Peninsula Symphony All-Russian Program Feb 2022

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No.1 oncerto C o n ia sky P y No. 5 Tchaikov s y la ymphon p S h u ic s v t o ama Shostak ll rture + e v Campbe O Jon Nak r & e t s o a e E t a n sia San M kov Rus , 2022 / y-Korsa 6 k 2 s & im R 5 + Feb 2

Alan Bien Ad

Table of Contents | February 25 & 26, 2022 3

ALL-RUSSIAN PROGRAM

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PROGRAM NOTES

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MUSIC DIRECTOR & CONDUCTOR

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ASSISTANT CONDUCTOR

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FEATURED ARTIST: JON NAKAMATSU

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PENINSULA SYMPHONY ORCHESTRA 2021/22

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ADOPT-A-MUSICIAN

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SUPPORTERS

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BOARD, STAFF & VOLUNTEERS

PSO program copyright ©2022 Peninsula Symphony Orchestra PENINSULA SYMPHONY ORCHESTRA 146 Main Street, Suite 102 Los Altos, CA 94022 (650) 941-5291 peninsulasymphony.org

SPONSORED BY

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VIOLINS OF HOPE featuring Cihat Askin, violin FRIDAY / APRIL 8, 2022 - 8pm / Heritage Theatre, Campbell SATURDAY / APRIL 9, 2022 - 8pm / Heritage Theatre, Campbell Don’t miss an unforgettable program that showcases the Violins of Hope in full orchestral texture. These precious instruments, recovered relics from the Holocaust, were lovingly restored by renowned Israeli violinmakers, Amnon and Avshalom Weinstein. Program includes Cihat Askin’s Avinu Malkeinu, Mendelssohn Violin Concerto, Op. 64, Prokofiev’s Overture on Jewish Themes, Op. 34, and Three Jewish Poems by Bloch.

This concert is sponsored by Katherine and Roy Bukstein, and the Arcadia Foundation.

TICKETS: PeninsulaSymphony.org/violins-of-hope

ALL-RUSSIAN PROGRAM JON NAKAMATSU PLAYS TCHAIKOVSKY PIANO CONCERTO NO.1 February 25, 2022 / San Mateo Performing Arts Center February 26, 2022 / Heritage Theatre, Campbell

MITCHELL SARDOU KLEIN Music Director / Conductor HOH CHEN Assistant Conductor JON NAKAMATSU Piano Nikolai Rimsky-Korsakov, Russian Easter Overture

Hoh Chen, conducting

Pyotr Ilyich Tchaikovsky, Piano Concerto No.1 in B-flat minor, Op.23 I. Allegro non troppo e molto maestoso – Allegro con spirito II. Andantino semplice – Prestissimo III. Allegro con fuoco

Jon Nakamatsu, piano

- Intermission Dmitri Shostakovich, Symphony No. 5 in D minor, Op. 47 I. II. III. IV.

Moderato – Allegro non troppo Allegretto Largo Allegro non troppo

This program is made possible by the generous support from The Applied Materials Foundation The David and Lucile Packard Foundation Shriners Hospitals for Children - Northern California SVCreates, in partnership with the County of Santa Clara

PROGRAM NOTES

Peninsula Symphony Orchestra February 2022 Maestro Mitchell Sardou Klein, Music Director & Conductor We welcome Larry Laskowski to the Peninsula Symphony family. Trained as a classical pianist, he was educated at Harvard, SUNY, the Manhattan School of Music, and CUNY. He taught at the Mannes School of Music for many years and served as Dean there for five years. He was active in music theory, especially Schenkerian analysis. Here are his program notes for our February concerts: Rimsky-Korsakov: Russian Easter Overture Tchaikovsky: Piano Concerto No.1 in B-flat minor, Op.23 Shostakovich: Symphony No. 5 in D minor, Op. 47 The Russian enigma. Part of Western Europe?

Apart from Western Europe? Those questions still haunt our contemporary culture and politics, but the original questions came up a few hundred years ago. In the second half of the 19th century Russia was starting to feel its oats. Yes, on the political and military fronts, but also in artistic spheres. Russia was no longer an entirely backwater country. Certainly the major metropolitan centers had absorbed much from the West, and for the first time they became real participants in the artistic conversations. Major talents emerged. Hence our program this evening.

Rimsky-Korsakov ‘Russian Easter Overture’ (1887) Rimsky-Korsakov was a member of the famed ‘Big Five’, five prominent

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PROGRAM NOTES Russian composers that disdained traditional Western European training, and wanted to create works that were essentially Russian.

(The other members were Cui, Mussorgsky, Balakirev, and Borodin.)

It wasn’t a formal organization, but a loose association of composers that had similar goals, and they supported each other as they could.

They wanted to create works that were essentially Russian, not just imitations of what was coming from Western Europe.

The first half of the 19th century saw Beethoven, Paganini, Liszt (and many others) emerge as solo virtuosos. In the second half of the 19th century the orchestra followed as a virtuoso ‘instrument’. Vienna, Leipzig, Boston, New York, Amsterdam, St. Petersburg, all had newly formed professional orchestras. Institutions that had a life of their own.

They played together on a regular basis, and the players were very talented. Till then, orchestral performances had been more or less ‘pickup’ affairs. Now we have real institutions with a personality, financial stability, very accomplished players, and an insightful conductor to lead the way.

Rimsky-Korsakov as a young man had a career in the navy, and he became the official inspector for all naval bands. As such he learned firsthand about all of the wind instruments. We see that detailed knowledge in his textbook on orchestration, written later in his life. It’s a classic that is still studied and respected today.

The ‘Russian Easter Overture’ is a splendid example of his skill. It’s an orchestral piece based on traditional Orthodox Russian Easter liturgical chant (which would have been recognized by Russian listeners at the time) and on folk traditions, and it capitalizes on newfound possibilities with the orchestra. It’s not just a traditional Western overture, it’s something essentially Russian. The wide range of timbres is astounding, and there are plenty of opportunities for individual members in the orchestra to be soloists, and for the orchestra as a group to shine.

There’s glitter, sheen, gloom, and countless other new inflections.

Today we might call such innovations ‘special effects’. Sit back, admire the virtuosity and enjoy the wonderful colors. It still sounds fresh today.

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PROGRAM NOTES

Tchaikovsky Piano Concerto No.1 in B-flat minor (1875) Tchaikovsky was working in Russia in the same time period as Rimsky Korsakov, but was more closely tied to the musical traditions of Western Europe, especially German music.

He was less rebellious, more inclined to join the mainstream, albeit with his own innovations.

The first piano concerto is one of his most beloved works. He was an accomplished pianist, and he wrote in new and spectacular ways for the piano. He was also in his own way a master of orchestration, and he found new ways to combine the virtuoso piano with the virtuoso orchestra. The results are colorful and rousing. And the melodies, well, some of the most memorable of all time. Everybody recognizes those themes, and if you’re hearing them for the first time, you won’t forget them.

The concerto is comprised of the traditional three movements, but with some Tchaikovsky twists. The scherzo-like middle part of the slow movement is spectacular. Even though Tchaikovsky is pushing the boundaries a bit, we always feel that we’re in the mainstream. We’re comfortable yet astounded. Yes there are folk elements incorporated into the concerto. Yet these elements, while very colorful, are ultimately subservient to traditional concerto structure and Tchaikovsky’s personal take on the genre.

And of course we can’t forget the part that this piece played in the American Van Cliburn’s win at the inaugural Tchaikovsky International Competition in Moscow in 1958 (at the height of the Cold War). That

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PROGRAM NOTES WATCH: Pre-Concert Talk with Maestro Klein & Jon Nakamatsu Please refrain from playing the videos during the concert

event attested to Tchaikovsky’s ability to bridge the gaps between Western Europe and Russia. The concerto has broad appeal, and that competition showed that this concerto is appreciated universally. We still enjoy it today as one of the classics of the late Romantic period.

Shostakovich Symphony No.5 (1937) Dmitri Shostakovich was born in St. Petersburg in 1906. He was a musical prodigy and as a young man studied with the best teachers in the area.

But things would change quickly in Russia during these times. The revolution of 1917 was disruptive, and ultimately placed control of the country in the hands of a single party. And in 1924 Josef Stalin took control and ruled as an autocrat until his death in 1953. This had a profound effect on the artists and musicians in Russia at the time.

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PROGRAM NOTES

Shostakovich began composing as a young man, mostly following progressive musical trends in Western Europe. His early music is for the most part is not strictly atonal, but it does push the boundaries of dissonance in new ways. And he was gaining prominence in the world of Russian music.

But the Soviet government had other ideas of how the arts should function. Stalin wanted music that the masses could appreciate immediately, not complicated and difficult compositions that only the elite could appreciate. Shostakovich managed to skate along until the mid 1930’s, when his opera ‘Lady Macbeth’ was severely criticized by Stalin and party officials. That kind of denunciation could have been the end of his career, or even the end of his life. Stalin demanded that he write music that would affirm the dignity of the masses.

Shostakovich immediately responded with his Fifth Symphony, which was warmly received by the party. The symphony is more tonal and melodic than most of his earlier works, and the rousing finale is reminiscent of both Beethoven and Mahler. The symphony gave him a new lease on life. He could go on composing in the Soviet Union, and most of his works would be performed. Yet he spent the rest of his life living in fear of exile or execution. Sometimes he slept in the stairwell so if they came for him, his family wouldn’t be disturbed.

Controversy continues about Shostakovich’s intentions with the Fifth Symphony. Some say that he was just doing what Stalin asked. Others maintain that there is a level of satire and cynicism in the piece, that Shostakovich was actually making fun of Stalin in a way that Stalin wouldn’t perceive. It’s difficult to know for sure.

What we do know is that the Fifth Symphony is masterful in many ways.

The orchestration is simply splendid and the opportunities for solos by multiple orchestra principals are magnificent. The symphony is

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PROGRAM NOTES comprised of four movements, as is typical for the traditional symphony.

The musical language is ultimately ‘sort of’ tonal but also full of ‘Russian struggle’. And that contrast makes the triumphant traditional finale all the more satisfying.

It’s a shame that we can’t deal with the Fifth Symphony without mentioning politics, but we can appreciate it as a wonderful staple of the today’s orchestral repertoire. Probably it is played more than any other Shostakovich work. The variety of sound and texture is remarkable.

There are so many moments of just plain surface beauty, some glimmers, some glamour, some mourning, some darkness. Also remarkable is the way that Shostakovich skillfully skirts around the edges of traditional tonality while ultimately giving us a rousing and convincing tonal conclusion. No matter what his intentions, we can enjoy it today and recognize his supreme skill. It’s a challenging piece that both orchestras and audiences have loved for almost 90 years.

Larry Laskowski

WATCH: Pre-Concert Talk with Maestro Klein & Larry Laskowski Please refrain from playing the video during the concert

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PROGRAM NOTES

PSO Concertmaster Debra Fong

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MUSIC DIRECTOR & CONDUCTOR Mitchell Sardou Klein Music Director & Conductor Music Director and Conductor Mitchell Sardou Klein brings extensive conducting experience in the US, Europe, Australia and Japan to his leadership of the Peninsula Symphony. During his 35 years on the Symphony’s podium, he has guest conducted the Seattle Symphony, New Polish Philharmonic, Suddetic Philharmonic, Richmond Symphony, Eastern Philharmonic and many other orchestras in the US and Europe. In California he has led Symphony Silicon Valley, the San Jose Symphony, the Santa Rosa Symphony, the Inland Empire/Riverside Philharmonic, Ballet San Jose, the California Riverside Ballet and the Livermore-Amador Philharmonic and others.

He founded and is Music Director of the Peninsula Youth Orchestra, which he has taken on concert tours of England, France, Spain, Italy, Germany, Austria, Czech Republic, Hungary, Belgium, Holland, Japan, Australia and New Zealand.

Maestro Klein directed over a hundred concerts as Associate Conductor of the Kansas City Philharmonic (where he was also Principal Pops Conductor and Principal Conductor of Starlight Theater, the Philharmonic’s summer home), and also served as Music Director of the Santa Cruz Symphony. He also has extensive experience in conducting ballet orchestras, including the Kansas City, Lone Star, Oakland, and Westport Ballets, as well as the Theater Ballet of San Francisco and les Ballets Trockadero de Monte Carlo. Before turning to the podium, he performed as a cellist for many years. Known to most everyone as Mitch, he enjoys travel, photography, jazz and visual arts in his spare time.

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MUSIC DIRECTOR & CONDUCTOR

Since 1984, he has been Director of the Irving M. Klein International String Competition. Held in San Francisco each June, the Competition has become one of the most prominent in the world, featuring prizes totaling over $25,000, attracting applicants from more than twenty nations annually, and launching numerous major international concert careers.

Critics have consistently praised his work. The San José Mercury described his performance with Symphony Silicon Valley in 2012 as a “gorgeous performance; big, enveloping and wonderfully luxuriant.”

The San Mateo County Times described him in 2007 as “Super Conductor: Mitchell Sardou Klein, music director of the Peninsula Symphony, led his musicians through another triumphant concert. The Peninsula Symphony just keeps getting better and better. Great works and great performances by all.” The Polish newspaper Gazeta Wyborcza proclaimed, “The American conductor quickly established a fine rapport with his orchestra. Klein is a musician who has the musical score in his head, rather than his head in the score, which he demonstrated ably.

The creative conception and artistic shape which he brings to his work comes from deep inside him.”

Maestro Klein is a winner of many prestigious awards, including the 2008 Diamond Award for Best Individual Artist, the Silver Lei Award from the 2009 Honolulu Film Festival (for the World Premiere of Giancarlo Aquilanti’s La Poverta), the 2000 ASCAP Award for Programming of American Music on Foreign Tour, the 2001 Jullie Billiart Award from the College of Notre Dame for Outstanding Community Service, a 1996 award for the year’s best television performance program in the Western States (for the one-hour PBS program about him and the Peninsula Symphony) as well as the 1993 Bravo Award for his contribution to the Bay Area’s cultural life.

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MUSIC DIRECTOR & CONDUCTOR Mr. Klein was born in New York City, into a musical family that included members of the Claremont and Budapest String Quartets. He began cello studies at age four with his father, Irving Klein, founder of the Claremont Quartet. His mother, Elaine Hartong Klein, danced with the Metropolitan Opera Ballet.

Cited for his “keen judgment, tight orchestral discipline, feeling for tempo, and unerring control,” Maestro Klein has conducted many significant world, American, and West Coast premieres, including works by Bohuslav Martinu, Meyer Kupferman, Joan Tower, Hans Kox, George Barati, Benjamin Lees, Giancarlo Aquilanti, Melissa Hui, Rodion Shchedrin, Brian Holmes, Ron Miller, Lee Actor, Jonathan Russell, Alvin Brehm, and Margaret Garwood. He has appeared frequently on national and international broadcasts, including National Public Radio, the Voice of America, the WFMT Fine Arts Network, PBS Television, and KQED television. He lives in Oakland, California with his wife, violist Patricia Whaley. Their daughter, Elizabeth, lives and works in Washington D.C.

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ASSISTANT CONDUCTOR

Hoh Chen Assistant Conductor Peninsula Symphony welcomed Hoh Chen as Assistant Conductor beginning with its 70th Season. Chen leads Peninsula Symphony during a part of several programs of the subscription series and the Los Altos based Summer Concert, and also programs and conducts the annual Family Concert each Spring. His conducting debut with the orchestra was on October 27 and 28, 2018.

In response to his appointment, Chen stated, ”I am thrilled for the opportunity to return to the Bay Area and join Peninsula Symphony as their Assistant Conductor. It will be an honor to work with such thoughtful and dedicated musicians.”

Music Director and Conductor Mitchell Sardou Klein said of Chen’s appointment, “I look forward to working with Hoh as our Assistant Conductor with great enthusiasm. He has demonstrated exceptional qualities of musicianship and leadership, and the musicians of Peninsula Symphony recognized those attributes in his excellent audition.”

Chen was the Associate Conductor of the University of California Wind Ensembles from 2003 to 2008 and served as the Music Director for the Berkeley’s Young Musicians Program from 2006 to 2010. Subsequently, he was appointed Assistant Conductor of the UC Berkeley Symphony Orchestra where he conducted, managed and directed the Summer Symphony Program. Chen served under Maestro David Milnes at Berkeley until September 2011.

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ASSISTANT CONDUCTOR

A UC Berkeley alumnus, Chen received his Bachelor of Arts in Music in 2008. After his tenure in the Bay Area, he went on to study at the Henry and Leigh Bienen School of Music at Northwestern University and receive his Master of Music degree in Orchestral Conducting in June 2016.

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FEATURED ARTISTS

JON NAKAMATSU, piano American pianist Jon Nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity, and electrifying power. A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. Mr. Nakamatsu has performed widely in North and South America, Europe, and the Far East, collaborating with such conductors as James Conlon, Marek Janowski, Raymond Leppard, Stanislaw Skrowaczewski, Osmo Vänskä and Hans Vonk. He also performed at a White House concert hosted by President and Mrs. Clinton.

Mr. Nakamatsu’s extensive recital tours throughout the U.S. and Europe have featured appearances in New York’s Carnegie Hall and Lincoln Center, Washington D.C.’s Kennedy Center, and in Boston, Chicago, Cincinnati, Paris, London and Milan. He has worked with various chamber ensembles among them the Brentano, Tokyo, Kuss, Jupiter, Cypress, Prazak and Ying String Quartets - and has toured repeatedly with the Berlin Philharmonic Wind Quintet. Together with clarinetist Jon Manasse, Mr. Nakamatsu tours continually as a member of the Manasse/Nakamatsu Duo. The Duo also serves as Artistic Directors of the esteemed Cape Cod Chamber Music Festival in Massachusetts.

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JON NAKAMATSU

Mr. Nakamatsu records exclusively for harmonia mundi usa, which has released thirteen CDs to date. His all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic featuring Rhapsody in Blue and the Concerto in F rose to number three on Billboard’s classical music charts, earning extraordinary critical praise. Other acclaimed releases include an all-Liszt disc featuring the “Dante Sonata”; a recording of Brahms’ Piano Sonata in F minor; and Rachmaninoff’s Piano Concerto No. 3 and the Rhapsody on a Theme of Paganini. Mr. Nakamatsu’s 2008 recording of Brahms’ Clarinet Sonatas with Jon Manasse was chosen by the New York Times as one of its top releases for the year; his latest disc with Mr. Manasse, released in August 2012, includes both the Brahms Clarinet Quintet and the Piano Quintet with the Tokyo String Quartet. Of his most recent release on the label, a 2014 solo disc of the piano works of Robert Schumann, BBC Music Magazine states that “Nakamatsu clarifies Schumann’s mid-range saturated textures to a remarkable degree, reveling in its fantastic imaginings with rapier-like precision and effortless command.”

Since 1997, Mr. Nakamatsu has served on multiple international piano competition juries and has also been invited as a guest speaker at numerous institutions including the Van Cliburn Foundation, Stanford University and the Juilliard School.

Mr. Nakamatsu studied privately with Marina Derryberry and has worked with Karl Ulrich Schnabel, son of the great pianist Artur Schnabel. He is a graduate of Stanford University with a bachelor’s degree in German Studies and a master’s degree in Education.

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ORCHESTRA 2021/22 Violin II (con’t) Kevin Dong Music Director & Conductor Nadin El-Yabroudi Mitchell Sardou Klein Scott Huddas Mariko Kikuchi Assistant Conductor Yunjung Kim Hoh Chen Jonathan Lim Vineet Mehta Violin I Kristin Oro Debra Fong, Concertmaster Maria Shim, Asst. Concertmaster (on Frank Rahn Jshon Thomas leave) Katharine Wahl, Asst. Concertmaster David Williams Hanna Yoshimoto Kimberly Bonnett Angelene McDaniel Boto Viola Peter Cheng Elyse Ader, Principal Daniel Cher Katherine Bukstein Genevieve Coyle Adam Green Ann Edwards Elizabeth Ingber Liana Isaacson Andrew Lan Tara Iyer Mark McAuliffe Sandra E. Larragoiti Amanda Myers Jeffrey Lin Jerry Saliman Ryan Luo Charlie Tian Girish Nanjundiah Renee Tostengard Daniel Sommermann Jolynda Tresner Matt Springer Carolyn Worthington Judy Streger Derek Wu Karen Tsuei Yuri Uchida Sandy Wan Alexander Wang Violin II Deborah Passanisi, Principal Brad Gibson, Assistant Principal Susanne Bohl Christina Chintanaphol Christian Dinca

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Cello Kirsten Shallenberg, Principal Sally Baack Alan Bien Garth Cummings Kyle Foley Marilyn George Tetsu Ishihara Tomoko Ishihara Richard Lee Annette Lewis Alice Ling Susan Magrini Allison Roth Christian Selig Janet Sloan Bass Suesan Taylor, Principal Robert Crum Nicholas Dalton David Herberg Rahul Iyer David Lake Isabel McPherson Bruce Moyer Grant Parker Blaine Burton Rister Andrew Salsbury Michael Tong Jeff Wachtel Flute Kay Saito Shafi, Principal Kathryn Barnard Yukoh Hammura Patricia Harrell Kelsey Seymour Anne Wharton

ORCHESTRA 2021/22

Piccolo Patricia Harrell Oboe Audrey Gore, Principal Lianne Araki, Acting Principal Dane Carlson Joel Greene Peter Stahl English Horn Lianne Araki Dane Carlson Clarinet Susan Macy, Principal Nick Cotter Nicole Galisatus Ron Miller E-Flat Clarinet Nicole Galisatus Bass Clarinet Nick Cotter Ron Miller Carol Somersille Bassoon Nathaniel Echols, Co-Principal Juliet Hamak, Co-Principal Cullen Blaine Noah Cort John Givens Jonathan Westerling

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ORCHESTRA 2021/22 Trombone David Allmon, Co-Principal Rami Hindiyeh, Co-Principal Stan George Todd Weinman Bass Trombone Todd Weinman, Principal Bryan Hardester Contrabassoon Juliet Hamak Jonathan Westerling

Tuba Johnathan Hsu, Principal Francis Upton IV

Saxophone Greg Chambers Phillip Cline Nick Cotter Ron Miller Jordan Selburn Linda Wilson

Timpani Michael Jay Bresler, Principal Matt Springer

Horn Brian W. Holmes, Co-Principal Randy Nickel, Co-Principal David Dufour Anna Newman Bob Satterford Paul Schneider Trumpet Mike Marmarou, Principal Guy Clark Nicholas Duncan Robert Fitt Aaron Folmsbee Richard O. Leder Michael Pakaluk Laura Shea-Clarke

Percussion Matthew Germano, Principal Emily Hendricks, Acting Principal Benedict Lim Michael MacAvoy Harp Dana Wallace, Principal Dan Levitan Ricky Rasura Piano/Keyboard Thomas Hansen, Principal Larry Laskowski Celesta Larry Laskowski Music Librarian Joel Greene

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ADOPT-A-MUSICIAN LIFETIME ADOPTED MUSICIANS Deborah Passanisi Dr. Lauren Speeth

Violin II Violin II

Frank & Annette Rahn Elfenworks Foundation

MUSICIAN

INSTRUMENT ADOPTED BY

Mitchell Sardou Klein Maestro Paula Uccelli Debra Fong Concertmaster Katherine & Roy Bukstein Kathryn Barnard Flute/Piccolo Kenneth Shirriff Alan Bien Cello Margaret Yung Susanne Bohl Violin II Clifford & Diana Lloyd Michael Bresler Timpani/ Celeste Everson Misfeldt Percussion Dane Carlson Oboe Richard & Anne Catherine Bramley Beatrice Chau Violin II Estelle Bertolucci; Gayle Flanagan Hoh Chen Assistant Victor Ge & Lily Tian Conductor Daniel Cher Violin I Monte Mansir & Susanne Stevens David Dufour Horn Hannelore Draper Nathaniel Echols Bassoon Juliet Hamak & George Yefchak Nicole Galisatus Clarinet Susan Macy Brad Gibson Violin II Teri Quick John Givens Bassoon Juliet Hamak & George Yefchak Audrey Gore Oboe Monte Mansir & Susanne Stevens Joel Greene Oboe Al & Liz Dossa; Jim Fung Patricia Harrell Flute/Piccolo Krista & Jerry Terstiege Brian Holmes Horn Mary Gundelach Alice Ling Cello Alan Bien Cathie Lowmiller Viola Alan Kalman Susan Macy Clarinet Jacqui & Pieter Smith Sue Magrini Cello Monte Mansir & Susanne Stevens Mike Marmarou Trumpet Ronald Miller Ron Miller Clarinet David Cone Bruce Moyer Bass Margrit Rinderknecht & Richard Siemon Bruce Moyer Bass Suesan & Barr Taylor

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ADOPT-A-MUSICIAN

MUSICIAN

INSTRUMENT ADOPTED BY

Amanda Myers Viola Francis Upton IV Randy Nickel Horn Beverly Schreiber Kay Saito Shafi Flute/Piccolo Ronald Miller Jerry Saliman Viola Dorothy Saxe Kirsten Shallenberg Cello Jacqui & Pieter Smith Matt Springer Violin I; Monte Mansir & Susanne Stevens Timpani/ Percussion Judy Streger Violin I Alan & Spike Russell Michael Tong Bass Suesan Taylor Renee Tostengard Violin I Juliet Hamak & George Yefchak Jolynda Tresner Viola Brian & Jolynda Holmes; Roy & Victoria Sasselli; Maureen Thrush Jeff Wachtel Bass Barr Taylor Alex Wang Violin II Paul & Melonie Brophy Carolyn Worthington Viola Richard Izmirian Hanna Yoshimoto Violin II Yoshihiro Yoshimoto

Peninsula Symphony is grateful for its individual supporters who help bring alive symphonic music.

Would you like to be a community hero, helping change lives of our citizens in San Mateo and Santa Clara counties and be recognized as such?

You can become our concert sponsor today.

Contact Managing Director Sheri Frumkin at sheri@peninsulasymphony.org or 650-941-5291 to learn more about this opportunity.

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SUPPORTERS Thank you to our special donors who have helped keep Peninsula Symphony alive and vibrant during these difficult times. Our donor listing below is a compilation of total giving received between February 1, 2021 and February 1, 2022. We want to express our sincere gratitude to you for being so generous while we produced virtual content and remained connected during the pandemic.

Maestoso al fine ($25k +) The David and Lucile Packard Foundation The Tu and Wang Foundation Fortissimo ($10k - $24,999) California Small Business Administration Mervyn L. Brenner Foundation Monte Mansir & Susanne Stevens Maria Shim & Nicholas Fox Crescendo ($5k-$9,999) Anonymous (3) Applied Materials Katherine & Roy Bukstein Elfenworks Foundation Arcadia Foundation John & Dorothy Givens Mary Gundelach Diana Lloyd in honor of Clifford Lloyd SVCreates Krista & Jerry Tertiege Paula Uccelli in memory of Pete Uccelli Presto ($2,500 - $4,999) Michael Marmarou Ronald S. Miller Celeste Everson Misfeldt Deborah Passanisi Teri Quick in honor of Brad Gibson Redwood City Civic Cultural Commission William & Diane Reuland Francis Upton IV

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SUPPORTERS Scherzo ($1,000-$2,499) Anonymous Karen Alden Alan Bien in appreciation of Alice Ling Susanne Bohl & Nikos Troullinos Robert & Barbara Brandriff Nathan Brookwood & Patricia Hendriks Dr. Samuel Chan & Rena Ling Tom Cooper in memory of Mary Hom Howard & Diane Crittenden Celest Maia Cron in memory of John Cron Stanley Dirks Hannelore Draper Anonymous in memory of Avery Chambers Barbara Erickson Gene Esswein Forsyth Leonard Fund Sheri & Michael Frumkin Victor Ge Brad Gibson Joel Greene Herbert & Norma Grench Juliet Hamak & George Yefchak Patricia Harrell Karen & Ken Imatani in honor of Alan Bien Intel Corporation Richard Izmirian

PENINSULA SYMPHONY

James Kleinrath & Melody Singleton Atsushi Kurosawa Los Altos Community Foundation Bill & Linda Malmstrom Leslie & Kevin Marks Mary Marshall Nvidia Rita’s Rainbows Alan & Spike Russell Phillip & Sara Salsbury Kay Saito Shafi Richard Siemon & Margrit Rinderknecht Suesan & Barr Taylor in appreciation of Michael Tong Jshon Thomas & Gary Carson Baird Whaley in memory of Mary Ann Whaley Anne Wharton

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SUPPORTERS

Vivace ($500-$999) Anonymous (2) David & Michelle Allmon Apple Inc Kathryn Barnard & Kenneth Shirriff Paul & Melonie Brophy Anonymous in appreciation of Sue Macy and Jon Kimura Parker Gregory & Chelsea Chambers in appreciation of Sheri Frumkin & Jim Fung Rebecca Coker David Cone Al & Liz Dossa Gayle Flanagan Jim Fung in appreciation of Joel Greene Dawn Grench in honor of Herb Grench

Benjamin & Kaoru Hollin Alan Kalman Mitchell Sardou Klein & Patricia Whaley Susan Lin Susan Magrini Melly Metcalf Elizabeth Nyberg Prudential David Sacarelos & Yvette Lanza John & Christine Sanguinetti Dorothy Saxe in honor of Jerry Saliman Lorraine Smith Anita Stewart & Kaj Rekola Sue Larson Family Fund Wachtel Family Fund Todd Weinman Wells Fargo Foundation Hanna & Yoshihiro Yoshimoto in honor of Hanna Yoshimoto Margaret Yung

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SUPPORTERS

Allegro ($250-$499) Anonymous Anonymous in honor of Ms. Zhao Wei Anonymous in appreciation of Kay Shafi Anonymous in honor of George Weis & Colleen Vargas Andrew Au & Elizabeth Foley Richard & Nancy Baldwinson Janice Boelke Michael & Adrienne Bresler David & Janet Cain Louis Caputo Gregory & Chelsea Chambers in memory of Avery Chambers Sylvia Chau Sharon Chortack Erika Crowley Garth Cummings

Leslie Duke Arnold Duncan Robert Fitt Alice Graham David Greene Patricia L. Griffin Ann & Salek Hamer in honor of Sheri and Michael Frumkin Ben Hoang Brian & Jolynda Holmes Mela & Peter Hwang Intuit Robert Izmirian & Suzanne Smith Douglas & Susan Jacobs Kevin Krave William & Lucille Lee Harvey Lynch Richard & Beverly Marconi Linelle Marshall Sandra Martinez-Larragoiti Kirt Minor in honor of Dane Carlson Pamela Moore Beth Morris Michelle Oberman & Lawrence Marshall Neil Panton Mike & Carol Ramsay Elsie Robertson Melissa Schoen in honor of Leslie Marks Hongying Sheng Michael Tong & Luna Wang Jordan Torio

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SUPPORTERS Dolce ($100-$249) Anonymous (5) AmazonSmile Foundation Thalia Anagnos Judith & David Anderson Michael & Merrie Asimow Jim Augustus & Nichole Edraos Wate & Johanna Bakker Barbara Barth Suzanne Bell in appreciation of Danny Cher Jeanne Bertini Doug Brown in appreciation of Peninsula Symphony Orchestra Kathleen Brown Lina Broydo Mary Elise Clarity Charles & Claudia Clark

William Conlon Pamela Cook and Paul Gietzel in memory of Portia Leet Judy Davis in memory of Harold and Marilyn Mindell Frank & Charlotte Cevasco Patsy Duke Suzanne & Allan Epstein Ruth Evans David Fernandez & Lori Krauss Reta Flavin Elizabeth Forsyth in memory of Avery Chambers Alice Galenson & Lou Thompson Tom Glenwright Marguerite Gonzales Google, Inc. Chris & Elke Groves Lisa L. Gruman in memory of Helen Dodds

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SUPPORTERS

Hillel Hachlili in memory of Ilan Hachlili Matthias Hausner David & Elisa Herberg Steven Hibshman Judy Hill Kathie Hillier & Bob Boen Norma Hoch Marshall & Roberta Hollimon Perry Hopkins William Howland Ben Hsu & Brenda Porter Marlys Jungroth June Kagdis Jack & Ruth Kahoun Sheree Kajiwara Paul & Jackie Kuckein Richard Leder & Cherrill Spencer in appreciation of Mitch Klein and team Alice Ling Carol Ludwig Nhien Luong in appreciation of Greg Chambers Diane Marcus in memory of Caroline F. Libby Robert Martinengo Joann Miller Noni Naughton NAWBO Silicon Valley Mary Ann Notz Diana & Steven Okamoto Marilyn L. Panelli in appreciation of Susan Magrini

Edward Pease & Mary Ann McKay Joan Peceimer Douglas & Mary Ellen Pense in honor of Elizabeth & Bob Yapp Karen & Douglas Perry Sharon Peters Ken Podgorsek Chris & Caroline Rackowski Cheryl & John Ritchie Alison Ross in honor of Linda Dunn Bill & Sherrean Rundberg Marian Schmidt Dana Scoby in memory of Robert & Jane Cheatham Marianne Silva Michael Sogard Matt Springer & Wei(yun) Ai Ronald & Jane Stefani Laura Sternberg Karl Talarico Emily Thomann Maureen Thrush Mary Urbach Frederick & Gretchen Wassem Linda Wilson June Wisecarver Raymond Wong Arlene Zimmerman

PENINSULA SYMPHONY 28

SUPPORTERS

Open Weekdays 9:30 to 5:00 Saturday 9:00 to 5:00 1849 University Ave. Berkeley, CA 94703 510-845-7178 800-322-6263 www.forrestsmusic.com sales@forrestsmusic.com

OBOES BASSOONS BAND INSTRUMENT RENTALS MUSIC METHOD BOOKS ACCESSORIES Convenient Location

Free Parking

29 73rd SEASON

BOARD, STAFF & VOLUNTEERS

PENINSULA SYMPHONY BOARD OF DIRECTORS Alan Bien, Co-Chair, Board of Directors Alan Russell, Co-Chair, Board of Directors Leslie Marks, Vice Chair Jshon Thomas, Secretary Susanne Bohl Katherine Bukstein Audie Chang Daniel Cher Barbara Erickson, Treasurer / Chair, Finance Committee Juliet Hamak, Orchestra Rep Ben Hollin, Chair, Marketing Committee Sandy Koo Alex Kurosawa Diana Lloyd, Chair, Development Committee Ron Miller, Chair, Education Committee Deborah Passanisi

PENINSULA SYMPHONY STAFF Mitchell Sardou Klein, Music Director & Conductor Hoh Chen, Assistant Conductor Sheri Frumkin, Managing Director Chelsea Chambers, Director of Operations Jim Fung, Director of Marketing & Digital Content Litzy Soto, Box Office & Administrative Assistant Faye Chapman, Bookkeeper Joel Greene, Music Librarian Kristin Kunzelman, Stage Manager Linda Dunn, Office Volunteer Heidi Hau, Piano Competition Coordinator Amelia Yee, Front of House & Volunteer Coordinator

PENINSULA SYMPHONY 30

Photo Credit: Audrey Daniel

The mission of the Peninsula Symphony is to enrich the lives of people in our community with inspiring, innovative, high-quality musical presentations at affordable prices, and to promote music education through engaging programs for children and adults.

The Peninsula Symphony Association of Northern California is a 501(c)3 Non-Profit Corporation, Federal Tax ID 94-6106974.

Peninsula Symphony 146 Main Street, Suite 102 Los Altos, CA 94022 (650) 941-5291 PeninsulaSymphony.org

31 73rd SEASON