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Welcome Tonight Earplay returns to glorious Herbst Theatre to open our 32nd season. Our focus composer for this season is Toru Takemitsu, and we are very grateful to the Japan Foundation of Los Angeles for their generous support of this concert. In the beautiful acoustics of Herbst we commemorate the 50th anniversary of Takemitsu’s November Steps, the lynchpin piece that launched his international stardom in the world of western classical music. Tonight Brenda Tom plays his youthful Romance for solo piano, his first published work, and Tod Brody performs his Air for solo flute, his last published work. In addition, we'll hear vibrant chamber music by American composers, including the world premiere of Earplay commission Fray by Laurie San Martin and Earplayer Peter Josheff’s Sextet, complementing Takemitsu’s legacy of extraordinary music created by extraordinary composers and played by extraordinary players. We hope you will join us for a pre-‐concert conversation with composers Peter Josheff and Laurie San Martin. And please linger after the concert to chat with composers, Earplayers, and Earplay board members over refreshments and a glass of wine. Thanks to your enthusiastic support, Earplay will continue to commission exciting new works and to present passionate performances of vibrant, bold new music. And spread the word: don’t miss Earplay’s next concert on March 20, 2017 at ODC Theater, and please don't forget to bring a friend!
— Earplay Board of Directors
Board of Directors Terrie Baune, musician representative Bruce Bennett Mary Chun, conductor Richard Festinger Larissa Koehler May Luke, co-‐chair Stephen Ness, secretary/treasurer Ellen Ruth Rose Laura Rosenberg, co-‐chair
Staff Lori Zook, executive director Terrie Baune, scheduler Renona Brown, accountant David Ogilvy, sound recordist Ellen Ruth Rose, artistic coordinator Advisory Board Chen Yi Richard Felciano William Kraft Kent Nagano Wayne Peterson
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Monday, January 30, 2017 at 7:30 p.m.
Herbst Theatre
Earplay Season 32: Air, Wind, Water
Concert 1: Air
Earplayers
Terrie Baune, violin Tod Brody, flutes
Mary Chun, conductor Peter Josheff, clarinets Thalia Moore, cello Ellen Ruth Rose, viola Brenda Tom, piano
Pre-‐concert conversation at 6:45 p.m.: Bruce Christian Bennett, moderator
with composers Peter Josheff and Laurie San Martin
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 Japan Foundation Los Angeles, the Ross McKee Foundation, San Francisco Grants for the Arts, the Zellerbach Family Foundation, and generous donors like you.
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Program Toru Takemitsu Romance (1948-‐1949)
Brenda Tom
Elena Ruehr Blackberries (2007) Peter Josheff Thalia Moore Brenda Tom
Laurie San Martin Fray (2016) World premiere; Earplay commission in three movements Terrie Baune Ellen Ruth Rose Thalia Moore
Toru Takemitsu Air (1995) Tod Brody
INTERMISSION
Tonia Ko Plush Earth in Four Pieces (2014) West Coast premiere I. Part II. Jewel III. Part IV. Mud Terrie Baune Brenda Tom
Peter Josheff Sextet (2010-‐2012) in two movements Tod Brody Peter Josheff Terrie Baune Ellen Ruth Rose Thalia Moore Brenda Tom Mary Chun
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Program Notes Romance (1948-‐1949) by Toru Takemitsu for piano Romance (1949) was composed when Takemitsu was only nineteen and is his earliest surviving piano work. Marked Adagio sostenuto, nobile e funebre, this short piece might initially sound as if it had been written by a French Impressionist dabbling with Eastern exoticism. Rather, quite the opposite, it is an Eastern composer dabbling with French Impressionism. Though that is far too trite. Listening with a more sensitive ear, we hear Japanese music expressing itself beautifully in a Western paradigm, and it may be partly this quiet tension that captures one's interest. The phrasing follows more the breath than the heartbeat. The melodic-‐harmonic world is born out of a minor pentatonic mode that you might hear in music for shakuhachi flute. A somber, forlorn character of the music is sustained through most of the piece. The eruption of a marcato, fortissimo section approaching the end of the piece breaks the calm and exposes the intensity of the underlying tension that had been present since the beginning. This section concludes with a stark "anti-‐climax", octave As played piano subito in both hands at the extreme ends of the keyboard. Romance then ends with a varied reprise of the opening fading away with a quietly tolling sonority.
— B. B.
◆ Toru Takemitsu was born in Tokyo on October 8th, 1930. His musical language is born out of a synthesis of varied styles and influences ranging from traditional Japanese music to Western classical and avant-‐garde music. He came to international attention when Igor Stravinsky hailed his Requiem for Strings (1957) as a masterpiece. His success abroad was consolidated over
the following decade with such scores as November Steps (1967), a commission from the New York Philharmonic that broke new ground by including indigenous Japanese instruments within a Western symphony orchestra.
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Takemitsu began composing as a teenager after serving as a conscript in the Japanese military at the end of World War II. Later in his life he recalled, "I began [writing] music attracted to music itself as one human being. Being in music I found my raison d'être as a man. After the war, music was the only thing. Choosing to be in music clarified my identity." During the American post-‐war occupation of Japan, Takemitsu was employed by the U.S. Armed Forces, but then became ill. Hospitalized and bed-‐ridden, he took the opportunity to listen to as much Western music as he could on the U.S. Armed Forces Network. French music held a special attraction, especially the work of Debussy and Messiaen, whose influence can be detected right from his earliest scores. While deeply affected by his study of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later that for him, Japanese traditional music "recalled the bitter memories of war." One might also hear the influence of Webern in Takemitsu's use of silence, and hints of Cage's musical philosophy, though his overall style is always uniquely his own. Takemitsu believed in music as a means of ordering or contextualizing everyday sound in order to make it meaningful or comprehensible. His philosophy of "sound as life" inspired the incorporation of natural sounds in his music, as well as his desire to both juxtapose and attempt to reconcile opposing elements, such as Orient and Occident, sound and silence, and tradition and innovation. With the formation of the Jikken Kobo (Experimental Workshop) to promote and perform mixed-‐media art works, Takemitsu's career really began to take off. At the forefront of musical experimentation during the 1960s and early 1970s, he explored the use of improvisation, graphic notation, unusual combinations of instruments, and even recorded sounds in his composition. He subsequently composed in a more approachable but hardly less individual idiom that fuses an essentially Japanese ethos with Western technique. Although he wrote the scores for almost a hundred films (such as Kurosawa’s acclaimed Ran) and published twenty books, his reputation rests largely on his extensive catalog of orchestral and chamber music. He passed away in Tokyo on February 20th, 1996.
— B. B.
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Blackberries (2007) by Elena Ruehr for clarinet, cello, and piano
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Blackberries is titled after a poem written by my daughter Sophie at age 10. The piece was written for the Eero Trio.
— E. R.
Blackberries by Sophie Ruehr
My hands fumble with the sticky berries as I plunk them into the small container. My little fingers come to a juicy ripe berry, I stick it into my mouth as quickly as I can before my mother or father can see. My sneakiness does not help me for the purple juice is all over my lips, cheeks, and chin. The sun is high up in the summer sky, and no clouds roam. The wind is meager as it tosses my long hair. The marsh reeds and bog behind the black berry bushes is invisible. The Cape Cod air is sweet with salt and ocean scents. A sea gull cries above the marsh, looking for oysters to pry open. Another bird, a hawk perhaps, circles an area not far from where I stand. The cattails whip about as suddenly the wind becomes a rush. My mother calls, and I scurry out of the brambles, trying not to get pricked by a sharp thorn. I come to my bike and we set off down the dirt road to our little cottage some ways away.
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Composer Elena Ruehr says of her music “the idea is that the surface be simple, the structure complex.” An award winning faculty member at MIT, she has also been a Guggenheim Fellow and a fellow at Harvard’s Radcliffe Institute and composer-‐in-‐residence with the Boston Modern Orchestra Project, which performed and recorded her major orchestral works (O’Keeffe Images, BMOP Sound) as well as the opera Toussaint Before the
Spirits (Arsis). Three of her six string quartets were commissioned by the Cypress String Quartet, who have recorded How She Danced: String Quartets of Elena Ruehr. Her quartets have also been performed by the Biava, Borromeo, Lark, ROCO and Shanghai string quartets. Her other recordings include Averno (Avie with the Trinity Choir, Julian Wachner conducting), Jane Wang considers the Dragonfly (Albany), Lift (Avie), and Shimmer (Metamorphosen Chamber Ensemble on Albany). Her work has been described as “sumptuously scored and full of soaring melodies” (The New York Times), and “unspeakably gorgeous” (Gramophone). Her website is elenaruehr.com.
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Fray (2016) by Laurie San Martin for violin, viola, and cello World premiere; Earplay commission in three movements Last spring, while listening to Terrie, Ellen and Thalia read through undergraduate compositions, I felt a pang of nostalgia. I had worked closely with these three musicians while co-‐directing the Empyrean Ensemble from 2001-‐2009. So when Ellen approached me a few weeks later about writing a piece for Earplay, I was delighted for the opportunity. I even had old sketches that I had created in years past for a playful piece that would juxtapose three distinct personalities. These past few months turned out to be a challenging time for getting any kind of work done, including writing music. I stole some time away from my internet browser, however, and gradually pieced together this project. It turned into something much darker and more amorphous than what I had intended. Fray is in three brief movements. Without giving too much away, I would say that that this piece is about exploring disparate moments, sounds, and ideas, and investigating what direction these fragmentary shreds of music might take. Many of the loose ends from the first two movements come together in the last movement. However, not everything is resolved. There is a sense of the stitching being left loose at the end of the piece.
— L. S. M.
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Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, intricate, intense and rumbly. She writes concert music for chamber ensembles and orchestra
but has also written for theater, dance and video. Her music has been performed across the United States, Europe and Asia. Most recently she has enjoyed writing for virtuoso soloists including violinists Hrafnhildur Atladottir and Gabriela Díaz, percussionists Chris Froh and Mayumi Hama, Haleh Abghari (soprano), Yi Ji-‐Young (Korean gayageum) and David Russell (cello). Laurie has worked with numerous ensembles including the San Francisco Contemporary Music Players, Berlin PianoPercussion, Left Coast Chamber Ensemble, eighth blackbird, SF Chamber Orchestra, the Lydian Quartet, Magnetic South Ensemble, Washington Square Contemporary Chamber
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Players, and others. Recipient of the 2016 Guggenheim Fellowship, she has also received awards from the Fromm Foundation, the American Academy of Arts and Letters, League of Composers-‐ISCM, the International Alliance for Women in Music, and the ASCAP Morton Gould Young Composer’s Awards. As a composition fellow, she has attended the MacDowell Colony, the Montalvo Artist Residency, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Chamber Music Festival, and the Composers Conference at Wellesley College. Laurie holds a Ph.D. from Brandeis University in Theory and Composition. She has taught at Clark University and is currently Professor of Music at the University of California, Davis. Her music can be found on the Left Coast CD San Francisco Premieres, released in 2005, and a recent Ravello CD Tangos for Piano performed by Amy Briggs. Her website is lauriesanmartin.com.
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Air (1995) by Toru Takemitsu for flute Takemitsu’s last work Takemitsu's last composition, Air for solo flute (1995), was dedicated to the great Swiss flutist Aurèle Nicolet on the occasion of his 70th birthday. Joining the choir of great musicians to leave us in 2016, Nicolet passed away just after his 90th birthday at the beginning of the year. The work opens with an impressionistic, introductory passage emphasizing the pitch A like a recitation tone. A clearly articulated four-‐note motif recurs throughout the piece in various guises. The mood soon becomes more introverted, with little sighing figures and an occasional flighty gesture. Unlike his other works for flute, which frequently employ all manner of extended techniques, Takemitsu limits the use of extended techniques in this piece to flutter-‐tongue and a few "bent" notes. An extended lyricism pervades the work until we hear the final statement of the motif repeated boldly twice at the end, each at an equal dynamic level. It is as if the distant echo of the opening motif were a second voice that has found its way to the fore.
— B. B.
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Toru Takemitsu’s biography appears above.
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Plush Earth in Four Pieces (2014) by Tonia Ko for violin and piano West Coast premiere I. Part II. Jewel III. Part IV. Mud
The day, a compunctious Sunday after a week of blizzards, had been part jewel, part mud. In the midst of my usual afternoon stroll through the small hilly town attached to the girls' college where I taught French literature, I had stopped to watch a family of brilliant icicles drip-‐dripping from the eaves of a frame house. So clear-‐cut were their pointed shadows on the white boards behind them that I was sure the shadows of the falling drops should be visible too. But they were not.
This evocative opening of the short story The Vane Sisters by Vladimir Nabokov is the entire poetic compass of my work Plush Earth in Four Pieces. I was interested in the dichotomy presented in "part jewel, part mud" and used each word as titles of the individual movements. The Part movements (I & III) are more abstract — simply a "part" for the duo to play — but they also depict a "coming apart" of the material over the course of their short durations. Jewel reminisces on the blizzards; Mud begins there but anticipates evaporation of meltwater. Although the four movements are distinct in character, they share many musical objects and gestures, exploring various aspects within Nabokov’s "compunctious Sunday". I translated his vivid imagery of a spring thaw to a single transformation occurring over the four movements: sharp, pointed articulations melt away into a sound world that is fluid and almost languid.
— T. K.
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The music of Tonia Ko has been lauded by The New York Times for its "captivating" details and "vivid orchestral palette." Her interests in texture and physical movement play into a larger theme of interdependency between visual art and music. For the 2016-‐2017 season, Tonia was guest composer at Clarion Concerts in Columbia County and The Process Series at UNC Chapel Hill. She was also commissioned by
clarinetist Chen Halevi for the CEME Festival in Tel Aviv and Young Concert
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Artists, writing for oboist Olivier Stankiewicz. Future projects include collaborations with The Rhythm Method string quartet and University of Kansas Wind Ensemble. Tonia’s music has been performed by ensembles such as Minnesota Orchestra, Volti, New York Youth Symphony, Flux Quartet, orkest de ereprijs, Eastman Wind Ensemble, New Morse Code, and Sō Percussion. She has been featured at nief-‐norf Summer Festival, Aspen Music Festival, Tanglewood Music Center, Shanghai New Music Week, and Santa Fe Chamber Music Festival. Tonia has received awards from the American Academy of Arts and Letters, BMI, Composers Now, International Alliance for Women in Music, as well as residencies at Copland House, Djerassi, Kimmel Harding Nelson Center, and Atlantic Center for the Arts. She is currently represented by Young Concert Artists, Inc. as 2015-‐2017 Composer-‐in-‐Residence. Her own explorations as an artist have sparked interdisciplinary connections — most prominently Breath, Contained, an ongoing project using bubble wrap as a canvas for both art and sound. Tonia is currently a doctoral candidate at Cornell University where she studied with Steven Stucky and Kevin Ernste. Born in Hong Kong and raised in Honolulu, she received previous degrees from Indiana University and the Eastman School of Music. Her website is toniako.com.
◆ Sextet (2010-‐2012) by Peter Josheff for flute, clarinet, violin, viola, cello, and piano in two movements Sextet is one of my favorite of my own compositions. It followed a long period of writing vocal music (including spoken voice) that culminated in the chamber opera Inferno (2006-‐2008, produced in 2009). Anyone who has ever written (or participated in the production of) an opera knows that there are a huge number of moving parts, both compositionally and collaboratively. Composing the Sextet after this was a retreat to a safe haven; chance to breathe and to think private thoughts. Starting with a text provides ready-‐made material for composition. If one is faithful to the words, melodies and rhythms can appear almost as if by magic and the larger forms that lie slumbering within the text can spring into being with very little difficulty. Composing purely for instruments without this head start is a bit like falling into the deep end of the pool: one must learn to swim on one's own.
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Working on the Sextet calmed many of my insecurities about writing abstract music and nudged me further along the path toward being at ease with my own voice. My most recent work, The Dream Mechanic, Four Poems by Carol Vanderveer Hamilton, for woman's spoken voice, tenor and chamber orchestra, will be premiered by the San Francisco Chamber Orchestra, Ben Simon, director, on February 24, 25, 26 in San Francisco, Palo Alto, and Berkeley.
— P. J.
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Peter Josheff, clarinetist and composer, 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 performs frequently with Opera Parallèle, the San Francisco Chamber Orchestra, and Melody of China, and has worked with many other groups including West Edge Opera, the Ives Collective, the Paul Dresher Ensemble, Composers Inc., and sf Sound.
Peter has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. Crazed Loner, his singer/songwriter project, had its public debut in October 2016. His latest work, The Dream Mechanic, Four Poems by Carol Vanderveer Hamilton, commissioned by the San Francisco Chamber Orchestra, will be premiered in February 2017. Peter's recent compositions include Big Brother (2014) for solo piccolo, premiered by Tod Brody with Earplay; Ground Hog Day (2014) for clarinet and string quartet, premiered by the Farallon Quintet; Europa and The Bull (2014), a chamber oratorio commissioned and premiered by the Mary Holmes Festival at UC Santa Cruz; The Cauldron (2013), commissioned and premiered by tenor Brian Thorsett; Waiting (2012), commissioned and premiered by Earplay; Nautical Man Nautical Man (2011), an album of pop songs; Sutro Tower in the Fog (2011), commissioned, premiered and recorded by the Bernal Hill Players; Sextet (2010), premiered by Sonic Harvest; and Inferno (2008), a chamber opera produced by San Francisco Cabaret Opera in 2009.
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Earplayers
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) has enjoyed a long career as a musician, teacher, and administrator. As a flutist, Brody is well known to California audiences as a chamber musician and orchestra player, with a focus on contemporary music. As flutist with Earplay, Empyrean Ensemble, Eco Ensemble, and the San Francisco Contemporary Music Players, he has performed many world premieres, and has been extensively recorded. He is on the music faculty at
the University of California, Davis, where he teaches flute and chamber music. Tod was recently named Executive Director of the Marin Symphony.
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“… 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 opera, Every Man Jack; Mexican-‐American composer Guillermo Galindo’s Decreation: Fight Cherries, a multi-‐
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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 serial killer; and Joseph Graves’ and Mort Garson’s Revoco. In 2014 Mary became the first American music director to be invited to China to premiere Mandarin language versions of Broadway hits such as Avenue Q, How to Succeed in Business Without Really Trying, and most recently Man of La Mancha in Beijing and Shanghai. Closer to home, she most recently conducted Thomas Ades' controversial opera Powder Her Face with the West Edge Opera to international critical acclaim. 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.
◆ The biography of Earplayer Peter Josheff (clarinets) appears in the Program Notes section above.
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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 Hall. She attended the Juilliard School of Music as a student of Lynn Harrell. 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. 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 Shintaro Imai’s La Lutte Bleue for cello and electronics.
◆ Ellen Ruth Rose (viola) enjoys a varied career as a soloist, ensemble musician and teacher with a strong interest in the music of our times. She is
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a member of Eco Ensemble, Empyrean Ensemble, and Earplay. She has worked extensively throughout Europe and has performed as soloist with many ensembles and at many festivals. 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 1998 German Recording Critics new music prize. Over the past several years she has collaborated with and premiered works by numerous Northern California composers, including Kurt Rohde, Edmund Campion, Aaron Einbond, Mark Winges, John 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 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 SF Chamber Orchestra, the California Symphony, the Pittsburgh Ballet Orchestra, I Solisti di Oakland, the Sacramento Symphony, the Fort Collins Symphony, the Diablo Symphony, the Sacramento Ballet Orchestra, and the San Francisco 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 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 in the Mountains, 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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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 and was Acting Chair of that body. 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.
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Special Thanks Bruce Christian Bennett Ellen Ruth Rose Karen Rosenak
Lawrence Russo Brenda Tom
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Takemitsu sketch for A Flock Descends into the Pentagonal Garden
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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, we can’t do it without you! $10,000 + William & Flora Hewlett Foundation San Francisco Grants for the Arts $5,000 + The Ann and Gordon Getty Foundation Lawrence Russo $1,000 + Mary Chun The Aaron Copland Fund for Music The Alice M. Ditson Fund of Columbia University Richard Festinger Patricia Glasow Barbara Imbrie Japan Foundation / Los Angeles May Luke Bari & Stephen Ness Joan & Arthur Rose Laura Rosenberg Thomas J. White The Zellerbach Family Foundation $500 + Brooke Aird Samela Aird Beasom & Mark Beasom Jane Bernstein & Robert Ellis Raymond & Mary Chun Sally & Philip Kipper Rosalie & Ronald Lowe Ellen R. Rose & Mark Haiman Ann M. Squires
$100 + Lary Abramson Mark Applebaum Chen Yi & Long Zhou Winnie & Wayne Chun Patti Noel Deuter Violet and Douglas Gong Karen Gottlieb Ellinor Hagedorn Joan Huang & William Kraft Jean Iams Antoinette Kuhry & Thomas Haeuser Ellen B. Lichenstein & Daniel DiGallo R. Wood Massi Ralph & Elizabeth Morrison Daniel P. Scharlin William Schottstaedt Anne Steele Lori Zook Other generous donors: Katherine Brody Ellen Harrison Wendy Niles Sandra and Leonard Rosenberg Jeffrey & Jean Stadelman
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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 tab at earplay.org to donate via PayPal. Earplay is a 501(c)(3) nonprofit organization.
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Herbst Theatre
SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER
HERBST THEATRE
Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco
The Honorable Edwin M. Lee, Mayor
TRUSTEES
Thomas E. Horn, President
Nancy H. Bechtle, Vice-‐President Belva Davis
Lt. Col. Wallace I. Levin CSMR (Ret.) Gorretti Lo Lui
Mrs. George R. Moscone MajGen J. Michael Myatt, USMC (Ret.)
Paul F. Pelosi Charlotte Mailliard Shultz
Vaughn R. Walker Diane B. Wilsey
Elizabeth Murray, Managing Director
Jennifer E. Norris, Assistant Managing Director
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About Earplay
Mission statement: 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 500 works by more than 300 composers in its 32-‐year history, including over 140 world premieres and more than 80 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 @EarplayNewMusic
Earplay’s 2017 Season in San Francisco: Air, Wind, Water
Concerts at 7:30 p.m.
Pre-‐concert talks at 6:45 p.m.
Concert 1: Air Monday, January 30, 2017
at Herbst Theatre 401 Van Ness Avenue (at McAllister), San Francisco
Peter Josheff: Sextet Tonia Ko: Plush Earth in Four Pieces **
Elena Ruehr: Blackberries Laurie San Martin: Fray * †
Toru Takemitsu: Air Toru Takemitsu: Romance
Concert 2: Wind
Monday, March 20, 2017 at ODC Theater
3153 17th Street (at Shotwell), San Francisco Linda Bouchard: Second Survival †
Peter Maxwell Davies: Economies of Scale Jason Federmeyer: compressions : reflections ** † Toru Takemitsu: And Then I Knew ‘twas Wind
Stephen Yip: Insight II ††
Concert 3: Water Monday, May 15, 2017
at ODC Theater 3153 17th Street (at Shotwell), San Francisco
Kyle Bruckmann: new work * Cindy Cox: Lift-‐up-‐over sounding * John Liberatore: while I sleep **
Eric Moe: Tough Songs about Death * † Toru Takemitsu: Between Tides
* World premiere ** West Coast premiere † Earplay commission †† 2016 Aird prize
Earplay 560 29th Street
San Francisco, CA 94131 Email: [email protected]
Web: earplay.org
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