rubin of Steven Schick teaches and provides orchestral Hannah Addario-Berry & Stephen Harrison James C. Hormel Ronald Kay coaching at UC Berkeley. photo by Stephen B. Hahn 32 • San Francisco Contemporary Music Players SFCMP.org • 33 Terry McKelvey and Heli Roiha Charles Boone and Josefa Vaughan LEGACY CIRCLE Tod Brody Diana Goldstein Timothy L. Bridge Hannah Addario-Berry and William THE HAROLD WOLLACK LEGACY CIRCLE Susan York Addario-Turner MaryClare Brzytwa Steven Juliani A former subscriber, Harold Wollack, left the first bequest to help underwrite Karl Pribram and Sweta Arora Richard and Patricia Taylor Lee the ensemble’s concerts and programs. Recently, the ensemble received Anonymous Robert Kirzinger generous bequests from the estates of Jane Roos and Victor and Esta Wolfram. All bequests help to ensure that our organization will remain vibrant and that Sponsor ($200-$499) Patron ($59-$99) future generations will enjoy the music of the San Francisco Contemporary Music Andrea and Lubert Stryer Boris and Dorothy Ragent Players. We thank the following individuals who have arranged a legacy gift in James Robinson Jean and George Dowdall support of our future: Stephen Harrison and Susan Freier Larry Ragent Thomas and Nancy Fiene Paul and Celia Concus Anonymous Thomas Charles Robinson A.Robin Orden Jacqueline S. Hoefer * JoAnn and Jack Bertges, in honor of Sharon Silva Adam Frey Jane Roos and Jean-Louis LeRoux * board member Margot Golding Thomas Koster Eunice Childs in memory of Dr. Margot Golding Kate Campbell Will Leben Alfred W. Childs * Paul Griffin Kyle Bruckmann Joel Levine Anne Baldwin Priscilla Brown Lisa Oman Pamela Z Roy C. (Bud) Johns* Renate Kay * Apple Matching Grants Stephen Grenholm C. Michael Richards * Ruth Caron Jacobs * Steve Horowitz Dr. Claire Harrison* Susan and Harry Hartzell Friend ($1-$49) Dianne J. Ellsworth Terry McKelvey Supporter ($100-$199) David Gladstein Donald Blais Victor and Esta Wolfram * Anonymous Zach Alexander George Bosworth * Caius Vannouhuys Jessica Frye Harold Wollack * Anonymous William Ratner Holly Hartley *realized Elouise Wilson Lauren Chandler Kenneth Bruckmeier Wendy Reid Rachel Elson and Eric Waltari Harmon Burstyn To leave your own legacy gift to the ensemble, please contact Robert Archambault Harvey Ingham Lisa Oman, Executive Director (415) 633-8802 or [email protected] Alan and Deborah Cohen Peter Geraghty 34 • San Francisco Contemporary Music Players SFCMP.org • 35 LEADERSHIP AND STAFF Major Inkind Supporters The Orchard Hotels of San Francisco Board of Directors Emeritus Advisors Butler, Shine, Stern & Partners (BSSP) is the preferred lodging partner of Donald Blais, President Anne Baldwin Past Executive Directors Cooper White Cooper SFCMP. Kit Sharma, Vice President Paul Griffin Rozella Kennedy (2012-2015) CSU, San Francisco Melanie Johnson, Ph.D., Richard Lee Carrie Blanding (2010-2012) Google Foundation Use our SFCMP preferred rate links Treasurer Steven Schick Christopher Honett (2009-2010) Microsoft Dianne Ellsworth, Secretary Susan York Adam Frey (1991-2009) below to secure 15% off lodging any Kate Campbell Susan Munn (1988-1991) Salesforce Foundation time of year! Kyle Bruckmann Creative Advisors Marcella DeCray (1974-1988) SF Conservatory of Music Thanks for being a SFCMP patron. Margot Golding Caroline Shaw MaryClare Brzytwa Edward Simon Current Team In addition to the many generous Michael Gilbertson Tyshawn Sorey Lisa Oman individual contributors, ticket-buyers Peter Witte Pamela Z Executive Director and season subscribers, our season Richard Festinger Organizational Advisors Eric Dudley Steve Horowitz concerts and events were made Timothy Bridge Artistic Director possible in part by recent grants Orchard Hotel Tod Brody Karen Gottlieb from the following foundations and 665 Bush Street San Francisco 94108 Board Presidents Susan Harzell Amadeus Regucera Artistic Production Director agencies: Orchard Hotel SFCMP Preferred Rates Richard D. Lee (2009-2013) Terry McKelvey

Link: https://bit.ly/2BUNBqO Susan Hartzell (2005-2009) Sheryl Lynn Thomas Past Artistic Directors Anne Baldwin (2002-2005) Marketing Director American Music Project Steven Schick (2009-2018) Roy C. (Bud) Johns (2000-2001) Ann and Gordon Getty Foundation Orchard Garden Hotel David Milnes (2002-2009) Kelly Quinlan T. William Melis (1996-2000) Clarence E. Heller Foundation 466 Bush Street San Francisco 94108 Jean-Louis LeRoux (2001- Communications and (1986-1996) Fromm Music Foundation Orchard Garden Hotel SFCMP Paul R. Griffin 2002) Box Office Manager Jane Roos (1978-1986) National Endowment for the Arts Preferred Rates Link: https://bit. Donald Palma (1998-2000) Jean-Louis LeRoux (1974-1978) San Francisco Grants for the Arts ly/2NqdrHZ Stephen L. Mosko (1988- Business Partners The Aaron Copland Fund for Music, Inc. Founding Directors 1997) Gary Preiser, Inc., The Alice M. Ditson Fund of Columbia Charles Boone Jean-Louis LeRoux (1974- Accounting University Jean-Louis LeRoux 1988) Terry McKelvey, The Amphion Foundation Marcella DeCray Charles Boone (1971-1973) Investment Officer Steinway & Sons The Bernard Osher Foundation Tony Kay The Ross McKee Foundation Tony Kay Design William and Flora Hewlett Foundation

36 • San Francisco Contemporary Music Players SFCMP.org • 37 UPCOMING EVENTS FROM OUR ARTS PARTNER

WORLD PREMIERE 29 BRILLIANT CONCERTS ANOUSHKA SHANKAR • WILLIAM BELL If I Were You JUN 21– JAZZMEIA HORN • FABIAN ALMAZAN & RHIZOME • ROY AYERS LINDA MAY HAN OH QUARTET • THE MATTSON 2 • CALVIN KEYS A new opera in two acts by composer AUG 3 Jake Heggie and librettist Gene Scheer BOBI CÉSPEDES • ORQUESTA AKOKÁN • JOSÉ JAMES • THE COOKERS CANZONIERE GRECANICO SALENTINO • CLAUDIA VILLELA Thursday, August 1, 7:30 pm Saturday, August 3, 2:00 pm CHRIS POTTER CIRCUITS TRIO & KENNY GARRETT QUINTET Sunday, August 4, 2:00 pm DAKHABRAKHA • TIA FULLER • SONA JOBARTEH Tuesday, August 6, 7:30 pm CÉCILE MARK DE CLIVE-LOWE • NICOLAS BEARDE • FELIX PEIKLI • HRISTO VITCHEV QUARTET Herbst Theatre MCLORIN SASHA BERLINER • DELVON LAMARR ORGAN TRIO • KURT RIBAK QUARTET 401 Van Ness Avenue, San Francisco SALVANT RUDRESH MAHANTHAPPA • ERIC ALEXANDER QUARTET • SARAH McKENZIE Tickets on sale now. Visit merola.org/ifiwereyou or JUNE 22 call (415) 864-3330. BING CONCERT HALL

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38 • San Francisco Contemporary Music Players SFCMP.org • 39 NOW’S THE TIME TO BECOME A SFCMP MEMBER!

We invite you to become a member of San Francisco Contemporary Music Players and join a close-knit, Bay Area community of contemporary music enthusiasts, musicians, and composers. Your season membership helps us put on world-class performances of large-ensemble works that are rarely, if ever, heard on the West Coast. We invite you to join the Contemporary Music Players’ community today and become part of the music-making.

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40 • San Francisco Contemporary Music Players