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Home , Anne Sofie von Otter, Anthony Roth Costanzo, Baroque orchestra, Caroline Shaw, Caterina Galli, Der Mond

Philharmonia Baroque and

With

WHEN: VENUE: WEDNESDAY, MARCH 6 BING CONCERT HALL 7∶30 PM

Program Artists

George Frideric Handel (1685–1759) Nicholas McGegan, conductor Overture to , HWV 27 Anne Sofie von Otter, mezzo-soprano “Ch’io parta?” from Partenope Daniel Moody, Daniel Moody, countertenor

“Will the sun forget to streak” from , HWV 67

Anne Sofie von Otter, mezzo-soprano Made possible with “Furibondo spira il vento” from Partenope generous support from Daniel Moody The Bernard Osher Foundation “No more...Iris, hence away” from , HWV 58 and from Anne Sofie von Otter The Dr. Ross E. Armstrong “Welcome as the dawn of day” from Solomon Baroque Vocal Works Fund Anne Sofie von Otter & Daniel Moody

Concerto Grosso Op. 3, No. 2 in B flat major, HWV 313 Vivace Largo Allegro Menuet

— Intermission —

Arvo Pärt (b. 1935) Summa Vater Unser Daniel Moody Es sang vor langen Jahren Anne Sofie von Otter & Daniel Moody

Caroline Shaw (b. 1982) The Edge * Red, Red Rose ** Anne Sofie von Otter

Henry Purcell (1659–1695) Suite from The Fairy Queen, Z. 629 First : Prelude and Hornpipe Second Music: Aire and Rondeau Fairies Dance Dance for the Followers of Night Act III Prelude

Dance for the Green Men PROGRAM SUBJECT TO CHANGE. Please be considerate Chaconne of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not * World premiere ** Bay Area premiere permitted. Thank you.

2 Program Notes

Period instruments, originally introduced Philharmonia has commissioned works irrelevant. Each principal character is to modern audiences by historically by suited to our sound given a variety of , each to informed performers in their effort to re- and instrumentation. The transparency demonstrate a single aspect of his or create the sonority of instrumental of an assiduously tuned string her personality. These two arias for music from the seventeenth and unobscured by and gut strings Arsace, Partenope’s principal suitor, eighteenth centuries, are recently being played with featherlight bows not only were written for the alto recognized by contemporary serve the fleet passagework of Handel Antonio Bernacchi. Handel would for their potential as a new source of and Vivaldi but also the transcendent classify “Ch’io parta?” as a “pathetick orchestral timbre. Once heralded as harmonies of modern composers such ,” in which Arsace’s genuinely “authentic instruments” in recordings in as Shaw and Arvo Pärt. broken heart is expressed in wide leaps the 1970s, they were perceived as and expressive silences, stripped bare musically inferior to their “improved” of orchestral pretense and ornament. symphonic counterparts embraced by HANDEL: Overture to Partenope “Furibondo spira il vento,” on the other countercultural ensembles. Through This overture to one of Handel’s hand, is a “simile aria,” a bravura patient and rigorous study, however, a frothiest Italian demonstrates depiction of a windstorm calling for a generation of virtuoso performers has that all “dotted figures” are not created theatrical display of vocal agility sure mastered their unruly idiosyncrasies— equal. So-called because of the to incite enthusiastic applause at the the fickle intonation of gut strings, the notated “dot” that prolongs the first end of Act II. precarious accuracy of valveless brass, note of a two-note rhythmic pattern, it and challenges of scantily keyed first appears in its conventional form as woodwinds—and period instrument the slow introduction to a stately HANDEL: “Will the sun forget to , like PBO, have taken their “.” However, the streak” and “Welcome rightful place alongside their customary Allegro which follows as the dawn of day” from Solomon nineteenth-century progeny. transforms the majestic into the Though Handel had all voice types on flippant, not unlike Dvorak’s hand for the premiere of his Likewise, the countertenor voice, a Humoresque known to beginning Solomon in 1749, he chose a female technically mastered use of or violinists. The concluding Presto is an alto () for the title role naturally high “chest voice” by an adult Italian giga of nonstop galloping opposite soprano in the man, has emerged in the past fifty eighth-notes, appropriately introducing double role as Solomon’s Queen and years or so from a curiosity spurned or the comedy of errors which follows. (in the final act) the . scorned by voice teachers to a The latter, whose arrival is greeted by legitimate vocal (category) taking one of Handel’s greatest orchestral a rightful place alongside soprano, HANDEL: “Ch’io parta?” and hits, is not a love interest but a tourist mezzo, , , and . “Furibondo spira il vento” from and admirer from exotic lands. The Found especially in the performance of Partenope lush orchestration of her aria features Baroque vocal music today in lieu of Partenope was the second production a composite sonority of and the extinct castrati, were of the season now known as Handel’s transverse playing stately regal known to have sung some of the alto Second Academy in 1729-30. The story rhythms over pulsating harmonies in solos in Handel’s church music and of the suitors of Partenope, Queen of the strings, while the queen in modest . In his operas, castrati and Naples had already been set in 23 phrases proclaims her admiration for female mezzos in male dress (called operas before Handel got to it, and the Solomon’s wisdom and splendor. “trouser roles”) were used somewhat details of the plot need not concern us interchangeably, according to the here. The beauty of hearing arias from The duet ‘twixt Solomon and his wife, circumstances of supply and demand. these serious operas (opere serie) of “Welcome as the dawn of day,” Handel out of context as opposed, say, introduces one of the raciest scenes in Just as Wanda Landowska to those in Puccini’s Tosca, is that only English Biblical oratorio. It was so commissioned new works for her Pleyel the musical signifiers of the emotion, erotic, in fact, as to be expurgated from and called Affekt by the Germans, are from the early Novello edition. The in the 1920s, essential; the intrigues of the plot are king and his bride express their

3 passion before they “haste to the with the dotted rhythms of the French some twelve years later. Although he cedar grove” to consummate their love overture over a repeated bass, out of did not specify period instruments, the “while nightingales lull them to sleep which emerges Italianate passagework clarity of their intonation and with their song.” Their melodic lines of of two solo . The languid Largo transparency of their sound fugal imitation entwine in this duet begins with the atmosphere of an Italian complement the transcendence of the while the strings discreetly comment aria. Pulsing strings interwoven with a mesmerizing harmony. There is a from the sidelines. duet precedes an oboe solo that gentle, jaunty lilt to the rocking two- begs for ornamentation. The spell is note motif that pervades the work with broken by the rather pedantic German Baroque regularity, and the repetitions HANDEL: “Iris, hence away!” which follows. The last two give a spiritual mantra-like dimension from Semele movements are French court dances. to the piece. Following on the heels of the oratorios First comes a passepied, a fast , and , the appearance with the shifting textures of an Italian Vater Unser. Pärt’s setting of the Lord’s of Semele in February 1744, based on grosso. The solo group begins Prayer was a spontaneous work Ovid’s Metamorphoses, dashed the with a trio of two and cello, joined written for boy’s voice and in expectations of audiences expecting later by two solo violins. The finale is a 2005. Dedicated to Pope Benedict XVI, another Biblical epic. Handel’s friend gavotte with two variations (doubles), it was performed at the Vatican Mary Delany, who found it charming, first with a running (not walking) bass, celebration on the 60th anniversary of wrote that “Semele has a strong party then by continuous triplets in the violins his ordination in 2011. The text is against it, viz. the fine ladies, petit which give this French dance the spirit of intoned with childlike simplicity over maîtres, an dignoramus’s [sic].” In this an Italian gigue (giga). gently oscillating violins supported by inter-deity sitcom, the goddess Juno a placid bass line. beckons Iris, messenger of the Gods, to join her flight to the darkened realm of PÄRT: Summa, Vater Unser, Es sang vor langen Jahren was written in Somnus, god of sleep, whose peaceful Es sang vor langen Jahren 1984 for the and theorist slumber she intends to “molest with The music of the Estonian composer Diether de la Motte (1928–2010). The noise and light.” Urgent repeated notes Arvo Pärt is perhaps the polar opposite interweaving of the and in the bass impel sporadic interjections of . While the aesthetic and pervasive rocking rhythm suggest from the violins while Juno of the latter values complexity, the tedium of the pining lover who breathlessly describes their route “o’er movement, bravura expressivity, and sings of spinning “bright, clean Scythian hills to the Meotian lake.” virtuosity, Pärt embraces an austere threads.” The plangent minor tonal style he calls “tintinnabulation,” in a sparse musical landscape evokes inspired by Medieval chant and both the loneliness and nostalgia in the HANDEL: Concerto Grosso in B-flat Renaissance polyphony. text by Clemens Brentano (1778–1842). Major, Op. 3 No. 2 Though it were composed in 1715 to 1718, In his words, this concerto grosso didn’t appear in Tintinnabulation is like this. Here, I am SHAW: The Edge print until 1734 in a compilation of other alone with silence. I have discovered In this treatment of Jacob Polley’s early works which Handel’s publisher that it is enough when a single note is poem, written in 2017, the enigmatic John Walsh labeled Opus 3. Handel’s beautifully played. This one note, or a question “Where does the moment go?” biographer Donald Burrows says that it silent beat, or a moment of silence, is treated somewhat like a , was surely written for the Haymarket comforts me. The three notes of a accompanied by a Baroque rhythmic orchestra and shares some of its triad are like bells. And that is why I figure that the composer readily admits music with an overture to the Brockes call it tintinnabulation. to borrowing: “When in doubt, the Passion, an oratorio Handel may have articulation & phrasing should always composed in Hamburg. Which was be in the style of Handel’s Lascia ch’io borrowed from which is uncertain. The Summa reflects its origins as an a pianga.” The plaintive oboe solo that concerto reflects both the French and cappella vocal work for four singers begins the piece makes way for a freely Italian styles as well as the Germans’ with text from the Credo of the Mass. sung vocal line without the constraints penchant for bringing them together. First written in 1978, it was arranged by of precise rhythms. Shaw breaks the The opening Vivace begins and ends the composer for conventional distance between

4 composer and performers with other harpsichord. A brief interlude breaks name of Opera only on such Plays conversational quips in the parts. At the out of the hypnotic key before the final whereof every word is sung. But particularly “violinistic” climax, she stanza trails off into an ethereal experience hath taught us that our exposes her own background as a harmony sustained by the humming English genius will not relish that string player in a freely-bowed passage voices of the orchestra. perpetual singing.” Only in Handel’s marked “wildly ecstatic, irregular generation did “perpetual singing” arpeggios, like Corelli on Red Bull.” become the norm in . Purcell’s PURCELL: The Fairy Queen instrumental music for Fairy Queen, a The hiatus in English music brought by masque loosely based on Shakespeare’s SHAW: Red, Red Rose the Puritan Revolution and the A Midsummer Night’s Dream, reflects the This ethereal setting of ’s Commonwealth era (1649–1660) was popularity of theatrical dances in the familiar poem was the first piece compensated by the flourishing of English (hornpipe) and French (rondeau) commissioned by Philharmonia from Italian and French music and stagecraft, forms as well as a canonic “Dance for Caroline Shaw. The wistful opening leading to the building of new theaters the Followers of Night.” The final lines are intoned in free rhythm over a with mechanical special effects, lavish Chaconne is a series of variations on an pizzicato bass. A rhythmically pliant E- furnishings, and audiences eager to 8-bar harmonic progression with the minor triad is then outlined by the indulge themselves in long-suppressed second beat accents characteristic of strings as the folklike vocal melody excess. These theatrical entertainments the French court dance, the sarabande. leisurely unfolds. The entrance of the were in the form of masques consisting French composers often ended acts or oboe in the second stanza is of solos, choruses, dances, and spoken complete works with such chaconnes, accompanied by an undulating dialogue, for, as a contemporary writer and the Francophile Purcell concludes ostinato, later taken up by the observed, “Other Nations bestow the his masque in the same manner.

GLOSSARY OF TERMS appoggiatura: literally “something that leans,” an French overture: an all-purpose instrumental form used as appoggiatura is a note which is dissonant (unstable) when an introductory movement for operas, oratorios, , it sounds simultaneously with another note or chord but and suites. True to its origins at the court of Louis XIV, it then “resolves” into a stable consonance. Appoggiaturas begins—and often ends—with a regal processional-like abound in music that is plaintive or melancholy but also in movement marked by majestic dotted rhythms and scalar music that is frivolous and coy. They are either written into flourishes (tirate) framing an Allegro movement in free the music by the composer or frequently added by imitative counterpoint. performers as ornamentation. oratorio: an unstaged dramatic work based on a Biblical, castrato: an adult male singer, either soprano or alto, who historical, or mythical subject utilizing forms common to was castrated before puberty, resulting in a powerful high opera: overture, , arias, duets, and sometimes voice and an enlarged thoracic cavity. The barbaric choruse—as in the English oratorios of Handel. The practice was initiated, prohibited, and utilized by the performance of sacred oratorios was permitted during the Catholic Church which—thanks to the misogyny of the St. penitential season of Lent, when opera performances were Paul—forbade women from singing in church. Castrati prohibited. sang the leading male roles in Italian serious opera () in Italy, Austria, Germany, and , but the suspension: like an appoggiatura, a suspension is a French found the practice abhorrent, which it was. dissonance which resolves to a consonance, but somewhat in reverse. While the appoggiatura begins as a dissonance counterpoint, contrapuntal (adj.): music which is (instability) and resolves to consonance, the suspension composed in “horizontal” lines rather than “vertical” begins in consonance (stable harmony), and is “suspended” harmonies or chords. In Baroque music is often written in over the movement of the other parts, who, by moving away imitative counterpoint, in which individual lines enter at from the consonance, make the suspended note dissonant. separate times, but play or sing the same or similar That dissonance which is created must then be resolved by melody, as in a round or canon. This may be organized in the movement of the suspended note to a consonance. the strict form of a fugue or only suggestive of one (fugal). tutti: the rest of the orchestra, other than the soloist.

5 Texts and Translations

HANDEL: “Ch’io parta?” from Partenope, HWV 27 [librettist unknown, adapted from original text by Silvio Stampiglia, 1699]

Arsace Arsace Ch’io parta? I should leave? Sì crudele partò. Yes, cruel one, I will leave, Mà senza cor. But without a heart. Che nel mio sen fedele, For in my faithful breast, nel luogo ov’era il cor, In the place of my heart è il mio dolor. Is my sadness.

HANDEL: “Will the sun forget to streak” from Solomon, HWV 67 [librettist unknown]

Queen of Sheba Will the sun forget to streak Eastern skies with amber ray, When the dusky shades to break He unbars the gates of day? Then demand if Sheba’s queen E’er can banish from her thought All the splendor she has seen, All the knowledge thou hast taught.

HANDEL: “Furibondo spira il vento” from Partenope

Arsace Arsace Furibondo spira il vento The wind blows furiously e sconvolge il cielo e il suol. And disrupts the heavens and the earth. Tal adesso l’alma io sento Likewise now in my soul agita dal mio duol. I feel the agitation of my sadness.

6 HANDEL: “No more...Iris, hence away,” from Semele, HWV 58

Juno No more, I’ll hear no more! Awake, Saturnia, from thy lethargy! Seize, destroy the cursed Semele! Scale proud Cithaeron’s top: Snatch her, tear her in thy fury, And down, down to the flood of Acheron Let her fall, let her fall! fall! fall! Rolling down the depths of night! Never more to behold the light! If th’imperial scepter sway, I swear by hell (Tremble, thou universe, this oath to hear!) Not one of curst Agenor’s race to spare!

Hence, hence, Iris, hence away, There Somnus I’ll compel His downy bed to leave, and silent cell; With noise and light I will his peace molest, Nor shall he sink again to pleasing rest Till to my vow’d revenge he grants supplies, And seals with sleep the wakeful dragon’s eyes.

HANDEL: “Welcome as the dawn of day,” from Solomon

Queen of Sheba Welcome as the dawn of day To the pilgrim on his way, Whom the darkness caus’d to stray, Is my lovely king to me.

Solomon Myrtle grove, or rosy shade, Breathing odours through the glade To refresh the village maid, Yields in sweets, my queen, to thee.

PÄRT: Vater Unser

Vater Unser im Himmel, Our Father who art in heaven, Geheiligt werde Dein Name. Hallowed be Thy name. Dein Reich komme. Thy kingdom come. Dein Wille geschehe, Thy will be done wie im Himmel so auf Erden. On earth, as it is in heaven. Unser tägliches Brot gib uns heute. Give us today our daily bread. Und vergib uns unsere Schuld, And forgive us our trespasses, wie auch wir vergeben unsern Schuldigern. As we forgive those who trespass against us. Und führe uns nicht in Versuchung, And lead us not into temptation, sondern erlöse uns von dem Bösen. But deliver us from evil.

7 PÄRT: Es sang vor langen Jahren [text from “Der Spinnerin Nachtlied” by Clemens Brentano, 1818]

Es sang vor langen Jahren Long years ago indeed, as now Wohl auch die Nachtigall, There sang the nightingale; Das war wohl süsser Schall, The sound was truly sweet; Da wir zusammen waren. Then, we were together.

Ich sing’ und kann nicht weinen I sing and cannot weep, Und spinne so allein And thus, alone, I spin Den Faden klar und rein The bright, clean threads So lang der Mond wird scheinen. As long as the moon shines.

Als wir zusammen waren When we were together, Da sang die Nachtigall Then sang the nightingale; Nun mahnet mich ihr Schall Now her sound reminds me Dass du von mir gefahren. That you are gone from me.

So oft der Mond mag scheinen, However often the moon shines, Denk’ ich wohl dein allein, I think on you alone; Mein Herz ist klar und rein My heart is bright and clean; Gott wolle uns vereinen. God grant we be united!

Seit du von mir gefahren, Since you have gone from me, Singt stets die Nachtigall, The nightingale sings constantly; Ich denk’ bei ihrem Schall, Her sound makes me think Wie wir zusammen waren. How we were together.

Gott wolle uns vereinen God grant we be united Hier spinn’ ich so allein, Where, so alone, I spin; Der Mond scheint klar und rein, The moon shines bright and clean; Ich sing’ und möchte weinen. I sing, and would weep.

8 SHAW: The Edge [text by Jacob Polley, 2016]

the wind is light the light wind beating its wings about your face as it rises where you cannot rise

the loaf baked full of the fields’ light and air the honey ablaze on the knife

wind with no relief in it, turning a cylinder of leaves a shadow falls into and tumbles out bright

where does the grace of the moment go from the stream, a palmful of silver your life

wing-beats, the long grass whipped by the light that sings off the edge of the rose

SHAW: Red, Red Rose [text from “A Red, Red Rose” by Robert Burns, 1794]

And fare thee well, my only Love Till a’ the seas gone dry, my dear, And fare thee well, awhile And the rocks melt with the sun And I will come again, my Love And I will love thee still, my dear, Though it were ten thousand mile. While the sands of life shall run.

O my Love’s like a red, red rose And fare thee well, my only Love That’s newly sprung in June And fare thee well awhile O my Love is like the melody And I will come again, my Love That’s sweetly played in tune. Though it were ten thousand mile.

So fair art thou, my bonnie lass, So deep in love am I And I will love thee still, my dear, Till a’ the seas gone dry.

9 About the Artists

Grammy award-winning mezzo- soprano Anne Sofie von Otter is one of today’s most recorded artists with an unrivalled discography built across a career spanning more than three decades at the very top of her profession. A lengthy and exclusive relationship with produced a wealth of acclaimed recordings as well as a collaboration with pop legend on . Her first recording with Naïve Classique, Love Songs, with renowned jazz pianist was released in 2010 and her double CD, Douce , received a GRAMMY® Award in 2015 for Best Classical Solo Vocal Album. Covent Garden, Candide at Komische Oper Berlin; conducted by the composer. her highly-acclaimed An ever-evolving repertoire has played interpretation of Marzellina (Le nozze di a key role in sustaining Anne Sofie von A busy concert schedule takes Anne Figaro) for Bayerische Staatsoper; and Otter’s international reputation as an Sofie von Otter to all corners of the performs the role of Madame de Croissy operatic force. Recent roles have world where recent appearances have (Dialogues des Carmélites) for Royal included Leocadia Begbick (Aufstieg included the Boston, Washington Swedish Opera conducted by Marc und Fall der Stadt Mahagonny) at the National and Swedish Radio Soustrot. Covent Garden orchestras, London under Marc Wigglesworth, Cornelia Philharmonic Orchestra, and the Royal () at the Salzburger Philharmonic Orchestra. Countertenor Daniel Moody has Festspiele under Giovanni Antonini She appeared with garnered widespread acclaim for his (available on DVD), Geneviève (Pelléas and the Berliner Philharmoniker, commanding yet expressive vocal et Mélisande) under for conducted by the late Claudio timbre and his breathtaking Opéra national de (available on Abbado, for a televised performance musicianship. Praised as having a DVD), and Countess Geschwitz in of Das von der Erde on the 100th “vocal resonance, [which] makes a Christoph Marthaler’s production of anniversary of Mahler’s death, and she profoundly startling impression” (The Lulu at Staatsoper Hamburg under appeared with the Finnish Radio New York Times) and for his “vivid and . She’s appeared as Symphony Orchestra under Hannu powerful” voice (The Boston Musical Waltraute (Die Götterdämmerung) at Lintu performing specially Intelligencer), Mr. Moody is equally both Deutsche Oper Berlin and commissioned arrangements of known for his ability to “pierce hearts” Wiener Staatsoper under Sir Simon Sibelius songs on the 150th and “utterly silence a room” (The Boston Rattle, and as Jenny (Die anniversary of the composer’s birth. Musical Intelligencer) with his Dreigroschenoper) at Theater an der expressivity and connection with Wien. She recently created the leading This season includes recitals at Wigmore audiences. role in the world premiere of Hall, at Munich’s Cuvilliés-Theater and at Sebastian Fagerlund’s Höstsonaten La Monnaie; a US recital tour with Opera appearances include the title based on the iconic Philharmonia Baroque including a world roles in Handel’s Giulio Cesare and film; and also the role of Leonore in premiere at of a work by , Arsamene in Handel’s Xerxes, the world premiere of Thomas Adès’ Caroline Shaw; and a tour of Asia with in Britten’s A Midsummer Night’s The Exterminating Angel at the . She appears as The Old Dream, and most recently, Nerone in Salzburger Festspiele and at the Royal Lady in Barrie Kosky’s new production of Monteverdi’s L’incoronazione di Poppea

10 with alongside Anthony Roth Costanzo. Daniel has also performed roles in Mark Morris’ productions of Britten’s Curlew River and Purcell’s at BAM (Howard Gilman Opera House) and at the Tanglewood Music Festival where the Financial Times noted his “inspired and absorbing performances.”

A lover of early music, Mr. Moody has performed with acclaimed groups Les Violons du Roy (Bernard Labadie ), Apollo’s Fire, The Cleveland Baroque Orchestra and Portland Baroque Orchestra (David Hill conducting). He has performed at the Boston, and Washington Early Music Festivals and with early music groups Mountainside Baroque (Maryland), Antico Moderno (Boston) and La Fiocco Recent highlights include the American Masterclasses, broadcast (Pennsylvania). A graduate of the premiere of George Benjamin’s Dream of live on Medici TV. prestigious Yale Voxtet—resident at the Song at the Festival of Yale’s Institute of Sacred Music—he Contemporary Music at Tanglewood Mr. Moody is a graduate of the Peabody has performed as a soloist at Lincoln Festival; engagements with Charleston Conservatory (BM ’14), Yale School of Center’s Alice Tully Hall, London’s St. Symphony, Winston-Salem Symphony, Music and Institute of Sacred Music (MM John’s Smith Square and, Handel’s with Staunton Festival ‘16) and has won awards from the Cambridge’s Trinity College, with singing Lichas, and the Great Music in a George London Competition, Rochester conductors David Hill, Simon Great Space series (Kent Tritle Oratorio Society Classical Idol, New York Carrington, , and conducting). In 2016, Daniel was one of Oratorio Society Competition, and the Matthew Halls. four vocalists in Joyce DiDonato’s Russell Wonderlic Competition.

Upcoming Events

More jazzy nights in the Bing Studio

Tickets and information: Old Stock, A Refugee Love Story At The Illusionist’s Table live.stanford.edu Fri, Mar 15 & Sat, Mar 16 Tues, April 23–Sun, May 5 7∶30PM Frost Amphitheater Green Room Bing Concert Hall

11 THE PLAYERS AND THEIR INSTRUMENTS Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN VIOLA OBOE

Lisa Weiss, concertmaster Ellie Nishi * Marc Schachman * Anonymous; after Testore Egon & Anonymous, Germany, 18th Century H.A. Vas Dias, Decatur, Georgia, 2001; after Joan von Kaschnitz Concertmaster Chair T. Stanesby, England, c. 1710 Maria Ionia Caswell Principal Oboe Chair in Memory of Elizabeth Blumenstock Anonymous, Mittenwald, Germany, c. 1800 Clare Frieman Kivelson and Andrea Guarneri, Cremona, 1660; on loan Irene Valente Angstadt from Philharmonia Baroque Orchestra David Sego Period Instrument Trust Colin Nicholls, London, England, 1980; Gonzalo Ruiz Susan B. Levy Chair after Amati Joel Robinson, New York, 1990; after Saxon models, c. 1720 Jolianne von Einem Jessica Troy Rowland Ross, Guildford, England, 1979; Timothy Johnston, Hewitt, Texas, 2006; after A. Stradivari based on “Conte Vitale” viola, Andrea Guarneri, 1676 Lisa Grodin Danny Bond * Paulo Antonio Testore, Contrada, Peter de Koningh, Hall, Holland, 1978; after Larga di Milano, Italy, 1736 VIOLONCELLO Prudent, Paris, France, c. 1760

Katherine Kyme † Tanya Tomkins bc Carlo Antonio Testore, Milan, Italy, 1720 Lockley Hill, London, England, 1798

Tyler Lewis Phoebe Carrai David Tayler bc Anonymous, Italy, c. 1800 Anonymous, Italy, c. 1690 Andreas von Holst, Munich, Germany, Osher Cello Chair Endowment 2004; after Anthony Martin Magno Tieffenbrucker, Venice, Italy, 1610 Thomas Oliver Croen, Walnut Creek, Paul Hale California, 2005; Joseph Grubaugh & Sigrun Seifert, after F. Gobetti, Venice, Italy, 1717 Petaluma, 1988; after A. Stradivari HARPSICHORD Zheng Cao Memorial Cello Chair Carla Moore Hanneke van Proosdij bc Johann Georg Thir, Vienna, Austria, 1754 William Skeen John Phillips, Berkeley, 2010; after Johann Anonymous, Northern Italy, ca. 1680 Heinrich Gräbner, Dresden, 1722 Maxine Nemerovski Generously lent by Peter and Cynthia David Tecchler, Rome, Italy, 1733 Hibbard Sandra Schwarz Kristin Zoernig bc Anonymous, School of Cremona, 1745 Joseph Wrent, Rotterdam, Holland, 1648 * Principal † Principal 2nd Violin Noah Strick Anthony Manzo bc Continuo Celia Bridges, Cologne, Germany, 1988 Tom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766 Alicia Yang Richard Duke, London, 1762

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