New Horizons - Onstage Publications · 2019. 10. 30. · “Triple” Concerto for Cello, Violin...

New HorizonsSeptember 21-24, 2017

Credit: Harald Hoffmann

M E S S A G E F R O M T H E B O A R D P R E S I D E N T & E X E C U T I V E D I R E C T O R

Welcome to this evening’s performance, which marks the beginning of pianist Simone Dinnerstein’s season as New Century’s Artist-in-Residence. We are thrilled to welcome Simone back to the Bay Area after her triumphant New Century debut in 2017

performing the premiere performances of Philip Glass’s Piano Concerto No. 3. She will join us for multiple performances and events throughout the 2019-2020 season, and bring her successful “Bach Packing” education program into Bay Area schools. Following Simone’s debut with the orchestra, we received countless requests from many of you to invite her back to collaborate with our musicians. We could think of no better way to fulfill that request than to create a season that plays to her many interests and passions. We know you will enjoy hearing her play some of her favorite works by J.S. Bach this evening. We hope to see you in December and January as we continue the largest season in New Century’s history. In December, New Century presents “Christmas with Anne Sofie von Otter,” which brings the Grammy Award-winning Swedish mezzo-soprano to the Bay Area for her New Century debut. For this program, she teams with Music Director Daniel Hope for an unforgettable evening of traditional holiday music. In January, New Century joins the global celebrations of Ludwig van Beethoven’s 250th Birthday with a two-day celebration at the newly renovated Presidio Theatre. The legendary cellist Lynn Harrell joins Simone Dinnerstein and Daniel Hope for a night of Beethoven’s chamber music, followed by an orchestral concert featuring Beethoven’s “Triple” Concerto for Cello, Violin and Piano in C Major, Opus 56. These events are just a taste of what is to come as Daniel Hope leads his second season as New Century’s Music Director. I look forward to sharing these programs with you over the next two months. Most sincerely,

Mark SalkindPresident

About a decade ago, pianist Simone Dinnerstein released a recording of J.S. Bach’s Goldberg Variations that took the world by storm. Seemingly overnight, her name was synonymous with this monumental work, and critics and music lovers alike were

completely enthralled. I was definitely among the newly minted fans, but the opportunity to meet her or hear her play didn’t materialize until years later when my phone rang and it was none other than Simone Dinnerstein. She had been given my name as an enthusiastic collaborator and commissioner of new music. Over the short call, she explained that she would like New Century to consider joining the commission of Philip Glass’s Piano Concerto, No. 3. I don’t think I allowed her to finish explaining the process before I had answered “yes”! The Philip Glass project, and the experience of working with Simone left me completely enthralled. My high expectations were far exceeded, and I still count that week of concerts as some of the most rewarding of my career. Simone is an artist of deep conviction and creativity, and I am delighted that she is New Century Chamber Orchestra’s Artist-in-Residence for the 2019-2020 season. For her first concert with us this season, she has chosen to lead the orchestra in an all-J.S. Bach program. She is internationally renowned for her singular performances of Bach’s works, and she has chosen a program that surveys his virtuosic writing for strings and keyboard. Throughout the season, Simone will be present in the Bay Area for events and concerts, including our “Beethoven in the Presidio: Beethoven@250” festival. I know you will enjoy getting to know her artistry throughout this season. Thank you for everything you do to make New Century’s work possible. We have expanded this season to include five different programs, including the orchestra’s return to Bing Concert Hall at Stanford University in May 2020. I look forward to seeing you at all of these exciting events. Yours,

Philip WilderExecutive Director

NEW CENTURY CHAMBER ORCHESTRA 1

NOVEMBER 7, 2019, 7:30PM FIRST CONGREGATIONAL CHURCH, BERKELEY

NOVEMBER 8, 2019, 7:30PMFIRST UNITED METHODIST CHURCH, PALO ALTO

NOVEMBER 9, 2019, 7:30PMHERBST THEATRE, SAN FRANCISCO

NOVEMBER 10, 2019, 3:00PMOSHER MARIN JCC, SAN RAFAEL

New Century’s 2019-20 Season is made possible by the generous ongoing support of Gordon P. and Ann G. Getty.

JOHANN SEBASTIAN BACH Keyboard Concerto in E Major, BWV 1053(1685–1750)

J.S. BACH “Ich ruf zu dir, Herr Jesu Christ,” BWV 639 (ARR. BUSONI)

J.S. BACH Keyboard Concerto in F minor, BWV 1056

I N T E R M I S S I O N

J.S. BACH Keyboard Concerto in D minor, BWV 1052

J.S. BACH Brandenburg Concerto No. 5 in D Major, BWV 1050 Robin Mayforth, violin Christina Jennings, flute

SIMONE DINNERSTEIN LEADS BACH


T H E O R C H E S T R A

P R O G R A M N O T E S

VIOLIN IRobin Mayforth, Concertmaster

Iris Stone, Associate Concertmaster

Hrabba AtladottirStephanie BibboSamuel Weiser

VIOLIN IIKaren Shinozaki Sor, Principal

Deborah Tien PriceEvan PriceJory FankuchenKayo Miki

VIOLAAnna Kruger, Principal

Elizabeth PriorJenny DouglassEmily Onderdonk

CELLOIsaac Melamed, Principal

Robin BonnellEric GaenslenPeter Myers

DOUBLE BASSAnthony Manzo, Principal

The instrumental concerto was one of the Baroque era’s most exciting innovations. The idea of juxtaposing different groups of instruments to display individual and collective virtuosity proved to be extraordinarily fruitful. The history of the concerto, which began around 1700, continues to this day, and the genre’s possibilities seems virtually inexhaustible.

The Baroque concerto, as perfected in the works of Antonio Vivaldi, was based on the idea of the “ritornello” or refrain. This recurrent theme alternated with a number of solo episodes. The ritornello may return in different keys in the course of the movement, but its first and last appearances must be in the home key.

Bach became fascinated with Vivaldi’s concertos soon after a first set, L’estro armonico, was printed in Amsterdam in 1711. In his own concertos, however, he went quite a few steps further. He tended to make his concertos more complex structurally and harmonically, and to use his instrumental forces in many new and imaginative ways.

Concertos are unthinkable without public performance and are hardly ever written for the drawer. The six Brandenburg Concertos were an attempt (in the event, an unsuccessful one) to

court the favor of Christian Ludwig, Margrave of Brandenburg. The margrave employed some musicians in Berlin, and Bach, then working in the small principality of Cöthen, was hoping to strengthen his position in the big city. On March 24, 1721, he submitted six concertos, accompanied by a dedication letter written in a highly ornate, courtly French—the language of choice of the German aristocracy at the time. But it seems that he never received an answer; in any case, the Margrave never had the works performed, as his small band was quite unequal to the intricacies of Bach’s music.

In the fifth of the six concertos, the harpsichord takes the historic leap from being an accompanying instrument to assuming a solo role. As far as we know, Bach was the first composer ever to write concertos for a keyboard instrument. Before him, many concertos were written for strings or winds, but the harpsichord had been relegated to the role of Cinderella: always present, its role was merely to provide harmonic support as a member of the continuo group. In the Fifth Brandenburg, the harpsichord suddenly took center stage, entering with quite a splash, with a spectacular and entirely unprecedented cadenza at the end of the first movement.



The solo keyboard concertos were written (or arranged) in the 1730s, after Bach had taken over the direction of the Leipzig Collegium Musicum, a concert series started many years earlier by his colleague Georg Philipp Telemann. At these concerts, which took place at Zimmermann’s coffee house in Leipzig, Bach performed as keyboard soloist and also wished to feature his two grown sons, Wilhelm Friedemann and Carl Philipp Emanuel, both accomplished harpsichordists. In addition to seven concertos for one harpsichord, there are also three for two harpsichords, two for three harpsichords, and even one for four harpsichords (the latter based on a work by Vivaldi).

There is some evidence that Bach may have performed some of these concertos on the organ, with string accompaniment, in Dresden as early as 1725.

All the keyboard concertos are arrangements or transcriptions of earlier works, only a few of which are available in their original forms. What is certain that these concertos underwent multiple transformations for many years before they reached the form in which we know them today.

KEYBOARD CONCERTO IN E MAJOR BWV 1053 (1738)BY J.S. BACH(Eisenach, Germany, 1685-Leipzig, 1750)

In a controversial essay published in 2008, musicologist Gregory Butler claimed that the Concerto in E major (BWV 1053) was “cobbled together” from more than one earlier composition, and also incorporated certain elements of a Tommaso Albinoni concerto. (The title of the essay is “Bach the Cobbler.”) Bach also used the music in two of his church cantatas: the first two movements in No. 169, and third in No. 49 (both from 1731).

The E-major is the longest of all the concertos, and structurally the most forward-looking one. The most adventurous modulations and motivic transformations occur towards the middle of the movement, and the return to the home key is set off by a single measure of Adagio. These features create the impression of what would later evolve into a development section and a recapitulation,

foreshadowing the sonata forms of the classical era. (Some of these developments were already foreshadowed in the Brandenburg concertos.)

The slow movement is an almost romantically lyrical siciliano (a favorite Baroque aria type) in the rarely used key of C-sharp minor. The string orchestra begins the melody as the soloist plays an accompaniment made up of broken chords—a truly “proto-Romantic” feature. The soloist then takes over the melody, only to return it to the orchestra at the end of the movement.

The final Allegro is one of Bach’s most virtuosic concerto movements, with a solo part that frequently and unpredictably alternates between fast sixteenth-notes and even faster sixteenth-triplets. Once again, the musical material is developed at considerable length and is subjected to rather subtle transformations.

“ICH RUF ZU DIR, HERR JESU CHRIST” BWV 639 (1708-17)(ARR. BUSONI)

“Ich ruf zu dir, Herr Jesu Christ” (“I call to you, Lord Jesus Christ”) is a short chorale prelude for organ from the Orgelbüchlein, that practical compilation of short chorale preludes for the entire church year that Bach worked on (without ever completing it) during his tenure at Weimar (1708–1717). In the chorale preludes, the traditional Lutheran hymns are subjected to extensive polyphonic treatment, with different types of countersubjects and imitative devices. The present work is one of several that Ferruccio Busoni (1866–1924), the great Italian-German pianist-composer, arranged for piano. It comes from a volume containing transcriptions of ten organ preludes, published in 1898.

KEYBOARD CONCERTO IN F MINOR BWV 1056 (1738)

The F-minor concerto is apparently based on a now-lost violin concerto in G minor. The theme of the slow movement also appears in Cantata 156 (1729).



The lively dance rhythms and playful echo effects make the F-minor concerto a rather light-hearted work in spite of the minor tonality—at least as far as the opening and closing movements are concerned. The lyrical cantilena of the second movement, where the accompanying ensemble plays pizzicato (plucking the strings), is followed by a Presto where Bach carefully indicates the alternation between forte and piano as a special and rather novel musical effect.

KEYBOARD CONCERTO IN D MINOR BWV 1052 (1738)

The keyboard part of the D-minor concerto has many features that are conspicuously violinistic, such as the wide leaps in the theme and a particular repeated-note pattern that would have been played to special effect on the violin, using alternating strings. This indicates that the work must be an arrangement of an earlier violin concerto, which is lost in that form. However, some other details in the solo part, such as the arpeggios, are so idiomatic to the keyboard that a reconstruction of the original violin version is by no means a mechanical task.

In the 1720s, Bach used the musical material of the D-minor concerto in two of his church cantatas. Cantata 146 opens with the first movement of the concerto as an instrumental introduction or Sinfonia, already featuring a solo keyboard instrument (the organ). The second movement of this same cantata is identical to the second movement of the concerto, with the chorus singing the memorable words from the New Testament “Wir müssen durch viel Trübsal in das Reich Gottes eingehen” (“We must enter God’s kingdom through many tribulations”). Another cantata, No. 188, uses the concerto’s last movement as its Sinfonia, again with a concerto-sized organ solo.

The D-minor concerto is a remarkably daring work that treats Baroque concerto form with a great deal of freedom: in one moment, the music follows a strict logic based on sequential progressions and consistent melodic development, and in the next, it surprises us with an outburst of rhapsodic passagework. The unusualness starts right at the beginning: the “ritornello,” or recurrent theme, is played in unison, which enhances the

dramatic power of the dissonant intervals (tritone, diminished sevenths, minor ninths) in which the theme abounds. It is one of the most passionate instrumental movements Bach ever wrote.

Like the first movement, the second starts with a unison theme featuring wide leaps, including dissonant ones. The melody stays in the bass, its presence uninterrupted as the soloist’s right hand plays an extremely ornate singins melody, expressive of the line about tribulations applied to this music in Cantata 146.

The finale doesn’t quite have the chromatic asperities of the first two movements, but it is still not exactly a light movement. Despite some playful elements in the rhythm, the tensions never completely go away.

BRANDENBURG CONCERTO NO. 5 IN D MAJOR BWV 1050 (1720-21)

In the Brandenburg Concerto No. 5, the harpsichord joins a violin and a flute as the other solo instruments. The first movement’s energetic ritornello contrasts with the more fluid figures in the solo sections. The flute, the violin and the harpsichord share the solo duties more or less equally until the astonishing cadenza begins, where everyone falls silent and we witness one of Bach’s most revolutionary moments.

The second movement (“Affettuoso”) is a soulful conversation among the three solo instruments; it is pure chamber music, with the orchestra silent throughout. The last movement is impossible to label: it begins as a fugue with the solo instruments, the orchestra joining in later. A non-contrapuntal section follows, but the fugue theme keeps intruding. The fragmentation of the fugue theme results in something similar to the development sections in sonata form, anticipating Classical techniques by some 60 years. Somewhat later, the music suddenly stops in B minor, to “jump-start” after a short rest in the home key of D major. The Baroque ritornello seems to be transformed into the Classical recapitulation before our very eyes and ears.

—Peter Laki


M U S I C D I R E C T O R

DANIEL HOPEMUSIC DIRECTOR

New Century Chamber Orchestra is proud to welcome back British violinist Daniel Hope for his second season as Music Director. Hope has toured the world as a virtuoso soloist for more than 25 years and is celebrated for his musical versatility as well as his dedication to humanitarian causes. Winner of the 2015 European Cultural Prize for Music, whose previous recipients include Daniel Barenboim, Plácido Domingo and the Berlin Philharmonic Orchestra, Hope appears as soloist with the world’s major orchestras and conductors, also directing many ensembles from the violin. Hope also serves as Music Director of the Zurich Chamber Orchestra, Artistic Director of the Frauenkirche Dresden, and has been named the next President of the Beethoven-Haus Bonn starting in 2020.

Hope is one of the world’s most prolific classical recording artists, with more than 25 albums to his name and has been an exclusive Deutsche Grammophon artist since 2007. His recordings have won the Deutsche Schallplattenpreis, the Diapason d’Or of the Year, the Edison Classical Award, the Prix Caecilia, six ECHO-Klassik Awards and numerous Grammy nominations. His album of Mendelssohn’s Violin Concerto and Octet with the Chamber Orchestra of Europe was named one of the best of the year

by the New York Times. His recording of Alban Berg’s Concerto was voted Gramophone Magazine’s “top choice of all available recordings.“ And his recording of Max Richter’s Vivaldi Recomposed, which reached No. 1 in over 22 countries is, with 130,000 copies sold, one of the most successful classical recordings of recent times. In February 2016 Deutsche Grammophon released Hope’s 10th album for the Yellow Label: My Tribute to Yehudi Menuhin. It is a deeply personal tribute to Hope’s mentor, who would have celebrated his centenary on April 22, 2016 and with whom Hope performed over 60 times, including in Menuhin’s final appearance on March 7, 1999.

Hope was raised in London and studied the violin with Zakhar Bron. The youngest ever member of the Beaux Arts Trio during its final six seasons, today Hope performs at all the world’s greatest halls and festivals: from Carnegie Hall to the Concertgebouw Amsterdam, from Salzburg to Schleswig-Holstein, from Aspen to the BBC Proms and Tanglewood. He has worked with conductors including Kurt Masur, Kent Nagano and Christian Thielemann, as well as with the world’s greatest symphony orchestras including Boston, Chicago, Paris, London, Los Angeles and Tokyo. Devoted to contemporary music, Hope has commissioned over thirty works, enjoying close contact with composers such as Alfred Schnittke, Toru Takemitsu, Harrison Birtwistle, Sofia Gubaidulina, György Kurtág, Peter Maxwell-Davies and Mark-Anthony Turnage.

Daniel Hope has penned four best-selling books published in Germany; he contributes regularly to the Wall Street Journal and has written scripts for collaborative performances with the actors Klaus Maria Brandauer and Mia Farrow. In Germany he presents a weekly radio show for the WDR3 Channel.

He plays the 1742 “ex-Lipi´nski” Guarneri del Gesù, placed generously at his disposal by an anonymous family from Germany. He lives with his family in Berlin.


H I S T O R Y

NEW CENTURY CHAMBER ORCHESTRAThe New Century Chamber Orchestra, one of only a handful of conductorless ensembles in the world, was founded in 1992. The 19-member string ensemble includes San Francisco Bay Area musicians and those who travel from across the U.S. and Europe to perform together. Musical decisions are made collaboratively, resulting in an enhanced level of commitment from the musicians to concerts of remarkable precision, passion, and power. In the 2017–2018 season, British violinist Daniel Hope took the role of Artistic Partner and concertmaster for the ensemble, while the organization underwent an extensive music director search process. In the 2018–2019 season, Hope assumed the role of Music Director, bringing new vibrancy and leadership to the orchestra.

In addition to performing classic pieces of chamber orchestra repertoire, New Century commissions important new works, breathes new life into rarely heard jewels of the past, and performs world premieres. Through the Featured Composer program, the orchestra commissions composers to write new works, with the goals of expanding chamber orchestra repertoire and providing audiences with a deeper understanding of today’s living composers. The orchestra provides insight into the breadth of the Featured Composer’s work by performing a variety of pieces by the composer throughout the season.

Beyond regular season concerts in the San Francisco Bay Area, New Century has toured nationally, with 2011 performances in the Midwest, East Coast, and Southern California garnered record-breaking audiences and national critical acclaim. In January and February 2013, New Century followed with a highly successful eight-state national tour, the largest and most ambitious artistic undertaking in the

organization’s history. In addition to touring efforts, New Century’s national footprint has also continued to grow with a rapidly increasing national radio presence. The ensemble has been broadcast over 30 times on American Public Media’s Performance Today, with each broadcast heard on 260 radio stations across the country.

The orchestra has released seven compact discs. The most recent, From A to Z: 21st Century Concertos, is a compilation of four of New Century’s live world premiere performances of its newly commissioned works by William Bolcom, Ellen Taaffe Zwilich, Clarice Assad and Michael Daugherty. The recording was released in May 2014 on the NSS Music label.

Two additional albums were released on the NSS Music label, LIVE: Barber, Strauss, Mahler, released in November 2010, and Together, released in August 2009. The Orchestra’s first concert DVD, On Our Way, was released in May 2012, and weaves together documentary footage and a live tour concert from a February 2011 performance at the Broad Stage in Santa Monica. The DVD was filmed by Paola di Florio, director of the 1999 Academy Award-nominated film Speaking in Strings.

Other recordings include a 1996 collaborative project with Kent Nagano and Berkeley Symphony Orchestra featuring the work of 20th century Swiss composer Frank Martin, and Written With the Heart’s Blood, a 1997 Grammy Award finalist, both on the New Albion label. In 1998 the orchestra recorded and released works of Argentine composers Alberto Williams and Alberto Ginastera on the d’Note label, and, in 2004, the orchestra recorded and released Oculus, a CD of Kurt Rohde’s compositions on the Mondovibe label. All of the recordings have been distributed both in the United States and internationally.

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G U E S T A R T I S T S

SIMONE DINNERSTEINPIANO

American pianist Simone Dinnerstein is known for her “majestic originality of vision” (The Independent) and her “lean, knowing and unpretentious elegance” (The New Yorker). 2018 was a banner year for Dinnerstein, including a highly lauded recital at the Kennedy Center, her debut with the London Symphony Orchestra, a live recital for BBC’s Radio Three, and an ambitious season as the first artist-in-residence for Music Worcester, encompassing 1performances, school outreach, master classes, and lectures. Dinnerstein also spent 2018 touring Piano Concerto No. 3, a piece that Philip Glass wrote for her as a co-commission by twelve orchestras. Circles, her world premiere recording of the concerto with Grammy-nominated string orchestra A Far Cry, topped the Classical Billboard charts. She has since performed the piece in France, Germany, Italy, and Canada, including a tour with the Baltic Sea Philharmonic and Kristjan Jarvi. This summer, Simone participated in the premiere of Andre Previn and Tom Stoppard’s Penelope with Renée Fleming and the Emerson String Quartet at Tanglewood, Ravinia and Aspen Music Festivals, where they were joined by actors Uma Thurman, Jennifer Ehle and Victoria Clark.

In 2017 Dinnerstein released Mozart in Havana, recorded in Cuba with the Havana Lyceum Orchestra. She went on to bring the orchestra to the United States for its first-ever American tour, which was featured in specials for PBS and NPR. That same year, she collaborated with choreographer

Pam Tanowitz to create New Work for Goldberg Variations, which was on the year-end top-ten lists of critics at the New York Times and the Boston Globe. This project continues to tour and will be given a run of performances at New York’s Joyce Theater in November. Future highlights also include a residency in San Francisco with the New Century Chamber Orchestra, including a collaboration with Daniel Hope and Lynn Harrell for the Beethoven Triple Concerto.

CHRISTINA JENNINGSFLUTE

Flutist Christina Jennings is praised for virtuoso technique, rich tone, and command of a wide range of literature featuring works from Bach to Zwilich. The Houston Press declared: “Jennings has got what it takes: a distinctive voice, charisma, and a pyrotechnic style that works magic on the ears.” Ms. Jennings enjoys a musical career made up of diverse performing and recording, collaborations with living composers, and work guiding young musicians. She is the winner of numerous competitions including Concert Artists Guild, Houston Symphony’s Ima Hogg, and The National Flute Association Young Artists. Active as a concerto soloist, Ms. Jennings has appeared with over fifty orchestras including the Utah and Houston Symphonies. In 2009 she premiered concertos written for her by Carter Pann and Laura Elise Schwendinger. The Washington Post described her performance of the Jonathan Leshnoff Concerto with the Fairfax Symphony as a “spirited, quicksilver performance.” As broad-gauged in her musical pursuits as she is in her repertoire choices,

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Ms. Jennings played ten years as the Principal Flute with the River Oaks Chamber Orchestra (Houston) where the Houston Culture Map described her as a “flutist (who) glistened with golden pixie dust.” She currently performs as Principal Flute with the Arizona MusicFest! Orchestra and has performed frequently with Orchestra 2001 including recent performances at the Library of Congress and in Havana, Cuba. She has worked with such diverse artists such as Jethro Tull, David Parsons Dance Company, and members of Pilobolus. Chamber music partners have included So Percussion, the Brentano and Takács Quartets, soprano Lucy Shelton, pianists Lura Johnson and Simone Dinnerstein, guitarist Jonathan Leathwood, harpists Bridget Kibbey and June Han, and cellist Colin Carr.

Christina Jennings can be heard in works by Alec Wilder alongside jazz great Marian McPartland in a shared CD for Albany Records. In 2013 two discs were released featuring Ms. Jennings in the work of Laura Elise Schwendinger. Three Works (Albany) features the flute concerto Waking Dream for which Fanfare Magazine said “Exquisitely played by Christina Jennings (the work’s dedicatee), this is the highlight of the disc.” Ms. Schwendinger’s High Wire Act (Centaur Records) also features Ms. Jennings in High Wire Act and Rumor. Her most recent publication is a Naxos disc of flute music by the American composer George Rochberg which features her transcriptions of the Caprice Variations published by Galaxy Music. The 2015 Gramophone review says: “Jennings fades to silence in Slow Fires ‘while spinning around’ [and] the effect is stunning. The recording is miked just right to catch Jennings’s multicoloured nuances of tone and phrase.”

ROBIN MAYFORTHVIOLIN

Ms. Mayforth, Symphony Silicon Valley’s concertmaster, has also served as concertmaster of the San Jose Symphony, Ballet San Jose Silicon Valley, Music in the Mountains Festival Chamber Orchestra in Grass Valley, California; as well as for the Colorado Music Festival, Utah Festival Opera, San Diego Opera, Performance Orchestra of Philadelphia, Queens Philharmonia in New York and the Delaware Repertory Orchestra. As soloist Ms. Mayforth has appeared with Symphony Silicon Valley, San Jose Symphony, Music in the Mountains Festival Chamber Orchestra and Colorado Music Festival Orchestra. A chamber music lover, Ms. Mayforth was founding second violinist of the Lark Quartet and toured extensively with the quartet throughout the United States, Europe, Asia, Australia, Mexico, Canada and Russia.

A native of Wilmington, Delaware, Ms. Mayforth received her Bachelor’s and Master’s Degrees from the Juilliard School, where she studied with Dorothy DeLay, Hyo Kang and Paul Kantor. Ms. Mayforth has served on the violin faculties of Stanford and Santa Clara Universities.


P R O G R A M A N N O U N C E M E N T

SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER

HERBST THEATRE

Owned and operated by the City and County of San Franciscothrough the Board of Trustees of the War Memorial of San Francisco

The Honorable London N. Breed, Mayor

TRUSTEESNancy H. Bechtle, President

Vaughn R. Walker, Vice-PresidentBelva Davis

Thomas E. HornLt. Col. Wallace I. Levin CSMR (Ret.)

Gorretti Lo LuiMrs. George R. Moscone

MajGen J. Michael Myatt, USMC (Ret.)Paul F. Pelosi

Charlotte Mailliard ShultzDiane B. Wilsey

Elizabeth Murray, Managing DirectorJennifer E. Norris, Assistant Managing Director


M E M B E R S O F N E W C E N T U R Y

Dawn HarmsViolinSan Francisco, CAJoined NCCO in 1999

Deborah Tien PriceViolinMill Valley, CAJoined NCCO in 1999

Candace GuiraoPrincipal Second ViolinSan Francisco, CAJoined NCCO in 1993

Karen Shinozaki SorViolinRichmond, CAJoined NCCO in 1992

Michael YokasViolinBerlin, GermanyJoined NCCO in 2000

Robin MayforthViolinPacifica, CAJoined NCCO in 2001

Iris StoneViolinSan Francisco, CAJoined NCCO in 1995


M E M B E R S O F N E W C E N T U R Y

Anna KrugerPrincipal ViolaOakland, CAJoined NCCO in 2007

Elizabeth PriorViolaSan Rafael, CAJoined NCCO in 2015

Michelle DjokicCelloPalo Alto, CAJoined NCCO in 2007

Cassandra Lynne RichburgViolaSacramento, CAJoined NCCO in 1992

Isaac MelamedCelloWarm Springs, VAJoined NCCO in 2012

Robin BonnellCelloBerkeley, CAJoined NCCO in 1999

Jenny DouglassViolaMill Valley, CAJoined NCCO in 2009

Anthony ManzoPrincipal BassChevy Chase, MDJoined NCCO in 2006


R E C O R D I N G S

From A to Z: 21st Century ConcertosNSS Music, 2014With Nadja Salerno-SonnenbergWorks by Lera Auerbach, William Bolcolm, Michael Daugherty and Ellen Taaffe Zwilich

Journey To MozartFebruary, 2018Studio album by Daniel Hope and Zurich Chamber Orchestra

On Our Way DVDNSS Music & Counterpoint Films, 2012With Nadja Salerno-SonnenbergWorks by Wolf, Piazzolla, Tchaikovsky, Schnittke, and Gershwin

For SeasonsMarch, 2017Album by Daniel Hope and Zurich Chamber Orchestra


R E C O R D I N G S

Written with the Heart’s BloodNew Albion Records1997 Grammy Award Nomination Works by Dmitri Shostakovich

Echoes of ArgentinaD’Note RecordsWorks by Alberto Ginastera and Alberto Williams

NSS Music Recordings:

TogetherNSS Music 2009New Century Chamber Orchestra & Nadja Salerno-Sonnenberg


N O T E S O F G R A T I T U D E

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORT

Ackerman’s Servicing Volvos, Inc.BenevityThe Bernard Osher FoundationClarence E. Heller

Charitable FoundationEMIKA FundFirst Republic BankGE FoundationGoogleSF Grants for the ArtsHamburg Family Fund

at The Chicago Community Foundation

Korbel WineryLarson Family FundMcRoskey Mattress CompanyNetflixThe North Ridge FoundationThe Pedrazzini Family

Charitable TrustPedro Point BrewingRenaissance Charitable FundThe Richard and

Emily Levin FoundationSakana FoundationSalesforceSigma Alpha IotaSonoma-Cutrer VineyardsStellar SolutionsThomas H. and

Donna M. Stone FoundationVMWare FoundationThe William and Flora Hewlett

FoundationWilliam and

Gretchen Kimball FundThe Zalec Familian and Lilian

Levinson Foundation

MESSIAH STRADIVARIUS CIRCLE($100,000+)Alan BenaroyaPaula and John GambsGordon P. and Ann G. Getty

DEL GESU CIRCLE($50,000 - $99,999)Caroline Wood

GUADAGNINI CIRCLE($25,000 - $49,999)Jeff Han and Ramona BanzacaJerome and Thao DodsonMr. and Mrs. William FisherMargaret and Edmond KavounasMiranda Heller and Mark Salkind

CREMONA CIRCLE($10,000 - $24,999)Julie AllectaOwsley Brown, IIITrine Sorensen and

Michael JacobsonLucinda Lee KatzMargaret and Edmond KavounasSusan and Robert LarsonAlexander LeffPamala and Robert PedrazziniCarolyn and Stephen Spitz

GUARNERIUS CIRCLE($5,000 - $9,999)Mari Kawawa and Patrick BeaudanMarcia and James BeckMichèle and Laurence CorashGinnie and Peter E. Haas, Jr.Mary L. HardenSusan Blake and Joel KaufmannShira Lee Katz and Brandon MillerTeresa Darragh and

Parker E. MonroeJean Fordis and Jerry Voight

STRADIVARIUS CIRCLE($2,500 - $4,999)Patricia and Steven AndersonRobert CarriganCarol DavisonWilliam GinchereauElizabeth and John HarkinsJoan and Jim KirsnerDenise Wang-Kline and

Robert KlineKate and Jonas RabbeRebekah and Nathan RabiroffTracy George and

Christiaan SchaefferC. Gerron and Judith VartanGerald and Lynda Vurek-MartynPhilip Wilder

LEADERS($1,000 - $2,499)Kris and Eric BrewerJane A. CookDaniel EngstfeldDebbie Thal and Len GensburgElsie I. GeorgeBrian GibbsRuth and Alfred HellerKate Akos and Harry JacobsPatricia and Philip JelleyGretchen KimballMartin KrasneyKatherine Heller and Rolf LygrenRené Mandel

Britt-Marie Ljung and Warren Miller

Susan NeuwirthSue and Warden NobleStephanie Oana and Joseph OshaCathleen O’BrienJoy and Larry O’RourkeAnn and Michael ParkerWarren SchneiderDonald ShareAmelia Kaymen and Eric Yopes

SUSTAINERS($500 - $999)Carlos Hoyos AlonsoDanan BarnettRobert and Irene BelknapLinda and Tom BiesheuvelEvelyn ClairDr. William ClusinSuzanne and Steve CowanKaren DeMelloCathy and Chris HalberstadtEdna HomJanet and Damon KerbyJason KimMartha KropfAlec and Susan LeeMartha MangoldBarbara and Kim MarienthalAnn and David MelamedJohn MeyerDavid G. MountCarl PageBonnie PitmanDimitra PolitiMarta Rey-BarbarroLisa Hane and Hugh RienhoffDr. Niall RocheJulie and Mike SartonPat and Steve ScheidThomas SchneiderLinda and Edward SeldenLaVerne and Alan SilvermanIris and Tom StoneAlex TakaokaRiva TezGladys ThacherRuth Donig-White and

Robert WhiteAnita and Ronald WornickKathryn and Philip Zimmerman

SUPPORTERS($250 - $499)Michael BarrettBonnie BernhardtDavid BiegelsenCarolyn Chris

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous individuals, corporations, foundations, and government agencies listed here, who have made gifts during the past 12 months.


N O T E S O F G R A T I T U D E

Jeannette and Roland DareStephen and Jo DavenportPatricia De LucaKathleen G. Henschel and

John W. DewesKewchang Lee, M.D. and

Kevin DeYagerJenny DouglassMaria ErdiCarmen and Fernando FerreyrosMary GriffinStacey Poland Hamburg and

Edward HamburgGayle and Dennis HanniganPeggy HeinemanCoreen HesterLeslie and Peter HornMeridee Moore and Kevin KingLucinda Lee, Esq.Naomi and Marc LevensonLynn LuckowAnthony ManzoAlan S. MarkleValerie MarshallElaine and Chester MooreAnne MurphyRosemary PfeifferLiz PriorAnn and Bill ReganAudrey RyanSuzanne SheaGayle SheppardKaren Shinozaki SorRobert Ripps and Steven SpectorDr. Cherrill SpencerMayo TsuzukiSusan WheelerBarbara A. Wolfe

SPONSORS / NEW CENTURY CLUB($100 – $249)Marjorie AckermanDavid and Marcy AlbertAnthony AlvernazKathleen Marie BalfeJoan BalterGianine Figliozzi and

Steve BanvilleBrian BergMr. and Mrs. David BiegelsenDorian and George BikleDavid BirnbaumKathie Hillier and Bob BoenLaurel BrobstShelagh BrodersenTod BrodyRoberta BrokawHelen Harper and Mary CampbellNatasha Jade ChandlerTerry CoddingtonNancy CohrsMichael CondieEllen CourtienMargo Crabtree

Clifford “Kip” CrannaJennifer and James CrottyJudy and Mark EckartPeg Linde and Robert EdwardsErik EklundRobert FeyerMarcia FlanneryLaura FrostBettina GlenningTia Miyamoto and Bryce GoekingSandra and Norman GordonLeocadia Korzun and

Geoffrey GoslingMark GrangerGretchen GrantMaryann and Don GraulichHerb GrenchAnita HagopianEllen HahnNancy and Nick HaritatosElsa and Raymond HealdEdward HoganAnn HomanMr. and Mrs. John D. HowardMichèle Stone and Harry HoweCarol and Donald JaveteAlice and Dale JohnsonKathleen and Robert KaiserJosie and Bill KaminDorothy KaplanRuth KarlenAnna KrugerAleathea LangoneDavid LilienSylvia LindseyFlorence LivingstonRichard and Marilyn LonerganJames J. LudwigMartha and Arthur LuehrmannBarry LynchHarvey LynchMarjorie and George MaderJanet and Marcos MaestreLeila MarcusRanko Yamada and

Robert MatsuedaAvery McGinnA. Kirk McKenzieGeraldine and Gary MorrisonSusan and Thomas MunnMr. and Mrs. Chip NielsenLorraine and Reggie NilesThomas NoyesHerb OchitillJulie OwensJaMel and Thomas PerkinsCathy Frantz and Mike PotelTracy PowellCassandra Lynne RichburgAngela SchillaceSuzanne and Will SchutteBeni ShinoharaMichael Siani-RoseDr. Cherrill Spencer

Annie StenzelBonnie StilesRita SussmanRandy VogelMerti WalkerIngrid and Robert WanderRobert WestonMichael Ray WilderHelen Chen Wong

FRIENDS($1 - $99)Polly AdamsStewart ApplinDebra and Chris ArmstrongLaura BoxerWayne ColyerAntoinette ConradJeannie CuanMarilyn DavisVictoire de MargerieLinda DonderoAmy DuxburyAshley EdenArt Rothstein and Julia EricksonNorma FeldmanMelissa GarciaCharles GaryJohn S. GravellJean-Bernard GuerreeKirsten HillJohn D. HowardJoan HuffRobert JensenWilliam KaminRuth KarlenAnna KeimAkemi KodaArt and Bobby KushnerRicky LacinaFlorence and David LivingstonMarlana MalerichLisa MartinThom MayesMarilyn McKennaDonald MillhauserGanesh NunnagoppulaPat and John O’NeilTyson ReadBarbara RileyPamela RitcheyDeborah RoseJay SatoCarole SeligmanMadeleine StovelNancy SurStephanie WeiErnest White, IIMichael Ray WilderJune WileyGeorge WrightTaun WrightKatherine YoungKaren Zelmar


S T U A R T C A N I N F U N D

S T R A D I VA R I U S C I R C L E

Julie AllectaPatricia and Steve AndersonJeff Han and Jennifer BanzacaMari Kawawa and Patrick BeaudanMarcia and James BeckAlan BenaroyaKris and Eric BrewerOwsley Brown IIIRobert CarriganCarol DavisonMichèle and Laurence CorashJerome and Thao DodsonMr. and Mrs. William FisherPaula and John GambsPriscilla and Keith GeeslinWilliam Ginchereau

Ginnie and Peter E. Haas, Jr.Mary L. HardenElizabeth and John HarkinsTrine Sorensen and

Michael JacobsonLucinda Lee KatzSusan Blake and Joel KaufmannMargaret and Edmond KavounasGretchen KimballJoan and Jim KirsnerDenise Wang-Kline and

Robert KlineKate G. KnickerbockerSusan and Robert LarsonAlexander LeffKatherine Heller and Rolf Lygren

Shira Lee Katz and Brandon MillerTeresa Darragh and

Parker E. MonroePamala and Robert PedrazziniRebekah and Nathan RabiroffMiranda Heller and Mark SalkindTracy George and

Christiaan Schaeffer Carolyn and Stephen SpitzC. Gerron and Judith VartanJean Fordis and Jerry VoightGerald and Lynda Vurek-MartynPhilip WilderCaroline Wood

New Century extends its gratitude to the members of the Stradivarius Circle, which recognizes the generosity and leadership of our friends and patrons who have made gifts of $2,500 or more in the past 12 months.

Julie AllectaFrancesca ApplegarthCarolyn Ingram and David BeachNancy and Joachim BechtleAlan BenaroyaSusan Blake and Joel KaufmannMary CommandayMichèle CorashEllen CourtienGail CovingtonJoseph CutcliffeTeresa Darragh and Parker MonroeMary FalveySakurako and William FisherPaula and John GambsElsie GeorgeWilliam GinchereauJohn and Marcia GoldmanDawn and Andrew GrossAnne Halsted and Whitney Wells

Mary L. HardenRuth and Alfred HellerKathleen HenschelCecilia and Jim HerbertI’lee and Tony HookerLaura and George IrvinSusan IsraelJudi and Buz KanterLucinda Lee KatzGretchen KimballJoan and Jim KirsnerKate KnickerbockerMartin KrasneySue and Robert LarsonSusanne and Ted LyonsBrenda and Don MacLeanRené MandelConnie and Haig MardikianMarina and Ben NelsonPamala and Robert Pedrazzini

JaMel and Thomas PerkinsPaula PretlowAnn and Bill ReganDon RothSalientPat and Steve ScheidMargaret and Lloyd SmithKaren Smith-McCuneCarolyn and Stephen SpitzGladys ThacherJudy and C. Gerron VartanTina Vindum and

John Philip CoghlanShirley and Art WeissJamie Whittington and

Peter PastreichCaroline WoodKristina WoolseyKathryn and Philip Zimmerman

New Century Chamber Orchestra is deeply grateful to the following individuals and organizations who have generously contributed to the Stuart Canin Fund. The Fund supports the orchestra’s outreach and education initiatives and the contributions made in its third year

honor the 2018 Stuart Canin Award recipients Jake Heggie and Frederica von Stade.


T R I B U T E S

N E W C E N T U R Y C L U B

IN HONORIn honor of John and Paula Gambs

Barbara Wolfe, Fred Levin and Nancy LivingstonIn honor of Daniel Hope

Robert Ripps and Steven SpectorIn honor of Mark Salkind and Miranda Heller

Alexander LeffIn honor of Nadja Salerno-Sonnenberg

Joan BalterIn honor of Philip Wilder’s birthday

Simon Tima, Esq., Michael Ray WilderIn honor of the springtime birth of Zephyr Davison

Carol DavisonIn honor of the wonderful staff and musicians of New Century

Caroline Wood

IN MEMORIAMIn memory of Pauline Ginchereau

William GinchereauIn memory of Barry Gross

Donald MillhauserIn memory of Norm Katz

Evelyn Clair, Roland and Jeannette Dare, Stacey Poland Hamburg and Edward Hamburg, and Leslie and Peter Horn

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous individuals listed below who have made tribute gifts during the past 12 months.

To give a contribution in someone’s name, visit ncco.org, call 415.357.1111, ext. 306, or mail a check to:New Century Chamber Orchestra

1668 Bush StreetSan Francisco, CA 94109

This 2019–20 season, join New Century’s new membership program while supporting your favorite Bay Area orchestra.

Join for only $150 (per household), to unlock these special New Century Club benefits:

• Discount code of 50% for up to two concerts tickets at the venue of your choice in the 2019–20 season

• Receive our e-newsletter with special announcements, reminders, and offers• Invitations to exclusive events• New Century coffee mug

To become a club member, call 415.357.1111, ext. 306. Your membership to the New Century Club directly supports our musicians, featured composers, guest artists, and community outreach efforts. Your contribution is fully tax-deductible.


Annual GalaJanuary 17, 2020 | Cocktails at 6 PM | Dinner and Music at 7 PM

Mark your calendars now for our annual gala benefiting New Century Chamber Orchestra! You are invited to join this glittering evening event, which features dinner,

silent and live auctions led by auctioneer Michael Tate, and special guest artists. More details will be shared online and by formal invitation.

Post-Concert ReceptionsThe following post-concert receptions are open to subscribers and Supporters

(donors who make annual gifts of $250 or more). These festive, informal events are wonderful ways to meet and connect with our musicians immediately following

our performances.

San Francisco: Saturday, November 9, 2019Berkeley: Thursday, December 20, 2019

Palo Alto: Friday, May 13, 2020San Rafael: Sunday, May 17, 2020

Sustainers’ Luncheon With MusiciansThis informal lunch is open to Sustainers (donors who make annual gifts of $500 or more) and immediately follows our popular Open Rehearsal. RSVP requested.

November 6, 2019—San Francisco, Trinity Center for the Arts

Leaders’ Luncheon With Daniel HopeThis informal lunch is open to Leaders (donors who make annual gifts of $1,000 or more)

and immediately follows our popular Open Rehearsal. RSVP requested.January 22, 2020—San Francisco, Trinity Center for the Arts

President’s LoungeStradivarius Circle members (donors who make annual gifts of $2,500 or more) are

invited to attend pre-concert receptions before each of our San Francisco performances. Sponsored by Korbel Champagne, the President’s Lounge offers guests a glass of

champagne or sparkling water and snacks.

November 9, 2019December 19, 2019

January 25, 2020May 16, 2020

For more information, please call 415.357.1111, ext. 306

S P E C I A L E V E N T S


BOARD OF DIRECTORSMark Salkind, PresidentLucinda Lee Katz, Vice PresidentCarolyn Spitz, TreasurerJoel Kaufmann, Secretary

John GambsPaula GambsJeff Han Mary HardenMari KawawaShira Lee KatzSue LarsonCaroline Wood

ORCHESTRA REPRESENTATIVESCandace GuiraoAnna KrugerIsaac MelamedElizabeth PriorKaren Shinozaki Sor

EMERITUS BOARDParker Monroe, Co-chairTere Darragh, Co-chairKate AkosPatricia AndersonBettina GlenningTracy George Jim KirsnerAlexander LeffRené MandelStephanie OanaJerry Voight

ADMINISTRATIVE & PRODUCTION STAFFPhilip Wilder, Executive DirectorDavid Taylor, Director of Artistic PlanningRebekah H. Rabiroff, Director of Development

Blake Hallanan, Director of Patron ServicesJenny Chisholm, Director of FinanceJan Brown, Stage ManagerLeah Froyd, Administrative Intern

CONSULTING STAFFBeth Beauchamp, Web Development and Design

David v. R. Bowles, Recording EngineerBrenden Guy, Marketing and Public Relations

Karen Ver Steeg, Graphic Design

New Century Chamber Orchestra1668 Bush Street, San Francisco, CA 94109

Phone 415.357.1111Fax 415.252.7941

Want to see your ad in our program book?Contact New Century’s administrative staff at 415.357.1111 or [email protected]


NEW CENTURY BOARD OF DIRECTORS AND STAFF

SINGLE TICKETS$67.50 A | $55 B | $30 C

There are three ways to purchase:1) Phone: Call City Box Office at 415.392.4400

(Mon–Fri 9am–5pm, Sat Noon–4pm)2) Online: Visit ncco.org3) At the Door: Based on availability, beginning

45 minutes prior to each concert

Allow 1–2 weeks for delivery. For orders received less than one week prior to the concert, tickets will be held at Will Call.

STUDENT RUSH TICKETSStudent rush tickets can be purchased at the door for $10 for all students with valid photo student ID, as well as all persons aged 18 and under with valid photo ID. Please arrive early on the evening of the performance, as tickets are based on availability.

GROUP DISCOUNTGroups of 10 or more may be eligible for discounted tickets. Please call 415.357.1111, ext. 303 or email [email protected] to arrange tickets for large groups.

CAN’T ATTEND A CONCERT?Ticket exchanges are welcome, but must take place prior to the original concert. Ticket exchanges are offered free of charge to all subscribers. All other patrons will be assessed a $2.75 service charge per ticket exchanged.

Tickets can be exchanged four ways. Always include your name and the new performance date:1) Mail: Send the tickets to 1668 Bush Street,

San Francisco, CA 94109 at least three business days prior to the performance.

2) Fax: Send a copy of the ripped tickets to 415.252.7941 at least two business days prior to the performance.

3) Scan/Email: Send a copy of the ripped tickets to [email protected] by noon at least two business days prior to the performance.

4) Return the tickets to Will Call up to 30 minutes prior to the original performance in person.

If you cannot use or exchange your tickets, please pass them on to friends or return them as a tax-deductible donation. To donate tickets, please call 415.357.1111 x 303, up to noon one business day prior to the performance. A receipt will be mailed to you within two to three weeks acknowledging the value of the tickets.

WILL CALL Will Call opens 45 minutes prior to each performance. Please arrive early to avoid long lines.


T I C K E T I N F O R M A T I O N

New Horizons - Onstage Publications · 2019. 10. 30. · “Triple” Concerto for Cello, Violin...

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