Earplay 29/2 music can never cease evolving
Rhythm most directly affects our central nervous system. — George Crumb
Monday, March 31, 2014 ODC Theater Welcome
Welcome to the second concert of Earplay’s 29th season. We’re delighted to have composers Jean Ahn, Howard Hersh, Nick Omiccioli, and Mark Winges with us tonight. The program also includes a work by George Crumb, our featured composer for this season. We hope you will meet the composers at the pre- concert discussion, and then join composers, Earplayers, and board members at our post-concert reception.
Earplay is partnering with the SF Museum of Performance+Design on a series of talks New Music & You. The next talk will be on May 15th, featuring Vera Ivanova, winner of the 2013 Earplay Donald Aird Composers Competition, in conversation with Bruce Bennett. And please check out the audio interview with George Crumb by R. Wood Massi on our website earplay.org.
Earplay wants to continue to present vibrant performances of great new music, but we cannot do it without your help. Please donate whatever you can: every dollar really helps!
Enjoy tonight’s concert, and please join us again at ODC on May 19th for our next concert. Spread the excitement – please bring a friend!
Stephen Ness President, Earplay Board of Directors
Board of Directors Staff
Terrie Baune, musician representative Lori Zook, executive director Bruce Bennett, treasurer Renona Brown, accountant Mary Chun, conductor and artistic Yunzhe Ma, intern coordinator Ian Thomas, sound recordist Richard Festinger May Luke, secretary Advisory Board R. Wood Massi, director of education Stephen Ness, president Chen Yi Laura Rosenberg Richard Felciano William Kraft Kent Nagano Wayne Peterson
Cover image: George Crumb, Makrokosmos, Vol. I, No. 2 Spiral Galaxy, Aquarius, p 19, Edition C. F. Peters, 1974. By kind permission of C. F. Peters Corp.
2 Monday, March 31, 2014 at 7:30 p.m. ODC Theater
Earplay 29/2
rhythm most directly affects our central nervous system
Earplayers
Tod Brody, flutes Peter Josheff, clarinets Terrie Baune, violin Ellen Ruth Rose, viola Thalia Moore, cello Brenda Tom, piano Mary Chun, conductor
Guest Artists
Dan Kennedy, vibraphone Daniela Mineva, piano Dan Reiter, cello
Pre-concert talk at 6:45 p.m.: Bruce Christian Bennett, moderator with Jean Ahn, Howard Hersh, Nick Omiccioli, and Mark Winges
Please power down your cellphone before the performance (do not just silence it!). No photography, videography, or sound recording is permitted. Programs are subject to change without notice.
Earplay’s season is made possible through generous funding from the Aaron Copland Fund for Music, the Alice M. Ditson Fund of Columbia University, the Ann and Gordon Getty Foundation, the William and Flora Hewlett Foundation, the San Francisco Foundation Fund for Artists, San Francisco Grants for the Arts, the Thomas J. White and Leslie Scalapino Fund of the Ayco Foundation, the Zellerbach Family Foundation, and generous donors like you. 3 Program
George Crumb Four Nocturnes (Night Music II) (1964) I. Serenamente II. Scorrevole; vivace possibile III. Contemplativo IV. Con un sentimento di nostalgia Terrie Baune Daniela Mineva
Mark Winges Local Colloquies (2013) 1. The Leftover Ephemera of Past Seasons 2. More Orange Than Triangular Tod Brody, Peter Josheff, Terrie Baune, Ellen Ruth Rose, Dan Reiter, Mary Chun World premiere / Earplay commission
Nick Omiccioli falling through infinity (2010-2013) Tod Brody Dan Reiter Brenda Tom
INTERMISSION
Jean Ahn ADGC (2010) Ellen Ruth Rose Thalia Moore
Howard Hersh Full Court Press (2009) Dan Kennedy Thalia Moore Brenda Tom
4 Program Notes
Four Nocturnes (Night Music II) (1964) by George Crumb for violin and prepared piano
Four Nocturnes is a further essay in the quiet nocturnal mood of my Night Music I for soprano, keyboard, and percussion (composed in 1963); hence the subtitle Night Music II. The four pieces constituting the work are prefaced with the following indications:
Notturno I: Serenamente Notturno II: Scorrevole; vivace possibile Notturno III: Contemplativo Notturno IV: Con un sentimento di nostalgia
The music is of the utmost delicacy and the prevailing sense of ‘suspension in time’ is only briefly interrupted by the animated and rhythmically more forceful second piece. The sustained lyric idea presented at the beginning of the work, the nervous tremolo effects, and the stylized bird songs are all recurrent elements.
In composing the Four Nocturnes I had attempted a modification of the traditional treatment of the violin-piano combination by exploiting various timbral resources of the instruments. Thus a certain integration in sound is achieved by requiring both instruments to produce harmonics, pizzicato effects, rapping sounds (on the wood of the violin; on the metal beams of the piano). The gentle rustling sounds which conclude the work are produced by the application of a percussionist's wire brush to the strings of the piano. — G. C.
[From: George Crumb: Profile of a Composer, compiled and edited by Don Gillespie (1986).]
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The mysterious and introverted works of George Crumb have achieved worldwide distribution and acclaim shared by few composers. He was born in 1929 in West Virginia, where the sounds of the hills created a kind of auditory memory that came to influence his music. “An echoing quality, or an interest in very long sounds, haunting sounds, sounds that don't want to die; this is all part of an inherited acoustic.” [GC]
Crumb’s father, like his grandparents, was a professional musician and music copyist in the small city where they lived; his mother was a cellist. While still a young man, George followed his father’s path as a free-lance musician. Perhaps the fact that his work involved copying music as his father had is significant given the later development of Crumb’s unusually beautiful scores.
In college he studied closely with Ross Lee Finney, and eventually received his doctorate at the University of Michigan. Crumb has pursued a long career as a music professor, mostly at the University of Pennsylvania. He has received many honors, including the Pulitzer Prize and a Grammy. He credits a diverse array of composers, including Mahler, Debussy, Ives, Bartok, Varese, and Webern, with influencing his work. Other major influences have been medieval music and philosophy, cosmic contemplations, numerology, and humanism.
Crumb’s music incorporates programmatic, symbolic, mystical, and theatrical elements, as well as sophisticated musical allusions. He has often used the poetry of Garcia Lorca. His scores have contained musical staves shaped like a peace sign and a spiral, direct quotations of the music of other composers, and a use of poetic instructional language that is also crystal clear. Perhaps the most central element of his approach has been a haunting exploitation of sound color, extending the traditional palette while emphasizing texture, timbre, and line. His works sometimes use extended techniques to evoke a wild surreal soundscape, but more often their quiet dynamics and resonant, slow sounds engender a feeling of sublimity. Demanding 6 virtuosity from the performers, he encourages the display of their musical personalities.
In recent years, Crumb has explored American folk songs with a series of seven American Songbooks, many inspired by and dedicated to his daughter, Ann Crumb, a Grammy-winning Broadway performer. — R. W. M.
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Local Colloquies (2013) by Mark Winges for flute, clarinet, violin, viola, and cello World premiere / Earplay commission
Local Colloquies explores two ways that musical material can unfold. The first movement is improvisatory in nature. Harmony and melodic motives recur, but their placement in the flow is unpredictable and not tied to a formal pattern. The Leftover Ephemera of Past Seasons is introductory in nature and maintains a single mood (marked “delicately emphatic” in the score) throughout. The multi-sectional More Orange Than Triangular is more rigorous in that the music heard in the first section generates much of the material for the entire movement. Also, since both opening and closing sections contain fast, rhythmic music, there is a greater sense of closure in this movement.
In addition to (or maybe despite) these underpinnings, it’s the musical surface that draws in a listener. Past Seasons is not only the memories of last fall, last summer, but also the past musical seasons of Earplay’s wonderful sounds and colors that have stuck with me. Those colors and committed, brilliant playing remain, even though some of the formal aspects of specific pieces fade. Hence my own memories are probably More Orange Than Triangular. — M. W.
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Mark Winges was born in Louisville, Kentucky, and currently resides in San Francisco, where he is composer / advisor for the chamber choir Volti. He was also composer-in-residence for the San Francisco Choral Artists for the 2012 / 13 season. He is a graduate of the College-Conservatory of Music - University of Cincinnati, SF State University, and has studied at the Musikhögskolan in Stockholm, Sweden. His principal teachers were Ellsworth Milburn, Henry Onderdonk, and Arne Mellnäs. His works have been performed by the Pittsburgh New Music Ensemble, the New Jersey Percussion Ensemble, the San Francisco Contemporary Music Players, the Verge Ensemble, Earplay, Works-in-Progress: Berlin, the Empyrean Ensemble, Volti, the Piedmont Children's Choir, the San Francisco Girl's Chorus, the Pharos Music Project (NY), The Crossing, Carmina Slovenica (Slovenia), the Guangdong Choir (China), Aarhus Pigekor (Denmark), the Marin, Berkeley and Piteå (Sweden) Symphonies and many others. For more information on Mark Winges and his music, visit his website markwinges.com.
◆ falling through infinity (2010-2013) by Nick Omiccioli for flute, cello, and piano falling through infinity was commissioned by Trio Kinsella and premiered at the Saint Louis New Music Circle concert series in May 2011. In terms of perspective, the work was inspired by points at infinity or vanishing points. Instrumental textures emerge and disappear from one another through the use of similar gestures and timbral relationships. In regards to the pitch material, falling through infinity is based on a single sonority of stacked triads separated by the interval of a major seventh. As the 8 piece progresses, these triads shift between major, minor, augmented, and diminished collections through the use of falling half-steps. While this feature of the work is almost inaudible due to the superimposition of stacked triads, it was fundamental to the compositional process.
— N. O.
Nicholas S. Omiccioli (b. 1982) is currently a residency fellow with the Charlotte Street Urban Culture Project in Kansas City, MO and is the production coordinator for newEar Contemporary Ensemble. His music has been performed throughout the United States, Canada, Italy, Austria, Lithuania, the United Kingdom, Thailand, China, and New Zealand by ensembles such as the Jasper String Quartet, Calder Quartet, Curious Chamber Players, le Nouvel Ensemble Moderne, l’Orchestre de la francophonie, and the Society for New Music, to name a few.
Nick has been commissioned by the Wellesley Composers Conference, Shouse Institute at the Great Lakes Chamber Music Festival, National Arts Centre in Canada, Third Angle Ensemble, and the Aspen Contemporary Ensemble, among others. In addition to receiving many awards, grants, and fellowships, Nick was a finalist for the 2013 Rome Prize in music composition and has been nominated for scholarships by the American Academy of Arts and Letters. His primary composition teachers include James Mobberley, Chen Yi, Zhou Long, and Brian Bevelander. He has also had additional study with João Pedro Oliveira and Stephen Hartke. Nick holds degrees from the University of Missouri- Kansas City and Heidelberg University.
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9 ADGC (2010) by Jean Ahn for viola and cello
The idea of this piece is the four open strings and those pitches. The piece has four sections, each featuring the open string notes: A section, D section, G section, and the last section centering C string in a more abstract way. In the last section, the cello takes the role of playing the melody for the first time, paraphrasing My God is Solid Rock by Martin Luther.
Also, A-D-G-C is one of the most common cadential bass line in tonal music, and it is revealed toward the end of the piece.
— J. A.
The music of Korean native Jean Ahn has been recognized by honors and awards from American Composers Orchestra’s Ear Shot, June in Buffalo (Ensemble Surplus), Aspen New Music Ensemble, UC Davis Symphony’s Madness and Music Festival, Berkeley Symphony’s Under Construction, Etchings Festival, Oregon Bach Festival, MusicX festival at the University of Cincinnati College- Conservatory of Music, Sparks Festival, Women in Music Festival, Pacific Korean Music Festival, and Berkeley Arts Festival, among others. Commissions include works for the Renee Fisher Award and Competitions, the Pianissimo, Volti, Ong Dance Company, Locrian Chamber Players, and KAMSA Youth Orchestra, among others.
Jean holds a Ph.D. in Composition from the University of California, Berkeley, where she studied with Edmund Campion, Cindy Cox, Richard Felciano and Jorge Liederman. In addition, she holds degrees from Seoul National University in Korea. She has taught composition at UC Berkeley and Dominican University and is currently a
10 faculty member at University of the Pacific at Stockton. She is a pianist/children’s choir director for Richmond Korean Baptist Church.
For more information on Jean Ahn and her music, visit www.jeanahn.com.
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Full Court Press (2009) by Howard Hersh for cello, vibraphone, and piano
In basketball, opponents typically receive free passage to mid-court, where the defense shifts into high gear. In a full court press, however, every inch is vigorously guarded, and my piece of the same name pays tribute to this nonstop energy.
Full Court Press was composed for the Odessa Trio and was inspired by the story of a women’s high school basketball team whose unflagging intensity propelled them into the state finals.
In its closing minutes, it quotes from Loop, a quiet, slowly- evolving companion piece. — H. H.
Howard Hersh is the recipient of grants and awards from organizations that include Meet the Composer, the American Symphony Orchestra League, ASCAP, the American Composers Forum, the Puffin Foundation, and the Rex Foundation (the non-profit wing of The Grateful Dead). His works have been performed at venues that range from the Tanglewood Festival to Grace Cathedral, from European concert halls to the California Vietnam Veterans Memorial.
11 He was recently awarded an Irvine Fellowship in the international multi-disciplinary Sally and Don Lucas Artists Residency Program at Montalvo Arts Center in Saratoga, California; as the focus of his residency, he will compose a children’s opera, Zazzi and the Trees of Omburo.
Together with his composition work, he has directed many new music groups, including the San Francisco Conservatory New Music Ensemble, which he founded, and served as Music Director of KPFA-FM.
The Pony Concerto, a CD of chamber works, was released in 2007 by Albany Records. A recording of keyboard works, featuring Earplay pianist Brenda Tom, will be available in 2013.
He lives in the Sierra Foothills.
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Earplayers
“… One cannot resist the charm, energy and allégresse that was displayed on the podium by Mary Chun.” — Le Figaro, Paris
A fierce advocate of new work, Mary Chun (conductor) has worked with many composers such as John Adams, Olivier Messiaen, Libby Larsen, William Kraft, and Tan Dun, to name a few. At the invitation of composer John Adams, she conducted the Finnish chamber orchestra Avanti! in the Paris, Hamburg and Montreal premiere performances of his chamber opera Ceiling/Sky to critical acclaim. Passionate about new lyric collaborations, she has music-directed several world premieres including Libby Larsen’s most recent opera, Every Man Jack; Mexican-American composer Guillermo Galindo’s Decreation: Fight Cherries, a multi-media experimental portrait of the brief life of the brilliant French philosopher, Simone Weil; Carla Lucero’s Wuornos, the tragic true tale of the notorious female 12 serial killer; and Joseph Graves’ and Mort Garson’s Revoco. Under her music direction, Earplay received a Bay Area Theater Critics Circle nomination for Earplay’s performances in the Aurora Theater production of Stravinsky’s Soldier’s Tale. Other conducting engagements include opera tours with the Kosice Opera throughout Germany, Switzerland and Austria in addition to concerts in Belgium and the Czech Republic. She has also been invited to conduct at the Hawaii Opera Theater, the Lyric Opera of Cleveland, Opera Idaho, the Texas Shakespeare Festival, Ballet San Joaquin, West Bay Opera, Pacific Repertory Opera, Mendocino Music Festival, West Edge Opera and the Cinnabar Opera Theater where she is Resident Music Director. She makes her Chinese debut this spring as Music Director for the Seven Ages production of Avenue Q in Beijing at the Haidian Theater.
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In addition to being a member of Earplay, Terrie Baune (violin) is co-concertmaster of the Oakland- East Bay Symphony, concertmaster of the North State Symphony, and a former member of the Empyrean Ensemble. Her professional credits include concertmaster positions with the Women’s Philharmonic, Fresno Philharmonic, Santa Cruz County Symphony, and Rohnert Park Symphony. A member of the National Symphony Orchestra for four years, she also spent two years as a member of the Auckland Philharmonia Orchestra of New Zealand, where she toured and recorded for Radio New Zealand with the Gabrielli Trio and performed with the New Zealand Symphony Orchestra.
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Tod Brody (flutes) is in the forefront of contemporary music activity in northern California through his performances and recordings with Earplay, the San Francisco Contemporary Music Players, and the Empyrean Ensemble. He maintains an active freelance career and teaches at the University of California, Davis.
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Peter Josheff (clarinets) is a founding member of Sonic Harvest and of Earplay. He is also a member of the San Francisco Contemporary Music Players, the Empyrean Ensemble, and the Eco Ensemble. He has performed with many other groups, including the Paul Dresher Ensemble, Melody of China, Composers Inc., and sf Sound, and has appeared as a clarinetist on numerous recordings, concert series and festivals, both nationally and internationally.
His recent compositions include Nautical Man Nautical Man (2011); Sutro Tower in the Fog (2011), commissioned, premiered, and recorded by the Bernal Hill Players; Sextet (2010); Caught Between Two Worlds (2009), both premiered by Sonic Harvest; Inferno (2008), a chamber opera produced by San Francisco Cabaret Opera in 2009; Viola and Mallets (2007), commissioned and premiered by the Empyrean Ensemble; House and Garden Tales (2006), 3 Hands (2003), and Diary (2002). His work has been performed by Earplay, the Empyrean Ensemble, the Bernal Hill Players, the Laurel Ensemble, San Francisco Cabaret Opera, Sonic Harvest, and others.
Peter has worked extensively with young composers. Through discussion and performance of their music he has brought his unique perspective as a composer’s clarinetist to graduate and undergraduate classes at UC Berkeley and Davis, Stanford University, San Francisco State University, and Sacramento State University, and for the American Composers Forum Composer in the Schools Program. His workshop, Clarinet for Composers, has been presented at the UC Davis Clarinet Festival and at an American Composers Forum seminar in San Francisco.
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A native of Washington D.C., Thalia Moore (cello) began her cello studies with Robert Hofmekler, and after only 5 years of study appeared as soloist with the National Symphony Orchestra of Washington at the Kennedy Center Concert 14 Hall. She attended the Juilliard School of Music as a student of Lynn Harrell. While at Juilliard, she was the recipient of the Walter and Elsie Naumberg Scholarship and won first prize in the National Arts and Letters String Competition. Ms. Moore has been Associate Principal Cellist of the San Francisco Opera Orchestra since 1982 and a member of the San Francisco Ballet Orchestra since 1989. She has appeared as soloist at Avery Fisher Hall (Lincoln Center), Carnegie Recital Hall, Kennedy Center Terrace Theater, Herbst Theater, and the San Francisco Legion of Honor. In 1999, she was named a Cowles Visiting Artist at Grinnell College, Iowa, and in 1999 and 2001 won election to the Board of Governors of the National Academy of Recording Arts and Sciences. Moore has been a member of the Empyrean ensemble since 1999 and has made recordings with the group of works by Davidovsky, Niederberger, Bauer, and Rakowski. As a member of Earplay, she has participated in numerous recordings and premieres, including the American premiere of Imai’s La Lutte Bleue for cello and electronics.
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Ellen Ruth Rose (viola) enjoys a varied career as a soloist, ensemble musician and teacher with a strong interest the music of our times. She is a member of Ecoensemble, Empyrean Ensemble, and Earplay. She has worked extensively throughout Europe with Frankfurt’s Ensemble Modern and the Cologne experimental ensembles Musik Fabrik and Thürmchen Ensemble and has performed as soloist with the West German Radio Chorus, Empyrean Ensemble, Earplay, Thürmchen Ensemble, the San Francisco Contemporary Music Players, Santa Cruz New Music Works, at the San Francisco Other Minds and Ojai Music festivals, and at Monday Evening Concerts in Los Angeles. She has appeared on numerous recordings, including a CD of the chamber music of German composer Caspar Johannes Walter — featuring several pieces written for her — which won the German Recording Critics new music prize in 1998.
Over the past several years she has collaborated with and premiered works by numerous Northern California composers, including Kurt Rohde, Edmund Campion, Aaron Einbond, John 15 MacCallum, Mauricio Rodriguez, Cindy Cox, Mei-Fang Lin, Robert Coburn, and Linda Bouchard. In 2003 she created, organized and directed Violafest!, a four-concert festival at UC Davis celebrating the viola in solos and chamber music new and old, including premieres of pieces for four violas by Yu-Hui Chang and Laurie San Martin.
Rose holds an M.Mus. in viola performance from the Juilliard School, an artist diploma from the Northwest German Music Academy in Detmold, Germany and a B.A. with honors in English and American history and literature from Harvard University. Her viola teachers have included Heidi Castleman, Nobuko Imai, Marcus Thompson, and Karen Tuttle. She is on the instrumental faculty at UC Davis and UC Berkeley and has taught at the University of the Pacific, the Humboldt Chamber Music Workshop, and the Sequoia Chamber Music Workshop.
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Brenda Tom (piano) has performed as a soloist with the San Francisco Chamber Orchestra, the California Symphony, the Pittsburgh Ballet Orchestra, I Solisti di Oakland, the Sacramento Symphony, the Fort Collins Symphony, the Diablo Symphony, and the Sacramento Ballet Orchestra. She has recorded with PianoDisc, China Recording Company, Klavier Records, V’tae Records, and IMG Media. She has served as principal pianist with the Sacramento Symphony, Symphony of Silicon Valley, San Jose Chamber Orchestra, Monterey Symphony, and Santa Cruz Symphony, and has performed with the Sacramento Chamber Music Association, MusicNow, Chamber Music/West, the Cabrillo Festival, the Festival of New American Music, Music From Bear Valley, and the Hidden Valley Music Festival. Ms. Tom graduated from the San Francisco Conservatory of Music, where she studied with Beatrice Beauregard and Mack McCray.
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Guest Artists
Daniel Kennedy (vibraphone) is a specialist in the music of the twentieth century. He is a member of the Empyrean Ensemble. He received his M.F.A. degree from the California Institute of the Arts and his D. M. A. from the State University of New York at Stony Brook. Mr. Kennedy, who has recorded widely, is both Instructor of Percussion and former Artistic Director of the Festival of New American Music at California State University, Sacramento. ◆
A "vibrant and expressive performer who could steal the show in every concert" - The New York Times
Daniela Mineva (piano) combines a unique approach to standard repertory with dedication to performance of works by living composers. A prizewinner in the 2007 Jean Francaix Piano Competition, the 1998 Steinway International Piano Competition and the "Music and the Earth" International Competition, she has performed with such contemporary music ensembles as Speculum Musicae, OSSIA-Rochester, Twenty One and the International Society for Pianists and Composers. Currently on the faculty of Humboldt State Univeristy, Dr. Mineva previously taught at the Eastman School of Music, Concordia University-Chicago, University of North Texas, Hochstein School of Music and the Blue Lake Fine Arts Camp. Born in Bulgaria, Dr. Mineva began piano lessons with her mother at the age of five. She holds Bachelor’s and Master’s degrees in Piano Performance and Choral Conducting from the Sofia Music Academy, as well as a Master of Music degree in Piano Performance and Outstanding Graduate Diploma from the University of North Texas, an Artist Certificate from Northwestern University and a Doctor of Musical Arts 17 degree and Performance Certificate from the Eastman School of Music. She was a recipient of fellowships to the Tanglewood Music Festival, the Institute for Contemporary Music in New York, the Liberace Foundation for Performing Arts, Open Society, and the New Symphony Orchestra in Sofia, Bulgaria.
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Dan Reiter is the principal cellist of the Oakland East Bay Symphony, the Fremont Symphony, and the Festival Opera Orchestra. With these orchestras, he has performed the Schumann cello concerto, Don Quixote, and Three meditations from Mass by Leonard Bernstein. ln 2012, Dan received an lrvine grant to write for the Oakland East Bay Symphony, and on May 3, 2OI3, had the world premiere of his Mysterium. ln 1980, his piece for three cellos, harp, and doumbeck received critical acclaim in the Oakland Symphony's Sound Spectrum series. During this period, he created music for clarinet, cello and bass. One of these works, Reiter's Raga, was recast for clarinet, viola and cello, and performed by Earplay on tour in California in 2006. Dan has played with Earplay as an extra since 1988.
Dan has studied Indian classical music with Ustad Ali Akbar Khan, and is performer and arranger on two CDs with master Khan. There is found much influence from Indian music in Dan's compositions, mostly in his works for cello and harp, such as Aubade and Windflow. ln the 1980's, Dan formed the Pacific Arts Trio, made up of flute, cello, and harp. This trio performed and toured the western U.S. for ten years. During this time, he created many arrangements and composed Phantasie Trio and his Sonata for Flute and Harp. ln 1998, Dan won an "IZZY" award for his composition and performance of Raga Bach D minor for cello, percussion, and solo dancer. ln 2006, Toccata and Fugue was premiered by the San Francisco Composers Chamber Orchestra. 18
Special Thanks
Bruce Christian Bennett Muriel Maffre / SF MP+D Berkeley Arts Festival R. Wood Massi Kitty Brody ODC Theater George Crumb C. F. Peters Corporation Linda Hitchcock / SF Comm. Music Ellen Ruth Rose Center Karen Rosenak Yunzhe Ma
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George Crumb: Four Nocturnes (Night Music II), Notturno I, p. 4 (excerpt). C. F. Peters, 1971. By kind permission of C. F. Peters Corp.
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19 Staff
With nearly 30 years of administration experience, Lori Zook (executive director) has worked with non-profit arts organizations since 1991, and has held management level positions – with an emphasis on fundraising – since 1998. Most recently, she was a Development Manager at Quinn Associates, a firm serving small to mid-sized non-profit organizations throughout the Bay Area, where she assisted multiple clients with grant writing, grants management, prospect research, and strategic planning. While there, she raised millions of dollars for her clients, which included presenters, music ensembles, dance companies, arts education providers, and complex public-private partnership organizations. She served as the executive director of Oakland Opera Theater from 1998-2005, and during her tenure, the company expanded its season, developed an administrative infrastructure, experienced substantial audience growth, and successfully began fundraising. She also co-founded the company's venue, the Oakland Metro in 2001. Lori served on the City of Oakland’s Cultural Affairs Commission from May 2006 through June 2010, and was Acting-Chair of that body from June 2007 through October 2009. Under her leadership, the commission became participants in the Oakland Partnership and the East Bay Cultural Corridor project, the latter involving a four-city partnership to develop marketing strategies. She has served on arts funding panels for the City of Oakland and the Arts Council of Silicon Valley, and has been involved in several arts initiatives, including ArtVote, Spokes of a Hub, and the Illuminated Corridor.
Ian D. Thomas (sound recordist) is a native of San Francisco. He currently works in film as a sound designer and composer. His website is iandthomas.com.
Coming Soon
May 15, 6 pm: New Music and YOU at SF Museum of Performance+Design. May 19, 7:30 pm: Earplay at ODC.
Join us
Send email to [email protected] to join our mailing list. And please consider supporting the cause of new music with a generous donation! Mail your tax-deductible check to: Earplay 560 29th Street San Francisco, CA 94131-2239 or click on the Donate button at earplay.org to donate via PayPal. Earplay is a 501(c)(3) nonprofit organization.
20 Links
Earplay earplay.org Earplay archives earplay.org/archives Earplay tickets www.odcdance.org/buytickets ODC odcdance.org SF Comm. Music Center sfcmc.org SF Museum of Perf.+Design mpdsf.org
Jean Ahn www.jeanahn.com George Crumb www.georgecrumb.net Howard Hersh www.howardhersh.net Nick Omiccioli nicholasomiccioli.com Mark Winges markwinges.com
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Donors
Earplay sincerely thanks its donors for their generosity and for their continued belief in the importance of the creation and performance of intriguing new music. Please join us by giving whatever you can to support our cause, we can’t do it without you!
$10,000 + $100 + William & Flora Hewlett Foundation Mark Applebaum San Francisco Grants for the Arts Herbert Bielawa Elizabeth A. and William B. Carlin $5,000 + Patti Deuter The Ann and Gordon Getty Foundation Ellinor Hagedorn Sally Kipper $1,000 + Antoinette Kuhry & Thomas Haeuser The Aaron Copland Fund for Music Susan Kwock The Alice M. Ditson Fund of Columbia David Pereira University Wayne Peterson Richard Festinger Dr. Arthur & Joan Rose May Luke in honor of Ellen Rose Bari & Stephen Ness William Schottstaedt Laura Rosenberg in honor of Lori Zook Olly & Elouise Wilson Larry Russo The San Francisco Foundation Other generous donors: The Thomas J. White & Leslie Scalapino Katherine Brody Fund for the AYCO Foundation Ann Calloway The Zellerbach Family Foundation Dr. Stuart M. Gold Ellen Ruth Harrison $500 + Florence Neuhoff Jane Bernstein & Robert Ellis Wendy Niles Mary Chun Sandra and Leonard Rosenberg Raymond Chun William Specht Kim Stokoe
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ODC Theater
ODC Theater staff: Director Christy Bolingbroke Programming & Operations Manager Jeffrey Morris Production Manager David Coffman Marketing Team Francis Aviani, Julia Snippen, Jerri Zhang House Technicians Jason Dinneen, Mark Hueske, Eric Iverson, Zoe Klein, Matt Lewis, Delayne Medoff, Becky Robinson-Leviton, Ernie Trevino Client and Patron Services Manager Dan Rivard Box Office Agents Diana Broker, Leah Gardner, Joseph Hernandez, Sarah Pomarico House Managers Michelle Fletcher, Michelle Kinny, Mary Lachman, Christi Welter, Alec White, Karla Quintero Receptionists Brittany Delany, Zachary Sharrin
Mission and impact: ODC Theater exists to empower and develop innovative artists. It participates in the creation of new works through commissioning, presenting, mentorship and space access; it develops informed, engaged and committed audiences; and advocates for the performing arts as an essential component to the economic and cultural development of our community. The Theater is the site of over 150 performances a year involving nearly 1,000 local, regional, national and international artists.
Since 1976, ODC Theater has been the mobilizing force behind countless San Francisco artists and the foothold for national and international touring artists seeking debut in the Bay Area. Our Theater, founded by Brenda Way, then under the leadership of Rob Bailis for nearly a decade, and currently under the direction of Christy Bolingbroke, has earned its place as a cultural incubator by dedicating itself to creative change-makers, those leaders who give our region its unmistakable definition and flare. Nationally known artists Spaulding Gray, Diamanda Galas, Molissa Fenley, Bill T. Jones, Eiko & Koma, Ronald K. Brown/EVIDENCE, Ban Rarra and Karole Armitage are among those whose first San Francisco appearance occurred at ODC Theater.
ODC Theater is part of a two-building campus dedicated to supporting every stage of the artistic lifecycle - conceptualization, creation, and performance. This includes our flagship company - ODC Dance - and our School, in partnership with Rhythm and Motion Dance Workout down the street at 351 Shotwell. Over 250 classes are offered weekly and your first adult class is $5. For more information on ODC Theater and all its programs, please visit www.odctheater.org.
Support: ODC Theater is supported in part by the following foundations and agencies: Creative Work Fund, The Wallace Alexander Gerbode Foundation, Grants for the Arts/San Francisco Hotel Tax Fund, James Irvine Foundation, LEF Foundation, National Dance Project, National Endowment for the Arts, San Francisco Foundation, San Francisco Arts Commission, Walter & Elise Haas Fund, William & Flora Hewlett Foundation, the Zellerbach Family Foundation and The Fleishhacker Foundation. ODC Theater is a proud member of Association of Performing Arts Presenters, Chamber Music America, Dance USA, Dancer’s Group, and Theater Bay Area. 22 About Earplay
Mission statement:
play nurtures new chamber music, linking audiences, performers, and composers through concerts, commissions, and recordings of the finest music of our time.
Founded in 1985 by a consortium of composers and musicians, Earplay is dedicated to the performance of new chamber music. Earplay offers audiences a unique opportunity to hear eloquent, vivid performances of some of today’s finest chamber music.
Earplay has performed over 400 works by more than 275 composers in its 28-year history, including over 100 world premieres and more than 60 new works commissioned by the ensemble. This season will reinforce Earplay’s unwavering track record of presenting exceptional music in the 21st century.
Concerts feature the Earplayers, a group of artists who have developed a lyrical and ferocious style. Mary Chun conducts the Earplayers, all outstanding Bay Area musicians: Tod Brody, flute and piccolo; Peter Josheff, clarinet and bass clarinet; Terrie Baune, violin; Ellen Ruth Rose, viola; Thalia Moore, cello; and Brenda Tom, piano.
Individual donations are vital to Earplay’s success, and we greatly appreciate your generosity! Visit our website earplay.org to make a tax-deductible donation, or make a donation tonight. Together we can keep the music coming!
Earplay 560 29th Street San Francisco, CA 94131-2239
Email: [email protected] Web: earplay.org
Earplay New Chamber Music
@EarplayinSF
23 Earplay’s 2014 Season in San Francisco: music can never cease evolving
ODC Theater at 7:30 p.m. Pre-concert talk at 6:45 p.m. 3153 17th Street (at Shotwell), San Francisco Tickets: 415.863.9834 or www.odcdance.org/buytickets
Earplay 29/1 Monday, February 10, 2014 music begins where poetry leaves off Tamar Diesendruck: On That Day George Crumb: Sonata for Solo Cello Dan Reiter: Sonata for Flute and Harp David Schiff: Joycesketch II Ann Callaway: Memory Palace
Earplay 29/2 Monday, March 31, 2014 rhythm most directly affects our central nervous system George Crumb: Four Nocturnes (Night Music II) Nick Omiccioli: falling through infinity Mark Winges: Local Colloquies * † Jean Ahn: ADGC Howard Hersh: Full Court Press
Earplay 29/3 Monday, May 19, 2014 originality means being true to one’s self John MacCallum: new work * † George Crumb: Eleven Echoes of Autumn Vera Ivanova: Three Studies in Uneven Meters †† Reynold Tharp: new work * †
Earplay * World premiere 560 29th Street † Earplay commission San Francisco, CA 94131 †† 2013 Aird prize Email: [email protected] Web: earplay.org